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 Post subject: Posted: Mon Jan 15, 2007 5:07 am 
Angela wrote: after all, Jeff Emerick (the engineer for the beatles) miced paul's bass cabinet with a speaker wired backwards to get the bass sound on paperback writer to me Paperback and Rain sound so thin in comparison to to Day Tripper and We Can Work It Out (and everything else really) on the Past Masters Volume 2 CD. both PW and R are great songs, but something about the production makes me not like them as much. _________________ I am Torgo. I take care of the place while the Master is away. |
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Joined: 05 Nov 2002 | Posts: 6826 | Location: Gilmer, Tejas
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Post subject: Posted: Sat Sep 01, 2007 4:18 am
Lurking, huh? Just saw this old thread and thought I'd try to remember the answers, if anybody is still reading this. Neumann U87s were used on the piano and all three girls voices. However in Stacey's and Chauntelle's cases we ran the U87 thru a Thermionic Culture Earlybird 2 preamp, and for Sherri a Universal Audio 8110 preamp. We tried many different mics and pres on those lovely voices before settling on those combos. The Yamaha subkick is fairly useless by itself - but in conjunction with another mic (or two, in this case) on the kick it adds a very nice low-end whump and woof, warming it up considerably. We also utilized Audio Technica 4047s for stereo room mics on the drums (featured prominently on A Sight to Behold). The guitar amps were sometimes mic'd with 57s, but sometimes we used AEA R84 ribbon mics. On the acoustic guitars and other stringed instruments (the Marxophone, etc.) the Neumann KM84 was the go-to. In all cases we experimented constantly, so there really is no single answer to any mic question really. _________________ http://richardgibbsmusic.com/ http://www.woodshedrecording.com/ |
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Joined: 04 May 2006 | Posts: 98 | Location: Malibu
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Post subject: Posted: Sat Sep 01, 2007 4:37 am
thanks for the info. what's the story behind the Marxophone? are they hard to find/expensive? (i just looked it up on wikipedia and it already lists it being used on Combinations) another question: i noticed that you are credited only with producing - were you involved in mixing or mastering at all (and uncredited)? if these have been answered in other threads, i'm sorry. _________________ I am Torgo. I take care of the place while the Master is away. |
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Joined: 05 Nov 2002 | Posts: 6826 | Location: Gilmer, Tejas
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Post subject: Posted: Sat Sep 01, 2007 4:44 am
Sweet! This is the best thread revival in forever. Thanks for the info, it's really cool to learn about stuff like this. _________________ My photography:www.jamiemphoto.com You can't spell awesome without emo...backwards! -Julie definingawesome (11:44:11 PM): Eisley shivers our timbers |
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Joined: 15 Aug 2003 | Posts: 25184 | Location: East Texas
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Post subject: Posted: Sat Sep 01, 2007 4:46 am
I was involved to different degrees depending on the song. Anyway I am not an engineer, so I would never list myself as a mixing or mastering engineer. As a producer it is my job to oversee all aspects of the making of a record, from preproduction to mastering. _________________ http://richardgibbsmusic.com/ http://www.woodshedrecording.com/ |
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Joined: 04 May 2006 | Posts: 98 | Location: Malibu
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Post subject: Posted: Sat Sep 01, 2007 5:06 am
Sorry, almost forgot the all-important Marxophone question. I first became aware of the instrument when I was scoring Queen of the Damned. The lead percussionist, Emil Richards, had a very thrashed one. We didn't use it, but it intrigued me enough to track one down on e-bay for use on my score to I Spy. I've since become the foremost exponent of the instrument, I think. I featured it prominently on the score to When Zachary Beaver Came to Town (cute film - check it out) and with Korn on MTV Unplugged. And of course Eisley. I currently own three of them and bought a fourth as a present for Jonathan Davis - all purchased on e-bay. Garron bought one somewhere for Eisley to tour with. I've since learned that The Doors version of Alabama Song (Last Whiskey Bar) utilized the Marxophone to invoke the sound of an old west bar. They are often warped and split, making for a very expensive and necessary repair, so be careful when buying (if that's what you're thinking). _________________ http://richardgibbsmusic.com/ http://www.woodshedrecording.com/ |
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Joined: 04 May 2006 | Posts: 98 | Location: Malibu
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Post subject: Posted: Sat Sep 01, 2007 11:43 am
thanks for the info. i had no idea you worked with Korn or Danny Elfman (checked wiki again). i have read the DuPrees mention Elfman's scores from Tim Burton's films. and you worked on the Simpsons? is that how the Conan thing happened? i know he was a writer there for awhile before he got his current gig. _________________ I am Torgo. I take care of the place while the Master is away. |
