- Pensado's Place - ITL # 18 Part 1 - Eric Valentine of BarefootRecording and UnderToneAudio | Summary and Q&A

TL;DR

Eric Valentine showcases his recording studio, featuring unique tools like a microphone robot and the drum Brella.

Key Insights

• 🏛️ Eric Valentine's recording studio is located in what was previously Crystal Studios, built in the 60s.
• 🎙️ Valentine built a microphone robot that allows him to easily position microphones from the control room.
• 🛢️ The drum Brella, inspired by a similar tool at Ocean Way Studio B, helps Valentine adjust the resonance of the room to match the tuning of the drums.
• 🎙️ The studio is filled with a wide range of instruments, mics, and amps for bands to explore during recording sessions.
• 😚 Valentine employs various vintage and unique mics, such as the RCA k u3a, Coles, and AKG D 202, for different recording purposes.
• 🚾 He prefers to keep mic preamps in the sound room close to the instruments and uses tie lines to connect them to the control room.
• 🥶 Valentine is currently working on recreating an old Motown sound, recording each instrument separately and running them through an old tube tape machine.

Transcript

hello pensado's place my name is Eric Valentine welcome to my little recording studio lair this is a barefoot recording I moved in here and mm I've been here for about almost 11 years now and it's been a great spot mostly left it the same as it was it was a great studio that was built back in the 60s called Crystal studios and this sound room is ve... Read More

Questions & Answers

Q: How does the microphone robot work?

The microphone robot allows Eric Valentine to easily position microphones from the control room using controls mounted into the console. It has a video camera that shows him the microphone's position on a monitor screen.

Q: What is the purpose of the drum Brella?

The drum Brella adjusts the resonance of the room to match the tuning of the drums. It allows Valentine to tweak the snare drum so that the overtones are in key with the song and make it sound fuller.

Q: What are some unique instruments and gear in Valentine's studio?

Valentine's studio has various instruments, mics, and amps for bands to use during recording sessions. Some notable items include an autoharp used on a Third Eye Blind song, a pedal steel used extensively on a record by the band Tea Ride, and a bell brass snare drum used on the Queens of the Stone Age record.

Q: How does Valentine set up his microphone preamps?

Valentine likes to keep the mic preamps in the sound room close to the instruments, with short mic cable runs. The long run is the line level going from the mic preamp to the control room.

Summary

In this video, Eric Valentine takes us on a tour of his recording studio and showcases some of the unique equipment he has built or acquired over the years. He highlights two specific creations: the microphone robot, which allows him to easily position microphones for guitar amps, and the drum Brella, which adjusts the resonance of the room to match the tuning of the drums. He also shows off his collection of instruments, mics, and amps, which provide inspiration and new creative directions for bands that come to his studio.

Questions & Answers

Q: Can you explain the purpose and functionality of the microphone robot?

The microphone robot was created as a solution to the issue of positioning microphones for guitar amps. Eric built it to alleviate the complaints of his assistants who were being tortured by the loud decibels of the amps in the sound room. The robot allows him to control the positioning of the microphone from the comfort of the control room, using controls mounted into the console itself. With a video camera mounted on the robot, he can see the position of the mic on the monitor screen in the control room. This enables him to make minute adjustments in three directions, ensuring accurate placement without the need to physically manipulate the microphone. The robot has become an indispensable tool for him, allowing him to achieve the desired guitar sound by simply tweaking the mic position instead of resorting to EQ adjustments.

Q: Tell us about the drum Brella and its role in your recording process.

The drum Brella is a creation inspired by the device found at Ocean Way Studio B. Its purpose is to adjust the resonance of the room to accommodate the tuning of the drums. Eric likes to tune the drums to the key of the song being played, and the drum Brella allows him to tweak the snare drum's overtones so that they harmonize with the song. Previously, he had experienced the issue of having a snare drum that was in key but sounded thin because it didn't interact well with the room. The drum Brella solves this problem by allowing him to adjust its height to optimize its interaction with the drum, resulting in a fuller sound. After tuning the drum to the desired key, Eric finds the spot where the drum sounds fat and utilizes the drum Brella to achieve the desired resonance. This device has become an essential tool in his recording process.

