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Full Band Recording Setup at Hybrid Studios

Hi, it’s Warren Huart here. I hope you’re doing marvelously well. We’re at the end of our little recording session here of Robert Jon & the Wreck at Hybrid Studios. Please, as ever, subscribe, go to, sign up for the email list, and if you’d like, try The Academy out for a couple of weeks for free. It’s pretty wonderful, we have a lot of fun there.

Anyway, I’m going to show you what we did on the recording. We’ll go through the basic setup, etcetera, and you can see what we did.

Okay, so first off, I brought in a little lunchbox here, and we’re using it on various different things. We have another lunchbox belonging to one of the assistants here, but essentially, the drum kit was split over two areas. These API 3124s I’m a huge fan of. I’ve been using them for years. In fact, The Fray record, the second Fray record I did was an API 1608 and four of these, so that gave us like, 32 ins and a whole album was essentially cut live with a couple of overdubs.

So I’ve always been a fan of the 312s, and these are four 312s in one box. So as you can see, it’s kick in, kick out, which was a condenser mic, and that went on the front head, and then another kick out, which is actually a resonator. We have a second kick drum put in front of that that resonated and gave us a lot of oomph and a lot of lows.

It could give you a similar kind of effect as using the NS-10 kick. You know, which you can buy from Yamaha now, and we actually had that available, but I didn’t want to use it, I like the resonator. So those three elements there, the ride cymbal was on one of the 324s — the 3124s. Snare top, snare bottom, again on the API 312s. Overheads, API 312s.

Now, the — we did a lot of EQ using the 550s here. Kick in, kick out, the snare top and the other kick out, all were EQ’d. I didn’t do anything with the snare bottom. I just let it be as it is.

The kind of boost that I’m doing on the kick is pretty typical. You know, it’s 50 boosted, four clicks here — well, four dB. There’s a bit of cut going at 400, and there’s some 2.5 lift. That’s pretty closed for me when it comes to Rock and Roll. When we come to mix, you’ll notice sometimes I go up to like, 7kHz on a kick, just to give it some super clicky kick top end, but I’m boosting 2.5, cutting 400, and boosting 50, and that’s pretty — with the kick out, I cut some 400 again, boosted some 2.5, boosted some 50 — actually, there’s more of a cut at 400 on the kick out — on the last kick out, the resonator one, I actually did a lot of cut at 150, because it was just really, really horrible in that area.

You know, so sometimes you have to do what you have to do, but then I boosted at 50. So I did a lot of boost at 50, then a lot of cut at 150. What happens, you’ve probably seen it if you’ve been watching my mix breakdowns, sometimes when you get multiple kicks, there’s some weird buildups, and one of those buildups can be around 100-150, which can just end up sounding really muddy on the mix.

Anyway, from there on, room mics on the BAE73MPLs. Big fan of those, as you know. They sound great. They have them here in the studio. The rest of the kit was split up on the console. Essentially, these are all the returns here that you can see, but the toms were printed off the console, so top and bottom on the rack and the floor. So I just basically go top, bottom, top, bottom. There’s no EQ on them, and the bottom mics are flipped out of phase with the top.

So I kept that, and I kept the hi-hat as well on the console. So toms on the console, hi-hat on the console, using the pres with no EQ, no compression, and as you know, I quite often double mic the hi-hat. I have a condenser and a 57, I taped them together.

Now, I’ve seen you can buy these X-Clips, but they don’t work for me. They don’t have the capsules touching. They actually have quite a difference in between, so I wouldn’t recommend those, I would just recommend taking one mic, like a 57 on a clip, and then just taping it.

You know, it’s not that big of a deal to put some gaffer tape around them, and that way, you’ll get the capsules super close together, rather than slightly far apart, because I’ve noticed that difference apart on those clips actually can create some phase problems, so you want to get your capsules really close.

Okay, um, both sets of room mics are going through the BAE there. So that’s basically the drum kit. So that covers everything. We had one mono room mic, which I was actually — originially was on another BAE73MPL. It says vocal on the top here because when we came to do vocals, I used this, and I’ll talk about that in a second, but I used this for my mono room mic going through the 1176 here, the MIMAS WesAudio one. As you know, I’m a big fan of this, since this is a USB controlled one.

