Ross,

Would love to hear any details on this project - you've gone over drums in general, but guitars? Piano? Vocals? Mixing? Definitely popped out at me as a fantastic sounding record, really big, meaty and not over the top and fake. The sense of space is great.

30 ips? 15 ips? Etc etc. Thankyou for this and the Q&A!

I'm super proud of that record
I really enjoyed making it and the whole gang I made it with
It was produced by Patrick Leonard, whom I have been working with now for 30 years
he also wrote the first single "Hands" and played all the keyboards
Brian Macleod ws the drummer, Paul Bushnell played Bass
Jude Cole and James Harrah on guitars with a guest appearance by Flea on one song

We tracked the whole record in the summer of '97 at Jackson Brownes studio in Santa Monica
on his amazing Neve 8078
All the rhythm beds were tracked to 16 track 2" at 15ips
then transferred to a Sony 3348 for Vocals and overdubs
BUT the original tape was then locked up to the Sony digital machine for the mixdown and used NOT the the tranferred data .. the original analog locked back to the digital for all the original beds

The drums were recorded very simply with really nice tube mics
Telefunken 251's on overheads
KM 56's on toms
D19 on snare
AKG C28 on hat
Fet 47 on kik
C37A's on room
Coles on mono room
U47 as an additional mono far room

Bass was Paul Bushnells rig which was an Ampeg B15 and his pedal boards for effect

Electric Guitars were mainly very vintage amps with a 57 and royer on each
the earliest Royers ever because the company was barely started
sometimes compressed with a Fairchild for tone

Piano was usually a mono C12 compressed heavily "Beatles" style

Acoustic guitar almost always was my Schoeps CMC 5U into an old Neve Germanium pre into an old altec or neve 2254

Jewels vocal was one of the capsules of a great C24 into a Grace preamp into a Manley ELOP barely tapping it
ON mixdown actually often the vocal was compressed with my newest fave toy at the time .. the Distressor ... it was just out and we all used it on everything
on a setting that to this day I rarely change on vocals
3/1 with a few of the buttons pushed in
i find it works great on female singers
also the tried and true 2254 on vocal

one thing i did do on the record was find ways to keep certain things bone dry and then be able to record other things with more room
minmal mics but taking the time to get it right
so the tones were there at mixdown and all we had to do was balance them

all in all one of the records that sonically I am very proud of because of how it fits together
whether you like the music or not ... I dont write the songs and I am not the artist
all I can do is try my best to embellish it all

Giving this and a few of the other albums you've worked on a good listen since this Q&A opened up. Man....just so fantastic. So much music that I associate with nothing other than just pure music. I guess that's the sign of a great engineer. You're so good, I can't hear you. Thanks for doing this!

KM56's on TOMS!!!? Mad! MAD!

Wow! Not enough kudos for this info. Um, now to look up images on half the mics you listed ....

Not the biggest Jewel fan, but this record just stood out to me in terms of sonics and having a good balance of hi-fi production without a bunch of tricks. It's got a nice human touch. I've had this in my references for a long time.

Thanks eternally Ross!