Week 1 Audio Arts - Hypothetical Pink Floyd Recording

In order to record Pink Floyd with all instruments playing live, some tradeoff may be needed between the vocal recording and live band chemistry. Ideally, Waters and Gilmore would sing in isolation booths in order for a condenser microphone to be practical (considering it's lower directionality). If the band preferred to play in the same room together then a dynamic microphone could be substituted for the U87 to decrease spill. In this case, amplifiers could be placed away from vocal microphones or possibly in an isolation booth to decrease spill. Baffles could also be used to isolate amplifiers if they were in the main room, however they may not be suitable around the drumkit as Nick Mason may need eye contact with the other players. Fairly traditional mic choices/techniques are used for a classic sound. Protools could be substituted for tape for a more traditional Pink Floyd sound.

Microphones Required

• Vocals - Gilmore - Neumann U87
  
• Vocals - Waters - Neumann U87
  
• Backup Vocals - RCA 44BX x3 (for a mellower sound that keeps the main vocals in front)
  
• Guitar - Sennheiser md421 close and Royer R121 slightly back
  
• Bass - RE20 in conjunction with DI
  
• Organ Leslie top - Shure sm57
  
• Organ Leslie bottom - Sennheiser md421
  
• Drum Overheads - AKG 414 x2 spaced pair
  
• Snare Top - Shure sm57
  
• Snare Bottom - Sennheiser md441
  
• Toms - Sennheiser md421 x3
  
• Kick Inside - d112
  
• Kick Outer (further back) - RE20
  

Other Equipment

• DI box
  
• Hammond B3 with Leslie
  
• Protools - at least 24 channels A/D
  
• 24 channels of preamp
  
• Approximately 20 mic stands and cables
  
• Approximately 7 pairs of isolated headphones
  

Studio Requirements

• Isolation booths for Waters, Gilmore and backing singers
  
• Assistant Engineer