On February 3, 1967, Joe Meek inexplicably murdered his landlady with a shotgun and then turned the weapon on himself, thus ending a career that led from promising beginnings to international fame and,finally, to oblivion. Along the way, Meek had a powerful effect on the British recording industry, fundamentally changing the way records were made.
In the mid-'50s, British recording engineers were, in fact, engineers, to the point that they wore white lab coats. Producers, on the other hand, wore suits. Engineers executed standard procedures that were developed to record sounds with the greatest possible fidelity, whereas producers, who were charged with making the creative decisions, rarely understood recording technology. Equally important, both classes of professionals were employees of large studios and record companies. Truly independent engineers and producers were unheard of at the time.
Meek changed all that. In the process, he provoked an industry-wide backlash that is difficult to understand from a modern perspective because most of his innovations have been so thoroughly absorbed into common practice that they are hardly noticeable. Besides breaking nearly all the prevailing audio-engineering rules, he demonstrated that an individual could engineer and produce million-selling records in a home studio. Although Meek's gear seems downright primitive now, his studio techniques can be put to use in today's personal studios.
LONDON CALLING
Robert George Joe” Meek, born on April 5, 1929, was a precocious child. By the time he was ten, he had written, cast, and produced theatrical performances by and for the children in his village, and he had built a crystal radio set, a microphone, and a single-tube amplifier. At age 14, he upgraded his rig and worked dances and parties as a mobile DJ; at 16, he acted as musical supervisor and provided sound effects for local theater groups. In the summer of 1953, he built a disk cutter that he used to cut his first record, a sound-effects library.
Meek began his professional recording career in 1955, working as an engineer for IBC, the largest and most advanced studio in London. From 1955 to 1957, he engineered dozens of hit recordings for major British stars, often adding sonic touches that distinguished them from other pop recordings of the time. He tweaked the tape recorders to get more level on tape, placed mics close to sources rather than at thecorrect” distance, and used compressors and limiters for creative rather than corrective purposes. Perhaps worst of all, Meek sometimes intentionally distorted preamplifier inputs!
Many producers resented what they perceived as Meek's challenges to their authority, but his recordings had a funny way of becoming major hits; at the end of the day, that's what mattered to the artists and the record companies. Because so many of Meek's recordings became hits,some producers, including jazz and world-fusion pioneer Denis Preston, refused to work with anyone else.
But Meek was not happy working within the confines of IBC. The studio manager and many members of the staff resented Meek's attitude— as well as his tendency to throw fits when he didn't get his way — and they treated him badly. Much of that can be ascribed to professional jealousy, but it was no doubt exacerbated by the fact that Meek was homosexual. Of course, that didn't keep the rotten pigs,” as Meek called them, from trying to steal his secrets.”
It had three heads, took reels as wide as 8.25 inches, and ran at 15 and 7.5ips.
(John Repsch)
BEEN THERE, DONE THAT
While working at IBC and Lansdowne, Meek set a number of precedents in the English recording studio. Besides being the first to put microphones close to (and sometimes inside) sound sources, Meek experimented extensively with microphone selection, which gave him a broader palette of sounds.
He also worked with reflective surfaces. For example, he had trumpet sections play against a cement wall to record early reflections at IBC,and he sometimes used large movable Lucite panels to liven up the sound of a dead room at Lansdowne. Other reflective surfaces useful to Meek included those inside the echo chambers in both studios (see the sidebar Delay, Reverb, and Echo”).
Meek was the first engineer in the United Kingdom to use compressors to create pumping and breathing effects rather than merely to control dynamic range. He also pushed limiters to the max to get the hottest possible levels on tape and took advantage of analog tape's natural compression characteristics. It is also likely that Meek was one of the first engineers to direct inject the electric bass by plugging it straight in to the mixer.
In addition, Meek began experimenting while at IBC with sound-on-sound recording using two recorders. According to veteran engineer and producer Adrian Kerridge, who worked with Meek at the time, He and producer Michael Barclay used to work what they called composites, which they made track by track by track. What they were in effect doing was multitrack recording using the composite method. Nobody else to my knowledge in London, in fact, in Europe— I don't know about America — was working this way at that time.”
Kerridge also reports that while at Lansdowne from 1958 through1959, Meek used two tape recorders to produce flanging, an effect usually considered to have been developed in the mid-'60s. It was very successful,” Kerridge adds, and we used it a lot, together with expansion, compression, and limiting.”
OUTSIDE THE BOX
Changing the way individual sound sources were recorded was only one aspect of Meek's vision. Ultimately, he revamped the entire recording process and arrived at entirely new ways of working. For example,British pop recordings made in the mid- to late '50s had a lot ofroom” sound. Microphones were placed away from sound sources, and separation was achieved by keeping the musicians apart from each other. Meek close-miked sources, largely eliminating the room sound, and then used compressor/limiters to tighten up the sounds and give them more punch. Whatever ambience was lost because of the close-miking technique was made up for by sending everything to an echo chamber. That basic concept, though so common now that it's taken for granted, was considered radical (and wrong) at the time.
Trad-jazz trumpeter Humphrey Lyttleton's Bad Penny Blues” is one of the best-known examples of the way Meek's approach changed the character of recordings for the better. The song was built around a rolling boogie-woogie piano bass line and pushed along by a snare drum played with brushes. Meek compressed the dynamic range of all the instruments far beyond what was usual for jazz recordings, but he also made the brushes prominent and intentionally distorted the piano bass line.
It was Joe's concept,” says Preston. He had a drum sound, that forward drum sound, which no other engineer at that time would have conceived of doing, and with echo. And Joe created this at a time when I was being told that the rhythm section should be felt and not heard. He was the first man to use what they then called distortion. I know what they call it now — now they build it into gear! And that made a hit out of what would otherwise have been another track on a jazz EP. It was purely a concept of sound.”Bad Penny Blues” made it into the Top 20 on the pop hit parade.
INSIDE THE BOX
It was during his time at Lansdowne that Meek built his now famous black boxes. One was a Pultec-style equalizer that Nigel Woodward, its current owner, describes as probably the warmest, smoothest, most transparent equalizer ever made.” Another of his black boxes was a Langevin-style compressor/limiter, which Kerridge now owns (see the sidebar Meek's Black Boxes”). Meek left both units at Lansdowne when he departed.
The third and most important black box was a spring reverb unit made from a broken fan heater. According to Kerridge, It worked very well, and Joe was very secretive about it. To my knowledge, this was probably the first spring echo unit of its kind. It produced a very twangy and reverberant sound that he used to great effect on many of his recordings.” (That was a year before Alan Young developed the Accutronics Type 4 reverb unit for the Hammond Organ Company in the United States.)
SOUND EFFECTS
As a young man, Meek became quite skilled at designing original sounds and at recording unusual sounds from his environment. While at IBC, he put those skills to good use. When vocalist Anne Shelton recorded Lay Down Your Arms,” a song with a military marching beat, the producers wanted to add the sound of actual marching soldiers. Instead, Meek had Kerridge shake a box of gravel back and forth, producing the same basic sound. The record was a massive hit.
Also while at Lansdowne, Meek began making recordings at his tiny Arundel Gardens flat. One of those recordings was a full-length LP that employed several unique recording techniques and featured an extraordinary variety of original sound effects.
HEARING NEW WORLDS
In 1959 Meek recorded his Outer Space Music Fantasy” called I Hear a New World. (The original recording was released on CD for the first time as an addition to my Creative Music Production: Joe Meek's Bold Techniques, originally published by MixBooks in 2001. Previous CD releases contained a drastically altered version of dubious historical significance.) The recording was not only made in his apartment but also recorded in stereo. In addition to engineering the record, Meek composed all of the music. His musical concepts were arranged by Rod Freeman and performed by a group called the Blue Men. How Meek was able to work in stereo remains a mystery, as nobody who was there at the time recalls seeing any stereo machines, much less a stereo mixer.
That largely neglected recording is interesting because it provides fascinating insights into how an early audio innovator, working at the dawn of commercial stereo, dealt with issues such as phase relationships, imaging, and the juxtaposition of dry and processed sounds. Beyond that, Meek's use of signal processing, tape manipulation, and tape loops put the record in a class by itself.
And then there are the sounds. In addition to bass, drums, and guitar, the instruments Meek used included a homemade steel guitar, a tube-powered keyboard called a Clavioline, a piano with thumbtacks in the hammers, and test oscillators processed in various ways. Meek also used his tape delay as an instrument by pushing it into self-oscillation with over-the-top regeneration. Sound effects included bubbles blown through drinking straws, a comb scraped across an ashtray, shorted electrical circuits, and milk bottles played with spoons.
Meek often processed sounds as they were recorded. Tapes were processed by changing speeds, playing them backward, or splicing loops.
Meek wanted to go beyond the static stereo recordings that were being made at the time, by introducing motion into his mixes. On a promotional recording made in 1960, Meek remarked, I've tried — and I've had to do it rather carefully — to create the impression of space, of things moving in front of you, of a picture of parts of the moon.”