This little lunchbox of mine here is just like, it’s pretty special. I’ve got the new BAE prototype of the G10, I don’t know if they’ve released it yet, which is of course — it’s an API clone, but they’ve done some magic stuff to it. That’s really, really cool. The MIMAS 1176, the WesAudio, you’ve seen me use it before, it has the USB control on it. Makes it fully recallable, it’s incredible, and this B15, which is the Avidas designed BAE. It’s pretty spectacular. It’s probably the most — I hate this word, but I’m going to use it — musical sounding EQ I’ve ever used. I don’t know why, I am not an electronics engineer, I know a bit about it, but not enough to really get myself into too much trouble. I stay out of it.

Or maybe I know too little, and that will get me into trouble, but it’s a wonderful sounding EQ. I mean, Avidas is obviously an incredibly talent and BAE a great company.

I’m going to get to the bass next, and the reason why I want to talk about the bass is because of these brand new Pulse Techniques, these new Pultecs that they’re making using API 2520s. Pretty amazing. The bass sound is spectacular. I think this is an enormous amount of the bass sound.

Now, the thing about these is one is an A, one is an S. Now the S, I know Chris Lord-Alge, CLA has a pair of the rack — full 19 inch rack mount versions of the S, and he boosts at 70 across his mix. I’ve seen him do it many times. So I’ve got one of those, and then the other one is an A, which has 60. This is 30, 40, 70, 100 on the S, and 20, 30, 60, 100 on the A. What I did is I got the bass DI going through this last in the chain, and I’m boosting some 60, and I’m boosting some 70 on the cab. Didn’t need to do as much boost on the cab there.

Now, I used the Focusrites for the bass cab and the bass DI, and I like them. I do like Focusrite stuff, and the ASAs are wonderful, and if you’ve watched it in my other videos, you know we’ve tracked at United, and when we did that Lewitt demonstration where we used just one stereo mic, that’s not up yet, but I’m sure you’ll see it soon, we just took a stereo mic. One mic and we recorded a whole band with one microphone, and they have these pres, however, there’s a very, very, heavily modified with different transformers in them.

I like these pres. If you want me to brutally honest, because that’s what we’re all about, not that fat. One is warm sounding. When I was doing guitar overdubs, I started on this, and I actually wasn’t getting the body that I wanted, so I actually flipped to different pres for overdubs, but when we were tracking, we had to get very, very selective about what pres were on what, so when I was on the bass and I didn’t think it was fat enough, that’s when I inserted the Pultecs, and I’ll be honest, those Pultecs just brought it to life. Great combination.

I mean, obviously wonderful equipment. The Pultec is not cheap. Those are inexpensive by Pultec standards, but they’re still relatively expensive, but they sound phenomenal.

You know, a lot of when you’re buying equipment like this, big boxes, you pay a lot of money for huge cases, you buy a lot of money for lots of transformers and lots of power supplies and stuff. Those are expensive things. So these little pultec 500 series there, they’re not super cheap, but they’re a lot cheaper, and from what I can tell, I’m just getting into them, they sound as good as my big, expensive ones.

That’s just my personal opinion. I haven’t done the direct shoot out yet, but the remarkable thing they did with the bass here was just really, really stunning.

Okay, so that’s the basic setup. As I say, guitars, initially for all of the main tracking went through the Focusrites, and most of this album, in true Robert Jon and the Wreck form is off the floor, but we did do a couple of guitar fixes and then a couple of guitar overdubs, and that’s when I changed from the live setup and did some overdubs using this over here.

This here, unfortunately, this Tiny Brute, or the Brute wasn’t working. We couldn’t get it to work, but this is a Neve 1073, and this is a Shadow Hills. The Shadow Hills we used on the back of the cabs, micing front and back, and the Neve we used on the front. They both sounded really great. It was a nice combination. Again, it’s what we had left, and luckily, the system engineer had this rack. These were really, really good.

We went with a pair of Peluso 47s, and I — believe it or not, rather than a 57 on the front and a 57 on the back, we can show you the setup in a minute. I really liked it. I felt like, with the Peluso, first of all, they’re again, I don’t like using the word inexpensive, but they’re not that expensive for a 47 clone. I discovered them about 5 or 6 years ago. I’m a big fan. I have lots of their mics, because if I want to get a 67 and a 47 at $1,000 or $1,500, they make something.

You know, they use the same capsules that the more expensive ones use. It’s a family run business. I’m a big fan, and I thought about it, because when we were doing guitar overdubs, we had talked about Jet and different records that I had made with Dave Sardi. I did records with him, I did Hot Hot Heat and The Thrills, and I did all the pre-production stuff with Jet, and one of the things he always used to make me do was not use 57s. We used 67s and 47s on guitars.

