Category: Recording

Nikki Sixx Gives Mötley Crüe Update from the Studio: “Bob Rock is pushing us hard” – 2023

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Nikki Sixx:

I’m sure you all know how important lyrics are to me. This new set feels more personal since we haven’t recorded anything new in awhile. The studio is a highly creative space and with us recording I thought I’d try to get a creative head start on some of these for Vince. I got one done and gonna try to wrap up the next one and show it to the guys. Bob Rock is pushing us hard and bringing out the best in us. Tommy is playing his ass off. Jesus these drums sound huge. Probably lay down my final bass tracks in the next few days. John is so fast I’m sure he will get all the songs done in just a few days. But then again Bob Rock loves those huge walls of guitars so it could take a moment.😂 Gonna take a break from recording to fly to Kansas City to rehearse and then play the @nfl draft show and then back to finish it all off. (Excited about the show ) – When will it come out? Not sure. We haven’t thought that far down the line. Just letting the music guide us. Ps We had a special visitor today.

Tags John 5, Motley Crue, Nikki Sixx, Tommy Lee, Vince Neil

Cool Chitz History Music Recording Top Stories

Ex-MTV VJ Matt Pinfield in Studio A at Sunset Sound: “The Doors and Van Halen did multiple albums here” – COOL AS CHIT HISTORY

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Matt Pinfield:

Two years ago today in Studio A at Sunset Sound being interviewed for the KISS A&E documentary. Prince recorded Purple Rain here – The Doors and Van Halen did multiple albums here. The Stones finished Exile on Main Street and Led Zeppelin recorded part of their second album here.

Tags Matt Pinfield, Prince, Rolling Stones, Sunset Sound, The Doors, Van Halen

Cool Chitz History Music Recording Top Stories

Tracii Guns: “In 1987, recording rhythm guitar for the debut L.A. Guns record” – Cool As Chitz History

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Tracii Guns:

Here I am at The Village Recorder Studio (West Hollywood) in 1987, recording rhythm guitar for the debut L.A. Guns record. BC Rich lent me this guitar while they were in the process of building my original Gunslinger, Mockingbird and Bich guitars. Can anyone guess who this particular guitar was built for? The hint would be saw blade cod piece.

Tags L.A. Guns, Tracii Guns, W.A.S.P.

Guitars Music New Releases Recording Top Stories

Wolf Van Halen Begins Recording Guitars for New Mammoth II Album – 2022

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Wolfgang Van Halen:

Guitars are a go. It’s definitely sounding like Mammoth II in here 🤌

Tags Eddie Van Halen, Wolf Van Halen

Gear Guitars Listen Music Recording Top Stories

5254 Dual Diode Bridge Compressor by Rupert Neve Designs – VIDEO – Tutorial – Info

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Rupert Neve Designs: …how does it sound? The best way to audition any gear is to try it in your own setup, but this video series is here for when that’s not an option. Hear how the 5254 Dual Diode Bridge Compressor brings out the attack of the electric guitar while smoothing out the dynamics and enhancing the overall ambience of the track.

5254
Dual Diode Bridge Compressor

Two channels of iconic diode bridge compression, thoughtfully improved and refined for modern tracking, mixing, and mastering.

Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 5254 Dual Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.

What is diode bridge compression?

Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.

By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.

Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the 5254 Dual Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.

Classic Diode Bridge Tone
Capture the punchy, larger-than-life tone used on countless hit records for the last 50 years.

Advanced Timing Controls
Custom-shape your compression envelope with the unified timing control, which enables a much wider range of responses than vintage units or clones.

Custom Transformers and Class-A Line Amplifiers
Vintage warmth meets the improved headroom and precision of Rupert Neve’s updated transformer-coupled line stages.

31-Position Detented Controls
Accurately recall and match your settings with precision and speed.

Built-In Parallel Compression
Internal blend control enables you to subtly dial in more dramatic compression settings for color as desired.

Full-Wave Sidechain Detection
Enhanced from the vintage units’ half-wave design, the updated sidechain detector provides substantially more accuracy.

Stereo Linking
Run your compressors in either dual mono or stereo configurations.

