There was no point in miking, because the theatre was too small.
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Miking Actors isn't because they can't project, it's for creating a proper sound mix.
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Roomful, an a cappella octet founded in 2009, is a veritable repository of such practices, using amplification and close miking to artistic effect.
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Just guitar and voice, close miking, no band, no strings, no reverb, some buzz on the guitar here and there that might in more closely watched circumstances have necessitated a retake.
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Through most of the show, he describes his mother's personality and routine in the present tense, as if providing a voice-over narration; Fliakos's miking gives his voice a slightly disembodied quality.
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As a result of his wide-ranging work, the music he makes now (recorded with just two room microphones, not the instrument miking that is industry standard) has layers of history built into it.
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While "The Rock Musical" — directed by Steven Christopher Parker, with book and music by Mr. Parker and Steven Brandon — only covers the early seasons, it nevertheless feels overstuffed, and wrestles with minor miking issues and the theater's spatial limitations.
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I was into R&B and love R&B records, so we recorded it very tight: tight miking, right up to the instruments rather than try to recreate something with a lot of ambience like you were in the audience.
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The Decca Tree is a stereo miking technique often used in large orchestral or choir performances, but it can also be used as a room miking technique. When used for room miking of drums, its wide stereo image captures the nuances of bigger environments better than most other techniques. In smaller rooms however, the Decca Tree does not work as well. Ron Streicher, author of The Decca Tree — It's not just for stereo any more, has also described methods for employing a Decca Tree for surround recording.
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Instead of close miking all the instruments, Chesky used one microphone to hear the 360-degree acoustic space of St. Peter's Church. This album has been praised for its sound quality by JazzTimes.
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We used a lot of different drum kits, cymbals, snares, and miking techniques. "Oh" is the only song in Fugazi's discography to feature all three of the band's vocalists (Picciotto, MacKaye, Lally) on one song.
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For example, he obtained the biting string sound that characterises "Eleanor Rigby" by miking the instruments extremely closely—Emerick has related that the string players would instinctively back away from the microphones at the start of each take, and he would go back into the studio and move the microphones closer again.Emerick, Geoff, with Howard Massey (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. . The recording of George Harrison's acoustic guitar in "Here Comes the Sun" was another incidence of close miking.
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This practice of individually radio miking each performer has since become the norm in live theatre. Special effects technology also plays an integral role in this genre and has allowed for complicated set changes to be fully automated.
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Aura-Sonic, Ltd. (ASL) is a remote recording company based in Queens, New York that specializes in mobile and location production, audio for video broadcasting,Peterson, George. The Secrets of Drum Miking: Remote Recording Engineers Speak Out. Mix Magazine, June 1989. pg. 33.
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As of September 2019, Sweet endorses Yamaha drums (previously Crush drums), Stagg Cymbals, SKB Cases, Regal Tip by Calato Metal X wood tip drumsticks, Kickport, May acoustic drum miking system, Solomon Design mics, Aquarian Drumheads, Affliction clothing, Ahead drum gloves, and Trick drums.
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In 1977, Remote established Aura Sonic to handle a variety of his recording duties: live albums, live television and radio broadcasts, and film and video concert remotes.Petersen, George. The Secrets of Drum Miking: Remote Recording Engineers Speak Out. Mix Magazine, June, 1989, p. 33.
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The H4 is shorter than a pencil Field recording with H4 on a simple tripod H2 and H4 with 10 eurocents for scale The H4 Handy Recorder is a handheld digital audio recorder from Zoom, featuring built-in condenser microphones in an X-Y stereo pattern,"In crossed X-Y miking, two cardioid mikes are placed one across the other ... with their elements as close together as possible.... The advantage of crossed X-Y miking is a more pronounced stereo separation than available from a stereo mike." priced from around US$280 depending upon memory capacity . Recordings are stored on an SD card (128 MB supplied), or via a USB cable to a computer running digital audio workstation software (Cubase LE supplied).
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The shelter of Pipal tree was full of people and so was New Road. People from outside the valley coming to Kathmandu used to gather there. He started miking against the coup from his jeep from Pipal tree to then Royal Nepal Airlines office and then back and forth. He slept at Thapathali that night.
