Regina Spektor's voice on last album

[Isaak]

I really love her voice and how it sounds on some tracks from new album, especially "Laughing with". Only I know M. Brauer mixed it, but nothing else... Any ideas?

[RKrizman]

+1

-R

[FatBassPlayer]

Yes please! I love her records, she seems to be the real thing when it comes to raw talent.

[bforest4]

One of my favorite albums this year. Adam Hawkins tracked several of the songs and mixed a couple. Adam also tracked Fiona Apple's last album, and just mixed the new Switchfoot and Rilo Kiley albums. Mike Elizondo(Dr. Dre, Eminem, 50 cent, Fiona Apple, Rilo Kiley, Switchfoot, Maroon 5) was the producer Adam works with. I think he said they used a Telefunken 250, but not sure about that. Will have to ask him or direct him to this thread. He also said she is very involved in the arranging and production and really knows what she wants, definitely extremely talented.

[thebeatless]

We actually used a variety of mics on the songs that I was a part of. We started with an M49 for the bulk of the initial tracking at Clinton studios in NYC. That was just supposed to be for scratch takes to use as a guide, and I was mostly focused on getting the drum and piano sounds, but we ended up using those "scratch" takes. She's an amazing performer! And performance matters most!

"The Calculation" was another scratch track keeper. Just a U87ai set up in the control room while drums, and bass were going down here in LA at Mike's studio. Come to think of it, most of that song was pretty much cut live. With Matt Chamberlain on drums in the live room, Mike on Bass, and Regina playing the main piano part on some soft synth/sampler while singing. Obviously there were a few overdubs afterwards. This song was a last minute, "Hey check out this new idea" kind of thing, and the whole thing came together in just a couple of hours.

We did use Mike's Telefunken 250E for a few overdubs/fixes. Listen closely on "Machine", and you'll hear the piano bleed come and go.

It was an amazing project to be a part of! There were moments during the initial tracking that reminded me of why I got into this biz in the first place. Hearing these songs go down for the first time was just incredible! And... the experimental sounds on some things, like the drums on "Machine", were so much fun to create!

Adam

[Dean Roddey]

She's great. I LOVE Samson and Fields Below from the previous album. Great tunes and very tingly, and Fidelity of course which is one of those that you can't get out of your head for a couple hours after hearing it.

[phelbin]

Adam, thanks for the info. Sounds like it was a fun record to make!

[herrvlad]

Originally Posted by thebeatless

We actually used a variety of mics on the songs that I was a part of. We started with an M49 for the bulk of the initial tracking at Clinton studios in NYC. That was just supposed to be for scratch takes to use as a guide, and I was mostly focused on getting the drum and piano sounds, but we ended up using those "scratch" takes. She's an amazing performer! And performance matters most!

Wow, thank you Adam!

I was just bicycling home and listening to Regina, when I came to think that I need to ask here on Gearslutz, if anyone know what kind of vocal chain was used on the album (Far). I played with an idea that the mic could be an M49, just because I've been thinking about buying a TML49. I was quite surprised that the mic actual was an M49.

And nice to know that there are other fans here as well!

[delcosmos]

Another big fan here.

Congratulations Adam, you must be proud of this one.

The first thing that caught my attention the first time I heard the album was the sound of her voice, obviously it starts with her fantastic voice, but then the magic is well captured by your great engineering.

I think Mr. Michael Brauer mixed this album, I am wondering what was his chain on Regina's voice. Hopefully Mr. Brauer could chime here with some info too.

Best regards.

delcosmos.

[AbbeyRhodes]

Machine was a fantastic track. I don't think i've ever heard anything quite like it. Great work.

[deadman]

I'd love to hear more about The Calculation. I think it sounds fantastic. How were the drums and bass recorded? They sounds great.

[Oroz]

Originally Posted by thebeatless

We actually used a variety of mics on the songs that I was a part of. We started with an M49 for the bulk of the initial tracking at Clinton studios in NYC. That was just supposed to be for scratch takes to use as a guide, and I was mostly focused on getting the drum and piano sounds, but we ended up using those "scratch" takes. She's an amazing performer! And performance matters most!

"The Calculation" was another scratch track keeper. Just a U87ai set up in the control room while drums, and bass were going down here in LA at Mike's studio. Come to think of it, most of that song was pretty much cut live. With Matt Chamberlain on drums in the live room, Mike on Bass, and Regina playing the main piano part on some soft synth/sampler while singing. Obviously there were a few overdubs afterwards. This song was a last minute, "Hey check out this new idea" kind of thing, and the whole thing came together in just a couple of hours.

