Question for Michael Wagener

[Hysteria]

Hi Michael

I wonder if I might trouble you with some questions about sessions with White Lion and Bonfire.

I am very interested in the use of reverb back in the 80s (I have a similar thread running in 'So much gear so little time' but this is more specific). I am also a huge fan of 80s 'stadium rock' acts and would like to know about the reverb choices that were made back then especially with regard to vox and bvox.

The whole treatment applied to these albums is extremely effective (imo) at highlighting the melodies and textures of the songs - shame everything has to be in your face these day (like the last Iron Maiden album Dance of Death, which was ruined by someone)

Many thanks

Hysteria

[mwagener]

Originally posted by Hysteria
Hi Michael

I wonder if I might trouble you with some questions about sessions with White Lion and Bonfire.

I am very interested in the use of reverb back in the 80s (I have a similar thread running in 'So much gear so little time' but this is more specific). I am also a huge fan of 80s 'stadium rock' acts and would like to know about the reverb choices that were made back then especially with regard to vox and bvox.

The whole treatment applied to these albums is extremely effective (imo) at highlighting the melodies and textures of the songs - shame everything has to be in your face these day (like the last Iron Maiden album Dance of Death, which was ruined by someone)

Many thanks

Hysteria

Sure, go ahead, what do you want to know specifically?

[Hysteria]

Originally posted by mwagener
Sure, go ahead, what do you want to know specifically?

Hi Michael

Many thanks for responding.

Specifically, what reverbs did you use for lead and backing vocals?

Did you find blends of reverbs were needed?

Were the vox or bvox verbs typically the biggest (longest) used on the production (I guess the snare might be a contender for this in some cases) and did you find that you added some of this long verb to most other components of the mix to create a cohesive sound?

Any other information about the vocal production would be appreciated such as use of delays, typically EQ treatment (esp. on bvox) and typical level of compression. Also, how much use did you have for exciters.

What would have been done at the mastering stages (when these albums were ported to CD) in terms of enhancement (e.g. widening?). Were you happy with CD releases of albums that were originally released to vinyl (in those days) or did you find they suffered from the record companies grabbing any old nth generation master and transferring it as quickly as possible?

I hope there's not too much here, please just answer what you have time for, the verb stuff is my primary interest though overall production techniques used back then is fascinating to me.

Many thanks

[mwagener]

Originally posted by Hysteria
Hi Michael

Many thanks for responding.

Specifically, what reverbs did you use for lead and backing vocals?

Well, let’s see. In the mid 80s (early Bonfire, White Lion etc.) I mixed at Amigo Studios in North Hollywood (now sadly bulldozed to the ground). For the longer reverbs, I used mainly the Lexicon 224 smooth hall programs. For the shorter Rooms I used the Klark Teknik DN780. The longer verbs were around 1.7 – 2.2 seconds with less early reflections and more attention on the actual reverb and the rooms were always under 1 second with more emphasis on the early reflections. For lead vocals (and snare) I normally use a longer pre-delay, around 15 – 35 ms, and for backings a shorter, if any pre-delay. That way the backings appear behind the lead vocal. For the guitar I also would occasionally use a spring reverb, forgot which model, but I think it was an Orban 19” box.

Did you find blends of reverbs were needed?

Yes. To the day I use a basic setup of two reverbs, long and short. The reverb times and algos for the early reflections and rooms are dependent on the songs structure.

Were the vox or bvox verbs typically the biggest (longest) used on the production (I guess the snare might be a contender for this in some cases) and did you find that you added some of this long verb to most other components of the mix to create a cohesive sound?

I try to stick to the two kinds of verbs described above and put the whole band into a space. Nowadays I use quite a bit less “effect” reverb than in the 80s and try to create more of a real environment. There are of course the occasional “effect” reverbs (reverb going into flange/phaser, reverb with all the low end below 2K filtered out etc.)

Any other information about the vocal production would be appreciated such as use of delays, typically EQ treatment (esp. on bvox) and typical level of compression. Also, how much use did you have for exciters.

