{{widget type="uaudio_theme/Widget_TextCentered" heading=" Producer Joey Waronker Records The New Pornographers’ A.C. Newman Using Apollo’s Stock UAD Plug-In Bundle."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Though perhaps best known for his Zen-like pacing and gorgeous live feel as the drummer for both Beck and R.E.M., Joey Waronker has spent equal time exploring the darker reaches of electronic beat programming and radical plug-in methodology. And as producer for cutting-edge alt-bands Yeasayer and Other Lives, and drummer for Radiohead singer Thom Yorke’s extraordinary Atoms for Peace project, Waronker has pushed drum sonics into exciting new territory
We chatted with Waronker about his drum and production philosophy, his favorite UAD plug-ins, and a session he recently produced and performed on at Universal Audio’s Studio 610, tracking The New Pornographers' A.C. Newman exclusively through Apollo interfaces and the included Realtime Analog Classics plug-in bundle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9nck1FQ29jVFJZND9zaG93aW5mbz0wIiBmcmFtZWJvcmRlcj0iMCIgYWxsb3dmdWxsc2NyZWVuPjwvaWZyYW1lPg=="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:IlRoZSBjb29sZXN0IHRoaW5nIGZvciBtZSBpcyB0byBiZSBjaGFsbGVuZ2VkIGJ5IHRoZSBwZW9wbGUgSSB3b3JrIHdpdGgsIiBzYXlzIEpvZXkgV2Fyb25rZXIu"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Does tracking in real time with Apollo, and printing UAD preamps and EQs restore some of that old-school commitment to bold artistic decisions associated with traditional analog recording? " content="I think so. There’s a magic involved in the analog experience that gets clouded over with too many choices in the digital world, and tracking through Apollo and UAD plug-ins splits the difference. The fact that the UAD preamps and EQs are truly reacting and responding as you’re recording, in the way that the original hardware units would, is pretty incredible.
With Apollo and UAD plug-ins, your project studio feels and sounds much more like a high-end studio, because you can create your own full-scale mixing board. If you have, say, an Apollo 8 and you’re using all eight inputs with a UAD Neve 1073 Preamp & EQ Collection plug-in on each channel, it’s really like you’re using a proper outboard console. If someone wants me to work with them in their studio, and it turns out they have an Apollo, I’m happy. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="For the A.C. Newman tune, “Colossus of Rhodes,” you relied exclusively on the UAD Realtime Analog Classics Bundle. Talk about 610-B Tube Preamp & EQ, 1176 Classic Limiter, Teletronix Limiter plug-ins included with Apollo’s Realtime Analog Classics Bundle. " content="A.C. and I wanted to track “Colossus of Rhodes” in a style that’s often called “Countrypolitan” — country records out of Nashville in the ’60s and early-’70s, with a bit of psychedelic feel and some urban sophistication. So to that end, we were thinking, “What gear would be in the studio in 1976 if we walked in to do a record like that?” "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3201" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="A.C. Newman at UA's Studio 610 laying down tracks with a '65 Gibson ES-125CD. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="So you printed tracks with the 610-B, 1176, and LA-2A plug-ins. What did those plug-ins give you sonically? " content="This was a fairly large multi-track Pro Tools session, too, so having the entire rhythm section going through the 610-B Tube Preamp & EQ and 1176LN compressor plug-ins on the front-end really helped glue all the bass and drums together in a really nice, round way. I also use the grey UAD Teletronix LA-2A a lot on certain things, because I love the way it flattens out the tone. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The 610-B is such a simple preamp, yet you had a trick that shaped the tone substantially, you flipped the phase switch. Why? " content="The flip-phase on the under-snare mic is definitely a go-to move for me and for just about everybody I’ve ever worked with. You’re basically adding the under-snare mic to add a bit of brightness, so if it’s out-of-phase it can kind of make the snare drum sound a little thin and even go away. If it’s properly in-phase, though, it retains, and even adds a little bit of midrange so the snare pops. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“If someone wants me to work with them in their studio, and it turns out they have an Apollo, I’m happy.” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What are your personal go-tos for recording drums? " content="A few things: I really like the sound of a mono overhead mic, aimed at the kick and snare, that’s compressed quite aggressively. It may end up low in the mix, but I love having it. Also, I gravitate toward old dynamic mics like the Electro-Voice 666, which sounds great on the kick drum.
A lot of those older dynamic mics have a quirky tonal character already, which means that I don’t have to go crazy trying to sculpt something out of EQ or compression after the fact; instead, as with UAD plug-ins in the Apollo Console app, I can get most of the way there on the way in, from mic to “tape,” rather than having to chip away during mixdown. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3204" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="Every Apollo interface includes the Realtime Analog Classics plug-in Bundle, featuring the UA 610-B Tube Preamp & EQ, and Legacy versions of the 1176 and LA-2A compressors, Pultec EQs, and more."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your manipulation of drum sounds is one of your biggest calling cards as an artist and producer, and collaborator. What are some of your recipes to capture your sounds? " content="Often I want to isolate the kick and snare, so I use the Neve 88RS Channel Strip to really gate each drum, almost making them sound more like samples, so from there I can process them quite a bit without any extra ringing or noise.
I use a UAD Neve 1073 Preamp plug-in on both kick and snare pretty consistently for EQ. I also use the UAD Moog Multimode Filter quite a lot for distortion and for making drums sound rounder and more musical.
Likewise, a great way of distorting and gating and tonally shaping the drums in more adventurous ways is using the UAD Valley People Dyna-Mite limiter plug-in. It sounds really true to me, it sounds real. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What do you use for ambient effects? " content="For re-amping stuff, I used to literally put a speaker in the tracking room, pump out the track, and record that. But now, I can just lazily use the UAD Ocean Way Studios plug-in for that kind of room or chamber effect.
The UAD EP-34 Tape Echo is a definite go-to for vocals. Lastly, I love the UAD EMT-140 Classic Plate Reverberator. For drums, I like to tweak it a little bit brighter than usual, and take out the low-end frequency boom for most things. Seriously, for how good the UAD EMT-140 sounds, and the sheer amount of adjustability, it’s pretty stunning. I can easily end up with three of those on a session, no problem. I love it. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“The fact that the UAD preamps and EQs are truly reacting and responding as you’re recording like the original hardware units is pretty incredible.” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How do you negotiate the balance — or let’s say, the dual roles — between producing and playing drums? " content="If I’m producing and playing on something at the same time, as I’ve done with both Yeasayer, on their most recent album, Amen & Goodbye, and with Other Lives, on their latest, Rituals, I will mangle and reshape my own live drum performances quite a lot, which is a really satisfying process for me, and the result is that it becomes more like I’m programming the drums rather than playing them live. This is really how most of the things I’ve produced that have been the most successful creatively have gone down. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Do you ever miss tracking live in the more traditional sense? " content="To be honest, purely live tracking sessions, with session musicians, can often be very linear and somewhat mundane-sounding for me. Like, “Oh, my God — this sounds so normal. But generally, I get involved with artists who are interested in a little bit of experimenting and taking risks with production, and even their writing ideas are partly based on the creative use of sounds and effects. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3193" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:IlRvbmFsIGNvbG9ycyBhcmUgdmVyeSBpbXBvcnRhbnQgdG8gbWUsIiBzYXlzIFdhcm9ua2VyLiAiSSBqdXN0IHdhbnQgdG8gYXJyaXZlIGF0IGEgdG9uZSB0aGF0IHdvcmtzIGZvciBtZSwgcmF0aGVyIHRoYW4gc2V0IG91dCB0byBhY2NvbXBsaXNoIGEgcGFydGljdWxhciBlbmQgcmVzdWx0LiI="}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Drummers are almost always principally collaborators, whereas producers often take a “My word is final!” approach. Where do you, a drummer and a producer, fall in that spectrum, philosophically? " content="I feel that I’m always a collaborator. The artists I work with may not always officially be producers, but in effect, they are — their songs come from a place in which production ideas are central, which is increasingly common. And that’s a happy thing for me. I like to have that back-and-forth with artists. That’s rewarding and enjoyable, because they’ll do stuff that I wouldn’t have thought of, and vice-versa.
The coolest thing for me is to be challenged by the people I work with, rather than the idea of the producer as someone who comes in and “fixes” something. When I was in bands, we’d always come into the studio with these grand ideas, and it was so sad to have them generally shot down by a producer who says, “Oh, I know how to make a record, let me do my thing.” I feel that my role is to find a way to make an artist’s idea work, even if that idea is not fully formed or articulated yet, rather than just scrap it and “do my thing.” Now, mind you, I’m not making millions of dollars in production royalties, but I am having a very good time. "}}

{{widget type="uaudio_theme/Widget_TextLeft" content="__encoded__:U2luY2UgdGhlaXIgaW50cm9kdWN0aW9uIGxhc3QgeWVhciwgdGhlIG5leHQtZ2VuZXJhdGlvbiBvZiBBcG9sbG8gaW50ZXJmYWNlcyBoYXZlIGJlZW4gdXNlZCB0byB0cmFjayBoaXQgcmVjb3JkcyBieSB0aGUgQmxhY2sgS2V5cywgS2VuZHJpY2sgTGFtYXIsIEFkZWxlLCBhbmQgbW9yZS4gSW4gdGhpcyB2aWRlbywgd2F0Y2ggcHJvZHVjZXIvZW5naW5lZXIgRmFiIER1cG9udCAoPGVtPkplbm5pZmVyIExvcGV6PC9lbT4sIDxlbT5NYXJrIFJvbnNvbjwvZW0+KSBpbnN0YWxsIGEgbXVsdGktdW5pdCBBcG9sbG8gc3lzdGVtIGFuZCBzaG93IHlvdSBob3cgdG8gZWFzaWx5IHNldCBpdCB1cCB3aXRoIHlvdXIgREFXIGFuZCByZWNvcmQgd2l0aCBVQUQgcGx1Zy1pbnMgaW4gQ29uc29sZSAyLjAuIEZlYXR1cmluZyB0aGUgYmFuZCBERURFLiBMZWFybiBtb3JlIGFib3V0IDxhIGhyZWY9Ii9hdWRpby1pbnRlcmZhY2VzLmh0bWwiPkFwb2xsbyBpbnRlcmZhY2VzLjwvYT4="}}

{{widget type="uaudio_theme/Widget_TextCentered" content="The romantic spectre of magnetic tape has loomed large over the audio world from the onset of the digital revolution. Sure, tape was fussy, noisy, and the machines were large and required frequent maintenance. But it also brought warmth, depth and headroom that was tough to beat. In this exclusive roundtable, we asked five outstanding engineer/producers, all regular users of Universal Audio equipment, to rewind to their early experiences with tape, and discuss how they’ve reintroduced the virtues of tape into their work in new and exciting ways using UAD magnetic tape recorder plug-ins."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextCentered" heading="Meet the roundtable"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}} {{widget type="uaudio_theme/Widget_PressQuotes" press_quotes="__encoded__: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"}}  {{widget type="uaudio_theme/Widget_TextLeft" subheading="How has your early career using tape as the primary medium influenced your work in the digital realm? Are there intangibles that went missing when we stopped using tape to record? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: I have a lot of experience on analog machines, and I still use a real Studer A827 two-inch machine in my studio. But around the time I really got into recording, around 1989-90, the digital push was already full-on, with the strong message that this was going to be better than analog, and of course, people were making all those dumb mistakes that they made at first.

Digital is so much better than analog at certain things, but a lot of things you took for granted with analog suddenly went away, so the nostalgia for tape took hold quickly for me. After a point, it was like, okay, with digital I don’t have to work that hard to make it not noisy — big deal. But yeah, there’s two sides to what makes tape special — there’s the sound of it, and then there’s just the difference in the process when you’re recording to tape. I don’t miss the process for myself, but I miss it for other people, because it’s just so great for some bands to work that way, to be obliged to respect all the things that tape demands. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“The goal in the early digital years was to hear every instrument separately. But people began to miss the feeling of listening to a softer-sounding ‘big ball of music.’ That’s what tape does.”
— Peter Katis"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: I use tape exclusively. Do I look to the past? Sure — to pull out all the great things I love about those old records: the musicianship, the compositions, the sonic palette, the way you’d hear solid-state mixed with tube. There are so many textures and colors, and midrange sparkle that you get from that old equipment, so the only way I believe I can do what I do is from the two-inch tape format.

And I agree that tape enhances the level of performance by the artists. In the digital world, a vocalist can come in, do a ton of takes and then ask the engineer to fix the whole thing for them, rather than locking into a few great performances with fewer takes and, I’d say, more perspective. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: Digital wasn’t enjoyable to me right off the bat. I started out using a pair of 1″ 16-track machines, and a 2″ 24-track, so, the first time I did an album on a Pro Tools system in 2001, I remember struggling to get the sounds I wanted.

But with digital, I was suddenly free to use those unlimited channels to put up lots and lots of mics — something I immediately regretted. So then I found myself reverting to “tape thoughts.” Things like, no more than eight channels of drums, ever. Make a musical decision, live with it, and move on.

That being said, things are different now, converters are better and we have higher sample rates, so we’re finally getting to a point where our digital recording mediums are actually pretty great. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: I always felt that the console, microphones, and especially the players’ techniques had much more to do with the juju of the sound you got than the tape did. Tape just happened to be a facility that sometimes did great things to the sound, and sometimes not, especially over time, and that could be between recording it and playing it back.

But I do have a vivid memory of the transition from tape to digital, and it was, “This is awful.” There were particular things digital couldn’t do, and one of them was to make things sound acceptable. The only thing anyone could point to was that there was no hiss. Well, there was no tone either. I used to think the only way to improve a digital recording was to find the power button and turn it off. Avoidance behavior was the only way to live with it. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“A big part of what people want to go back to with tape is transformer distortion, tape compression, and noise… today I use the UAD Studer A800 plug-in to get those characteristics.”
— Niko Bolas"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How does the flexibility and stability of UAD tape recorder plug-ins improve on the old hardware machines, and how does it allow you to re-introduce the desirable aspects of tape back into your work now? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: UAD tape plug-ins offer options never before available, the most obvious being the option to not hear the tape noise, thus making very low-speed, high-headroom settings useable for the first time. Plus, your settings always stay the same with tape plug-ins. That’s great if you’re not into surprises or the very rare “happy accident!” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Niko Bolas: A big part of what people want to go back to with tape is transformer distortion, tape compression, and noise, all three of which you can do in the digital domain. In fact, I use the UAD Studer A800 Multichannel Tape Recorder plug-in to get all of those characteristics.

