John Wiley Nelson (a.k.a. “The Rev”) is a retired Presbyterian (PCUSA) minister who lives in Provincetown, MA. In his retirement, he is the manager of the local public radio station, WOMR. The Rev writes mostly folk and/or Americana songs. He likes to use acoustic instruments, but with electric bass and drums – locating his sound somewhere between bluegrass and country. Although a minister, his music is not religious – though, at times, it shows the sensibilities and sensitivities of a theologian and pastor. There is a lot of fun in his music which is loaded with irony, double-entendre, and reversals of plot.
The Rev. likes quality of instrumentation. When he comes to town, he hires the best. In this case, he hired Grammy award winner Randy Kohrs on dobro and pedal steel. Kohrs was Dolly Parton’s dobro player for years, and has played on more than 500 albums, ranging from those by such legends as Hank Thompson and Jerry Reed to current chart-toppers Little Big Town, Dierks Bentley, Sara Evans and The Wreckers. Among his accolades for such work is a 2009 Academy of Country Music Award nomination in the Top Specialty Instrumentalist category. Randy owns and operates his own recording studio called Slack Key Recording Studio. We sent him scratch tracks and he recorded his tracks in his own studio.
On fiddle, the Rev brought in Stuart Duncan. Stuart can be seen and heard with The Nashville Bluegrass Band, where he’s been a contributing member since 1985. The band has won two Grammies, multiple IBMA & SPBMA awards. Duncan has played with Jerry Douglas, Bela Fleck, Yo Yo Ma, Alan Jackson, Chris Thile, Edgar Meyer, and many others. He is a complete professional. Because he tracked after the dobro and mandolin were finished, he provided fills that weave all of the other tracks together in a beautiful way. He showed remarkable sensitivity also. When tracking “Ordinary Day”, a song with a verse about the death of the Rev’s son, he re-recorded his lead, working to make it match the tenor and feeling of that part of the song. I used a single MikTek C5 on his fiddle and it worked great. I let him find the sweet spot, and the tracks turned out great.
The Rev hired Grammy award winner Adam Steffey to record mandolin tracks. Steffey has played with many of the bluegrass greats, including playing for seven years with Alison Krauss and Union Station, working regularly with the Dan Tyminski Band, and now playing with the Boxcars. Adam lives several hours away and had a friend, Ron Fonzerelli, record his tracks and send them in. Ron used API pres and a stereo pair of Neumann KM84s to record Adam. The tracks turned out really well in the mix.
I used no eq or compression on the dobro, mando, or fiddle tracks. I used the same stereo buss for all three instruments in order to get them pretty much into the same sonic space in the mix.
That buss had a tiny bit of Softube “Focusing Eq“, (to add tape saturation – I love Softube saturation), URS API modeled eq. (a really smooth, natural sounding eq.), a very small bit of URS 70’s compression, and a tiny bit of IK Multimedia CSR Room reverb on it. That’s all.
The Rev. likes to mix genres on his CDs, and on this CD he had two great blues tunes. He flew Mark Hill in from New Jersey to track the lead guitar parts. Mark played with Herd of Blues for years, and really has a nice feel for blues. He brought his Fender Nashville Telecaster and we recorded him through my Fender Princeton, using a single Shure SM57. He used my Nick Greer “Ghetto Stomp” to add grit to the sound. The result was great.
Andy Hull produced some masterful drum and percussion tracks. Andy has drummed for Ty Herndon, Jamie O’Neal, Collin Raye, Joey and Rory, Lee Greenwood, and the Evinrudes. I tracked him in the larger room in the studio and, instead of overhead miking cymbals individually and using a room mix, I used a stereo pair of AT4041s, which are brighter than my MikTek C5s, up and back over the kit to get the kit reflecting off the walls of the room. This would give us the option of picking up as much of the ambient wood in that room as we could as a part of the kit.
On the Rev’s vocals, we used the TLM 103 through my UA LA610-MKII. I used a tiny bit of limiting on the way in, but no compression. With vocal tracks I usually use a 4-buss setup. Buss 1 is for a touch of reverb, buss 2 is for a tiny bit of delay, buss 3 is for vocal thickening, and buss 4 is for widening. I find that the Logic Stereo Delay works fine for delay, timed to 1/8 notes and used very modestly. Izotope Alloy’s vocal preset for “Intimate Parallel” vocals is a nice place to start when tweaking a vocal thickening track. Logic’s analog tape compression combined with Logic’s Stereo Spreader produce a nice, adjustable spread. The IK Multimedia “Vocal Late Reverb” setting provided a good amount of reverb ambience.
The Rev invited his daughter, Molly, to track vocals on three of the CD’s songs. She had a lovely, soft voice, and her pitch was perfect. I used the TLM 103 on her voice and a similar 4-buss palette.
The Rev asked me to record the bass tracks. I used my Fender American Deluxe P-Bass. I went direct, through the LA 610MKII. I then added the IK Multimedia Ampeg SVX plugin, splitting the sound between the DI and an emulated SVT-4 Pro. On the two blues songs, I used the back pickup (a Fender Jazz Pickup), and a bit more compression on the way in, to get a more mid-rangy “honkin blues” sound.
He also asked me to record some of the rhythm guitar tracks. Mark Hill recorded some of these also. He prefers these to be in the mix, but not prominent. I used my MikTek C5 stereo pair in a ORTF arrangement for these tracks.
He also had me record the keyboard tracks. I used Logic’s “Yamaha Studio” piano for the piano tracks, and used my Nord Electro 2 for the organ tracks.
The CD turned out great. Check it out at CD BABY.