How Sweet The SoundA compilation project of the VS Big List
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Joanne Abrams Sings Amazing Grace
It is an all VS recording! The VS is still a great piece of equipment. I recorded my version of AG on a VS-1680. I used several synths and modules and a Rode NT 2 mic. I ran the NT 2 through an ART PRO MPA and a RNC compressor. I used reverb and delay from the 1680 and used MTK to do the mix-down.
From L’s "Praise Tribe 2000 – Righteous Ryhtm" CD.
Drums, engineering, arranging- Laurence Scheidle
Keys – Charla Scheidle
Pretty simple job, this one was. Scott Breen
wanted to record his pipes in a
specific church auditorium where he felt his slower tunes sounded best. The
room was gymnasium size, with a 35 ft peak in the center, tapering to 18 ft
around the perimeter. Cement block walls and a hard linoleum floor made for
an extremely live room. No need to reverb anything here. Tried to find a
sweet spot, then set up an AKGb3000 into a Presonus VXP. A bit of
compression on the way in, no eq, nothing added later, except maybe a little
compression on the final mix. Scott thought it recorded well, and with what
I know about bagpipes, I could only agree.
Actually, the Secret Origin behind version 1....I
tried to do a reggae
version. But since I really suck at playing instruments, I blew it...played
a (terrible) piano (actually my PMA5) and a bad guitar, and tried to sing
over it....wow, talk about instant headache. So that's on a zip disk
So I (naturally and stupidly) thought, let's work from the vocal backwards!
Then, my metronome/rhythm box (the "drums" in version 2) wouldn't work...I
turned on my Moog and set the little blinky light (sorry for the tech talk)
so that it was kind of a reggae rhythm and sang to that. Then, abandoning
the reggae idea, I thought about what Janet Dagley had said, about the song
coming from surviving a storm through God's grace, and, well, had to
WrathBotize that. (My secret to playing double bass and cello is that I love
the instruments, but can't play them at all...the cello, if you listen REALLY
close, actually plays the AG melody, but the bass just drones...hey, much
like my emails! wow!)
As for version 2....that came from a dream, where I heard the ultimate
"industrial" version of AG. And I thought, what would machines do if they
encountered ideas (long after we were gone) about man, and God, and faith,
and came across this song? And tried to adapt it to their experience of
existance? What would they do? (First of all, they would get batteries for
the rhythm box, which I did.)
So that's where THAT one came from. And as I said, version 4...I figured, no
one would do a traditional one! I'm glad I'm wrong about that...other folks
could do it much better than me.
Arranged, recorded, mixed and "mastered" by Riitala on VS-880 Vxpanded MT1 mode and Sound Forge.
Vocals, guitars and sequence by Riitala
Vocals (lead, harmonies and the seven-part choir, the latter submixed to a stereo pair) recorded with an AKG C-1000S condenser mike via the VS-880 mic preamp (except the 2nd verse high octave, which was in fact generated by the VS voice processor). A touch of Autotune added, audio moved back and forth with VS Transfer. Lead vocal quite heavily EQ’d (bottom removed and 4...5k accentuated). Some reverb and a short delay for thickening doubling effect added at mixdown.
Acoustic guitars (solo and rhythm under the first electric solo) played direct to VS with a Yamaha CPX-15 (my latest toy). Some reverb and the doubling delay added to the solo.
Electric guitar solos played with Jackson strat 2 single coils/humbucker at bridge, through a Zoom 9030, with something close to standard patch Long John. The final ending effect created in Sound Forge by processing the guitar track (there are also D-4 Tomb Slams in the same place on both sides as a stereo pair making up the total sound but they’re quite low in volume).
Drums come from a D-4 (driving beat in the solos), D-70 (blips and blops in the beginning) and two or three alternating Acid loops, the latter VS-transferred to the VS. Synths from a Korg Wavestation SR (intro pad, piano, string pad under the acoustic solo), a D-550 (2nd verse fills) and a D-70 (bass throughout, mallets in the 2nd verse and the last chord). All synths mixed in Tascam 644 and brought to VS-880 via the stereo input except the intro pad which plays from the VS because it was modulated (off-line) by a drum sequence using the VS vocoder.
Automix recorded digitally to DAT and transferred digitally to PC for processing with Waves RCL and Ultramaximizer in Sound Forge.
