OUT NOW - http://po.st/WhatIMightDo
With what might turn out to be one of the biggest tracks of the year, the massive 'What I Might Do' by Ben Pearce is here. Solomun, Seth Troxler, Jamie Jones and Pete Tong are all already on board with championing this slick combination of soulful urban vocals and irresistible grooving deep house. It has graced danced floors from Berlin to Ibiza and is quickly developing into a runaway train... We're especially pleased to be exploring new genres with one of the biggest tracks of the year so far.
Follow Ben Pearce here: https://www.facebook.com/benpearcedj
Follow MTA Records here: https://www.facebook.com/MTARecords
Follow Under The Shade here: https://www.facebook.com/UTShade
So Reid Craft and myself decided, "Let's do a cover of Clocks."
So we did.
Stuff we used:
FL Studio 10.0.9
iZotope Ozone 4
NI Guitar Rig 4 (tape echo; chorused reverb; Memory Man; Tube Screamer; Proco RAT, Ampeg amp, compression, noise reduction, cab/mic modeling for bass)
NI Mikro Prism
NI Absynth 4
Garritan Personal Orchestra (grand piano)
Toontrack Superior Drummer 2
Waves Tape, Tubes, and Transistors pack v9 (demo, keys and synth only)
PreSonus AudioBox 1818VSL
Ibanez RG321MH with stock Infinity p'ups and Ernie Ball Regular Slinky strings (.10-.46)
Zoom G9.2tt with Groove Tubes GT-12AX7-C and GT-12AX7-R2 preamps
1993 Peavey Classic 50 2x12 with Electro-Harmonix 12AX7s and Sovtek EL84s (piece of crap power tubes)
Martin OMC160GTE Grand Auditorium with Elixir NanoWeb coated strings (.11-.52)
Shure Beta 57A dynamic microphone
Amp miking was pretty simple, but effective given the results. DIs were tracked, then re-amped using the Beta 57A about 5" back from the combo, 1.5" left of center, and 2" down from center pointing towards vertical center. Little EQ was applied, save the boost at 2.9 kHz for presence in the mix.
Acoustic recording was a pretty standard method, using both the piezoelectric pickup under the bridge and the Beta 57 pointed at the highest frets on the fretboard. The two signals were then compressed with both digital and tube-emulated compressors and lightly EQ'd with a fixed phaser. I made sure to set a late attack on the compressors so the attack of the strums would really shine through.
Vocal miking was the usual: the same Shure mic on a large boom stand with a pop screen attached to it. We stood it so that the slapback on the wall behind the vocalist would be absorbed by a mattress.
- Reid and Ben