Painted From Memory

Greg Wells · 2nd February 2007, 09:26 AM

I'm truly a big admirer of all your work, and think "Painted From Memory" is one of the best sounding albums in years. The vocal sound... the sidestick sound! The best.

Do you recall the vocal chain and mix treatment on Elvis' lead vox? Thanks for doing this, and continued great work.

Best,
Greg

Kevin Killen · 3rd February 2007, 04:32 AM

Greg,

It was such an awesome experience to work with Burt Bacharach, I cannot tell you how much that experience has influenced my work since then.

The album was cut at Ocean Way Studio 2 on the Neve 8038.

Vocal chain was U47>Console>LA2A>API 550A eq, +2 @15K, +2@50Hz>to Ampex Tape machine running at 30ips, Dolby SR

Mixdown was through an 8078 at Ocean Way Studio 3. GML eq>manley compressor. Mostly a plate setting with variable pre delay.

Mixes to half inch ATR with custom heads.

Great record, very underrated album.

Greg Wells · 3rd February 2007, 09:06 AM

Thanks for the detailed answer, Kevin. Please tell me more about Burt Bacharach's process in the studio and how it influenced you.

themaidsroom · 3rd February 2007, 02:28 PM

for me, "toledo" was the track i could never get out of my head.....
it must have been great to work with bacharach - amazing arrangemets

be well

- jack

KingUgly · 3rd February 2007, 05:38 PM

Quote:

Originally Posted by Kevin Killen

very underrated album.

Well, it did win a Grammy! I do love the sound of that record.

Kevin Killen · 3rd February 2007, 06:55 PM

Burt Bacharach is truly one of the great producers and arrangers.

He and Elvis had worked on the songs for over a year before the band was assembled. He had wriiter very detailed charts for all the players and routined them in the studio to the exact detail, nothing was overlooked, although he also encouraged their input. As takes were recorded he distilled the arrangemnet ever more. He provided an wonderful backdrop for Elvis to get his lead vocal on the backing track.

During overdubs he would do the same thing, always distilling his wonderful arrangements to their essence.When you though it was not ossible to improve on it he would, right through the mix process.

I learnt to listen in a different way and embrace a more spare production style

Kevin

Djembe · 4th February 2007, 01:23 AM

+2@50Hz while tracking a vocal?

Could you explain the reasoning behind that?

Some people would be rolling off far above that.

thanks
Blair

Kevin Killen · 5th February 2007, 05:16 PM

Blair,

I just wanted to emphasize the resonance of Elvis's voice, plain and simple !

Kevin

junior · 7th February 2007, 06:58 PM

This album is one of my all-time favorites - especially the drum sound!

Kevin, can you elaborate on how you recorded and mixed the drums? Also, Jim Keltner seems to have a signature sound. Are there any particular techniques/equipment that you like to use with him as opposed to other drummers?

Thanks again for being the guest moderator!

Kevin Killen · 9th February 2007, 08:39 PM

Junior,

With Jim Kelter it is very much about capturing his first performance. It will be the most inspired and you better be ready. We pretty much wanted the record to start out bone dry and get more "wet" as the songs progressed, the final track been "God Give Me Strenght". That song was recorded a year earlier at Right Track in NYC.

We used studio 2 @Ocean Way. I put jim on a small riser with some baffling around the kit. Mics used were
Kick RE20 and FET 47
Snare Shure 57 and AKG 451 underneath
Toms 421's
Hats KM84
Overheads 251's

Room Mics were M49

Recoreded through the Neve and moderate compression on the kick and snare.

It was recorded to 2 inch at 30 ips, Dolby SR.

I do not remeber trying anything unusual on him, his uniqueness is what you have to capture so as i said already, make sure that first run through you are in RECORD.

In the mix I may have used more of the room mics as the songs were mixed. Interestingly enough we mixed the album in sequence, which is not typical. Its a great record and made in 5 weeks top to bottom. On top of which the World Cup was playing and EC and I had to watch those games. Even Burt got into it.

