Also, the desk in The Warehouse Studio 1 is the same as in AIR Lyndhurst Studio 1 — two of only three Neve Montserrat desks ever built, and arguably the best–sounding consoles ever.”. I've been completely wrong in my prior beliefs as to what a producer does, as well as how a record is made in general. “I do all this with mouse and keyboard now. If this is your first visit, be sure to check out the FAQ by clicking the link above. Since going freelance, the Italian has spent a lot of his time with Muse, initially as the band’s chief equipment tech. And then you would also be able to change the timing of each string and the volume, um, relationship between the strings. Robert John 'Mutt' Lange Robert John Mutt Lange. “It took a few months to develop this and dial it in, but we now have this Pro Tools layout as a template. I believe what Mutt did as a Producer was he added a polish to their sound and from a commercial sense made it more palatable and saleable for the mainstream market of that time. You may have to register before you can post: click the register link above to proceed. Located in Los Angeles, Rich Costey’s own studio is called El Dorado. So I took kick and snare tracks for each song, gated them and re-amped them through a PA. At the top of the 140–odd track session are 34 aux tracks, through which all the audio elements of the session are played, followed by 10 effects tracks with outboard on the insert, and then by 10 VCA tracks. I'll be honest, I'm not a fan of the bands Joey records. “On Monday morning Bob Ludwig mastered it for me, and when the band came back to AIR later that day I played it for them, and everyone agreed that it sounded better, so that was the one we ended up using. When they arrived in Vancouver they had a good idea of what they were going to do. “The mics we used for the final takes were the Shure SM7 and Sony C37 on the 1960s Vox, Sennheiser 421 and Royer 121 on the Fender Super Reverb, Sennheiser 421 and Josephson e22s on the modded Marshall 1959HW or Ampeg V4 with Mills cab, and Neumann FET47 and SM57 on the Diezel VH4 with Mills cab. Joey takes modern production techniques to the absolutely extreme. Just read an article about it that says the only thing the drummer played were the cymbals. For example, I have created profiles for all Matt’s Vox, Marshall, Diezel and Fender amps. Since acquiring his Shadow Hills Equinox summing mixer, Rich Costey has switched to working mainly ‘in the box’, but has his Pro Tools sessions configured to retain elements of his previous SSL desk–centred working method. We already used drums–through–PA before to get the massive drum sound that opens The 2nd Law with the song ‘Supremacy’.”“The plug–ins on the audio tracks lower down the session are in part from Mutt and Tommaso, and I added my own. “The 808 would have been in the session, and the greyed–out plug–ins probably came from the ‘Psycho’ session, which as you can see I turned off. By this time Mutt was back in Switzerland and the Muse guys were all in London, so it was easy for everyone to get to Italy.”. But But but and cut that up, That's well, and then when I would do is just loop. So if we if we want the guitar to stop making noise, then we will cut it and we'll fade it out or will automate it or something. This meant finding some treatments for the background vocals that start the song that are explosive and detailed and big, but not in a retro, clean 1970s way, but colder and more effect–laden. I’ve never liked the human interface with the computer, but I find that I’ve quite naturally moved into working with mouse and keyboard, and I’ve stopped thinking about it. Sometimes when you tweak stems you’re able to work on a macro level that allows you to achieve things that are harder to do when you’re knee–deep in 100 tracks. So not only do you have this note and this note, we also have this sound, And when it comes to the modelling method, you can't really. Once that’s in place I will start diving into the actual tracks, to see what can be improved. Despite this complicated setup, when people ask me what the secret is of Chris’s bass sound, I will always say that the first ingredient is Chris. His approach in automating EQ for guitar solos was particularly inspired. Here. Part of his job also is to, where necessary, map out all drums for later sample triggering with the Massey DRT plug–in and then go through by hand to make sure everything is phase and sample–accurate. All the amps were separated by big, foam baffles, and connected to our Radial JD7 Injector guitar signal splitter, which was in the middle of the room, and allowed us to quickly try things out. What I'm getting at is, was it more like "hey boys, you gotta put something extra into this song to make it more unique", or more like "hey boys, I came up with this for you to put in your song"? Toms were recorded with Sennheiser MD421s on the top and Neumann U87s on the resonant head. There is a MEMBERS ONLY area to discuss Coronavirus / COVID-19. The backing vocals also went through the 33609. “As a mixer I’ve seen many people’s sessions, but I’d never seen anything like it. “I printed the final mix via the Shadow Hills Mastering compressor, and Millennia and GML EQ and, as I always do, back into the session in the original session resolution, in this case 88.2/24, to a separate Pro Tools rig at 96/32, and a Soundblade rig at 44.1/16. It’s all a matter of shaping the sound. Tommaso Colliva agrees: “During editing and comping, Mutt would go into note–by–note detail on a level that was incredible to me. “Usually the first thing I do when I begin a mix is quickly get a rough mix together, and compare it against the existing rough mix that everybody has been listening to. Quote: Originally Posted by ResonantFilter. 