Michael Ashby & Lauten Audio - Sonic Secrets Behind Hip-Hop Sensation Cardi B’s ‘Bodak Yellow’

Engineer Michael Ashby chooses Lauten Audio’s “Eden” LT-386 Multi-voicing™ vacuum tube microphone for the smash #1 Billboard Hot 100 ‘Bodak Yellow’ by Cardi B

Michael Ashby with his Eden LT-386 microphone

San Jose, CA — September 25, 2017 — Engineer Michael Ashby recorded vocals for Hip Hop sensation Cardi B’s hit single “Bodak Yellow (Money Moves)” at Krematorium Studio in New York. The song, featuring beats by J-White DID IT (Anthony G. White), was released the summer of 2017 and is the highest charting single by a female rapper in nearly 20 years. Engineer Ashby chose his ‘go-to female vocal mic’ — the Lauten Audio Eden LT-386 — to record vocals for the song. Shortly after the release of ‘Bodak Yellow’ the song became a multi-week #1 R&B/Hip-Hop charting song and today hit #1 on the Hot 100 Billboard chart. The song is nominated for 3 BET Hip Hop Awards: Biggest Single of the Year, Best Impact Track, and Best Hip Hop Video — the Youtube video has over 170-Million views: https://youtu.be/PEGccV-NOm8

When it came to choosing a mic for the Cardi B session, Ashby recalls, “We wanted a microphone that would sit on top of the mix, not just the high-frequencies, but the low-end too. We found during the mixing process we wanted more dominance from her in the low-end. She doesn’t want to sound like Niki Minaj. So, when she came into the studio that day I asked if they wanted to switch to the 251 or just leave the Eden up. We decided to leave the Eden up, knowing I could just carve away what I didn’t want. That’s what I love about the Eden, everything’s there if you need it. In terms of comparing the best of the best, the Eden definitely takes it.”

Ashby first purchased his Eden in early 2016 and it has become a staple in the Krematorium Studio vocal booth. In an unsolicited review on Sweetwater’s website, Ashby wrote, “I call it my secret Sony C-800G killer because it delivers almost the same vibe as a C-800G recording, but so much smoother, from the mids all the way up!!! Paired with my Chandler Little Devil Pre with the ‘bright’ switch on, and you have a simply AMAZING MONSTER!!!” Having spent nearly 2 years with the mic, now Ashby says, “When tracking vocals all I have to do on the Neve 551 EQ is take 220hz and attenuate that down a bit, like 0.5 to 1dB, and the top-end and mid-range sits hella clean for my vocal applications. The Eden has this robust and crispy top-end, very modern, but still a smooth type of sound. It’s literally been the only mic that’s been up for months in a row.”

A post shared by ASHBY THE MIX ENGINEER (@ashbymix) on Dec 25, 2016 at 7:37am PST

Adding further details about Cardi’s “Money Moves” session, Ashby says, “It was about a 2-to-3 hour session and I could tell they were on a mission that day. Immediately, she started rehearsing the song, and then went into the vocal booth and said ‘I’m gonna work the Money Moves.’ According to Asbhy, the signal chain for Cardi B’s vocals were an Eden, using the ‘Forward’ Multi-voicing™ setting, Chandler Little Devil preamp, a touch of 80Hz roll-off on a Neve 551EQ, and an API 527 for compression. 

Michael Ashby is a drummer who fell in love with audio recording after graduating high school. He is the owner of Krematorium Studio in Elmont, NY. He’s a graduate of the SAE Institute in NYC, and today is a respected next generation audio engineer who's engineered for multiple Grammy® nominated artists and producers. In addition to Cardi B, his credits include Melissa B, B Howard, BK Brasco, Josh X, Latoya Jackson, Anthony Xi, Fetty Wap, Exit 21 and many other top artists. For more about Michael Ashby visit: https://www.ashbymix.com and https://www.thekrematorium.com 

About Lauten Audio 

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. In addition to the Series Black, their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing™ large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.

Lauten Audio

www.lautenaudio.com

Lauten Audio Press contact:

Paul J. de Benedictis

pauljdb@gmail.com (650)-303-2565

All trademarks are the property of their respective holders.

Engineer Daniel Sanint chooses Lauten Audio ‘Eden’ LT-386 for Ingrid Michaelson & Sara Bareilles Vocals

Chief Engineer at Flux Studios, Daniel Sanint, chose the Lauten Audio Eden LT-386 as the vocal microphone for Ingrid Michaelson’s new single “Miss America”, featuring Sara Bareilles

Daniel Sanint at Flux Studios with the Eden LT-386

San Jose, CA — June 5, 2017 — Engineer Daniel Sanint, recently recorded vocals for Ingrid Michaelson’s new single entitled “Miss America” at Flux Studios in New York City. The song, featuring Sara Bareilles, is on Michaelson’s new EP Alter Egos, released May 12, 2017.  Sanint chose his ‘go-to female vocal mic’ — the Lauten Audio Eden — to record both Michaelson and Bareilles for the song.

"it works very, very well with female vocalists."

Sanint discovered Lauten Audio working with Fab Dupont, owner of Flux Studios. “I remember the first time that I tried the Eden,” says Sanint about the LT-386 tube condenser mic, “it was a vocal session that I did here at the studio with a female singer. My typical vocal chain is a Neve pre with some EQ, then I run through the LA-2A for a little bit of compression, that's how I print vocals. I try to not use too much EQ or compression while I'm recording. While recording her, I popped in the EQ, the singer is singing, I'm staring at the EQ and thinking 'I don't really have to do anything' — it sounded great, right off the bat without EQ, and without compression. Ever since then I've been using the Eden on a lot of sessions, mainly for female vocalists — it works very, very well with female vocalists."

