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The Bronx
Old 13th March 2013
Gear Addict
disinfor's Avatar

The Bronx

Hey Michael!

First, thank you for doing this Q&A.

This really isn't a technical question but after listening to The Bronx - S/T, there is this great vibe like they are playing all at once and just having a great time. Everything sounds immediate.

Can you give some insight into the process of working with those guys?
Old 14th March 2013
Gear Maniac
SamPura's Avatar
The Bronx

Hi Michael. Thanks for doing this!
I'm a huge fan of the work on The Bronx record you produced. Curious how the drums and guitars were recorded and treated during mix.

I've read that Mike Shipley did some mixing?

Thanks again and cheers!
Old 14th March 2013
Michael Beinhorn
fexurbis's Avatar


Re; The Bronx record- the live feel is there because we tracked the band together live (although we redid most of the guitars). When we began tracking, I stood in the room and starting jumping up and down in order to help motivate them. They had to work very hard to keep from laughing but it seemed to help. Thank goodness, I didn't have to do this throughout the entire recording. Jorma was playing so hard that he had a wastebasket behind him which he occasionally turned around and threw up into. It was really intense and exciting.

Before we started recording, I began doing pre-production with them and became aware that Joby was actually a really good and unusual songwriter. He'd sit around coming up with riffs- I'd hear them and encourage him to turn some of the parts into songs. The song "White Guilt" evolved this way.

We recorded the drums on a riser that the band built for me in my studio. I'd never done that before- it just seemed ideal for this project. We used a pair of Neumann M250's as rear/low proximity mics, a CMV3 in the front, a pair of CM51's and a Royer SF24 behind the kit. Everything else was spot-mic'ed- SM57/AKG D19 on snare; U47 FET (and, I think an AKG D36 on the kick)- can't recall if it was MD421's on the toms and/or D19's. I don't recall any overheads- not really a fan if I can get away without them.

For guitars, I'm pretty sure we used a complement of Marshall and Vox AC30's and a little of anything else laying around. On one song, we used a Peavey Decade, which is one of my favorite amps because it has such an ungodly honk and can cut through a wall of tube amps. Plus, they can be picked up for about $60.

As far as mic'ing, we used SM57's, Bk5's, At 4047's and Royer 122's. Ross Hogarth engineered part of the record and he turned me on to the Royers for which I must thank him. The signal path was a combination of Neve 1058's, API 312's/550a's and Helios Olympic modules.

I can't speak to what Shipley did in mix, since he applied his aesthetic to it. I feel it did take of the excitement away, but the record still sounds good. I do wish we'd finished the record as we started it- in DSD.
Old 15th March 2013
Gear Maniac
SamPura's Avatar
Thanks so much for the response and the details! I really appreciate it!
Old 15th March 2013
Gear Addict
disinfor's Avatar

Yes!! Thank you so much as well. Listening to the record, I don't hear the loss of excitement, but now reading how you tracked it, I can see how you would feel that way.

Still awesome. Thank you for the insight.
Old 16th March 2013
Michael Beinhorn
fexurbis's Avatar

Subjectivity is a bitch.
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