Quote:
Originally Posted by Colox
we need to give it a sound color of 'old times', 1950-1965 kindof
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I'm not sure how much you already know so I'm going to cover all of it.
In no particular order…
Getting that authentic sound is more than just the sound, but a combination of sound, arrangement, instruments, mixing and performance of the musicians. When all are combined, you can get that magic sound.
In 1950-65, all electronic audio equipment used Vacuum Tubes/ Thermionic Valves instead of transistors, so audio had a unique quality to it. It gets compressed and distorts in a very pleasing way. It also loses top end. Avoid mixing with silky top end. Have low rich bass. Bass also loses definition with retro sounds. It’s more of a ‘boomp’ than a twang. Your kick drum should sound like it’s playing the bass.
You *will* need a valve/tube plugin. Variety of sound have free ones that are excellent. See links below.
Reverb
There are links below to some IR responses of an EMT 140 plate reverb, spring reverb and studio echo chambers. I’m including a few here for you that are wonderful. Spring reverbs were used in cheaper studios but many hits used these and they can be wonderful on vocals. There are also studio echo chambers. Echo chambers were open spaces in the studio (usually a basement) where a speaker fed the sound that needed treatment through to the space, and another mic recorded the ambience.
Note: Abbey Road had the signal to their EMT 140 cut below at 600Hz and everything above 10KHz (with an RS106 passive bandpass filter). You can and should cut the high end off any reverb, even down to 7KHz, 4KHz or so. You should never hear any sibilance or top end on it. Remember, silky top end and 50’s 60’s audio is no-go.
Bear in mind only a top-class studio might have both a plate and an echo chamber. To keep it authentic use the *one* reverb plugin send for everything and keep the reverb mono.
Mono
For true authenticity, mix it all in mono so it balances. Then, if you need stereo, pan groups only. In the US they had basic multi track recording (thanks to Les Paul) but multi track was not used in the UK until the late 60’s in general and notably with Sgt. Pepper’s.
Drums
Your live drums should be miked using the Glyn Johns method. If you are using a VSTi for drums, use the overheads, kick mic and snare mic only. Mix it roomy and back towards the middle of the room for a more defined sound or to the back for a roomy sound. Same for percussion.
The kick drum should be a 'boomp' and not a 'smack'. No clicky kick drums. The snare should be a roomy smack, when hit harder.
If you are programming the drums, do not use the loudest hits. Drummers back then played with lots of dynamics but were told to avoid loud hits when up close to mics.
Definition
Don’t mix for separation. Everything, apart from vocals, the up-front instruments (guitar riffs, lead lines etc.) should bleed and sound organic.
Recording vocals
As with today, the vocals should be the most important thing.
Don’t be afraid to add reverb so that the vocal rests inside it. Deep plate reverb is a main part of the vocal on this music.
Don’t use a de-esser. For any sibilants, tell the singer to place their hand in front of their mouths during any instance of a sibilant sound. This was the method at the time.
If your vocal mic has a pad, pad it (cut) the input. The mic should only drive during the loudest passages, and sound rich at other times.
For ballads and soft songs, mic the singer close.
EQ
Don’t use surgical EQ-ing. Balance and tone was mainly achieved by placement of instruments and mics in the studio. If you can, use an old style eq.
Performance
Minor mistakes, as long as they are not unmusical or ghastly, *should be left in on instruments* (but not string or orchestral parts). This adds period authenticity. Vocal performances should *always* be pristine.
Use lots of playing dynamics. Compression was not used on every channel but used to control problem instruments like electric guitars (to avoid overloading the desk)
Guitars
For electrics, use a heavier string gauge that has wound 3rd strings. Mic the amps with a condenser hung over in front or, space them back about 6 feet.
For lead guitar, there was no such thing as lead playing with pushing up a tone or more. Avoid slick modern style playing. For acoustics, record acoustically, do not DI.
Bass
On some female songs of this era, until the mid 60's, most tradtional arrangements used stand-up bass.
For electric bass: you can use flat wound strings for a plummy sound or stick with the wound type. Don't put new strings on. Keep the old ones. For late 60’s picky bass sounds like on Je T'Aime....Moi Non Plus by Jane Birkin & Serge Gainsbourg (
https://www.youtube.com/watch?v=9krvMqLnc5U) use a plectrum on a Fender Precision type bass and turn up the tone full on the guitar and middle/ treble on the bass amp. Use a valve amp if possible and turn it up so it grinds. Do not DI the bass guitar unless it’s a Motown sound you are after. DI'ing a bass was unheard of in the UK in 1950-65. Unlike today, reverb can be used on bass, but make sure you cut everything on the reverb under 400Hz.
Arrangements
The song arrangement *is everything*. You should aim to have each individual part like part of an orchestration, even if it is guitar-bass-drums-vocals. This is what George Martin did. Everything should be built up around the main vocal and work towards it. Accompanying vocals are next. Then any lead orchestration/instrumentation/guitar riffs. Rhythm should be at the back. Each part should be allowed space.
The Tube Sound
Use plugins accordingly without pushing them deliberately to distort. The total aggregate effect should result in something pleasing and authentic. The common mistake is to smother everything in tube drive. The total effect of this is mush, that would have got an engineer fired back in the day. Increase any valve effect around the loudest orchestral parts until they are rich but not mushing up or really distorting.
Mastering
On the buss, drive it as you like, with a brick wall limiter. Do not clip or maximize. If you like, add a little noise/tape hiss just so it’s noticeable on the fade.
If you really want it to sound like it was recorded in the 50s/60’s then avoid mastering it with the RMS pushed all the way up like modern recordings. The loudest peaks in the sound should just touch 0db. Do not flatten any peaks.
These are my own personal 1950’s / 60’s EMT 140, Studio Echo Chamber and Spring Reverb IRs. They are not to be used for resale commercially. Three of each. Should be sufficient for all uses.
https://stash.reaper.fm/v/21517/EMT%20140%20Plate.zip
https://stash.reaper.fm/v/21516/Echo%20Chambers.zip
https://stash.reaper.fm/v/21515/Spring%20Reverbs.zip
Variety of Sound retro 50’s/60s *must haves*
http://varietyofsound.wordpress.com/downloads/
BootEQ mkII (tube EQ)
FerricTDS (for Tape/Saturation)
ThrillseekerVBL (presets Tape 1&2)
NastyDLA (for Tape Delay effects)
epicVerb (for the plates–use mono).
Hope this helps or inspires.
Ian
Edited:
I should also add: all of the above works great for everything from Sinatra, France Gall to the Beatles, Simon & Garfunkel and 60's acoustic folk. Just add a 12-string electric and you are also hardcore 1965.
For modern uses you can also get that 'trashy lo-fi indie sound' like The White Stripes if you drive it all a bit harder.