Internal Universal Power Supply
EIC connection for world-wide AC power from 90-240V embedded in the 1U rack-mountable chassis.

Tags Compressors, Neve, recording, Rupert Neve

Listen Music Recording Top Stories

Sammy Hagar & Ted Templeman on Capturing Van Halen’s Background Vocals – Michael Anthony & Eddie Van Halen – 2022

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On Sammy Hagar and the Circle’s new album, ‘Crazy Times’, producer Dave Cobb wanted to get the most out of Michael Anthony’s signature backup vocals, especially that signature Van Halen sound 🎤 With the help of VH/Sammy/Montrose Producer Ted Templeman, he cracked the code & then kept going, showcasing Mike’s voice in a new way!

Sammy Hagar:

Mikey (Michael Anthony), I want to hear those Van Halen vocals. Those classic background vocals, that car horn (sings the line “Right Now”). I go, “I want to hear that all over this record,” and he got it. We called up Ted Templeman, who produced all the Van Halen records right up to For Unlawful Carnal Knowledge and then I worked with him before Van Halen and with Montrose.

I called up Ted and said, “Ted, how did you record Mikey’s voice on the Van Halen records?” We didn’t pay attention to that. He said, “Oh, we triple-tracked it, and then he double-tracked one vocal on the second harmony that he was doing with me. Then we ran it through this and that and used a certain kind of mic,” and we did it. It was like, “Whoa, there it is.” It just captured everything.

The greatest thing we got out of Mikey was we let him sing all the background vocals. I just did parts with him, and Vic (Johnson) did one song or two songs on a little part with us. Jason (Bonham) sang a couple of little parts. It was the epitome of that Van Halen, high – Mike’s background vocals are killing it. I bet he spent more time on background vocals on this record than he’s ever spent on any record we made before because we just layered them and came up with all these ideas.

When Dave Cobb heard what Mike could do, he was going: “Wow, try this. Oh, wow, let’s try that.” Then all of a sudden, I’m going: “Man, Mike’s been in there eight hours. I’m going to dinner, man. I’ll be back when Mike’s done.” He really utilized it, and he got excited when he heard what he could do. It inspired him as a producer, sounds like “Here Comes the Sun” or something, some of this stuff. It’s not beautiful…it’s beautiful, but it’s actually kind of dark and kind of vibe-y. This record is vibe-y. Crazy Times.

During a conversation with Ultimate Classic Rock, producer Ted Templeman pointed out that Eddie Van Halen’s voice was also an important ingredient in the band’s indelible vocal alchemy.

Ted Templeman:

“Ed’s background parts are part of the sound of Van Halen. A lot of people don’t realize that. They think about him as the guitar hero, but he was part of that youthful sound that came out right away, at the very beginning, even on ‘You Really Got Me.’

“The thing that got me, I’m watching Ed and Mike sing and I’m going, ‘How do these guys … ?’ Ed sings so great for [being] the guitar player, you know? Most guys who play that kind of guitar don’t sing that well. But he had this great, youthful voice. He’s part of the sound, that California Sunshine sound [of] heavy metal. That was all part of Ed’s sound.”

Tags Eddie Van Halen, Michael Anthony, Sammy Hagar, Van Halen

Gear Listen Music New Releases Recording Top Stories

Trent Reznor Talks Synths: “I’m trying to stay 17 years old and part of me has never matured past that” – 2022 – INTERVIEW

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Synth History:

New interview up with the legendary Trent Reznor. Had the chance to watch an amazing Nine Inch Nails performance at Primavera this past weekend.

You can read the entire feature @ this location. An excerpt from the interview has been provided below.

EXCERPT:

Synth History: Out of all the synths you’ve had throughout the years, do you have some all-time favorites?

