INTERVIEW WITH STEVE ALBINI RECORDING ENGINEER What’s it like to be working as a things sound loud and the impression organ playing in the background. What recording engineer during this difficult you get from the playback is faithful to MONO does is to allow both the orchestra time for the entire music industry? the impression you get in the room. It‘s and the rock band to use their full range difficult because sometimes theof capabilities. They are unique in that. It‘s very cumbersome having to follow the equipment introduces effects or has covid safety and disinfection protocols, limitations that aren‘t apparent until What do you enjoy more: being part but I couldn‘t imagine doing it any other you‘re comparing it to something you of a band or pulling the strings during way; we would feel terrible if somebody know intimately. So the basic method is a recording session as the engineer? got sick because they were here for a to use a naturalistic presentation as a session, even if the infection wasn‘t our Playing in a band is the most fun thing I starting point, then see how happy every- fault. That means everybody wears a ever get to do. I love it like nothing else body is and make adjustments from there. mask unless they‘re singing or blowing a in my life, and I miss it terribly during horn, and then they need to be in a room these awful times. I enjoy my work as You are known for the empathic way by themselves. No guests or extra staff in an engineer, it‘s quite satisfying to see that you work with bands – what do the building, no sharing of headphones, people achieve their life‘s goals that way, you really focus on during your work? microphones or other equipment between and I get to work with people I love and band members. We spend a lot of time, up It‘s important to remove your ego as admire and have become friends with, all to a full day, disinfecting the equipment, an engineer, to avoid trying to claim over the world. It‘s a very satisfying job. surfaces and furniture in the studio, and authorship of the music, the sound or But it can‘t compare to the pure pleasure that‘s otherwise unproductive time, but I‘d even a little moment of accent. If you are that is playing in a band. rather do that than take a risk. too in love with your techniques or your results, you may overlook something more You swear by our microphones – important, and you may unintentionally what do you think makes them attach something to a band‘s recording special? just because it amuses you, and that‘s not I‘m very fond of Beyer microphones a good enough reason. Spend the time because there are distinct characteristics it takes in conversation with the band to for each type that make it uniquely understand their aesthetic, talk to them suitable for certain applications. I love about what they like and don‘t like, who that I can fine-tune the sound by using they want to emulate, what parts of the the character of the microphone to sound are critical at every juncture. Listen, emphasize one aspect or another. not just to the sound you‘re working on but to the people behind the sound, ask From a booking standpoint, there‘s a lot Which of our microphones do you them what they‘re into and try to deliver it. less activity just because bands can‘t get use on which instruments? together to rehearse, write songs or play In the past, you have worked with I use the M380 on literally every session. gigs, there‘s no touring and everything artists like Nirvana who had rather It is an absolutely unique and perfect in the whole economy has slowed down. minimalistic productions. But last year, mic for low-frequency sound sources like We‘re probably doing about 25% of our you teamed up with the Japanese band bass drum, bass guitar, tympani, tuba, normal work load and it‘s stressing the Mono and made an orchestrated rock bassoon and organ. I often pair it with studio tremendously. album. What is the attraction for you of a brighter mic, in a kind of woofer-and- such a bombast production? tweeter arrangement, and that gives me You got your start in the independent a lot of flexibility. The figure-eight pattern scene and went on to earn a Well MONO is very much a self-sufficient is useful inside a bass drum, in that the worldwide reputation for your recording band. The rock band parts of the null on the sides reduces internal acoustic skills. How would you describe your songs are worked out by the band in reflections inside the drum, avoiding the sound, and how do you achieve it? rehearsal, and they play beautifully as resonant „bouncing ball“ effect. an ensemble. They‘ve been playing this I predicate everything I do as starting music for decades and they understand from the perspective that the sound of it intuitively by now. The string and the band, playing on their own, left to orchestral arrangements are begun their own devices, will be nearly ideal. as files by Taka, Goto the band leader They have worked out the sounds, the and composer, and fleshed out by his arrangements and their playing style, long-time collaborator Susan Voelz by sometimes over many years, so my first correspondence. The two of them have obligation is to try to make an accurate, developed a beautiful, sympathetic naturalistic recording. That‘s the starting relationship and the orchestrations they point. If the band want to stylize their come up with are a pleasure to work on. record, or abstract the sounds, that‘s all I think what appeals to me about MONO, perfectly fine, I just want them to know as differentiated from other rock bands that if they like what they sound like at the who incorporate orchestral parts, is that moment, they can have that. the orchestra never feels incidental, it‘s It‘s surprisingly difficult to make a always a structural part of the music. recording that doesn‘t do some kind It‘s much easier to compose a rock song of insult to the sound, where the loud and use the orchestra as a kind of chord Having two working lobes on the mic means I can know what to expect when else and I want to repay that kindness. I allows me to use placement of the mic I pull one out of the drawer. For the think the more we share knowledge the to emphasize different parts of the drum, ribbon mics, the extra detail in the high more potential for greatness we have in closer to the mouth of the drum the rear frequencies sets them apart from other the music community, and if somebody pattern hears the resonant head, closer ribbon microphones. The best thing about does something great, then I get to listen to the batter head, the front pattern hears the complete range of mics is that they are to it too. I also enjoy hearing the work of more of the initial attack of the drum. all so distinct from each other, and that the students, and I have even learned a Moving the mic around inside the drum allows me to choose the specific sound few techniques from them, which I can allows me to tailor the attack, weight and quality I need at the moment, rather than incorporate into my skill set and teach sustain of the bass drum just by moving it using a mic that is almost what I want. to other people as well. All in all, it‘s very a few inches. The mic also has a dramatic satisfying to see people learning and proximity effect, which I use to emphasize You have called our M380 one of your growing, and I like the idea that the things the lower octaves of a bass guitar cabinet, favourite microphones. For which I‘ve learned will not disappear with me. for example. recordings did you use it, and why is this microphone so special to you? Did you use our microphones I use the M500, M160 and M130 as close during the recording of “In Utero” The figure-8 pattern has a lot of utility, mics on electric guitar cabinets. I find by Nirvana? The band had a special mentioned above, and the high output them less sensitive to blowout than a lot of relationship with our microphones and means that often I can use the mic as a classic ribbon mics, and they are generally used them during MTV Unplugged. line-level source, meaning I don‘t need to brighter as well, which often suits the crisp use a preamp at all, I can just connect the I‘m certain I would have used some Beyer sound of a distorted guitar. I use the M130 mic to the desk as a line input. This avoids mics on the electric guitar, but without and M160 on acoustic guitar, mandolin a number of potential problems with consulting a track sheet I don‘t think I can and other string instruments, and the distortion or mismatching, and I use the recall which. brightness of these mics compliments mics this way often. The extended bass the smooth, detailed midrange that is a response, especially when exaggerated To what extent do musicians such hallmark of ribbon microphones. by the proximity effect of close placement, as Dave Grohl or formerly Kurt is very useful in preserving the energy of Cobain contribute to the choice of low-frequency instruments. I essentially microphones? Do these musicians decide never record bass guitar without one. with you or do they leave the choice completely to you?