So large diaphragm condensers. Now obviously, when you’re in a nice studio with thousands of dollars worth of gear, you can do that. We had the Pelusos and we put them up front and back, and they just give the guitars a unique sound. When we were talking to Jonathan Wilson, which that’s going to come up soon, Jonathan said when he was making a record with Nigel Godrich, that Nigel loves 67s. And again, very Dave Sardi using large diaphragm condensers on guitars.

So I think that’s just a tip, because I use 57s a lot, but I’ve — I do realize that it doesn’t have to be a $10,000 or a $5,000 condenser. The Pelusos are $1,500. I use LCT-550s a lot. Those are $500-600 mics. Those are really, really good. You can use — you can experiment, obviously, be very careful not to put them right up to the cone and blow them up, but if you pull them back a little bit, you can get a little bit more air and a little bit more detail, and a little more unique guitar sound than just that 57 every single time.

So you might ask, why did I do that? Well, it wasn’t just because we were talking about Dave Sardi, it’s because the way that Chris plays. Chris is a remarkably talented guitar player, but he doesn’t use a pick. He plays with his fingers. So when he’s playing rhythm, it can sound a little darker than when you’ve got a piece of plastic running up and down the strings, so I thought to myself, I wanted to pick up that top end detail that I was hearing in the room, and the 57 wasn’t giving me that. So that made me think of going to large diaphragm condensers.

So cool. That’s the basic setup. I think the only things I missed out were on the snare top, we’ve got an 1176. No compression on anything else on the kick drum, except for the kick out had a Distressor on it, and the overheads had this 2500 on it, and it was barely tapping, but it was just nice to have it. It just folds the snare slightly into that.

The room mics, we had a pair of the Tube Techs here, and I’m not really doing much. I’m just doing a little boost at 5kHz, adding some air. No, sorry, a little boost at 10kHz adding some air, because they were ribbons, and it didn’t quite have the air that I wanted. See, there’s nothing going on in the low end down here. It was just a 10kHz kind of lift.

The great thing about ribbons is they’ve got a silky smooth top, but they also don’t have much of a super top, so I just compensated a bit with a couple of 10kHz kind of lifts on it.

Alright, let’s have a check and see what else we have going on.

These are our stereo ribbon mics. These are measured off in phase with our snare, so they’re equidistance away, they’re also equidistant away from the walls. Now, the huge AEA ribbon mics, I have one of these myself I use on piano, they’re not bright at all. They’re quite dark, but they’re pretty phenomenal. This is not a super bright room, because it is really, really controlled in here. This is one of those rooms that projects directly the way the sounds travel. There’s not lots of reflections and stuff. It’s very well designed, but what I found is that if you notice, I used the Tube Tech EQs there. I was boosting at 10kHz like crazy to give some extra air. One of two reasons.

Firstly, the ribbons are not going to have that much top end up there, and secondly, it’s not a dark room. It’s not dark, it’s just not overly bright.

This is what we used for Bobby’s vocal. It’s a U87. I think it’s a brand new U87. New as in like a couple of years old. You know, they’re not cheap microphones, but they’re not unbelievably expensive, I mean, you know, I’m not going to say it’s a cheap microphone at all, but the thing about it is it’s not a vintage microphone, and they have a pair here, so what we did is we used one for the vocal, obviously, and we — when we were tracking, we initially used those on overheads, so our basic setup was a pair of 87s on overheads. They were 46.5 inches away.

The toms, very typical for me when I have the option is a 421 top and bottom on both the toms. As you can see, here’s our little trick here with the hi-hat, with the capsules taped together. You know, the minimal amount of space possible by taping them together, not with a clip that separates them.

I’ve got a 57 on the top of the snare, 57 on the bottom of the snare, and it’s pretty much the basic setup. The only other thing we did was we put a Royer 121 on the ride. I usually split either between using a Royer or a 57. Sometimes I use a 57 on the ride, and it sounds spectacular.

It really depends on the room and what we’re going for. Cymbal wise, we had my Paiste 2002, and I have a Zildjian ride, a vintage Zildjian ride. Between those two cymbals, that’s what we were choosing to use. These Sabian AAXs are really great. AA, sorry.

So we just sort of made do with what we had and what we loved. There — the Yamaha kick is very modern sounding, and I liked it a lot, but we added this Ludwig resonator here, so every time he played that kick, this resonated, and the RE20 here picked it up. So the RE20 was picking that up.

