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Behind The Gear at The Record Shop Part 3: Tube Tech CL1B

In part 3 of Behind the Gear at The Record Shop, we take a look at the Tube-Tech CL1B Opto Compressor; a device that has become a studio standard since its release in 1987. The CL1B was developed by Tube-Tech founder, John Peterson. John began his career as a maintenance engineer at the Danish Broadcasting Company. Educated as an electrical engineer, he could usually be found refurbishing gear in his spare time. In the early 80’s his interests turned to tube driven devices such as the Pultec EQ and the Teletronix LA2A. As was the case with many of today’s audio manufactures, John witnessed the growing market for vintage equipment as the quality of modern products was, believed by many, to be declining. He began designing his own renditions of classic equipment, and the rest is history. Tube Tech is now a mainstay in the world of audio, and they continue to produce superior quality tube equipment that has been utilized by everyone from The Rolling Stones to T-Pain.

The design of the CL1B was modeled after the Teletronix LA2A, a classic tube limiter that has been a standard in recording studios since its release in 1965.  John set out to build a device that offered the warm, musical compression of the LA2a Limiter, but with the added features of a compressor. The LA2a has only two controls, Gain and Peak Reduction. The attack and release times are fixed.  The CL1B features a fixed attack and release mode, but also provides additional ratio, threshold, attack, and release knobs. This allows us greater flexibility to achieve the perfect settings for a variety of applications. The Cl1B has another unique setting called Fixed/Manual Mode. This setting has a fixed, fast attack and variable release. You would think that this compressor would come with a two week class to learn how to utilize all of these options. However, the operation is fairly simple and always produces great results.

We lean on this compressor mainly for Vocals and Bass. On vocals we often use the CL1B, in conjunction with an 1176 or Distressor, to add a smooth, warm compression that helps the voice find its space in the track. In the bass world, the CL1B is great at taming the tone, but if you’re going for punch, we lean on some of our other options such as the 1176. From time to time, we will throw a snare or kick through the blue monster to give it some extra warmth as well.

One trick that we have found to be pretty exciting on vocals, is an extreme compression setting that can result in some pretty wicked tube saturation. We start by setting the attack all the way to the left, with a medium release and 10:1 ratio. Next we increase the threshold to hit -10 or so DB of gain reduction; tweaking the ratio and release to taste until the vocal starts to drive. The result is an analog tape like compression that can be perfect for a rocking vocal.

Thanks for dropping by! Check back next week for our next installment of “Behind The Gear at The Record Shop”, where we take a look at a throw back to Abbey Road, the Chandler TG1 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.

As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!

-Giovanni

Therecordshopnashville.com

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Behind The Gear at The Record Shop: Part 1 – Empircal Labs Distressor

If I was stuck in a studio on a desert island, and could only choose one compressor to bring with me, I’d grab a Distressor. The Distressor is without question the most verstile compressor on the market. If you walk into any professional recording studio in Nashville, or around the world, you’re bound to find at least one of these pieces in the room. If you drop by The Record Shop, you’ll find four of them. Why, you might ask? One, because its a bad mama jama. Two, because it adds a classic sound to digital recordings. Three, because we work on such a wide range of projects, we are often going after a different “sonic vibe” from song to song. The Distressor gives us the ability to shape the sound to fit the song. In this segment of “Behind The Gear” we’ll discuss how we utilize the Distressor here at The Record Shop, and offer some tips for using it on your own. So where did this magical piece of studio gold come from? Read on…..

Empirican History EL8X

The Distressor was developed in 1995 by Dave Derr. Dave started Empirical Labs as a recording studio and electronics consulting firm. He was also part of the design team at Eventide that created the H3000, a legendary effects processor. It’s clear that this experience played a big role in the innovation of functions on the Distressor. Simply put, Dave took the best features from a number of classic studio compressors, added modern functionality, and ease of use, while maintaing a “vintage” tone. As The Empirical Labs motto says, “We want to make products that work a little easier, a little better, and a lot longer – and make sure they are fun to use.” I think they’ve hit their mark.