The other thing I really miss from the tape-era is musicians who could really play! But that said, I never use actual tape. It’s a detriment. It’s cumbersome, it’s extremely expensive — in an age when we have no budgets — and the tape is not manufactured with good quality control. It’s a painful joke compared with the positive aspects of it that we’re actually trying to emulate with the UAD plug-ins. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: I use the UAD Studer A800 plug-in almost exclusively. It’s especially good for improving tracks that have been recorded, how shall I word this, poorly. Either too many transients, not enough dynamic control, in need of de-essing, cymbals that are too shrill. The Studer A800 is great with all that kind of high-frequency control. And yeah, the ability to use it over multiple individual tracks is great: I’ve done sessions where I’ve put the UAD Studer A800 on every single channel — drums, bass, guitar, vocals, the whole thing — and it always makes it better. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: While I love working with real tape, the sonics of tape is ultimately just science—EQ, compression, and saturation. Sometimes we think it’s magic, but it’s still science. So why shouldn’t plug-ins be able to do much the same thing? That’s why I use the UAD tape plug-ins every day.

See, if you’re recording an album to a real tape machine, it’s all going to sound the way that particular tape machine sounds: the way it’s aligned, the type of tape you’re using, etc. But with the UAD plug-ins, you can treat each track any way you want to, which is pretty great. My workhorse is the UAD Studer A800. It’s the one I know and love best. I’ll use it very frequently on individual tracks, on entire busses even sometimes on my entire mix when more extreme measures are demanded. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3256" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="A perennial UAD favorite, the Studer A800 Multichannel Tape Recorder plug-in adds warmth, presence and cohesion to any source
— and is particularly good at gluing drums together."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Are there particular tweaks or go-to settings on the UAD tape plug-ins that you like — whether that be tape speed, input level, tape type, etc.?"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: Part of what I love about the plug-ins is how they can respond in unpredictable ways, much like the real thing. Recently, I was mixing an instrumental metal band that I had recorded, and it was all sounding good, but I felt it was lacking a certain aggression with my standard audio chain. So I put a default UAD Studer A800 setting on it. Now, typically I find that if I click the speed up from 15 IPS to 30 IPS, it’ll get a little brighter, with a bit more grind and saturation, but generally leave the low-end untouched. But for some reason, in this case, at 30 IPS, the low-end just became pounding. It went from being fairly polite to just throbbing toms, bass and kick drum. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: I remember working with a guy who would intentionally under-bias, say, the snare channel on the tape machine to get the top end to sound a little less linear, more like a big shelf EQ. I’m currently working on a session with a real Studer A800, and right now it’s aligned at 3/250 everywhere but the kick and snare. The kick and snare channels are 2/250. So, a pretty mild alignment, and I’m going to bias it correctly for the track. I’m manipulating the medium itself to get the kind of tone I want. And a lot of people did that in the tape days. This is pretty much what I do in my own preset for the UAD Studer A800 Multichannel Tape Recorder plug-in: 3/250, Scotch 250 tape, at 15 IPS, set to CCIR. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:4oCcVGhlIHNwZWVkcyBhbmQgd2lkdGhzIGhhdmUgcGFydGljdWxhciBlZmZlY3RzIG9uIG1lOiDCvCIgYXQgNyDCvSBJUFMgaXMgJ29vaCwnIMK9IiBhdCAxNSBJUFMgaXMsICdhYWgsJyB3aGlsZSAxIiBhdCAzMCBJUFMgaXMgbW9yZSwgJ3doeT8n4oCdIDxiciAvPuKAlCBSaWNoYXJkIERvZGQ="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Niko Bolas: I’ll often use the UAD Studer A800 when I need to make an abrasive percussion track more palatable. The subtle compression, the ability to adjust bias, and the saturation you can achieve with the Studer plug-in on tambourines, guicas, and shakers is better than a conventional plug-in compressor that just rolls off the top end and squishes it.

There are also times I’ll use the Studer on my mix bus, especially if I’m doing something that has kind of a period quality to it, and it seems sterile without the Studer. Compression, noise, and a little top-end bludgeon — when I turn it up loud, it feels good on my body. As far as tape speed or tape type, close your eyes, click through all of them, and pick the one that sounds best for the music you’re working on. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: With the UAD Ampex ATR-102 Mastering Tape plug-in, I can compress a little, I can limit quite a lot, and I can EQ. In terms of settings on the UAD Ampex ATR-102, it’s like all plug-ins: I try to blank out what they say they can do, and just listen blindly to see what they’re really going to do for me.

If you’ve had the chance to see my “secret” preset on the UAD Ampex ATR-102, you may notice that it is based on 15 IPS, Scotch 250 tape. The tape width is what I option out per the program, usually settling on ½″. The speeds/widths have particular effects on me: ¼″ at 7 ½ IPS is “ooh,” ½″ at 15 IPS is, “aah,” while 1″ at 30 IPS is more, “why?” Also, 3 ¾″ is cool for a drum parallel sub mix — turn the tape noise off, lower the level and play with the bias. This one’s on me, folks. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: I use an 1970s Ampex 1200 24-track machine, with Ampex 456 2″ tape, but I record to 16-track for better resolution — the machine has 16-track heads on it. It’s a sound that’s very fat. I mix down to ¼-″ Ampex AG350 tape, because I love the sound of ¼″ tape; and while mixing down from Pro Tools to ¼″ tape won’t give you the full benefit of tracking to tape, it will definitely take the edge off of the digital mixes, and give you something that sounds like a finished record. I still have a whole bunch of Ampex 456 reels, and I think the key is just to keep using it. I use those reels every day. I typically run the input quite hot, always in the red, and this helps stimulate the midrange gives it dirt and sparkle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3255" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="The Ampex ATR-102 Mastering Tape Recorder plug-in is the perfect one-two punch with the Studer, giving mixes that “finished album” sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Mix engineers often describe tape as providing the best “glue” for a mix. What do we actually mean by that, and what makes tape such a desirable and unique signal processing tool, compared to conventional compressors or EQs? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: Tape gives you a “non-linear” compression. Which is to say, it’s not 4:1 compression, or 3:1 compression. It’s very “frequency-based” instead of “level-based” compression. And that’s a big difference. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: I’m a big fan of saturation, and the UAD tape plug-ins do that so very well. They always help me to get things sounding loud and bright, with plenty of compression and limiting, but — and here’s the key — without sounding harsh. That just has to do with the fact that you’re saturating the right frequencies, so you get an aggressive sound that’s also smooth and pleasing.

I also think tape helps smooth out upper midrange frequencies. Ironically, that “glue” you’re talking about is something that people fought against. The goal in the early digital years was, “Wow, you can hear every instrument separately.” But people quickly began to miss the feeling of listening to a softer-sounding “big ball of music.” That’s what tape does. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: Tape is distortion and compression, both interacting on and with each other. Add the EQ change that happens simultaneously, and you really do have that audio Swiss Army knife to take along the rocky mix path. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: Ultimately, the sweetener that tape adds to the sound actually makes your job as a recording artist easier, because you’re less inclined to have to fix problems, because your tracks already sound great from the beginning. Tape is full-sounding, but in a highly dynamic way.

When we’re mixing and mastering all-digital, and trying to get that full sound, we often end up compressing the shit out of it to make it sound loud and full. That’s not how music is supposed to be experienced. You want to hear the dynamics, and that’s what tape is great at."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9iM1JGZFFMTU1Qaz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}

{{widget type="uaudio_theme/Widget_TextCentered" content="Below is everything you need to begin recording in real time with your Apollo interface and your favorite DAW. Learn how to set up your drivers, configure I/O and buffer settings, use Apollo’s Console app for low latency monitoring and headphone mixes, and much more."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="THUNDERBOLT INTERFACES" background_color="#9E3F2B" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=WTQyPTCAeGc" heading="Apollo Thunderbolt + Pro Tools" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=6PsvH6LAH1w" heading="Apollo Thunderbolt + Logic Pro X" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=ZuzfdimzRmY" heading="Apollo Thunderbolt + Cubase" content=" "}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="FIREWIRE INTERFACES" background_color="#CD8200" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=aLXTiNXmkwA" heading="Apollo FireWire + Ableton Live" content=" "}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="USB INTERFACES" background_color="#1785C3" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=CTzOTXM82po" heading="Apollo Twin USB + Pro Tools" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=DK5hxuRpJMU" heading="Apollo Twin USB + Cubase" content=" "}}

{{widget type="uaudio_theme/Widget_TextCentered" content="Apollo’s Console application is the key to unlocking Apollo's unique Realtime UAD Processing capabilities. It enables you to insert and control UAD plug-ins as well as route and monitor audio. The three-part video series by UA’s Technical Marketing Guru, Gannon Kashiwa, show you how to get up-and-running with Apollo’s powerful Console application, and shows you how how to get the most out of your Apollo system.

"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=ekJwv2S22Ic" heading="Apollo Console Part 1 (Getting Started)" content="Here, you can learn the basic concepts behind Console, and how its realtime analog workflow can greatly enhance your productions."}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=MNZtK7uOvNg" heading="Apollo Console Part 2 (Console Sections)" content="This video takes a deeper dive into Console’s channel strip, monitoring, aux/send, and Control Room sections, as well as tracking in real time with UAD plug-ins and saving Channel Presets. "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=--5NYjmID2c" heading="Apollo Console Part 3 (Expanded Systems, Flex, Driver)" content="In this in-depth video, learn about Console’s powerful Mixed Multi-Unit features and how to set up multiple units using Console’s Flex Driver. "}}

{{widget type="uaudio_theme/Widget_VideoCredits" videocredits="__encoded__:YTo3OntzOjE2OiJfMTQ4OTAyMTc4ODAwN183IjthOjI6e3M6NzoiaGVhZGluZyI7czo1OiJUaXRsZSI7czo3OiJjb250ZW50IjtzOjI3OiLigJxDb21lIGFuZCBHbyBIZWFydGJlYXTigJ0iO31zOjE4OiJfMTQ4OTAyMTc5ODk1NF85NTQiO2E6Mjp7czo3OiJoZWFkaW5nIjtzOjY6IldyaXRlciI7czo3OiJjb250ZW50IjtzOjE2OiJNYXJ0eSBP4oCZUmVpbGx5Ijt9czoxODoiXzE0ODkwMjE4MDc3NDFfNzQxIjthOjI6e3M6NzoiaGVhZGluZyI7czo1OiJNaXhlciI7czo3OiJjb250ZW50IjtzOjEyOiJWYW5jZSBQb3dlbGwiO31zOjE4OiJfMTQ4OTAyMTgyMDkyNV85MjUiO2E6Mjp7czo3OiJoZWFkaW5nIjtzOjExOiJSZWNvcmRlZCBieSI7czo3OiJjb250ZW50IjtzOjEyOiJWYW5jZSBQb3dlbGwiO31zOjE3OiJfMTQ4OTAyMTgzMTA4NF84NCI7YToyOntzOjc6ImhlYWRpbmciO3M6NjoiVGFsZW50IjtzOjc6ImNvbnRlbnQiO3M6MTYxOiJNYXJ0eSBP4oCZUmVpbGx5ICYgdGhlIE9sZCBTb3VsIE9yY2hlc3RyYTxiciAvPk1hcnR5IE/igJlSZWlsbHkgLSBndWl0YXIvdm9jYWxzPGJyIC8+QmVuIEJlcnJ5IC0gYmFzczxiciAvPk1hdHQgR29mZiAtIGRydW1zL3BlcmN1c3Npb248YnIgLz5DaHJpcyBMeW5jaCAtIHZpb2xpbiI7fXM6MTg6Il8xNDk3NDY3OTUxMTk5XzE5OSI7YToyOntzOjc6ImhlYWRpbmciO3M6MTE6Ik1hc3RlcmVkIGJ5IjtzOjc6ImNvbnRlbnQiO3M6MTg6Ik1pY2hhZWwgUm9tYW5vd3NraSI7fXM6MTg6Il8xNTA1MTUzMDI3ODk1Xzg5NSI7YToyOntzOjc6ImhlYWRpbmciO3M6MTI6IkZ1bGwgdmVyc2lvbiI7czo3OiJjb250ZW50IjtzOjE2MjoiPGEgaHJlZj0iaHR0cHM6Ly9zb3VuZGNsb3VkLmNvbS91bml2ZXJzYWwtYXVkaW8vY29tZS1nby1oZWFydGJlYXQtYnktbWFydHktb3JlaWxseS10aGUtb2xkLXNvdWwtb3JjaGVzdHJhLW1peGVkLXJlY29yZGVkLWJ5LXZhbmNlLXBvd2VsbCI+TGlzdGVuIG9uIFNvdW5kQ2xvdWQ8L2E+Ijt9fQ=="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Session Notes" content="In this Apollo Artist Session, watch Grammy-winning engineer/producer Vance Powell (Jack White, The Dead Weather) track and mix Marty O’Reilly & the Old Soul Orchestra exclusively through Apollo 8 High-Resolution Interfaces using Unison™-enabled mic preamps at Music Expo SF. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Live Tracking" content="A case study in getting a live session up, running, and rocking very quickly (an hour-and-a-half!), Powell used Mojave and Royer microphones exclusively for this Apollo Artist Session. The drums featured Mojave MA-100 tube condenser (toms, snare top), MA-101 FET (snare bottom, hi-hat,) and MA-301 FET (outer kick) mics, with MA-300s as the stereo overheads. O’Reilly’s guitar amp — a Fender Hot Rod Deville — was miked with a MA-100 and a Royer R-121 ribbon mic, while the bass was miked with a MA-300 as well as DI’d. The violin was captured with a Royer R-122, while room mics consisted of Royer SF-24 (a stereo pair) and a R-122 (mono). O’Reilly’s vocal mic was a M-1000 tube condenser.

For the bulk of this live session, Powell relied on the Unison™-enabled Neve 1073 from the Neve 1073 Preamp & EQ Collection across Apollo’s Console channel strips, along with the 1176LN plug-in from the 1176 Classic Limiter Collection. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The Mix" content="Powell harnessed several UAD plug-ins across the mix. The Neve 33609 Compressor was strapped across the drum bus, as well as a “full band” bus and the drum overheads, while the 1176 Classic Limiter Collection was used extensively on the lead vocal, as was the Studer A800 Tape Recorder.

