Ditto the CV28. As long as you don’t get silly, the CV12 is fairly resistant to plosives, but you might notice a hint of sibilance with some vocalists. "I prefer it when people send me a Pro Tools file with consolidated files that are cleaned up and together. It works for them so I don't fault them for it, but I had to figure out a way of not doing that and still being able to compete with them. Nathan Chapman's approach to recording instruments is refreshingly simple: "I have three or four microphones that I swing into place when I need them and swing back when I don't.”. What creates the individual nature of an artist is how he or she approaches pitch in time. For this reason I love getting a rough mix. Occasionally, if I hear something that bugs me, I may brush it with a little Auto‑Tune, but more often than not I get vocals that are over‑tuned, and I'll ask for a version that's not tuned. I used the Renaissance Vox on most of them, and also the UAD 1176 and the Bomb Factory 1176. It also allowed me to use my API compressor and the Nightpro EQ3D over the two‑mix, so that pleased me. Two very serious valve microphones – and both at an incredibly competitive price point. "Recording on analogue was OK, but what you put in and what came out were two different things and there was a point at which this drove me crazy. All things considered, these are very impressive packages for the money. If gear gets in the way of music, then it's off track. I like that challenge. His web site shows him as a 10‑year‑old at a mixing desk with a track sheet, looking very serious. It has 9 pick-up patterns, as a result of which, recording with this mic is very easy and the true sound of instruments is easily captured. Grand piano now has a bright and a bit striking sound. "With Speak Now, we deliberately went back to our initial way of working together. plug‑in. "With regard to the drums, the parts we wanted the drummers to play were dictated by the demo. But not working with a template has made it hard for me to compete against the big mixers, who all tend to use them. We provide insight and opinion on the gear, tools, software and services to enhance and expand the minds of music makers and listeners. I've gotten used to certain procedures on a large desk, and I like the physicality of a large desk and the potential for mistakes and the unexpected. We had an unlimited budget, and could have gone and recorded the whole album in the Bahamas, used any studio we liked and whatever musicians we wanted. Reverb can eat a lot of space in a track, but I like the sense of space and colour and emotion that it can bring. What is a "hybrid" audio interface anyway? Two’s Company Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. As I mentioned before, I mixed to analogue, on an Ampex two‑track machine, and also had the mix on hi‑res Tascam DSD, and put the API compressor and NTI Nightpro EQ3D on the mix. Mix with the entire Beatport catalogue on virtual decks. That has been the main hurdle for me in mixing in the box — the technicality of it is not a big deal. He engineered the drums on a few tracks on Speak Now, and mixed the entire album, having also mixed the whole of Fearless. I like UAD's Pultec emulation plug‑in, and recently I've also become a big fan of UAD's Trident A‑range EQ. I don't know, for example, whether the Martech or the other stuff I have is the best. It’s the most wonderful time of the year for your plug-in folder. To me when we talk about a retro or vintage quality, it's not just about the sound, but also about performances from the days when things couldn't be edited or overdubbed to death. "The final thing to add, which is interesting, is that normally when I mix in the box I spend quite a bit of time adding plug‑ins that generate harmonic distortion and analogue‑like textures, but when I mixed 'Mine' this didn't come up. We felt that sending the mix through the Dangerous sounded good, and it was maybe taking a little bit of the load off the computer. We recorded ourselves live. Two new multi-pattern valve condensers have emerged from the Avantone stable. Interestingly enough, I'd done some kind of pre‑mix of 'Mine' for a video thing, with the original drums and bass, and Nathan and Taylor were like: 'This is cool, but we want to go a little bit more for a power approach.' I'll sometimes split off a third channel and have the UAD Fatso on that. I don't get precious about individual sounds at first, unless I hear something that requires real surgery. Written by Taylor SwiftProduced by Taylor Swift & Nathan Chapman. That song probably happened in two hours.”, With regard to his signal chains, Chapman says "I recorded Taylor's voice with an Avantone CV12, which I also used on Fearless, going into a Martech MSS10 mic pre, and then a Tube‑Tech CL1B compressor.All of Taylor Swift's vocals on Speak Now were recorded at the demo stage, on Nathan Chapman's Avantone CV12. Then, if you ever needed to record something in stereo, the CV12 and CV28 can be used for mid-and-side stereo. I have a Grand Piano Yamaha GB1, and it is about 11 years in exploitation. There are parts of making a record that are boring, and she was there the whole summer, including all the boring bits. After all that, we wanted to keep ourselves out of a place of failure, and not try to over-compensate for the pressure we were feeling for a follow up to Fearless. When queried, this indeed turns out to be the case, but not so much in his attitude towards gear as in an emphasis on the importance of performance. Slate Digital's new exciter based on the Dolby-A trick is a quick way to add excitement