-If you are interested in learning about the history of the Distressor and Empirical labs, check out this article at Mercenary Audio. The guys have a great story about how they helped Dave name the Distressor-

Vintage Features

Back in 1997, Mix columnist Paul White said this about the Distressor, “If you’re one of those people who believe only tube technology can deliver the true classic sound, a few minutes spent using the Distressor might cause you to re-think your position.” While digital recording technology continues to improve, we still turn to analog gear for its “musical response” and “warmth.” Usually, the word “warmth” refers result of tube saturation that creates a round, full sound. However, in the case of The Distressor, warmth is more like an adjective. Here are some of the features that make the Distressor so unique.

–Distortion Modes

The Distressor has two distortion modes that emit a warm, harmonic distortion to the audio signal. The Dist 2 mode enhances the second harmonics, similiar to the saturation of a Class A Tube. The Dist 3 mode features a third harmonic that has the qualities of a Class B tube, or analog tape machine. We often use the Distressor for these modes alone. By setting the ratio to 1:1, you can process the sound using these settings without compressing the signal.

-Detector Modes

The Distressor also features two audio modes that vary the response of the device. The first detector mode is the High Pass Filter mode (HP). In the HP mode the Distressor does not react to low frequency energy in the sound source. This keeps the Distressor from reacting irrationally to a sudden rise in low end, such as a “b” or “p” sound from a vocalist. The second detector mode, called the “band emphasis” mode, makes the compressor react more drastically to harsh sounds in the high-mid frequency range. This mode can be useful on a vocalist that has a piercing tone to their voice on high notes, or to offer an smooth “analog” texture to an instrument.

Settings

Another unique design feature of the Distressor is the Ratios and Curves. Compressors generally have seperate threashold and ratio controls. The threashold sets the volume level at which the compressor starts to work, while the ratio determines how drastically it reacts. In the case of the Distressor, the threshold has been strategically determined within the ratio that is selected. The Distressor has eight ratio options to choose from. Each setting provides a unique response to the signal, exhibiting a musically pleasing effect on everything from subtle compression to dynamic destruction.

-For more detailed information on the Ratio settings of the Distressor, check out the Empirical Labs website here….-

How We Use It

At The Record Shop, we use our Distressors mainly on Vocals, Drums, Guitars, and anything that calls for a “classic” or “gritty” vibe. We love the “Nuke” mode, a setting that makes the distressor act as a “brick wall” limiter, with a unique release slope. This setting is great for big room sounds. We also make use of an option called “Brit Mode” that simulates the effect of the classic 1176 Limiter set to “all buttons in.” (a setting that became popular in 70’s for aggressive drum compression.) The Distortion modes are an invaluable assest to the Distressor and can be heard on nearly every recording that comes out of The Record Shop. The most useful feature of the Distressor is its overall tonal cahrecteristics. It is a great option for anything that needs to be smoothed out, warmed up, or given some edge. If you would like to hear more examples of how we utilize the Distressor, leave us a comment and we’ll send you our favorite settings.

Check back next week for our next installment of “Behind The Gear at The Record Shop”, highlighting the legendary 1176 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.

As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!

-Giovanni

Therecordshopnashville.com

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Behind The Gear at The Record Shop Nashville Recording Studio

“Wow! Look at all those knobs.” As an audio engineer that is probably the most common phrase I hear uttered by an artist the first time they step foot in a studio. In an effort to figure out what all these fancy buttons do ;) , we thought it would be fun to introduce a new series on For The Record called “Behind The Gear.” The Record Shop is home to a unique collection of modern and vintage equipment. Our audio arsenal was carefully selected to offer a wide range of sonic colors and textures. Each week we will offer an inside look at a different piece of equipment we use here at The Record Shop. We will take a look at the history of the piece,  outline the various ways it is utilized during a session and share some unique tricks that we use to shape the tone of a recording.

This week, we’ll start the series off by offering some basic information on each category we will be covering: Microphones, Pre-Amps,  Compressors, Equalizers, and Plug-Ins. For those of you familiar with the basic function of these devices, we invite you to join us next week when we take a look at the Empirical Labs Distressor, a studio legend that reigns as one of the most versitle compressor/limiters on the market. For the rest of you fine folks, read on my friends…….

