Gorbachov – People Skills
It was great fun to have the Irish lads known as Gorbachov over in Liverpool to record and mix their debut album.
Now it’s the turn of Waterford fivepiece Gorbachov, who are trying something a little different, as they’ve announced an official pairing with Wexican Motorsport Continue reading…»
Mixing Nate James – High Times
High Times is a song on Nate James’ second record Kingdom Falls. After releasing the record Set the Tone as well as the EP Funkdefining, Kingdon Falls was a surprise to many with a very different sound and musical direction. Hildebrand was asked to mix the track High Times and give it brash and dirty, yet still popular sonic quality.
“The brief was particular interesting as it was also about pulling the sounds closer together and introduce additional drive. Often the feel for the tempo is changed when mixing a song and obviously the aim in this track is to make it feel faster. So first I introduced a lot of ‘natural’ distortion into the sounds and worked the EQs out so that the drums become a gel between programmed and natural and a unit in the mix. In comes the Manley Vari-Mu and its great bounce together with the bass. Getting that right lays the ground for the whole track and forms the basis for the rest of the sounds”, comments Hildebrand.
Recording a Boesendorfer 9ft Grand Piano at the Church of Our Lady and Saint Nicholas in Liverpool
After setting up various microphone techniques to record the pop ballad ‘Justify Me’
the final setup can be seen above. The main body of the sound was recorded using
the stereo Schoeps CMT-S 501. In order to add the highest notes
to the stereo image a Neumann KM-84 was added.
Organ Recording at the Anglican Cathedral Liverpool in 5.1 Surround Sound
Pulling a construction of six AKG – C 414 up to a height of about 25 feet to record the large organ in 5.1 Surround Sound
Orchestral Recording at Whitworth Hall
Using a fine selection of Neumann, Earthworks, DPA and other microphones the orchestra was recorded in the sizable and beautiful Whitworth Hall, being part of Manchester University.
Hildebrand’s Equipment List
Musicians, producers, engineers, studios and film makers can make good use of the personal and quality collection of recording, mixing, mastering and filming gear Hildebrand acquired over the years. This includes some of the finest analog music gear by Manley, Drawmer, HÖF, Universal Audio, SPL, Lexicon, Neumann, Schoeps and AKG as well as video technology by Sony and Arri Lighting.
Hildebrand uses this equipment frequently and welcomes it to be used by others, offering a fully mobile recording studio. To read more about the equipment and Hildebrand’s reviews follow the links to the articles for most pieces of gear.
Microphones
Schoeps CMC4 Cardioid Small Diaphragm Condensor (x2)
Schoeps CMT-S 501 U Stereo Condensor
Neumann KM 84 Cardioid Small Diaphragm Condensor (x2)
AKG C-414 B-ULS Large Diaphragm Condensor (x2)
Shure SM57, SM87 and Audio Technica (selection of)
Microphone Preamps
Universal Audio 2-610 Stereo Tube Microphone Preamp EQ
Drawmer 1960 Microphone Stereo Tube Preamp Compressor
Dynamics & EQ
Manley Variable MU Stereo Limiter Compressor
HÖF Dynamic Master Stereo Compressor Limiter Expander (x2)
Drawmer 1960 Microphone Stereo Tube Preamp Compressor
Universal Audio 2-610 Stereo Tube Microphone Preamp EQ
Drawmer 1961 Stereo Vacuum Tube Equalizer
Drawmer DS201 Dual Noise Gate
Drawmer DL241 Auto Compressor Stereo
SPL De-Esser Stereo
Effects
Lexicon PCM-80 Reverb and FX unit
Sound Recording Gear
Amek TAC Bullet Mixing Desk
Digidesign ProTools 6.9, Mix Plus, RME I/O, MacG4 Dual 1.25GHz
Digidesign ProTools 8, Digi003, iMAC 3.06GHz Core Duo
Speakers
Adams A7 Active Nearfield Stereo Pair
Classic Yamaha NS-10 with C-Audio RA3000 Amplifier
Event 20/20 Bi-Amplified Powered Nearfield (2001 version)
Event 20/20 Powered Subwoofer (2001 version)
Video Recording Gear
Manfrotto Tripod with Fluid Head
Motion Cam Stabilizer
Interested in hiring equipment?
