Bob Dylan & Robert Zimmerman – Shadows in the Night
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2015 album Shadows in the Night.
Music from Shadows in the Night
Artists on Shadows in the Night
Gear Used On Shadows in the Night
Explore the instruments, equipment, software, and production tools used in the making of Bob Dylan & Robert Zimmerman – Shadows in the Night (2015). Click more on each item to see exactly how it was used.
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Microphones used by Bob Dylan on Shadows in the Night
Avg price: $10,397.13
According to producer Al Schmitt, a Telefunken U47 was used to record Dylan's vocals for Shadows in the Night.
“I used Capitol’s Neumann U47 on Bob’s vocals. It’s the very same microphone that was used on Frank Sinatra, Dean Martin and Nat King Cole. It’s a great–sounding microphone. Fortunately, because I work a lot at Capitol, I get to use it frequently, and I’ve had it on Paul McCartney and on Diana Krall and others. The mic was maybe nine or 10 inches away from Bob, with a windscreen. Pops and esses were no problem. I used the Neve 1073 mic pres in the old Neve desk at Capitol on all the mics. It has an amazing sound, with lots of punch and warmth. So Bob’s 47 went through that. The only compression I used on the entire album was on Bob’s voice, a tiny bit of an old mono Fairchild. I barely touched it, I used it mainly for the tube sound. It just added some warmth. On the desk I also mixed in some of Capitol’s live chamber number four on his voice.
Despite Schmitt's mention of Neumann, Sinatra's U47 is famous for bearing the Telefunken brand.
Studio Equipment used by Bob Dylan on Shadows in the Night
Avg price: $20,963.33
Used for Dylan's vocals on Shadows in the Night, as stated by producer Al Schmitt in this May 2015 Sound on Sound interview.
“I used Capitol’s Neumann U47 on Bob’s vocals. It’s the very same microphone that was used on Frank Sinatra, Dean Martin and Nat King Cole. It’s a great–sounding microphone. Fortunately, because I work a lot at Capitol, I get to use it frequently, and I’ve had it on Paul McCartney and on Diana Krall and others. The mic was maybe nine or 10 inches away from Bob, with a windscreen. Pops and esses were no problem. I used the Neve 1073 mic pres in the old Neve desk at Capitol on all the mics. It has an amazing sound, with lots of punch and warmth. So Bob’s 47 went through that. The only compression I used on the entire album was on Bob’s voice, a tiny bit of an old mono Fairchild. I barely touched it, I used it mainly for the tube sound. It just added some warmth. On the desk I also mixed in some of Capitol’s live chamber number four on his voice.
The mention of a "mono" Fairchild specifies a 660.
