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Old 30th June 2009
  #17
Quote:
Originally Posted by ashley martel View Post
the best aproach for this, would have been to record it an old fashion way, few mics, vintage models, a bit of distortion....all of that
but theres no reason why you couldnt give it the old treatment in the mix:

important: this is not a list what you should do, but what you could try...

drums:
find a mic (track / audio file) that captured a nice overall sound of the drums, pass it through a tape emulator (mcdsp analog channel 2 is very good), give it sum distortion, use it as your main sound, use few mics for re-enforcement, make you kick drum more clicky than bassy, add plate verb to your snare, make cymbals and crashes hissy.

ultimatly run all the audio files individualy through tape emulation plugins,

the bass is a important one, because although in old records its not very subby, it still has a strong sound, might be cool to run it through tube stuff.

make thin guitar sounds, make them clip, but not digitally.

for vocals, it really depends of the vibe of the track,

but use plate verbs, they were used all the time.

you could record silence of a vinyl to get sum hiss and crackle, and add that to your mix.

you could also be radical with your panning, drums on one side guitars other.....
obviously depends on what kinda instrumentation you have and arrangement.


give that a try, hope this helps,
send us a copy of the song for listening and more ideas

get youself a time machine and go back in time to an old studio!!!! lol

good luck
This guy has no idea what he's talking aboutl. Kick drum more clicky than bassy? Sonny, we're not talking about thrash metal here!

Traditional setups used one mic in front of the kick, usually with the front head. Most times it was something like a Shure SM55 "Elvis Mic". There would be one or two overheads and, if you were REALLY lucky, a mic on the snare, usually a Unidyne III (SM57). Overheads would usually be RCA ribbons or sometimes U47s. Sometimes the entire kit would be taken by one U47 about 3 feet in front.

Oh, one other thing - you need to track to tape. Forget "tape emulation", it's a sham.

Most of the old rockabilly recordings were mixed live direct to an Ampex mono, 2 track, or 3 track machine, 15 IPS. Use another old Ampex mono machine for the slapback.

Oh, btw, most traditional rockabilly guitar sounds were quite clean, sometimes even recorded direct. There were notable exceptions of course, such as Duane Eddy and Lonnie Mack, who used Magnatone amplifiers with the tube true vibrato (not Fender style tremolo) circuit. Some also used Fender. By the early '60s some guitarists used early tape echos such as the tube Echoplex and Fender tape echo. The Fender (stand alone) reverb unit was also a staple. Some early to mid '60s guitarists were also using Ampeg amps like the Reverberocket and Gemini series. On the few records that featured obviously distorted guitar it was achieved by slashing the speaker cones with razor blades.

Oh almost forgot - everybody performs together, NO OVERDUBS. That means the room has to sound at least reasonable, and the singer has to be able to perform with the band without screwing up. Everybody must rehearse and know their parts. Screwing around in the studio didn't come in till the hippies!

And panning? There was no panning. You can't pan on a mono recording.

And soory, no, plate verbs were not used "all the time" - they were either acoustical echo chambers or tape slapback. Period.