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Ides Of May – Legendary People EP
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text][youtube id =”qnDZ_u23V44″ mode=”lazyload”][/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]Ides Of May – Legendary People EP
Recorded 22 / 23 December 2015, mixed and mastered on 29 December 2015.
Available on Itunes: https://itun.es/nl/Wbbkab
Facebook: Ides Of May
Before the band came over to do the recordings we had a few conversations by phone and email on how exactly we wanted to do the recording. The band had recorded a few albums before in different studios and were slightly disgruntled on how that all happened. Listening to demos of the band of the songs planned for the recording session I felt a type of Bob Dylan / Tom Petty sound was in place.
Since the band plays together for 35 years the band would probably perform best when they all played together. The only exception were the backing vocals, hammond organ and cowbell, which were recorded seperately on the second day.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_single_image image=”5789″ img_size=”full” onclick=”link_image”][vc_gallery type=”image_grid” images=”5785,5783,5782,5781,5780,5779,5778,5777,5776,5775″][/vc_column][vc_column width=”1/2″][vc_column_text]
Ides Of May Recording Setup:
So the drums, guitars and bass were all recorded together in the recording room. I used a setup which worked well in previous recordings with other bands: Drums in the middle, both guitars at either side of the drums which dictates their stereo placement. Gobos placed between the guitaramps and drums.
The bassamp is placed directly in front of the bassdrum. The bleed in the mics is just a bit and pleasant to mix with with this setup.
Jeroen’s Taye drums with Turkish cymbals are recorded with the following mics:
Audio Technica AT3525’s on the two smaller toms, Rode NT1 on the floor. Snare is micd with the AKG DM1000c, no bottom mic since there was plenty of the snares sound in the top mic. The bassdrum is micd with a sennheiser e602 in the airhole of the frontskin. Plenty of attack and body for these recordings.
Overheads were Neumann TLM103’s and hihat got a sm58 which also picked up some of the ride. Jeroen plays in an open style, with the ride at the same side as his hihat.
The guitaramps ( Maarten uses a Fender Super-sonic and Robert a Fender Twin Reverb) were both double micd. The supersonic had a bit less top end and got a Sennheiser MD441 and Shure SM57. The Twin Reverb had more top end and matched best with a Sennheiser MD441 and MD421. This also guarantees a better match in mono with the different sounds of the mics.
Peter used the studio’s SWR bassamp which was recorded through it’s own DI and with a Sennheiser MD441.
To record Appie’s vocal we started out with the BPM CR76 which didn’t match his voice at all. We ended up with the sennheiser MD441 which fitted nicely. A bit of eq to tame some consonants and we were ready to go. Stef’s backing vocals were recorded with the BPM CR76 which fitted perfecty.
For the Henk’s Hammond recording we recorded the Leslie with Sennheiser MD441’s and used roommics to accomodate the sound. It also helped putting the Hammond more in the back of the soundfield, helping to create depth.
Since I used no roommics during the bands’ recording because of spill between the instruments I reamped the drums to record a roomsound. This helped to make the drums a bit beefier and natural.
Before the mixday I did some premixing to have the mix day with Appie and Jeroen optimal spent and not waste time to do some premix stuff. Things I did before hand were to make a quick, global balance and stuff like using hi and lopass filtering on guitars, bass and drums and use Waves’ vocal rider on the vocals to prep them for use with compressors.
The mix itself was aimed to retain a natural and bluesy sound. Some things done : The bass got compressed through the dbx 160a, while the drums got a analogue tape emulation treatment on toms, snare and bassdrum. The guitars are eq-ed for clarity and fullness and the vocals were compressed to sit nicely within the mix and the hammond got barely touched, other than a few eq-notched where needed. The panning was set to a fixed position, which mirrored the recording position in the room. No pan automation is used.
The entire mix was then passed trough the d&r console for final eq. We put the masters through tape too, but chose the console version over the taped one.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text][/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][templatera id=”5871″][/vc_column][/vc_row]