To shape the all-important transients of the kick and snare, Powell used the SPL Transient Designer, while on the electric guitar, he called on the Helios Type 69 and Neve 1073 EQs as well as the 1176 plug-ins for extra flavor.

But it’s the bass and violin DIs where Powell’s subtle use of UAD plug-ins is especially crafty. For the bass, he artfully blends a signal chain that includes the Little Labs IBP (for phase coherency), Fairchild 660 compressor, Neve 1073, Thermionic Culture Vulture, and Ocean Way Studios plug-ins, giving the DI tons of vibe and character.

On the violin DI, he uses a signal chain of the Eventide H910 Harmonizer, Galaxy Tape Echo, 55 Fender Tweed Deluxe, 1176 compressor, and the Neve 1073 EQ plug-ins.

Reverb was provided by the EMT Plate and AKG BX 20 Spring Reverb plug-ins.

Finally, the API 2500 Stereo Bus Compressor resides on his on his 2- bus for the last bit of polish. "}}

{{widget type="uaudio_theme/Widget_TextCentered" heading="Learn how the Grammy-Winning Engineer Captures Character in his Sources."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Ask four-time Grammy-winning producer and engineer Vance Powell (Jack White, Chris Stapleton, Danger Mouse), a question about mic placement, and you’re just as likely to get an answer about the final mix. See, for the laconic Missouri native and former front-of-house engineer, selecting and setting up microphones, and arranging how and where the players will stand during a session is all part and parcel of creating a virtual soundstage that’ll go on to form the basis of a song’s sonic image.

We caught up with Vance at the start of a session at his busy Nashville studio, Sputnik Sound, and talked about his favorite miking recipes, noisy drums, and capturing unintended consequences."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What is a typical kick drum scenario for you when it comes to miking? " content="I’ll often take a Shure Beta 52 and a Neumann U 47 FET, place them side-by-side, not split apart, a little way back from the head, maybe 2', so you get a little of the room and other stuff in them. I combine the two mics together onto a single track. This is for a solid, or two-headed, kick drum sound — no hole in the outer head, and no pillow in the kick drum, just tuned super-open, with lots of ringing, rattling artifacts."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="You embrace all of the extraneous noise?" content="I like when snares and kicks rattle. I like when things make noise. I also don’t like good cymbals, so I have a big pile of broken, shitty pawn-shop cymbals, like the ones from those old Muppet Babies drum kits, and old CB 700 stuff. I like cymbals that are broken around the edges and the crown — those cymbals I’ll use. They’re more interesting to me than shiny metal things. I’ll often stack cymbals on top of each other so that the sounds are short and smashy, and much more percussive than your typical long-decay cymbal sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your snare sounds have a lovely combination of woodiness, crunch, and impact. " content="For the snare drum, I usually just use a pair of Shure SM-57s, one on the top and one on the bottom. In this case, though, the bottom mic is an old Shure Unidyne 565. I like it because it doesn’t have as much gain as an SM-57, which means I don’t have to put a pad on it. The top mic is at more or less a 45-degree angle to the snare top, but the bottom mic is pointed straight up toward the middle of the bottom of the snare, which gives me more of the low frequency of the bottom snare pushing down. And of course, it rattles like crazy. I love that."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Do you do anything unusual to capture the rack toms?" content="Usually, the rack tom mics are pointed at the center of the toms, and the floor tom actually gets two microphones on it: a top and a bottom. I use a Sennheiser 421 on the top and a Granelli Audio Labs G5790. It’s a SM-57 that is modified at a 90-degree angle — which are really made for snares, so the connector is out of the way — under the floor tom, about an inch below the bottom of the drum, pointing straight up. For me, that actually gets the essential sound of the floor tom, because, contrary to popular belief, the top head is just not the whole sound."}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:Ik1pYyBibGVlZCBpcyBub3RoaW5nIHRvIGJlIGFmcmFpZCZuYnNwO29mLiBJIGxvdmUgdW5pbnRlbmRlZCBjb25zZXF1ZW5jZXMuIjxiciAvPiDigJRWYW5jZSZuYnNwO1Bvd2VsbA=="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your productions always seem to exploit air and room sounds really well. " content="One thing I do is, I have a bunch of SM-58s on stands around the room, at least four of them, in no particular pattern, they’re coming through a little Studer Revox six-channel mixer, which has a very 70s sound.

This is because I always loved the sound of the talkback mics at Blackbird Studios [where Powell engineered for several years]. We had a particular talkback system that turned on talkback mics when players would press the talkback foot switch, and I always thought it was such a cool sound — I suppose I’m trying to emulate that. So those SM-58s come through the Studer mixer into channels 1 and 2 on my desk, which is an SSL-6000 6048 E."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="But you also favor stereo microphones in the room, right?" content="Yeah, I actually have two independent room mic setups: there’s the Studer mixer with the SM-58s, and then for capturing a really strong stereo image, I also have an AEA R88, which is sitting roughly 8' in front of the drums, at approximately head height. The AEA R88 is a coincident stereo ribbon mic, an X/Y ribbon in a Figure 8 Blumlein pattern — or to be clearer, it’s two large ribbon Figure 8’s angled together at 90-degrees in coincident stereo.

Having the two setups is key: I can just hit a few buttons and switch between them for very different room sounds. The SM-58s are very wide and diffuse, and the coincident stereo setup is very focused, and it helps that the large ribbons are in exact phase alignment. And that could be the case with condenser mics as well. An AKG C24, for instance, is a coincident stereo pair. Their dual capsules are at 90-degrees, so they are exactly “phase-coherent” in a Blumlein X-Y pattern, if you will. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9oRzFHblZNRkFxUSIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Why do you favor a mono drum overhead mic?" content="Sometimes I will use a mono drum overhead mic and sometimes I will use the R88 or a Royer SF‑24. Part of the reason for that is that I don’t want the cymbals to be all the way over on the right or the left. I don’t know anything about hip-hop, but I do know that I like that thing of having the main drums straight up the middle, then I can put the guitars way out on the sides, or even throw the bass over to the left. I want to have lots of space when I go to mix, because, hey, we still have a ton of vocals to do, and I want a good portion of those to be in the center.

So while panning the cymbals out to both sides sounds like a good idea, I’m going to put the hi-hat gently over to one side, and I’m going to put the mono overhead for the cymbals only slightly to one side. Basically I want all the drums more or less up the middle and just a bit of panning for the toms and cymbals. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="I confess that I’m still a bit stuck on the idea that the drum kit, especially toms and cymbals, should spread out over the entire spectrum — I still expect those tom fills to move from far right to far left." content="They don’t have to do that. Y’know, I have a few little rules. For starters: Drummer perspective, never. I never want to hear a live show or a record from behind the drums — all you can hear are drums!

I spent the first 20 years of my career as a front-of-house engineer, and this is basically how I sell my approach to an artist. I explain that, on this record we’re going to make, what we’re listening to is you playing live in this magical fantasy world.

Let’s imagine that everyone who played on your record is on stage. Close your eyes and point to the drummer: he or she is always straight ahead of you. Now point to the floor tom: it’s basically in the same place, not all the way on the right or left. Where’s the organist? Well, he’s well over on the left or the right. Guitars? Here and here. Background singers? Far left or right. And you, the singer, are mainly in the middle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3369"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="In terms of imaging, you’ve been pretty vocal in the past about not using a hi-hat mic. " content="I used to be hardcore about not doing a hi-hat mic. And that’s because a lot of my work is with bands, not with session musicians. A lot of band drummers don’t seem to understand that if you beat the hell out of the hi-hat, it shows up in all the mics. And if you beat the hell out of the hi-hat, but you don’t hit the snare drum as hard as you’re hitting the hi-hat, it all becomes a big mess. So, very often when recording bands, even if I used a hi-hat mic, I’d never use that track in the mix — I just wouldn’t need it. Or I would only use it in the bridge. Lately, I’ve been miking the hi-hat because, well, I can, and some mixers definitely do want the option of having it."}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:IkkgZG9u4oCZdCBoYXZlIHRlbiAxMTc2IGNvbXByZXNzb3JzLiBCdXQgd2l0aCBBcG9sbG8sIGlmIEkgbmVlZCB0ZW4sIEnigJl2ZSZuYnNwO2dvdCZuYnNwO3RlbiEiPGJyIC8+4oCUVmFuY2UmbmJzcDtQb3dlbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your guitar sounds for Jack White and others are legend: What’s your secret? " content="No big secret. I like to always use two microphones for guitar. And that can be a condenser, or a ribbon, and an SM-57, but there’s always a Shure SM-57 involved. Sometimes it’s a a Sony C-48 paired with an SM-57. But often we’ll use one of the Neumann U-67s along with a 57 or a Royer 121— in fact, I’d say that’s my go-to: Those two mics, no pad, going straight into a line input of, say, a Neve 1073 preamp/EQ.

The reason it works because the C-48 or the U-67 both have this sort of wide, mild midrange scoop and nice even top end, and the Shure SM-57 has that characteristic midrange bump. If you hard pan those, you get a great balance. To balance the tone of the SM-57, I might also use an old RCA BK‑5A Uniaxial ribbon mic from the late-‘50s, or an AEA R92 ribbon mic, and those get placed basically right on the grille cloth. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How exactly do you place the mics for a guitar cabinet? " content="I point the SM-57, for example, directly at the part of the speaker that’s about two-thirds of the way from the cone to the surround, and then I place the U-67, or whatever my second mic is, right under that, in a sort of upside-down “L” configuration, but both are in basically the same space. I work to find the sweet spot, and get the very best sound from each of these mics that I can in mono. When I pan them on the board, they’re harmonically different enough in character that I get a kind of faux stereo picture, an image shift, and I also get a lot of width out of doing that.

The other advantage to miking this way is that if I do decide to combine the guitars in mono on one side of the stereo field, by simply turning one of those mics up or down, because of their very different timbres, I’m able do some real tone shaping without having to touch any EQ at all."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3370"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="For the tracking of your recent Apollo Artist Session with Marty O'Reilly, you used Royer and Mojave mics exclusively. Do your miking techniques apply, no matter what mic you're using?" content="It doesn’t really matter, other than not using a ribbon where one would be damaged or something like that. If the mic sounds great — and the Royers and Mojaves do — I would use them just as I would use my mics at my place, although it might take a bit of experimenting to get the exact same results. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="You’ve been an Apollo fan for some time; what does Unison Technology now bring to the table for you? " content="The whole idea of Apollo, and Unison Technology, is such a great thing. I have a couple of Apollo rigs, which I use mostly for remote recording: I can go to another person’s house, set up a mic, use a UAD Neve 1073 and a UAD 1176 on the front end, cut the vocal and we’re done. And the results are more or less exactly the same as if we did it at my place, or at least it’s so close to using the genuine outboard gear that it doesn’t really matter.

In fact, Apollo becomes its own element, like its own studio, which is really high quality. Sure, I think my studio, Sputnik Sound, is the absolute best; but if people can’t come to me, taking Apollo with me is like, “Well, I’m going to another really great studio!” Also, I don’t have ten 1176s, but with Apollo, if I need ten, I’ve got ten!"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9BMi14R0hqUXlJOCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="I see you have a microphone in the control room here for the singer. Is that the sort of Bono method of recording final vocals in the control room, or is that for scratch vocals?" content="Well, it’s for scratch vocals, but only in part. This is an SE V7 dynamic mic, which is really awesome. It’s basically there so the singer can work out ideas over the tracks, but also she’s in the room with me while she’s riffing so we can talk about the arrangement or what the band is playing. This way we can capture rough sketches of where the song is going, face to face. But something else is going on, too.

The SE microphone is going through a mic pre to a channel on my desk, fairly clean, and then I’m sending the signal out of the insert send of the console to a bunch of pedals, including distortion and delay. The signal from those pedals then comes back to the channel right next to the clean scratch vocal channel, in this case it’s channel 31 and 32. I’ll blend them and then bring those two mono signals together back into my Pro Tools session into a single stereo track.

This allows me to do two things: first, sure, it allows her to get some mojo going with a somewhat effected sound while singing in the control room, but it also allows me to capture unexpected stuff that might be really cool in the way that microphone is picking up stuff through the studio monitors as we work in the spaces when there’s no singing, and then that stuff is hitting the pedals. Think of it as a kind of extra room mic, with some dirt and dimension to it. That can be really useful at certain points in a mix. And it’s the kind of thing that you’ll never get if you’re obsessed with things like avoiding bleed. Bleed is nothing to be afraid of. Like I said, I love unintended consequences. "}}

{{widget type="uaudio_theme/Widget_TextLeft" content="When it comes to smelting hip-hop platinum in the studio, Just Blaze knows just what is required. The New Jersey-based producer gained notoriety with his early work on Jay-Z’s The Blueprint and The Black Album, and his recent credits are a who’s who of hip-hop royalty, including work on Beyonce’s Lemonade, as well as productions for Snoop Dogg, Ghostface Killah, Kendrick Lamar, Drake, Eminem, and many more. Here, Blaze breaks down how he sculpts powerful low-end in his tracks, his seamless melding of live players and samples, and the UAD tools that have helped him craft hit after hit."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="1. How would you describe your job as a producer?" content="My role is to get the job done and deliver a finished product. At the end of the day, you are paid to produce. People tend to think that a producer is running around and playing a bunch of instruments, and that’s not really the case. On Michael Jackson’s Thriller — Quincy Jones didn’t come into the studio and play everything himself. He understood Michael’s vision, and got the best people he could for drum programming, strings, arrangements, and even co-writers. Basically, he did an epic job of completing the tasks at hand, and creating a great album."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="2. What’s the difference between a beat maker and a producer?" content="A producer brings in hook ideas and song structures. A beat maker says, “Here, rap to this.” Anybody can grab some kick and snare sounds along with a sample loop or a piano sound and be done in five minutes — but that doesn’t mean it’s going to move anybody. A good producer can take chords, sounds, textures, and use them to deliver emotions and dynamics within a track. Also, being aware of tempo is very important.

