Sam Bush Recording Techniques

[MNDOLNR]

Hi there,
Does anyone have any insight into the methods that Sam has used on recordings like Strength in Numbers? I'm looking to provide our engineer and producer with some specs. I love the way the throat is so present in his tone, and the attack is muted to keep the mando from sounding too plucky - all the while maintaining the resonance of ol' HOSS.

Any help would be greatly appreciated.

thanks
anders

[Christian McKee]

Bump.

I have found threads on recording mandolins on other forums, usually variations on the same themes you'd expect... "try different mics, try them in different places, go with what you like."

C.

[Jim Nollman]

have found threads on recording mandolins on other forums, usually variations on the same themes you'd expect... "try different mics, try them in different places, go with what you like."

Yes, yes, and yes. If the mandolin you play possesses great tone, and if the performance you just did was well played, you probably don't want any compression on the track. This primarily adds more attack, which I agree, doesn't sound good as a mandolin accentuation. And be very spare with EQ. If you can't resist playing with EQ, first try boosting (just a bit) the very high end (4-8khz) for "sparkle", and maybe (but not certainly) a very small boost at around 600 hz, which adds a bit more dark tone.

As far as mic placement, I prefer it close in pointing at the bridge, so the player doesn't feel he has to dig in, and can focus completely on nuance. If you pick gently right over the fretboard you add "throat". If you record to a stereo track, you might add a second mic 5 feet straight back to give it room presence, which actually adds a little bit extra sustain (more throat). Without knowing how Sam Bush recorded, I can imagine that the tone of his that you like may be a result of experiments with room presence using a second mic. Just a hunch.

[Tbone]

The engineer and studio we used for our last recording has done some work with Sam in the past. He gave me the exact mic that Sam used with the same placement.

It was a Neumann KM-84, I believe. When I was sitting, he placed the mic between my knees, pointing up towards the mando, obviously.

Here's a pic:

http://www.facebook.com/#!/photo.php...&ref=fbx_album

I kept asking him to turn up the Sam Bush knob, but evidently it was already maxed out.

[Spruce]

If that's indeed a KM84, then it must have made a great recording....
....of your feet...



Anyone recognize the mic?
Side address, right??

[Mike Bunting]

Maybe Terry was doing his John Hartford thing?

[foldedpath]

Yeah, side address. I'm not a vintage Neumann expert, but maybe it's a KM-56?

Edit: no, can't be, that's a cardioid mic and the grill is facing the wrong way. Mic detectives, have at it! Did Neumann make an omni or figure-8 in that series?

[John Soper]

You must have had some reflective moments there, during your recording... or at least documented on your recording... off the wall, the ceiling, the floor... I'd love to hear a track, Tbone, to a) hear your playing (always like to hear that) and b) listen to the tone that the engineer picked up- especially if the make & type of the mic can be figured out.

[Tbone]

You can listen to some here:

http://www.reverbnation.com/#/theacousticminingcompany

or

http://www.facebook.com/acousticmini...5167945&ref=ts

Thinking a bit more, it's quite possible that pic was taken when I was just fooling around, and the engineer came in and moved it, if you guys think it's not positioned right.

[Spruce]

He gave me the exact mic that Sam used with the same placement.

...if you guys think it's not positioned right.

Well, I for one would love to crack this nut...
Always interested in how my tone-heros record...

If that's an 84, it's on vacation...

But, I think there are side-address Neumanns that would make everything in that pic kosher...?

I'm a little busy right now, but will go have a look in awhile to see it that's a true statement...

[Tbone]

Actually, I remember changing the mic to more of a front-address position, and the engineer came back and changed it back to a side address.

[Jim Nollman]

I'd also be a bit concerned about using that kitchen chair. It looks like a candidate for squeaking each time the player leans in to hit a note. Been there, done that.