to tracks and mixes. I'll get the lead vocal up and I'll slap stuff in. it's a vintage sound for sure; however, detail in the top end is very clean, and the noise floor is … I'll have some moderate compression on the main lead vocal track, more often than not the Renaissance Vox, and I'll follow that with the good old Waves De‑esser. In the process Swift stepped up a gear, for while she co‑wrote a substantial number of the songs on her first and second albums, mostly with Liz Rose, she wrote all the songs for Speak Now by herself, displaying a remarkable degree of self‑confidence for someone so young. © 2020 MusicTech is a member of the media division of BandLab Technologies. And because the environment at my studio is pretty laid‑back, I usually get that. "I didn't use any outboard for this mix. To me that doesn't necessarily make things better, but rather tends to make things sound more processed. Vintage is about real music, a combination of a certain sound and the fact that people performed more, and things were mixed in a way that brought that out. I use the same mic and signal chain for recording electric guitars, though I have to say that I only used real amps for about 40 percent of my parts on the album. Also tested it with RODE K2. Taylor came to my studio and I played all the instruments on the demos, and because I have a good vocal booth, her demo vocals ended up being the vocals you hear on the record. The CV12 certainly distinguished itself on vocals, generating a full-bodied sound with plenty of low-mid girth and clearly defined consonants. "The recording industry is in crisis, and there are many reasons for that, but one of the contributing factors is technical, and the technical side of the industry needs to take responsibility for the problems we are having. Our exploration of LiquidSonics’ oeuvre reaches its celestial summit, as we ascend to seventh heaven. To provide a bit of context we put the CV28 up against an Elation KM201 and an Oktava MK012, both of which can also be purchased with a variety of interchangeable capsules. If we do make changes in the songs, like cut an instrumental section that appears two times, or rearrange things in other ways, it usually happens later on. I do my best to give every artist that I work with, and by now that's a ridiculous amount, a sound of their own. Music theory isn’t the be-all and end-all of becoming a great producer, but a little knowledge can help. I get a lot of stuff that requires my assistant to spend time going through it and cleaning things up and doing crossfades and things. After this I'll put down a bass part, and at this point we make sure we're really OK with the tempo and that we love the arrangement. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. The only thing I really don't like is the limiting that makes so many of today's records sound abysmal. You have to give me what you're passionate about, and then I can react to that and take it to the next level. Chapman appears to have slightly overdosed on music and the recording process at one stage, because in the late '90s he escaped to Lee University in Tennessee to do a degree in English. I may add an electric guitar to make the track bigger, and then she'll go into the vocal booth and she'll sing the song three or four times. "Nathan told you that many of Taylor's songs on this album had a retro quality? Mastering Essentials Part 3 - How loud should I master? I then tap out a tempo, she hands me her guitar, I go into a recording booth, put on headphones, start the click‑track and hit record. We added the other instruments as overdubs. Yeah, that fits. The huge pressure that must have resulted from all this appears to have rolled off her like water off a duck's back, for her third album, Speak Now, released in October 2010, appears to be on its way to become as successful as its predecessor. Something new this way comes. It's all about trying to create a picture and a mood. As an engineer I have always been wary of engineers who say that they can only work in analogue or this way or that way. There are times when people don't want me to hear the rough mix, and say, 'Go with your gut.' To hear that Niebank mixed Taylor Swift's Speak Now 'in the box' comes a little bit as a surprise, because he has a reputation for a more traditional approach to mixing and recording. By checking the boxes you agree to receive the following from us via e-mail. Logic has everything right there for programming, and I'll use it when I want to create loops and keyboard parts and am throwing out ideas. But it is amazing. Logic is a programmer's dream, and Pro Tools doesn't handle virtual instruments well. At the relatively young age of 33, he already has an astonishing three decades of music industry experience behind him, the reason being that his parents are Christian singers and recording artists, and as a result he's been in and out of studios and on the road from a young age. In Nashville, it's rare for a road musician to be on the record, but he earned his way into this record by kicking ass. Site designed & maintained by PB Associates & SOS but it certainly redeems with. My favourite new plug‑ins. ” in general I use a lot of EQ — I 'm more what. Feel good to me, he has that feel‑good side, and polished out. By crushing records to wrap around them want their faces ripped off by music there. Programming ; whatever sets me off to South Fremantle, Australia, to retain the sense intimacy. Jesper Kyd on how they mixed modern techniques with digital as they used with analogue, and on. 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