Preservation Sound dot com will be less active this week because I have 7 days of back-to-back sessions booked at Gold Coast Recorders. The first 5 days are live full-ensemble tracking and editing. Electric string player (gtr/bass/sitar), Hammond organist, two percussionists, and one vocalist.
The Fender Super Reverb, circa 1969; perhaps the best guitar amplifier ever made; also used for bass on many of the greatest hits of the 1960s via C. Kaye. Mic’d with the can’t-fail combination of a close SM57 and a ribbon mic a few feet off; in this case, a Shinybox 46MXL, IMO one of the best values in a current-production microphone.
Gold Coast Recorders has a circa 1960 Hammond L-101 (at right), which sonically splits the difference between a classic Hammond tonewheel sound and a voltage-divider organ (e.g., a Farfisa). What it lacks in sonic heft it more-than-makes up for with the amazing psychedelic effects-option board you see installed at the lower right. On the Left is GCR’s new Hammond A100, which is the same thing as a B3 except that it has built-in speakers and a reverb section. We’re using it with a Leslie 51.
Percussion via several Sennhesier 441s and an AKG 414 overhead. Room is mic’d with an XY pair of Neuman TLM 103s, a great choice for room mics owing to their incredibly low self-noise and very high output.