Andrea Bocelli – Cinema
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2015 album Cinema.
Music from Cinema
Artists on Cinema
Gear Used On Cinema
Explore the instruments, equipment, software, and production tools used in the making of Andrea Bocelli – Cinema (2015). Click more on each item to see exactly how it was used.
Andrea Bocelli
Roles:
Microphones used by Andrea Bocelli on Cinema
Used for Cinema, as featured by sound engineer Jurij Ricotti in this October 24, 2015 Gearslutz forum post.
Hallo everyone, I'm Jurij Ricotti professional sound engineer, I would like to talk about the new Audio Ribera AR251. It's a new tube mic philosophically close to the Telefunken ELAM 251, with a natural silk top end clear and harmonic. We used (me, Pierpaolo Guerrini and Humberto Gatica) to record the new Andrea Bocelli album Cinema voices. Surprised since the beginning of the recording sessions we brought some pieces :-). Ribera is an Italian brand, we proud of their work of course, but comes from the professional experience of Silvano Ribera (Neumann, Telefunken expert in the '50s). We tested also the AR251 against the classical U47 tube, Telefunken Elam251 Original, and others with great success for the AR251. I hope to open a discussion with other sound engineers and new one interested to this kind of taste in vintage sounds. I will get some picts...
It is also mentioned by producer Bob Ezrin in this February 2019 Sound on Sound article, albeit unnamed.
"We recorded Andrea's vocals at his home in Forte Dei Marmi on the West Coast of Italy. He has a recording setup with a small console, some great converters and an Italian-made clone of a [Telefunken ELA M] 251."
In 2017, Bocelli used the microphone for his feature on Ed Sheeran's "Perfect Symphony", as is visible in the music video starting at 2:45.
Software Plugins and VSTs used by Andrea Bocelli on Cinema
Used on Bocelli's vocals for Cinema, as mentioned by sound engineer Justin Cortelyou in this February 2019 Sound on Sound interview.
At the bottom are three aux effect tracks, with Valhalla Plate, Audio Ease Altiverb (on the Haydn Hall preset), and UAD EMT 140 reverbs. Notable in the session is that by far the most plug-ins are used on the two vocal tracks. (...) "All three aux reverbs were used on Andrea's main vocal track, as well as on Matteo's vocal tracks, because the reverbs each have different characteristics and it was all about getting the right blend. The Haydn Hall makes it sound a bit more like in the big hall at AIR, and the Valhalla Plate is a little brighter and not as dense. The EMT adds some warmth. We always played around with these three to get the right combination of colours. I had this vocal chain on Andrea's vocal in every song on the album, though there will have been slight differences in settings."
Used on Bocelli's vocals for Cinema, as mentioned by sound engineer Justin Cortelyou in this February 2019 Sound on Sound interview.
At the bottom are three aux effect tracks, with Valhalla Plate, Audio Ease Altiverb (on the Haydn Hall preset), and UAD EMT 140 reverbs. Notable in the session is that by far the most plug-ins are used on the two vocal tracks. (...) "All three aux reverbs were used on Andrea's main vocal track, as well as on Matteo's vocal tracks, because the reverbs each have different characteristics and it was all about getting the right blend. The Haydn Hall makes it sound a bit more like in the big hall at AIR, and the Valhalla Plate is a little brighter and not as dense. The EMT adds some warmth. We always played around with these three to get the right combination of colours. I had this vocal chain on Andrea's vocal in every song on the album, though there will have been slight differences in settings."
Used on Bocelli's vocals for Cinema, as mentioned by sound engineer Justin Cortelyou in this February 2019 Sound on Sound interview.
At the bottom are three aux effect tracks, with Valhalla Plate, Audio Ease Altiverb (on the Haydn Hall preset), and UAD EMT 140 reverbs. Notable in the session is that by far the most plug-ins are used on the two vocal tracks. (...) "All three aux reverbs were used on Andrea's main vocal track, as well as on Matteo's vocal tracks, because the reverbs each have different characteristics and it was all about getting the right blend. The Haydn Hall makes it sound a bit more like in the big hall at AIR, and the Valhalla Plate is a little brighter and not as dense. The EMT adds some warmth. We always played around with these three to get the right combination of colours. I had this vocal chain on Andrea's vocal in every song on the album, though there will have been slight differences in settings."