I know, I know, I have to be the Beatles and then throw away my stuff and
buy what they used...

But since I'm not them and I can't afford to purchase Abbey Road and Geoff
Emerick, I have to ask in the hopes I might get some answers that may
help. I hear very rounded, fat, yet clear tones when I listen to the
White Album. The opposite of grating or piercing even on the aggressive
stuff like "Everybody's Got Something To Hide..." . This is what I am
after.

The following is my decent stuff:

PT/24 w/Apogee Rosetta A/D
BA 1272s
BA 312s
Sytek
PV VMP-2
Distressors
RNCs
TLM103
KM-184
SM57
Senn. 421s

I guess I want to know where to go from here to move toward the Beatle
sound within PT. I was thinking about getting some v72s's or some kind
of large diaphragm condenser tube mic but I don't know which will take me
further toward my goal. Should I do both? Will a ribbon such as the
Royer be a good choice?

As far as tube mics go, can anyone recommend anything for this?

Also, there's compression, will a 1176 or LA2a help?

What about a FATSO?

I guess I am trying to find out which addition(s) will give me the most
mileage toward my goal.

I am not loaded so please don't bother with the u48 suggestions.


Thanks in advance.

DStern wrote:
I know, I know, I have to be the Beatles and then throw away my stuff and
buy what they used...

But since I'm not them and I can't afford to purchase Abbey Road and Geoff
Emerick, I have to ask in the hopes I might get some answers that may
help. I hear very rounded, fat, yet clear tones when I listen to the
White Album. The opposite of grating or piercing even on the aggressive
stuff like "Everybody's Got Something To Hide..." . This is what I am
after.

Print your mixes on analog tape.
There are lots of 1/4" tape machines around pretty cheap these days.
That might help a little bit.
--
--
John Noll
Retromedia Sound Studios
Red Bank, NJ 07701

Phone: 732-842-3853 Fax: 732-842-5631

http://www.retromedia.net

On Fri, 14 Nov 2003 16:28:25 -0800, DStern wrote
(in message
):

I guess I want to know where to go from here to move toward the Beatle
sound within PT.
--------------------------------snip----------------------------------

The room, the microphones, and the talent (not necessarily in that order) are
what made that sound more than anything else. ProTools itself won't do it.
I'd say the outboard gear (compressors, reverb, EQ, and console) also helped
shape the sound as well.

Last holiday season, I bought a very entertaining Xmas CD that had some
standard Christmas songs performed by a Beatles soundalike band. The
recording quality was surprisingly good, and I wouldn't doubt that they took
some time to use similar recording techniques.

I'll be damned if I can find that CD right now, but it was pretty slick. It
came out of Orange County, CA -- that much I remember.

--MFW

Marc Wielage wrote:

Last holiday season, I bought a very entertaining Xmas CD that had some
standard Christmas songs performed by a Beatles soundalike band. The
recording quality was surprisingly good, and I wouldn't doubt that they took
some time to use similar recording techniques.

I'll be damned if I can find that CD right now, but it was pretty slick. It
came out of Orange County, CA -- that much I remember.


I think I saw that CD. It'll probably be back. These things have a way
of mysteriously reappearing at this time of year.


Don

(DStern) wrote in message ...
I know, I know, I have to be the Beatles and then throw away my stuff and
buy what they used...

But since I'm not them and I can't afford to purchase Abbey Road and Geoff
Emerick, I have to ask in the hopes I might get some answers that may
help. I hear very rounded, fat, yet clear tones when I listen to the
White Album. The opposite of grating or piercing even on the aggressive
stuff like "Everybody's Got Something To Hide..." . This is what I am
after.

The following is my decent stuff:

PT/24 w/Apogee Rosetta A/D
BA 1272s
BA 312s
Sytek
PV VMP-2
Distressors
RNCs
TLM103
KM-184
SM57
Senn. 421s

I guess I want to know where to go from here to move toward the Beatle
sound within PT. I was thinking about getting some v72s's or some kind
of large diaphragm condenser tube mic but I don't know which will take me
further toward my goal. Should I do both? Will a ribbon such as the
Royer be a good choice?

As far as tube mics go, can anyone recommend anything for this?

Also, there's compression, will a 1176 or LA2a help?

What about a FATSO?

I guess I am trying to find out which addition(s) will give me the most
mileage toward my goal.

I am not loaded so please don't bother with the u48 suggestions.


Thanks in advance.


I'll take a different stab at this. What I find as a musician is my
voice is often directly effected by the guitar I'm using. This may
apply to the White Album in a really big way.

According to what I've read and pictures I've seen you see the Beatles
using unusual guitars not normally attributed to them. George uses a
Les Paul, an SG for example and I believe he had one of those Fender
Bass VI's. John also had one of the VI's. John also can be seen still
using an Epiphone Casino and although I've read he used a gibson
acoustic and a Martin d-28 to my ears I hear the d-28 because I own
one. Paul is using a Jazz bass as well as a Rick. Paul definately uses
a D-28 too. Although it's rare to see Paul playing guitar. On SGT
Pepper he uses an Esquire, I read he used one here and a Casino.

