#srt2

[alrezaenterprise]

NEGISHI SPEED RELAY SRT2 46111-017550 SRT 2 MODEL: SRT2 PART CODE: 46111-017550 CONDITION: USED & WORKING QTY: 1 PC AVAILABLE REF: MK

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[hdksjsb]

One of the biggest missed opportunities the SR franchise had was it completely jumped over so much of Shaundi's character development from sr2 to sr3, not to mention we were given very little set up as to how Johnny's death actually changed her, since we had no knowledge of what she was like after she'd gone through her hippie phase, but before Johnny died.

Imagine seeing her get absolutely fed the fuck up with being a damsel in distress and spending hours working out and taking martial arts classes and getting Johnny and the boss to help her Imagine her looking at herself in the mirror, and smashing it, hating herself for being such a piece of shit

Shaundi angrily chopping off her dreads as tears pour down her face after being called a hippie junkie one too many times and falling in a heap on the floor hyperventilating and crying Whenever she sees all of those "Shaundi is a whore signs" and getting fucking pissed, not with the people holding them but with herself, because she is still so ashamed of herself and full of self hatred

When she finally cracks on her reality show, and beats the fuck out of someone for calling her a useless slut When she shows up the boss in a gun fight for the first time, beaming, knowing how much better she's gotten in doing the gangbanging, and blushing like crazy when the boss and Johnny praise her hard work and dedication Imagine how happy she was when she finally got her shit together and how everything changed when Johnny died.

The self hatred was back, all the doubts she had were back, everything she spent years trying to get rid of all crept back into her mind after Johnny's death. It was all undone in a single night and all she could do was subconsciously cover it up with anger and bravado.

... I really love Shaundi

[reaktolite]

Tracking notes...

You can see from the video there are mics on the toms as well as one above the cow bell/hi-hat.   The tom mics were not used in the end as the overheads and other mics captured the detail really well for the style of recording I was aiming for.

[reaktolite]

Tracking

Drum tracking was carried out in Basement studio one, which with its small drum room is not best suited to the intended method. However to capture some ambience the tracking was carried out with the door open and a U87 microphone in cardioid mode on a high stand in the doorway, pointing out into the entry hallway.  The aim of this is to use the ante room as a reverb chamber, the sound of which can be added back into the track later.  A variety of microphones are used as in the reference material, including an AKG D112 on the kick drum, Shure SM57 and SM58 for the snare and AKG C414 microphones for the overheads.

 Guitars and basses were tracked in EFS studio one. In this studio reproducing the tracking environment was more straightforward.  The amplifiers are setup at one end of the tracking room with an acoustic panel at about two metres in front of them.  A U87 is mounted at the opposite end of the room, approximately another two metres behind the acoustic panel on a tall stand, again set to cardioid mode, to capture the room sound.  The amps are tracked using an SM57 microphone and a D112 microphone. These are used together as they have different frequency response and in this instance should be complementary with the AKG D112 frequency response of 20Hz to 17KHz and the Shure SM57 at 40Hz to 15Khz.  Although the frequency response is marginally limited at the top of the spectrum.  The limited top end of the frequency response suits the aim of the recording, which is to capture a crunchy low end sound, with a 1970’s do it yourself, Punk feel.

 To maintain the clean, dry, aim.  All tracking is carried out with no equalisation, compression or other processing.  Overall tracking met the aims set at the outset, although there are problems with the kick initially sounding very thin, this will require some processing in the final mix to achieve the desired sound.  All guitars and bass tracks are also recorded by direct injection to provide a backup track should it be needed, these are to provide a clean track which can be re-amped later if needed, although they have not been used in the final mix.

[reaktolite]

Aim of the recording

The aim of this recording is to explore the recording techniques used by Green Day for the album Dookie with specific reference to the lead single, Basket Case, as well as the stated inspirations for this album: Paranoid by Black Sabbath and Never Mind the Bollocks by the Sex Pistols. The key feature of the recording of these albums is the fairly dry sound with mainly natural reverbs and room effects used rather than outboard processing.  The technical approach is to use multiple microphones and to recreate the use of room microphones within the constraints of the available tracking environment. 