There are sounds that you may not want to use in something uptempo, simply because there’s too much reverb tail on the snare, for example. If the BPM is 140 or 150 and there’s a huge reverb tail on the snare, the sound of the reverb could take up the whole track and drag the energy down. A good producer, or a good beat maker, knows how to make the right choices with things like that, and ultimately, how to capture a moment. Good producers and beat makers put together sets of sounds that can deliver an experience. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="2613"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="3. What’s your DAW of choice? Do you start with a template or work from scratch each time?" content="I start from scratch and 95% of my work is in Logic Pro X, though every once in awhile, I’ll use Ableton as a starting point. I start from scratch when I’m working on a song, with one exception. Many years ago, I used to work on the Akai MPC series of sequencers and samplers. When I made the decision to move over to Logic, a couple of guys that I work with and I imported all of the actual sequencer grooves from three MPCs into Logic — Logic has a feature where you could import grooves from other sequencers by recording click tracks from them and then Logic would adjust its internal clock to replicate the swings that you get from the drum machines.

We did this because, even, though it’s all ones and zeros and they’re all computers, every processor and sequencer is a bit different. The reason why people loved the E-mu SP-1200 decades ago is because it had a certain swing that no other sequencer had. Some people also love the Akai MPC3000 because there was a very unique swing to the sequencing. The grooves that we imported over are the only thing that I always make sure that I have warmed up when I open a blank session. It’s good to have variety, because the differences in swings can be very slight. If I do a sixteenth-note triplet on the SP-1200, it’s not going to feel exactly the same timing coming from an MPC3000 or an MPC2000."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="4. So much of your work is collaborative, whether it’s with Jay-Z, Kendrick Lamar, or Beyonce. How important is being a good collaborator to your productions?" content="I always say, the more heads that are involved, as long as it benefits the record, the better. You have to put egos aside. One of the best things about collaborating is watching other people work. That’s how you learn."}}{{widget type="uaudio_theme/Widget_PullQuote" text="“Know your tools, and know how to use them.” — Just Blaze"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="5. You recorded Brooklyn’s Phony Ppl at UA’s Studio 610 recently. What are some essentials for you as a producer tracking an ensemble?" content="Preparation is key. I always tell the band, “Perform it like you know it.” most often, that means taking the track home and just live with it. In fact, we all go home and live with it. Work with it over and over. Then we attack it the next day, knowing the tune inside and out. This is especially important for vocalists. In the case of Phony Ppl, they were a polished band and a super-talented bunch of guys.

My job was to go in and mic the drums the right way, make sure we had the right things being captured by the overheads, getting the right sounds in the right way. Of course I would speak up if I heard the vocals going flat or sharp and call them out on that. But my overall job was to get the best performance of the day recorded well, then take it back to my studio and shape the song into a finished record."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSBzcmM9Imh0dHBzOi8vd3d3LnlvdXR1YmUuY29tL2VtYmVkL1FtU1FFMFRSM0lvP3JlbD0wJmFtcDtzaG93aW5mbz0wIiB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj0iIj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="6. You’ve often sampled live band takes and used them in your productions. Even in that scenario, you want the band to be well rehearsed?" content="Oh yeah. I want to find the magical four or eight bars where everyone falls in the pocket at the same time. Matching the “best” mistake-free drum track with the best guitar or bass track simply doesn’t gel the same."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="7. What are some common mistakes you hear from up-and-coming producers?" content="Over compression. I was guilty of it when I was younger. You don’t really know what compression does, you just know everyone is using it. It can be a wonderful tool for shaping the sound, but it can also sneak up on you and suck the life, soul, and dynamics right out."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="8. What are some techniques that you use with compression, say with bass lines?" content="I’ll take a live bass player’s line and remove any sub-bass that is happening with his track, then I add the real low stuff in later with a synth as a layer, doubling the melody or accenting certain tones to make add extra punch and resonance."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="2685"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="9. How do you use compression to enhance clarity and punch?" content="Often times I will run bass, kick, and sometimes the snare through the SPL Transient Designer. It’s not a compressor, but the amount of control it gives you is amazing. Even beyond adding punch, it's the perfect tool for crafting snare samples, letting me use the natural reverb, rather than having to use a reverb plug-in. That can really make or break a groove. To be honest, UAD plug-ins have helped me make the transition to recording in the box. Some of the first hardware I used for vocal processing were the Manley VOXBOX and the Massive Passive EQ, and the Teletronix LA-2A compressor. The UAD versions of those are my go-to plug-ins."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSBzcmM9Imh0dHBzOi8vd3d3LnlvdXR1YmUuY29tL2VtYmVkL0tWMnNzVDhsemo4P3JlbD0wJmFtcDtzaG93aW5mbz0wIiB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj0iIj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="Produced by Just Blaze, Eminem’s mega-hit “No Love” featuring Lil Wayne. (Warning: lyrics are definitely NSFW.)"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="10. What one piece of advice can you give to producers who want to follow in your footsteps?" content="Don’t give up and don’t put a time limit on it. When I decided to go professional, I decided I’d give myself a year, and then I decided to give myself another year on top of that. At the end of that two-year period where I was interning and assisting engineering, it wasn’t working out and nothing was really happening. The day after I started to do my research on going back to regular life and finishing my college degree was the day I placed my first record, which ended up going gold and selling 500,000 copies. Had I decided to leave a month earlier, me and you wouldn’t be having this conversation right now. Persistence overrides resistance."}}

{{widget type="uaudio_theme/Widget_VideoCredits" videocredits="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Session Notes" content="In this Apollo Artist Session, watch legendary producer Just Blaze (Jay-Z, Kendrick Lamar) track and mix Phony Ppl’s “Why iii Love the Moon” through Apollo 8p High-Resolution Interfaces at UA's Studio 610 in Scotts Valley, California."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Live Tracking" content="For the session, all of the drums were tracked through the API Vision Channel Strip Strip plug-in, driving its colorful preamp and using its filters and expander on the kick drum. The vocals were recorded through the Neve 1073 Preamp and EQ Collection plug-in followed by the 1176LN from the 1176 Classic Limiter Collection plug-in. The EQ on the Neve was flat and the vocal was compressed pretty hard on the way in — around 10 dB or so — enabling [Phony Ppl vocalist] Elbee’s dynamic style to sit just right in the band mix. The keyboards and synths ran through the Neve 88RS plug-in and the bass was tracked with the Ampeg B-15 Bass Amplifier plug-in. The guitar track was a combination of a DI and the ’55 Fender Tweed Guitar Amplifier plug-in."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The Mix" content="For the mixing process, Just Blaze and his engineer Andy Wright used a ton of SSL E Channel Strip plug-ins across all of the drums along with Ocean Way Studios plug-in to create a nice, tight “Studio B” ambience. For the bass, the Ampeg SVT3 Pro plug-in was used to add a touch of flavor along with the UA 1176AE compressor and Neve 1081 EQ. On the guitar subgroup there was an 1176AE, the Sonnox Oxford EQ to roll off lows and highs, focusing the the midrange before being finished with a Neve 1081 EQ for a little high shelf."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Vocal Mix & Effects" content="Just Blaze’s lead vocal mix chain on this track is formidable. He started with a Teletronix LA-2A Gray, compressing between 5-7 dB, then to a Sonnox Oxford EQ, high-passing up to about 100, then a Neve 1081 EQ for some high boost, followed by Oxide Tape Recorder and finally the UAD Precision De-Esser — quite a chain.For the time-based effects, he had Lexicon 224 Digital Reverb, EMT 140 Plate Reverberator, and Eventide H810 plug-ins, and a bunch of stock Logic tape delays and Space Designer. On his master bus, the mix was finished off the SSL G Bus Compressor, followed by the bx_digital EQ, and finally the Studer A800 Multichannel Tape Recorder plug-in."}}

{{widget type="uaudio_theme/Widget_TextCentered" heading="Vintage Analog Hardware vs. Apollo & Unison Plug‑Ins"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Jacquire King speaks the same way he produces and mixes records: he’s direct, to-the-point, and avoids unnecessary hype. It’s an approach that has served the 50-year-old Washington, D.C. native well, from his previous perch at Nashville’s legendary Blackbird Studios to his Grammy-winning work with Kings of Leon, Buddy Guy, and Tom Waits.

A longtime fan of Universal Audio plug-ins and analog gear, the 30-time Grammy-nominated and multiple Grammy-winning King recently put Apollo’s pioneering Unison™ mic preamp technology to the test in a live session at Blackbird Studio G, with electronic-soul artist Jamie Lidell and a cast of all-star players.

We sat down to get King’s take on the session, and his insights into mixing, recording, and tracking through Unison mic preamps with Apollo interfaces."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}} {{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9EMFRyVFBBWE0xST9yZWw9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="As someone who has worked extensively in the analog and digital recording domains, what has Unison technology meant to you and your projects?" content="Unison technology is really interesting, and it definitely shows the potential of emulations taking place on the front end, and in more of an analog realm. I’ve never had one particular tool that I thought was a perfect solution. But Unison shows what the Universal Audio system and Apollo is transforming into — a platform where I can completely track and mix in the box.

The whole purpose of doing this video and tracking session with Jamie Lidell and that amazing band was to demonstrate that Apollo with Unison technology gives you arguably the same thing as outboard gear, but with a slightly different flavor. I wanted to see just how far I could take Apollo and Unison, and I think the result speaks for itself. I’m pretty proud of it."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3070" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Does Unison’s ability to track and commit to tones using a more analog-type workflow appeal to you?" content="Absolutely. Like Tom Dowd and the Beatles and all the legends of record-making who really didn’t have a lot of gear — you’ve got to go boldly. That’s what we should aspire to. Make a choice and go for it.

For example, if you want something that’s compressed and dirty, do it. The one pitfall of the technology we have now is the temptation to leave things too open-ended, and not committing to anything until mixdown. As a mixer, having to make all those decisions at the final hour, and figure out how it’s all supposed to fit together, that’s a difficult creative headspace to get into."}}{{widget type="uaudio_theme/Widget_PullQuote" text="“Like Tom Dowd and the Beatles and all the legends of record-making who really didn’t have a lot of gear — you’ve got to go boldly. Make a choice and go for it.”"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How does committing to those sounds when tracking affect the final product?" content="Committing to sounds early informs the process as you go, in terms of making calls about how to record each successive part, or how to layer sounds. You really don’t have to have a lot of expensive outboard gear to be recording in that style with Unison and Apollo hardware, because you can much more affordably have a very similar experience."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Has Unison technology had a positive impact on your workflow when it comes to mobile recording?" content="Yes. For vocals on the latest [Icelandic rock band] Kaleo record, A/B, we wanted to get some vocals recorded on the road, so we used my Apollo Twin, recording the singer with a Shure SM7B mic, through the Unison-enabled Neve 1073 Mic Preamp & EQ.

We even punched some of these takes into the existing tracks that we’d recorded with the pure analog chain at the studio, and in a room full of pretty educated ears, no one could really tell the difference."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3071" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Using parallel compression is one of your go-to techniques in a mixing session, especially for drums, bass, and vocals. Could you talk about your strategy with it?" content="The advantage of parallel compression is that you can be more extreme and go for more “character” when you don’t really care about maintaining transients. So you can dial in a cool sound where your softer, lower dynamic tones are sort of “stabilized,” if you will, and then you can blend in the more extreme texture. This allows you to bring out more room tones, for example, and then you choose how to blend that with the less compressed signal."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="So, do you prefer a fairly naked original signal, to allow you the most latitude with parallel compression?" content="Not necessarily. Just because you’re using parallel compression doesn’t mean you’re not also compressing the sources. It’s just that you’re doing it differently — a gentler tailoring there, a bit of nuanced control, maybe some tonal shaping. Then, with the parallel, you balance it to taste — maybe you only need a little bit of the transient preserved, and so the dry, uncompressed or less compressed sound is actually lower in the blend than the parallel sound.

For example, with drums, the parallel channel is typically something you’re going to be bringing up from underneath — it’s at a lower volume, it’s more supportive — that’s definitely the way I view it. It helps you manage the overall drum sound. It’s difficult to only compress single tracks of drums individually, and expect to maintain all the transient energy that helps define and clarify the overall sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Tell me what characteristics you like about the different UAD compressors you use on the Jamie Lidell session, including the UAD Fairchild compressor for the kick/bass parallel bus." content="The Fairchild has slower settings — there’s that more old-school attack-and-release thing going on. So when you’re a bit aggressive with that, and blend it into the kick and bass, it kind of glues everything together. In general, I do like a lot of the older designs, and older style compressors where they’re almost less flexible, and they have a more specific sound and character. They seem to work really well for parallel compression, maybe because they’re just simpler and more familiar."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3075" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" content="__encoded__:Q29tcGFyZSBmb3IgeW91cnNlbGYuIERvd25sb2FkIHRoZSB1bmNvbXByZXNzZWQgYXVkaW8gZmlsZXMuPGJyIC8+PGJyIC8+PGEgY2xhc3M9ImJ1dHRvbiB0cmFuc3BhcmVudCIgaHJlZj0ie3ttZWRpYSB1cmw9J2Jsb2cvdS9uL3VuaXNvbl9hYl9hdWRpb19maWxlcy56aXAnfX0iPkRvd25sb2FkIE5vdzwvYT48YnIgLz48c21hbGwgc3R5bGU9Im1hcmdpbi10b3A6NXB4OyJsPig4MCBNQiwgLnppcCk8L3NtYWxsPg=="}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="I’m fascinated by your mix bus signal chain for the Jamie Lidell session: UAD Brainworx bx_refinement EQ, Neve 33609 Compressor, Ampex ATR-102 Mastering Tape Recorder, Pultec EQP-1A, and Precision Limiter plug-ins. Why these particular choices?" content="With the Brainworx, I like to start with some EQ to gently manage the overall blend, to clean up the low end, maybe eliminate some subsonic frequencies in an appropriate way so that I keep a certain amount of lows, without having to high pass everything in my mix.