Sometimes he did that by panning a sound from one side to the also used the reverb and echo returns to create motion by panning the dry sound to one side and the effect return to the other, or by having the processed and dry sounds on one side, but the effect bleeding over to the other side. On March of the Dribcots,” Meek made the sounds march” from one side to the other by continuously varying the balance of high and low frequencies for each sound.
On the title track of I Hear a New World, Meek used loops and other forms of tape manipulation to great effect. The core of the song is a repeating three-note bass line that is either a tape loop or a very steady bassist; the drummer syncs to the bass loop. The vocal track is sung in rounds of three, with different processing on each round. Two voices in tight harmony sing the first line. The same line,with identical phrasing, then repeats with different EQ and voices on the third line are sped up to double time so that they are pitched an octave higher.
The phrasing of the sped-up vocal follows that of the other two parts. To get that effect, the vocalist sang at half speed and time (perhaps at 15 ips) and was recorded onto one machine while listening to the backing track playing at half speed on another. When the slow track played back at the higher speed (30ips), it was roughly in sync with the original, though it was pitched an octave higher. The new track was then transferred onto the master recorder.
304 HOLLOWAY ROAD
Although he couldn't play an instrument, was tone-deaf, and had little sense of rhythm, Meek had been writing songs and lyrics for years. Les Paul and Mary Ford had a hit with his Put a Ring on My Finger.” Meek used the money he received from that to co-found Triumph Records, one of England's first truly independent pop record labels, in 1960. Besides producing albums, Meek acted as A&R man,choosing — and in some cases managing — the artists and bands that he recorded (a practice that continued long after Triumph's demise).
Meek resigned from his position with the label after only nine months and formed a partnership with a film company owner who helped bankroll a new recording studio. Meek located the studio in a three-level flat above a leather shop on a busy street in a bleak section of north London. He lived and worked at 304 Holloway Road for the rest of his life.
The studio was on the third floor and could be reached only by climbing several steep flights of narrow stairs. The stairs are nearly as legendary as the studio itself: musicians who angered Meek were routinely thrown down them, followed by their gear. The recording area,which measured approximately 18 by 14 feet, was at the front of the building, with two large windows overlooking the street. The11-by-12-foot control room had no direct view of the recording area;Meek had to run back and forth between the two rooms to communicate with the musicians.
The studio windows were insulated, and then boards were nailed over them and acoustic tile and drapes were placed over the boards,” says Dave Adams, who helped prepare the studio.We heard very little outside sound.”
Meek described the studio as being the size of an average bedroom. No larger. I've covered the walls with acoustic tiles …all the walls except one, which is covered with a thick curtain.
This has very good absorbing power, and the studio is extremely dead. The floor is carpeted, and the ceiling is completely covered in tiles. One wall has some tiles missing, and this gives me a certain amount of brightness. But basically it's completely dead.”
In the rack (from top to bottom) are an unidentified rack unit, the Altec 438A compressor,
Meek's homemade mixer, the Vortexion 4/15/M mixer, two Quad preamps, the Fairchild
658 spring reverb unit, and several patch panels.
MEEK'S MACHINES
When trying to determine the gear that Meek used at 304 Holloway Road, it is important to remember that during a period of six years,lots of equipment that was not documented may have been used in the studio. In addition, simply knowing what gear was present in the studio doesn't necessarily offer much insight into the Meek sound, because he modified practically everything that he owned.
Those two points notwithstanding, two documents throw quite a bit of light on the subject: an RGM Sound (Meek's production company) equipment list showing capital expenditures for equipment during the period from September 19, 1960, to May 12, 1964, and an auction manifest of equipment compiled after Meek's death. A handful of photos of the studio control room taken at various times show important pieces of gear.
When the studio opened in 1960, Meek's main recorder was a Lyrec TR16 twin-track (see Fig. 2), an extremely high-quality Danish-made machine widely used within the film industry.
It ran at7.5, 15.0, and 30.0ips and accepted reel sizes as wide as 11.5 inches,including cine spools. A stock TR16 did not have synchronized record and playback heads (an overdub on track 2 would therefore be out of sync with track 1), but Meek modified his machine for that also had two EMI recorders: a two-head TR50 and a three-head TR51,both full-track mono machines. By late 1962, he had added a three-head Vortexion WVB, which he used to produce tape delay (see Fig. 3).By early 1963, he'd acquired EMI BTR2 and Ampex Model 300 professional full-track recorders.
In the earliest days, Meek's primary mixer was a 4-channel homemade device with variable top lift (a British term for high-frequency boost) on each channel. Small line mixers were also used to sum line-level feeds from various sources. By September of 1962, Meek had added a broadcast-quality Vortexion 4/15/M 4-channel mixer. Together,the two units provided a total of eight high-quality mixer channels— four with EQ — that could be combined in various ways.Although he added a 6-channel stereo mixer in late 1964, most 304 Holloway Road recordings were made using the two 4-channel mono mixers.
Meek also had several preamplifiers with multiple inputs that he used as auxiliary mixers. Included was a modified RCA Orthophonic hi-fi preamp/filter unit that he referred to as his cooker. The Orthophonic provided three inputs, had simple tone controls, and could be easily overdriven into a smooth and musical distortion. The device was most often used to fatten up lead vocals, but it also served as a backing vocal submixer (see Fig. 4). At some point, Meek also acquired RCA and Dyna preamps, which he could have used to add inputs or tone coloration when necessary.
PROCESSORS AND MICS
His selection of outboard gear was quite limited. At first Meek had only a few dynamics processors, including a 30-year-old BBC limiter and a homemade compressor. In February 1963, he acquired Altec 438A and436B compressors, and by September he added several Fairchild dynamics processors: a Model 660 limiting amplifier, a Model 663 compact compressor, a Model 661 Auto Ten, and a Model 673 Dynalizer. He obtained a second Model 673 four months later and a Model 655 after that. Around 1966 Meek also acquired a Fairchild 658 professional spring reverb, which is pictured in photographs of his control room from that period.
Equalizers were equally scarce. In early 1963, the selection in Meek's possession was limited to a tone-control unit and a midlift control, both probably homemade. According to Ted Fletcher, who worked with Meek in 1963 or 1964, some of Meek's other EQs were things in tobacco tins, with little inductors and capacitors soldered together.” Meek also added EMI 843 and 844 passive equalizers and an IBC CU-3H active equalizer to the studio at some point.
Meek's main microphones were two Neumann U 47s, which he used primarily on vocals; six AKG D 19/60 dynamics for instruments; and two Reslo ribbon mics — one for vocal groups (working both sides of it) and a heavy-duty model for kick drum. He also had a Neumann SM 2stereo condenser (which broke continually), and HMV 235CH and Western Electric ribbon mics that he used less frequently. By the end of his career, Meek had added Telefunken NSH, Elam models 250 and 251, Beyer models M61 and M23, and RCA variable impedance and dynamic microphones.
Because he was creating mono mixes, Meek monitored on a single Tannoy Red, a popular reference speaker used in recording and broadcast studios throughout Britain and Europe.
The Red employed Tannoy's dual-concentric speaker design: in this case, a high-frequency driver mounted at the center of a 15-inch woofer. Meek powered the system using audiophile-quality Quad preamps and power amps.
The wires that connected Meek's gear snaked across the floor or were suspended in midair. Many, if not most, of the wires had no plugs on the ends; Meek just twisted the wires together. But cables weren't the only things that covered the floor: tape boxes were piled everywhere,and discarded bits of edited tape reportedly rose to ankle height.
EARLY RECORDINGS
In November of 1962, Meek recorded himself walking around his studio, describing his gear and the way he used it. The following is an excerpt:
The main machine is a Lyrec TR16 twin-track. I usually record the voice on one track and the backing on the other. The other recorder is an EMI TR51; this I use for dubbing. The artist has his microphone, a Neumann U 47, in the corner of the studio, screened off from the rest of the musicians. He can sing his heart out without anyone taking notice of him. He's going on a separate track of the Lyrec. The bass is fed in direct, the guitars have microphones in front of their amplifiers, and the drum kit has two or three microphones placed around it.
Then, I dub the artist's voice on again. I listen to the tracks that we've already got. … Sometimes they're good enough,but as a rule, the vocalist wears headphones and the track's played back to him, and it's dubbed onto my TR51. So we have voice and rhythm tracks.”
Notice that Meek does not record the voice onto the second track of the Lyrec, as he had the guide vocal cut at the same time as the rhythm track. Instead, he mixes it in real time with the rhythm track from track 1 of the Lyrec, straight to the EMI TR51, saving a generation of track bouncing. Meek continues:
Sometimes we use four strings, never any more: four violins, perhaps a French horn, and a harp. Sometimes a choir, perhaps three girls. The method I use for recording strings is to have a microphone pretty close to them. The four of them sit in opposing pairs, and then I delay the signal with the third head of the Vortexion. I feed this back in again, which adds a reflection that gives you eight strings. On this I put my echo-chamber sound and also some of my electronic echo. After I've finished, I've ended up dubbing from my TR51 onto one track of the Lyrec. And after recording the orchestra on the Lyrec's second track I have the extra orchestra on one side, and the voice and the rhythm track on the other. And that's all I do at my premises. I then edit out the best takes, and go along to IBC and mold them together.”