[reaktolite]

Recording a band

Following on from my previous post, the plan is to record a band aiming to emulate the methods and style of those original recordings.  The band are Countertypes, a young unsigned Punk/Metal band from London.  Unfortunately they currently have no singer, as I understand it, the previous one was signed to a deal so can’t perform with them any more. 

The track is Little Box of Power, an original track in a punk style so it is well suited to what I intend to do.

[reaktolite]

Do you have the time, to listen to me whine?!

A production analysis of the album Dookie by Greenday.  The aim of this evaluation is to explore the recording of Dookie, with particular reference to the lead single, Basket Case, and also compare these to the works referenced by the band as the inspiration for the sound; Paranoid by Black Sabbath and Never Mind the Bollocks by the Sex Pistols.

According to Billie Joe Armstrong, the band wanted to create a dry sound "similar to the Sex Pistols' album or first Black Sabbath albums.”

Dookie was engineered by Neill King at Fantasy Studios in Berkley, CA.  Neill King, born in Wimbledon in 1957 started out as a tape-op/tea boy at Eden Studios in Chiswick in ’78 and his first session experience was on Armed Forces by Elvis Costello.

The album, Dookie, was tracked through a Neve 8108 56 track console and recorded on 2” tape at 15ips using synched a pair of Studer A800 24 track machines.

Listen First

Listening to the album, the first thing you notice is that it sounds very crisp and concise, with no big space or sense of ambience.  This does give a feeling of the Rock and Punk albums of the 70’s in particular, while there was limited technology available for multi layered production, there was also a feeling that these albums needed to be more about the music and message rather than the production.  This led to some albums being very dry, with little or no processing and effects being used beyond what was necessary and resulting in what could be considered an honest LoFi sound.

Listening to Dookie, in particular Basket Case, you hear the sound of the room it was recorded in, no big spacy reverb or delays, but there are some nice sounding natural reverbs from the live room.  This is mainly due to the use of many microphones when tracking and specifically placing microphones to capture the sound of the room.  Otherwise, apart from compression there appears to be little processing on the track.  The intention of the band was to create a dry mix, but to get radio play in the US there was a later mix made with more reverb. 

Mics, mics and more mics!

Drum Tracking: The drums were recorded using a wide variety of mic placing techniques.  Overheads were a pair of Telefunken tube 251s.  The kick drum was recorded with an AKG D112, and a Sennheiser MD 421 to give more presence. There was a Shure SM57 on top of the snare and an AKG 451 on the bottom, an AKG 451 was also used for the hi‑hat, with a ‑20 dB pad.  AKG 414s were used for the toms and Neumann M49s for the room.  The drums were placed in the middles off the large live room and surrounded by screens to reduce reflections from the walls.  The room mics were placed high outside these screens to capture the room for the drum sound, providing much of the short reverb that can be heard in the final mix.  From the information available, it seems that these microphones must have been placed around 5 yards (4.5m) from the source.  Although not specified for the drums this distance is specified for the room mics for the guitars and bass.  To avoid uneven reverb and phase problems I would expect all mics to be sited at similar distances.

As far as I can tell from the session specifications no gates were used in the drum recording, although gates could be used in this configuration to give more control of the room sound in the mix.  Using gates in this way would make it possible to control the room sound using specific drum hits and levels.  Allowing control for the length and level of reverb tails, keeping the sound short and crisp.

For the bass guitar part of the rhythm, the bass is initially DI’d with the signal also amped using an Ampeg rig, recorded with a Neuman FET47 and what is listed on the session specification as an 84 spot mic, which could be a Neuman KM84, which is a fairly small (Kleine Mikrofon) condenser microphone it does seem to fit the description.  In its favour it does have a fairly flat frequency response across the spectrum.  The bass in the track does sound like it is either tuned up or EQ’d in the higher midrange, quite a common technique in the genre.  The guitar like the bass is multi tracked, with some distortion.  Aside from the DI, the guitar is tracked using a Marshall cabinet with two close mics, an SM57 and a Senheiser 421, again there is a U87 in the room to capture the reverb.