So I filter off some of that, gently opening up the top-end, and that pushes a little bit of general EQ into my first compression stage, in this case, the Neve 33609, although sometimes I’ll use the SSL G Bus Compressor."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How do you like to set that first compressor on your mix bus?" content="Typically, I’ll set the threshold as high as it will go, so I can push as much level into it as possible, with a quite low ratio, like 1.5-1. Even if I’m compressing up to 3 or 4dB, I don’t want it to be a steep ratio. Slow attack, fast release. Very gentle, nothing too aggressive, not hitting the transients too hard."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How do you use the Ampex ATR-102 plug-in for shaping your mix bus?" content="I’m not necessarily using it to get the “sound of tape.” I use it because it has a good glueing effect, and you can play with the speeds which each give you different EQ curves, and with different tape types. It’s a great tone box, basically. It can also help widen or collapse the stereo field, depending on the material, and how it presents the frequencies. I even generally leave on the crosstalk feature."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Then how do you use the Pultec Passive EQ Collection?" content="Once I’ve got the mix run through this general EQ, compression and tone-shaping, the Pultec EQP-1A is sort of the “smiley face” that I really want to hit it with — open up the top end a lot, bump up the bottom end. That way, I’m not having to over-EQ individual things. It’s more about shaping — on the top, making sure the guitars are bright enough, or that when the drum kit is balanced correctly, that the cymbals are at the right level, and the voice is bright enough."}}{{widget type="uaudio_theme/Widget_PullQuote" text="“There are three hallmarks of a great mix: the drums, the vocal, and the low-end. If you can master those things, then the rest will fall into place.”"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Using the EQP-1A here is better than having to go in and open up the high-end on all the individual elements. They should all be in pretty good shape by that point. It’s about shaping the overall tonal personality and direction of the project.

As for the the UAD Precision Limiter — basically, I don’t want to have peaks printed. I don’t want the output converters seeing red. I don’t want them in clipping mode. I want them to have the little bit of headroom that they need to sound the way they’re supposed to sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="When push comes to shove, what are the key elements of a mix? " content="There are three hallmarks of a great mix: the drums, the vocal, and the low-end. If you can master those things, then the rest of it is relatively easy, and will fall into place. Those are the things that you need to be able to get just right, and have everything else around them heard in a way that makes sense. It comes down to the story of the song and the rhythm of the song. The topline melody and the groove — everything else plays off of that."}}

{{widget type="uaudio_theme/Widget_VideoCredits" videocredits="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Session Notes" content="In this Apollo Artist Session, watch legendary producer Jacquire King (Kings of Leon, Tom Waits) track and mix Jamie Lidell’s “Walk Right Back” exclusively through Apollo 8 High-Resolution Interfaces using Unison™-enabled mic preamps at Nashville’s Blackbird Studio."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Live Tracking" content="For the bulk of the live session, including kick, snare, bass, guitar, keys, vocals, and percussion King relied on the Unison™-enabled Neve 1073 from the Neve 1073 Preamp & EQ Collection plug-in. The Unison-enabled API Vision Channel Strip plug-in was used on the drum overheads. King also printed his compression, favoring the 1176LN plug-in from the 1176 Classic Limiter Collection on drum overheads, the dbx 160 Compressor/Limiter plug-in on the bass, and a gray Teletronix LA-2A plug-in from the Teletronix LA-2A Classic Limiter Collection on the lead vocal."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The Mix" content="__encoded__: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"}}

{{widget type="uaudio_theme/Widget_TextCentered" heading=" Producer Joey Waronker Records The New Pornographers’ A.C. Newman Using Apollo’s Stock UAD Plug-In Bundle."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Though perhaps best known for his Zen-like pacing and gorgeous live feel as the drummer for both Beck and R.E.M., Joey Waronker has spent equal time exploring the darker reaches of electronic beat programming and radical plug-in methodology. And as producer for cutting-edge alt-bands Yeasayer and Other Lives, and drummer for Radiohead singer Thom Yorke’s extraordinary Atoms for Peace project, Waronker has pushed drum sonics into exciting new territory
We chatted with Waronker about his drum and production philosophy, his favorite UAD plug-ins, and a session he recently produced and performed on at Universal Audio’s Studio 610, tracking The New Pornographers' A.C. Newman exclusively through Apollo interfaces and the included Realtime Analog Classics plug-in bundle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9nck1FQ29jVFJZND9zaG93aW5mbz0wIiBmcmFtZWJvcmRlcj0iMCIgYWxsb3dmdWxsc2NyZWVuPjwvaWZyYW1lPg=="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:IlRoZSBjb29sZXN0IHRoaW5nIGZvciBtZSBpcyB0byBiZSBjaGFsbGVuZ2VkIGJ5IHRoZSBwZW9wbGUgSSB3b3JrIHdpdGgsIiBzYXlzIEpvZXkgV2Fyb25rZXIu"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Does tracking in real time with Apollo, and printing UAD preamps and EQs restore some of that old-school commitment to bold artistic decisions associated with traditional analog recording? " content="I think so. There’s a magic involved in the analog experience that gets clouded over with too many choices in the digital world, and tracking through Apollo and UAD plug-ins splits the difference. The fact that the UAD preamps and EQs are truly reacting and responding as you’re recording, in the way that the original hardware units would, is pretty incredible.
With Apollo and UAD plug-ins, your project studio feels and sounds much more like a high-end studio, because you can create your own full-scale mixing board. If you have, say, an Apollo 8 and you’re using all eight inputs with a UAD Neve 1073 Preamp & EQ Collection plug-in on each channel, it’s really like you’re using a proper outboard console. If someone wants me to work with them in their studio, and it turns out they have an Apollo, I’m happy. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="For the A.C. Newman tune, “Colossus of Rhodes,” you relied exclusively on the UAD Realtime Analog Classics Bundle. Talk about 610-B Tube Preamp & EQ, 1176 Classic Limiter, Teletronix Limiter plug-ins included with Apollo’s Realtime Analog Classics Bundle. " content="A.C. and I wanted to track “Colossus of Rhodes” in a style that’s often called “Countrypolitan” — country records out of Nashville in the ’60s and early-’70s, with a bit of psychedelic feel and some urban sophistication. So to that end, we were thinking, “What gear would be in the studio in 1976 if we walked in to do a record like that?” "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3201" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="A.C. Newman at UA's Studio 610 laying down tracks with a '65 Gibson ES-125CD. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="So you printed tracks with the 610-B, 1176, and LA-2A plug-ins. What did those plug-ins give you sonically? " content="This was a fairly large multi-track Pro Tools session, too, so having the entire rhythm section going through the 610-B Tube Preamp & EQ and 1176LN compressor plug-ins on the front-end really helped glue all the bass and drums together in a really nice, round way. I also use the grey UAD Teletronix LA-2A a lot on certain things, because I love the way it flattens out the tone. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The 610-B is such a simple preamp, yet you had a trick that shaped the tone substantially, you flipped the phase switch. Why? " content="The flip-phase on the under-snare mic is definitely a go-to move for me and for just about everybody I’ve ever worked with. You’re basically adding the under-snare mic to add a bit of brightness, so if it’s out-of-phase it can kind of make the snare drum sound a little thin and even go away. If it’s properly in-phase, though, it retains, and even adds a little bit of midrange so the snare pops. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“If someone wants me to work with them in their studio, and it turns out they have an Apollo, I’m happy.” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What are your personal go-tos for recording drums? " content="A few things: I really like the sound of a mono overhead mic, aimed at the kick and snare, that’s compressed quite aggressively. It may end up low in the mix, but I love having it. Also, I gravitate toward old dynamic mics like the Electro-Voice 666, which sounds great on the kick drum.
A lot of those older dynamic mics have a quirky tonal character already, which means that I don’t have to go crazy trying to sculpt something out of EQ or compression after the fact; instead, as with UAD plug-ins in the Apollo Console app, I can get most of the way there on the way in, from mic to “tape,” rather than having to chip away during mixdown. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3204" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="Every Apollo interface includes the Realtime Analog Classics plug-in Bundle, featuring the UA 610-B Tube Preamp & EQ, and Legacy versions of the 1176 and LA-2A compressors, Pultec EQs, and more."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your manipulation of drum sounds is one of your biggest calling cards as an artist and producer, and collaborator. What are some of your recipes to capture your sounds? " content="Often I want to isolate the kick and snare, so I use the Neve 88RS Channel Strip to really gate each drum, almost making them sound more like samples, so from there I can process them quite a bit without any extra ringing or noise.
I use a UAD Neve 1073 Preamp plug-in on both kick and snare pretty consistently for EQ. I also use the UAD Moog Multimode Filter quite a lot for distortion and for making drums sound rounder and more musical.
Likewise, a great way of distorting and gating and tonally shaping the drums in more adventurous ways is using the UAD Valley People Dyna-Mite limiter plug-in. It sounds really true to me, it sounds real. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What do you use for ambient effects? " content="For re-amping stuff, I used to literally put a speaker in the tracking room, pump out the track, and record that. But now, I can just lazily use the UAD Ocean Way Studios plug-in for that kind of room or chamber effect.
The UAD EP-34 Tape Echo is a definite go-to for vocals. Lastly, I love the UAD EMT-140 Classic Plate Reverberator. For drums, I like to tweak it a little bit brighter than usual, and take out the low-end frequency boom for most things. Seriously, for how good the UAD EMT-140 sounds, and the sheer amount of adjustability, it’s pretty stunning. I can easily end up with three of those on a session, no problem. I love it. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“The fact that the UAD preamps and EQs are truly reacting and responding as you’re recording like the original hardware units is pretty incredible.” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How do you negotiate the balance — or let’s say, the dual roles — between producing and playing drums? " content="If I’m producing and playing on something at the same time, as I’ve done with both Yeasayer, on their most recent album, Amen & Goodbye, and with Other Lives, on their latest, Rituals, I will mangle and reshape my own live drum performances quite a lot, which is a really satisfying process for me, and the result is that it becomes more like I’m programming the drums rather than playing them live. This is really how most of the things I’ve produced that have been the most successful creatively have gone down. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Do you ever miss tracking live in the more traditional sense? " content="To be honest, purely live tracking sessions, with session musicians, can often be very linear and somewhat mundane-sounding for me. Like, “Oh, my God — this sounds so normal. But generally, I get involved with artists who are interested in a little bit of experimenting and taking risks with production, and even their writing ideas are partly based on the creative use of sounds and effects. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3193" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:IlRvbmFsIGNvbG9ycyBhcmUgdmVyeSBpbXBvcnRhbnQgdG8gbWUsIiBzYXlzIFdhcm9ua2VyLiAiSSBqdXN0IHdhbnQgdG8gYXJyaXZlIGF0IGEgdG9uZSB0aGF0IHdvcmtzIGZvciBtZSwgcmF0aGVyIHRoYW4gc2V0IG91dCB0byBhY2NvbXBsaXNoIGEgcGFydGljdWxhciBlbmQgcmVzdWx0LiI="}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Drummers are almost always principally collaborators, whereas producers often take a “My word is final!” approach. Where do you, a drummer and a producer, fall in that spectrum, philosophically? " content="I feel that I’m always a collaborator. The artists I work with may not always officially be producers, but in effect, they are — their songs come from a place in which production ideas are central, which is increasingly common. And that’s a happy thing for me. I like to have that back-and-forth with artists. That’s rewarding and enjoyable, because they’ll do stuff that I wouldn’t have thought of, and vice-versa.
The coolest thing for me is to be challenged by the people I work with, rather than the idea of the producer as someone who comes in and “fixes” something. When I was in bands, we’d always come into the studio with these grand ideas, and it was so sad to have them generally shot down by a producer who says, “Oh, I know how to make a record, let me do my thing.” I feel that my role is to find a way to make an artist’s idea work, even if that idea is not fully formed or articulated yet, rather than just scrap it and “do my thing.” Now, mind you, I’m not making millions of dollars in production royalties, but I am having a very good time. "}}

{{widget type="uaudio_theme/Widget_TextCentered" content="The romantic spectre of magnetic tape has loomed large over the audio world from the onset of the digital revolution. Sure, tape was fussy, noisy, and the machines were large and required frequent maintenance. But it also brought warmth, depth and headroom that was tough to beat. In this exclusive roundtable, we asked five outstanding engineer/producers, all regular users of Universal Audio equipment, to rewind to their early experiences with tape, and discuss how they’ve reintroduced the virtues of tape into their work in new and exciting ways using UAD magnetic tape recorder plug-ins."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextCentered" heading="Meet the roundtable"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}} {{widget type="uaudio_theme/Widget_PressQuotes" press_quotes="__encoded__: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"}}  {{widget type="uaudio_theme/Widget_TextLeft" subheading="How has your early career using tape as the primary medium influenced your work in the digital realm? Are there intangibles that went missing when we stopped using tape to record? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: I have a lot of experience on analog machines, and I still use a real Studer A827 two-inch machine in my studio. But around the time I really got into recording, around 1989-90, the digital push was already full-on, with the strong message that this was going to be better than analog, and of course, people were making all those dumb mistakes that they made at first.

Digital is so much better than analog at certain things, but a lot of things you took for granted with analog suddenly went away, so the nostalgia for tape took hold quickly for me. After a point, it was like, okay, with digital I don’t have to work that hard to make it not noisy — big deal. But yeah, there’s two sides to what makes tape special — there’s the sound of it, and then there’s just the difference in the process when you’re recording to tape. I don’t miss the process for myself, but I miss it for other people, because it’s just so great for some bands to work that way, to be obliged to respect all the things that tape demands. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“The goal in the early digital years was to hear every instrument separately. But people began to miss the feeling of listening to a softer-sounding ‘big ball of music.’ That’s what tape does.”
— Peter Katis"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: I use tape exclusively. Do I look to the past? Sure — to pull out all the great things I love about those old records: the musicianship, the compositions, the sonic palette, the way you’d hear solid-state mixed with tube. There are so many textures and colors, and midrange sparkle that you get from that old equipment, so the only way I believe I can do what I do is from the two-inch tape format.

And I agree that tape enhances the level of performance by the artists. In the digital world, a vocalist can come in, do a ton of takes and then ask the engineer to fix the whole thing for them, rather than locking into a few great performances with fewer takes and, I’d say, more perspective. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: Digital wasn’t enjoyable to me right off the bat. I started out using a pair of 1″ 16-track machines, and a 2″ 24-track, so, the first time I did an album on a Pro Tools system in 2001, I remember struggling to get the sounds I wanted.

But with digital, I was suddenly free to use those unlimited channels to put up lots and lots of mics — something I immediately regretted. So then I found myself reverting to “tape thoughts.” Things like, no more than eight channels of drums, ever. Make a musical decision, live with it, and move on.

That being said, things are different now, converters are better and we have higher sample rates, so we’re finally getting to a point where our digital recording mediums are actually pretty great. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: I always felt that the console, microphones, and especially the players’ techniques had much more to do with the juju of the sound you got than the tape did. Tape just happened to be a facility that sometimes did great things to the sound, and sometimes not, especially over time, and that could be between recording it and playing it back.

