so mayor how do you choose your preamps
I mean I said okay this is what we're
doing today
these are you available preamps how you
choose it all depends every instrument
is different every situation is
different but for example I know the the
UA stuff is warm and to be and and
sounds great on bass so that's pretty
much a go-to every time for me you know
that from experience
yes experience is that beautiful thing
oh you come to Sweetwater seminars now
you know that the us stuff sounds great
on baits right now it depends on the
bass player it depends on your
microphone and also depends on what you
have breakfast that morning so we have
to make sure that you get you gather you
form you taste everything is about
forming your taste right so you got to
try it
succeed or fail if you fail try
something else if you succeed well try
something else still just so that you
don't die with just one solution for
every problem
alright so that's a good thing so you
know the us stuff is warm on bass great
else to you the great river stuff I know
is just really clean and open sounding
so it's awesome on overheads if you have
a great sounding kit there's also you
know depending on features what you need
do you need an EQ do you need a
compressor on a specific instrument that
might determine your mic pre choice aha
so you mean it's not just sound its
functionality - yes so for example on
the snare we use the Great River on the
snare we did that why we did that
because we wanted to I guess we want to
high-pass it we wanted to have a
high-pass filter
we wanted to have a high pass filter
switch taken care of because tomorrow
I'm gonna mix this song in one hour and
it's not like I'm gonna be able to like
leisurely stroll through the process so
might as well people are the tracks him
in this song as possible so we looked at
the pre answers like which one has a
high-pass filter the Great River boom
which one sounds great on bass are we
know that the 886 10 or the the 216
sounds great on bass so we put that one
to base now if we needed a high pass on
the bass before it was without switched
you know so there are stone
considerations there's also
functionality considerations the idea
here is the way we chose it is also to
get evenness between instruments so for
example the two bass drum microphones
are going through the Great River that's
a stair
they're a match terrible pair because we
know it's a fast preamp it's got fast
transient so we will get that boom he
also has a polarity switch on it which
often we need we used the new four seven
tens on the overheads because it has an
1176 star professor in it that's really
really great so we like to have a little
bit of compression on the overheads
because a it's fun and and - because we
can so that's why we chose that one now
I need a singer
preferably British preferably with a dry
sense of humor oh is this one everyday
use sir
okay so that was for the drumset any
questions yes why not yep yes all Mojave
condensers do you want me to put the
screen back on what okay there was
another question yes sir absolutely oh
yeah we yeah absolutely it depends on
what you're doing
if Timur was banging on the snare like
crazy you know how to do that way yeah
but he chooses not to if you were
hitting the snare really really hard
then I probably would put a 57 there
just to try and tame those transients
because this 57 is not a high resolution
microphone no matter what sure says it's
a wonderful microphone the wonderful
thing about it is that it filters what
goes on to the the recording and so we
the transients are not getting through
the same as on a condenser the condenser
is super detailed now if somebody is
going gaga you don't want the super
detail so you put a less detailed
microphone and it helps you out any
other question yes yes in this
particular case a room mic we have an SF
24 Roy SF 24 V here as a room mic you
hear it it's the one that's hidden by
the screen right now it's right by here
yes
if I'm gonna use for this kind of stuff
I would have a roommate around the drums
if I have good isolation this particular
guest is no isolation I can hear you
guys sneeze into the overhead
microphones you know what I mean but a
room mic is good to create kind of a bit
of a mess you know a little bit of like
buoyancy and I see a lot of people that
makes a lot of Records for other
producers too and so I see that a lot of
people who record 16 tracks of drums
with like far room high room low room
mono room - broom room through a
compressor just put your microphone
somewhere it sounds ok you know I don't
go crazy on the rooms because you know
when you have a hundred tracks on you
mix the the far compressed left room
thing tends to get select how about the
right one
Olly went with you know it's just it's
only so many tracks you can handle ok
let's move on to vocals now how many of
you guys have tried to record somebody
who sings and plays guitar at the same
time