The MicsĪnother great thing about working at a professional studio is often the availability of different mics. ![]() Some refer to it as ‘moving air’, but I just think it delivers an sonic attitude that cannot be captured any other way. I often like to track guitars in a live room where I can turn my tube amps up really loud and get that attitude that cannot be captured at a lower volume point. This also applies to many other instruments from acoustic pianos (there's a 1922 Steinway B at the Clubhouse) to acoustic guitars and amps. Drums are acoustic instruments, and often they sound more open and airy when tracking them in a great sounding space where you can have close mics and room mics. In a professional studio with a live space and isolation, a band can play together all at the same time, which helps create a more natural performance.Īlso in a large live space, the instruments, especially drums, can ‘breathe’. In home studios, including mine, recorded parts are often ‘built’ one at a time. At the Clubhouse for example, there's a large live room and three separate isolation rooms, all with glass doors so a band could track together, be isolated sonically, yet still have eye contact to each other. Many professional studios have much bigger live rooms than most of us can have even in a home studio. There’s something about reaching into the rack, twisting knobs of outboard gear, and dialing in a sound. ![]() We ran the guitars (Park head/Marshall 4X12) through API preamps, the drums mostly through the Neve, and the bass through a classic Ampeg SVT head and a chain of vintage compressors. For example, last week when working at the Clubhouse, I ran a pair of Earthworks QTC-50 mics in the live room into a pair of Purple Audio 1176 style compressors and got a huge drum print.
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