Deschanel usually sings into a Neumann U47. “I have done a number of mic shoot-outs to see what we liked best,” she says. “But we don’t always universally stick to [the U47]; I love an RCA 77, too.”

On this project, [producer Pierre] de Reeder placed U47s for Deschanel and Ward; both also went to Neve 1073 mic pre’s, and Deschanel’s vocal took a small amount of 1176 compression. “Nothing’s heavily compressed,” de Reeder points out. “It’s just barely rocking the needle and making sure everything’s in control.”

All of the other inputs went through preamps in Sound Factory’s custom API console, then straight to a Studer A827 24-track tape machine.

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Shure SM57

Dynamic Microphones

Used for the electric guitar on Volume 3, as mentioned in this April 15, 2015 Electronic Musician interview.

Ward’s electric was double-amped through a Fender Deluxe and a Silvertone that [producer Pierre] De Reeder miked with SM57s, the idea being that the two amp sounds could be selected, blended or panned at will. Ward’s acoustic went to a Neumann KM84.

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Neumann KM 84

Condenser Microphones

Used for the acoustic guitar on Volume 3, as mentioned in this April 15, 2015 Electronic Musician interview.

Ward’s electric was double-amped through a Fender Deluxe and a Silvertone that [producer Pierre] De Reeder miked with SM57s, the idea being that the two amp sounds could be selected, blended or panned at will. Ward’s acoustic went to a Neumann KM84.

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