Recommended books … Additional reading
Schoeps CMC4 Cardioid Small Diaphragm Condensor Mic
The Schoeps Colette review
“There is nothing other to be said about those microphones than: ‘they are fantastic’. I came across those mics in the first studio I’ve ever worked in in Germany. Just like the HÖF compressor. When I had the finances I checked on Ebay and found this particular pair instantly. I constantly have them up somewhere in the room and around the instruments and voices – close, far, up, down, roomy or dry.”
“I literally meander around the room until I get the sound I need, which then most often doesn’t have to be equalized much. Don’t get me wrong the Schoeps are outrageously good when heavily compressed and otherwise processed – like I explained in the AKG C-414 article,” comments Hildebrand.
Hildebrand’s pair of CMC4 with Cardioid and Hyper Cardioid capsules are from the Colette Series. Purchased from their first owner, a sound recordist in Switzerland, who bought them ’sometimes in the mid 1970ies, when they first came out’ to be used during film productions. Given their age these can be considered vintage.
Schoeps CMT-S 501 U Stereo Condensor Mic
The Schoeps CMT 501 review
This Schoeps Mic has two switchable pattern capsules, which are built on top of eachother and can swivel. It therefore lends itself to be used for XY or MS stereo recording techniques, but can equally be used as a mono mic. The patterns are Cardioid, Figure of Eight and Omni.
“This Mic is stunning. It’s not the easiest to handle, since it provides endless options in placement and techniques. But when hovering around the instrument or room, you find sweet spots that other mics never hear and then that’s it, everybody has tears in the eyes,” explains Hildebrand. ” The Schoeps CMT sound very similar to the two CMC 4’s I’ve got, most likely because they come form the same time period.”
Schoeps introduced the very first mechanically switchable three-pattern capsule, the MKT 26, as early as 1961. In contrast to the common electrically-coupled double diaphragm design, a patented, mechanically switchable transducer with only one diaphragm was used. This offered the exceptional low-frequency response of a real pressure transducer in the “omni” position. In 1969, a stereo condenser microphone, the CMTS 301 / 301p / 501, was launched with two switchable three-pattern single-diaphragm capsules. The CMTS 301 already used the DC coupled output stage of the later Colette series. The CMTS 501 continued with a transformer output.
Links
- Schoeps Microphones
- Kevin Becka’s review of the Schoeps CMC XT in Mix Magazine
Recommended books … Additional reading
Interested in hiring the Stereo Schoeps? … Drop a line
Neumann KM 84 Cardioid Small Diaphragm Condensor Mic
The Neumann KM-84 review
“The Neumanns fit really well into my collection. Again, I have two and chose the older version over the newer KM 184, because it doesn’t have any top end boost, which makes it more versatile in music production in my opinion – just like my older AKG C414s. They feature the lower mids of a sound in a very warm way and have a solid transient response. Just different to the microscopic sound of the Schoeps CMC Colette.
I tend to mix up the Neumann and Schoeps in the same recoding situation, similar to using a varied choice of preamps. This provides all tones or shades of colouration that make the recording very flexible to work with during the mixdown. The KM 84 is great on snares and a killer on overheads – it takes 130dB!
AKG C-414 B-ULS Large Diaphragm Condensor Mic
The C-414 review
“The real performance of a microphone comes to show when using EQ and compression to shape sounds creatively and in this situation the B-ULS is a winner. Not just over the new versions of this mic but also over most other large diaphragm mics that have been released recently. There is a real benefit to have such a reliable mic in the collection, which can be put onto anything and will give you the right frequencies to work with all the way through to the mastering stage. It’s not an eccentric or expensive microphone that has to be driven through that special preamp. It’s the best Plug-and-Play mic, I suppose, and it always finds its way into the test-array in front of the instrument.”