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Joined: 05 Nov 2002 | Posts: 6826 | Location: Gilmer, Tejas
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Post subject: Posted: Sat Sep 01, 2007 2:11 pm
I scored the first season of The Simpsons, but I never met Conan O'Brien. So no, no relation there. _________________ http://richardgibbsmusic.com/ http://www.woodshedrecording.com/ |
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Joined: 04 May 2006 | Posts: 98 | Location: Malibu
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Post subject: Posted: Sat Sep 01, 2007 2:19 pm
Ribbs wrote: Sorry, almost forgot the all-important Marxophone question. I first became aware of the instrument when I was scoring Queen of the Damned. The lead percussionist, Emil Richards, had a very thrashed one. I have an Emil Richards mallet book! We watched an instructional film of his on vibes once, it was so funny. _________________ EisleyForever wrote: you're A-list in my heart! MAKECOLDPLAYHISTORY |
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Joined: 20 Feb 2005 | Posts: 8868 | Location: Saturn, the Bringer of Old Age
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Post subject: Posted: Sat Sep 01, 2007 4:02 pm
ok. thanks for answering my questions. _________________ I am Torgo. I take care of the place while the Master is away. |
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Joined: 05 Nov 2002 | Posts: 6826 | Location: Gilmer, Tejas
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Post subject: Posted: Wed Sep 12, 2007 8:49 pm
bigideas wrote: i had no idea you worked with Korn or Danny Elfman I guess this is a minor point, but Ribbs didn't really "work" with Danny Elfman...he was in the same band as him...I know you weren't trying to be rude but that may have come off as a bit insensitive, as Ribbs and Elfman were (hopefully) equals in all aspects of Oingo Boingo (their band). Think of it as if you didn't know Weston and you read that he and Sherri played together at a concert (you also didn't know that they were related, I guess...) and then you said to him "Wow, I had no idea that you worked with Sherri Dupree!"...how would that make him feel? On another note, let me point out that bands from the 80's such as Elfman's/Ribbs' Oingo Boingo and Devo were for the most part dismissed and even trashed by the mainstream music media at the time. I mean I was only like 4 yrs old at the time when those bands were "famous", but even I knew that the general public did not take them seriously. But now we know that (at least) two of music's most respected geniuses (Danny Elfman and Mark Mothersbaugh) came from those "niche/gimmicky New Wave" bands (I'm not familiar enough with Ribb's solo work to anoint him a musical genius yet, but perhaps in time...). Just goes to show you that what's popular in the mainstream ain't necessarily where the real talent is at (I have never heard anyone refer to Britney Spears as a musical genius...). So even if Eisley never achieves huge success like some of their husbands have, it definitely doesn't mean that someday the world won't recognize their artistic genius. that means you Stacy... |
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Joined: 20 Aug 2004 | Posts: 62 | Location: New York
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Post subject: Posted: Wed Sep 12, 2007 10:54 pm
Adam the Human wrote: bigideas wrote: i had no idea you worked with Korn or Danny Elfman I guess this is a minor point, but Ribbs didn't really "work" with Danny Elfman...he was in the same band as him...I know you weren't trying to be rude but that may have come off as a bit insensitive, as Ribbs and Elfman were (hopefully) equals in all aspects of Oingo Boingo (their band). Think of it as if you didn't know Weston and you read that he and Sherri played together at a concert (you also didn't know that they were related, I guess...) and then you said to him "Wow, I had no idea that you worked with Sherri Dupree!"...how would that make him feel? I think it would have been warranted if he had said "worked FOR" ... but I would say that Weston works with Stacy, and Stacy works with Weston. I think "worked with" does indicate the possibility of equality. Whereas "worked for" designates a subservience. I won't get into the "work" thing or anything else, I was just playing semantics since it came up. _________________ My photography:www.jamiemphoto.com You can't spell awesome without emo...backwards! -Julie definingawesome (11:44:11 PM): Eisley shivers our timbers |
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Joined: 15 Aug 2003 | Posts: 25184 | Location: East Texas
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Post subject: Posted: Thu Sep 13, 2007 9:30 am
 _________________ I am Torgo. I take care of the place while the Master is away. |
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Joined: 05 Nov 2002 | Posts: 6826 | Location: Gilmer, Tejas
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Post subject: Posted: Thu Sep 13, 2007 9:44 am
Maybe what you shoulda said that you didn't realize that Danny and Korn worked with me 
hehe _________________ http://richardgibbsmusic.com/ http://www.woodshedrecording.com/ |
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Joined: 04 May 2006 | Posts: 98 | Location: Malibu
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Laughing City Forum Index -> eisleyBlog -> Microphones ...
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