Acoustic Guitar - Taylor Big Baby, Electric
Guitar - Parker Nitefly Version IV
Strings - Korg T3, Sanken CU41 Dual Capsule Condenser
Joe Meek VC6Q, VS880, VST/32 G3/350 Mac
By John Newton, Arranged, produced, and recorded by Ken Totushek
Totushek, Kendall Griffith, Peris Ruiru,
Shannon Soares, Anna Lisa Madeira
Musicians: Guitars, drums, percussion--Ken Totushek; Piano--Bob Costa
and Anna Lisa Madeira; Bass--Mark Mullen; B-3 Organ--Phil
Madeira (Phil appears courtesy of www.silentplanetrecords.com and
Recorded and mixed at Graceworks Recording, Barrington, R.I. ©2001, Ken Totushek
Equipment Utilized: Roland VS1880 Digital Workstation 6 Gig Hard Disk w/ Two Effects card,
Roland CD-RW Recorder, Focusrite Green 3 mic pre, TC Electronics Fireworx and Gold Channel, Mackie HR28? Monitors, Mics: Neumann TL 103 and Neumann 184 (guitar), 103 and AKG C414 TLII on voices, BreedloveC22 and Bourgeois acoustic guitars, Roland DR5 and SPD 20 Drum Machines (for Bass, Kick, snare--cymbal and Hi Hat are real), Roland G-600 Keyboard Synth (piano patch), Joe Meek VC-7 mic pre, Hammond B3 Organ, Bass recorded direct, 5 lovely voices each representing different stages of a person’s lift (in this case a woman), and God’s steadfast and amazing grace throughout as envisioned and reflected upon by the young girl who starts out and then ends the song.
Effects used--various reverbs from VS and TC Fireworx. Stereo mixdown has no MTK applied. Ran out of tracks and automix markers as usual, so I ended up bouncing a few sets prior to final mixdown.
Vocals: Shannon Case
Input chain: RCA6203 Vintage Ribbon Mic > DBX386 pre spdif > VS1680 > Sound Forge
Vocals: Anonymous "Church Ladies", Slide Guitar – Mike Fischell, Voice of God – Lisa Browning. Recording, Mix and Mastering by Rick Knepper.
"1.) I used professional equipment
2.) I employed top-notch vocalists and players
3.) Sounds great"
Male vocals and words- Clyde Lucas, Female vocals – Joanne Abrams, Piano and Keys – Nancy Groff
Input chain for miced tracks: Sennheiser MKH-40>Millennia Media HV3B > Apogee Rosetta A/D > VS880EX. Keys- Kurzweil 2500X > VS880EX. Recorded, mixed and "mastered" by Gordon Groff.
It was very simple: I recorded 4 X 2 stereo
a) Gibson J-200 in open G through the Neumann TLM 104 and
the small diaphragm Oktavia 012 (on the neck)
b) then Martin D-42 background and
c) the 12 string Yamaha - melody played on lower strings
d) Martin D-42 re-recorded again in special open tuning
I mixed it down to 2 tracks then transferred to Mac ProTools
and by using Waves NPP did the pre-mastering --> burned CD.
Recorded on two VS-880's using 67 tracks. New
music written by Victor
Paul. Produced, arranged, recorded and mixed by Victor Paul.
VICTOR PAUL: Godin Multiac classical guitar, Roland GR-1, vocals.
TONY CHRISOS: Paul Reed Smith electric guitar, Digitech 2120 amp,
Marshall EL34 100/100 dual mono bloc amp, drums, vocals.
JERRY CURRATOLO: Spector electric bass.
JIMMY TSOKAROPOULOS: Godin Multiac classical, Roland GR-1.
MARY SPLASH: vocals.
TRACK 1: Tony/electric guitar (left). This track is a pre-mix of 4
tracks, solos and fills, cool plate reverb and tape echo, panned left at
TRACK 2: Tony/electric guitar (right). Fills and harmonies, effects same
as track 1, panned right at 2.
NOTE: We experimented by tracking the PRS/Digitech/Marshall cabinet with
a D112 bass drum mic, thinking it would kill the highs some and fatten
up the guitar sound but we ended up having to cut the highs anyhow. Tony
has since tracked his setup using a Shure Beta 57 and highly recommends
TRACK 3: Jimmy/Godin/GR-1. fills for the third verse and middle solo
section. panned at 2.