Meek was fanatical about separation, as difficult as it was to achieve in his Holloway Road flat. When miking guitar amps (which were usually Vox AC30s), he'd place an AKG D 19 right against the grille and then throw a heavy blanket over it. Similarly, he'd place a Reslo ribbon mic in front of a bass drum and put a heavy blanket over it,taped to the toms. The latter technique became commonplace a few years later, but Fletcher and others believe that it originated with Meek.
Meek made hundreds of recordings during his first couple of years at304 Holloway Road, but two of them are particularly significant:Telstar” and Johnny, Remember Me.”
JOHNNY, REMEMBER ME
Recorded in middle 1961, Johnny, Remember Me” is considered by many to be Meek's most impressive recording, and it was also his first No. 1 hit. The record was a death disc about a guy who hears his dead lover's voice calling to him from across the moors. Meek's seance-loving partner, Geoff Goddard, claimed that spirits helped him write the song. In fact, Goddard and Meek believed that regularly they were visited and assisted by the spirit of Buddy Holly.
The song is still impressive, with its sweeping sonic grandeur and otherworldly authority. At the time it was released, however, it was absolutely revolutionary.
When interviewed for the Meek documentary on the BBC program Arena, vocalist John Leyton remembered the session this way:When I recorded ‘Johnny, Remember Me,' I was in the sitting room behind a little screen, and the rhythm section was in the room with me. The violin section was on the stairs, the backing singers were practically in the loo, and the brass section was underneath, on another floor altogether. And there was Joe next door, playing his machine like another musical instrument. It was quite bizarre. We did it over and over.
Joe wanted plenty of exciting atmosphere in it, and it was a really exhilarating sound with the galloping, driving beat.Joe was getting all excited, slapping his leg and combing his quiff.” Elsewhere, guitarist Reg Hawkins relates how they had to play the track repeatedly for an hour, after which his hand bled.
Brass and strings may be on the recording, but if so, they are hard to distinguish. The predominant instruments are the acoustic and electric guitars, bass, hi-hat-driven drums, and either a harp or a sped-up piano. Other sounds emerge in some places, but they are mostly washes of sustained tones with little harmonic definition. Meek combined and submixed the sounds in the same way that a synthesist layers patches from several synthesizers and treats them as one brought the sound cluster in and out as it suited him. He also added fairly long delays on a few keywords here and there, which at the time was quite novel.
It is estimated that Johnny, Remember Me” has more than30 tape splices. Unless they were of the rhythm tracks, Meek probably bounced vocal overdubs to blank tape (along with the backing track)until he had enough usable bits to work with. Then, when he edited the best parts together, the rhythm tracks already would be in sync, making it more difficult to detect the splices.
TELSTAR
Telstar,” inspired by the satellite that ushered in the telecommunications age, was Meek's biggest hit. It spent two weeks at the top of the U.S. charts in December 1962 and reached similar heights throughout the world.
From a recording perspective, Telstar” is has so many overdubs that the underlying layer of sound,particularly in the low mid frequencies, is little more than a sonic blur. There are several drum parts, two bass parts, a triple-tracked Clavioline (spanning three octaves), a sped-up piano playing harp-like arpeggios, and a gorgeous solo guitar during the breaks.
An abundance of speculation has surfaced regarding the sound effects that open and close Telstar.” One common theory is that Meek recorded a flushing toilet and then reversed the tape, but if you play the record in reverse, you will not hear any obvious flushing sounds. What you will hear are sounds reminiscent of those found on I Hear a New World, which were almost certainly produced the same way.
If you have ever plugged a microphone into a tape echo and cranked up the regeneration while making plosive and other vocal sounds, you'll recognize much of what you're hearing on Telstar.” Meek ran the source sounds — whatever they were — through a spring reverb and a tape delay, with the tape regeneration set so high that it went into self-oscillation. You mostly hear the sound of the oscillating tape delay and not the source sound. He also captured a spring sound by knocking on his reverb device, and a tapping sound probably produced by tuning a pair of test oscillators close enough tot he same pitch to cause beating. Those sounds were edited together and then reversed by turning the tape around.
BTR, TOO
Royalties from Telstar” provided Meek with enough money to buy some impressive new gear. He was unable to get satisfactory results mixing the Lyrec's two tracks down to mono on the TR51. As a result, he purchased an EMI BTR2 professional full-track recorder in February 1963. Having two pro machines to work with made signal degradation from track bouncing much less of a problem, letting him modify his recording technique.
According to guitarist and recording engineer Peter Miller, who worked with Meek then, Meek only had two machines. He would very often get the band recorded onto the Lyrec, which was usually his first machine. He would put the band on one track and put the vocal on the second track. The vocal track would also include maybe a guitar track or solo sax or something else — whatever lead instrument wasn't playing at the same time as the vocal. And then he would mix that onto his EMI BTR2 mono 1-track. And at the time that he'd do the mix, he would add on anything else that he wanted — either another track or effects processing.”
Fletcher describes a modified version of the same technique.The technique he used most of the time while I was there was to lay down the backing track on the full track of the BTR2 so that the recording occupied the full quarter-inch in mono,” he says.He would then remove the tape and put it on to the Lyrec machine, where he would erase one half. There would still be the original backing track on the one half of the tape, and he would add tot hat either the lead voice or backing vocal on the other half of the track. He would then mix the backing track and the vocal track together live while he was recording another part and send the three elements back to the BTR2, in mono on full-track. If he had everything he wanted by then, he would do a final mixdown with additional compression and EQ.” In both cases, Meek might add an additional track in real time as he mixed down to mono, with additional processing at any point long the way.
A month after getting the BTR2, Meek purchased an Ampex Model 300, another professional full-track mono machine. Having two pro full-tracks gave Meek increased recording options. For example, by bouncing between them, he could build up a rhythm track using the full width of the tape and only have to go to half-width (on the Lyrec) once. Meek also purchased an Ampex 351/2 twin-track at some point,giving him 2-track bouncing capabilities, and an Ampex twin-track emipro model called a PR10 (see Fig. 6). It is rumored that
Meek also had an Ampex multitrack in 1966, but the evidence is inconclusive.
LAST RIGHTS
In 1964 Meek had his final No. 1 U.K. hit with Have I the Right?” by the Honeycombs (featuring female drummerHoney” Lantree). The tune went to No. 4 in the United States and topped the charts in Australia, Japan, South Africa, and Sweden. Have I the Right?” is best known for itsstomping” gimmick. To generate a really big kick-drum sound, Meek placed microphones below the wooden studio stairs and had several musicians stomp along in time with the music. But that wasn't all.
On the final mix of ‘Have I the Right?,' we were just sort of tickling it up and getting the master ready with Joe late one evening,” Fletcher recalls. The ‘come right back' line still wasn't heavy enough for him. He tried all sorts of things to get this right: we kicked cardboard boxes, hit cardboard boxes with sticks, and in the end, he said, ‘No, Guy Fletcher's brother, it's not loud enough. What you've got to do is this.'And he put an AKG D 19 microphone on a little short stand on the floor and gave a tambourine to my brother and said, ‘Hit the microphone with the tambourine.' So my brother gently tickled the microphone, and Joe said, ‘No, no — hit it, hit it, hit it!' During the takes, my brother was smashing this tambourine onto the top of the microphone so hard that he completely destroyed the microphone and the tambourine. There's a horrible cracking noise on the record, and if you listen carefully, you can hear it.”
LEGACY
It is commonly held that Meek was a casualty of the British Invasion and that he got further and further out of touch as the '60s progressed. Critics point out that he had practically no hits in 1965 and '66, suggesting that the music simply wasn't up to par. That may be true generally, though he made some extraordinary recordings during that period, many of which were never released.
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LISTENING TO MEEK
Nearly all of Joe Meek's major recordings were mixed to mono. Now people tend to think of mono as the same sounds coming out of the right and left speakers with no stereo separation, but Meek mixed using one speaker. Remember that, during Meek's entire career, most people listened to music on one speaker. Meek's records were targeted largely to teens, most of whom listened on inexpensive phonographs and even less expensive transistor radios. So if you want to hear the recordings the way they were intended to be heard, you should listen to them on a single speaker.
DELAY, REVERB, AND ECHO
The terms delay, reverb, and echo are often usedinterchangeably when describing Joe Meek's sound. However, theyindicate three distinct effects.
Delay in the '50s and early '60s meant mechanical delay. It wasachieved most commonly by using a three-head tape recorder (see Fig.A1). A three-head machine has a gap between the record and playbackheads. Consequently, if the playback head is on at the same time that asound is recorded onto the tape, there is a short delay while the tapetravels from one head to the other. The delay time is adjusted bychanging the tape speed.
