CL1B used for all vocals on Tyrese Album: Black Rose
Los Angeles, California, August 2015:
Multitalented actor, model, and musician Tyrese Gibson’s latest– and perhaps last –studio album, Black Rose, made its debut in early July 2015 at the #1 position of the Billboard 200, the Top Hip-Hop/R&B Albums and the Top R&B Albums, as well as on top of the album charts on iTunes in fifteen countries and on the new Apple Music service, preceded by its two chart-topping singles, “Dumb S**t” and “Shame.” Sought-after audio engineer Richard Furch, who has mixed numerous Grammy Award-winning songs and albums for artist such as Prince, OutKast, Chaka Khan, Boyz II Men, India.Arie and countless others, mixed Black Rose in its entirety. Furch ran all of Tyrese’s lead vocals through his hardware Tube-Tech CL1B compressor to give them the beautiful high-end sheen that his millions of fans have been singing along to since the album dropped.
Living Room Recording Project turns into a big TUBE-TECH gear investment
The Living Room Project turns into a big investment in TUBE-TECH Gear! In 2014 Esben Just decided to invest in a setup that would give him the possibility to record at home in very high quality, and this had to be TUBE-TECH based on Espen's experiences from the earlier recordings. Esben Just is widely recognized as Denmark’s finest interpreter of that certain brand of American swamp-rock, defined by Dr. John The Night Tripper and the like. With his tight and groovy trio ”SP, Just & Frost”, he has thrilled fans for many years, and now as a solo artist, he has a new album out, entitled ”Just A Closer Walk” released on his own Label: MASTERTRACKS.
What’s special about the new album – apart from the wonderful music – is the fact that it was recorded live in Esben’s living room,
where he has set up his home studio. On most of his earlier recordings, Esben has relied on TUBE-TECH gear extensively, and calling him a fan would not be an exaggeration. So it would come as no surprise that this is what he chose for his home setup also – to be precise, 2 RM 8 racks, one with 8 PM 1 A preamps and the other with 4 EM 1 A and 4 CM 1 A –and then a Steinway grand piano, of course. In other words: the bare necessities, but of superb quality.
Read more and watch the video's
Mike Andersen records at Home with TUBE-TECH
Mike Andersen is a household name among soul/blues enthusiasts in Denmark and abroad. Until now, he has recorded all his albums in various professional studios. For his upcoming 2014 release however, he chose a rather different approach: He decided to do all recordings in his home studio, using the TUBE-TECH MP 2A and PM 1A preamps as front end.
Later on, he plans to process the tracks through a TUBE-TECH RM 2 modular system, fitted with EM 1A EQ- and CM 1A compressor modules, avoiding any software processing in the quest for the ultimate sound quality on every track.
During the entire making of the album, the recording process will be documented in a number of videos.
In the first one, Mike shows us around on the premises and demonstrates his setup as he goes through some of the tracks from the song “Don't leave me wanting you". He has many interesting points and techniques, so there’s plenty to learn for home- and project studio owners.
As the project evolves, we will be uploading new videos to the TUBE-TECH website on a regular basis, covering subjects such as:
• Simple drum recording in a small room.
• Using a stairway as a big live room and an echo chamber.
• Various tips on guitar recording, including a tutorial in how to record distorted guitar sounds with a TUBE-TECH DI.
• Top quality vocal recording and processing
• Processing and re-recording of tracks using the TUBE-TECH RM 2 modular system
• Preparing tracks for the perfect mix, using TUBE-TECH modular EQ EM 1A and compressor CM 1A.
- and much more!
The new Mike Andersen album is scheduled for release in late summer 2014 with a single coming out before summer. We have had a sneak preview of some of the new songs at Mike’s home studio, and we were really impressed by his songwriting, his vocals, the level of musicianship - and, of course, the sound.
Check out the videos - and urge your customers to do the same - this is a truly inspiring take on home recording and a testament (yet again) to the quality of the Blue Boxes.
About Mike Andersen
Mike Andersen first emerged on the scene in 2002 with the album "My Love For The Blues", and he immediately demonstrated a constant commitment and vision of sustained musical development.
Over the years, his love for soul music has become still more evident, and that particular passion really prevailed in his breakthrough 2010 release "Echoes". First, the album received five stars in the nation’s leading newspaper (Politiken), then it was voted among the year’s ten most significant albums by the listeners of Danish Radio’s Program Four and, as the honors piled up, “Echoes” was nominated in all three (Grammy-like) Danish Music Awards categories for 2011.
For his 2012 album “Mike Andersen”, Mike assembled a crew of musicians from his home town Aarhus. The joy and lively vitality so evident in this fourth full-length album extends into his cover of "white man's music”, the Beatles’ 1969 hit "Something". The stirring performance of this classic shows great empathy and abiding respect for the song’s writer, George Harrison.
Kanye West performs only with CL1B
TUBE-TECH used exclusively for all Kanye West vocals on new album "Yeesus"
The dynamics processor that has been used for Kanye's vocals throughout the recording as well as for all his live performances is of course Tube-Tech CL-1B.