Trent Reznor:

All-time favorites. It’s like when someone says, “What’s your favorite movie?” I love synths. I grew up in rural Pennsylvania, far away from anything cool. I was kind of trained to be a piano player, was being urged to be a classical pianist and drop out of school and study with a nun at about age 12. And then I got exposed to Kiss and I realized that I want to do that. You know? I want to be in a band. I also want to escape from this town somehow. My dad got me a Wurlitzer electric piano with a phase shifter, an MXR Phase 100 pedal. Started playing, got some friends, we played in basement bands and fucked around a little bit and I’m dying to get a synthesizer. It wasn’t until a few years later I got a Moog Prodigy, which we could afford, my grandpa got it for me. And that blew my mind. Pitch bend can’t do that on a Wurlitzer. And I just loved that thing. So there’s a soft spot for that and the sound of Moog.

Eventually, I got a Korg Mono/Poly… chords! And I don’t know, I just thought I’d throw that little bit of history in there. But I mean, I look at what’s available now. In terms of this kind of renaissance of analog synthesis and excellent recreations and reissues of some classic synths, the Prophet 5 and 10, the Moog Modular shit, I think they’ve done a great job. Even Korg with the Odyssey and 2600. You add that to the limitless amount of plug-ins that I think are also pretty excellent, Arturia’s shit and G-force. There‘s some great things out there. It makes me appreciate the scarcity of what I came up with, when you could afford one thing and you had to learn every possible trick and you’ve mastered it.

My first real sampler was an Emax. I started working at a keyboard store in Cleveland mainly just to get discounts on shit – and also to be punished eight hours a day showing assholes how synthesizers work and stuff. The Mirage was the big breakthrough at the time, sounds like an Emulator, you know, for a 10th of the price. Anyway, I got an Emax and that was Pretty Hate Machine. It was pretty much all Emax and just figuring out every way to milk every bit of interesting stuff out of the limitations you had. Jump ahead to now, I have the privilege of not only having a lot more stuff being available but being able to afford stuff and collect things and spend time with them.

My relationship with synths now, I was thinking about this, I still get excited about new video games that come out because I’m trying to stay 17 years old and part of me has never matured past that. And synths, apart from my kids and watching what they’re excited about, that’s what interests me more than anything, kind of just new stuff coming out. What I’ll do at the studio now is when something grabs my attention bring it in and there’s always a good song in everything, an interesting experience to be had. The good synths that make it, stay in the room after a while might become the thing that you really love.

What synths stay in the room and sound good no matter what?

Right now, what I don’t let leave the studio, I invested in a reissue Moog IIIc. A couple years earlier I got the Model 15 reissue, so I wanted to kind of expand it and see it with an older Moog oscillator approach. And that I find fun. I don’t end up using it that much, because what I struggle with in the studio is following a creative path. If I’m in there writing a piece or we’re scoring a film, I usually have this thing I hear in my head and I have to translate it to the computer. A lot of times with modular it’s leading me somewhere. I might go in with an idea, but it changes the path and I want to pursue that. But a lot of what I’m doing in the studio is – I have this thing I have to quickly get out before I forget it. I find that turning to something that’s too open ended can distract me down to something else…

You can read the entire feature @ this location.

Tags keyboards, Nine Inch Nails, Synths, Trent Reznor

Behind the Album Cool Chitz History Listen Music New Releases Recording Top Stories

Eddie Van Halen on the Recording of Van Halen I: “The album is very live. No overdubs.” – 1978 Guitar Player Magazine Interview

Jas Obrecht: Here’s the audio of Eddie Van Halen’s first interview, done backstage at Bill Graham’s Day on the Green in July 1978.

I was shooting basketball backstage at the July 1978 Day on the Green concert in Oakland, California, when a young guy came over asked if he could join me. After a spirited game of one-on-one, we sat down to cool off. He asked me what band I was in. When I told him I was an editor for Guitar Player magazine, he said, “Why don’t you interview me? Nobody ever wants to interview me.” I asked him who he was. “My name is Edward Van Halen.” Whoa! I turned on my tape recorder and Eddie gave me what he’d call “my first interview.” This excerpt is the beginning of that conversation. You can access the complete interview @ this location.

**INTERVIEW EXCERPT (Transcribed by full in bloom)**

How long did it take to cut the first album?

Eddie Van Halen:

Three weeks. The album is very live. No overdubs, just imagine Ted Templeman. I’d say out of the ten songs on the record, I overdubbed the solo in two, “Running with the Devil” and “Ice Cream Man”…and “Jamie’s Cryin’,” three songs. All the rest are live.