Reverb was not a common audio term in the 1950s. By the early '60s,the term had largely come to mean spring reverb (see Fig. A2).(Plate-reverb technology had been developed by the late '50s, but noevidence suggests that Meek had access to it.) Spring-reverb units aredevices with transducers connected to the ends of a group of springs.Sound passes through the springs and comes out the other side slightlydelayed, with a characteristic spring sound.
Thursday, 1 June 2017
Wednesday, 17 May 2017
10 Quick Drum Recording Tips
Heading in to the studio to lay down drum tracks? Follow these ten tips to help the whole process go smoothly.
Skins, sticks and beaters
It's much easier to get volume, clarity and brightness from a new set of drumheads. If possible, get them on, tuned and 'played in' a day or two before the session. Different types of head give different types of sound: single- ply heads are bright with less sustain (jazz/ pop); two-ply heads are deeper and more controlled (rock/metal); coated heads are warmer in tone (disco/70s). Your choice of sticks or hotrods and felt or wood kick drum beaters will also have a big effect on the sound of the kit. Get close to the sound you want before you think about microphones!
Tune up
This should be the drummer's responsibility. Here are a few tuning tips and things to check if you're having problems. Check that the head diameter is exactly right (fractionally larger than the drum) and that it's mounted perfectly centrally. Always make tension adjustments in opposite pairs to avoid forcing the head off-centre. Seat the head by applying gentle pressure with your palm to the centre, then tune out any new wrinkles that appear.
Bottom heads on toms
Wherever there are two heads, there are three possibilities. If you tune the bottom (resonator) head of a tom to the same pitch as the top (batter) head, you'll get a purer tone with more sustain - perfect for jazz and its derivatives. If you tune the resonator lower, you get a slight pitch drop-off and less decay - great for rock. Tuning the resonator higher shortens the decay further, which can be great for close miking. A good starting interval for the difference in pitch between heads is a minor third - ie, three semitones either way.
Front head on the kick or not?
The front (resonator) skin on the kick drum is important for creating a good, meaty tone. Jazzers love it, and most rock/poppers have a hole cut in it to allow microphones and dampening material (a small blanket, say) to be placed inside. For metal styles, where you're mainly looking for click and thud, you may as well just remove the front head so that you can get a mic right in on the beater point.
Tighten the kick drum
It's possible to create a little kick drum chamber using, blankets, duvets or even a coat. These are draped over the kick drum, and any microphones are placed in and in front of it. Use a couple of small mic stands to hold the blankets up. The chamber prevents spill from the cymbals and snare getting into the kick drum mics, making it easier to boost the high frequencies at the mix stage and thus enhance the 'clickiness' without adding harshness from the cymbals.
Playing to a click
If you're tracking to an existing recording, you may need to be able to play to a click track. The best drummers are able to sit exactly on the click, but tend to flow around it in order to create a better feel. Recording to a click makes it much easier to edit between drum takes at a later stage. If the whole band is tracking together, it's best if only the drummer gets the click. Using a little beatbox or percussion groove usually makes a better 'click' than an actual click, and will also spill over into the microphones less.
Prepare the click for gaps
Prepare for stops and gaps in the song by automating the level of the click in the headphones. During the stops, lower the volume so that there's no click spill into the drum mics from the headphones. If you're recording the whole band, it's also a good idea to send a click to the other players at that point, so you don't have to count everyone back in. This will save lots of painful editing and remedial work later on.
Get a crappy mic
Tape recorders used to come with built-in condenser or electret microphones. Put one of these old machines into record/pause mode and take the output into your DAW for an exciting, super-crunchy sound. Sometimes, rubbishy old battery-powered mics can sound good too. Put these types of mic in a place where they can hear the whole kit. The corners of the room can offer interesting results - experiment!
Record without cymbals
Recording a kit in a difficult space without ideal equipment can be a fruitful and rewarding experience, but you might still feel that your results sound amateurish. One of the classic drum sound problems is too much cymbal spill. This happens in the best of studios, and when it does, the pros just record the crashes afterwards. That way you can bring up all the exciting roominess of the drums themselves in the mix, then blend in perfectly recorded cymbals afterwards. As long as they share the same buss compressor no one will ever know (although drummers will hate playing without cymbals).
Essential gubbins for a trouble-free drum session
Moon Gel, for damping; 3-in-1 oil, for squeaky pedals; a drum key, because the drummer will forget theirs; an adjustable spanner, for rattly stands; gaffer tape, for holding stuff; masking tape, for attaching damping materials and the like; empty cigarette packets and J-Cloths, for that '70s sound; blankets; stage weight or sandbag; and Japanese cooking chopsticks - great for tom parts!
Skins, sticks and beaters
It's much easier to get volume, clarity and brightness from a new set of drumheads. If possible, get them on, tuned and 'played in' a day or two before the session. Different types of head give different types of sound: single- ply heads are bright with less sustain (jazz/ pop); two-ply heads are deeper and more controlled (rock/metal); coated heads are warmer in tone (disco/70s). Your choice of sticks or hotrods and felt or wood kick drum beaters will also have a big effect on the sound of the kit. Get close to the sound you want before you think about microphones!
Tune up
This should be the drummer's responsibility. Here are a few tuning tips and things to check if you're having problems. Check that the head diameter is exactly right (fractionally larger than the drum) and that it's mounted perfectly centrally. Always make tension adjustments in opposite pairs to avoid forcing the head off-centre. Seat the head by applying gentle pressure with your palm to the centre, then tune out any new wrinkles that appear.
Bottom heads on toms
Wherever there are two heads, there are three possibilities. If you tune the bottom (resonator) head of a tom to the same pitch as the top (batter) head, you'll get a purer tone with more sustain - perfect for jazz and its derivatives. If you tune the resonator lower, you get a slight pitch drop-off and less decay - great for rock. Tuning the resonator higher shortens the decay further, which can be great for close miking. A good starting interval for the difference in pitch between heads is a minor third - ie, three semitones either way.
Front head on the kick or not?
The front (resonator) skin on the kick drum is important for creating a good, meaty tone. Jazzers love it, and most rock/poppers have a hole cut in it to allow microphones and dampening material (a small blanket, say) to be placed inside. For metal styles, where you're mainly looking for click and thud, you may as well just remove the front head so that you can get a mic right in on the beater point.
Tighten the kick drum
It's possible to create a little kick drum chamber using, blankets, duvets or even a coat. These are draped over the kick drum, and any microphones are placed in and in front of it. Use a couple of small mic stands to hold the blankets up. The chamber prevents spill from the cymbals and snare getting into the kick drum mics, making it easier to boost the high frequencies at the mix stage and thus enhance the 'clickiness' without adding harshness from the cymbals.
Playing to a click
If you're tracking to an existing recording, you may need to be able to play to a click track. The best drummers are able to sit exactly on the click, but tend to flow around it in order to create a better feel. Recording to a click makes it much easier to edit between drum takes at a later stage. If the whole band is tracking together, it's best if only the drummer gets the click. Using a little beatbox or percussion groove usually makes a better 'click' than an actual click, and will also spill over into the microphones less.
Prepare the click for gaps
Prepare for stops and gaps in the song by automating the level of the click in the headphones. During the stops, lower the volume so that there's no click spill into the drum mics from the headphones. If you're recording the whole band, it's also a good idea to send a click to the other players at that point, so you don't have to count everyone back in. This will save lots of painful editing and remedial work later on.
Get a crappy mic
Tape recorders used to come with built-in condenser or electret microphones. Put one of these old machines into record/pause mode and take the output into your DAW for an exciting, super-crunchy sound. Sometimes, rubbishy old battery-powered mics can sound good too. Put these types of mic in a place where they can hear the whole kit. The corners of the room can offer interesting results - experiment!
Record without cymbals
Recording a kit in a difficult space without ideal equipment can be a fruitful and rewarding experience, but you might still feel that your results sound amateurish. One of the classic drum sound problems is too much cymbal spill. This happens in the best of studios, and when it does, the pros just record the crashes afterwards. That way you can bring up all the exciting roominess of the drums themselves in the mix, then blend in perfectly recorded cymbals afterwards. As long as they share the same buss compressor no one will ever know (although drummers will hate playing without cymbals).
Essential gubbins for a trouble-free drum session
Moon Gel, for damping; 3-in-1 oil, for squeaky pedals; a drum key, because the drummer will forget theirs; an adjustable spanner, for rattly stands; gaffer tape, for holding stuff; masking tape, for attaching damping materials and the like; empty cigarette packets and J-Cloths, for that '70s sound; blankets; stage weight or sandbag; and Japanese cooking chopsticks - great for tom parts!
Sunday, 7 May 2017
Drum Recording Techniques Timeline
Event Description:
1950's
Very basic techniques when it comes to recording drums, most of the time positioning all instruments around one mic leaving the drums at the back as ambient sounds.
