Recording
Souvenir was my first project in almost nine years, and definitely my first
project using what I would deem "decent" equipment (by modern
standards). Since
I wanted to basically recreate a "live" performance sound in a studio
setting (without dozens of extra parts, overdubs, edits, etc.), I opted to mic
Ray and Todd live, about four feet apart, and at about 30 degrees from each
other. This
way, even using cardioid microphones, there would be sufficient
"bleed-over" between the mics to create a secure center image, when
the channels were panned stereo.
My
Fostex VF-16 digital multitrack was used for the project.
I
used two Audio Technica AT-3031 electret condenser microphones for the acoustic
guitars, each aimed at the area of the 12th fret, about 10 or so inches distant.
When miking Todd's Ovation (on "Moondance"), I moved the
microphone a tad closer to the multiple sound holes.
Ray's
National was miked with my RODE NT-2 condenser; again, aimed in the vicinity of
the 12th fret. That
guitar is LOUD!
Ray's
electric parts were recorded using his Danelectro Hodad, ran through a BOSS GT-3
processor, then directly into the desk.
The
vocals were recorded using the NT-2 condenser microphone, set to cardioid
pattern. Ray
and Todd both stood between 10 and 18 inches from the microphone while singing;
I may experiment with closer proximity on any future projects.
An ART Tube Channel pre-amp was used to drive the vocal microphone; the
phantom power from the desk was used on the guitar mics.
Percussion
parts were added using an Alesis SR-16 drum machine, triggered by a Roland PAD-8
Octopad. This
percussion setup has since been completely updated to Roland V-Drums (yippee!
21st Century Drums!
Looks like an episode of "The Jetsons!).
Tracks
were cut from late-November/early-December 2001.
First mix was done Christmas Eve (good lesson:
never mix on a holiday!); subsequent used mix was done on January 2,
2002. All
mixing/tweaking/re-tweaking was performed on an Alesis Masterlink ML-9600,
running at 96kHz/24 bit resolution.
Final CD burn is, of course, at 44.1 kHz/16-bit resolution.
The Masterlink is an absolute jewel for an small project studio.
Effects
were provided by Lexicon, and Fostex.
I
hope the final product comes close (upon listening), to what I intended:
capturing their performance in a controlled setting, but with a
"live" feel.
Listening to the finished disc, now over two months later, I hear tiny
things I wish I'd heard when I mixed it, but that can be considered totally
subjective. Overall,
I'm very, very happy with the disc.
We'll save the nit-picking for the next sessions!
Producer /
Engineer, April 2002.