But I do have a vivid memory of the transition from tape to digital, and it was, “This is awful.” There were particular things digital couldn’t do, and one of them was to make things sound acceptable. The only thing anyone could point to was that there was no hiss. Well, there was no tone either. I used to think the only way to improve a digital recording was to find the power button and turn it off. Avoidance behavior was the only way to live with it. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“A big part of what people want to go back to with tape is transformer distortion, tape compression, and noise… today I use the UAD Studer A800 plug-in to get those characteristics.”
— Niko Bolas"}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How does the flexibility and stability of UAD tape recorder plug-ins improve on the old hardware machines, and how does it allow you to re-introduce the desirable aspects of tape back into your work now? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: UAD tape plug-ins offer options never before available, the most obvious being the option to not hear the tape noise, thus making very low-speed, high-headroom settings useable for the first time. Plus, your settings always stay the same with tape plug-ins. That’s great if you’re not into surprises or the very rare “happy accident!” "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Niko Bolas: A big part of what people want to go back to with tape is transformer distortion, tape compression, and noise, all three of which you can do in the digital domain. In fact, I use the UAD Studer A800 Multichannel Tape Recorder plug-in to get all of those characteristics.

The other thing I really miss from the tape-era is musicians who could really play! But that said, I never use actual tape. It’s a detriment. It’s cumbersome, it’s extremely expensive — in an age when we have no budgets — and the tape is not manufactured with good quality control. It’s a painful joke compared with the positive aspects of it that we’re actually trying to emulate with the UAD plug-ins. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: I use the UAD Studer A800 plug-in almost exclusively. It’s especially good for improving tracks that have been recorded, how shall I word this, poorly. Either too many transients, not enough dynamic control, in need of de-essing, cymbals that are too shrill. The Studer A800 is great with all that kind of high-frequency control. And yeah, the ability to use it over multiple individual tracks is great: I’ve done sessions where I’ve put the UAD Studer A800 on every single channel — drums, bass, guitar, vocals, the whole thing — and it always makes it better. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: While I love working with real tape, the sonics of tape is ultimately just science—EQ, compression, and saturation. Sometimes we think it’s magic, but it’s still science. So why shouldn’t plug-ins be able to do much the same thing? That’s why I use the UAD tape plug-ins every day.

See, if you’re recording an album to a real tape machine, it’s all going to sound the way that particular tape machine sounds: the way it’s aligned, the type of tape you’re using, etc. But with the UAD plug-ins, you can treat each track any way you want to, which is pretty great. My workhorse is the UAD Studer A800. It’s the one I know and love best. I’ll use it very frequently on individual tracks, on entire busses even sometimes on my entire mix when more extreme measures are demanded. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3256" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="A perennial UAD favorite, the Studer A800 Multichannel Tape Recorder plug-in adds warmth, presence and cohesion to any source
— and is particularly good at gluing drums together."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Are there particular tweaks or go-to settings on the UAD tape plug-ins that you like — whether that be tape speed, input level, tape type, etc.?"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: Part of what I love about the plug-ins is how they can respond in unpredictable ways, much like the real thing. Recently, I was mixing an instrumental metal band that I had recorded, and it was all sounding good, but I felt it was lacking a certain aggression with my standard audio chain. So I put a default UAD Studer A800 setting on it. Now, typically I find that if I click the speed up from 15 IPS to 30 IPS, it’ll get a little brighter, with a bit more grind and saturation, but generally leave the low-end untouched. But for some reason, in this case, at 30 IPS, the low-end just became pounding. It went from being fairly polite to just throbbing toms, bass and kick drum. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: I remember working with a guy who would intentionally under-bias, say, the snare channel on the tape machine to get the top end to sound a little less linear, more like a big shelf EQ. I’m currently working on a session with a real Studer A800, and right now it’s aligned at 3/250 everywhere but the kick and snare. The kick and snare channels are 2/250. So, a pretty mild alignment, and I’m going to bias it correctly for the track. I’m manipulating the medium itself to get the kind of tone I want. And a lot of people did that in the tape days. This is pretty much what I do in my own preset for the UAD Studer A800 Multichannel Tape Recorder plug-in: 3/250, Scotch 250 tape, at 15 IPS, set to CCIR. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:4oCcVGhlIHNwZWVkcyBhbmQgd2lkdGhzIGhhdmUgcGFydGljdWxhciBlZmZlY3RzIG9uIG1lOiDCvCIgYXQgNyDCvSBJUFMgaXMgJ29vaCwnIMK9IiBhdCAxNSBJUFMgaXMsICdhYWgsJyB3aGlsZSAxIiBhdCAzMCBJUFMgaXMgbW9yZSwgJ3doeT8n4oCdIDxiciAvPuKAlCBSaWNoYXJkIERvZGQ="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Niko Bolas: I’ll often use the UAD Studer A800 when I need to make an abrasive percussion track more palatable. The subtle compression, the ability to adjust bias, and the saturation you can achieve with the Studer plug-in on tambourines, guicas, and shakers is better than a conventional plug-in compressor that just rolls off the top end and squishes it.

There are also times I’ll use the Studer on my mix bus, especially if I’m doing something that has kind of a period quality to it, and it seems sterile without the Studer. Compression, noise, and a little top-end bludgeon — when I turn it up loud, it feels good on my body. As far as tape speed or tape type, close your eyes, click through all of them, and pick the one that sounds best for the music you’re working on. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: With the UAD Ampex ATR-102 Mastering Tape plug-in, I can compress a little, I can limit quite a lot, and I can EQ. In terms of settings on the UAD Ampex ATR-102, it’s like all plug-ins: I try to blank out what they say they can do, and just listen blindly to see what they’re really going to do for me.

If you’ve had the chance to see my “secret” preset on the UAD Ampex ATR-102, you may notice that it is based on 15 IPS, Scotch 250 tape. The tape width is what I option out per the program, usually settling on ½″. The speeds/widths have particular effects on me: ¼″ at 7 ½ IPS is “ooh,” ½″ at 15 IPS is, “aah,” while 1″ at 30 IPS is more, “why?” Also, 3 ¾″ is cool for a drum parallel sub mix — turn the tape noise off, lower the level and play with the bias. This one’s on me, folks. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: I use an 1970s Ampex 1200 24-track machine, with Ampex 456 2″ tape, but I record to 16-track for better resolution — the machine has 16-track heads on it. It’s a sound that’s very fat. I mix down to ¼-″ Ampex AG350 tape, because I love the sound of ¼″ tape; and while mixing down from Pro Tools to ¼″ tape won’t give you the full benefit of tracking to tape, it will definitely take the edge off of the digital mixes, and give you something that sounds like a finished record. I still have a whole bunch of Ampex 456 reels, and I think the key is just to keep using it. I use those reels every day. I typically run the input quite hot, always in the red, and this helps stimulate the midrange gives it dirt and sparkle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3255" maxWidth1="800"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="The Ampex ATR-102 Mastering Tape Recorder plug-in is the perfect one-two punch with the Studer, giving mixes that “finished album” sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Mix engineers often describe tape as providing the best “glue” for a mix. What do we actually mean by that, and what makes tape such a desirable and unique signal processing tool, compared to conventional compressors or EQs? "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Vance Powell: Tape gives you a “non-linear” compression. Which is to say, it’s not 4:1 compression, or 3:1 compression. It’s very “frequency-based” instead of “level-based” compression. And that’s a big difference. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Peter Katis: I’m a big fan of saturation, and the UAD tape plug-ins do that so very well. They always help me to get things sounding loud and bright, with plenty of compression and limiting, but — and here’s the key — without sounding harsh. That just has to do with the fact that you’re saturating the right frequencies, so you get an aggressive sound that’s also smooth and pleasing.

I also think tape helps smooth out upper midrange frequencies. Ironically, that “glue” you’re talking about is something that people fought against. The goal in the early digital years was, “Wow, you can hear every instrument separately.” But people quickly began to miss the feeling of listening to a softer-sounding “big ball of music.” That’s what tape does. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Richard Dodd: Tape is distortion and compression, both interacting on and with each other. Add the EQ change that happens simultaneously, and you really do have that audio Swiss Army knife to take along the rocky mix path. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Adrian Younge: Ultimately, the sweetener that tape adds to the sound actually makes your job as a recording artist easier, because you’re less inclined to have to fix problems, because your tracks already sound great from the beginning. Tape is full-sounding, but in a highly dynamic way.

When we’re mixing and mastering all-digital, and trying to get that full sound, we often end up compressing the shit out of it to make it sound loud and full. That’s not how music is supposed to be experienced. You want to hear the dynamics, and that’s what tape is great at."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9iM1JGZFFMTU1Qaz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}

{{widget type="uaudio_theme/Widget_TextCentered" content="Below is everything you need to begin recording in real time with your Apollo interface and your favorite DAW. Learn how to set up your drivers, configure I/O and buffer settings, use Apollo’s Console app for low latency monitoring and headphone mixes, and much more."}}{{widget type="uaudio_theme/Widget_Spacer" height="medium"}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="THUNDERBOLT INTERFACES" background_color="#9E3F2B" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=WTQyPTCAeGc" heading="Apollo Thunderbolt + Pro Tools" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=6PsvH6LAH1w" heading="Apollo Thunderbolt + Logic Pro X" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=ZuzfdimzRmY" heading="Apollo Thunderbolt + Cubase" content=" "}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="FIREWIRE INTERFACES" background_color="#CD8200" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=aLXTiNXmkwA" heading="Apollo FireWire + Ableton Live" content=" "}}{{widget type="uaudio_theme/Widget_SubheadBanner" heading="USB INTERFACES" background_color="#1785C3" text_color="#FFF"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=CTzOTXM82po" heading="Apollo Twin USB + Pro Tools" content=" "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=DK5hxuRpJMU" heading="Apollo Twin USB + Cubase" content=" "}}

{{widget type="uaudio_theme/Widget_TextCentered" content="Apollo’s Console application is the key to unlocking Apollo's unique Realtime UAD Processing capabilities. It enables you to insert and control UAD plug-ins as well as route and monitor audio. The three-part video series by UA’s Technical Marketing Guru, Gannon Kashiwa, show you how to get up-and-running with Apollo’s powerful Console application, and shows you how how to get the most out of your Apollo system.

"}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=ekJwv2S22Ic" heading="Apollo Console Part 1 (Getting Started)" content="Here, you can learn the basic concepts behind Console, and how its realtime analog workflow can greatly enhance your productions."}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=MNZtK7uOvNg" heading="Apollo Console Part 2 (Console Sections)" content="This video takes a deeper dive into Console’s channel strip, monitoring, aux/send, and Control Room sections, as well as tracking in real time with UAD plug-ins and saving Channel Presets. "}}{{widget type="uaudio_theme/Widget_ProductFeature" youtube_url="https://www.youtube.com/watch?v=--5NYjmID2c" heading="Apollo Console Part 3 (Expanded Systems, Flex, Driver)" content="In this in-depth video, learn about Console’s powerful Mixed Multi-Unit features and how to set up multiple units using Console’s Flex Driver. "}}

{{widget type="uaudio_theme/Widget_VideoCredits" videocredits="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Session Notes" content="In this Apollo Artist Session, watch Grammy-winning engineer/producer Vance Powell (Jack White, The Dead Weather) track and mix Marty O’Reilly & the Old Soul Orchestra exclusively through Apollo 8 High-Resolution Interfaces using Unison™-enabled mic preamps at Music Expo SF. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Live Tracking" content="A case study in getting a live session up, running, and rocking very quickly (an hour-and-a-half!), Powell used Mojave and Royer microphones exclusively for this Apollo Artist Session. The drums featured Mojave MA-100 tube condenser (toms, snare top), MA-101 FET (snare bottom, hi-hat,) and MA-301 FET (outer kick) mics, with MA-300s as the stereo overheads. O’Reilly’s guitar amp — a Fender Hot Rod Deville — was miked with a MA-100 and a Royer R-121 ribbon mic, while the bass was miked with a MA-300 as well as DI’d. The violin was captured with a Royer R-122, while room mics consisted of Royer SF-24 (a stereo pair) and a R-122 (mono). O’Reilly’s vocal mic was a M-1000 tube condenser.

For the bulk of this live session, Powell relied on the Unison™-enabled Neve 1073 from the Neve 1073 Preamp & EQ Collection across Apollo’s Console channel strips, along with the 1176LN plug-in from the 1176 Classic Limiter Collection. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="The Mix" content="Powell harnessed several UAD plug-ins across the mix. The Neve 33609 Compressor was strapped across the drum bus, as well as a “full band” bus and the drum overheads, while the 1176 Classic Limiter Collection was used extensively on the lead vocal, as was the Studer A800 Tape Recorder.

To shape the all-important transients of the kick and snare, Powell used the SPL Transient Designer, while on the electric guitar, he called on the Helios Type 69 and Neve 1073 EQs as well as the 1176 plug-ins for extra flavor.

But it’s the bass and violin DIs where Powell’s subtle use of UAD plug-ins is especially crafty. For the bass, he artfully blends a signal chain that includes the Little Labs IBP (for phase coherency), Fairchild 660 compressor, Neve 1073, Thermionic Culture Vulture, and Ocean Way Studios plug-ins, giving the DI tons of vibe and character.

On the violin DI, he uses a signal chain of the Eventide H910 Harmonizer, Galaxy Tape Echo, 55 Fender Tweed Deluxe, 1176 compressor, and the Neve 1073 EQ plug-ins.

Reverb was provided by the EMT Plate and AKG BX 20 Spring Reverb plug-ins.

Finally, the API 2500 Stereo Bus Compressor resides on his on his 2- bus for the last bit of polish. "}}

{{widget type="uaudio_theme/Widget_TextCentered" heading="Learn how the Grammy-Winning Engineer Captures Character in his Sources."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" content="Ask four-time Grammy-winning producer and engineer Vance Powell (Jack White, Chris Stapleton, Danger Mouse), a question about mic placement, and you’re just as likely to get an answer about the final mix. See, for the laconic Missouri native and former front-of-house engineer, selecting and setting up microphones, and arranging how and where the players will stand during a session is all part and parcel of creating a virtual soundstage that’ll go on to form the basis of a song’s sonic image.