I used the same equipment I use live, one guitar, solo during the rhythm track. Al just played on one set of drums (laughs), and Mike, you know, and Dave stood in the booth and sang along lead vocals at the same time. The only thing we did overdub was the backing vocals because you can’t play in the same room and sing because the amps would bleed through the mics.

But the music, I’d say, took a week, including “Jamie’s Cryin’,” which we wrote in the studio. I had the basic riff to the song; I was just dicking around. And my guitar solo, “Eruption,” wasn’t really planned to be on the record. Me and Al were dicking around rehearsing for a show at the Whisky, so I was warming up, practicing my solo. Ted walks in and goes, “Hey, what’s that?” I go, “That’s a little solo thing I do live,” and he goes, “Hey, it’s good, put it on the record.” Same with “Jamie’s Cryin’.” The music took about a week, and the singing took about two (weeks).

What’s the difference between the studio playing and your live playing?

Well, between that record and the shows we’re doing now, I’d say none. (laughs) Because you’re jumping around, drinking a beer, getting crazy in the studio, too. There’s a vibe on the record, I think. To me, a lot of bands keep hacking it out, doing so many overdubs, double-tracking, and shit like that. It starts to not sound real. Then a lot of bands can’t pull it off live because they overdubbed so much stuff in the studio that it either doesn’t sound the same or they’re standing there pushing buttons to get their tape machines working right or something. We kept it real live. The next record will be very much the same.

You already got plans for it?

Oh, for the first record, we went into the studio one day with Ted and laid down…we always played live, you know…we laid down like forty songs. And out of those forty, we picked nine and wrote one in the studio for the record. So, we got plenty of songs.

As a matter of fact, I’m going to get together with Ted on Wednesday and figure out which songs from that tape that we’re going to use for the next one. But we’ve been writing. We’ve got so many more songs since that tape, and we got like thirty songs left just on that tape. I think we’re going to use just that tape for the next album because Ted seemed pretty sure that we got some hit action, or whatever, just out of those songs. A little polishing here and there. The basic ideas are there.

You can access the complete interview @ this location.

Tags Behind the Album, Eddie Van Halen, History, Van Halen

Cool Chitz Music New Releases Recording Top Stories

Avenged Sevenfold’s Synyster Gates: “Yes, mixing a record w/ Andy Wallace is as special as it gets” – 2022 – NEW ALBUM

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Synyster Gates:

Yes, mixing a record w/ Andy Wallace is as special as it gets

Yes, he’s the fucking 🐐

Yes, his car collection is also the 🐐

Yes, we r drinking martinis way too early in the day 🍸

And FUCK YES, to another 17 yrs of great friendship and memories🥂

Tags Andy Wallace, Avenged Sevenfold, engineers, Synyster Gates

Behind the Album Interviews Listen Music New Releases Recording Top Stories

Producer Max Norman on Ozzy Osbourne’s ‘Blizzard’ & ‘Diary’ Inside the Albums, Randy Rhoads, Bob Daisley, Lee Kerslake – 2022 Interview

This is a full in bloom interview with producer/engineer Max Norman.

LISTEN TO THE INTERVIEW VIA THE EMBEDDED YOUTUBE CLIP BELOW. You can access the video directly on YouTube @ this location.

DESCRIPTION:

Max talks about how he recorded Ozzy Osbourne’s ‘Blizzard of Ozz’ and ‘Diary of a Madman,’ and what it was like working with Ozzy, Randy Rhoads, Bob Daisley, and Lee Kerslake.

Tags Bob Daisley, Inside the Album, Lee Kerslake, Max Norman, Ozzy Osbourne, Randy Rhoads

Behind the Album Cool Chitz History Listen Music Recording Top Stories

Mötley Crüe Engineer Talks ‘Too Fast for Love’ Recording Sessions: “They told me they would buy girls’ jeans” – Robert Battaglia – 2022

Metal Edge: What’s the big deal about the Leathür Records version of Mötley Crüe’s ‘Too Fast For Love’? We talked to original album engineer Robert Battaglia and superfan Tracii Guns to get the scoop. You can read the entire feature @ this location.