On here, you’ll see there’s another 87 picking up the kind of bottom air, and inside is a D112. So the D112 is about half way in, and it’s pointed towards the beater, but I always do it at a slight angle, I don’t do it straight on. Don’t ask me why. I just found that sounds the best. So I come in at an angle, I come in like this, then I point it, as opposed to coming in and pointing it back like this.

Maybe it’s superstition, but that’s the way I always felt it sounded the best. Everybody has their thing, and you know, if I’m going to dampen on a kick drum, I’ll dampen on the beater side, not this side, because I like this.


I like to hear this air. So if I’m going to dampen, dampen on the other side where the beater is hitting. I’ll usually put a little bit of blanket in there, then something heavy to rest against it. I’m not talking about a huge amount, but just enough to stop the kick drum sounding like a basketball, because sometimes that D112 inside will just give you this kind of, “Doing, doing, doing.” I mean, it literally sounds like a basketball being bounced, it doesn’t sound like a kick drum.

But this, this head here can really provide a lot of the sound of the kick. This is just giving me, “Boom, boom.” Some lows, but this one’s giving me kind of that bottom air that we all love when you hear it playing.


Okay, then in the back here, I’ve got a pair of these little KM184s, and these, again, are measured in phase with the snare. So they’re equidistance. I also did it on an equilateral triangle, so the distance between them, and the distance between the snare is all the same, so it’s an equilateral triangle. It gives us really good phase when we pull up the drum kit. You’ll hear it go around the drums.

I’m not the biggest fan of KM184s, to be honest. Like anybody, I love Neumanns. They’re wonderful mics. We go to the studio and it has a lot of Neumanns, you’re like, “Wow,” you’re paying for quality. You know that when you turn up at a studio and they’ve got a list of six or seven or eight or more Neumanns, you know they’ve got a great mic collection.

The 184 has never been my favorite mic. As you know, I’m not sponsored by anybody, nobody gives me anything for free, so it doesn’t really — you know, I don’t have anything to win or lose out of it, but I will say, if I’m looking at small diaphragm condensers, I like the AKGs, I like the Audio-Technicas, I like the Lewitts, as you know, but the older Neumanns, and they’re very expensive, but the older ones, like the KM series, the 53, the 54, and the 56, the tube ones, are spectacular microphones.

I would go — I would fight anybody on that. Probably the best sounding small diaphragm mics you’ve ever heard. However, their starting price is like, five or six thousand, and you know, if Neumann can do one other thing again, that would be to go back and make those small diaphragm condensers with a tube. Spectacular microphones. They’re almost like, for me, I’ve got one. One of those mics. I feel like it’s just magic. You put it on acoustic guitar and it’s like, “Wah.” Put it on a mandolin, like a small instrument that just needs some extra sparkle and some body, remarkable sounding.

So it’s tough. It’s tough for Neumann, and in my personal humble opinion, it’s tough, because the 87 is an incredible sounding solid state microphone, so even though it’s not a U67, it’s still a microphone that I think has an incredible pedigree. I just feel like with Neumann, I don’t even know if they’re listening, but I feel like they missed the boat with their small diaphragms.

And you know what? Loads of people will disagree with me, and that’s absolutely fine.

Okay, so bass amp. We’re very blessed to have an Ampeg Flip Top. Actually, it’s a friend of the band’s, it’s not the band’s. This to me is the classic bass head. This is what we do, we beg, borrow, and steal. I don’t have one of these. I see average ones of these going for like, $1,200 to $1,500. Which is a lot of money for a little bass combo, but they’re synonymous with a lot of the recordings that we all grew up listening to, thinking of great recordings, so it’s called a Flip Top because this head actually goes inside of the cab and flips over.

Here is the machine room where this lived. We had to baffle off a little bit, obviously, because there was a bit of a buzz in here, but look. You can see this is where the cab actually lives. We took the head off here, but if this goes back on, you’d flip it over, and the head actually conceals inside of the cab.

Great, great combo. They reissued them a few years ago, so you can actually buy the reissues, or you can buy the originals. Like I say, $1,200-1,500 is kind of a starting price for them. They’re not cheap. You probably couldn’t play a big gig with them. They’re not super loud. You could probably play like, a bar, a small bar, definitely a coffee shop or something like that, but they’re not really a live amp. That’s probably when they made the reissues, they didn’t sell that well.

I mean, they’re phenomenal, obviously. They’ve got a great grit and groove to them, and they’re just totally portable, so if you do have enough money to spend on a bass amp to record with, it’s pretty synonymous with the sound of Rock and Roll. There’s so many, particular in America in the ’50s and ’60s, so many great records were recorded on this.

