Making Of LZ III 20 : Ardent Studios 3

前回のインタビューの続きです。

For guitars, I think there were Neumann "pencil" mics on acoustics, either 84's or their predecessors, or perhaps 86's, if they were around by then. Electrics would vary from 47 or 67 on softer sounds to EV or Shure on louder ones.

ギターについては、アコースティック・ギターにはNeumannのKM84か、その前の型、またはKM86かも。エレクトリック・ギターには、U47かU67、Electro-Voice、Shure。

KM84や86については、前のインタビューには出てきませんでしたね。より詳しくなりました。

A great story from Jimmy was that he did the amazing solo on "Since I've Been Loving You" as an overdub in one take, through some strange amp that had been left in the studio by another group, with no real "messing around with the sound." Just plug in and go...there was a second take attempt, but it couldn't be bettered. Now I think this is one of the best rock guitar solos ever...such feeling.

ジミーにまつわるすごい話としては、彼が"Since I've Been Loving You"の素晴らしいソロを1テイクのオーバー・ダブで決めたこと、だそうです。

別のグループがスタジオに残した奇妙なアンプを使って、そのままの音で、プラグを差し込んだだけで、すぐにあのソロができたと。

もう一度試したけれど一度目ほどの出来ではなかったようです。

Another story was that Jimmy said A. Johns had some secret technique to get doubling effects, or delays, that he (JP) didn't remember, but he wanted to use it. So I called Andy to find it out, He really didn't want to divukge this, but jimmy insisted, so he told me that he'd turn the tape around backwards and "pre delay" a sound (with a tape delay), then turn the tape back right and "undelay" it with varispeed tape delay to get the right timing. Worked like a charm.

逆回転のディレイについても話していますね。ジミーはやり方を忘れてしまったので、アンディ・ジョンズに電話をかけてやり方を確かめたそうです。

As for mic pre's...no one ever heard of, or thought of, any outboard mic pre's then...that's what the console was for. It was full of mic pre's...so we used them. As nostalgic, vintage, or mythological as it may seem to people now to have worked in these (supposedly) golden days with all that vintage gear, it just wasn't thought of in that way at that time. We just used what we had, and did the best we could.

マイクのプリ・アンプはコンソールについてたものをそのまま使っただけ。

That's the same thing I'm doing today, only it's not with Jimmy Page, and some (but not all) of the gear is newer. Again, the console at Ardent was a SpectraSonics. This one was not one of the ones built by Dilly in Utah, but by Welton Jetton in Memphis, under license from Dilly, and using Dilly's spec'd parts. It was simple, and sounded great.

Ardent Studiosのコンソールは、SpectraSonicsだったけれど、ユタ州のDillyが製造したものではなく、メンフィスのWelton Jetton がライセンス生産したものなのだそうです。

But not a lot of the "features" known today. We did also have some SpectraSonics limiters, which I always thought were OK, a bit "hard," but not as good as my 176's. I think the console at Olympic was a Helios, so those would have been the pre's there.

SpectraSonicsのリミッターについてもそのまま使ったようです。特別なことをせずにできる限りのことをするのがManning氏のやり方のようですね。

まだまだ続きます。。。