LA2A, LA3A A couple of cool Sta Levels as well that were Elliott’s Neve 1073, vintage RCA compressor D19 (David McConnell/Satellite Park) (Source) compression was probably a combo of 3A's and a CL1B compressors/maybe some distressors. (Source)įigure eight is a combination of things being that it was recorded all over the place. Sunset custom console with 550a eq with 990 opamp (Source)Ĭompression would have been 1176's or 3A's on the acoustic (cant exactly remember) while tracking and 1176/CL1B combo on vocals. The mic pres for XO were the sunset sound custom mic pre's that are in the studio 3 API/demideo console. The round mound of sound as we called it. There was a partcularily odd thing about the console that caused it to have an extra transformer in the audio path in each channel and stereo buss.
It is the same console that gram parsons greivous angel and GP were done on as well as a bunch of tom waits records. It was mixed on an old api dimedio console that came out of wally heider 4. Either/Or was that mic and other Mackie crap, Behringer Composer (Miss Misery) (Source) Sometimes we started recording from scratch. Tom: Sometimes we transferred the skeletal bones from Elliott's tape to our 16-track Stephens deck to continue recording and exploring. ( Source, behind paywall)Įlliott's own: Tascam 38 8 track 1/2", Mackie 1604 console, Panasonic SV3800 DAT recorder, Behringer Composer compressor, Digitech TSR 24S dual channel processor, Ibanez AD 202 analog delay ( Source, Source)Įlliott: Most of was done at my house, some was done at Joanna's house on a 4-track, and some on 16-track in California. Mixed on Tony Lash's 12 channel rack mount Mackie board. (Source:, Torment Saint by William Todd Schultz, Source, behind paywall) Self-titled recorded with Leslie Uppingham at Greg Sage's (of the Wipers) studio. Tascam Portastudio 4 track recorder, Mackie mixer, mixed down to DAT Modded U87, U47, AKG D19 (Source)ĭI and KM84 for acoustic guitar (Source: Clay Blair) (Source)Īnd probably a soundelux U95S for vocals as that was the vocal mic of choice for figure 8. Microphones were probably a 67 on the gibson J50. There are 2 M50s out front by the conductor, and very high above, a pair of KM56s. They are mic'd as follows, 4 U67s on the violins, 2 on the violas, 2 U47s on the basses, 2 on the cellos, and the 4038s on the French horns. U47 on vocals, KM56 on acoustic, U47 and two SM57 (130 degrees apart) on a Leslie cabĨ violins, 4 violas, 4 cellos, 3 basses and 4 French horns. LDCs for fingerpicky performances, SDCs for stummy performancesĦ7's sounddelux km 84's km 56's (Source) U47 or U67 from Sunset Sound on vocals (Source) Steven paul modded 87 with innertube electronics (Source) Langevine CR3A, Audio Technica 37r SDC, AKG D112, Shure SM57 ( Source, Source)
#ELLIOTT SMITH EITHER OR SHIRT HOW TO#
Please check out his YouTube channel where he covers recording techniques, including how to mix like The Beatles.Ī brief list of Elliott's touring gear on Sweet Adeline ( ) He provided some more snippets of info about the gear used including the Telecaster used on Basement.
#ELLIOTT SMITH EITHER OR SHIRT UPDATE#
Update October 2020, I managed to email with Clay Blair, who worked with David McConnell. Update July 2020, I'm slowly citing my sources.
None of them are cited, but if you just google search the phrase you might be able to link back to a forum post by Larry Crane or Rob Schnapf. Here's a list of thing I've collected from books, articles and forums. I initially posted this on a 4 track cassette forum but it's not available anymore, so I thought I'd post it here.
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