#cblocals

This week I have been working with a young band to cut a song for their new release. They have been cutting their own demos on a cassette four track but wanted to do one in studio as a lead in to the rest of the album. We spent a bit of time talking about guitars at the start. The feel was start with Nirvana - Bleach style sound; thick but loose with lots of drive. After playing with a few sounds, we locked into a slightly driven AC30 top boost and then used a JHS Pack Rat to really drive the amp. After some back and forth on different Rat models, we settled in on the 'Caroline' mode that offered a lot of gain with some overtones not present elsewhere. For microphones, I used my trusty pair of an Ear Trumpet Labs Edwina and a Sennheiser MD421 II on the AC30. I like the similar but different tonal qualities of each, especially in the top end when dealing with distortion. It really allows it to sound like two different amps in a lot of ways. For the drums, I stuck to my normal array of microphones. Sennheiser e902 on the kick, e905 on the snare top, e904 on the rack and floor toms, SM7B on the hats, and a matched pair of Lewitt 140AIR condensors as overheads. I like this set up for a rock band as it allows me to run live off the floor and get good sounds, plus it feels a lot like how I would engineer it live. If I were to change anything, I would have lowered the overheads a bit to more closely mic the cymbals as Sam is a bit of a hard hitter. I also ran an ElectroVoice RE20 as a room mic; I originally had considered using a large diaphragm condensor like an ETL Edwina or Rode NT1A from my arsenal but, in a smaller room like mine, liked the idea of being able to be more unidirectional and aim directly at kick drum from across the room.

While we tracked the guitar and drums live off the floor, we tracked bass and vocals separately. Sam played my Fender Jaguar bass and we put it through a SansAmp Bass Driver DI and a vintage Traynor MonoBlock II into a Traynor TC1510 cabinet with the EV RE20 on a 10" speaker. We dialed in a slight drive sound through the Bass Driver, but tried to keep it somewhat clean and smooth to contrast with the high gain of the guitar.

Since picking it up on the cheap second hand, the EV RE20 has also been my go to mic for vocals in the studio and we again went with it for this one. Rick doesn't particularly sing loud but is fairly consistent in his volume and cadence, so getting takes wasn't difficult. Overall, we cut three full takes and a couple of partial takes to go through. Largely, the final vocal line was taken from two main takes with occasional words or lines from others, but again his singing was consistent so it was fairly easy to choose the best takes for the final track.

Sam, Rick, and I spent about the last hour or so really dialing in a working reference mix so we could come back to it with fresh ears the next day. The biggest direction from the band was to get the guitar most present in the mix. Mixing the two mics together, we got a really aggressive sound that needed a touch of taming on the high end. Once the bass was added, it really thickened and added punch to the mix. We mixed the drums to this, starting with overheads and then adding the individual channels. I have a tendency to set kick very high in the mix, so I tried to be aware in my placement of this. Sam and I differ in our preference of snare sound, so I tried to find a happy medium between his like for high end and my beefier preference. Ultimately, it is a bit thinner than I prefer but still has a lot of presence from the overheads.

The vocals is where we spent a lot of time creatively. We started with some EQ and the Abbey Road J37 Tape Saturation plug in to get a bit of a fuzzy sound. We tried some different reverb sounds to give space, but ultimately ended up working with the delay in the Greg Wells VoiceCentric plugin to get where we wanted. I like this plugin for vocal compression, so it ended up being a good way to get both on the vocal chain.