5/25/2023 0 Comments Soundation not making sound![]() For subtle console harmonics and saturation you could also try NLS Non-Linear Summer using either Mike Hedges’ TG setting or Yoad Nevo’s Neve sound.ĭark Side of the Moon was tracked on an EMI TG12345 console. This console features a great EQ and a wonderfully characterful compressor and limiter, and you can ‘drive’ the circuitry for even more color. For the full console channel approach also try the EMI TG12345 Channel Strip modelled on the console used at EMI studios for albums like Pink Floyd’s Dark Side Of The Moon. In a similar vein, the API 550 EQ plugins are forgiving and smooth. The controls are quite limited and idiosyncratic, but their limitations help you make careful EQ choices. The Kramer HLS Channel is modelled on the Helios consoles pioneered at London’s Olympic Studios, and used on sessions in the 1970s by the Rolling Stones, Deep Purple, Peter Frampton and also Led Zeppelin, who recorded tracks there for all their albums up to and including Physical Graffiti in 1975. Unlike fully featured modern digital EQs (for example the H-EQ), 1970's console EQ was often simpler and broader. Authentic Period Processing: Console EQ, Compression and Saturation On John Lennon’s “Instant Karma,” Phil Spector went crazy with the delay!Ĥ. IR-1 Library’s Elevator Hallway setting is a good starting point for this tone, but you might want to back off the high frequency EQ a touch. Led Zeppelin were pioneers of a bigger, ‘roomier’ drum sound. ![]() If you are using artificial MIDI drums, try and turn off any ambience in the drum instrument plugin and instead add some of the IR-1 recording studio ambience, to give the whole record a cohesive sound. This approach is suitable for almost all sources except perhaps bass guitar. You don’t want anything too bright or long, so perhaps in the Recording Studios section of the IR1 library try JMC and use one of the ‘absorptive’ settings, or for something ‘woodier’ try Konway Studio C. Put the plugin on an aux channel so you can send varying amounts of multiple signals to the same room setting. There are a number of suitable settings in the IR-1 library to achieve this sound. The lack of shiny surfaces meant that any ambience was often relatively dull. Records were made in fairly dead spaces, but they were often sizeable rooms with a little bit of “air,” so sometimes a touch of short reverb will add some vintage magic. There was often a bit of space around things that got lost in the density of the mix. However, sometimes “dry” isn’t quite all it seems. New York Dolls’ 1973 eponymous album featured dry drums and guitars. Set the range to a positive value, the duration and release fairly short, and this will have the effect of making things sound a bit closer and tighter. If you are presented with ambient tracks that you need to dry up, one relatively easy method which works on many instruments is dialing up Trans-X to increase the power of the transients, while reducing the sustain portion. ![]() With the growing hi-fi hobbyists market wanting ultimate fidelity and clarity, close-micing and “dead” studio acoustics became fashionable. Nevertheless, there are a few general approaches that can help nudge your mixes towards a ‘70s flavor.Īfter the proliferation of reverb during the ‘60s, with records like Phil Spector’s hugely lavish productions, there was somewhat of a pull-back from that early in the 1970s. There was also greater diversity in styles – rock, disco, reggae, funk, punk and myriad other styles all developed their own sonic signatures. At the end of the 1960s, 4 track had increased to 8 track, and in the early ‘70s things advanced quickly onto 16 track and 24 track the latter format proving popular until digital formats started to take over in the ‘90s. This also led to more time spent overdubbing recordings. Greater recording fidelity was achieved with better recording consoles, tape machines and monitoring, and methods and attitudes changed with an increased number of available tracks. Those familiar with recordings from both the ‘60s and ‘70s will often be able to hear an unfamiliar record and date it fairly accurately by the nature of the sonics. ![]() Get inspired using the authentic sounds of the era when mixing in the box.Īfter the huge growth of pop music culture during the 1960s, there was rapid advancement in recording technology towards the end of the decade. 1970s recordings saw a rapid improvement in technology from the previous decade, which resulted in some signature sonic tones.
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