What does all that mean? On some of the songs they played as a group
but often was the case it was a solo album with 4 solists. George I
believe was ****ed because he wasn't getting enough tracks so he
brought in Clapton for "While my guitar...". I think it makes the
album unique in that sense. That definately contributes to the sound
having lots of people playing lots of different things. I'd track down
what amps they used too. They may have been using Fender amps later to
be seen for "Get back sessions". Paul always had his bass amp mic'd,
according to Emmerick.

On things like "cept' for me and mymonkey" sounds like Gibson guitars,
johns voice is definately being sent through something else or just
distorted. I know they used to put ADT's(auto matic double track) on
his voice and leslies and who knows what else. Now on the other end a
song like Julia sounds to my ears to be a d-28. A Martin changes one's
voice.

The others here probably can tell you better as to what equipment was
used. I believe they were just getting into 8 track, my guess is the
boards they were using were in transition too. Research the
characteristics of that equipment I recall reading an article about
the Anthology remixes. The remaining Beatles/martin etc tracked down a
board of the era and resisted as they said extending the frequencies.
On Let it be you can see them using Neumann's on acoustic guitars with
a smaller mic on vocals even though both mics would pick up both
guitar and vocalist obviously. It's quite possible that approach was
used during the White Album.

Good luck in your quest
William

V72's wouldn't be a bad place to start, they definately changed my world
when I began using them.



Twist Turner
http://tinyurl.com/ul70

A friend of mine is in a band the recently had Geoff Emmerik produce and
engineer their indie CD. The band are huge beatles fans and recorded in a
major Neve Studer room but it sure doesn't sound like any Beatle recording I
own. Notice i said sound not perfromed or written.




---------------------------------------
"I know enough to know I don't know enough"

How so? Can you describe the sound?

V72's wouldn't be a bad place to start, they definately changed my world
when I began using them.



Twist Turner
http://tinyurl.com/ul70

I am not loaded so please don't bother with the u48 suggestions.

If you don't have the 7K for the u47-8 I guess you don't have the 3 mill.
for the room either...

--
Steven Sena
XS Sound
www.xssound.com


"DStern" wrote in message
...
I know, I know, I have to be the Beatles and then throw away my stuff and
buy what they used...

But since I'm not them and I can't afford to purchase Abbey Road and Geoff
Emerick, I have to ask in the hopes I might get some answers that may
help. I hear very rounded, fat, yet clear tones when I listen to the
White Album. The opposite of grating or piercing even on the aggressive
stuff like "Everybody's Got Something To Hide..." . This is what I am
after.

The following is my decent stuff:

PT/24 w/Apogee Rosetta A/D
BA 1272s
BA 312s
Sytek
PV VMP-2
Distressors
RNCs
TLM103
KM-184
SM57
Senn. 421s

I guess I want to know where to go from here to move toward the Beatle
sound within PT. I was thinking about getting some v72s's or some kind
of large diaphragm condenser tube mic but I don't know which will take me
further toward my goal. Should I do both? Will a ribbon such as the
Royer be a good choice?

As far as tube mics go, can anyone recommend anything for this?

Also, there's compression, will a 1176 or LA2a help?

What about a FATSO?

I guess I am trying to find out which addition(s) will give me the most
mileage toward my goal.

I am not loaded so please don't bother with the u48 suggestions.


Thanks in advance.

It just seems that I am getting all the sound now. All the harmonics
seem to be there, really nice full, warm, round, detailed with what
seems to be alot of head room, especially the V77b which has something
like 80db gain and 24db of headroom.

Previously I was using, API, Neves, Daking, Langevin, Great River, now
most everything goes through the V72, and or V77 modules(I bought 7 this
year!).

I am using a 2 Ch.demeter tube pre which I got pretty cheap for drum
overheads, it's a little more detailed than the V modules, but doesn't
hold up nearly so well on vocals, it seems to crap out kind of like my
Lawson mic used to, but its great on overheads.
==============================
From: (DStern)
How so? Can you describe the sound?

V72's wouldn't be a bad place to start, they definately changed my world
when I began using them.



Twist Turner
http://tinyurl.com/ul70

The V72s were on their very early recordings, then they switched to
EMI's own REDD-47 tube mic amps. Also, some of those tracks (mostly
Paul's, I think) were done at Trident studios. I don't know if Trident
was tube or transistor at that time. EMI went transistor by the time
Let It Be was mixed and Abbey Road was tracked.




DStern wrote:
How so? Can you describe the sound?


V72's wouldn't be a bad place to start, they definately changed my world
when I began using them.



Twist Turner
http://tinyurl.com/ul70