I always use a single 1/8 note delay on the lead vocals, to create a “back wall” behind the singer. It makes the vocals sit in the track a bit better. I try to avoid the now so popular doubling and tripling of lead vocals for sound reasons (and maybe to hide any shortcomings of the singer), especially in verses. To me it kills the inflections of a single voice and takes away from the feeling of the lead vocal. I like to have one vocal to focus on.
Eqs differ from voice to voice and from mic to mic. I try to track with the least amount of EQ I can get away with and rather put an EQ across the stereo bus when mixing. That way I only get the phase smear of analog EQ only once. Of course I love to use stuff like the GreatRiver EQ-2NV with it’s input sensitivity knobs to give some balls to a snare track, but in general I try to get the sound with mic choice, mic positioning and choice of mic pre. That said, on the backing vocals I used and old trick, Roy Thomas Baker (Queen, Journey, Cheap Trick, Cars etc) told me. Scoop out the midrange on the backing vocal tracks about -4 to -6 dB at around 1kHz, shelf up the high end above 4 kHz by about 4-6 dB until you almost can’t stand it anymore, then use a single delay around 120-150ms on the tracks to fill in the middle again, instant Queen backing vocals, well almost

I had very bad experiences with exciters very early on and avoided them until BBE came out with their version. I used the BBE 202, 802 etc. extensively on guitars, backing vocals, but never on the stereo mix.

What would have been done at the mastering stages (when these albums were ported to CD) in terms of enhancement (e.g. widening?). Were you happy with CD releases of albums that were originally released to vinyl (in those days) or did you find they suffered from the record companies grabbing any old nth generation master and transferring it as quickly as possible?

Well, those records initially came out on vinyl only and then were re-released on CD later. The early CD releases were quite horrible, probably more based on the low quality of the early A/D converters and the cheap D/A converters in CD players, rather than 3rd generation masters. So, originally the mastering was done for vinyl only, just some smart EQ and minimal compression to get more level on the vinyl disc. As far as I know, there were no wideners involved in re-mastering, and at that time the race for “loud, louder, loudest” wasn’t on yet. Can we please go back to that!!!, I just heard a re-master of Ozzy’s “No More Tears” album (which I consider one of my best sounding mixes of the time) and I was absolutely shocked how bad that guy at Sterling mangled up the sound, the CD is pretty much unlistenable now. I thought there was a problem with my CD player when I first heard it, awful, absolutely awful. Sorry for the rant

I hope there's not too much here, please just answer what you have time for, the verb stuff is my primary interest though overall production techniques used back then is fascinating to me.

Many thanks

anytime

[Krubbadoo]

Thanks Michael for being so generous in your answers. It's amazing to have people like you here. I have bought so many records with your name on it... RRRRReally cool.

PS. I agree about "No more tears" Amazing job!

[Shan]

Once again thanks for the educational answers Michael.

I myself also at one time owned every 80's album you ever worked on I didnt get around to cuttin' the hair though. It's still down to my arse.

Shane

[Hysteria]

Michael, many thanks indeed, I really appreciate being able to pick your brains on your superb production work. As the other guys have said above, it really is a thrill to be able to discuss these matters with you.

For the longer reverbs, I used mainly the Lexicon 224 smooth hall programs. For the shorter Rooms I used the Klark Teknik DN780. The longer verbs were around 1.7 – 2.2 seconds with less early reflections and more attention on the actual reverb and the rooms were always under 1 second with more emphasis on the early reflections. For lead vocals (and snare) I normally use a longer pre-delay, around 15 – 35 ms, and for backings a shorter, if any pre-delay. That way the backings appear behind the lead vocal. For the guitar I also would occasionally use a spring reverb, forgot which model, but I think it was an Orban 19” box.

Ah yes, great idea to put the bvox behind the lead by reducing the pre-delay...must try that one.

Would you use the longer verb on both lead and backing (but with different pre-delays) or are the shorter verbs used on the backings?