We are very pleased to have an artist of this importance on our users list - and much more so because Mr. West normally doesn't want to have his name connected to any specific piece of gear. In this case, however, he has agreed, and, in all modesty, we see that as a very important recognition of the Tube-Tech sound.
Kanye West’s sound engineer is Noah Goldstein, who got the gig only 6 years after graduating from Temple University in Philadelphia, working in Electric Lady Studios with artists such as Arcade Fire, Steve Earle, Katy Perry and Danish act Kashmir in the meantime. Noah is responsible for all vocal recordings and for organizing all tracks on the new album as well as for live use.
Jesper Bo with Noah and the TUBE-TECH Classic Channel in Paris at the recent
Al Schmitt prefers Blue
Al Schmitt: An outstanding career in sound. One of the most impressive CV's in the business
Producer/engineer Al Schmitt started his love affair with audio way back in 1956, so when The Rolling Stones played their first gig, he was already 6 years into his career. When describing his impact on the music business, we might start with a couple of numbers, such as 21 Grammy Awards and more than 160 gold and platinum records.
Scanning his discography – which would take a long time, by the way – it’s tough to settle on a singular high point. That’s because Schmitt’s decades of award-winning work read like a trip through musical history.
From the early days, there's Frank Sinatra, Henry Mancini, Sam Cooke, Ray Charles, and Miles Davis; from the golden age of rock, there's Jefferson Airplane, Jackson Browne, Neil Young, Johnny Cash, Willie Nelson, Kenny Rogers and Steely Dan, and of more recent times we could mention Barbara Streisand, Natalie Cole, Madonna and Quincy Jones/Michael Jackson, Diana Krall, Celine Dion, Michael Bublé and the new Paul McCartney album "Kisses on the bottom".
Al Schmitt on Tube-Tech:
With a resume like his, Al Schmitt is a guy whose opinions matter a lot, which is why we are ever so enthusiastic about having him aboard as an enthusiastic Tube-Tech user.
In his own words, “I use a lot of the TUBE-TECH equipment, but I use the SMC 2B on everything. That’s my favorite, although I love all their gear. I usually use it when I’m mixing. I use it on specific instruments and sometimes I use it strapped across the two-track buss.
I use very little compression; just a tiny bit – maybe 1dB all the way across. I use it more for the sound, because it just sounds so good. What I basically like is the warmth.”
Al has had his SMC 2B for about four years, he reports, but has been using TUBE-TECH equipment for decades.
“I did a Willie Nelson recording years and years ago where I used a TUBE-TECH preamp and compressor on his vocal, which worked great.” Going full circle, Schmitt is currently working on a new project with Nelson, as well as one with Barbra Streisand, both using the TUBE-TECH stereo multi-band compressor and the MP1A preamp.
In April 2012, Al Schmitt conducted a one-week "Mix With The Masters" seminar, making good use of his tusted SMC 2B, and after the course, all 14 participants stated they would go and buy one!!
And you can be sure this will happen again at the future MIx With the Masters seminars.
At the 2012 AES show in San Francisco, we had the opportunity to talk to Al about his use of Tube-Tech,
in particular the SMC 2B - his view on the SMC basically boils down to, "It sounds wonderful - I use it all the time".
Check our interview with Al at AES San Fransisco 2012
TUBE-TECH on Tour with Muse and Paul Simon
Whenever you see interior shots from professional studios, something very distinct and blue is likely to be present in the effects racks. That's why many people are thinking of Tube-Tech as a supplier of studio equipment. And they're right - we are - but we're also way more than that.
This news article is about the use of Tube-Tech gear on the road, and as you'll discover, there are some pretty amazing names using it.
Muse and Paul Simon touring with Tube-Tech compressors.
Muse's FOH engineer Marc Carolan at work in his "office"
Whenever hugely successful trio Muse go on yet another stadium-filling tour, Marc Carolan is responsible for the FOH sound. Marc also works with the band in the studio, and both here and on the road, he is very adamant to get the sound just right, using exactly the gear that works best for him and the band.
Marc is an avid fan of the LCA 2B Dual Channel Compressor - he even has one in his own studio - and he states: "I couldn't do the Muse live sound without my two Tube-tech LCA 2B's"
Currently, Muse is rehearsing for another mammoth world tour where, aside from the LCA 2B's, Marc is intending to use the SMC 2B Stereo Multi band Compressor for the final polishing. We'll keep you posted, when the show hits the road.
Fohonline article about Marc C and Muse
TPI Magazine article about Muse Resistance tour
Marc Carolan, Patrick Hocken and Tube-Tech
A very well known sound guy who is in fact already using the SMC 2B live, is Michael Conner, FOH engineer for Paul Simon.
Michael has the SMC inserted on the mix bus just before the signal hits the PA. In his own words, "a fabulous piece".
Michael Conner in front of his Studer Vista 5 Console used for Paul Simon
James Blake: Tube-Tech is the Sound of my first Album
"Young genius"- that's how the reviewer described James Blake in Danish newspaper Politiken.