We caught up with Vance at the start of a session at his busy Nashville studio, Sputnik Sound, and talked about his favorite miking recipes, noisy drums, and capturing unintended consequences."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="What is a typical kick drum scenario for you when it comes to miking? " content="I’ll often take a Shure Beta 52 and a Neumann U 47 FET, place them side-by-side, not split apart, a little way back from the head, maybe 2', so you get a little of the room and other stuff in them. I combine the two mics together onto a single track. This is for a solid, or two-headed, kick drum sound — no hole in the outer head, and no pillow in the kick drum, just tuned super-open, with lots of ringing, rattling artifacts."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="You embrace all of the extraneous noise?" content="I like when snares and kicks rattle. I like when things make noise. I also don’t like good cymbals, so I have a big pile of broken, shitty pawn-shop cymbals, like the ones from those old Muppet Babies drum kits, and old CB 700 stuff. I like cymbals that are broken around the edges and the crown — those cymbals I’ll use. They’re more interesting to me than shiny metal things. I’ll often stack cymbals on top of each other so that the sounds are short and smashy, and much more percussive than your typical long-decay cymbal sound."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your snare sounds have a lovely combination of woodiness, crunch, and impact. " content="For the snare drum, I usually just use a pair of Shure SM-57s, one on the top and one on the bottom. In this case, though, the bottom mic is an old Shure Unidyne 565. I like it because it doesn’t have as much gain as an SM-57, which means I don’t have to put a pad on it. The top mic is at more or less a 45-degree angle to the snare top, but the bottom mic is pointed straight up toward the middle of the bottom of the snare, which gives me more of the low frequency of the bottom snare pushing down. And of course, it rattles like crazy. I love that."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Do you do anything unusual to capture the rack toms?" content="Usually, the rack tom mics are pointed at the center of the toms, and the floor tom actually gets two microphones on it: a top and a bottom. I use a Sennheiser 421 on the top and a Granelli Audio Labs G5790. It’s a SM-57 that is modified at a 90-degree angle — which are really made for snares, so the connector is out of the way — under the floor tom, about an inch below the bottom of the drum, pointing straight up. For me, that actually gets the essential sound of the floor tom, because, contrary to popular belief, the top head is just not the whole sound."}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:Ik1pYyBibGVlZCBpcyBub3RoaW5nIHRvIGJlIGFmcmFpZCZuYnNwO29mLiBJIGxvdmUgdW5pbnRlbmRlZCBjb25zZXF1ZW5jZXMuIjxiciAvPiDigJRWYW5jZSZuYnNwO1Bvd2VsbA=="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your productions always seem to exploit air and room sounds really well. " content="One thing I do is, I have a bunch of SM-58s on stands around the room, at least four of them, in no particular pattern, they’re coming through a little Studer Revox six-channel mixer, which has a very 70s sound.

This is because I always loved the sound of the talkback mics at Blackbird Studios [where Powell engineered for several years]. We had a particular talkback system that turned on talkback mics when players would press the talkback foot switch, and I always thought it was such a cool sound — I suppose I’m trying to emulate that. So those SM-58s come through the Studer mixer into channels 1 and 2 on my desk, which is an SSL-6000 6048 E."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="But you also favor stereo microphones in the room, right?" content="Yeah, I actually have two independent room mic setups: there’s the Studer mixer with the SM-58s, and then for capturing a really strong stereo image, I also have an AEA R88, which is sitting roughly 8' in front of the drums, at approximately head height. The AEA R88 is a coincident stereo ribbon mic, an X/Y ribbon in a Figure 8 Blumlein pattern — or to be clearer, it’s two large ribbon Figure 8’s angled together at 90-degrees in coincident stereo.

Having the two setups is key: I can just hit a few buttons and switch between them for very different room sounds. The SM-58s are very wide and diffuse, and the coincident stereo setup is very focused, and it helps that the large ribbons are in exact phase alignment. And that could be the case with condenser mics as well. An AKG C24, for instance, is a coincident stereo pair. Their dual capsules are at 90-degrees, so they are exactly “phase-coherent” in a Blumlein X-Y pattern, if you will. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9oRzFHblZNRkFxUT9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Why do you favor a mono drum overhead mic?" content="Sometimes I will use a mono drum overhead mic and sometimes I will use the R88 or a Royer SF‑24. Part of the reason for that is that I don’t want the cymbals to be all the way over on the right or the left. I don’t know anything about hip-hop, but I do know that I like that thing of having the main drums straight up the middle, then I can put the guitars way out on the sides, or even throw the bass over to the left. I want to have lots of space when I go to mix, because, hey, we still have a ton of vocals to do, and I want a good portion of those to be in the center.

So while panning the cymbals out to both sides sounds like a good idea, I’m going to put the hi-hat gently over to one side, and I’m going to put the mono overhead for the cymbals only slightly to one side. Basically I want all the drums more or less up the middle and just a bit of panning for the toms and cymbals. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="I confess that I’m still a bit stuck on the idea that the drum kit, especially toms and cymbals, should spread out over the entire spectrum — I still expect those tom fills to move from far right to far left." content="They don’t have to do that. Y’know, I have a few little rules. For starters: Drummer perspective, never. I never want to hear a live show or a record from behind the drums — all you can hear are drums!

I spent the first 20 years of my career as a front-of-house engineer, and this is basically how I sell my approach to an artist. I explain that, on this record we’re going to make, what we’re listening to is you playing live in this magical fantasy world.

Let’s imagine that everyone who played on your record is on stage. Close your eyes and point to the drummer: he or she is always straight ahead of you. Now point to the floor tom: it’s basically in the same place, not all the way on the right or left. Where’s the organist? Well, he’s well over on the left or the right. Guitars? Here and here. Background singers? Far left or right. And you, the singer, are mainly in the middle. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3369"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="In terms of imaging, you’ve been pretty vocal in the past about not using a hi-hat mic. " content="I used to be hardcore about not doing a hi-hat mic. And that’s because a lot of my work is with bands, not with session musicians. A lot of band drummers don’t seem to understand that if you beat the hell out of the hi-hat, it shows up in all the mics. And if you beat the hell out of the hi-hat, but you don’t hit the snare drum as hard as you’re hitting the hi-hat, it all becomes a big mess. So, very often when recording bands, even if I used a hi-hat mic, I’d never use that track in the mix — I just wouldn’t need it. Or I would only use it in the bridge. Lately, I’ve been miking the hi-hat because, well, I can, and some mixers definitely do want the option of having it."}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:IkkgZG9u4oCZdCBoYXZlIHRlbiAxMTc2IGNvbXByZXNzb3JzLiBCdXQgd2l0aCBBcG9sbG8sIGlmIEkgbmVlZCB0ZW4sIEnigJl2ZSZuYnNwO2dvdCZuYnNwO3RlbiEiPGJyIC8+4oCUVmFuY2UmbmJzcDtQb3dlbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="Your guitar sounds for Jack White and others are legend: What’s your secret? " content="No big secret. I like to always use two microphones for guitar. And that can be a condenser, or a ribbon, and an SM-57, but there’s always a Shure SM-57 involved. Sometimes it’s a a Sony C-48 paired with an SM-57. But often we’ll use one of the Neumann U-67s along with a 57 or a Royer 121— in fact, I’d say that’s my go-to: Those two mics, no pad, going straight into a line input of, say, a Neve 1073 preamp/EQ.

The reason it works because the C-48 or the U-67 both have this sort of wide, mild midrange scoop and nice even top end, and the Shure SM-57 has that characteristic midrange bump. If you hard pan those, you get a great balance. To balance the tone of the SM-57, I might also use an old RCA BK‑5A Uniaxial ribbon mic from the late-‘50s, or an AEA R92 ribbon mic, and those get placed basically right on the grille cloth. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="How exactly do you place the mics for a guitar cabinet? " content="I point the SM-57, for example, directly at the part of the speaker that’s about two-thirds of the way from the cone to the surround, and then I place the U-67, or whatever my second mic is, right under that, in a sort of upside-down “L” configuration, but both are in basically the same space. I work to find the sweet spot, and get the very best sound from each of these mics that I can in mono. When I pan them on the board, they’re harmonically different enough in character that I get a kind of faux stereo picture, an image shift, and I also get a lot of width out of doing that.

The other advantage to miking this way is that if I do decide to combine the guitars in mono on one side of the stereo field, by simply turning one of those mics up or down, because of their very different timbres, I’m able do some real tone shaping without having to touch any EQ at all."}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="3370"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="For the tracking of your recent Apollo Artist Session with Marty O'Reilly, you used Royer and Mojave mics exclusively. Do your miking techniques apply, no matter what mic you're using?" content="It doesn’t really matter, other than not using a ribbon where one would be damaged or something like that. If the mic sounds great — and the Royers and Mojaves do — I would use them just as I would use my mics at my place, although it might take a bit of experimenting to get the exact same results. "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="You’ve been an Apollo fan for some time; what does Unison Technology now bring to the table for you? " content="The whole idea of Apollo, and Unison Technology, is such a great thing. I have a couple of Apollo rigs, which I use mostly for remote recording: I can go to another person’s house, set up a mic, use a UAD Neve 1073 and a UAD 1176 on the front end, cut the vocal and we’re done. And the results are more or less exactly the same as if we did it at my place, or at least it’s so close to using the genuine outboard gear that it doesn’t really matter.

In fact, Apollo becomes its own element, like its own studio, which is really high quality. Sure, I think my studio, Sputnik Sound, is the absolute best; but if people can’t come to me, taking Apollo with me is like, “Well, I’m going to another really great studio!” Also, I don’t have ten 1176s, but with Apollo, if I need ten, I’ve got ten!"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9BMi14R0hqUXlJOD9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="I see you have a microphone in the control room here for the singer. Is that the sort of Bono method of recording final vocals in the control room, or is that for scratch vocals?" content="Well, it’s for scratch vocals, but only in part. This is an SE V7 dynamic mic, which is really awesome. It’s basically there so the singer can work out ideas over the tracks, but also she’s in the room with me while she’s riffing so we can talk about the arrangement or what the band is playing. This way we can capture rough sketches of where the song is going, face to face. But something else is going on, too.

The SE microphone is going through a mic pre to a channel on my desk, fairly clean, and then I’m sending the signal out of the insert send of the console to a bunch of pedals, including distortion and delay. The signal from those pedals then comes back to the channel right next to the clean scratch vocal channel, in this case it’s channel 31 and 32. I’ll blend them and then bring those two mono signals together back into my Pro Tools session into a single stereo track.

This allows me to do two things: first, sure, it allows her to get some mojo going with a somewhat effected sound while singing in the control room, but it also allows me to capture unexpected stuff that might be really cool in the way that microphone is picking up stuff through the studio monitors as we work in the spaces when there’s no singing, and then that stuff is hitting the pedals. Think of it as a kind of extra room mic, with some dirt and dimension to it. That can be really useful at certain points in a mix. And it’s the kind of thing that you’ll never get if you’re obsessed with things like avoiding bleed. Bleed is nothing to be afraid of. Like I said, I love unintended consequences. "}}

{{widget type="uaudio_theme/Widget_TextLeft" content="Unison™ technology is an audio processing breakthrough that starts right at the source — the input stage — allowing Apollo’s mic preamps to sound and behave like the world’s most sought-after tube and solid-state mic preamps and guitar amps. By capturing the all-important impedance, gain stage “sweet spots,” and component-level circuit behaviors, Unison gives you the tone, touch, and feel of the legendary hardware including the UA 610 Tube Preamp & EQ, Neve® 1073 Preamp and EQ, and the Neve® 88RS , SSL® 4000 E, API® Vision, and Manley® VOXBOX Channel Strips.

Unison is also available colorful preamp section of the KORG® SDD-3000 Delay and Fender ’55 Tweed Deluxe guitar amp. All Marshall,® Fuchs,® and ENGL® guitar amps, as well as bass amps from Ampeg® and Eden® feature Unison technology as well.

"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="But what’s going on under the hood?" content="__encoded__: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"}}