A spring verb used in the 80s, wow! I guess it must have been something for you to resist loading up the guitars with the latest digital fx. Still, the proof of the pudding is in the eating and the guitars sound great.

I seem to remember you having a Steinberger around which was popular with these bands, presumably because they cut through the mix well (mine seems to).

Yes. To the day I use a basic setup of two reverbs, long and short. The reverb times and algos for the early reflections and rooms are dependent on the songs structure.

If I'm understanding you correctly, you don't blend these verbs for any one source (to make a hybrid verb of say the 224 and DN780) but use them seperately as needed across the track.

What did you think of the 480 and PCM70 in the late(r) 80s? Did you think offered the same and more as your older faves or did you think they were too refined (as we often find in later verbs like PCM91)?

I try to stick to the two kinds of verbs described above and put the whole band into a space.

So the longest verb ends up on everything to some extent?

I always use a single 1/8 note delay on the lead vocals, to create a “back wall” behind the singer. It makes the vocals sit in the track a bit better. I try to avoid the now so popular doubling and tripling of lead vocals for sound reasons (and maybe to hide any shortcomings of the singer), especially in verses. To me it kills the inflections of a single voice and takes away from the feeling of the lead vocal. I like to have one vocal to focus on.

Do you send the 1/8 delay back into a verb?

Really interested to hear that you don't favour doubling and tripling of lead vox, I have never liked that effect either for exactly the same reasons, they loose their intimacy. Nice to know a pro feels the same!

How would you construct backing vocals in terms of number of tracks of harmonies. Would you build a big chorus by stacking harmonies around the lead vocal and would you double or triple the lead vocal in that instance?

try to track with the least amount of EQ I can get away with and rather put an EQ across the stereo bus when mixing.

So you track with limited EQ but don't apply it to individual tracks at the mix stage but do add it across the stereo bus?

Do you remember the mics used for lead vocals for sessions with those bands. The singers had 'similarish' voices from what I recall (aside from one being German and the other a Dane).

Thanks for the RTB Queen tip

I had very bad experiences with exciters very early on and avoided them until BBE came out with their version. I used the BBE 202, 802 etc. extensively on guitars, backing vocals, but never on the stereo mix.

Interesting that you used an exciter on guitars, would they have been clean sounds?

On the subject of guitars, did you add FX at mix time or did the guitarists give you stereo outputs from their racks?

and at that time the race for “loud, louder, loudest” wasn’t on yet. Can we please go back to that!!!, I just heard a re-master of Ozzy’s “No More Tears” album (which I consider one of my best sounding mixes of the time) and I was absolutely shocked how bad that guy at Sterling mangled up the sound, the CD is pretty much unlistenable now. I thought there was a problem with my CD player when I first heard it, awful, absolutely awful. Sorry for the rant

Yeah, and the records were far better for it...dynamics...we remember those!

I haven't heard the No More Tears remaster but it's terrible that it's been ruined and for no need. I thought exactly the same with that Iron Maiden album...is my cd player broken...after trying 5 or 6 I came to the conclusion that someone (probably in mastering) had absolutely massacred it. So far it's the worst I've heard. And being a 'modern' production (no reverb) it's as 2 dimensional as you can get...had to do my own remaster just so I could listen to it (took an exciter and some verb to it - much better imvho). Maybe you should offer to show the guy at Sterling how it should be done!

Again, many thanks Michael.

[mwagener]

Originally posted by Hysteria
Michael, many thanks indeed, I really appreciate being able to pick your brains on your superb production work. As the other guys have said above, it really is a thrill to be able to discuss these matters with you.

Ah yes, great idea to put the bvox behind the lead by reducing the pre-delay...must try that one.

Would you use the longer verb on both lead and backing (but with different pre-delays) or are the shorter verbs used on the backings?

Mostly longer verb on both (in the 80s), but a lesser amount on lead vocal, more on backings. I also used plates and unused studio rooms whenever there was a good one around.

A spring verb used in the 80s, wow! I guess it must have been something for you to resist loading up the guitars with the latest digital fx. Still, the proof of the pudding is in the eating and the guitars sound great.

