Brian Kehew etc Studio Notes

[lll]

Compiled these from interviews, snippets.

SM56 x2 ([#11] one bright /straight, [#12] one dark / angled 45 deg)

UA 1176 compressor

*Kehew states "brightness of the 1176 added some zing"

Room mics

API-ish board

Pultec EQs

EMT140 (stereo)

(pre-delayed) Sunset Sound Chamber Reverbs (stereo)

*Kehew states "same stereo reverb used on vocals etc in the mix"

*Kehew states "the Record Plant echo chamber is in STEREO on both channels"

*Templeman states "placed one of Edward’s cabinets inside one of Sunset Sound’s reverb rooms and then had Landee treat the sound with the studio’s EMT Plate Reverb unit"

( cab > echo chamber > EMT Plate )

*"For VH1 the 2 mics produced a brighter and darker tone according to their position then these 2 tracks were mixed by Ted Templeman and then re-amped through the Alto Lansing speaker in the Sunset Sound reverb room with a mic(s) at different positions picking up the reverb reflections.
This was done not once but twice, with one reverb re-amping producing the heavy reverb that was mainly panned to it's own channel and another reverb re-amping producing a lighter reverb mainly on the main channel.
Donn Landee set up the reverb room for the different reverbs.
Then there is Ted Templeman's final light EQing etc and final mastering." ?


===

1/4" tape machine

*Kehew states "The echoes were also 1/4" machine"
*Kehew states "During the tapping part of the solo - stereo 1/4" tape delays are brought into the mix"

Compex limiters ?

*Kehew states "They also used Compex limiters in addition to 1176"

2" tape Scotch 250

*Kehew states "Scotch 250, 30 ips, non-Dolby, 24-track 2" tape"

9db gain @ 6K & 12K supposedly ?

Eventide ?

*"a slight 10 millisecond delay added to the dry tone with a Evantide, and a hard pan from the output of an EMT plate reverb."

[PLX]

I guess I'm retarded because I can never get a good sound using the Eventide harmonizer.

[lll]

I guess I'm retarded because I can never get a good sound using the Eventide harmonizer.

The Eventide (H910 to be exact) in this particular case was only used for a delay (~10ms), not for the pitch capabilites.

They didn't have reverbs with "pre-delay" on them back then, so my guess is Donn/Ted used the H910 (and there's a pic of them at Sunset in the control room hanging out on the console with an H910 on the wall behind them) to add a "slight 10 millisecond delay" before piping to the reverb.

The reason for using reverb "pre-delay" is to have the main notes ring out without reverb mush, then a little delay, then the reverb hits. Makes things clearer. (and gives a little depth)