EXCERPT:

Too Fast For Love’s original sessions took place at Hit City West, located on West Pico Boulevard in L.A. Artists who’d previously worked at Hit City included r&b star Bobby Womack and Beach Boys singer Mike Love. For Too Fast, the primary recording engineer was Glenn Feit, his first-name misspelled “Gleen” in the liner notes. Additional engineers on those sessions include Avi Kipper and Robert Battaglia.

Battaglia, who goes by Bert and now resides in Nashville, recalls Mötley “seemed to be ready. They already had a following.” As far as the dynamic between the famously combustible band, Battaglia says, “they certainly were friends.” He recalls Sixx being, a “sweet, nice guy.” Lee’s drumming? “Interesting and really powerful. He had more energy than you could even imagine.” Mars, he continues, seemed more seasoned than the others, including in “the way he carried himself.”

Battaglia says Neil and the entire band always showed up at the studio like they were about to go onstage. “Their hair was done, and there were metal spikes, leather jackets and chains. They told me they would buy girls’ jeans. They were what they were. That aura, yeah.”

Hit City West was, as Battaglia remembers it, “a medium-sized studio, in price and gear.” He says Too Fast For Love was cut on a Soundcraft console, to an MCI 24-track analog tape machine, and that the best vocal mic they had back then was a humble AKG 414. There was a small lounge area equipped with a then-nouveau Pac-Man arcade game that the Mötley guys played between takes. As far as the band’s now infamous decadence, Battaglia says, “I never saw a drug or partying or even a beer” during the Hit City West sessions.

You can read the entire feature @ this location.

Wikipedia:

The first ‘Too Fast for Love’ recording session was in October 1981, six months after the band first played the Starwood nightclub. They recorded for a few days at Hit City West, a small studio in the Hollywood district of Los Angeles.

The first edition of 900 copies was released on November 10, 1981, via the band’s original label Leathür Records. Elektra Records signed the band the following year, at which point the album was remixed and partially re-recorded. This re-release, with a different tracklisting and slightly different artwork (e.g., red lettering on the cover and a different interior photograph of the band), has become the standard version from which all later reissues derive.

The re-recorded album also removed the song “Stick to Your Guns”, though it is featured on a bonus track version of the album. The original mix of the album remained unreleased on CD until 2002, when it was included in the Music to Crash Your Car to: Vol. 1 box set compilation.

“Live Wire” Original Leathür Records

“Live Wire” Elektra Records Remix

Tags Behind the Album, History, Motley Crue

Behind the Album Cool Chitz Gear Listen Music Recording Top Stories

Producer Bob Rock Talks Tommy Lee’s Drum Sound on Motley Crue’s ‘Dr. Feelgood’: “He hit so hard that the drum would almost compress itself” – Recording Technique – Mics

This excerpt was taken from a series of interviews producer/engineer Bob Rock did with Tape Op. You can read more @ this location.

On Mötley Crüe’s Dr. Feelgood:

Tape Op: That sound helped usher in a new, mainstream respectability for metal production. What were you hearing differently from the rest of your peers to inspire you?

Bob Rock:

My production, at that point, was more to do with sonics. In the ‘80s, production was about sonics, about the sound. Coming from an engineering/mixing background, I went into Mötley with that in mind. With Dr. Feelgood, I was trying to make everything as big and powerful as I possibly could. There was no preconception as to what I was doing. It was more like, “Okay, let’s get in there!

Tape Op: Your drum sound is legendary. How did you create and capture that to tape?

Back then it was the beginnings of hip-hop, and I think bottom [end] was becoming bigger and bigger. My mic techniques that I had at that point were all ones I’d picked up from working with the different people. Then, in time, I’d adopted my own sound. Everything is derivative so, for instance, when Bob Clearmountain [Tape Op #84] was in the studio working with Bryan Adams, I’d go in at night after session, look at all the mics, and combine that with other people I had worked with through the years. It was a question of learning good mic’ing techniques. It’s pretty much stayed the drum sound – without being mixed – it’s pretty much what I get these days.

