Guitars and vocals with Melbourne's Lacquer.



Following our drum session last Sunday, Lacquer and I returned to SAE Institute to finish guitars and bass. We’d been happy with our start on guitars, so opted for similar mics and pre amps -  again in an effort to get the best pre-tape tones we could to assist with the analogue mix.

We mic’d Vox AC30 with a Shure SM57 and an AKG C414, we used BAE 1073 clone pre amps to get our signal to ProTools. We used these mics all day but changed the placement of them for different parts in different songs, depending on how much attack and space we needed and to change EQ to compliment different riffs and chords. The only change was for some of the distorted, fuzzy tones (via a BOSS Bass Overdrive), where we swapped out the AKG for a Sennheiser MD421. 

Vox AC30: Shure SM57 > Neutrik XLR > BAE 1073. 

Vox AC30: AKG C414 (cardioid) > Neutrik XLR > BAE 1073.

Vox AC30: Sennheiser MD421 > Neutrik XLR > BAE 1073.

We DI’d a Squier PJ bass through the BAE 1073 (becoming a favourite) and compressed a little after the Korg Pitchblack tuner with a XXX compressor pedal.

The following Thursday, we met at Goatsound Studios in Reservoir to finish off the recording with vocals. Jason Fuller (of Melbourne’s Bloodduster fame) runs the studio and I’ve ben working with him for a few months. The heart of Goatsound’s control room is a pair of Motu HD192 interfaces and a rack of Focusrite, Yamaha and Daking pre amps. For vocals, we selected a Share SM7B and ran it through a Focusrite ISA - again to give the vocals the size and space we needed pre-tape. A lot of the vocal performances we coached to fit the rough mixes we’d achieved since Sunday, and Old did a great job to control and layer his vocals for a finished sound even before mixing. What a guy.

We finished the night with an acoustic guitar song - again with the SM7B but this time through an old Daking pre and a little pre-tape EQ through the unit.

Recording being finished - mixing!