One of the best things about running a recording studio is meeting other people that enjoy supporting the Seattle music scene.  I would like to give a “shout-out” to these folks that work hard to support the artist and their music.

Roy’s Place:  This is a band rehearsal space in Lynnwood, Wash.  They have great rates with instrument supplied rooms.  Awareness Promotions:  Exists to support the quality independent and underground music that’s being created in the Pacific Northwest.  Seattle Power Pop:  This is a Seattle music blog that continues weekly to showcase the ” Who’s-who” of today’s Seattle Music. Last but not least the Washington Blues Society:  This society highlights the blues, works with music in schools, brings up to five festivals a year to the area.  Thanks guys for all the hard work you do to keep our music viable, seen & heard.    

We are in the early stages of recording vocals for a rap release.  The basic tracks have been recorded off site so we are just recording the vocals and re-mixing the sessions.  A majority of the time we bring the vocalist into the live room and record and blend up to three different mics tracks, but for this session we have done just the opposite.  We put the vocalist in ISO booth #1 which is a 5×5 ”abosorption room” and use the AKG C12VR microphone on the cardiod pattern.  For these sessions this style of vocal tracking brings the voice upfront and on top of the mix with great male mid & low end vocal presence. 

 The C12-VR is an exact replica of the original C12, from the cap-sule sound to the original 6072A vacuum tube. The only difference is that its self noise and some components were optimized to meet the current state of the art. No less than nine remotely selectable polar patterns, the legendary large-diaphragm capsule, and an original 6072A vacuum tube.  

What is it about RCA products?  Why should we care about old ribbon mics from the 40’s when today’s products like Royer and AEA - Cole ribbon microphones bring so much great quality to a session. To this day when you talk about recording a horn section, acoustic guitar and even a guitar amp peer engineer(s) often says with a smile “have you tried using a ribbon mic, like a…..”  Since most of us know the value of the ribbon sound on a track.  I have often replied that’s a great idea, I should use my RCA mics and the comment that is often uttered back is ”You have RCA mics, I would love to hear those”.  It’s true there great! it really makes you feel good about the session.   It’s like taking a Sunday drive in an restored classic car while using today’s technology, it’s the best of both worlds.  When we record with these mics I often think about historic recording sessions at Capital, Sun, Stax & Motown studios when the RCA was one of the only choices, and they used them to create the music we still listen to today.   I would like to thank the creator of this educational RCA microphone site.  It is a great resource and I would like to share his work with you about the RCA microphones that we use at Fastback.

74-B Microphone:  The 74-B has been widely used by broadcasters for years. It offers the smooth bi-directional response of the 44-BX in an inexpensive, small and light-weight model. The 74-B is particularly recommended for applications where the extended frequency response and more elaborate shielding and shock mounting of the 44-BX are unnecessary. It is, therefore, a very useful microphone for audition studios, announce positions, talk back and for small and occasionally used studios. It may also be used for remote pickups where the frequency response is limited by lines and other factors.  In design the Type 74-B is similar to the larger 44-BX, but lacks the latter’s shock mounting and transformer shielding. The transformer output impedance taps are for 50, 250, and 15,000 ohms. The windscreen is finished in satin chromium and the base is umber gray. Attached to the base is a ball and socket joint which permits rotation or tilting at any angle.
77-DX Microphone:   The RCA Type 77-DX Poly-directional Microphones MI-4045-F and MI-11006-C are high-fidelity microphones of the ribbon type which may easily be adjusted to obtain a variety of directional patterns. Since the MI-4045-F microphone is primarily intended for broadcast use, it is finished in satin chrome and a low-gloss umber-gray enamel. The MI-11006-C microphone is intended for television use and is therefore completely finished in a low-gloss umber-gray enamel which eliminates glaring reflections usually seen on highly polished microphones.

Instead of being open on both sides as in the conventional velocity microphone, the ribbon element in this microphone is coupled to an acoustic labyrinth which forms the body portion of the microphone. The tube connecting the back of the ribbon to the labyrinth is slotted directly behind the ribbon and fitted with an adjustable shutter to secure various areas of opening. When the opening is completely closed, the microphone operates as a non-directional pressure microphone; at the wide-open position the microphone becomes bi-directional. With the proper size opening the pattern becomes a cardioid by virtue of the phase shift which occurs. Openings smaller or larger than this critical size produce directional patterns with various sized rear lobes. Different amounts of low-frequency attenuation are obtained by a reactor shunting the output. These microphones are intended primarily for indoor use and if used outdoors may require some additional protection against the wind. 
Directional Characteristics:  The adjustable shutter over the slot in the tube leading to the acoustic labyrinth may be rotated by means of a screwdriver adjustment extending through the rear screen flush with a designation plate. The choice of directional patterns makes possible a considerable degree of control of the ratio of direct sound to reverberant sound as well as the possible reduction of unwanted sound such as audience noise in a studio. The wide angle of pick-up provided by the cardioid pattern is useful in covering large groups with a single microphone. For close-talking applications the non-directional characteristic is of considerable value since the low-frequency response is not accentuated as in the case of a velocity microphone. Numerous other applications of the various directional patterns as well as the different response curves will no doubt suggest themselves to the user.
Directional Pattern Selector:  The plate is marked U, N and B, as symbols for the uni-directional, non-directional and bi-directional patterns. Three additional markings L-1, L-2 and L-3 are used as reference points for other directional patterns which may be obtained. Refer to Figure 4 for the patterns associated with each of the six symbols. Stops are provided on the continuously variable pattern selector at the six marked positions, although the shutter may be set at any intermediate position.
Frequency Response Settings:  At the bottom of the lower shell is a screwdriver-operated selector marked M (music), V1 and V2 (voice). The voice positions connect a reactor across the entire secondary or part of the secondary of the output transformer, depending on the switch position. Refer to Figure 5 for the frequency-response characteristics of each setting. As can be seen from the curves, the reactor attenuates the low-frequency response. This is especially desirable when the microphone is less than three feet from the source of sound and the low-frequency response would otherwise be exaggerated.
BA6A Compressor:  The BA6A is very transparent no matter what its function. For example, the RCA BA6A limiter/compressor has a very characteristic tone that many recordings have been constructed with.  The BA6A was built without cutting corners or scrimping on components and first built for radio stations thought out the US.  As new lighter and smaller compressors where introduced on the market radio stations slowly phased the BA6A out and during that time more of these BA6A’s where thrown in the garbage than put back into the market place.  The BA6A is only a single channel, but well worth the time it takes to set it up for the session.