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Guitar amplifier modeling: Amplifier modeling is a digital effect that replicates the sound of various amplifiers, most often vintage analog "tube" amps and famous brands of speaker cabinets (e.g., the Ampeg SVT 8x10" bass cabinet). Sophisticated modeling effects can simulate different types of speaker cabinets (e.g., the sound of an 8x10" cabinet) and miking techniques.
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Canty told Modern Drummer, "We recorded them all very differently in terms of the drum sounds. We used a lot of different cymbals, snares, and ways of miking." The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2, almost 4 years after the release of End Hits.
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The Corner Rock artiste AJ Nelson in October 2018 announced his debut album Africa Rise The album which consist of sixteen tracks features Ghanaian acts, Cabum, Che Che, Worlasi, Ayat, Kliff Wonder and Guinea's Miking on Marafagni which literally means Love. Africa Rise album which preaches about Peace, Love, Hope and togetherness was officially released on November 23rd.
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Although there was a provision for miking, there was nothing to guarantee that announcements made would be widely heard. Targeting a congregation was a surer way to ensure that the message delivered was heard. If this message was delivered at a place of worship, it had greater credibility. The CMC networked with imams at mosques and pundits in temples to organise announcements prior to booth day.
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A middle-ground approach is used by some bands that play in small venues; they do not mic every drum and cymbal, but rather mic only the instruments that the sound engineer wants to be able to control in the mix, such as the bass drum and the snare. In "miking" a drum kit, dynamic microphones, which can handle high sound-pressure levels, are usually used to close-mic drums, which is the predominant way to mic drums for live shows. Condenser microphones are used for overheads and room mics, an approach which is more common with sound recording applications. Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built into the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time, as well as isolating them.
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While some quieter, acoustic genres of music, such as jazz and traditional blues may not use microphones ("mics") in club gigs, in metal, the very loud stage volume from the huge guitar speaker stacks and powerful bass amplifiers means that drums are usually miked. In "miking" a drum kit in metal, dynamic microphones, which can handle high sound-pressure levels, are usually used to close-mic drums, which is the predominant way to mic drums for live shows. Condenser microphones are used for overheads and room mics, an approach which is more common with sound recording applications. Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built into the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time, as well as isolating them.
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Compared with 1980s and early 1990s kits, the 2010s modules offer far more outputs. The professional- level modules from the leading manufacturers have multiple outputs to the sound board such that each percussion group (i.e. toms, cymbals, etc...) can be independently mixed (like the multiple miking of an acoustic kit). This means a drummer can add one effect to, say, the cymbals, while adding a different effect to the drums.
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Palladino left Radio Recorders for Capitol Records not long after it opened in 1949. He was promoted to album producer for Capitol Records in 1956. Palladino used a small-studio technique, close-miking musicians and using equalization and reverberation to get sounds. he did not always agree with the move in the 1960s towards multitracking and overdubbing instruments one at a time, preferring to record all the musicians playing live simultaneously.
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The earliest sound effects were strictly studio productions. In the mid to late 1940s, recording engineers and experimental musicians such as Les Paul began manipulating reel-to-reel recording tape to create echo effects and unusual, futuristic sounds. Microphone placement ("miking") techniques were used in spaces with specially designed acoustic properties to simulate echo chambers. In 1948 DeArmond released the Trem-Trol, the first commercially available stand-alone effects unit.
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Verlaine is an advocate of guitar techniques and recording processes including close miking, delay, reverb, slap echo, phasing/flanging, tremolo, etc. Television's first commercially released recording, "Little Johnny Jewel", saw Verlaine, in defiance of common practice, plugging his guitar straight into the recording desk with no amplification. Verlaine rarely uses heavy distortion. Vibrato is a large part of Verlaine's style and he makes extensive use of the Jazzmaster's unique vibrato arm.
