PRODUCER PROFILE What are some of your favourite albums that have been recorded at the studio over the years? Arctic Monkeys’ Humbug for sure. Masters Of Reality have done some really cool stuff. Every album that comes out I love though, really. I mean, I’ve only had a couple of sessions by bands that were, I wouldn’t say difficult, but not easy. The rest, 99% of all sessions here go really well and are easy and then people are happy with the result, including me. My band Mojave Lords put out a great record, my band Earthlings? put out a great rectord. There’s been so many great things happening. The Afghan Whigs have also worked on a lot of newer stuff here. So it’s been very very fortunate that I have such great, talented friends that make such cool music and decide to come here to record it. Could tell us your advice or equipment tips for recording instruments? Well, first and foremost, have a great song. This is very, very helpful. Second of all, have fun. You shouldn’t get too caught up in perfection, you know? I don’t. For drums, we typically just start going into it and make it better as we go along if we can. Right now I’m looking at the drum kit and I’ve got a Sennheiser MD421 on the snare with an SM57 on top, Sennheiser MD409 on the bottom. I’ve got a Royer mic on the high hat and a couple of Sennheiser MD421s on the toms. Mojave Audio stereo pair for overhead. I’ve been having a lot of luck with my sE Gemini tube, placing it about six feet from the kick drum. I’ve got an AKG D112 in the kick and outside a Shure Beta 52. Then I have a couple of secret weapon mics here and one is the original prototype for the Royer tube mic. David Royer’s a good friend of ours and we have the first tube mic he ever made and that’s what I consider my secret weapon. I’ve put it up against every mic that anyone’s ever brought here and I still like it better. It just has an amazing tone. So that’s what we’ve got going on in the drum room. We typically over mic and then bring it back to where it needs to be, but we always overdo it. It’s better to overdo it, because you can always strip back. Yeah, so that’s kind of our thing mostly: over doing things and then pulling back. For vocals we’ve been using the Royer mic a lot and that one’s been really good. I’ve also got a beyerdynamic like I that.
RANCHO DE LA LUNA GEAR LIST General: Neotek Elan Console Event Opal Monitors Event XL Monitors SE Electronics Egg Speakers Yamaha NS]-10 Monitors Pro Tools 10 & 11 HD Logic Powerplay 16 Headphone Monitors Microphones: Royer Prototype Tube Mic 2x Royer Dynamic R 121 Stereo Pair Royer Mod Marshall Mics Sony C 48
(This is only a sample of the vast list of gear offered by the studio. For full list, visit: www.ranchodelaluna.com)
Mojave Audio Pair Ma 100 Mojave Audio Ma 300 Aston Microphones Starlight Stereo Pair 2x Aston Microphones Origin Aston Microphones Spirit Slate Digital Modeling Microphone 2x Milab Lsr-3000 Condenser Mics 2x Milab Dc-196 Condenser Mics Se RNR 1 Mic Se Z5600 Mic Se Gemini Mic 2 x Se Titan Mics Se 3 Condenser Mics Pair Rode NTR
Direct Boxes: Neve RNDI Radial JDI Radial Pro RMP Studio Re-Amper Custom Made Jensen DI Box 2x Demeter Stereo Tube Direct Dod 265 Stagehand Direct Box Whirlwind IMP 2 Tech 21 Bass Driver DI Outboard: Neve Portico 5042 Streo Compressor Neve Portico 517 Compressor Neve 5012 Duo Mic Pre Aroura Audio GTQ2 Mic Mark III
Urei La-4 Compressor Limiter 2 x Empirical Labs El8 Distressors Maestro Echoplex EP2 T.C. ElectronicsTc 2290 Digital Delay and Effects Control Processor T.C. Electronics Reverb 4000 Eventide Model H3000 Ulta-Harmonizer Effectron Adm 1024 DBX 163 Stereo Compressor Limiter DBX166a Compressor Limiter DBX 166 Xl Compressor Yamaha Compressor Limiter Gc2020 Drawmer Dual Gate Ds201 Roland Sde-1000 Digital Delay
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