Kevin

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2nd February 2007, 09:26 AM	#1
Greg Wells Gear addict Join Date: Apr 2006 Location: Los Angeles Posts: 461	Painted From Memory I'm truly a big admirer of all your work, and think "Painted From Memory" is one of the best sounding albums in years. The vocal sound... the sidestick sound! The best. Do you recall the vocal chain and mix treatment on Elvis' lead vox? Thanks for doing this, and continued great work. Best, Greg __________________ www.gregwells.net

3rd February 2007, 09:06 AM	#3
Greg Wells Gear addict Join Date: Apr 2006 Location: Los Angeles Posts: 461	Thanks for the detailed answer, Kevin. Please tell me more about Burt Bacharach's process in the studio and how it influenced you. __________________ www.gregwells.net

7th February 2007, 06:58 PM	#9
junior Lives for gear Join Date: Jan 2005 Posts: 960	This album is one of my all-time favorites - especially the drum sound! Kevin, can you elaborate on how you recorded and mixed the drums? Also, Jim Keltner seems to have a signature sound. Are there any particular techniques/equipment that you like to use with him as opposed to other drummers? Thanks again for being the guest moderator! __________________ "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep"... --Scott Adams

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3rd February 2007, 04:32 AM	#2
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Greg, It was such an awesome experience to work with Burt Bacharach, I cannot tell you how much that experience has influenced my work since then. The album was cut at Ocean Way Studio 2 on the Neve 8038. Vocal chain was U47>Console>LA2A>API 550A eq, +2 @15K, +2@50Hz>to Ampex Tape machine running at 30ips, Dolby SR Mixdown was through an 8078 at Ocean Way Studio 3. GML eq>manley compressor. Mostly a plate setting with variable pre delay. Mixes to half inch ATR with custom heads. Great record, very underrated album.

3rd February 2007, 02:28 PM	#4
themaidsroom Lives for gear Join Date: Apr 2005 Location: nyc Posts: 2,824	for me, "toledo" was the track i could never get out of my head..... it must have been great to work with bacharach - amazing arrangemets be well - jack

3rd February 2007, 06:55 PM	#6
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Burt Bacharach is truly one of the great producers and arrangers. He and Elvis had worked on the songs for over a year before the band was assembled. He had wriiter very detailed charts for all the players and routined them in the studio to the exact detail, nothing was overlooked, although he also encouraged their input. As takes were recorded he distilled the arrangemnet ever more. He provided an wonderful backdrop for Elvis to get his lead vocal on the backing track. During overdubs he would do the same thing, always distilling his wonderful arrangements to their essence.When you though it was not ossible to improve on it he would, right through the mix process. I learnt to listen in a different way and embrace a more spare production style Kevin

4th February 2007, 01:23 AM	#7
Djembe Gear nut Join Date: Jun 2006 Location: Sydney Australia Posts: 97	+2@50Hz while tracking a vocal? Could you explain the reasoning behind that? Some people would be rolling off far above that. thanks Blair

5th February 2007, 05:16 PM	#8
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Blair, I just wanted to emphasize the resonance of Elvis's voice, plain and simple ! Kevin

9th February 2007, 08:39 PM	#10
Kevin Killen engineer / producer / mixer Join Date: Jan 2007 Posts: 312	Junior, With Jim Kelter it is very much about capturing his first performance. It will be the most inspired and you better be ready. We pretty much wanted the record to start out bone dry and get more "wet" as the songs progressed, the final track been "God Give Me Strenght". That song was recorded a year earlier at Right Track in NYC. We used studio 2 @Ocean Way. I put jim on a small riser with some baffling around the kit. Mics used were Kick RE20 and FET 47 Snare Shure 57 and AKG 451 underneath Toms 421's Hats KM84 Overheads 251's Room Mics were M49 Recoreded through the Neve and moderate compression on the kick and snare. It was recorded to 2 inch at 30 ips, Dolby SR. I do not remeber trying anything unusual on him, his uniqueness is what you have to capture so as i said already, make sure that first run through you are in RECORD. In the mix I may have used more of the room mics as the songs were mixed. Interestingly enough we mixed the album in sequence, which is not typical. Its a great record and made in 5 weeks top to bottom. On top of which the World Cup was playing and EC and I had to watch those games. Even Burt got into it. Kevin