Jan 1st, 1965
mid 60's
Multitracking began! Close mics on drums started to be used so louder drums became more normal. Panning started being experimented with and the conventional method of snare and kick down the middle began.
Jul 1st, 1970
Late 60's early 70's
Jimmy Page believed that simple microphone techniques and distant mic'ing are the only ways to record drums. This became the common view by a lot of people.
Jan 1st, 1980
Early 80's
Big sounding drums were being used, to achieve the large sounding drums necessary heavily compressed room mics and gates started being used. Also drum machines allowed sampled sounds to be used if they couldn't produce a big enough sound.
Jan 1st, 1990
late 80's, early 90's
Dance music began resulting in a large use of computer processed sounds and samples allowing a wide range of drum sounds to be available. Artists also started using samples from old soul tracks as beats.
Jan 1st, 2000
2000's
There are now many different styles of drum recordings for different styles of music. Adavnced technology has also allowed more choice in recording techniques.
1950's
Very basic techniques when it comes to recording drums, most of the time positioning all instruments around one mic leaving the drums at the back as ambient sounds.
Jan 1st, 1965
mid 60's
Multitracking began! Close mics on drums started to be used so louder drums became more normal. Panning started being experimented with and the conventional method of snare and kick down the middle began.
Jul 1st, 1970
Late 60's early 70's
Jimmy Page believed that simple microphone techniques and distant mic'ing are the only ways to record drums. This became the common view by a lot of people.
Jan 1st, 1980
Early 80's
Big sounding drums were being used, to achieve the large sounding drums necessary heavily compressed room mics and gates started being used. Also drum machines allowed sampled sounds to be used if they couldn't produce a big enough sound.
Jan 1st, 1990
late 80's, early 90's
Dance music began resulting in a large use of computer processed sounds and samples allowing a wide range of drum sounds to be available. Artists also started using samples from old soul tracks as beats.
Jan 1st, 2000
2000's
There are now many different styles of drum recordings for different styles of music. Adavnced technology has also allowed more choice in recording techniques.
Thursday, 27 April 2017
How To Get The John Bonham Drum Sound
There is no greater truth in making records than this: "The recording is governed by the performance." This may seem obvious, but many times the implications of this are not. There are two main areas where this truth manifests itself. The first is in the emotional impact of the music and the second is in the sonic signature or sonic possibilities of a recording.
Even with the best gear in the world or fancy recording techniques, the heart and soul of a recording is the emotion and the feel of a performance, and of course the songs. When I have discussions with musicians about production and they begin to confuse production with "great drums sounds", I tell them that good production is about getting the songs and the performances to a point where the drum sound does not matter, and then getting great drum sounds. Many of the recordings that are classics in the history of rock, pop and jazz actually sound quite bad when compared to other records of the same era or many records of today. Some of these recording are marred by unintentional distortion, poor mic technique and downright awful drum sounds, but these classics still stand up on the radio next to modern multimillion dollar productions because the songs and the performances are great. A great song and a great performance will transcend any limitations of "sound quality".
In my career I have had the pleasure of working with many performers that I consider brilliant and monumental. I will often get compliments on the sound of these recordings. While I am grateful for the appreciation, I always know that with some of these performers, I could have hit record on a boom box in the middle of a room and it would have been a great recording.
Much of being a producer is like being a cheerleader and a coach at a basketball game. My job is to find ways to inspire the team and help develop strategies to reach the end goal, but ultimately it is the players on the field that are going to win or loose the game. Fancy editing or postproduction tricks can make the game look more slick on TV, but it won't change the fact that it was a dull game and pur team lost. Jimi Hendrix was like Muhammad Ali at his prime: a fantastic athlete full of style and charisma. If you look at old TV footage from the 60s or 70's of Ali, with production values that pale by today's television standards, its still exciting. The same is true for Hendrix. Listen to a poorly recorded live concert and its him! Its Hendrix with all the fire and passion that is his legacy. All the trickery and experimentation on the studio albums only gives us new insight into his vision, but the heart of records is great songs and great "left hook" performances.
I was recently mixing some back catalog material from the 70's for the band, King Crimson. The task at hand, in addition to presenting unedited versions of songs that had been previously edited to fit on vinyl, was to improve the sound quality of the previous mixes. While I was able to make mixes stand up next to a more current sonic standards and give the listener a new perspective on this classic music, the real heart, soul and validity of the records was in the energy and passion that the musicians brought to great songs. Mixing the records for the King Crimson "ProjeKcts" was another interesting example of this. Engineer, Ken Latchney, approached the recording of the tours in a way that from night to night, the sounds on tape were very consistent, almost identical, so that when we mixed the live album we could combine performances from different nights into one cohesive album. When it came time to mix the album, some nights would sound fantastic and almost mix themselves and other nights just did not sound so good and took a lot of effort to mix. The actual sounds on tape from night to night were consistent, but the performances of the band from night to night made all the difference in the world. When the band was hot, the sound jumped out of the speakers and on an off night, all the studio tricks in the book could not make it "sound good".
As a young self-taught producer, I had not fully grasped how much recordings were governed by performance. The sound quality of my recordings were inconsistent, and I could not figure out why some sessions "I" managed to get it right and other sessions "I" got it so wrong. Why did some records sound really good and others not when I was using my same bag of tricks and the same equipment in the same studio. What experience finally taught me was that on some sessions I got lucky and had great players, and other sessions I failed to recognize what I needed to draw out of the players to make a great sounding record. I began to learn this when I would be mixing a record and the drummer would say to me that he wanted the drums to sound like AC/DC or some other great rock band. Try as I might, I could not get the drums to sound like AC/DC and finally I realized the obvious. Beyond the differences in recording techniques, I had the wrong materials to build the house the drummer was looking for. The building blocks of the AC/DC sound are Phil Rudd hitting straight, simple, hard and right in the pocket. The records in question I was doing had a drummer playing much more like a jazz drummer than Phil Rudd. I was trying to build a brick house out of crystal. Crystal will make you a fine jazz chandelier, but it won't build you an AC/DC style brick house.
Many of the recording or mix techniques you use in the studio to capture the spirit and energy of one style of playing will actually work against another style of playing. If a musician or producer is going for a particular sound on a record, that sound is built on the performance. If the performance is wrong there is nothing that will get you to where you want to go.
You could never take a performance by Tommy Lee on a Motley Crue record and make it sound like Elvin Jones on a Coltrane record or visa versa. The sound of a record is governed by the performance.
Over the years I have produced a lot of rock records where the comment has inevitably come up that the "drums should sound like John Bonham". I worked on several of these albums and tried to bring to the records some of the elements I understood to be "Bonham-esque": the deep kick drum, and the big sounding compressed room mics and in almost every case this approach did not serve the records as we hoped and we ending up going for a different approach. So I decided to set out and do some academic research. What exactly was the Bonham drums sound and what was the secret to making that drum sound work on records. The result of my research, published here for the first time in Fuse magazine.... drum roll please..... John Bonham plays drums on those records!
As I type this column, disc three of the Zeppelin box set is on the CD player and "achilles last stand", my favorite Zep song of all time is blasting away in the background. The recording of the drums sound very different from "when the levee breaks", which proceeded it or "Dancing Days" which proceeded that. And everything on the disc sounds very different from my bad VHS copy of the film "the song remains the same" which I taped off VH1 in 1989. Different locations, different engineers, different years, and completely different mix styles, but the interesting thing is that they all have that "Bonham drum sound". The credit for a catalog of beautiful sounding records certainly goes to Jimmy Page's production and the great engineers that found ways to capture the power and beauty of Bonham's playing on those albums, but the credit for the Bonham drum sound ultimately goes to Bonham.
The only reason I have chosen drummers to pick on, is because they are the most clear example of how performances affect the sound, but they are certainly not the only ones. I recently did a record where the guitarist was wondering why his guitars did not sound like the guitars on a Tool or Metallica record in the mix. The answer was simple: He was playing more like Neil Young than James Hetfield.
All other factors being equal, better performances will always "sound" better, and bad performances will never sound all that good. When a drummer and bass player finally lock into a groove, the kick drum sounds better. When a singer really gets the emotion of a song, the vocals sound better. When an orchestra gets the feel of composition, the whole group sounds better. Music is ultimately about communication. Regardless of the stationary we write a letter on, its what we write and how we say it that matters. Shakespeare on a paper bag is still great literature, and leather bound pulp fiction is still just pulp fiction. But a leather-bound collection of Shakespeare, now that's something!
Even with the best gear in the world or fancy recording techniques, the heart and soul of a recording is the emotion and the feel of a performance, and of course the songs. When I have discussions with musicians about production and they begin to confuse production with "great drums sounds", I tell them that good production is about getting the songs and the performances to a point where the drum sound does not matter, and then getting great drum sounds. Many of the recordings that are classics in the history of rock, pop and jazz actually sound quite bad when compared to other records of the same era or many records of today. Some of these recording are marred by unintentional distortion, poor mic technique and downright awful drum sounds, but these classics still stand up on the radio next to modern multimillion dollar productions because the songs and the performances are great. A great song and a great performance will transcend any limitations of "sound quality".