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Retrieved 2011-06-21. Akita was asked to play "more musically." On that first stage, Merzbow used the finest example of "classical analogue live noisemaking technologies" to display: untuned guitar, a drumset, various micro-objects, small springs centered in its shell baffles, large aluminium boxes with strings inside to be attacked with a fiddlestick, etc. along with multi- piezo-pickuping and close-miking techniques, live processing through vintage US fuzz, ring modulator etc.
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For electric guitar recording, the band utilized cabinet miking – four microphones recorded the output of a Marshall amplifier. Acoustics were recorded using a single Blue Bottle microphone. Daniel Shulman, who had performed bass guitar on Version 2.0 and the band's two world tours, spent two separate weeks laying down bass parts. Shulman was given freedom by the band to come up with parts and be creative, creating new basslines on the verses of "Androgyny" and "Nobody Loves You".
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Wesley Rose brought Orbison to the attention of producer Fred Foster at Monument Records. There, Orbison would become one of the first recording artists to popularize the "Nashville sound". In his first session for Monument in Nashville, Orbison recorded "Paper Boy" (a song that RCA had previously refused) while sound engineer Bill Porter experimented with close miking the doo-wop backing singers. Orbison requested a string section to perform in the studio, to augment the Nashville sound.
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Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer's mouth. This produces a more intimate, less reverberant sound than when the singer is a foot or more from the microphone (see proximity effect). It also emphasizes low-frequency sounds in the voice. The result was a singing style that diverged strongly from earlier styles, such as vocals in musical comedies of the 1930s and 1940s.
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Their hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". The songs were recorded with multiple tracks where Ford harmonized with herself and Paul played multiple layers of guitars. They used the recording technique known as close miking where the microphone is less than from the singer's mouth. This produces a more intimate, less reverberant sound than when a singer is or more from the microphone.
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Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking.
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The AKG C28 is visible in the Let It Be film. Available studio documentation and interviews with their former recording engineers indicate that this microphone was not used for recording in the studio. With the group's encouragement, recording engineer Geoff Emerick experimented with microphone placement and equalization. Many of his techniques were unusual for the time but have since become commonplace, such as "close miking" (physically placing the microphone very close to a sound source) of acoustic instruments or deliberately overloading the signal to produce distortion.
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The mill was driven by a rare early E T Bellhouse steam engine, which was powered by a Cornish boiler both of which intact. Other buildings on site include a large stable, chaff shed, blacksmith, butchery, dairy, shearing shed, miking shed, piggery and chook shed, constructed variously in hand made brick, timber and corrugated galvanised iron. All the original mill machinery and equipment remains including three under driven mill stones, grain and meal elevators, a bolting reel, air leg aspirator, sack hoist and ancillary equipment.
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The label's A&R; delegate initially did not like what had been recorded and felt that the album was not going to be professional enough. The producer and the band were given complete control only when Casablancas persuaded the delegate by playing him some of the new material on a boom box. Inspired by the Velvet Underground's production and the direct approach of punk rock band Ramones, the miking scheme for the drum kit included only three microphones: one above it, one for the bass drum, and one in the corner of the studio.Roach, p.
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Pitch shifting is also used on "Ambling Alp", first created as an instrumental demo by Tuton. Using a Harmonic Octave Generator effects pedal, he made his arpeggiated bass guitar notes sound like a flute's acoustic output. Keating then sampled the solo and built a song around it; his a cappella singing was recorded both conventionally in a booth and in the studio's basement with a distant miking scheme inspired by David Bowie's 1977 album "Heroes". The third track on Odd Blood, "Madder Red", was conceived as a "quiet, folky, acoustic lullaby" by Wilder.
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It is most commonly heard in reggae, ska, rock steady, funk, R&B; and soul. tight sound : A recording of an instrument (e.g. drums) which uses very close miking done in a soundproof recording room to eliminate "bleeding" from other instruments or ambient background noise. timbre : The quality of a musical tone that distinguishes different voices, instruments, amplifiers, and effects time : In a jazz or rock score, after a rubato or rallentando section, the term "time" indicates that performers should return to tempo (this is equivalent to the term "a tempo").