There is an exciting internal story behind the M380 because Most musicians are rather unaware of the

M 500 M 160 M 130 M 88 M 201 the system is based on our DT770/990 technical details of the recordings, since headphones (600 Ohms). This is why they have other things on their mind, like There are some vocalists, particularly the microphone has such good bass their own equipment and performances, those with a soft, modulated delivery, who response. On which instruments does though if somebody asks, I‘m more than sound fantastic on the M500, which has the M380 work best? Do you sometimes happy to share what I know with them. a slight presence peak that adds detail combine the M380 with one of our other without becoming overly sibilant. microphones? Which recording during your career I use the M88 as a vocal mic when the are you really proud of? Is there a singer wants to hand-hold the mic. I‘ve I often use a bright mic in combination band/artist whose work you would really found it has much better detail than other with the M380, as mentioned, but like to record? common stage microphones, and it‘s which mic I pair it with varies a lot. I use nice for a singer to be able to hold their condenser mics and bright dynamic mics. I‘ve done several albums with the singer microphone for comfort. The M88 is also a I have heard the story about the Nina Nastasia, and I think she and her great mic for heavy electric guitar sounds, headphones, and we have tried using ensembles are exquisite. I have similarly it has a nice low-frequency extension headphone elements from other makers done a bunch of albums with the that helps with capturing de-tuned or to make microphones, but unfortunately psychedelic/metal band Neurosis, and baritone guitars. I use the M201 on snare they have not been nearly as good as the I‘m always impressed by the sound of that drums, often in combination with a small M380. band. They are unique. condenser mic, and making a balance of these two is often a very powerful sound. We have a funny story for you: Describe beyerdynamic A French sound engineer who in 3 words. We have read that you really want attended a seminar with you and Greg Make M380s again! an artist’s sound to be as “natural” Norman saw you working with the M380 as possible on their recordings. This is on a number of different instruments. He Thank you for the one of the fundamental principles of our then wrote us an e-mail and asked us to interview Steve! company: Our microphones should have resume production of the microphone. the most natural, clear sound as possible We really got a kick out of that. Why do – is this possibly one of the reasons that you like to teach such seminars? Do you you like them so much? still teach them?

The Beyer ribbon mics have great I like to teach what I know because I consistency from one to the next, which learned almost everything from someone