23rd February 2006 #30. allencollins. They were listening to in–ear headphones, just like they do live, and we used The Warehouse’s excellent 16–channel monitor mixers for that. So what you can do is just punch in each note and let it ring out longer than it's supposed to, and then you can cut it shorter. During tracking we had an amp setup consisting of hand–wired Marshall 1959, Diezel VH4, and vintage 1960s JMI Vox amps, recorded with a standard Shure SM57 and Sennheiser MD421 pair, and just a mic pre and some desk EQ, keeping things quite simple. You know who he is? The other band members have similar rigs. Of course Mal and Angus write the riffs and structure them into a song, and Bon/Brian come up with the lyrics and melodies, but I guess my concerns regarding this come from the more melodic nature of the records in comparison to their predecessors, and how all I read about Mutt is how he molded ACDC into something new. He does not touch Pro Tools at all. The question then would be why Mutt didn't receive a writing credit for anything...? AC/DC Forum | AC/DC News | AC/DC Fans | ACDCfans.net. The Harrison is a nice gentle channel strip plug–in that you can crank up dramatically, and it’ll still sound good.”. So if you record a riff one string at a time or recorded guitar part one string at a time, then you can have each string on a track in Q base. You may login with either your assigned username or your e-mail address. Matt also comps his vocals himself, so Mutt and I received a finished comp, with us being able to access all the [Pro Tools] Playlists in case we wanted to change something. We also very occasionally used a Mercury M76 tube mic pre, and on a few songs Matt wanted to hold the mic in his hand, but we didn’t like the sound of a dynamic mic too much, so we ended up using a FET47 which I took out of the mic mount and wrapped in foam. From a songwriting perspective? The middle section of the ‘Dead Inside’ Edit window shows the sheer number of drum tracks that were recorded at The Warehouse.“There are fewer keyboards on Drones than on previous albums, and the ones we did use are the usual suspects, like the Buchla 200e, ARP 2600, Korg MS20, Prophet 5 and Moog Voyager. First of all, this has nothing to do with production. I do the profiling for them, and it means that they have the same sounds that we achieve in the studio at home, and live. I think their plug–ins are the best for outboard emulations, though the Slate stuff is also very good. Moving on to the third and final set of sessions in Vancouver, late 2014, Colliva explained that to record Bellamy’s vocals, he “tends to rely on the Neumann U67, which Matt owns, and the AEA R44, which sounds amazing and which is really good for more intimate things. So we had close mics, medium–distance room mics, and far–away room mics, which could be blended according to the sound that we wanted for each song. Some mixers prefer to have the artist bounce all the tracks out for use in whichever DAW the mixer prefers. Looked up to Joey Sturgis for a long time and this is literally a dream come true to get a behind the scenes look into his talent. He also shifted things in time. Okay, so I am starting to like the bare knuckles, more cool. It’s the first plug–in I ever heard that made me think that I could actually get away with not using a real 1073. “So good that I couldn’t quite believe it. It’s on the stereo snare track and kick here. I'm gonna send all the tracks to the mono out, and then I'm gonna make a new track and record that mono out. That may be the sort of thing he did all the way through, not doing the writing per se, but coaxing the writing out if them. “In addition to plug–ins on the tracks and aux tracks in Pro Tools, I am still using a considerable amount of outboard, either on the inserts of Pro Tools or placed between the outputs from Pro Tools and the Equinox, which means I am cutting out a huge amount of circuitry compared to when I was using a desk. I like to do things in a really detailed in intense way as well, So I call this the muddling method. We turned looping off. So, um, there's a couple things you could do. Located in Los Angeles, Rich Costey’s own studio is called El Dorado.Colliva moved to the UK two years ago, where he has his own tracking and mixing facility, called Toomi Labs, at the Palm Recordings facility in North London. Starting as an assistant in 2002, he had graduated to Chief Engineer by the time he went freelance in 2006. Mutt Lange When you buy products through links across our site, we may earn an affiliate commission. More succinctly put, how could they work with him after he married Shania Twain? With this album, the writing was more trio–based, and also the band was very well–prepared.