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Recording studios use partitions and fabric screens to reduce microphone bleed. Spill (also known as bleed and leakage) is the occurrence in sound recording (particularly in close miking) and live sound mixing whereby sound is picked up by a microphone from a source other than that which is intended. Spill is usually seen as a problem, and various steps are taken to avoid it or reduce it. In some styles of music, such as orchestral music, jazz, and blues, it is more likely to be accepted or even seen as desirable.
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Meeks' inability to play a musical instrument or write notation did not prevent him writing and producing successful commercial recordings. For songwriting, he was reliant on musicians such as Dave Adams, Geoff Goddard or Charles Blackwell to transcribe melodies from his vocal "demos". He worked on 245 singles, 45 of which reached the top fifty. He pioneered studio tools such as multiple over-dubbing on one- and two-track machines, close miking, direct input of bass guitars, the compressor, and effects like echo and reverb, as well as sampling.
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Karen did not possess a powerful singing voice, but close miking brought out many nuances in her performances. Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range. Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals. By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead.
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All parties soon moved to the main recording room, a large area with "a lot of natural ambience" according to sound engineer Tom McFall. A makeshift booth was built around the back of the drum kit to reduce any sonic interference, while a roof was sometimes used over drummer Matt Tong to isolate a pure sound. Different types of microphones were used for each component of the drum kit. The miking scheme was crucial to prepare the drum tracks for the looping and processing Lee planned using production program Logic.
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The Edge was encouraged by Eno to think of the studio as an instrument and to expand the range of his guitar tones, resulting in experiments with his equipment and guitar playing techniques. The producer processed the Edge's guitar through an AMS harmonizer effects unit, a Lexicon Prime Time delay unit, and a reverb chamber; Lanois at times confused the guitar sounds for keyboards. The Edge also used an EBow, a slide with echo, alternative guitar tunings, and a "zero sustain" technique that muted his strings with tape across the bridge. He experimented with the placement and miking of his guitar amplifier.
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Before the arrival of the Spanish the indigenous settlements constructions varied in architectural techniques. Most of the base of the houses were constructed with stones glued together with clay on a flattened terrain, the walls were made using a bareke mix, miking clay, intricate sticks and hay to create solid walls. The roof had a frame of solid sticks forming a cone and covered tightly in grass or palm branches. Indigenous like the Arhuacos had developed villages in the Sierra Nevada de Santa Marta mountain range which interconnected their houses through a system of stone roads and steps.
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Pitts continued to work in commercial radio through much of his time in New York City. He served as a Production Engineer at WNCN-FM from 1976 to 1991. In addition to his work miking, recording, editing, and mixing, he wrote a computer program called “Sked” to facilitate scheduling feature broadcasts. His commercial work garnered recognition through several industry awards, including sharing a Peabody Award and a Major Armstrong Award for his work on the program “Conversations with Horowitz,” and another Peabody Award for “New York City Musicbox.” In 1994, he began working at as a production engineer at WQXR until his retirement.
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At times, it was situated outside on the balcony encircling the castle, with close miking and, when it rained, a plastic cover to shield it.Graham (1996), pp. 22–23 This placement was originally done for sound isolation purposes, but ended up producing a good sound. Other times, his amplifier was placed at the bottom of a staircase, with one microphone there and another placed at the top of the staircase. A Fairlight CMI synthesiser was used during the demoing phase out of convenience to help fill in placeholder textures and string ideas, marking the first time the instrument had been used on a U2 album.
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Later, the band took a full brass section and choir on tour just for the purpose of performing this piece. However, this caused the tour to lose money, and the band found problems with the hired musicians, which changed from gig to gig as they simply took who was available, which, combined with lack of rehearsal and problems miking up the whole ensemble, made a full live performance more problematic. Reflecting on this, Gilmour said "some of the brass players have been really hopeless". According to Mason, the band arrived at one gig in Aachen, Germany, only to discover they had left the sheet music behind, forcing tour manager Tony Howard to go back to London and get it.
