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Recording Somewhere Else
Some of the technical specs for those of you who need to know more.



We asked producer (and engineer) Mike Hunter about the tools used in recording Marillion’s fourteenth studio album, Somewhere Else. Here’s what Mike told us:

All the recording was done to Pro Tools at 96 kHz 24-bit.

Ian's drums were mic'd up as follows:
Kick: Electrovoice RE20 inside and an eight inch speaker cone placed a foot and a half outside used as a mic. Focusrite Red 6 mic preamp.
Snare: Top was a Shure SM-57. Bottom was a SM-57 Beta. Top mic ran through the Focusrite Red 6. 
Hi-Hats: AKG 451.
Overheads: A pair of Neumann KM184’s in a crossed position. Neve 1073 mic preamps.
Rack Toms: Shure SM-91’s thru Focusrite 428 preamps.
Floor Toms: AKG 421’s into Focusrite 428 preamps.
Ambience: AKG C12VR a few feet in front of the kit into a TLA Ivory mic preamp (“Don't ask why, but it sounded right,” he tells us.)

This was the basic kit setup and I would move mics around depending on the track. We also had a stripped down kit with just a couple of mics on it that we used for a few of the tracks.

Steve's guitar was generally a [Shure SM-] 57 close on the 4x12 with an Earthworks omni about eight feet away and quite high for ambience. Often, the close sound would be panned one side and the ambience to the other, which I quite liked. Sometimes we used the [Roland] JC-120 mic'd up in stereo with a near-coincident pair of AKG 414’s. Acoustic guitar was usually mic’d with a Neumann KM184 close and the AKG C12vr a few feet away. Where possible the Neve 1073 was used for preamps.

H’s vocals were nearly all recorded on a Neumann KMS 105 through the 1073, with a little compression from a Urei LA4. We don't have much in the way of posh mics, but H really likes the Neumann, which is a nice halfway between a handheld and capacitor mic. I'm sure if we had the budget we'd try a 251 or valve 47, but we don't have it.



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