In my career I have had the pleasure of working with many performers that I consider brilliant and monumental. I will often get compliments on the sound of these recordings. While I am grateful for the appreciation, I always know that with some of these performers, I could have hit record on a boom box in the middle of a room and it would have been a great recording.
Much of being a producer is like being a cheerleader and a coach at a basketball game. My job is to find ways to inspire the team and help develop strategies to reach the end goal, but ultimately it is the players on the field that are going to win or loose the game. Fancy editing or postproduction tricks can make the game look more slick on TV, but it won't change the fact that it was a dull game and pur team lost. Jimi Hendrix was like Muhammad Ali at his prime: a fantastic athlete full of style and charisma. If you look at old TV footage from the 60s or 70's of Ali, with production values that pale by today's television standards, its still exciting. The same is true for Hendrix. Listen to a poorly recorded live concert and its him! Its Hendrix with all the fire and passion that is his legacy. All the trickery and experimentation on the studio albums only gives us new insight into his vision, but the heart of records is great songs and great "left hook" performances.
I was recently mixing some back catalog material from the 70's for the band, King Crimson. The task at hand, in addition to presenting unedited versions of songs that had been previously edited to fit on vinyl, was to improve the sound quality of the previous mixes. While I was able to make mixes stand up next to a more current sonic standards and give the listener a new perspective on this classic music, the real heart, soul and validity of the records was in the energy and passion that the musicians brought to great songs. Mixing the records for the King Crimson "ProjeKcts" was another interesting example of this. Engineer, Ken Latchney, approached the recording of the tours in a way that from night to night, the sounds on tape were very consistent, almost identical, so that when we mixed the live album we could combine performances from different nights into one cohesive album. When it came time to mix the album, some nights would sound fantastic and almost mix themselves and other nights just did not sound so good and took a lot of effort to mix. The actual sounds on tape from night to night were consistent, but the performances of the band from night to night made all the difference in the world. When the band was hot, the sound jumped out of the speakers and on an off night, all the studio tricks in the book could not make it "sound good".
As a young self-taught producer, I had not fully grasped how much recordings were governed by performance. The sound quality of my recordings were inconsistent, and I could not figure out why some sessions "I" managed to get it right and other sessions "I" got it so wrong. Why did some records sound really good and others not when I was using my same bag of tricks and the same equipment in the same studio. What experience finally taught me was that on some sessions I got lucky and had great players, and other sessions I failed to recognize what I needed to draw out of the players to make a great sounding record. I began to learn this when I would be mixing a record and the drummer would say to me that he wanted the drums to sound like AC/DC or some other great rock band. Try as I might, I could not get the drums to sound like AC/DC and finally I realized the obvious. Beyond the differences in recording techniques, I had the wrong materials to build the house the drummer was looking for. The building blocks of the AC/DC sound are Phil Rudd hitting straight, simple, hard and right in the pocket. The records in question I was doing had a drummer playing much more like a jazz drummer than Phil Rudd. I was trying to build a brick house out of crystal. Crystal will make you a fine jazz chandelier, but it won't build you an AC/DC style brick house.
Many of the recording or mix techniques you use in the studio to capture the spirit and energy of one style of playing will actually work against another style of playing. If a musician or producer is going for a particular sound on a record, that sound is built on the performance. If the performance is wrong there is nothing that will get you to where you want to go.
You could never take a performance by Tommy Lee on a Motley Crue record and make it sound like Elvin Jones on a Coltrane record or visa versa. The sound of a record is governed by the performance.
Over the years I have produced a lot of rock records where the comment has inevitably come up that the "drums should sound like John Bonham". I worked on several of these albums and tried to bring to the records some of the elements I understood to be "Bonham-esque": the deep kick drum, and the big sounding compressed room mics and in almost every case this approach did not serve the records as we hoped and we ending up going for a different approach. So I decided to set out and do some academic research. What exactly was the Bonham drums sound and what was the secret to making that drum sound work on records. The result of my research, published here for the first time in Fuse magazine.... drum roll please..... John Bonham plays drums on those records!
As I type this column, disc three of the Zeppelin box set is on the CD player and "achilles last stand", my favorite Zep song of all time is blasting away in the background. The recording of the drums sound very different from "when the levee breaks", which proceeded it or "Dancing Days" which proceeded that. And everything on the disc sounds very different from my bad VHS copy of the film "the song remains the same" which I taped off VH1 in 1989. Different locations, different engineers, different years, and completely different mix styles, but the interesting thing is that they all have that "Bonham drum sound". The credit for a catalog of beautiful sounding records certainly goes to Jimmy Page's production and the great engineers that found ways to capture the power and beauty of Bonham's playing on those albums, but the credit for the Bonham drum sound ultimately goes to Bonham.
The only reason I have chosen drummers to pick on, is because they are the most clear example of how performances affect the sound, but they are certainly not the only ones. I recently did a record where the guitarist was wondering why his guitars did not sound like the guitars on a Tool or Metallica record in the mix. The answer was simple: He was playing more like Neil Young than James Hetfield.
All other factors being equal, better performances will always "sound" better, and bad performances will never sound all that good. When a drummer and bass player finally lock into a groove, the kick drum sounds better. When a singer really gets the emotion of a song, the vocals sound better. When an orchestra gets the feel of composition, the whole group sounds better. Music is ultimately about communication. Regardless of the stationary we write a letter on, its what we write and how we say it that matters. Shakespeare on a paper bag is still great literature, and leather bound pulp fiction is still just pulp fiction. But a leather-bound collection of Shakespeare, now that's something!
Wednesday, 26 April 2017
Vocal 60s 70s Narrow Filtering
Martin - and his engineers, like Geoff Emerick and Phil McDonald, were indeed fans of hpf. They - along with other engineers who followed suite at the time, realized that there wasn't much point in adding frequencies below that which the particular instrument - namely vocals but not limited to just these - could reproduce.
Keep in mind that they were also using some very nice OB processing - Fairchilds, UA's, etc., and common mics used were Telefunkens, Neumanns, AKG's and other hi end condenser, dynamic and ribbon models...and then adding to this quality chain the console electronics.... beefy, warm pres and electronics by manufacturers like API, and well, you've got some serious game.
Many engineers at the time were also innovators of processing. There was a process named "ADT" or, automatic double tracking, that rumor says was invented by the cats at Abbey Road. These guys were very smart, and in many cases, if a particular processor or filter was wanted or needed and not available, they would actually design and build what they needed.
I'm not quite sure I get your question.
There's no specific recipe for sounding like somebody else.. You can't transform your voice to sound like an other.
I mean, creating a sound is a lot more complex than what EQ setting I'll use !!
It starts with how the room sound and how the singer's vocal cords actually sound. Then the choice of mic/preamp, wires, recording unit (analog/digital tape or converters/computers).
All those steps between the creation of the sound/signal and final cut will change or forge how the vocal track sounds. So no EQ setting will be the same. If it's recorded properly, maybe no EQ will be needed!
The best investment we can do as audio engineer is to train our ears.
Being able to recognize what needs to be done to get the sound we want with the gear at hand is the most important thing. And your ears should be the first tool to use. You can turn knobs all day, but your ears need to recognize when it sounds right!
As for a phase trick try this one :
As stated, HPF is your friend. The top end "softness", and some of the compression you alluded to, was the result of the medium -tape
I believe that the bandwidth (800-1.5K) you stated was a bit wider than that, though. Consoles varied a lot, but the EQ was , in most cases, a simpler affair,
Universal Audio has now released the "Abbey Road" emulations of some of the 'special' boxes used in their production chains. while this may not get you any closer to what you want to hear, they are examples of the tools used. One of the special things about EMI and Abbey Road was the presence of an on-site engineering staff who could build devices for specific needs. How many secret little filters, limiters, types of compressors, bandwidth dependent thingys they had will always haunt the minds of engineers and producers seeking that sound. The fact that you can only get close, if even that much, is the barrier. The brilliance of ALL of the factors representing the recording and production of Beatles and others from those studios continues to this day. There simply was nothing that sounded like those rooms. Some would point out the negatives of this sound but in reality we were then, as now, listening to the opening salvos of what became modern recording techniques for rock and pop music which continues to this day. Without the ground breaking done there producing the Beatles, who knows where the business would have gone.
Lenn Page started EMI's Recording Engineer Development Department (REDD) in 1955. in 1958 they developed the REDD37 to accommodate 4 track recording.
the37 was powered exclusively by Siemins V72 tube amps. soon after (within a year) the REDD51 was introduced which used lower noise REDD47 amps. Abbey Road acquired their first REDD51' in 1963. this leaves the question was it a REDD37 or a REDD51 which they used for most of their recordings post 1963?
four51's were built and they were used until 1968 when Abbey Road phased them out in favor of the newer solid state 8 and 16 track TG series consoles. the album "Abbey Road" was recorded using the TG console. Geoff Emrik said he had trouble getting the same tone for Pauls bass using the TG.
the Beatles also recorded at Trident on a Trident A Range and Olympic studios on a Helios board on some recordings they released. They also had two green Helois boards at Apple Studios so it can be said they recorded with Trident and a Helios boards also.