Microphone

If your reading this, I’m sure you don’t need a proper definition of what these things do, but for the sake of covering our bases, we’ll turn to Wikipedia. “A microphone is an acoustic-to-electric transducer that converts sound into an electrical signal.” Sounds simple enough, but what makes our job so fun is that each microphone does this differently and, in turn produces drastically different results. There are three different categories of microphones that are most commonly used in the recording studio: Dynamic, Condenser, and Ribbon. A dynamic microphone is work horse device, capable of reproducing loud sound sources as well as those with a powerful attack (such as guitars, kick drum, and snare drum). A condenser microphone is a more delicate device, designed to react sensitively to its sound source, offering a more defined sound on things such as drum overheads, acoustic instruments, and vocals) A ribbon microphone offers a unique tone due to the natural lack of high end frequency response that the ribbon reproduces. Ribbons have become very popular as a method to achieve a “vintage” vibe on modern, digital recordings. For more detailed information visit Wikipedia’s “Microphone” page….

Pre-Amps

A Pre-Amplifier (pre-amp) is a device that takes a low level signal from a microphone, or instrument, and boosts it to a line level signal that can be recorded. As with microphones, every pre-amp offers its own, unique tonal characteristics. There are two types of pre-amps commonly used in the recording environment: Tube and Solid State. As the name suggests, tube pre-amps utilize tube components to amplify the sound, offering a “warm” tone and a subtle distortion that is preferred in many applications. A solid state pre-amp does not make use of tube components and generally offers a cleaner, more transparent tone. Within these two types of pre-amps are countless brands and models that all have their own sonic flavor. For more detailed information, visit Wikioedia’s “Pre-Amplifier” page….

Compressor

A compressor is an audio device that effects the range between the loudest and quietest parts of a sound source (known as dynamic range) A compressor accomplishes this by lowering the volume of the sound source when it passes above the volume threshold that is set by the user. The amount of compression, and the reaction time of the device, is set by the ratio, attack, and release knobs. Just like pre-amps, compressors are also built with either solid state or tube components. Compressors can be used for a variety of applications, from subtly taming dynamics,  to extreme “pumping” that can create intriguing rhythmic effects. For more detailed information, visit Wikipedia’s “Audio Compressor” page…

Equalizer

An equalizer adjusts the balance between frequencies in an audio signal. It allows us the ability to “shape” the frequency range of a sound in order to enhance its qualities, fit it into a mix, etc. There are two main types of EQ’s used in the studio environment: Parametric and Graphic. A Parametric EQ offers a variable frequency selection on multiple frequency “bands” (ranges) and a variable “Q” (range of effected frequency). This allows us the flexibility to hone on the desired frequency and effect it accordingly. Graphic EQ’s have fixed frequency and q selection, often based on frequency “octaves” to offer a natural, musical response. For more detailed information, visit Wikipedia’s “Equalization” page…

Plug-In’s

Plug In’s are used in digital recording to emulate the function of analog equipment. While, it can be argued that software can never take the place audio moving through actual components (and I agree!) software plug-ins have continued to grow in their sonic offering and can be very useful in the modern recording environment in many situations. There are endless options when it comes to plug-ins. The market is flooded with new, innovative tools for manipulating audio. A recent development in plug in technology is what is referred to as “emulation plug-ins” These software devices are built off of algorithms developed through the testing of actual analog gear. Through this process, developers have been able to create plug-ins that embrace the tonal qualities of a specific type of gear. This is a very exciting technology that we have found very useful in Universal Audio’s, UAD Plugs. You can learn more about Plug-ins by visiting this interesting article at Delicious Audio…

Well, now you are ready to venture “Behind The Gear” at The Record Shop. Check back next week for our first installment, highlighting the Emperical Labs’ Distressor. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.

As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!

-Giovanni

Therecordshopnashville.com

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Studio Tips: Three steps to effective pre-production

One of the most exciting aspects of my job is having the opportunity to do something new everyday. Running a recording studio in Nashville, I have been privileged to work on an eclectic range of projects. While every record requires a unique approach, detailed preparation is consistently a key element of the process. This week, we take a look at the basic elements of effective pre-production.

