A location recording case study – The Duval Project

Here’s the first of 2 videos from this superb Bristol-based Nu soul / R&B outfit. Location recorded and mixed by Wij Productions.

This was an intense job, we had a small time window to make use of the venue during the day, 5 hours in all to get in, get setup (audio and video) and capture 2 tunes plus some string section overdubs.

Upon arrival, first thing to do was to assess the space and work out the best location for recording. As this was a simultaneous video shoot, the choice of location would have to be some compromise between the best visuals and sound.  The venue is a long vault, the acoustics could have been awful but there was enough treatment and choice of position to work with. We opted for the wooden floor in front of the stage, with the band arranged in a semi circle. The video guys set up a track to allow them to slide 1 stand mounted camera back and forth into the middle of the semicircle, with another hand held camera for alternative shots. In this kind of setup, there will always be a compromise between the best setup for acoustics and separation, and the best setup for visuals.

The band line up included keys, bass, drums, flugelhorn, 2nd keys, vocal and 3 string players (cello and 2 violins). I used a Universal Audio Apollo Duo and an MOTU 828 mk3 (as an ADAT slave to the Apollo) to capture the full set up, with Universal Audio Solo 610 external preamp to give me another mic channel. The band was mainly electric so I didnt need that many mic channels, just for the flugel horn (with an EV RE20), the drum kit (Audix overheads, RE20 on the kick, Audix D5 on snare, AKG 414 on the high hat) and the voice (Oktavamod Rode NT1a running through the UA 610 preamp). I put a couple of mics on the string trio but we decided to overdub them for the final audio as there was too much spill from the band. Everyone played live through their amps, and a foldback monitor was used for the vocalist. In the end we decided to overdub the vocal as there was a bit too much spill. Part way through the recordings I noticed someone had put the ventilation on, always one of the little things you have to look out for on location recordings in these kinds of places, only becomes apparent when you have a very quiet section (as 1 of the tunes here did).

The band we’re a joy to work with, slick, tight and super well rehearsed, they banged out 5 or 6 takes of each tune just like that, which is exactly what you want when time is tight. Once the video guys were happy that they had enough footage to work with, we quickly set up the mics for a more intimate recording of the strings. Acoustically they sounded absolutely gorgeous, the space served the sound very well. I used 4 mics, two Oktavamod NT1a’s as overheads, another facing the cello from behind and to the right, and a TBone ribbon mic in front of the cello. Some may argue that that is a slightly odd setup, but it gave me good results in the mix, I had been reading about how different acoustic instruments project different frequency ranges in different directions and I wanted to explore this.

Again, the string trio being seasoned pro’s laid down a few alternative takes of their parts and then we were done and dusted, just half an hour over schedule which was fine as it turns out.

The first thing to do when I’m back in the studio is back up the session, you never know! The vocalist came by another day and recorded a couple of perfect takes for each track (I say perfect as they synced up with the original vocal track word for word), then the mix began.

I used mainly Universal Audio plugins on this, the concept was to keep it warm and acoustic. Close micing and direct sound from the electric instruments gave me good control over the overall acoustic, I had to do some careful reverb and subtle edit tricks on the overdub vocal as there was some spill from the original vocal on the drum and trumpet mics, it worked out well though. I used a bit of SPL Transient Designer on the drums to help control the ambiance and shape the individual tones.  I was really pleased with the way the strings came out to, bussed them through the Fairchild compressor plugin to smooth them out and add some of that fabled valve and transformer warmth.

The final mix was mastered by Richie Blake (the bass player in the band) before being sent to the video guy for final integration into the finished product.

 

 

 

 

Recording a 9-piece latin band (in layers) – Timbaterra Salsa EP

This recording of the Bristol-based latin band Timbaterra comprises 4 tracks covering Reggaeton, Salsa Romantica and modern salsa styles with influences from Cuban Timba. Recorded in Bristol and featuring vocals of Indira Roman and Sandra Lord, and the piano and vocals of Raimundo “El Nene” Fernandes. Rhythm section features Rory Francis playing all percussion, myself on bass and the horns were played by Ralph Tong (Trumpet) and Dave Smallwood (Trumbone).

The aim of this recording was to get the full sound of a 9 piece latin band, but doing it in layers rather than everyone playing together live. The key to this is having a good, grooving rhythm section  foundation to build the rest of the tracks on.  Thus we first layed down bass, piano and percussion together, the percussion was done timbales first to get all the breaks marked out, then we overlaid the congas, bongos, guiro and cowbell. I borrowed a set of Audix drum mics for the percussion, mic’ing the timbales with a pair of overheads and 1 dynamic under each drum, then individual mics on the snare, kick and bell tree.

Vocals were done next, fantastic performances from everyone made this very quick and easy. I used an Electrovoice RE20 for all the lead and layered background vocals, worked very well on these voices.

Finally the horns were done, we couldn’t get both players in at the same time so had to go with layering each part individually. This makes things a bit more tricky in the mix when it comes to making it sound like a section, but not impossible. Again, the RE20 microphone did the job of tracing the horns, I used it about a metre away and it seemed to capture the tone nicely.

Once recorded, the mixing began in earnest. Although I’d played in latin bands for years, I’d never recorded and mixed latin music, the learning curve was steep! Thankfully Raimundo was there to bounce the mixes off, he patiently listened to a lot of iterations before he finally said, “yes, that’s it!”.

In a nutshell, the cowbell needs to be prominent (but obviously not too prominent, unlike here), the congas driving and the rest balanced. Obvious right? Took me a while to get it though. A lot of work went into gelling the horns together to sound like a section rather than individuals playing in separate sessions. I used sample replacement to reinforce the kick and snare drum sounds too, adding more punch than was available in the original recorded sounds.

I also go the opportunity to trial a Universal Audio Apollo system, and used the UAD analogue emulation plugins to mix the songs with. Specifically, I used the Studer A800 tape sims on each instrument bus, the EMT 140 plate reverb as a general reverb, the Neve 88RS channel strips for the percussion, Cambridge EQ and LA-2A and 1176LN compressors for vocals and horns. The overall effect was amazing, I got closer to that sound I was searching for than I ever managed with all the other plugins I’d been using. So blown away was I that I decided to invest and bought an Apollo and a bunch of plugs, haven’t regretted that decision!

I’ve been studying Mastering courtesy of Ian Shepards Home Mastering Masterclass (which I thoroughly recommend by the way), I thought I’d put some of that knowledge to the test and do my own masters on these tracks too. Still learning on that front, there is a lot information to absorb and experience to gain. During the mix process the band had a regular gig at a salsa club, so we had opportunity to test out the mixes on a larger sound system and get an idea of how people responded (they danced!)

All in all I’m very happy with the way this recording came out, it took a while but I had a lot to learn, I’m  looking forward to doing a lot more latin music in the future.