Keep in mind that they were also using some very nice OB processing - Fairchilds, UA's, etc., and common mics used were Telefunkens, Neumanns, AKG's and other hi end condenser, dynamic and ribbon models...and then adding to this quality chain the console electronics.... beefy, warm pres and electronics by manufacturers like API, and well, you've got some serious game.
Many engineers at the time were also innovators of processing. There was a process named "ADT" or, automatic double tracking, that rumor says was invented by the cats at Abbey Road. These guys were very smart, and in many cases, if a particular processor or filter was wanted or needed and not available, they would actually design and build what they needed.
I'm not quite sure I get your question.
There's no specific recipe for sounding like somebody else.. You can't transform your voice to sound like an other.
I mean, creating a sound is a lot more complex than what EQ setting I'll use !!
It starts with how the room sound and how the singer's vocal cords actually sound. Then the choice of mic/preamp, wires, recording unit (analog/digital tape or converters/computers).
All those steps between the creation of the sound/signal and final cut will change or forge how the vocal track sounds. So no EQ setting will be the same. If it's recorded properly, maybe no EQ will be needed!
The best investment we can do as audio engineer is to train our ears.
Being able to recognize what needs to be done to get the sound we want with the gear at hand is the most important thing. And your ears should be the first tool to use. You can turn knobs all day, but your ears need to recognize when it sounds right!
As for a phase trick try this one :
As stated, HPF is your friend. The top end "softness", and some of the compression you alluded to, was the result of the medium -tape
I believe that the bandwidth (800-1.5K) you stated was a bit wider than that, though. Consoles varied a lot, but the EQ was , in most cases, a simpler affair,
Universal Audio has now released the "Abbey Road" emulations of some of the 'special' boxes used in their production chains. while this may not get you any closer to what you want to hear, they are examples of the tools used. One of the special things about EMI and Abbey Road was the presence of an on-site engineering staff who could build devices for specific needs. How many secret little filters, limiters, types of compressors, bandwidth dependent thingys they had will always haunt the minds of engineers and producers seeking that sound. The fact that you can only get close, if even that much, is the barrier. The brilliance of ALL of the factors representing the recording and production of Beatles and others from those studios continues to this day. There simply was nothing that sounded like those rooms. Some would point out the negatives of this sound but in reality we were then, as now, listening to the opening salvos of what became modern recording techniques for rock and pop music which continues to this day. Without the ground breaking done there producing the Beatles, who knows where the business would have gone.
Lenn Page started EMI's Recording Engineer Development Department (REDD) in 1955. in 1958 they developed the REDD37 to accommodate 4 track recording.
the37 was powered exclusively by Siemins V72 tube amps. soon after (within a year) the REDD51 was introduced which used lower noise REDD47 amps. Abbey Road acquired their first REDD51' in 1963. this leaves the question was it a REDD37 or a REDD51 which they used for most of their recordings post 1963?
four51's were built and they were used until 1968 when Abbey Road phased them out in favor of the newer solid state 8 and 16 track TG series consoles. the album "Abbey Road" was recorded using the TG console. Geoff Emrik said he had trouble getting the same tone for Pauls bass using the TG.
the Beatles also recorded at Trident on a Trident A Range and Olympic studios on a Helios board on some recordings they released. They also had two green Helois boards at Apple Studios so it can be said they recorded with Trident and a Helios boards also.
Sunday, 9 April 2017
Recording Nick Drake.
Nick Drake recorded barely two hours worth of music in his career and sold fewer than 30,000 records when he was alive. Yet since his death in 1974 of an accidental prescription drug overdose his songs have kept circulating via soundtracks, covers and the Internet and gradually gained the success, influence and acclaim that eluded him in his short lifetime.
Some of his earliest recordings stem from his time at Cambridge University when fellow student Robert Kirby recorded several of Nick's songs onto a stereo tape recorder in the Spring of 1968. Robert would use these tapes to write arrangements for the songs with strings and woodwind to be performed in College. A four track demo recorded in a college room in the spring of 1968, was played to Joe Boyd, who had the Witchseason Label, licensed through Island records and Joe offered him a management, publishing, and production contract on the strength of these demos.
"Of all the albums I ever made, the two I produced by Nick are the ones I'm most proud of. I listen to them often because he was extraordinarily good - nothing he ever did was less than striking, and he had the gift of writing melodies of incredible beauty". Joe Boyd
The recording of his first album, Five Leaves Left had began while Nick was still in college, skipping lectures to attend the studio sessions in London. One session was in Morgan but the rest of his recordings would be produced at Sound Techniques Studio in Chelsea. He soon left Cambridge, nine months before graduation, and in the autumn of 1969 moved to London to concentrate on his career as a musician.
Sound Techniques Studio
Sound Techniques Studio was situated near to Chelsea's King's Road at the end of a small alley on 46a Old Church Street. It was originally part of an early 18th-century dairy and opened in the summer of 1965.
Although the studio started by recording a wide variety of musical genres it has become renowned for a catalogue of English folk rock from the late 60s to the mid 70s. This includes all three of the Nick Drake albums, Sandy Denny, Fairport Convention, Jethro Tull, Steeleye Span, Incredible String Band, The Pentangle, John and Beverley Martyn, Richard Thompson, Martin Carthy and Judy Collins. It was also the place that produced the early Pink Floyd records and albums and singles for John Cale, The Yardbirds, Focus and The Who.
So how did they achieve the Nick Drake sound?
According to engineer John Wood they just put a mic in front of him and let him play. Although there may be a lot of truth in this statement there are other factors involved. Let's look at the recording chain for River Man.
Producer - Joe Boyd. Engineer - John Wood.
It's starts off with a great player with a precise style and technique. There seems to be much speculation about what guitar he actually used for recordings but the general consensus is that he used a Guild M-20 but others seem to remember him playing a Martin
The next part is the acoustic space. Sound Techniques Studio had a high ceiling in the centre section and two lower ceiling sections either side beneath the control room and the workshop. This provided a large diffuse and varied acoustic space. The fifteen string players used on the track sat in a semicircle around Nick Drake and the track was recorded live with no over dubs.
A lot of studios of the time were very dead, but Sound Techniques wasn't and that made it quite special. The artists were very organic - there was nothing remotely manufactured about any of them - and it had a character that suited their work"- Jerry Boys
A Neumann U67 was used for the vocal and placed close to the singer's mouth. The guitar was close mic'ed in front of the sound hole using a Neumann KM56.
Neumann KM56
Neumann U67
Fairchild 660
The mics went through the Sound Techniques desk to an Ampex 4-track half inch tape machine. The desk circuits were transformer coupled, discrete transistor with inductor based eq. The vocal was compressed through a Fairchild 660 limiter. Delay would be added using an Ampex 2 track and reverberation with an EMT plate.
In early studio sessions Nick used Richard Hewson as an orchestrator, but his unhappiness with the results led him back to colleague Robert Kirby for most future arrangements. The one exception on Five Leaves was River Man, arranged by veteran composer Harry Robinson.
'Five Leaves Left' was recorded to Ampex 4- track,
'Bryter Layter' was 8- track. 3M Series 400
'Pink Moon' was 16-track Studer (although only four-to-five tracks were utilised)
Pink Moon
He arrived at midnight and we started. It was done very quickly. After we had finished I asked him what I should keep, and he said all of it, which was a complete contrast to his former stance. He came in for another evening and that was it. It took hardly any time to mix, since it was only his voice and guitar, with one overdub only. Nick was adamant about what he wanted. He wanted it to be spare and stark, and he wanted it to be spontaneously recorded." John Wood
Some of his earliest recordings stem from his time at Cambridge University when fellow student Robert Kirby recorded several of Nick's songs onto a stereo tape recorder in the Spring of 1968. Robert would use these tapes to write arrangements for the songs with strings and woodwind to be performed in College. A four track demo recorded in a college room in the spring of 1968, was played to Joe Boyd, who had the Witchseason Label, licensed through Island records and Joe offered him a management, publishing, and production contract on the strength of these demos.
"Of all the albums I ever made, the two I produced by Nick are the ones I'm most proud of. I listen to them often because he was extraordinarily good - nothing he ever did was less than striking, and he had the gift of writing melodies of incredible beauty". Joe Boyd
The recording of his first album, Five Leaves Left had began while Nick was still in college, skipping lectures to attend the studio sessions in London. One session was in Morgan but the rest of his recordings would be produced at Sound Techniques Studio in Chelsea. He soon left Cambridge, nine months before graduation, and in the autumn of 1969 moved to London to concentrate on his career as a musician.
Sound Techniques Studio
Sound Techniques Studio was situated near to Chelsea's King's Road at the end of a small alley on 46a Old Church Street. It was originally part of an early 18th-century dairy and opened in the summer of 1965.
