By Bruce Bartlett • February 26, 2013 Rick Nelson (with guitar) and the Jordanaires (source www.rickynelson.co.uk). As for mic techniques, all the instruments in Nelson’s records were individually miked. One U 47 over the drum kit picked up the entire set (based on other musicians’ session photos of that era). For example, Figure 4, below, shows the drum miking at an Elvis Presley session. SESSIONS Master Recorders had isolation booths shaped like little cabins with windows. As the band played in the studio, Rick sang in a booth while listening over headphones. Sessions were recorded on either 1, 2, or 3-track recorders, usually with several generations. All the Imperial recordings followed this sequence: 1. Instrument tracks were recorded with Rick doing a guide vocal as a reference. Most of the instrument mics were mixed live to mono or stereo. 2. Rick overdubbed the lead vocal. 3. Rick overdubbed acoustic rhythm guitar and occasionally some other vocal parts. At least two guitars were used on all the recordings. Figure 4: Mic techniques at one of Elvis’ sessions. Source: scottymoore.net. (click to enlarge) 4. The Jordanaires overdubbed their backround vocals later when they were in town. Sometimes they would add their harmonies to an unfinished track that had no lead vocal. They worked out the arrangements with Rick in the control room. After a few years, singers Burgess, Fuller and Campbell replaced the Jordanaires, who were busy with Nashville sessions (Figure 5). After BF&C added their vocals, Rick would come in the next day to say what he liked and didn’t like, and the singers re-did their parts as needed. Figure 5: Rick and the band. (click to enlarge) Engineer Robyn sometimes would take the first part of one take and the second part of another take, and splice them together. A typical session of two complete recordings lasted 3 hours. EFFECTS AND EQ As for effects, it’s easy to hear the tape slapback echo in the 45 single version of Be Bop Baby. The album version of the same song was mixed with plate reverb instead, and in my opinion the slap echo was much more effective for that song. Most of Rick’s songs used a lot of plate reverb. James Burton got his unique twangy tone by using fingerpicks and a flat pick on his 1953 Telecaster guitar. He replaced the first four strings with banjo strings, then replaced the A string with a D, and replaced the low E string with an A. As James says, “I already had my sound. The tone of my guitar is the sound we went for and what I like and what we basicially did on all the records”. In Rick’s early recordings, they used an acoustic bass rather than an electric. The result is a pulsing, buoyant bass sound that an electric bass can’t provide. Read the rest of this post 1 2 3 4 About Bruce Bruce Bartlett Recording Engineer AES and SynAudCon member Bruce Bartlett is a recording engineer, audio journalist, and microphone engineer. His latest books are “Practical Recording Techniques 7th Edition” and “Recording Music On Location 2nd Edition.” http://www.bartlettaudio.com Comments Have something to say about this PSW content? Leave a comment! Cancel reply Scroll past the ”Post Comment” button below to view any existing comments. Your email address will not be published. Required fields are marked *Comment Name * Email * Website Save my name, email, and website in this browser for the next time I comment. kiranmark42 says I just stumbled upon your blog and wanted to say that I have really enjoyed reading your blog posts. Any way I’ll be subscribing to your feed and I hope you post again soon. punjab examination commission Tagged with: Bruce Bartlett Engineer Microphones Poll Studio Techniques · all topics Subscribe to Live Sound International Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.