Peluso 22 47LE:
AudioLot Studios - Memory (artist: Stealing Heather)
This track features the Peluso 22 47SE on all vocal tracks
Written, Produced, Engineered, Performed and Mixed by Joshua Aaron & Stealing Heather, this 97 second snippet gives you a real world glimpse into the magic of the Peluso 22 47SE on pop rock male vocals.
The signal chain was the Peluso 2247SE -> Brent Averill 1073 (EQ Off) -> Lynx Aurora16 -> ProTools HD 7.4.2.
As this is an actual mix, heavy processing was done throughout all the tracks. With regards to the vocals, the signal was run into an A-Designs Hammer, Purple Audio MC77, to the first DBX 160SL, and finally to an SPL De-Esser. Then the lead vocal was sent to an Aux track for parallel compression where a second DBX 160SL was applied at a 4:1 ratio, really slamming the vocal. Additional effects such as a Lexicon PCM96 using the Small Plate (light) preset and a Lexicon PCM81 using the Panned Delays preset were also used in the mix. Mastering was handled by Emily Lazar at The Lodge in NYC.
AudioLot Studios - Peluso Microphones Demonstration:
This is demonstration features 3 Peluso microphones (22 47SE, 22 251 and CEMC6)
This was recorded at AudioLot Studios using only what is described here. The entire process took approximately 30 minutes from start to finish (including setup time) and was designed to show you how amazing Peluso microphones can be, even when you don't spend a lot of time worrying about mic placement.
We started by using the Peluso 22 47SE on the body of a Taylor 914CE acoustic guitar and the Peluso CEMC6 on the top of the neck. The Peluso 22 47SE was sent through a DBX 786 mic-pre and the CEMC6 was sent through an Amek/Neve PurePath Channel In A Box.
The vocal was recorded using the Peluso 22 251 through the DBX 786 mic-pre. The converter used was a Prism ADA-8 Dream and the signal was sent through that converter and into Digital Performer 4.5 at 24bit 96khz via the Lynx AES16 PCI interface card.
All faders were left at 0db and the vocal was sent out to channel 1 to a Dangerous 2-Bus with the 2-Bus channel set to Mono. The two guitar tracks were sent to the Dangerous 2-Bus on channels 3/4 (there was no panning in the computer).
The three tracks were summed by the 2-Bus and sent through a DBX 160SL only to raise the output to a louder level (i.e. no compression was in use).
The output of the DBX was sent to an Apogee PSX-100SE set to 16bit 44.1khz and then AES/EBU into a Tascam CDRW2000 which was slaved to the Apogee clock via AES. The CD was burned in real-time and then taken to a Macintosh where iTunes 4.7 was used to get the track off in WAV format where it was in turn posted here for everyone to listen.