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Bass guitar was also recorded straight to tape "with a fairly ambient miking approach where the mic was three feet away from the cabinet". Vocals were recorded with Soundelux U99 Microphones, in combination with 1176 Classic limiter plug-in, Fairchild 670 Compressor and Elektro-Mess-Technik 140 Plate Reverb, giving the vocals a quality Batmanglij described as "buttery". For guitar sounds, Batmanglij chose not to mic his guitar and instead plugged his Les Paul direct-in to Pro Tools through a SansAmp Amp Emulation Pedal, a technique used by Jimmy Page. Vampire Weekend concentrated their efforts on giving each recording "warmth", feeling that modern digital recordings lacked the sound quality of older records.
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"Only Shallow" was recorded during the recording sessions for Loveless, which took place over the course of three years in nineteen recording studios. Originally, producer Alan Moulder was hired for the sessions in 1989 and was the sole engineer frontman Kevin Shields trusted enough to perform tasks such as miking the amplifier. Shields has since stated that all of the engineers "with the exception of Alan Moulder and later Anjali Dutt—were all just the people who came with the studio [...] Everything we wanted to do was wrong, according to them." During the spring of 1990, Anjali Dutt was hired to replace Moulder and assisted in the recording of vocals and several guitar tracks.
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Regarded by some commentators as the start of the group's psychedelic period, the songs reflect their interest in the drug LSD, Eastern philosophy and the avant-garde while addressing themes such as death and transcendence from material concerns. With no plans to reproduce their new material in concert, the band made liberal use of automatic double tracking, varispeed, reversed tapes, close audio miking, and instruments outside of their standard live set-up. Among its tracks are "Tomorrow Never Knows", incorporating heavy Indian drone and a collage of tape loops; "Eleanor Rigby", a song about loneliness featuring a string octet as its only musical backing; and "Love You To", a foray into Hindustani classical music.
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In this case, it is possible that the sound produced stems from miking an un-amplified electric guitar, rather than from the more conventional amplified usage. The EBow was used by Blue Öyster Cult lead guitarist Donald (Buck Dharma) Roeser, on their 1976 song, "(Don't Fear) The Reaper", to segue the middle instrumental lead break back into the final verse of the song. The device was used again on the follow-up album, Spectres, on at least one track ("Celestial the Queen"). The EBow is used by Radiohead guitarist Ed O'Brien for performances in songs such as "My Iron Lung", "Talk Show Host", "Jigsaw Falling Into Place", "Where I End and You Begin", and "Nude".
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Later, the band took a full brass section and choir on tour just for the purpose of performing this piece. However, this caused the tour to lose money, and the band found problems with the hired musicians, which changed from gig to gig as they simply took who was available, which, combined with lack of rehearsal and problems miking up the whole ensemble, made a full live performance more problematic. Reflecting on this, Gilmour said "some of the brass players have been really hopeless". According to Mason, the band arrived at one gig in Aachen, Germany, only to discover they had left the sheet music behind, forcing tour manager Tony Howard to go back to London and get it.
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As a songwriter and multi-instrumentalist, Lanois understood musical notation and was able to simplify the songwriting process for them. Drummer Larry Mullen Jr. in particular enjoyed working with Lanois, as the producer took an interest in the band's rhythm section, which Mullen felt had been neglected on their past recordings. Mullen called himself "not technically proficient" and appreciated Lanois spending time to develop his skills and encourage different approaches to playing drums. The producer convinced Mullen to utilise timbales and two types of snare drums (one being a piccolo snare) in his drum kit, and he explained how to use brushes and tom-toms on various drum parts. The crew also experimented with distant miking of his drum kit, placing microphones up to 60 feet away.
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This gives notably good isolation from handling noise; one reason for its being a popular microphone for stage vocalists. Microphones with this feature are intended primarily for hand-held use, rather than on a stand or for instrument miking. The SM58 is unswitched, while the otherwise identical SM58S has a sliding on-off switch on the body. Other suffixes refer to any accessories supplied with the microphone: when a cable is provided, the model is actually SM58-CN, while the SM58-LC has no provided cable; the SM58-X2u kit consists of the SM58-LC and an inline X2u XLR-to-USB signal adaptor (capable of providing phantom power for condenser microphones, and offering an in-built headphone jack for monitoring).