Hildebrand’s stereo pair of the C-414 B-ULS microphone, purchased as the last Brand-New-In-Box ones in Britain and still being sealed then, are the discontinued predecessors to the latest models. They feature four switchable polar patterns (omni, cardioid, hyper cardioid and figure of eight) as well as a switchable low-cut at 75 and 150 Hertz. The AKG C-414 is a famous microphone, which has proofed invaluable to many recording engineers and sessions, because the microphone is such a reliable work horse on large sessions as well as a gem and preferred choice in certain situations.
Reslo Vintage Ribbon Mic
The Reslo review
The Reslo is a vintage ribbon mic that has been very popular during its time throughout the 1960ies – 70ies. Being a ribbon mic of old generation it sure has its very own charm and sound.
“A friend of mine recommended the Reslo to me and so I bought one on Ebay. Not long and I owned three of those little funny things. Currently only one is actually working, because I could not resist using it on the snare. Such a sweet sound, but not for long,” says Hildebrand. “It works great on guitar amps and in conjunction with a great EQ such as the Drawmer 1961 and a great pre-amp, it becomes a seriously good mic.”
Links
- Comprehensive info about the Reslo
Recommended books … Additional reading
Interested in hiring the Schoeps microphones? … Drop a line
Manley Variable MU Stereo Limiter Compressor
The Manley Vari-MU review
“I have used the Manley for years and it basically is always across everything. In principle. Once you’ve got the machine working you can instantly hear the gloss. I use it as much for single instruments as on the master busses. It is a misconception that it is a mastering unit (this one I have is the non-mastering version). You can get the drums and vocals incredibly solid or nicely pumping – it’s your choice. Clearly you wont get this sound out of a Plug-In – I’ve tried many a times. Can someone prove me wrong?”, says Hildebrand.
“Kick it up to something obscene, like 15-20 dB, and it squeezes the track like a silk glove, getting the effect without any nasty artifacts. There is something to this unit that just glues everything together and makes the track sound, for want of another term, ‘better.’ You can’t really compare it to anything else because it is indeed unique, once you try one, you’ll be hooked forever,” concludes Owsinsky.
HÖF Dynamic Master Stereo Compressor Limiter Expander
The HÖF Dynamic Master review
The HÖF Dynamic Master is a very unusual piece of kit, not just for its Ö. How it works is kept deliberately vague, as the designers even scrape off the Integrated Circuit numbers in order to keep its secrets. Hildebrand has got two Dynamic Master and explains: “I use it a lot for parallel compression and because of the stereo linking I had to get another one.
I can create a great density in the sound using this machine without destroying any of the lively attacks, which are so important to the mix. It works really well in conjunction with other gear in the chain, which results in a lot of control over the dynamics. Again, I use a mastering equipment in a different way to mix. I realize now that I seem to do that a lot!”
Drawmer 1961 Stereo Vacuum Tube Equalizer
The Drawmer 1961 review
“The 1961 has become my real favorite on guitar sounds. The frequency bands are chosen perfectly and the width and boost provide really nice shaping features. I say boost because I don’t tend do anything else with this EQ especially on guitars. Just like the Manley it is by far not just a mastering machine. My Kick and Snare go through it and even Vocals. You can add such roundness to the bass and a really nice air in the top-end on all instruments as the 1961 is going up to 25k and 50k for the Low-Pass”, describes Hildebrand.
“Distortion would make a hi-fi enthusiast cringe, but the subjective result is a very slight thickening of the bass end and a subtle lifting of high-frequency detail. This may be used to good effect both on whole mixes and on individual parts such as vocal tracks, where a conventional mic can be endowed with some of the tonal attributes of a tube model. Initially, I thought I might find the switched filter frequencies rather restricting, but in practice, the correct choice of bandwidth or Octave seemed to be more important”, reviews Paul White in this SOS Magazine article.
