I'm looking for some reference to how some albums are recorded.
Specifically mic placement/selection, and preamps/compression used,
and room details (size, shape and surface area).

Anyone with good reccomendations?

Some drum sounds that I really want to understand would be from the
following albums.

One Hot Minute by Red Hot Chilli Peppers
Toxicity: System of a Down
Siamese Dream: Smashing Pumpkins
Rendez Vouz: Michel Camilo (Dave Weckle plays on this)
Enema of the State: Blink 182
In the Court of the Crimson King: King Crimson

Bass sounds that I love:
Ben Folds Five: Whatever and Ever Amen (specifically the songs
"Smoke")
Early Police Stuff
In the Court of the Crimson King: King Crimson
(I just realized that I listed three bass players that all use picks
(Robert Sledge, Sting and Greg Lake). Funny cause I hate using a pick.
Looks like I'm gonna have to swallow my pride

If anyone can help out with info about any of these albums, or any
literature I should check out that talks about any album production in
detail I'd love to hear about it.

Cheers,

Jake

"Jake" wrote in message
om...
I'm looking for some reference to how some albums are recorded.
Specifically mic placement/selection, and preamps/compression used,
and room details (size, shape and surface area).

Some recording magazines have a monthly feature like this.

www.mixonline.com - I think it's called "Classic Tracks"

Home Recording Magazine used to also I believe as does
http://www.soundonsound.com/ and http://www.futuremusic.co.uk/hl_news.asp
magazine Computer Music.

"Behind the Glass" by Howard Massey

and both of Bobby Owsinki's Handbooks: The Mixing Engineer... & The
Mastering Engineer... have interviews with all the greats... there are
discussions of mics, riding the faders, compression... but possibly not in
the kind of detail you want e.g. 'we let Mick's lips touch the mic only on
the rarest occasions for hygiene reasons..." etc.

Larry
--
L. H. Scheidle
Armoured Horse Studios
A Digital Project Studio
North East Maryland



"Ricky W. Hunt" wrote in message
news:MJTxb.146698$Dw6.609806@attbi_s02...
"Jake" wrote in message
om...
I'm looking for some reference to how some albums are recorded.
Specifically mic placement/selection, and preamps/compression used,
and room details (size, shape and surface area).

Some recording magazines have a monthly feature like this.

www.mixonline.com - I think it's called "Classic Tracks"

Home Recording Magazine used to also I believe as does
http://www.soundonsound.com/ and http://www.futuremusic.co.uk/hl_news.asp
magazine Computer Music.

One Hot Minute by Red Hot Chilli Peppers
...
Bass sounds that I love:
...
Early Police Stuff
not so early but:

from http://archive.bassplayer.com/z2000/0003/sting.shtml:
--
When you're recording, do you still often double a bass line on upright or
guitar?

Not much. We did that a lot with the Police; it was kind of a trademark.
"Every Breath You Take" [Synchronicity] has electric bass plus double bass,
as does "Perfect Love Gone Wrong" on Brand New Day. "Don't Stand So Close to
Me" had electric plus electric upright. Sometimes playing guitar alongside a
bass line adds a bit of depth to the line.
--
from http://mixonline.com/ar/audio_polices_every_breath/

Recording the bass could be frustrating, Padgham says, when Sting wanted to
play while jumping on a mini trampoline. "It sounds mad - and I have trouble
recalling whether it was during Ghost in the Machine or Synchronicity,
because we recorded them 18 months apart at the same place 20 years ago -
but what was really annoying was, even at the best of times, with all due
respect to Sting, who is a fantastic bass player, he's quite sloppy. If you
solo his bass track, there's all sorts of fret noise and bits of dodgy
playing. When he was bouncing on the trampoline, it made it even worse. But,
of course, if you said, 'Could you not bounce quite so much, please,' he'd
bounce even more. Nowadays, I'd know to say, 'Could you bounce more please,'
and he'd probably get off it! With respect to his sound, whether he was
bouncing on the trampoline or not, he always used his old Fender jazz bass,
and it was never put through an amplifier. I only ever DI'd it, and in those
days, it always had a bit of Boss chorus pedal on it, which made the bass
sound a little thicker. Then we would overdub a Dutch upright electric
double-bass that was nicknamed Brian. It was, 'Let's put Brian on the track.
' He wouldn't emulate the whole part, just perhaps the first note of the
bar."
--
found with:
sting "bass sound" roxanne
as the search string over at google.
--
Picked Sting because I was curious too, there is a lot more if you do some
digging : ) Now get out there and google; )

I would go to ebay and start collecting the last twenty years of Mix.
All your questions will be answered. Just the last five years might
help. Usually you can pick up a whole year for around $10-20.

In article ,
Christian Serig wrote:
I would go to ebay and start collecting the last twenty years of Mix.
All your questions will be answered. Just the last five years might
help. Usually you can pick up a whole year for around $10-20.

If you actually believe that. I know a lot of folks have made statements
in interviews that weren't exactly... umm... correct.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."