AE-240: Analog Technology Gear
(Philosophy)
Instructor:
Eddie Ciletti
updated 22 November 2010
With no beat detective or auto-tune, the
discipline of Analog Tape requires that we go back to basics by emphasizing
ensemble performance. (The whole being greater than the sum of the
parts.) By extension, the limitations of four track during the first
five weeks 'coerces' us to find simple mic-ing solutions. Yes, we
could use all the same microphones in all the usual places and submix them,
but there is no going back to fix problems caused by placement, polarity,
EQ or balance. Simplifying the equation reduces the complexity
and improves our reaction time to resolve problems in real time (less IS
more).
By taking the olde skule approach of fewer
microphones and limited submixing capability, we invite ambiance without
the need for a dedicated ambient mic, allowing the space around the performance
to contribute to the whole. Gear being second to the performance,
fewer mics means that EACH mic-preamp-processor combo contributes more
character. (The sound will be more unique.)
With that in mind, here's an overview of
the equipment we are using...
GEAR OPTIONS
At the top of the rack is the Pultec
MB-1. This is a vacuum tube preamp that I got from Atlantic Studios
when I worked there in 1983. I have no idea of its history, but I
like to imagine it might have been used on Aretha or Cream recordings.
Its front panel originally had one power switch and one indicator lamp!
Gain was internally fixed with a jumper that offered two options IF you
had a soldering iron! Now there are a three impedance switches transformer
windings can be wired in series or parallel, options that translate into
6dB level shifts. A Gain pot replaced the internal jumper.
There is also an Input level Pot that I have come to realize is no longer
necessary so it will be removed.
The MB-1 is great for kick drum
(when an outside kick mic is used) as well as vocals. It has a decent
amount of punch, gain and headroom. I have never had an issue with
noise / oscialltion except when the gain is very high. I'm hoping
to resolve that issue soon. When not using the LA-3 as a mic
preamp - 2nd from the top - it typically follows the MB-1, which
is why it is next in the rack. The LA-2a (Vacuum tube) and the LA-3A
(solid-state = transistorized) are smooth optical limiters that are great
for tracking because they rarely compromise the sound like some compressors
can...
In the 3rd rack position is an Altec
438 vacuum tube mic preamp and variable-mu compressor. The line
input only version - the 436 - was used at Abbey road on all Beatle recordings,
side by side with a Fairchild 670 compressor, which is a more sophisticated
variable mu design. Modifications added a line input, mic and line
input pds, impedance options, a gentle EQ, plus Attack and Release controls.
Both mic and line inputs are VERY sensitive and more often than not, I
use it in conjunction with a ribbon mic on electric guitar or bass.
Since many of the preamps also have built-in
dynamics, I must constantly remind myself to use them more for protection
Gain Reduction 'meter kisses' that won't destroy dynamics or use a very
low ratio to 'minimize the damage.' Mechanical VU meters have a 200mS
attack and release time making them great for judging vocal or bass levels,
but useless for judging 'transient' processing like drums...
In the 4th position is the Altec 1612,
a two-input solid-state mixer and FET limiter similar in concept to the
1176 with fewer ratio and speed options. It is nearly always used on crotch
mic plus either bass amp or snare or overhead. Crotch mic is
always OMNI, and is typically the 'skinny' Nady TM-1150. If the drummer
plays hard, a Electro-Voice dynamic omni is swapped into the crotch position.
In the 5th rack position from the top is
an 'experimental' Great River Transformerless preamp (GR-XL) with
phantom power. When recording to 4-track tape, the GR-XL is most
often used for the MXL mock U-87 mics in the hallway for reverb.
The preamp's output is returned to the console and not recorded to 4-track.
On the SPARE shelf is a Neve 1272
line amp that's been converted to a 1066 style NEVE preamp (same as the
GR NV-1). It has a few switches on it for impedance options and phase
reverse. It has a lot of gain, great for ribbon mics on acoustic
guitar. Next to the Neve is an early version of one of my own Vari-Fi
preamps, a morph of Scott Hampton's Hamptone preamp and the Pultec
MB-1. There are two JFET gain stages JFETS are very tube like the
gain is adjusted with negative feedback, which subtly changes the tone
and overload characteristic...
There are four silver-faced LA-4
limiters ALL with improved IC opamps for improved transient response, plus
a mod that optimizes Threshold so that it is Ratio appropriate. The
rear panel switch increases gain from Nominal Line Level to Low Mic Level,
enough to accommodate Loud Mics and Loud sources. These are often
used as spare preamps...
In the lowest rack position are transformerless
dbx preamps from the late 90's. These are in no way amazing similar
to what's in most cheap mixers and interfaces - but when multi-tracking,
they are used for hallway / reverb mics.
OTHER GEAR
At the mixing position, an 8-input
Behringer mixer is used to submix drums, bass and room mics into a
pair of JBL 7110 compressors which are then routed into one of the
Mackie's FX return inputs. This not only solves the Mackie's 'input
shortage problem,' but also does in the analog domain what I like to do
in the box. Processing all of these sounds together is a great way
to lock / glue the bass and room to the kit.
The JBL 7110 is a VCA-based compressor
limiter that I have modified for true bypass and easy internal / external
side-chain options. In addition to the typical Attack, Release and
Ratio controls, there is also a variable peak and average control.
The Mackie output feeds a UREI stereo
octave graphic EQ, modified so that the sliders boost and cut only
5dB rather their original 10dB swing. This allows more room for fine
tuning as well as less 'fear' that the sliders are not perfectly aligned
for stereo. The UREI feeds the Crane Song STC-8, which is
by far, one of the fastest and most transparent compressor limiters ever.