AE240: Analog Recording Technology = Tape Recorders and Phun fer All!
Fall 2010: Tuesday Evenings
Week-9: Liminal Phase Live Session
We'll be recording this rather large band
in the Studio. In addition to Guitar, Drums, Bass and Keys, instrumentation
will include Harmonium, Oboe, Bassoon and Laptop. Follow this
link to hear samples from the Spring 2010 Liminal Phase Session,
recorded in the Lounge...
Hear are the tracks from the session. More details to come...
| wk-9/fratricide-R1_trk-1_proc.mp3 | wk-9/scorpion-R2-trk-1_proc.mp3 |
| wk-9/jam-R-1-trk-2_proc.mp3 | wk-9/quantum-entanglement-R2-trk-2_proc.mp3 |
| wk-9/LooseChange_R1-trk3_proc.mp3 | Dan Z's 5-12-11 remix of QT |
Week-8: Me and My Arrow Remix
Email your contributions and comments.
The RAW mix is what we did in class. The BLENDED Mix includes bits of 'tape start' and 'echo guitar track,' plus a minor level fix at the last edit - during the Trumpet / Bone solo.
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Week-7: Deep Soul Deities - A completely live 24 track session. The table below has been updated to detail mics, preamps and processing.
- Song written and originally recorded by Harry Nilsson.
- Performance by Hookers and Blow, February 2008.
- Echo Retracked guitar by Bennet Aube and Class 23 november 2010
- Rough mix and edits by ec
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behind drummer's head |
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(will also capture stereo room) |
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Basic Setup 'ideas' for week-7 Deep Soul Deity session.
WEEK-6: Me and My Arrow
This was an introductory 24 track machine lesson. We learned how to use the Studer A-820 and modify a guitar part with some clever fader moves and bounce-echo...
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WEEK-5: Molly Dean and Dan Zamzow
A remarkable session by two amazing performers!
Molly Dean's voice and acoutic guitar accompanied by Dan Zamzow's Cello.
Vocal chain: Shure SM-7 >
Pultec MB-1 > UA LA-3 to track-3
Acoustic Guitar: Cascasde Fathead
> Vari-Fi JFET preamp with built-in optical limiter > API 560 EQ to track-4
Cello Mic: AKG / Norelco C-61 >
Neve 1272 w/JLM preamp > LA-4 limiter @ 20:1 to track-2
Cello Amp via DI: Shure SM-58 >
Vari-Fi JFET preamp with built-in optical limiter to track-1
Mixed on a Mackie to UREI octave graphic
EQ (modified) to Crane Song STC-8 to Amped 499 via OTARI MTR-10 1/4-inch
2-track @ 15ips +3dB over 250 nanowebers, IEC EQ. Mix was then burned
to CD and 'kissed-in-the-box by an ML-4000 mostly for D-essing.
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WEEK-4: Echo / Flanging lesson plus Jabber, Listen to IPR Faux Beatles and Actual Beatle Four Track Bounces
WEEK-3
Two students shy left us a bit more control
room space to do some serious listening. We had the monumental task
of mixing 4 tracks to mono to allow three more tracks of overdubs.
I felt that the guitar part, in particular, needed a 'dynamic sensitivity'
relative to the vocal, two acoustic guitars - nashville tuned - were OD'd
plus a lead electric for 'obbligato.'
We achieved a more balanced mix with just
a hint of 'verb and got to play with the graphic EQ on the mix buss.
Below is the raw and the processed mix. Listen closely and detail
what you hear. And thanks to all - you're patience and participation
were very much appreciated.
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WEEK-2
Geneva Lerner and Band will record as
they rehearsed UNLESS we see fit to move them to the hallway. We
will mic the one KRK used for keys. Nothing will be taken direct.
No click,and no headphones.
Please listen to all jams plus both the live, rough and processed versions. I think you'll find things that work in each - sometimes the accidents and the jams 'suggest' that we take similar chances when mixing.
One question I have is whether the rough
mixes were done on the Polks or the Altecs... I'm guessing the Polks,
which is why the vocal is so hot.
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from 7 1/2 IPS logging |
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GEAR LIST: Tape Track Assignment
DRUMS: James Andrew Meadows
A single mic in the 'crotch' position:
Nady
TCM-1150 > Altec 1612 > Tape
Track-1
BASS: Caleb Hollenback
Shure SM-58 > Altec 1612 > Tape Track-1
VOCALS: Geneva Lerner
EV-664 > Pultec MB-1 > UREI LA-3 > API
560 > Tape Track-2
KEYS: Derek Linzy
RESLO Ribbon > Neve Preamp > Track-3
ELECTRIC GUITAR: Andy Lowe
Fathead Ribbon > Altec 438 > Track-4
FOLDBACK
Genevea had commented that she had a little
difficulty singing on top of the band during rehearsal. While we
will strive to find a better balance by getting the band to play to her,
we will set up a small pair of monitors with her vocals plus reverb.
EFFECTS
The other KRK will be in the hallway as
a reverb send. The Chain will be: Mackie FX Send > Fostex (for tape
delay) > KRK. The Return will be via MXL U-87 clones > Great River
mic preamp > Mackie (not printed to tape).
WEEK-1
Intro and basic editing according to plan.
After class, Eddie solved the hum problem on the turntable / Tascam 3340
and Fostex E22 chain by switching from unbalanced to balanced.
Weeks 1 thru 5: Two Track and Four Track experience
On SESSION days, Four students with have defined jobs in the control room as detailed below and will then rotate throuh the jobs so everyone gets a shot. Anyone in the control room should be listening and avoid distracting talk as the engineers (and musicians) will want your feedback and observations.
RECORDING ENGINEER: operates the preamps in the tall rack
MULTI-TRACK TAPE OPERATOR: Keeps track sheets and session log on the 4-track or 24-track. Get song titles, learn the band members names, etc... Machine operates at 15 IPS, the tape will last 30 minutes max.
MIXER / Communicator: Responsible for the rough mix in the Control Room, FX sends / returns and Foldback / Cue (when aplicable). It is very important to comunicate with the band, get song titles, learn the band members names, etc., amd EVEN MORE IMPORTANT to slate each song via Talkback.
Stereo Tape-op: This is a 'logging' job. Unlike the multi-track, which will likely be stopped between takes, the logging machine will operate at 7 1/2 IPS and not be stopped unless nothing it happening.
STUDIO REPRESENTATIVE: At least one person will be in the studio to make sure the band is comfortable and that they are on mic. Other students are welome and encouraged to listen.
Below the calendar is the weekly plan...
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session |
guitar overdubs |
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session |
What's might happen is not in BOLD
Weeks 6 thru 10: 24 track
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session |
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session |
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What's might happen is not in BOLD