Q: How do the diverse collection of instruments, mics, and amps in your studio contribute to the creative process for bands?

Eric's studio houses a plethora of instruments, mics, and amps, which serve as a source of inspiration for bands that come to his studio. He describes it as a big thrift shop for recording gear, providing bands with the opportunity to dig around and discover instruments, guitar pedals, or amps that spark new ideas or inspire them to take their music in a different direction. Eric gives examples such as the Marks-A-Phone used on the All-American Rejects record, the autoharp used on Third Eye Blind's "How's It Gonna Be," and the vibes pedal steel that was used extensively on a record he did with his previous band, Tea Ride. Having such a vast array of equipment encourages experimentation and opens up possibilities for bands to try something new and unique in their music-making process.

Q: Could you tell us about some of the notable mics in your collection and their specific applications?

Eric has a diverse collection of mics, each with its own unique sound and application. He mentions some of his favorites, such as the Shure SM7, which he uses extensively on vocals. He also talks about his fascination with D20 microphones, leading him to collect multiple variations of the model, each with its own distinct sound. Another standout mic is the AKG D202, which played an unexpected role in the studio. Its peculiar windscreen, made of porous metal, inspired the solution for eliminating reflections off the console. This mic's windscreen material became the basis for the console surface's non-reflective treatment. Eric also showcases classic mics like the RCA KU3A or the RCA 44, along with his beloved Coles ribbon mics. These mics provide a vintage and characterful sound that is suitable for various instruments and recording scenarios.

Q: How do you set up your mic preamps and maintain the signal integrity throughout the recording process?

When it comes to mic preamps, Eric's preferred setup involves keeping the mic pre's out in the sound room, close to the instruments. He runs short microphone cable runs from the mics to the mic preamps. The long cable runs are dedicated to line-level signals from the mic preamps to the control room. Eric reveals that he keeps a variety of mic preamps in the sound room, ranging from reissue 1081 types to custom tube mic preamps. The musicians listen to their own balances through an aviom headphone system, eliminating the need for Eric to adjust individual headphone levels. The mic preamp signals then travel through tie lines and arrive at the console inputs. The console's channel strips offer phase reverse controls and line trims for fine-tuning the levels before they go to tape or the computer for recording. This setup ensures signal integrity and provides the flexibility to make necessary EQ adjustments.

Q: Can you explain your process of recreating old Motown sound and the role of the tape machine?

Currently, Eric is working on a recording project aimed at recreating the sound of old Motown records. To achieve this, he records each instrument separately, overdubbing everything one at a time. The signal chain starts with the instruments going through his old Studer J37, an all-tube one-inch four-track tape machine from the 1960s. He sets the tape machine at a slow speed of seven and a half inches per second, which produces a crunchy and distinct sound. The sound of the tape machine is captured into the computer while monitoring the playback through the console. This setup allows Eric to make final EQ adjustments and other tweaks on playback, ensuring he captures the desired vintage sound.

Takeaways

Eric Valentine's recording studio is a treasure trove of unique creations and distinct instruments, mics, and amps. His microphone robot and drum Brella have become essential tools in his recording process, enabling precise microphone positioning and optimizing drum resonance. The diverse collection of equipment in his studio provides inspiration and new creative directions for bands that visit. Having a well-equipped studio allows musicians to experiment with different instruments and sounds, sparking new ideas and taking their music in exciting directions. Eric's mic setup ensures signal integrity and allows for fine-tuning before recording, while his use of a vintage tape machine adds character and a vintage touch to his recordings. Overall, Eric's studio is a haven for musicians looking to explore and capture unique sounds for their music.

Summary & Key Takeaways

• Eric Valentine gives a tour of his recording studio, which was previously Crystal Studios built in the 60s.

• He demonstrates his microphone robot that allows him to position microphones easily from the control room.

• Valentine also showcases the drum Brella, a tool that adjusts the resonance of the room to match the tuning of the drums.