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Recording Sessions - What microphones used on sessions ? |
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| Studio Recording Sessions | ||
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Whilst recording early studio sessions, up until the late 1980's, I would normally use my "Modified" M&M 16-2 mixer. With quieter "In House" designed microphone pre-amps and line output amps. The mixer also provided switchable +48v "Phantom" powering on channels 1-7 and +12v "T" powering on channel 8. Allowing for various microphone types to be used during sessions. In the very early days, before I acquired the Ampex AG 440-8, sessions were mixed directly to a Ferrograph 7522HD "Stereo Recorder". At a later time, Channels 1-8 on the M&M 16-2 mixer, were modified with "Direct Outputs". These feeding into the excellent Ampex AG 440-8, 1" Eight Track, Analog recorder, via a patch bay. All of the Ampex AG 440-8 outputs fed the M&M 16-2 mixer, channels 9-16, via eight "Homemade Clones" of the flexible Rebis RA201 noise gates. Making for some very quiet mix downs. |
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Artist |
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Venue |
Home Studio |
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Recorder |
Ampex AG 440-8, 1" 8 Track, Analog Reel to Reel |
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Notes |
1982 - This was to be my first "Full Blown" Multi-track recording session using the Ampex. Previous recordings on the Ampex were purely track laying sessions. The early modifications to the M&M 16-2 mixer, provided me with a "Stereo" sub-mix for 8 of the 10 Drum Kit mic's, with the Kick and Snare drums being mixed together on a single track. During Mixdown, I was able to slightly adjust the relevant level of either the Kick or Snare, through the use of EQ. I had five tracks left on the Ampex for vocals, guitars, keyboards and harmonies etc. At this time, I had no luxuries like compressors, so there was much "Gain Riding" carried out during the recording session. |
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Musician |
Instrument |
Microphone |
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Guide Vocals Vocal / Harmony Vocals Electric Guitar Keyboard - Moog Prodigy |
Neumann M49, set to Cardioid AKG C28 with CK8 capsule AKG D224E Direct Injection |
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Vocal / Harmony Vocals Electric Guitar Keyboard - Moog Prodigy |
AKG C28 with CK8 capsule AKG D224E Direct Injection |
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Vocal / Harmony Vocals Electric Bass Guitar |
AKG C28 with CK8 capsule AKG D224E |
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Drums and Percussion |
AKG D224E (Kit Overhead) - Stereo Pair AKG C451EB/CK1 (Hi-Hat) AKG D190E's x 4 (Toms x 7) AKG C451EB/CK1 (Snare) AKG D12E (Kick) Sennheiser MKH405 (Bell Tree) |
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Artist |
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Venue |
Home Studio |
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Recorder |
Ampex AG 440-8, 1" 8 Track, Analog Reel to Reel |
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Notes |
1987 - The musical arrangements, for many of the tracks, was quite complex. With only 8 tracks available, much "Forward Planning" and "Track Bouncing" was required e.g. Tracks 1-5 & 8 for the "Drum Kit", being mixed down to a "Stereo Pair" on 6&7, then Tracks 1, 2, 3 & 8 for the "Brass Section", again being mixed down to another "Stereo Pair" on 4&5. Once these tracks were mixed, there was no going back. Leaving Tracks 1, 2, 3 & 8 for other "Parts" of the arrangements. I was to learn a lot from this session, and without Phil' Brooke's professional advice and guidance, it would not have been possible. |
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Musician |
Instrument |
Microphone |
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Vocal |
Neumann M49, set to Cardioid |
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Vocal Harmony Vocals Electric Bass Guitar Electric Guitar Acoustic Guitar Banjo |
Neumann M49, set to Cardioid AKG C12a, set to Soft Cardioid Direct Injection, via Telefunken V72 Homebrew FET type Microphone Homebrew FET type Microphone Homebrew FET type Microphone |
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Harmony Vocals |
AKG C12a, set to Soft Cardioid |
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Drums |
AKG C451EB/CK8 (Kit Overhead) - Stereo Pair AKG C451EB/CK1 (Hi-Hat) AKG D190E's (Toms) Sennheiser MKH405 (Snare) AKG D12E (Kick) |
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Electric Piano |
Direct Injection |
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Alto Saxophone Tenor Saxophone Clarinet |
AKG C28 |
