Resident “analogue audio guru” Eddie Ciletti walks us through his class – a fun read and listen
The Studio of Misfit Toys officially did it’s first four-track recording. This was a long time coming, both in terms of setting up of the analog control room as well as the anticipation of what recording in that big untreated space might be like. So far, there are FIVE analog machines – with more to come – plus a turntable and a record player (there IS a difference), an interesting assortment of vintage tube and solid-state analog outboard gear, unusual microphones, vintage drums and instrument amps.
For the first two weeks, current and previous MMI students – spanning 3-plus years – learned the idiosyncratic behavior of various tape machines, of how to consistently thread and accurately edit analog tape. On week-3, we put those skills to use by ‘stealing’ a drum break for a 45 RPM record, editing out the musical bits, turning it into a drum loop and using it as a reference track.
here’s the Step-by-Step…
- Create a loop of the drum break from Tommy Roe’s DIZZY
- Vari-speed to taste and record the loop to track-1 of the 4-track
- Ben Illies overdubed Guitar, via Altec 438 (track-2)
- Ben Illies overdubbed Bass, via Altec 438 (track-3)
- Andy Keech played drums in the BIG ROOM to track-4 (using a single modified Nady TCM-1150, in OMNI, 10 feet from the drum kit through an Altec 1612)
- add a little tape echo to the guitar and…
- blend and listen (link Below)
Wednesday morning’s AE-2 class started the day with a drum mic-ing review, followed by a troubleshooting exercise – we buzzed out the booth mic lines to the SSL to make sure every channel was working (and avoid any problematic channels during the session). At 10AM, the drum set arrived – a 1964 ‘Champagne Sparkle’ Ludwig set, the goal being to get a seventies-era drums sound, including recording to Analog tape at 15 IPS (Inches Per second). We had the front head of the kick drum removed, added a doo-rag to the snare, tuned the toms just a little. The rough mic (below, both raw and processed) shows that we have a little tweaking to do on the floor tom mic (it’s a bit too hot in the mix), but have achieved the goal. We also recorded bass (DI) and Guitar (using Eddie’s modified Fender Pro Junior and an Audix D-6 kick drum mic!).
THE DRUM MICS (all through SSL preamps except the OH)
- KICK: a single AKG D-112, angled up from the bottom edge
- CROTCH: AT-4050 in OMNI – check out this link for more info—->>>> http://www.tangible-technology.com/video/shout/joeLOOP-1.mov
- SNARE TOP: Shure SM-57
- SNARE BOTTOM: Audix D-2
- HAT: Electro-Voice 664
- RACK TOM: Audix D-2
- FLOOR TOM: Audix D-4
- OH: AKG C451 in X-Y (newly repaired) through the Vintech preamps
THE RAW ROUGH MIX
THE PROCESSED VERSION (Think of this as a pre-mastering test)