I seem to remember you having a Steinberger around which was popular with these bands, presumably because they cut through the mix well (mine seems to).

I bought my first Steinberger in 1988 when working on the first SkidRow album, it was the only guitar to stay in tune long enough to play a complete song. The studio had A/C ducts in all the wrong places, sometimes blowing right onto the guitars. My Stein has EMG pickups in it and, yes, it cuts nicely through the mix.

If I'm understanding you correctly, you don't blend these verbs for any one source (to make a hybrid verb of say the 224 and DN780) but use them separately as needed across the track.

Yes, you create an environment, the tracks you want more in the front get none or the short room and whatever you want more in the back gets the longer verb. The more you want it in the back the less early reflections should be used and the less pre-delay. Just imagine if you would hear something in nature that would arrive at your ear at the same time as a reverb of that source, it would probably be fairly far away from your ears.

What did you think of the 480 and PCM70 in the late(r) 80s? Did you think offered the same and more as your older faves or did you think they were too refined (as we often find in later verbs like PCM91)?

Got my own 480L in 1986/7 (I think), loved it. It was my main reverb from then on. It wasn’t on the market for the early 80s stuff. By the time I moved to Nashville in 1996, I got tired of the 480 sound and changed to a couple of T.C. M6000s and later added the KSP-8, which I think is a wonderful box. I still have and use a PCM 70, but use it for one setting only (tiled room). When I sold the 480 I also got a PCM 80 and a PCM 90, just to keep some of the Lexicon flavors around. I don’t use those much right now. I also have a T.C. M2000 and M-One, Eventide DSP4000 and a Yamaha REV 500. Most of those are for special use, the main reverb comes from one of the two 6000s and the KSP8. I also use my recording room quite often as a short chamber style verb. I send tracks out there and re-mice them with “Fritz”, the Neumann head.

So the longest verb ends up on everything to some extent?

Not necessarily, only on tracks that need to be moved somewhere in the overall picture, mostly backwards. The overall sound nowadays tends to be a lot dryer and I only use reverb/room for placement of instruments and not as much as an effect anymore.

Do you send the 1/8 delay back into a verb?

Depends, sometimes yes. It helps to roll off some high end on the delay return.

Really interested to hear that you don't favour doubling and tripling of lead vox, I have never liked that effect either for exactly the same reasons, they loose their intimacy. Nice to know a pro feels the same!

How would you construct backing vocals in terms of number of tracks of harmonies. Would you build a big chorus by stacking harmonies around the lead vocal and would you double or triple the lead vocal in that instance?

That totally depends on the song, no rules. When recording big harmonies I group 3 singers around Fritz and have them double and triple their tracks in different positions relative to the head, that makes for a nice big picture. When doing big harmonies the lead vocal note is probably doubled by one or more of the harmony vocals.

So you track with limited EQ but don't apply it to individual tracks at the mix stage but do add it across the stereo bus?

Yes, if possible. Of course sometimes I still use EQ on individual tracks to make them sit better in the mix, whatever works.

Do you remember the mics used for lead vocals for sessions with those bands. The singers had 'similarish' voices from what I recall (aside from one being German and the other a Dane).

On Klaus (Bonfire) we used a fine (original) C12. I got offered to buy that microphone plus a matched one in pristine condition for a total of $1,700 and I didn’t do it (flame suit on). I can’t remember what we used on Mike, I think it was a U67.

Thanks for the RTB Queen tip

Interesting that you used an exciter on guitars, would they have been clean sounds?

Both, clean and dirty.

On the subject of guitars, did you add FX at mix time or did the guitarists give you stereo outputs from their racks?

There were no stereo outputs from a rack at the time, that was just starting. The sound was put together out of a combination of amps and cabinets and tons of mics all over the studio. Unless it was a delay that was used to get a certain feel while tracking, I always added the final effects in the mix.

Yeah, and the records were far better for it...dynamics...we remember those!