Demos: Keep it simple

There is a common saying in the music industry that you can tell you have a great song when you can strip it down to the most basic elements and it still resonates with the listener. Recording a basic demo, or “work tape,” is an important step in choosing the right songs and preparing for the studio. 

Many songs can be effectively demoed with a guitar/vocal or piano/vocal arrangement. For bands, recording a rehearsal is a great way to capture the raw vibe of the tunes. When recording your initial demos, remember to keep it simple.  The “vision” of the material will often evolve during pre-production. You may also find that some revisions are necessary, in order to maintain cohesiveness within the record. A basic demo will provide you, and the producer, with a fresh canvas to outline the direction of the project. 

If you plan on performing to a metronome (click) in the studio, it is wise to record your demo with one as well. Not only is it good practice, but once you begin your demo recording, it is important to lock in the “feel” of the song by finding the right tempo. Once you complete the demo process, the next step is to define your sound.

Define your sound: Choosing your colors

Throughout the process of writing your material, working out arrangements, and recording your basic demos, you have already begun to develop the vision for your songs. In order to define the overall vibe of your record, you’ll want to begin an in-depth analysis of your tunes and outline the basic elements of your sound.   

You can start by defining the “sonic character” of your record. I refer to this as the combination of instrumentation, tone, space, depth, and vibe. For example, if you are recording a rock project you may want a heavy drum sound, wide guitars, in your face vocals, and a “live feel.” A pop-country ballad might call for clean drums, warm guitars, and smooth vocals. Every genre has its basic elements. Developing your spin on the style is an essential aspect of pre-production. However, it can be helpful to analyze recordings that influence your music. Try to use recordings that directly relate to the sound and vibe that you’re after. These “reference tracks” will be an excellent starting point for your production and arrangement. 

The next step is choosing the instrumentation. Listen through your demos and make a list of the instruments required for each song. It will be helpful to make notes of the desired “tone” for each element as well. 

You will also want to begin working out the arrangement. You may find that dropping out, or adding, a section will improve the flow of the song. Where the instruments are introduced, or cut, out can also make a big difference in the dynamics of the arrangement. If you are after a “commercial” production, you may need to revise your arrangement to follow the basic structure of the genre. It is important to maintain your artistic integrity, but there are times where a little compromise can make a song more commercially viable. In most cases, finding a good balance between following the format and maintaining originality is the way to go.

As you outline the elements for each song, it is important to keep the “big picture” in mind. While we live in a time where the single is king, cohesiveness between your songs plays a big part in defining your sound and making a great record. 

Rehearsal: Get it right before you go red

Great recordings come from great performances. One of the keys to an exceptional record is capturing the moment where the emotion is flowing and everything comes together just right. There is nothing that kills the excitement of recording more than trying to figure out the right part in the middle of a session. Taking the time to work out the songs, before your step in the studio, will allow you to focus your energy on the vibe of the recording.

If you plan on recording to a click, it is important to rehearse with one as well. Since you played to a click on your initial demos, it will be easier to incorporate this into rehearsal. It helps to send the click to a pair of headphones for the drummer, as well as running it through the PA. If possible, try recording your rehearsals for reference.

Start by playing through the songs until everyone is comfortable with the tempo and their parts. Once you have the performance down, you can listen back to your recordings and see if there are any revisions that could be benefitial to the arrangement. Don’t be scared to experiment with additional parts, breakdowns, etc. 

Once you’ve got the performances down, take some time to try out different tones to see what works best for each song. A different instrument, amp, or drums can add some flavor to the various tunes. This will also save you time when your dialing in the sounds in the studio.

Now that you have everything locked in, make note of your tones and record the final rehearsal. It will be helpful to listen to these tracks during the time leading up to your recording. This can also be a great reference during your sessions. If you are bringing in any sessions players for the record, be sure to give them a copy of your final demos so they can get to know the songs.

Effective pre-production takes plenty of time and patience. However, if you take the time to get it right before the light goes red, your record will thank you.

I hope this article provided you with the information you need to get started with pre-production. We would love to hear your questions, comments, and feedback! If we can be of any assistance, feel free to drop us a line!

Giovanni-

therecordshop1 (@) gmail.com

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