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Trumpet |
AKG D224E |
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Tenor Saxophone |
AKG D224E |
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Alto Saxophone Clarinet Violin |
AKG D224E AKG D224E Homebrew FET type Microphone |
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Baritone Saxophone Flute |
AKG D224E Homebrew FET type Microphone |
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| Location Recording Sessions | ||
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When out recording on Location, I normally used my "Modified" M&M 8-2 mixer. The mixer provided switchable +48v "Phantom" powering on channels 1-7, with +12v "T" powering on channel 8. Allowing for various microphone types to be used during sessions. Sessions were mixed directly to whatever "Stereo Recorder" was in use at that time. At a later time, Direct Channel outputs were fitted to the M&M 8-2 mixer, feeding into a Brenell Mini 8, 1" Eight Track, Analog recorder. A pair of 25 way "D" type connectors were used for the I/O's on both the Mixer and the Multi-track Tape recorder. A "Female" connector, for Microphone Inputs from a Stage Box and a "Male" connector, for 8 Track Tape Recorder, Record and Playback. Thus keeping "Plug-up/Plug-down" times to a minimum. At a later time, a "Homebrew" 10 Channel microphone pre-amplifier/mixer was used for Multi-track Location recording. Again using the 25 way "D" type connectors, thus being fully compatible with existing leads and equipment. |
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Artist |
Bill le Sage and The Mike Capocci Trio |
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Venue |
Santana's Jazz Club, Norwich |
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Recorder |
Nackimichi 550, Cassette recorder |
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Notes |
1985 - No real problems with this "Excellent" session. Despite the "Apparent Sparseness" of drum microphones, the overall "Recorded Sound", was very similar to that enjoyed by the audience. The output from the "Ambiance" microphone was feed "In Phase" to the Left channel and "Out of Phase" to the Right channel. This worked very well for the Hafler rear speaker fanatics. A pleasing result, but the "Nackimichi 550" was certainly pushed to it's limits. Oh to have had the Sony PCM F1 for the session. |
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Musician |
Instrument |
Microphone |
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Vibraphone |
Neumann U87, set to Cardioid |
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Clarinet and Saxophone |
AKG C451EB/CK1 |
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Electric Piano Vibraphone |
AKG D224E AKG C414E, set to Cardioid |
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Drums |
Sennheiser MKH405 (Kit Overhead) AKG D12E (Kick) |
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Unknown at present |
Double Bass |
AKG D190 |
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N/A |
Ambiance, facing above the audience |
AKG C414E, set to Cardioid |
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Artist |
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Venue |
Camera Beer Festival, St. Andrews Hall, Norwich |
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Recorder |
Ferrograph 7522HD, 15ips 1/2 Track, Analog Reel to Reel |
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Notes |
1985 - The AKG D224E's, for "Ambiance", were fed directly into the "Microphone Inputs" of the Ferrograph, with the "Stereo Output" of the Mixer, being fed into the "Line Inputs". Thus giving me 10 microphone channels/inputs. |
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Musician |
Instrument |
Microphone |
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Trombone Trumpet Clarinet and Saxophone |
AKG C414E - Stereo Pair, both set to Hyper Cardioid |
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Grand Piano |
Neumann U87 |
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Drums |
Sennheiser MKH405 (Kit Overhead) AKG D190 (Snare) AKG D190 (Toms) AKG D12E (Kick) |
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Electric Bass |
AKG D190 |
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N/A |
Ambiance |
AKG D224E - Stereo Pair |
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Artist |
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Venue |
Drama Centre, Norwich City College |
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Recorder |
Brenell Mini 8, 1" 8 Track, Analog Reel to Reel |
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Notes |
1989 - Owing to the physical space available, the main problem during this session, was that of "Bleed-through" on the vocal microphone, from the rest of the band and vocal "Foldback". See Microphone layout. Careful "Fading" and "EQ", of the vocal channel, helped to reduce the problem, but it definitely did not "Solve" it ! |