I haven't heard the No More Tears remaster but it's terrible that it's been ruined and for no need. I thought exactly the same with that Iron Maiden album...is my cd player broken...after trying 5 or 6 I came to the conclusion that someone (probably in mastering) had absolutely massacred it. So far it's the worst I've heard. And being a 'modern' production (no reverb) it's as 2 dimensional as you can get...had to do my own remaster just so I could listen to it (took an exciter and some verb to it - much better imvho). Maybe you should offer to show the guy at Sterling how it should be done!

I have worked with George Marino at Sterling extensively and was never disappointed with his work, in fact it ALWAYS came out better than what I had mixed, but that Ozzy re-master by Chris Athens (his credits are mainly Rap and R&B), was a total butcher job at best. Oh well…nothing I can do about it now.

Back to work…I’m smack in the middle of mixing the King’s X album (lotsa fun)

[bunnerabb]

I've been reading this thread and I also would like to thank you for all of the stunningly helpful ideas you've shared, here.

This question could sound a bit silly, and if it does, I apologise, but I was wondering if you've ever found yourself putting a very mild reverb across the two track buss for a mix when it was difficult to get the instruments into the "same room", as it were. I often get asked to mop up other people's two tracks and this is something that I've found to be a great way to give some focus to a mix where the instruments were recorded under very different circumstances. You have to balance between warm a diffuse and creating a lot of g0o in the 2 track, but it's worked for me, here and there.

Any opinions you have on this would be welcomed.

[dim light]

Yes, great thread, thanks a lot!

[preben]

Yeah, great thread indeed.

Sorry for being a bit of a thicko, but could you please elaborate a little bit on the Roy Thomas Baker BV trick..?? I don't quite get it. Is the delay you're filtering back in un-eq'ed thus filling out the middle or is the middle filled in purely by the time-difference (120-150ms)..??

[mwagener]

Originally posted by preben
Yeah, great thread indeed.

Sorry for being a bit of a thicko, but could you please elaborate a little bit on the Roy Thomas Baker BV trick..?? I don't quite get it. Is the delay you're filtering back in un-eq'ed thus filling out the middle or is the middle filled in purely by the time-difference (120-150ms)..??

just the time difference. It seems weird, but check it out, it works.

[mwagener]

Originally posted by bunnerabb
I've been reading this thread and I also would like to thank you for all of the stunningly helpful ideas you've shared, here.

This question could sound a bit silly, and if it does, I apologise, but I was wondering if you've ever found yourself putting a very mild reverb across the two track buss for a mix when it was difficult to get the instruments into the "same room", as it were. I often get asked to mop up other people's two tracks and this is something that I've found to be a great way to give some focus to a mix where the instruments were recorded under very different circumstances. You have to balance between warm a diffuse and creating a lot of g0o in the 2 track, but it's worked for me, here and there.

Any opinions you have on this would be welcomed.

No such thing as silly questions.

No, I haven't had any luck with putting reverb on the stereo bus, but hey, if it works, go for it, no rules right? I would imagine "very mild" is the key here and probably not too long of a reverb. I see your situation (2 track masters) but I would much prefer to send everyting back into one type of room to gkue it together and I'd like to have control over how much of each instrument I send into the room, a lot less (if any) hihat compared to a lot of kick etc.

If possible, try to put a HEDD across the 2-bus and play witrh the "Tape" and "Pentode" controls, it might just do want you're looking for. I wouldn't mix without it anymore.

[preben]

Thanks a lot Michael...

Quest moderators... who needs'em eh..?

ONLY JOKING JULES..!!!

[Matt Smith]

Michael never ceases to amaze me.

*Prints this thread out to add to personal bible of Wagener knowledge*

Thanks!!

Matt Smith
www.theocracymusic.com

[Shan]

Ctrl+P

Thanks Michael. A very educational thread.