We did use Mike's Telefunken 250E for a few overdubs/fixes. Listen closely on "Machine", and you'll hear the piano bleed come and go.

It was an amazing project to be a part of! There were moments during the initial tracking that reminded me of why I got into this biz in the first place. Hearing these songs go down for the first time was just incredible! And... the experimental sounds on some things, like the drums on "Machine", were so much fun to create!

Adam

Thanks a lot for that info. Adam .

[Sonic Lush]

my wife has this in her car on constant rotation for almost one year now...

I really love how Regina's vocal textures change often in the same song, and it makes me wonder all the different ways Mr. MB possibly compressed her, even slightly or not at all.

really great record. so darn hooky in the right places. Folding Chair? sheesh!

I don't hear any shenanigans to try and cover anything up.

she's the real deal (to me).

love this record.

[Dave Reid]

Originally Posted by delcosmos

Another big fan here.

Congratulations Adam, you must be proud of this one.

The first thing that caught my attention the first time I heard the album was the sound of her voice, obviously it starts with her fantastic voice, but then the magic is well captured by your great engineering.

I think Mr. Michael Brauer mixed this album, I am wondering what was his chain on Regina's voice. Hopefully Mr. Brauer could chime here with some info too.

Best regards.

delcosmos.

Weird M Brauer did post, but it seems to have vanished

If i remember correctly, her vocals were mixed with an EAR 660 into a vintage tube AWA compressor on an 88r.

[James 'LA' Lugo]

We've been working on her new record at my place.

[thebeatless]

When I did the roughs, her vocals went through a Retro Sta Level, and SSL EQ on an AWS 900. Same goes for my mix that made the record, "Man of 1000 Faces".

I'm not sure what happened on "Machine" where Brauer and I share the mix credit. Maybe my mix and his were cut together in mastering?


Tracking info on "The Calculation":

I'm pretty sure bass was a vintage Gibson EBO, direct to an API 312 ->550a->DBX 160vu.

Drums were my usual setup at Mike's studio.

Wunder c12 clones for Over Heads
Coles 4038's, and Wunder CM7's for room
421, ns10 woofer, and iFet7 on kick
sm57, and akg 451 on snare
421's on toms

Mostly through 1073's and a generous amount of EQ.

Coles got hit with a TG1 in limit mode, CM7's got pretty extreme 2254 comp + limiting.

EchoBoy slap on the entire drum bus. Not sure if that made it to the final mix though since Brauer did that.

Thanks again!!!!!


Adam

[GIACOMO-_]

I love Regina, great sound, great songs!

[delcosmos]

Originally Posted by thebeatless

When I did the roughs, her vocals went through a Retro Sta Level, and SSL EQ on an AWS 900. Same goes for my mix that made the record, "Man of 1000 Faces".

I'm not sure what happened on "Machine" where Brauer and I share the mix credit. Maybe my mix and his were cut together in mastering?


Tracking info on "The Calculation":

I'm pretty sure bass was a vintage Gibson EBO, direct to an API 312 ->550a->DBX 160vu.

Drums were my usual setup at Mike's studio.

Wunder c12 clones for Over Heads
Coles 4038's, and Wunder CM7's for room
421, ns10 woofer, and iFet7 on kick
sm57, and akg 451 on snare
421's on toms

Mostly through 1073's and a generous amount of EQ.

Coles got hit with a TG1 in limit mode, CM7's got pretty extreme 2254 comp + limiting.

EchoBoy slap on the entire drum bus. Not sure if that made it to the final mix though since Brauer did that.

Thanks again!!!!!


Adam

[prog]

Great album, thanks for the info

Always wondered, the part about 2:49 into The Calculation is autotuned, right? Doesn't sound really natural. I'm not saying everything is, just that little part. Great singer/artist.

Also, what's up with the drums on Folding Chair, sounds like some heavy sample replacement to me (at least on snare).

Thanks!

[Isaak]

Thank you very much, Adam!

[deadman]

Originally Posted by thebeatless

Tracking info on "The Calculation":

I'm pretty sure bass was a vintage Gibson EBO, direct to an API 312 ->550a->DBX 160vu.

Drums were my usual setup at Mike's studio.

Wunder c12 clones for Over Heads
Coles 4038's, and Wunder CM7's for room
421, ns10 woofer, and iFet7 on kick
sm57, and akg 451 on snare
421's on toms

Mostly through 1073's and a generous amount of EQ.

Coles got hit with a TG1 in limit mode, CM7's got pretty extreme 2254 comp + limiting.

EchoBoy slap on the entire drum bus. Not sure if that made it to the final mix though since Brauer did that.



Adam

Thanks!

[Paul EQ]

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