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Musician |
Instrument |
Microphone |
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Others unknown at present |
Trombone's |
AKG C414E, set to Cardioid |
| Unknown at present |
Trumpet's |
AKG C414E, set to Cardioid |
| Unknown at present |
Clarinet Flute Saxophone's |
Neumann U87, set to Fig' 8 |
| Unknown at present |
Grand Piano |
Neumann KM88, set to Cardioid |
| Unknown at present |
Vocal |
Shure SM58 |
| Unknown at present |
Drums |
Sennheiser MKH405 |
| Unknown at present |
Electric Guitar |
AKG D224E |
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Electric Bass |
AKG D224E |
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Artist |
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Venue |
St. Margaret's Church, Lowestoft, Suffolk |
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Recorder |
Sony PCM-F1 / SL-F1UB, "Stereo" Digital, onto "Betamax" Video Cassette |
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Notes |
1992 - Very simple "Middle and Side" (M&S) microphone technique. The excellent KM253 Omni, for the "Middle" signal and the KM56 used for the "Side" signal. The microphones were very securely fitted onto a "Ridged", tripod design, microphone stand. No shock mounts, or anything similar, on the microphones or the feet of the microphone stand. The microphone stand, standing directly on the Church's Stone floor. This "Set-up" being able to capture the "Space" and "Dimensions" of this large venue. Outputs from the two microphones was taken directly to a pair of "Siemens V72s". The outputs of the V72s pre-amplifiers then feeding the "Line" Inputs of the Sony PCM-F1. |
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Musician |
Instrument |
Microphone |
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Others unknown at present |
Recorder's (Baritone through to Treble) |
Neumann KM253 & KM56 - Stereo M&S, KM56 set to Fig' 8 |
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Artist |
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Venue |
Northrepps Country Club, Norfolk |
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Recorder |
Tascam 38, 1/2" 8 Track, Analog Reel to Reel |
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Notes |
1993 - This was originally going to be a "Test" recording, using my latest "Homebrew" unit, a 10 Channel microphone amplifier. Inputs 1-7 having "Direct" outputs (CH 1-7) and Inputs 8-10 being "Summed" to one output (CH 8) i.e. a total of 8 Channels. For this recording, Inputs 8-10 were being used for Harmony Vocals. The event was a normal gig for the band, finishing up with a good "Live" recording. |
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Musician |
Instrument |
Microphone |
| Budgie Coleman |
Vocal |
Neumann KM85 |
| Gilbert Grover |
Drums
Harmony Vocals |
AKG D12E (Kick) AKG D224E (Snare) AKG D224E (Hi-Hat) Neumann U87 (Kit Overhead) Neumann KM85 |
| Lea Restrick |
Electric Guitar Harmony Vocals |
Neumann KM88 Neumann KM85 |
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Electric Bass Harmony Vocals |
AKG D224E Neumann KM85 |
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Artist |
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Venue |
The Ferry Boat (Public House), Norwich, Norfolk |
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Recorder |
Alesis ADAT, Digital 8 Track (SVHS tape), with Sony V200 video camera |
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Notes |
1995 - This was the first, of only a few recordings, made on the Alesis ADAT. The recording was SMPTE time code locked to the associated Sony V200 video camera. The SMPTE signal, from the Alesis A1-2 "Interface" unit, feeding the Mono Microphone Channel of the Sony V200. My "Homebrew" 10 into 8 microphone amplifier was used, feeding directly into the ADAT line inputs. The band were as entertaining as ever and the recording went fine, it's just a shame about the "Audio" quality of the ADAT. By the time the Picture and Sound were all mixed together, the results were well received. |
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Musician |
Instrument |
Microphone |
| Sarah Bristow |
Alto and Tenor Saxophone Vocal |
Neumann KM84 Neumann KM85 |
| Kate |
Vocal |
Neumann KM85 |
| Sally |
Vocal |
Neumann KM85 |
| Sam |
Alto Saxophone |
Neumann KM84 |
| Unknown at present |
Electric Guitar |
Neumann KM84 |
| Unknown at present |
Keyboards |
Neumann KM85 |
| Stix |
Drums |
AKG D12E (Kick) Neumann KM88 (Kit Overhead) |
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Unknown at present |
Double Bass |
AKG C460B/CK1X |
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Enquiries, relating to the above recordings