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But their real acoustic strength lay in the fact that the notched horns made them sound deep even though their heads were tight. The company claimed there was actually a difference of one octave between the head and the mouth of the drum, which was useful for recording because it offered many more miking options. The shape of this mouth was constant for all the drums, although its size was not. The bass drum was even more distinctive, with two ray-shaped mouths known to Staccato as Siamese Twins, but to the rest of the world as “elephant’s trousers.” They were designed to work like those old public-address systems you once saw at sports grounds, with two trumpets for spread, sharing a single diaphragm.
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The concert was recorded on a then-state- of-the-art, one-inch 8-track tape machine that was supplied by the band's record label, Warner Bros. The record company also insisted on supplying engineers who turned out to be unfamiliar with the close miking technique involved in recording rock music. Consequently, each of the eight tracks contained significant leakage from all of the other instruments in the band, resulting in severe phase cancellation problems. Almost twenty-four years later, Don Pearson and producer Dan Healy solved this problem by employing a B&K; 2032 Fast Fourier transform (FFT) digital spectrum analyzer to measure the delay in time between the different microphones, using the track of bassist Phil Lesh as the time centerpiece.
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Imaging is usually thought of in the context of recording with two or more channels, though single-channel recording may convey depth information convincingly. The quality of the imaging arriving at the listener's ear depends on numerous factors, of which the most important is the original miking, that is, the choice and arrangement of the recording microphones including the size and shape of the microphone diaphragms, and microphone placement and orientation relative to other microphones. For many listeners, good imaging adds markedly to the pleasure of reproduced music. One may speculate that this is due to the evolutionary importance to humans of knowing where sounds are coming from, and that imaging may, therefore, be more important than some purely aesthetic considerations in satisfying the listener.
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Though various effects were explored with later, Lifeson commented on the simplicity of recording: "It was just a matter of plugging into the amp and miking it". He had resisted the idea of recording his guitars outside of the studio's control room for the past 12 years, but Shirley talked him into playing in the studio room. After a few days, Lifeson enjoyed the experience and wanted to continue recording in this manner: "You could feel the wood of the guitar vibrating against your body, and it was more susceptible to that really cool feedback, and it was your own little world; it was a little bit of an escape". Lee used a 1960s Fender jazz bass and Lifeson played Les Paul, Fender Telecaster, and PRS guitar models.
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Contributors on the song include Steve Vai on guitar, Tony Williams on drums, Bill Laswell on fretless bass, and L. Shankar on violin. Tom Doyle of Sound on Sound said: "[Sound engineer Jason Cosaro] ...set Williams up at the bottom of The Power Station’s elevator shaft, both close- and distance-miking the kit to create the distinctive drum sound on "Rise" in particular: Shure SM58 on the snare, Sennheiser MD 421s on the toms and Neumann U47 FETs for the ambience." Bill Laswell recalled: “Myself and [guitarist] Nicky [Skopelitis] played in the control room... and everything was a first take. We were using the Fairlight computer as a kind of click track, and on the piece that became "Rise", Tony dropped a beat and we went back and dropped in this one beat.
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Although the album was not recorded with a single microphone like the original album, François Lamoureux aimed to be faithful to the idea, so he got a Holophone H2-Pro surround microphone and put the musicians in a circle, and augmented the recording with close-miking using ten Shure KSM141 mics. The Holophone surround mic picked up too much ambient sound from the church, and after mixing, only about 10 to 15 percent of the sound came from the surround mic. In 2008, Trinity Revisited was nominated for 5 Gemini Awards and won 2: Best Sound in a Comedy, Variety or Performing Arts Program or Series and Best Performance in a Performing Arts Program or Series. The same year, it was nominated for Music DVD of the Year at the Juno Awards.
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In 1983, two years after Robert Russell Bennett's death, Shaw recorded a somewhat revised digital stereo version of The Many Moods of Christmas, with the Atlanta Symphony Orchestra and Chorus, released that December by Telarc. It was the first of three Christmas albums that Robert Shaw recorded for Telarc. While the first version of The Many Moods of Christmas had been made with rather close miking in a recording studio, the newer version was recorded in the more spacious environment of Atlanta Symphony Hall in the Woodruff Arts Center, resulting in a recording with more reverberation than the first. The Shaw/Atlanta recording remains a popular seller, and had eclipsed the out-of-print 1963 version before the latter's digital release on a 1997 CD. Both versions are now best sellers.
