From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2013 #643 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe:mailto:joni-digest-request@smoe.org?body=unsubscribe Website:http://jonimitchell.com JMDL Digest Saturday, June 1 2013 Volume 2013 : Number 643 ========== TOPICS and authors in this Digest: -------- Re: Techie geeks, you'll like this. ["Randy Remote" Subject: Re: Techie geeks, you'll like this. Wow, I always thought it sounded like a black piano :) If you go to mixonline.com and search "Joni Mitchell" a bunch of stuff comes up. Most are just asides and mentions, but there is stuff about Herbie's "River" tribute, a Klein interview and more. It would be nice as Mr. Muller says, to know more about her sessions from a technical viewpoint. Regarding her mic of choice, two references. It doesn't specifically say that the Telefunken was used as a vocal mic. I'm kind of assuming that's what was meant. I picked out a few references from the site. Lewy always liked to use a U87 on Joni Mitchells lead vocal; http://mixonline.com/recording/tracking/classic_tracks_stephen_bishop_on_on//index1.html Toni Fishman of Telefunken USA recognized this and decided to develop a reissue. His business first developed identical replacement parts for vintage 251s. A chance meeting with Allen Sides in Nashville resulted in Sides telling Fishman that there was one particular mic in his collection of more than 20 vintage 251s that was consistently used by Joni Mitchell for many of her classic recordings. http://mixonline.com/products/review/audio_telefunken_ela/ John Shanks on Henson Studios Studio C: for the most part, Studio C is a very small environment. It's where Joni Mitchell's Blue and Carole King's Tapestry were done. It's a very small live room, small control room, so it's great for a more controlled environment when you're writing and recording songs because you can focus on each aspect of the recording process. http://mixonline.com/mag/audio_john_shanks_midas/ Klein on recording with Joni and Iron Eyes Cody: http://mixonline.com/recording/interviews/audio_larry_klein_doing/ Stephen Barncard on recording David Crosby's "Laughing": Barncard kept each vocal stack on a separate track. By the time Mitchell's small but still important vocal contribution to the song's bridge was recorded late in the process, Barncard had run out of free tracks, so I punched in Joni's double of In the sun on one of Phil [Lesh]'s two bass tracks for the duration of her part and compensated the level during the mix. http://mixonline.com/mag/audio_david_crosbys_laughing/ From: "Dave Blackburn" Subject: Techie geeks, you'll like this. > This was a post I discovered on the Gearslutz forum > done, never did have a tube console, the rooms Joni worked in had Haeco > consoles hand built by Howard Holzer and Beno May. The recordings after > "Don Juan's reckless daughter" were done on an API 32/16/24 in either > studo b or c at A&M. These Records were made with Henry Lewy until the > recording of "Dog eat Dog" which was done other places including her home > studio. > The piano that was used was a 7 foot 1903 Steinway which was a reddish > brown color and used on all the Joni sessions as well as Carol King > "Tapestry" and many other classic records. > Vocals were always recorded the same way, Neumann u87 into the console > with an urei 1176 comp, and at A&M there was a mic locker with 48 U87's. > Joni's reserved one was #8.... Karen Carpenter always had #10 reserved.> ------------------------------ End of JMDL Digest V2013 #643 ***************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------