It’s a good thing if you’re a serious bass player and you want a serious collection of amps, this would probably be my number one recording amp if I only had to buy one amp, so again, it comes down to budget, and if you’re doing sessions, this is the way to go.

Now, if you’re doing super modern rock, and you want slappy sounds, and you want high end attack, it’s not really this amp. This amp is the low thud, this amp is the grit when you dig in, because it’s got that Ampeg kind of grit. This is like, 75% of the bass tones, but the other 25%, if you want super modern slappy sounds, you know that’s — you’re not going to get it out of this, but for most records, this is the way to go, and I always look at these very fondly, because when you turn them on, the way they light up is really beautiful. How the light comes up, but it lights up the whole logo there in yellow so you can see it.

They’re just beautifully made. I mean, look at these huge in and output transformers. A work of art.

Okay, so this is Steve’s world. As you know, Steve, if you’ve been watching, Steve does a lot of keyboard playing for me outside of the band. For instance, Christian Castro record I just finished, he just sung the male backgrounds on it, he’s a better singer than me. So this is his world.

So we have the Hammond setup. We ended up, believe it or not, using mainly the Nord sounds. There’s just something about the Nord, which is — of all of the keyboards out there, and all of the stuff, this seems to be the most resilient. If I’m going to see a band live, 50% of the time it’s a Nord, and the other 50% of the time, it’s the other 50 different keyboards.

They’re really good. I’ve worked with a lot of bands, a lot of session players that come in with a Nord because the stock sounds are fantastic, and they’re very easy to manipulate, and we were very, very impressed with the Hammond on this, even though we had a live Hammond as well.

When you’re moving quickly and you’re doing 10 songs in a short space of time, and you don’t have a proper way to baffle something off, it’s amazing what you do and how it sounds.

So that was wonderful. So that was the basic setup. Let’s go and check out the guitars.

Oh, one last thing. This was our mono room mic. This is where we had the mono room mic positioned, so it’s around the corner here.

Here we are. A couple of fun things. So, we’ve got this amp here called a Roadie. The Roadie is this amp by Carl Martin, and I’ve never had an expensive, boutique amp in my life. Normally, I’ve got Marshalls, as you know, all that kind of stuff, and I bought them all used and second hand, but this is one of the first new amps I’ve ever had in my life.

You know, the good thing about equipment is second hand equipment isn’t really bad. In fact, some quite often, the used and vintage second hand is what we love, but I love this amp. It sounds — Chris says it sounds like a Marshall to him, but the great thing is because it’s a 15 watt, you can drive it like crazy and get amazing tones.

We honestly cranked it pretty hard. There’s a couple of things I love specifically about this amp, and that was the reverb has a tone control. So you get the amp loud and bright and aggressive, and then you put in the top — see, we dialed in a small amount of reverb, but then we have the tone all the way back here. It’s a pretty amazing sounding amp, and for a guy like Chris that is a finger style player that doesn’t play with a pick and doesn’t get an enormous amount of attack with a piece of plastic that the pick is, he gets a totally different attack and it really works amazingly well for him.

The Peluso looks like it’s been moved. We had a Peluso 47 on the front. In fact, I’d usually pull it a little bit back like this, to give you a general overview, and then there’s another Peluso on the back which is dropped down a little bit, but that was our sound, so it was a 47 — a Peluso 47 on the front and a 47 on the back and then I blend the two.

Obviously, you flip the phase on the one on the back so polarity is opposite, because the speaker is moving — when it moves forward, it sees a waveform one way, and that sees it going the other way. Just flip the polarity. Hit that phase switch, and you get a beautiful, fat sound.

It is remarkable how much bottom end this little amp put out. We were really, really blown away, and it’s pretty much going to be the sound of this record for Chris. Really, really happy with it. It’s not a cheap amp, but you know, sometimes you bite the bullet and you get a very versatile amp, and I like amps that are versatile.

I also personally, even though I’m a huge proponent of Marshalls. As you know, I have a JMP and I have a JCM 900. Even though I use those on all the big rock records I’ve done, you know, Ace Freely and Aerosmith and stuff, the thing about small amps is you can do — you can get them to be really aggressive very easily. It’s not a case of, you know, sticking a full Marshall stack out there and just blowing it up and blowing up all your neighbors houses and stuff.