{{widget type="uaudio_theme/Widget_TextCentered" heading="How and Why the Pros Commit to Sounds When Recording"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextCentered" heading="Meet The Producers"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_PressQuotes" press_quotes="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:Q29tbWl0bWVudCBJc3N1ZXM=" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9sNS1namExMHFrdz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:" fineprint="__encoded__:SGlnaGx5IFN1c3BlY3Qg4oCcTXkgTmFtZSBpcyBIdW1hbuKAnSBmcm9tIHRoZSBhbGJ1bSA8ZW0+VGhlIEJveSBXaG8gRGllZCBXb2xmPC9lbT4sIHByb2R1Y2VkIGJ5Jm5ic3A7Sm9lbCZuYnNwO0hhbWlsdG9uLg==" image="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:4oCcVGhlIGFydGlzdHMgSSB3b3JrIHdpdGggdHJ1c3QgdGhlIGluaXRpYWwgc291bmQgSeKAmW0gZ29pbmcgZm9yLCBhdCBsZWFzdCB1bnRpbCBwcm92ZW4gb3RoZXJ3aXNlLOKAnSBzYXlzIEtpbmcuIOKAnEJ1dCByZWdhcmRsZXNzIG9mIHdoZXRoZXIgdGhlIHNvdW5kIGlzIGdyZWF0LCBJ4oCZZCBzdGlsbCBwcmVmZXIgdG8gYmUgYm9sZCBmcm9tIHRoZSBzdGFydCwgYW5kIGluIHRoZSByYXJlIGNhc2UgdGhhdCBhIHNvdW5kIGRvZXNu4oCZdCB0dXJuIG91dCB0byBiZSBpZGVhbCwgdGhlbiBJIGRlYWwgd2l0aCB0aGUgY29uc2VxdWVuY2VzLiBUaGF0IHN0cnVnZ2xlIGNhbiBiZSBncmVhdCwgdG9vLiBObyBwYWluLCBubyBnYWluLMKgcmlnaHQ/4oCd" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_PullQuote" text="“Indecision is the death of good art.” — Joe Chiccarelli"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:Q29tbWl0IHRvIEVhY2ggT3RoZXI=" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9IQzZRSnN4UnlwUT9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:" fineprint="__encoded__:Ik5vIEdvb2QiIGJ5IEthbGVvIGZyb20gdGhlIGFsYnVtIDxlbT5BL0I8L2VtPiwgcHJvZHVjZWQgYnkgSmFjcXVpcmUgS2luZy4=" image="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:4oCcSW4gbXkgZXhwZXJpZW5jZSzigJ0gaGUgc3VnZ2VzdHMsIOKAnHJlY29yZGluZyBpcyBhbiA8ZW0+YWRkaXRpdmU8L2VtPiBwcm9jZXNzLCB3aGVyZSBvbmUgZWxlbWVudCBhZmZlY3RzIHRoZSBzb3VuZCBvZiBvdGhlciBlbGVtZW50cyB0byBmb2xsb3cgaW4gdGhlIG92ZXJkdWJiaW5nIHByb2Nlc3MuIEEgY2VydGFpbiBndWl0YXIgb3Iga2V5Ym9hcmQgc291bmQgY2hvaWNlIHdpbGwgaW5mb3JtIG1lIGhvdyB0aGUgbmV4dCBlbGVtZW50IG5lZWRzIHRvIHNvdW5kIHRvIGZpdCBwcm9wZXJseSBpbiB0aGXCoG1peC7igJ0=" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_PullQuote" text=" “Like Tom Dowd and the Beatles and all the legends of record-making who really didn’t have a lot of gear — you’ve got to go boldly. Make a choice and go for it.” — Jacquire King "}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:Q29tbWl0IOKAlCBCdXQgSGF2ZSBBIEJhY2t1cCBQbGFu" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC91LXdPeU5pUXRVZz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:" fineprint="__encoded__:4oCcQ2FuJ3QgU2VlIFN0cmFpZ2h04oCdIGZyb20gSmFtaWUgTGF3c29u4oCZcyBhbGJ1bSwgPGVtPkhhcHB5IEFjY2lkZW50czwvZW0+LCBwcm9kdWNlZCBieSBKb2UgQ2hpY2NhcmVsbGku" image="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:Q29tbWl0dGVkLCBCdXQgT3BlbiBUbyBDaGFuZ2U=" content="__encoded__: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" fineprint="__encoded__:"}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC84Wm1sSV95dEFZcz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" heading="__encoded__:" subheading="__encoded__:" content="__encoded__:" fineprint="__encoded__:VHJldm9yIExhd3JlbmNlIEpyLuKAmXMg4oCcTG92ZXN0b25lZOKAnSAoZmVhdC4gRHJ1bXBpbXAsIExlQW5uIFJpbWVzICYgTmljaG9sYXMgUGF5dG9uKSBmcm9tIHRoZSBhbGJ1bSZuYnNwOzxlbT5SZWxhdGlvbnNoaXBzLjwvZW0+" image="__encoded__:"}}{{widget type="uaudio_theme/Widget_Spacer" height="small"}}{{widget type="uaudio_theme/Widget_TextLeft" heading="__encoded__:" subheading="__encoded__:" content="__encoded__: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" fineprint="__encoded__:"}}

{{widget type="uaudio_theme/Widget_TextCentered" heading="__encoded__:TGVhcm4gaG93IFByb2R1Y2VyIFN0ZXZlIE1hY2tleSBNZXJnZWQgNjAgWWVhcnMgb2YgVUEgb24gPGVtPkV2ZXJ5dGhpbmcmbmJzcDtOb3c8L2VtPg=="}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="__encoded__:MzQyMQ=="}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:T25lIG9mIEFyY2FkZSBGaXJl4oCZcyDigJxtYW5pY+KAnSB0cmFja2luZyBzY2VuYXJpb3MgcmVjb3JkaW5nIDxlbT5FdmVyeXRoaW5nJm5ic3A7Tm93PC9lbT4u"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:SG93IGRpZCB0cmFja2luZyBBcmNhZGUgRmlyZSB3aXRoIGEgcmFyZSBVbml2ZXJzYWwgQXVkaW8gNjEwIOKAnGdyZWVu4oCdIGNvbnNvbGUmbmJzcDtoYXBwZW4/" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:SG93IGRpZCB0aGUgNjEwIHBlcmZvcm0sIGFuZCB3aGF0IHdlcmUgdGhlIGF1ZGlvIGJlbmVmaXRzIHRvIHdvcmtpbmcgd2l0aCBzdWNoIGEgcmFyZSBwaWVjZSBvZiZuYnNwO2VxdWlwbWVudD8=" content="__encoded__:VGhlIDYxMCBoYXMgdmFyaW91cyB0dWJlIGlucHV0cyBhbmQgb3V0cHV0cyBvbiBpdCB0aGF0IGFyZSBwcmV0dHkgdW5pcXVlIHRvIHRoZSA2MTAsIGFuZCBtdWNoIGRpZmZlcmVudCB0aGFuIG90aGVyIGRlc2tzLiBXaW4gaGFkIHByZXR0eSBmaXJtIGlkZWFzIGFib3V0IG1ha2luZyB0aGlzIGFuIGFuYWxvZyByZWNvcmQuIEhlIGp1c3QgbG92ZXMgdGhlIHNvdW5kcyBvZiBhbmFsb2csIGFuZCByZWNvcmRzIHRoYXQgd2VyZSBtYWRlIG9uIHRoZSBVQSA2MTAsIGxpa2UgTmVpbCBZb3VuZ+KAmXMgPGVtPkhhcnZlc3Q8L2VtPi4gU28gaGUgYnVpbHQgdGhlIHJvb20gYXJvdW5kIHRoYXQsIHdpdGggYSB0YXBlIG1hY2hpbmUgaW4gdGhlIGNvcm5lciwgYW5kIGEgTmV2ZSBCQ00tMTAvMiBjaGFubmVsJm5ic3A7c2lkZWNhci4gPGJyIC8+PGJyIC8+CkR1cmluZyB0cmFja2luZywgd2UgdXNlZCB0aGUgNjEwIHByaW1hcmlseSBmb3IgdGhlIHJoeXRobSBzZWN0aW9uLCBpbmNsdWRpbmcgZHJ1bSBtYWNoaW5lcyBhbmQgcGVyY3Vzc2lvbiwgYnV0IGRvd24gdGhlIGxpbmUgdG93YXJkIG1peGRvd24gaXQgYWxzbyBiZWNhbWUgcmVhbGx5IHVzZWZ1bC4gRm9yIGluc3RhbmNlLCB3ZeKAmWQgZ28gYXdheSBhbmQgbWl4IGEgdHJhY2sgYXQgYSBkaWZmZXJlbnQgc3R1ZGlvIGluIE5ldyBPcmxlYW5zIGNhbGxlZCBUaGUgUGFybG9yLCBidXQgYWZ0ZXJ3YXJkcyB3ZeKAmWQgdGFrZSB0aGUgc3RlbXMgYW5kIGRvIHRoZSBmaW5hbCBtaXggYWRqdXN0bWVudHMgZW50aXJlbHkgdGhyb3VnaCB0aGUgNjEwLCB3aGljaCBoYWQgcXVpdGUgYW4gYW1hemluZyBlZmZlY3QuIFdl4oCZZCBiZSBoaXR0aW5nIHRoZSA2MTAgcXVpdGUgaGFyZCB3aXRoIHRoZSBzdGVtcywgYW5kIGl0IHJlYWxseSBpbXBhcnRlZCBhbiBpbmNyZWRpYmxlIHF1YWxpdHkgYW5kIHRvbmUuIFRoYXQgd291bGQgZ28gZG93biBhcyB0aGUmbmJzcDttYXN0ZXIuIAo="}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:4oCcVGhlIDYxMCBjb25zb2xlIGlzIGdvaW5nIHRvIGdpdmUgeW91IGEgZ3JlYXQgc291bmQsIGJ1dCBpZiBpdCBkb2VzbuKAmXQgZG8gaXQgc3RyYWlnaHQgYXdheSwgdGhhdCBzcGVha3MgdG8geW91ciBtaWMgdGVjaG5pcXVlLCBub3QgdGhlIGRlc2su4oCdJm5ic3A74oCUJm5ic3A7U3RldmUmbmJzcDtNYWNrZXk="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:VGhlIDYxMCBpcyBhIHNpbXBsZSBib2FyZCwgaW4gbWFueSByZXNwZWN0cyB3aXRoIHZlcnkgbGltaXRlZCBFUSwgYW5kIG5vdCBhIGxvdCBvZiBiZWxscyBhbmQmbmJzcDt3aGlzdGxlcy4=" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:TWFuaWM/" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC96QzMwQllSM0NVaz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:QXJjYWRlIEZpcmUncyAiRXZlcnl0aGluZyBOb3ciIGZyb20gdGhlIGFsYnVtIDxlbT5FdmVyeXRoaW5nIE5vdzwvZW0+"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:SXQgZG9lcyBzb3VuZCBsaWtlIHRoZXJlIHdlcmUgYSBsb3Qgb2YgaW5wdXRzLCBwZXJoYXBzIHRvbyBtYW55IGZvciB0aGUgNjEwIHRvIGFjY29tbW9kYXRlIGJ5Jm5ic3A7aXRzZWxmPw==" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:VGhlIDYxMCBpcyB3ZWxsIGtub3duIGZvciBiZWluZyBwZXJoYXBzIHRoZSBmaXJzdCBjb25zb2xlIHRvIGZlYXR1cmUgZWZmZWN0cyBzZW5kcy4gRGlkIHRob3NlIGdldCBzb21lIHVzZSBhcyZuYnNwO3dlbGw/" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:SW4gYWRkaXRpb24gdG8gdGhlIDYxMCBjb25zb2xlLCB0aGVyZSB3ZXJlIG51bWVyb3VzIEFwb2xsb3MgcGxheWluZyBhIHJvbGUgaW4gdGhlIHJlY29yZGluZyBwcm9jZXNzLCZuYnNwO3JpZ2h0Pw==" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_YouTubeVideo" youtube_embed_code="__encoded__:PGlmcmFtZSB3aWR0aD0iNTYwIiBoZWlnaHQ9IjMxNSIgc3JjPSJodHRwczovL3d3dy55b3V0dWJlLmNvbS9lbWJlZC9OaWJsYUJxSmpJZz9yZWw9MCZhbXA7Y29udHJvbHM9MCZhbXA7c2hvd2luZm89MCIgZnJhbWVib3JkZXI9IjAiIGFsbG93ZnVsbHNjcmVlbj48L2lmcmFtZT4="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:QXJjYWRlIEZpcmUncyAiV2UgRG9uJ3QgRGVzZXJ2ZSBMb3ZlIiBmcm9tIHRoZSBhbGJ1bSA8ZW0+RXZlcnl0aGluZyBOb3c8L2VtPg=="}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:V2hlbiB5b3XigJlyZSBhdCBob21lIGluIExvbmRvbiwgeW91IGNvLW93biBhIHN0dWRpbyB0aGF0IGJvYXN0cyBxdWl0ZSBhIGJpdCBvZiBVbml2ZXJzYWwgQXVkaW8gZ2VhciwgYXMgd2VsbD8gV2hhdCBwbHVnLWlucyB0ZW5kIHRvIGdldCBhIGxvdCBvZiB1c2UgZm9yIFVuaXNvbiB0cmFja2luZyBvciZuYnNwO21peGluZz8=" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:4oCcVGhhbmtzIHRvIFVBRCBwbHVnLWlucywgSSBoYXZlIGJlZ3VuIHRvIGdldCBvdmVyIG15IGFuYWxvZyBiaWFzIGFuZCByZS1leGFtaW5lIGRpZ2l0YWwgcmV2ZXJicyBhbmQgZGVsYXlzIGxpa2UgdGhlIEFNUyBSTVgxNiwgYW5kIEV2ZW50aWRlIEg5MTAgSGFybW9uaXplci7igJ0mbmJzcDvigJQmbmJzcDtTdGV2ZSZuYnNwO01hY2tleQ=="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:V2hhdCBhcmUgeW91ciBmYXZvcml0ZSBVQUQgcGx1Zy1pbnMgZm9yIG1peGluZywgb3IgZm9yIGRldmVsb3BpbmcgdGhlIG92ZXJhbGwgcGFsZXR0ZSBvZiZuYnNwO3NvdW5kcz8g" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_AssetLibraryImages" image1="__encoded__:MzQyMw=="}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextCentered" fineprint="__encoded__:QXJjYWRlIEZpcmUncyBBcG9sbG8gMTYgYW5kIEFQSSBvdXRib2FyZCBnZWFyIGZvciB0aGUgdHJhY2tpbmcgb2YgPGVtPkV2ZXJ5dGhpbmcmbmJzcDtOb3c8L2VtPi4="}}{{widget type="uaudio_theme/Widget_Spacer" height="__encoded__:c21hbGw="}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:RnJvbSBiZWluZyBhIHByb3BlciBwb3Agc3RhciB3aXRoIFB1bHAsIHlvdSBjYXJ2ZWQgb3V0IHN1Y2ggYSBmaW5lIGNhcmVlciBhcyBhIHByb2R1Y2VyIGFuZCBjb21wb3NlciDigJQgd2hvIGluc3BpcmVkIHlvdSB0byB0YWtlIHRoZSBuZXh0IHN0ZXAgaW4geW91ciBtdXNpY2FsJm5ic3A7Y2FyZWVyPw==" content="__encoded__: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"}}{{widget type="uaudio_theme/Widget_PullQuote" text="__encoded__:4oCcSSBsb3ZlIHRoZSBVQUQgQ29vcGVyIFRpbWUgQ3ViZSBEZWxheSDigJQgaXTigJlzIGRpcnR5IGFuZCBkaWZmZXJlbnQgZnJvbSB0aGUgb3RoZXIga2luZHMgb2YgZGVsYXlzLCB3aXRoIGEgcm91Z2hlciBzb3VuZCB0aGF04oCZcyBncmVhdCBmb3Igcm9jayBhbmQgcm9sbCByZWNvcmRzLuKAnSZuYnNwO+KAlCZuYnNwO1N0ZXZlJm5ic3A7TWFja2V5"}}{{widget type="uaudio_theme/Widget_TextLeft" subheading="__encoded__:V2hhdCBvbmUgZXNzZW50aWFsIGxlc3NvbiBhYm91dCBwcm9kdWNpbmcgd291bGQgeW91IGJlIGluY2xpbmVkIHRvIHNoYXJlIHdpdGggdGhvc2UgbG9va2luZyB0byBicmVhayBpbnRvIHRoYXQmbmJzcDt3b3JsZD8=" content="__encoded__: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"}}