Alison Krauss

Shure endorsed Alison Krauss uses Shure's Beta 58A microphone, according to Shure's artist page.

Shure endorsed Alison Krauss uses Shure's KSM9 microphone to mic her fiddle, according to Shure's artist page.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

"So I had the idea of that classic chain I described, and then I thought, ‘I'm going to make a super-retro chain for both of them,’ and hang these RCA 44s right under their mics and they'll be kind of singing into both of them at the same time and I'll have my options. Well, the magnets in those things created the biggest hum you can imagine, so I ended up getting rid of all that and going with the classic tube mic sound and limiter. For preamps, I had Neve 1073s and some 1081s.”

Kraus is listed as a user of the L7 on the official product page.

Listen to Alison Krauss, "All Alone Am I", from her new album Windy City. On this track, Alison's voice was record [sic] with her L7 condenser... no preamp, no compression, no equalization, no de-essing.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

"So I had the idea of that classic chain I described, and then I thought, ‘I'm going to make a super-retro chain for both of them,’ and hang these RCA 44s right under their mics and they'll be kind of singing into both of them at the same time and I'll have my options. Well, the magnets in those things created the biggest hum you can imagine, so I ended up getting rid of all that and going with the classic tube mic sound and limiter. For preamps, I had Neve 1073s and some 1081s.”