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Reviewing it in 1988, Will Crutchfield wrote in The New York Times, "Unfortunately, the trio was recorded with bad balance and aggressively close miking, but the flavor (tart Mozart pastiche juxtaposed with popular song) comes through".Crutchfield, Will. "Recordings; A Wellspring From Poulenc's Song Legacy", The New York Times, 17 January 1988 There have been numerous recordings of the trio by other players. Among them are those by Pascal Rogé (piano), Maurice Bourgue (oboe) and Amaury Wallez (bassoon);Decca 4757097 James Levine, Hansjörg Schellenberger and Milan Turković;DG 4276392 Julius Drake, Nicholas Daniel and Rachel Gough;Cala CACD1018 Éric Le Sage, François Leleux and Gilbert Audin;RCA 88985321992 the Melos Ensemble;Warner Classics 9185142 the Nash Ensemble; Hyperion CDA67255/6 Fibonacci Sequence;Deux-Elles DXL1121 and the Poulenc Trio.
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Stone Temple Pilots marks the first time Robert and Dean have written together since Army of Anyone's only release in 2006 and also their first album to not feature their longtime producer Brendan O'Brien; some of Dean's contributions date from this period, but "Dare If You Dare" was written while Talk Show was touring. Robert and Dean began writing new material by November 2008, but, except for clips played during the tour sound checks, Weiland would not hear anything new until after February 2009. The recording process took place over a period of ten months, due largely to the band's touring schedule, but the majority of actual studio time was spent experimenting with different instruments and miking techniques. Pre-production for the album took place at Kretz's Bomb Shelter Studios and consisted mainly of Dean, Robert, and Kretz sifting through musical ideas.
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Modern Vampires of the City was an attempt by Vampire Weekend to distance themselves from the sounds featured on their debut record and Contra. "Whenever we came up with something familiar sounding, it was rejected", said Rechtshaid. The band credits Vox Studios with the defining special quality of the recordings, especially the use of their vintage analog tape machines, with Batmanglij remarking, "Much of the overall sound and approach to the album was being able to record the drums to tape on an old Ampex machine." The group wanted a unique drum sound, and so they recorded in a room with high ceilings and had engineer David Schiffman use a "pretty non-conventional drum miking setup" in which a pair of Neumann U 47s were used as over head mics with RCA 77dx ribbon mics between the Neumanns and the drum kit for added texture.
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Although this particular technique was used only on the two songs selected for the May 1966 single, an enhanced bass sound was a feature of much of the album. Emerick also ensured a greater presence for Starr's bass drum, by inserting an item of clothing inside the structure, to dampen the sound, and then moving the microphone to just 3 inches from the drumhead and compressing the signal through a Fairchild limiter. MacDonald writes that, despite EMI Studios being technically inferior to many recording facilities in the United States, Starr's drumming on the album soon led to studios there "being torn apart and put back together again", as engineers sought to replicate the innovative sounds achieved by the Beatles. The preference for close-miking instruments extended to the orchestral strings used on "Eleanor Rigby", to achieve McCartney's request for a "really biting" sound, and the horns on "Got to Get You into My Life".
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Modern popular music, in particular, is usually recorded using close miking techniques, which artificially separate signals into several tracks. The individual tracks (of which there may be hundreds) are then "mixed down" into a two-channel recording. The audio engineers determine where each track will be placed in the stereo "image", by using various techniques that may vary from very simple (such as "left-right" panning controls) to more sophisticated and extensively based on psychoacoustic research (such as channel equalization, mid-side processing, and the use of delay to exploit the precedence effect). The end product using this process often bears little or no resemblance to the actual physical and spatial relationship of the musicians at the time of the original performance; indeed, it is not uncommon for different tracks of the same song to be recorded at different times (and even in different studios) and then mixed into a final two-channel recording for commercial release.
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