Shane

[Hysteria]

I got tired of the 480 sound and changed to a couple of T.C. M6000s

Those VSS4 verbs are just fantastic aren't they. I had a vocal with very little compression and eq on a track of mine that I remixed ITB recently. When I heard the track dry, I couldn't believe how weak the vocal sound was (compared with the final mix). The VSS4 chamber preset (slightly tweaked) just made it sound absolutely massive. so much so that I had to do a lot more compression and EQ work the build the vocal when I remixed it without the benefit of the Reverb 4000 that I had.

Another great thing about those VSS4 verbs and the Rev 4 is that they can be made really obvious (as I like them ) but not still not be like treacle.

I guess you are using them a bit more sparingly though!

I always added the final effects in the mix

Did you find that the guitarist were always happy to go along with this? I remember hearing that Alex Lifeson of Rush took a lot of persuading before he recorded without fx.

With regard to your again superb work on Skid Row's first album, would you have been using the 480L for you long verbs on that album, say on 18 & life?

Were Sebastian's dynamic vocals a challenge to record or was a pleasure (assuming the compressor was set to 'evasive action mode) ?

Did anyone from Bon Jovi turn up at the sessions to offer creative input?

I'm looking forward to hearing that Kings X album...better let you get back to it!

Thanks again Michael.

[mwagener]

Originally posted by Hysteria
Did you find that the guitarist were always happy to go along with this? I remember hearing that Alex Lifeson of Rush took a lot of persuading before he recorded without fx.

Again, no rules. If they felt better to have the FX on tape, I recorded them. It's all about emotions and anything that creates a bad vibe in the studio, should be avoided.

With regard to your again superb work on Skid Row's first album, would you have been using the 480L for you long verbs on that album, say on 18 & life?

Yes, I think that was the first record I used the 480 on. Most of the "big" drum reverb came from the original room, though. It's a 57 off to the side of the drummers head recorded through the "listen mic" channel on the SSL, which had an extreme compressor on it. The room we recorded those drums in (big convntion center) had an auction with 120 cars in the room the night before we started setting up.

Were Sebastian's dynamic vocals a challenge to record or was a pleasure (assuming the compressor was set to 'evasive action mode) ?

I didn't use any compression on those vocals during tracking. There was a lot of fader riding and moving back and forth from the mic (an original ELAM 251)

Did anyone from Bon Jovi turn up at the sessions to offer creative input?

Yes. Jonny came in towards the end and sang harmonies on every single song, which I erased the second he walked out of the control room. There is one line left on "I remember you" after the solo where Baz goes: "I remember - I remember you........." the bold part still has Jonny's harmony on it. The band and I didn't think a lot of harmonies were appropriate for that album.

I'm looking forward to hearing that Kings X album...better let you get back to it!

Thanx, I got four songs to go and have to start the mix on Tom Keifers solo project on Monday. Looks like we're running a couple of days late...

[Hysteria]

Yes. Jonny came in towards the end and sang harmonies on every single song, which I erased the second he walked out of the control room. There is one line left on "I remember you" after the solo where Baz goes: "I remember - I remember you........." the bold part still has Jonny's harmony on it. The band and I didn't think a lot of harmonies were appropriate for that album.

SO I guess we won't be seeing any Bon Jovi albums produced by you (shame!)

Funny actually, I love big harmonies but never felt that album lacking, just goes to show that what's right for the song is right!

Yes, I think that was the first record I used the 480 on. Most of the "big" drum reverb came from the original room, though. It's a 57 off to the side of the drummers head recorded through the "listen mic" channel on the SSL, which had an extreme compressor on it. The room we recorded those drums in (big convntion center) had an auction with 120 cars in the room the night before we started setting up.

Interesting that you used a dynamic for the room sound, especially back then (but maybe that was normal - what do I know?) I would have expected an U87 or something but like that spring reverb - it sure works!

Thanx, I got four songs to go and have to start the mix on Tom Keifers solo project on Monday

Now y'see. I was going to give you some peace but you had to let that one slip...

So, what can we expect from Tom, anything like the Cinderella stuff? I was just listening to the greatest hits (or whatever it's called), remastered too (usually good in my book unless they do an 'Ozzy) - great collection of songs. Another Bon Jovi signing from what I recall.

