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- у меня доселе была и есть только цифра.

Да тут без вопросов Вопрос втыкать их во что

Oops, just came across this thread.

wow guys! we are talking over 30 years ago, well let's see.
Restless And Wild was recorded and mixed at Dierks Studios by Cologne Germany. We were in Studio A (same studio where we recorded Dokken's Breaking The Chains), which was the biggest one they had at the time, even though there was constant construction going on for another room in an adjacent building, which sometimes could get annoying (jackhammer sounds in the Echo Plate etc.)

The drums were set up in the big room right in the middle. The room had a fairly low ceiling because it was under ground, but was trated nicely with Helmholtz panels on all walls for diffusion, so it was fairly live but very controlled.

Stefan's kit was basically a Ludwig kit, but he had ordered some custom made shells. The kicks were 26" diameter and 40" (forty inches) deep. Not an easy kit to record. As far as I remember, we did not have bottom heads on the toms and the 421s were placed inside the toms. we thought it would give us better separation, but we had to bend the sound later quite a bit.

Bass was an Ampeg SVT with a 8x10 cab and it was in a separate room. Guitars were all Marshall heads, some heavily modified. I think there were at least 6 full stacks. I had built a special distortion box for Wolf which split the signal into 3 separate outputs.

As to microphones, I don't really remember details. The kicks were miced with Neuman U47 fets, the toms had the Sennheiser 421 inside. We used an odd version of a Shure SM57 on the snare, AKG 451 on Hat, AKG 414 on Cymbals and I think a RCA 44 on room..

The console was a MCI 636 and we used all the mic pres in the console. No compression to tape (which was a Telefunken 2" 32 track machine) but I used the EQ in the console channel strips to tape.

I remember there was a lot of Eventide gear in the room for the mix. reverb was the Lexicon 224 (which was brand new then) and I used the Eventide Speaker array delays for our main room delays, creating my own room with the 4 channel delays.

That is in a nutshell, can't remember much more, other than that we worked long hours, 17-18 a day and the Defender video game and lots of coffee helped us to get the juices flowing again. I found some pictures but they are very bad quality. The first is of the gear in the control room during mix time. The second is how we made the scratch noises on the intro of Fast As A Shark, it's actually steel wool on a vinyl album. The third is Wolf playing his black Strat (still with long hair)

Cheers
Michael (Wagener)

I split the original gtr signal and we sent it to 6 full stack that were all in different rooms (even the Bathroom) I mixed the sounds together to one track for each take, phase nightmare but somehow it worked. In the choruses I added the Lexicon prome time 93 for a flanging effect.

On Udo's voice I think I just had a normal delay (1/4 note) and the plate reverb, plus a little compression and EQ.

Маршал Плекси

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