Although the studio started by recording a wide variety of musical genres it has become renowned for a catalogue of English folk rock from the late 60s to the mid 70s. This includes all three of the Nick Drake albums, Sandy Denny, Fairport Convention, Jethro Tull, Steeleye Span, Incredible String Band, The Pentangle, John and Beverley Martyn, Richard Thompson, Martin Carthy and Judy Collins. It was also the place that produced the early Pink Floyd records and albums and singles for John Cale, The Yardbirds, Focus and The Who.
So how did they achieve the Nick Drake sound?
According to engineer John Wood they just put a mic in front of him and let him play. Although there may be a lot of truth in this statement there are other factors involved. Let's look at the recording chain for River Man.
Producer - Joe Boyd. Engineer - John Wood.
It's starts off with a great player with a precise style and technique. There seems to be much speculation about what guitar he actually used for recordings but the general consensus is that he used a Guild M-20 but others seem to remember him playing a Martin
The next part is the acoustic space. Sound Techniques Studio had a high ceiling in the centre section and two lower ceiling sections either side beneath the control room and the workshop. This provided a large diffuse and varied acoustic space. The fifteen string players used on the track sat in a semicircle around Nick Drake and the track was recorded live with no over dubs.
A lot of studios of the time were very dead, but Sound Techniques wasn't and that made it quite special. The artists were very organic - there was nothing remotely manufactured about any of them - and it had a character that suited their work"- Jerry Boys
A Neumann U67 was used for the vocal and placed close to the singer's mouth. The guitar was close mic'ed in front of the sound hole using a Neumann KM56.
Neumann KM56
Neumann U67
Fairchild 660
The mics went through the Sound Techniques desk to an Ampex 4-track half inch tape machine. The desk circuits were transformer coupled, discrete transistor with inductor based eq. The vocal was compressed through a Fairchild 660 limiter. Delay would be added using an Ampex 2 track and reverberation with an EMT plate.
In early studio sessions Nick used Richard Hewson as an orchestrator, but his unhappiness with the results led him back to colleague Robert Kirby for most future arrangements. The one exception on Five Leaves was River Man, arranged by veteran composer Harry Robinson.
'Five Leaves Left' was recorded to Ampex 4- track,
'Bryter Layter' was 8- track. 3M Series 400
'Pink Moon' was 16-track Studer (although only four-to-five tracks were utilised)
Pink Moon
He arrived at midnight and we started. It was done very quickly. After we had finished I asked him what I should keep, and he said all of it, which was a complete contrast to his former stance. He came in for another evening and that was it. It took hardly any time to mix, since it was only his voice and guitar, with one overdub only. Nick was adamant about what he wanted. He wanted it to be spare and stark, and he wanted it to be spontaneously recorded." John Wood
Wednesday, 18 January 2017
10 Things You Should Know About Recording Vocals For Beginners
Everyone is doing their own demos these days. I personally think this is one of the greatest things to happen to record making, the one problem I have is that often can barely understand or listen to the vocals recorded on many GarageBand or cheaply done demos. After the jump I will give you ten quick pointers that you may have missed that can help your vocals greatly, making it easier for all of us to listen to your demo.
1. Less Bass, Not More Treble - A general rule that everyone can follow for any voice of any type is that before you add any treble make sure that you have taken away all the bass that you don't need in the mix. When the vocal starts to sound to thin than you have gone too far. Only after you have gotten rid of all of the bass that you do not need should you even consider turning up the treble on your vocal.
2. If You Recorded With A Cheap Condenser, You Probably Don't Need To Add Treble - We have all heard demos with ear biting treble on the vocal. The fact is most cheap condenser mics are designed with a HUGE treble boost. Just like I advised above, get rid of all of the bass first and be extremely cautious adding any treble if you used a Condenser priced under $500, since most of them have a great amount of high end hype.
3. Turn The Reverb Decay Down - One of the biggest annoyances in demos that I get is a reverb that is so long it sounds like you recorded it in a cathedral. Most reverb programs have a decay knob, play with it a bit. Always go with shorter than longer when making a mix decision, we will all thank you for this later.
4. Turn The Reverb Down As Low As You Can Take It - I know in some indie rock circles everyone is falling in love with reverb but unless you are cranking up the verb as an aesthetic, err on the side of having it to loud rather than too loud.
5. Unless You Are Going For The T-Pain Sound Use Auto-Tune In Graphical Mode - I have news for you, it takes about an hour or two of reading or watching YouTubes to learn how to use AutoTune decently. If you want your vocals to not sound like every hip-hop song on the radio today, please switch to graphical mode and take one hour to learn how to use it.
6. Pop Filters Aren't Always Enough - Even when you buy some of the super expensive pop filters out there it does not mean that all your pop will be cured. Vocalists can still pop P's and kill our ears when we listen to your demo. If you turn down the bass on the vocal and have already applied a HPF to the vocal and you are still hearing a huge P, please punch it in.
7. Keep Your Mic Pre Gain Low - Unless you are going for a distorted gritty sound don't aim to get the waveform and level high. Keep it as low as possible and adjust it later with compression and fader volume. This will keep your vocal clear and from picking up lots of noise in your room.
8. Reverb Isn't The Only Effect - Try slapback delays, and quiet delays for giving your vocal some ambiance. As well reverb settings with really short decay times (150-350 ms) can do a great deal for keeping a vocal dry and up front without it sounding dry and cold.
9. If You Can't Hit The Notes Program A MIDI Track To Sing Along To - Keep in mind demos are often practice to get good at singing in the studio. If you are having trouble hitting notes, singing along to a keyboard playing their melody can do worlds of good for your pitch and intonation. It only takes a few minutes to play your melody in and have a great pitch reference.
10. When Tweaking The Mix Keep In Mind That You May Need To Tweak The Other Instruments To Make The Vocal Work - I probably spend most of my time mixing getting the other instruments out of the way of the vocal. Keep in mind the sound of the vocal is very much determined by what is eating it up in the mix. If you are having trouble with your vocal sound try EQing and changing levels on other instruments.
1. Less Bass, Not More Treble - A general rule that everyone can follow for any voice of any type is that before you add any treble make sure that you have taken away all the bass that you don't need in the mix. When the vocal starts to sound to thin than you have gone too far. Only after you have gotten rid of all of the bass that you do not need should you even consider turning up the treble on your vocal.
2. If You Recorded With A Cheap Condenser, You Probably Don't Need To Add Treble - We have all heard demos with ear biting treble on the vocal. The fact is most cheap condenser mics are designed with a HUGE treble boost. Just like I advised above, get rid of all of the bass first and be extremely cautious adding any treble if you used a Condenser priced under $500, since most of them have a great amount of high end hype.
3. Turn The Reverb Decay Down - One of the biggest annoyances in demos that I get is a reverb that is so long it sounds like you recorded it in a cathedral. Most reverb programs have a decay knob, play with it a bit. Always go with shorter than longer when making a mix decision, we will all thank you for this later.
4. Turn The Reverb Down As Low As You Can Take It - I know in some indie rock circles everyone is falling in love with reverb but unless you are cranking up the verb as an aesthetic, err on the side of having it to loud rather than too loud.
5. Unless You Are Going For The T-Pain Sound Use Auto-Tune In Graphical Mode - I have news for you, it takes about an hour or two of reading or watching YouTubes to learn how to use AutoTune decently. If you want your vocals to not sound like every hip-hop song on the radio today, please switch to graphical mode and take one hour to learn how to use it.
6. Pop Filters Aren't Always Enough - Even when you buy some of the super expensive pop filters out there it does not mean that all your pop will be cured. Vocalists can still pop P's and kill our ears when we listen to your demo. If you turn down the bass on the vocal and have already applied a HPF to the vocal and you are still hearing a huge P, please punch it in.
7. Keep Your Mic Pre Gain Low - Unless you are going for a distorted gritty sound don't aim to get the waveform and level high. Keep it as low as possible and adjust it later with compression and fader volume. This will keep your vocal clear and from picking up lots of noise in your room.
8. Reverb Isn't The Only Effect - Try slapback delays, and quiet delays for giving your vocal some ambiance. As well reverb settings with really short decay times (150-350 ms) can do a great deal for keeping a vocal dry and up front without it sounding dry and cold.
9. If You Can't Hit The Notes Program A MIDI Track To Sing Along To - Keep in mind demos are often practice to get good at singing in the studio. If you are having trouble hitting notes, singing along to a keyboard playing their melody can do worlds of good for your pitch and intonation. It only takes a few minutes to play your melody in and have a great pitch reference.
10. When Tweaking The Mix Keep In Mind That You May Need To Tweak The Other Instruments To Make The Vocal Work - I probably spend most of my time mixing getting the other instruments out of the way of the vocal. Keep in mind the sound of the vocal is very much determined by what is eating it up in the mix. If you are having trouble with your vocal sound try EQing and changing levels on other instruments.
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