“It’s almost like having a stereo Distressor, but it doesn’t have all the bells and whistles,” he says.Sanoff recorded the drums first, with either Collingwood or Schlesinger (depending on who wrote the song) laying down a scratch vocal and rhythm guitar track at the same time. For the drums, Holbrook broke out his secret weapon: FMR Audio’s Really Nice Compressor. On the stereo bus, he employed the Smart Research C2 compressor. He brought back the UREI 1176 and Distressor to polish the guitars and lead vocals, a Universal Audio 175 tube limiter on acoustic guitar, and a Tube-Tech LCA 2B stereo compressor and a pair of dbx 160s on other elements to fine-tune the mix. After splitting out the tracks on Stratosphere Sound’s Neve, Holbrook went to work on creating a mix that would keep the guitars at the forefront without overpowering the band’s pristine vocals and harmonies. Holbrook, who has worked on several of Schlesinger’s outside productions (Verve Pipe, David Meade, Ivy), as well as Fountains of Wayne’s Welcome Interstate Managers (which earned them two Grammy nominations in 2004), noted that Schlesinger’s rough mixes already sounded pretty darn good to begin with, some requiring only minimal EQ to bring them to master quality. You get a lot of air with the Coles mics, but if you set them up right, you can still have a reasonably close-sounding drum kit and still get a lot of nice detail.” Fountains Of Wayne Nj “The song ‘’92 Subaru,’ for example, is sort of Doobie Brothers-esque, so it’s supposed to have that tight, ’70s sound. “To me, the overhead mics and the room mics are the most important mics on the kit because they allow you to adjust the ambience of the drums from small to big,” says Sanoff. For room mics, he used Neumann 87s through a Summit Audio DCL-200 compressor for color, a Beyer M88 through a UREI 1176. Aiming to capture a combination of close-miked and room sounds, Sanoff used Coles 4038 ribbon mics on the overheads, Shure SM57s and AKG 441s on the snare, Sennheiser 421s and AKG 414s on the toms, either a Shure Beta 52 or AKG D-112 on the inside of the kick drum, and a Neumann FET 47 on the outside. Sanoff recorded the drums first, with either Collingwood or Schlesinger (depending on who wrote the song) laying down a scratch vocal and rhythm guitar track at the same time.
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