I just used the Trident mic pre’s.”Īlthough Tedeschi says she prefers old ribbon mics for vocals, Dubé turned to a Neumann 47 with a Telefunken V72 and a dbx 165A. ![]() I’m pretty sure I didn’t even use any external mic pre’s. “He had such good control over what he was doing, I didn’t have to do anything to his tracks,” he says. ![]() I figured they were small and they would reject a lot, and they did.” As for compression on the Leslie, Dubé reports he didn’t have to do anything because of the playing of Kofi Burbridge. “It worked because of the rejection, really. After much experimentation, he found that the best Leslie mic was a Sennheiser 504: “504s on a B3? Who knew?” he asks with a laugh. The biggest challenge Dubé faced while miking the sessions was isolation, especially when he went to mike the Hammond B3’s Leslie cabinet. “I usually never compress my overheads, but the room just demands it,” he explains. He turned to Neumann KM84s (with a Neumann stereo baffle that simulates a stereo field) and then ran the signal through a Neve 9098. “I think room mics are imperative, especially stereo room mics,” Dubé says. Drums were miked simply, with an AKG D 112 stuffed in the kick drum, a Shure 57 on the snare and either Sennheiser 421s or Audio-Technica ATM25s on the toms. I was pretty impressed with that.”ĭubé’s studio plan, which was admittedly fly-by-the-seat-of-your-pants, boiled down to setting up the band, getting a good room sound and then hitting the Record button. But Pro Tools is so good now that you can’t really tell too much. I usually think it sounds a bit warmer, sounds a little bit better. “That kind of disturbed me,” Tedeschi admits, “because I really wanted to do it on the live tracks. Once at Rear Window, Dubé reports that most of the dates were recorded live to 2-inch tape on a Sony 24-track, except for Tedeschi’s vocals and guitar tracks, which went straight to Pro Tools. (Tedeschi is Boston-based), via Pro Tools disks. The sessions with Dowd were recorded at Made in the Shade Studios in Jacksonville by engineer Peter Thornton and then brought to Rear Window Studios in Brookline, Mass. I was hoping that he would be around for the release and all that, but he didn’t make it. It’s listed as both, but I thought Tom did a significant part before he passed away. So, I became the producer in the eyes of the record company. Then we went back in the studio after I was pregnant and we did a bunch of those other tracks, and I produced it. Then my husband produced the two tracks with his band. “So, he was the producer on a big chunk of the tracks. “Tom did all the pre-production and did the basics with us,” Tedeschi says. Production credit on this release is spread from Dowd to Tedeschi to her husband, guitar phenom Derek Trucks. So, the Wait for Me sessions started again in Jacksonville, Fla., with the late legendary producer Tom Dowd in charge. To make a long story short, I scrapped it and decided to hold out until I knew it was going to be right.” He wasn’t producing it, and he was trying to get producing credit for it. “The reason why was that I was doing a lot of Tom Hambridge songs and not my own. “I did record a whole record, but I didn’t release it,” Tedeschi explains. The first began three years ago in Louisiana. ![]() I sorted it out later.”Īctually, this is Tedeschi’s second attempt at recording this album. Then we’d throw down a lot of tracks, take after take, and did everything we possibly could. ![]() So, I’d get everything ready, and then wait. It was kind of like the military: Hurry up and wait. “Sometimes we had to pin her down to get stuff done because she had the new baby. “It was like kamikaze recording,” he reports. “I’m always multitasking to the maximum.” No kidding.Įngineer Nate Dubé uses different words to describe the recording sessions’ pace. “It was pretty crazy,” she says with a laugh. Apparently, the two-time Grammy Award-nominated blues-rock artist Susan Tedeschi has never heard the term “keep it simple.” How do we know that? Consider these simple facts: She started recording her sophomore release Wait for Me in November 2001 when she was five months pregnant and was planning a December wedding.
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