The Bass and Guitars were mostly recorded with microphones for left and right, the U87 room mic and often another mic in the room to add more presence.  Although the tracking was generally successful as the band had been playing the material live for some time, a fair amount of overdubbing was done later to add fills, solos and fix minor problems.  As the sessions were being tracked to 24 track tape often additional microphones were thrown up for ambience, but not necessarily used, as it was considered that this number of tracks allowed room for experimentation.  In the final tracking 14 tracks were used for the drums alone.  Unfortunately much of the information about these additional tracks is undocumented as it really was a process of trial and error to achieve a specific sound.

Listening to the intro, with only the rhythm guitar and vocal, there is a clear reverb on the vocal track.  This again is likely to be a result of the room mics used to catch natural ambience.  The vocal was recorded using a Beyer 201.  This microphone is a hyper cardioid dynamic, unusually in a vocal situation as it is often preferred for drums and other high SPL situations due to the resilience of the large diaphragm and the reduced spill gained from using hyper cardioid pattern mics.  This was chosen for the vocal as Armstrong has a tendency to scream and shout over his vocals and the 201 ‘s ability to deal with high SPL transients is well suited to this situation.  With this microphone characteristic in mind, it tends to support the idea that the room sound on the vocal track was most likely to have been produced by recording the room from one or more other microphones.  There is some noticeable compression over the vocal track which was recorded directly to tape during the sessions rather than being added later while mixing.  There are no details for the compression used.

As a comparison, listening to God Save The Queen from Never Mind the Bollocks, you get a similar dry sound which was the inspiration for the recording of Dookie.  The vocal is very dry while the drums are recorded in a large room but some of the reverbs from the room mics are gated to keep them short.  The drums in this case, similar to Dookie were recorded in a large room with screens around the kit and room mics to capture reverb.  The original tracking for God Save The Queen however was on 4 track tape so there was less room for lots of room mics.  When tracking the producer apparently said he wanted the drums to sound like dustbins being kicked down stairs, in this respect the drums do sound industrial and lack bottom end.  The guitars on the track are fairly clean and thin sounding, not unlike you might expect it to sound in the back room of a pub or small venue.

What you do hear in comparison between these two tracks is the similarity in the vocal and the drums.  A clear, simple reproduction of the sound with no fuss or gloss.  The main difference is that on Basket Case, the reverb on the vocal is quite prominent while on God Save The Queen even the vocal is fairly dry.  Compared further to the title track from Paranoid, there is a very simple, dry mix with only a reverb on the vocal which is likely to have been added rather than natural.

The track I plan to record is an original track, with a heavy rock, punk feel to it.  The aim for the recording is to use specific mic techniques to capture natural reverbs and combine these with hardware processing to produce a ‘LoFi’ sound.  The principle is, like the sessions for Dookie, record as much as possible with a variety of different microphones and techniques then use this material combined with sparing use of gates and compression to achieve the final sound. 

References

Green Day: Basket Case Duncan, T., 1997. Electronics for Today and Tomorrow. 2nd ed. s.l.:John Murray Publishers Ltd..

Texas Instruments, 2013. LM3915 Dot/Bar Display Driver Data Sheet. s.l.:s.n.

Texas Instruments, 2014. TL0xx JFET-Input Operational Amplifiers Data SHeet. s.l.:s.n.

 http://www.soundonsound.com/sos/sep04/articles/classictracks.htm

Classic Tracks: Black Sabbath Paranoid http://www.mixonline.com/news/profiles/classic-tracks-black-sabbaths-paranoid/376405

Neill King Discography http://www.allmusic.com/artist/neill-king-mn0000319211/credits

AKG Microphones http://www.akg.com

Senheisser Microphones http://en-uk.sennheiser.com/

Shure Microphones www.shure.com

Telefunken Microphones http://www.telefunken-elektroakustik.com/

Neuman Microphones https://www.neumann.com/