I would just like to thank Technorati Profile and Music Preparation, when you type in Seattle Recording studios on Google Music Preparation pops up some great recording studio’s in Seattle. These site’s have helped people who are interested in recording, audio gear and musical blogs find our site along with other great Seattle music resources. 

  It is always nice to get a blues session in, and their is something to be said when the blues get’s an energy lift from players under 25 years of age with great female front vocals.  Here is what 12th & Vine had to say about their E.P. release recorded at Fastback.
 
  We recently released two of our new tracks recorded at Fastback Studio in Seattle. “Runnin” is a brand new cut that we wrote in Roslyn, Washington. We’ve been going out there about once a month for the last half a year to play at a great club called The Brick. It has been great for us… we play Friday night, write Saturday, and play Saturday night (usually debuting the pieces we finished writing that morning.)  Beyond that, Roslyn is an absolutely beautiful mountain town, the locals have been exceedingly receptive, and these elements have made the experience truly inspiring.  The song itself is very characteristic of the sound we’ve been seeking for some time. We’re very excited about it and feel like it has been a great starting point for the artistic direction we’re going in now. Retrospectively, the sexy R&B feel of this tune inspired us to write Temptation and a few other cuts that we will be recording soon. Give it a listen, and email us your thoughts. We are always grateful for feedback from our friends and audience.  “I Wait” is the second new track. It has been a crowd favorite for a long time, and, previously, we’ve only had live cuts. The vocal and guitar tracks are extraordinary on this cut. Evelyn Fysah and Greg did amazing work. No doubt many a man has fallen in love with Fysah while we’re performing this one live (maybe a woman or two as well.) Who said the ballad is dead?
 
We sincerely hope you all enjoy our new work. We’ll be back in Roslyn March 2 and 3. Hope to see some of you there. Thanks for listening. 
 
We would like to thank Jason Lackie and all the folks at Fastback for the hard work and fantastic product.
 
P.S.  Soon to come: a fresh studio-take on our tune “Ordinary” also recorded at Fastback Studios.  We will be releasing this track right here on myspace.com very soon, so stay in touch.
Sincerely - 12^th & Vine

This is a follow-up to the Dicktionhead vocal recording.  During this vocal session we used a Neumann U87-AI in the live room inderneath the highest part of the ceiling.  Above and behind the vocalist 10-ish feet in the air for the room mic, we used the DPA 4052 Omnidirectional Mic.  Blending of the two will put a punch and upfront vocal sound to a very punk album.  Technorati Profile

The Shep SN12 EQ module is basically a NEVE 1081 on steriods.  When an artist brings in a pre-recorded project with questionable tones, the SN12 brings those tones to life so they can stand on there own.  I believe the Shep SN12 EQ is an under-rated piece of outboard gear that has not received it’s do credit.  

Overview:

The Shep SN12 EQ is a more sophisticated equaliser in a 12 inch high module case with Hi Q on the two mids, and has peaking and shelving curves selectable on both the HF and LF bands.  It has a Dual concentric sensitivity switch which has a stepped Mic sensitivity on the outer with a Line trim potentiometer in the center.  Mic and Line is selected by a toggle switch or it can be remotely selected.  It is available with either the Class A/B output stage or with the option of Rupert Neve’s Class A output stage and special output transformer. This version is called the SR12.  The Class A/B version is usually purchased for the versatility and transparent sound of its Equaliser section.  The Version which has Rupert Neve’s Class A output stage has the best of both Worlds.  The SN 12 can be supplied fitted with 22 way Amphenol connector (with pre and Post Eq ) or with 18 way Amphenol so that it can be retrofit into Neve Consoles which had 1081 or 1064 Equalisers.

 We have recently added the Gefell M-300 mic.  This mic does makes the difference in a recording. in our last session we used it on a High-Hat.  Here is a little promo Gefell blurb from the website that says it better than I can. The Gefell M300 is a miniature pencil microphone that is big on sound and performance. Advanced technologies such as the use of ceramics and optical isolation distinguish the M300 with greater stability and lower noise than others. These combined with a hand-stretched gold sputtered diaphragm yield a microphone that is easy to use, extremely linear and sounds great in just about any application.

The M300 is well suited for recording where the natural sound of the instrument is desired and is an ideal choice for solo instruments such as guitars and woodwinds, for percussion and for stereo orchestral and ensemble recording.

Most recording studios in Seattle are not in the business or mind-set to help support or promote the band that has just recorded with them, for some Seattle recording studios the artist is just another day, just another dollar.  Fastback Studios in Seattle, created Fastbak Records and we see it 180 degrees different, we want to see both the artist and the album become very successful in the goals they are trying to meet.  When you spend long studio hours with a band or an artist the recording transforms into a great experience.  After much thought and a few revisions Fastback Studios has put together a site that helps promote and support the touing artist that have recorded with us.  When you have a momment please take a tour of Fastback Records