In our stack of racked compression we often use the Smart Research C2.  This compressor adds the “hit factory tone” to many sessions.  Alan Smart has worked with and helped design some of SSL’s outboard gear throughout the 1980’s.  The C2 compressor is one of the most versatile and must have pieces of gear any studio should have.

  The C2 compressor houses two independent mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2.
  The characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used across a mix, or with any dynamic program, this has the effect of adding ‘punch’, as the side chain ‘breathes’ around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this ‘musicality’, adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.

One of the newer mic’s that we have just received is the AKG C12 VR, this microphone was really first noted in the Abbey Road Studios sessions starting in the early to mid 1960’s.  Back then this mic was called the AKG C12A, VR stands for “Vintage Reissue”.  One of the sessions that this microphone really stood out was The Beatles, Sgt. Pepper’s bass tracks.  This was the first time that Paul’s tracks were separated from the other instruments; you can hear the difference as the bass stands out more in the mix.  Along with our AKG C12 VR we also have a mid 1950’s C12A that was built by Norelco a few years before the AKG purchase of the design patent.  Here are a few recording tips from the AKG site to help understand mic’ing techniques for various instruments.  

Recording vocals:  To get a contemporary, very intimate vocal sound, we recommend using a cardioid microphone approximately 6 to 12 inches (15 to 30 cm) away from the singer and switching the bass roll off filter in. The supplied foam windscreen helps suppress plosives (such as “p” or “t”). For optimum noise rejection, use a separate pop screen such as the AKG PF 80.
AKG C 12 VR and AKG Solid Tube mic’s are extremely popular internationally because of their “warm, intimate” sound. We recommend adding the vocalist/musicians’ own track to their headphone monitor signal for better control of their own voice/instrument. Specializing in acoustics, AKG makes the most popular headphones for recording studio applications worldwide.   

Double Bass:  Aim a cardioid microphone at one of the f holes from a distance of about 16 inches (40 cm). If you have to record the double bass playing together with an ensemble, use a shorter working distance and a hyper-cardioid pattern in order to prevent leakage from other instruments into the bass microphone.
Grand Piano: use two cardioid large-diaphragm microphones placed approximately 8 to 16 inches (20 to 40 cm) above the strings. Direct one mic at the treble range and the other at the bass range. Align both microphones with a point about 6 inches (15 cm) behind the dampers. Alternatively, you can mic the bass range from the rear end of the grand for a rounder bass sound.
Upright Piano: mic the upright piano in the same way as the grand. If the front cover is closed, let the mics look into the instrument from above. Removing the front cover provides a more airy sound.

The Tone Kings are midway through there first release and let me tell you they live up to their name.  By the time we loaded in all the gear it looked more like a vintage guitar store than a recording studio.  You can see some session photos at the Fastback Myspace Site.  During this first session we tracked an old Dobro Chess records style.  We recorded the Dobro on the hard wood floor with a singleEMI 4038 ribbon mic about 2 feet above Fabian.  Since we did not use a click track on this session Fabian used an old John Lee Hooker recording trick and taped a beer cap under his boot to keep time on the hardwood floor.    

Well another busy week at the studio and we where recording some guitar over dubs with a Juke Amps.  The Juke 1210 is equipped with EL34’s - Class AB - Fixed Bias 45W Pentode - 40W Ultra Linear - 20W Triode  “Golden Voice” Pitch Shifting Vibrato Bias Modulated Tremolo “Concert Hall” Type C Spring Reverb Tri-Cone Alnico Speakers System  (1-P12Q & 2-P10R’s)  This amp sings, this boutique handmade amp and well worth the money spent.  We cranked it loud to grab that perfect tone.  Tom used an Eastwood single pick-up (soapbar style) guitar with a big C-neck, nice darker tone. We mic’ed the amp with the Lomo 19A19 dead center about 8″ away from the grill to capture the both the 12″ and 10″ Alnico speakers.  A Shure 57 was placed on the back of the open backed cab off to the side.  For the room mic we ended up using a DPA Microphone this style of mic is a compact Omni directional mic, besides a RCA 77DX this is one of our regular “go to” room mics.  Both the Lomo & Shure mic’s where sent through our Neve custom channel strip lunch box while the DPA room mic went through the Focusrite 428.