You’ve got this little amp, and you can do so much with it, and what we loved about this is we had Chris in the room here, so what he’s doing is he’s standing here with his amp cranked, so it’s loud, but it’s just loud enough for him to still hear with a pair of regular headphones, the mix of the band playing, because we’re tracking live, so they’re all playing out there, and he’s listening to them, but he’s isolated, and he can get some feedback and some great sustain.

Now, if this was a Marshall stack, as much as I love it, to get that same sound, he wouldn’t hear anything. No matter how good the isolation on the headphones were, it would just be all a wall of Marshall.

Which is a wonderful thing, don’t get me wrong, but it’s not a way to record, so he would never have been able to hear the band.

So this was just a great way, because ultimately, that’s what we’re trying to do, is we’re trying to get — you know, with this band, this is now the fourth recording, two albums, two EPs that I’ve done with them. This is the way that we like to do this. We want this band to work off of each other. They’re real players. You know, I start with them, they’re in their early 20’s, now they’re all in their mid and late 20’s, and they’re just starting to really get into their stride in the way rock and roll bands are supposed to.

So essentially, recording live is the way to go. We tracked the whole album, did setup on Monday, it’s now Friday evening, and we’ve finished tracking the album. So you know, eleven songs in three and a half days, that’s not rushing, but that’s definitely not going slowly. Gives us the chance to do four or five takes of each song and then choose which one.

So you know, it’s a great experience. It’s the way to do it. If you’ve got a week or so to make a record, four or five days is much better than rushing it, but at the same time, when we did the Sunset Sound record, we did that in one day, and that has an energy. I know I’ve given you those guys’ files to download and mix, the Blame it on the Whiskey song, and that’s the whole album tracked in a day.

But it has its issues, because they’re old bass player changed his bass in the middle of the song and the middle of the takes, so the take we chose, it’s actually overloading the mic pre, because he changed the bass. You know.

So there’s something to be said for taking a little bit of that extra care and attention.

Great. Now Robert’s guitar was a lot simpler. Oh, and while we’re at it, we had this Lewitt vocal mic. That’s literally just hanging out in the hallway, and that was for room tones. So we left the door open, closed the door to the live room, but left this door open and just miked the hallway.

Now, with Robert, we just used a 57, which has been moved, but we used a 57, and this Vox amp. I don’t remember the exact model of this, but what I like about this — because my favorite Vox is actually an AC15. So yeah, this amp operates between 13 and 15 watts, and that’s what’s so wonderful about it. So we put it to 15, drove it a little harder, and this was Robert’s guitar sound.

He’s tracking all his guitars live. He’s out in the room, standing, singing, and we just ran a cable through here. It gets a little dark when you run super long cable runs, but we managed to get a great tone out of it, and it’s just a single 57 which has been moved.

But yeah, that was Robert’s guitar sound. Very straight forward, and he plays a Telecaster. Chris is a total Gibson guy, so everything is Firebirds and Les Pauls. That’s his sound.

Great. So once this album is finished and out, it’s going to be out in a couple of months, because the band are going to go on the road and actually tour Europe for a couple of months.

Once it’s out, we’ll give one of these songs away for you guys to mix like we always do. Have some fun with it. Of course, this time, leave a bunch of questions and comments below, I’d love to talk about the recording. Obviously, I’m very opinionated on certain microphones and piece of gear, and you don’t have to agree with me.

I think a lot of what’s very important about equipment is that A, it doesn’t have to be expensive. You know, there’s different levels of expensive. I know that the Peluso is not a cheap mic, but it’s still $1,500 for a U47 as opposed to $15,000.

As you know, I’m championing a lot of the more inexpensive but great sounding stuff like the Lewitt LTC-550. Go-to microphone in many situations. 57s are still great. These are all inexpensive. Relatively inexpensive microphones.

I will say that Steve was doing backgrounds in the room on his own using his AT USB microphone, which I believe he told me cost $159 and just plugs directly into his laptop. So that’s how he did his backgrounds while we were tracking here.

So again, horses for courses. Figure out what you’ve got, figure out the best gear. As ever, please leave loads of questions and comments below. I love talking about this stuff, I love you getting involved in it. Please go to and sign up for the email list. Try out The Academy. The thing about The Academy we love is it’s a community of a few hundred people that are sharing their experiences. We’re doing mixes, we’re talking about stuff together. It’s a lot of fun, I really enjoy it. Thank you ever so much for watching, and have a marvelous time recording and mixing!


Warren Huart

Warren Huart

Warren Huart is an English record producer/musician/composer and recording engineer based in Los Angeles, California. Learn more at

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