What kind of production style are you and Tom considering? Gonna get some long verbs cookin'?

Any idea (yet) what mic would work well on Tom's voice?

Ok, don't want to hold you up any more...but I'm gonna have to ask you about Dokken...another time.

A million thanks Michael.

[Shan]

Ctrl+P Again

Shane

[Hysteria]

Originally posted by Shan
Ctrl+P Again

Shane

Err, and that means (I'm not quite with the lingo here yet)?

[Matt Smith]

Originally posted by Hysteria

Interesting that you used a dynamic for the room sound, especially back then (but maybe that was normal - what do I know?) I would have expected an U87 or something but like that spring reverb - it sure works!

I believe (obviously correct me if I'm wrong, Michael) that mic was originally supposed to be used as a talkback mic for Rob, but they thought the drum sound through it was so killer they used it for that instead.

Matt Smith
www.theocracymusic.com

[echorec]

Originally posted by Hysteria
Err, and that means (I'm not quite with the lingo here yet)?

It means that he´s printing this page.

[Shan]

Tom Keifer

Great!! Michael, I think you need to start a thread on the progress of this album likeyou did with the KingsX project

Shane

[mwagener]

Originally posted by Matt Smith
I believe (obviously correct me if I'm wrong, Michael) that mic was originally supposed to be used as a talkback mic for Rob, but they thought the drum sound through it was so killer they used it for that instead.

Matt Smith
www.theocracymusic.com

Exactly, sorry I forgot to mention that. It was the talkback mic for Rob and we ended up recording it to a track. It got used a lot in the mix.

Tom's albums is already recorded, I'm just mixing it. He produced it himself and it came out great. The songs are very rootsy, Stonesy (the band), very well recorded

[everybody's x]

That's awesome about Kiefer, I had heard he was done (his voice)



and when the Dokken thread rolls around get ready Michael,Lynch's tone is unbelievable, I'd love to pick your brain about that.

[mwagener]

Originally posted by everybody's x
That's awesome about Kiefer, I had heard he was done (his voice)

Naa, his voice is great as always

and when the Dokken thread rolls around get ready Michael,Lynch's tone is unbelievable, I'd love to pick your brain about that.

Go for it, might just take me a while to get to the answers. I am getting hi-speed internet access at the studio next week, so I can get online from there too, finally!!! So far I was on a 28KB dialup, not fun at all.

[mwagener]

Originally posted by Shan
Great!! Michael, I think you need to start a thread on the progress of this album likeyou did with the KingsX project

Shane

It's kinda hard to report anything about a mix without posting actual music, and that I can't do, obviously.

I'll have a continous thread when SkidRow is coming in in March, there should be lot's of fun pictures and video of that session. If somebody can tell me how, maybe I could hook up a live camera when I get the highspeed access.

[Hysteria]

Originally posted by mwagener
It's kinda hard to report anything about a mix without posting actual music, and that I can't do, obviously.

I'll have a continous thread when SkidRow is coming in in March, there should be lot's of fun pictures and video of that session. If somebody can tell me how, maybe I could hook up a live camera when I get the highspeed access.

Can't wait for that thread. Who's the vocalist in Skid Row these days?

I remember seeing them support G&R at Wembley Stadium and played a far better show and sounded far better (imho).

Ok, who wants to start the Dokken sub-thread ?

Everybody's X - wanna take the lead?

[verystrange]

Hey Michael,

I actually recorded the drums on the Keifer record and would love to hear some feedback if you get a chance.

When ever I am doing something that I know I am mixing I usually record drums with no eq or compression so that the mix guy isn't boxed in by what I think sounds good. I have been yelled at in the past for doing this but what do you think about the approach? One mix guy hated me for doing it that way and then Justin Neibank (sp?) mixed something I did the same way and said "DON"T STOP I LOVE IT". I'll let you be the tie breaker.

Has it made it easier to mix the drums or harder?

Thanks,
Ben Strano