James is an English singer/songwriter, whose first album has had considerable succes on various charts, and he has a rather unusual approach to sound.
As he describes it, "My music is fairly eccentric in that I enjoy the audible side-effects of DIY recording, by which I mean mic noise and background sounds, the tail of drum hits that aren't quite rounded off, the sound of the rain pattering on the skylight that made it's way onto the recording, etc."
James is a long-term user of the Softube Tube-Tech plug-ins, stating "The plugin, I realised a while back, was the sound of my entire first album and most of the things i've released so far. I would say on my first album I used the CL-1B on almost every single track, and on the mix bus. In between mixing that first album and writing my second, I've experimented with UAD compressors etc. and I felt for a long time something was missing, until I put that stereo CL-1B plugin back on the master bus and everything just opened up in dynamics and stereo width."
Recently, his success has allowed him to purchase 2 CL 1B's of the kind you can actually touch and feel. He has some interesting remarks on the difference: "So far I'm noticing that both the hardware and software can breathe dynamic life into anything. They both achieve a sound that has larger and more interesting stereo image. However, the hardware version can do it without compromising any single part of the mix.
A good example of this would be an electronic track that has a kick drum that just doesn't sit quite right, but a snare that does, and a set of vocals / organ on top that are sounding flat and arbitrary. The software version will nicely breathe life into the entire mix. The vocals will sound wider and fuller, as if they're not coming out of the speakers at all but like they're in your own head, but the transients of the kick and the snare will suffer a bit, and at that point you have to make some sacrifices.
With the hardware I can have my cake and eat it! On top of all the other dynamic things it does, the kick and snare will magically align to make me look like I know what I'm doing, and they'll sound full and fat (and all combinations of analogue descriptives that equate to 'good')".
So, there you have it - plug-ins can be good - but hardware is just better...
Read more about James Blake
The Blue Boxes make their mark on French reality TV
"Survivor"is the classic reality TV concept ”put-a-bunch-of-people-through-their-paces-on-a-desert-island-and-see-who’s-the-last-man-standing”. In France, they have their own version and last season, that was filmed on the exotic Thai island of Koh-Lanta but of course, all postproduction took place in France.
The French Survivor is extermely popular; The average audience has been more than 7 millions viewers each friday and about 40 % of people watching Tv in France, is watching this show!
Having heard the Tube-Tech SSA2B summing amp at a seminar earlier, mix engineer Fabrice Chantome decided he wanted to see if it would make any difference on this specific type of material compared to in-the-box mix. So, he sent 4 stereo stems (dialogue, music, FX and narration) through the SSA2B and recorded them back into Pro Tools using a standard 192 I/O for D/A conversion and an Antelope Audio Eclipse for A/D.
”The difference exceeded all my expectations”, Fabrice notes, ”in fact it was so obvious that the artistic producer of the show immediately noticed, asking me, "What have you done to the sound? It sounds fuller, richer and sweeter to my ears..." Personally, I would add "wider, deeper and, most important, it brings the human voice in front of you, out of the speakers with greater accuracy and without any harshness". It sounds amazing and I really love what it does: Make the listening experience much more enjoyable!”
It would seem, then, that in the future, the blue boxes will also be used for reproducing the hardships of living under primitive conditions on tropical islands. And why not? After all, everybody wants to sound as good as possible - even reality TV…
Listen to the difference: Download PT session
The session contains two versions of Fabrice's mix:
A: ITB Pro Tools. B: 4 Stereo stems summed through SSA2B. ( Dialogue,music,FX and narration.)
The audiofiles of the session are labeled and can easy be imported to other DAW's or just listened to on your computer.
All samples courtesy of Adventure Line Productions, a Zodiak media group company
Nightingale String Quartet records with Tube-Tech
The all-female Danish Ensemble Nightingale String Quartet was formed in 2007 by four students at the Royal Danish Music Academy.
The idea was to revitalise the classic string quartet format by using modern methods in recording and promotion. A number of prestigious prizes has since proven the validity of the project.
In 2010, the quartet embarked on a project recording the string quartets of famous Danish composer Rued Langgaard.
The project is now finished and the CD is released.
All mic preamps were supplied by Tube-Tech, and what a difference that made! Listen for yourself by following the link underneath, where you may also watch the spectacular music video made for a Shostakovich piece recorded by the quartet – also a very new and fresh approach to sharing classical works.
Check out the video and audio here:
Audio Days at Studio de la Grande Armee, Paris
In late March 2012, our French distributor Audio Addict hosted the “Audio Days” arrangement, where a select group of audio professionals talk about and demonstrate stuff from their specific area of the field.
Among others, the well-known producer/engineer and owner of FLUX Studios in NY Fab Dupont recorded and mixed the very talented Will Knox, using MP1A, PE1C's and CL1B.
Needless to say, the result was no less than stunning.
Avid's video crew came out and videotaped the whole thing, and soon, you can watch the video and listen to the audio files
from the session.