Back then, I used a [Sennheiser MD] 421 in the kick, an [Electro-Voice] RE20, and usually a [Shure SM]57 or [Shure SM]86 on the snare. For overheads I used [Neumann U] 87s or [AKG C] 460 Bs, room mics were condensers, and I’ve always double-mic’d my toms; top and bottom. That’s stayed the same, pretty much to today.

Metallica records are slightly different. With The Black Album there was maybe another 40% of top-end on everything; I think everything became a little tighter, and there was a lot more damping.

A lot of Tommy Lee’s drumming, back then, I think the big shocker there was I had to open up the mics – he was such a loud hitter that he would actually compress the drums. He hit so hard that the drum would almost compress itself, so I remember I would have to back off the mics. It was really a question of trying to tame that energy, as well as getting the right distance on the cymbal mics because of the size of the cymbals.

I think the big thing with the sound of the drums on these albums came in the mixing. In mixing, it was pretty much Tommy pushing me, and me figuring out a way to make it happen.

Tape Op: You broke some new ground in relation to the hybrid way you built out Tommy Lee’s drum sound on Dr. Feelgood. Could you deconstruct that for us?

By using samples in conjunction with the drum kit to get the weight and the size of the drums. Tommy would tap me on the shoulder and say, “Rockhead, could I have a little more bottom?” Of course, we’d add bottom to the kick; the kick would be thumping, and there wouldn’t be any bass [guitar]. Then we’d increase the bass and the definition would be gone. If you listen to the beginning of Dr. Feelgood, what I did was triggered a bass tone with an AMS [digital delay] – like one hit on the bass that’s hammered. And that’s with the kick drum. In mixing the drums on…

I’m a longtime subscriber to Tape Op. It’s the only magazine I read cover to cover. -full in bloom

If you are into recording, then you either already know about Tape Op, or you’ve been missing out. You can subscribe @ this location. It’s FREE!!!!

Tags Behind the Album, Bob Rock, Inside the Album, Motley Crue

Gear Listen Music New Releases Recording Top Stories

Producer/Engineer Tony Platt on the Pultec Passive EQ Collection: “These are excellent versions of these iconic units!” – Universal Audio – VIDEO – Tutorial

Tony Platt:

Delighted that Universal Audio have released the native version of the Pultec Passive EQ Collection. These are excellent versions of these iconic units!

The Pultec Passive EQ Collection includes three legendary EQs that give you all the analog magic of the original hardware right in your DAW. Sculpt your low end and add silky highs with the EQP-1A, shape your mid frequencies with the MEQ-5, and remove unwanted frequencies with the HLF-3C.

These astonishingly accurate EQs are nearly indistinguishable from the original analog hardware, giving you the same rich tones used by the producers of John Mayer, Daft Punk, Mariah Carey, and more.

Craft Legendary Low End: The EQP‑1A

Make confident broadstroke EQ moves and get the vibiest low‑end you’ve ever heard. From bass guitar and synth bass to kick drums, you’ll be amazed at the tight, focused thump, with the twist of a couple knobs.

Customize Your Mids: The MEQ‑5

Add vibrancy and depth to vocals, guitars, and keys — the important “power region” of your mix — with the MEQ‑5’s two bands of mid boost and single band of midrange dip, complete with unique filter interactions of the vintage hardware.

Get Cleaner Mixes and Effects: The HLF‑3C

With just two controls, the HLF‑3C will give you retro, lo‑fi effects on your vocals and instruments, or let you surgically remove troublesome frequencies like excessive hiss and rumble that can build up and muddy your mixes.

Tags Plugins, recording, recording vocals, Tony Platt

Flashbacks Listen Music Recording Top Stories

Joe Satriani and John Coniberti @ Fantasy Studios ‘old school guitar punch-ins’ 1989 – VIDEO – Flashback Friday

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Joe Satriani (Official):

Flashback to 1989, Joe and John Cuniberti recording at Fantasy Studios. 🎸 The pair are working on some old school guitar punch-ins & outs for “Can’t Slow Down” 🤘