TRACK 4: Jerry/bass. went directly into the VS-880. panned center.
TRACK 5 and 6: Tony & Mary/background vocals (left & right), mixed down
from four tracks, used a DigiTech Vocal Harmonizer and reverb. track 5
panned at 9, 6 panned at 3.
TRACK 7: Victor/Godin classical guitar solo right after end of vocals,
reverb and tape echo added, panned at 2. all Godin tracks input chain
Godin > GR-1 > Roland.
NOTE: All of Victor's guitar tracks were played in open E tuning.
TRACK 8: Victor/Godin end solo section that follows track 7. everything
the same as track 7
TRACK 9 & 10: Control tracks for the two VS-880's
TRACK 11 & 12: Victor/Godin. a left/right pre-mix of six tracks (rhythm,
fills, harmonics and GR-1), panned hard left and hard right.
TRACK 13: Victor/vocal. reverb and tape echo used. panned center.
TRACK 14: scratch bass track. not used.
TRACK 15 & 16: Tony/drums. pre-mix of seven tracks. recorded and mixed
dry except for reverb on the snare. panned hard left and hard right.
NOTE: Tony broke in his four new AKG C-418 mics (snare and three toms)
and loved them. calls them a drummer's dream because of they being so
powerful and so small and out of the way and for the way they clip right
on to the drums.
This was a good learning experience for us. We made mistakes and learned
from them. Scheduling was difficult and we ran out of time resulting in
us having to use scratch tracks in some cases. But we had a lot of fun
with it and hope everybody enjoys listening toTrickshot's version of
Recording: Roland VS 880 Expanded
Mastering: VS880>Echo Gina>WaveLab 3.0 w Mastering Edition Plug ins Event 20/20 bas
Instruments: Mini Moog, Korg Z1, Roland S50, S550, D50, Chroma Polaris, Yamaha DX7, Memory Moog, Native Instruments Pro 52 soft synth. Boss DR770
Mackie 1604 VLZ pro JL Cooper Rev2 MIDI patch bay
Track Break Down:
Track1: Mini Moog manual filter sweep for wind, Track 2: Mini Moog & S50 for rain, Track 3: Mini, Moog and S50 for thunder, Track 4: Mini Moog low F drone, Track 5&6: Korg Z1 Arppegiated pattern
Track 7: Polaris with just the reverb output, no direct signal, Track8: Z1& S50 Choir
Track 1&2 verse 1,2,4 Z1 verse 3 D50, Polaris, S550, Track 3: Mini Moog Bass, Track 4: Z1 & S50, Clavinet. Track 5&6 : Z1 & D50 organ, Track 7&8: DR 770 drums
Track 1: Mini Moog clock chime, Track 2: Z1,D50, S550 Acoustic Bass, Track 3: D50 single note pad
Track 4: Memory Moog.. Sample and hold noise, Track 5 Z1 &DX7 arppegiated bells
Track 6& 7: Z1, D50, DX7, Polaris, Pro52 Strings, Track 8: Z1 drone
This was an accident. T-Von sent us a CD that included many really great songs he has done with a nice cover, etc. After the last named track was one that I assumed was his Amazing Grace submission. I played it a couple of times and could not hear Amazing Grace anywhere in there. Of course, this came in after BIS’s submission, so I was not assuming anything at this point! I asked Nancy if she could hear AG in it and she started singing the AG lyrics along with T-Von’s piece. I thought it sounded pretty good, so ripped T-Von’s track to PC, spdif’d it (at 48k) to my VS880EX and recorded Nancy improving AG lyrics to it 3 times – without listening to any of her previous takes. When played back, it was really neat how her three takes meshed together. It was pretty busy and masked the guitar too much, so we re-mixed it, dropping out some of her vocals in spots and set panning to give space to everything as much as possible.
I found T-Vons wonderful AG submission on the track after this on his CD. Thanks to T-Von for permitting us to use his piece and apologies to him and other Guitar aficionados out there for wrecking it!
One piano via my MIDI setup and a total of 24 vocal tracks when all is said and done. Each vocal was recorded using the AT4047/SV through the Mackie 1604 to the VS-880. Recorded dry both on the EQ and effects side. Large Room reverb was added for the final mix which was done to Sound Forge on my Intel P200 PC.
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