"As soon as we popped the Eden on her next vocal it was such a huge difference! It just jumped out of the speakers right away. Kuffner was asking, 'What microphone is this?!'" "

The producer on the track "Miss America" was Chris Kuffner, Sanint says, "It was a pretty fast session, we got everything done in four or five hours." Sanint continues, “That was one of the reasons why, when Kuffner called, my first choice was to have just a couple microphones up including the Eden. The producer asked me to have a U47 for Ingrid. But knowing that the Eden has great top-end extension and great body, I chose it, as I typically don't even have to use EQ, the mic already has a great tone."


"For Ingrid, because the producer had asked me to use the U47, we started with the U47, we did 2 takes, and I had to stop and say, 'Hold on I need to try the Eden microphone’ — because the high-end wasn't there. As soon as we popped the Eden on her next vocal it was such a huge difference! It just jumped out of the speakers right away. Kuffner was asking, 'What microphone is this?!'" 

"I know it's going to sound good regardless of the type of voice. "

Sanint continues, "The other reason I often choose the Eden is because I know it's going to sound good regardless of the type of voice. Also, on a lot of these sessions, the artist comes in and you don't even have time to set your compressor or swap microphones. The singers are super busy, they come in, do three or four takes and then they are out. The immediacy of having a microphone like the Eden that is well balanced, that you know is going to work on any type of voice, is super important for us."


Revealing details about the Michaelson session, Sanint adds, "Sara recorded first, to rough vocals of Ingrid's. Sara's voice is just ridiculous, her voice is amazing, it's very rich. Sara did about 5 takes top to bottom, with a few things she wanted to fix on the second chorus, and that was it. Sara was there for about 1 hour, half of which was recording. And Ingrid was the same, we did full takes with the Eden for both of them."

The vocal chain on the session was the same for both Sara and Ingrid, Sanint explains, "The Eden mic into a Chandler Limited LTD-1 — that's a 'Neve-esque' mic pre — then a touch of compression on the LA-2A. This is a soft song, there's no belting, it was very intimate, nice and close."

Sanint, starting as an intern at Flux Studios in 2009 worked his way up and has been the Chief Engineer and studio manager for the past 4 years. His credits include David Crosby, Moby, James Bay, Andre 3000, Robert Glasper, Brasstracks, Rubén Blades, and more. Sanint has a Masters in Music Business from New York University and a B.S. in Audio Production from Universidad de Los Andes, Colombia. Flux Studios: http://www.fluxstudios.net




Lauten Audio Press contact:
Paul J. de Benedictis
pauljdb@gmail.com (650)-303-2565

Sanint Photo Credit: PrinceRumi

Lauten Audio Signature Series Eden, Oceanus & Atlantis Microphones – User Review By Kevin Porée

Introducing the “Series Black” LA-320 Vacuum Tube Condenser Microphone

The LA-320 large diaphragm vacuum tube vocal microphone is the first in Lauten’s new “Series Black” line aimed at budding recordists

San Jose, CA - April 19th, 2016 – Today, Lauten Audio announced the LA-320 professional large diaphragm vacuum tube studio condenser vocal microphone, its first microphone in a new line dubbed “Series Black”. The LA-320 features a 1-inch pressure gradient true-condenser capsule, cardioid polar pattern, dual-triode vacuum tube, transformer balanced output, independent high and low cut filters, custom dedicated power supply, tube microphone cable, spider shock mount and hard case. 

The microphone is designed to give budding recordists an affordable entry into the world of vacuum tube microphone sound. “With the LA-320 we are making available a fantastic professional level vacuum tube microphone that’s easy for developing recordists to use to make great recordings,” says Brian Loudenslager, Founder of Lauten Audio. He continues, “The high and low cut filters make solving common problems in home, basement or bedroom recording environments easy.” The microphone features two independent filters, available with easy to engage switches. “If the room or source is boomy, or there is low-end rumble from outside noise, turn on the low-cut filter and eliminate much of the problem. Or use the high-cut filter to roll-off frequencies above 12k and help tame a bright room with lots of reflections, or a bright source. What makes the LA-320 filter design even more useful is that the engineer can use both filters at the same time, resolving many problems before the recording even hits the hard drive,” adds Loudenslager.

Inside the LA-320 is a 1-inch pressure gradient true-condenser capsule and dual-triode vacuum tube inspired by what was used in classic German microphones. “Don’t be fooled by the affordability, the LA-320 features high quality components often found in much more expensive microphones. We have utilized our years of experience to create what we believe to be the best value of any large diaphragm vacuum tube microphone. I think any budding engineer will be more than pleased with the mic,” states Loudenslager. “With the classic inspired internal components, built-in filters, and included accessories, the LA-320 is sure to quickly become a popular choice for any recordist on any budget.”

The LA-320 has a suggested manufacturer retail price of $799 and an estimated street price of around  $499. The new mic will be available in U.S. retailers starting April 2016, and worldwide later this year. 

Lauten Audio "Atlantis" is the Microphone Behind the Grammy for "Best Jazz Vocal Album"

Engineer Todd Whitelock Captures Grammy Gold with Lauten Audio ‘Atlantis’ Mic

‘Best Jazz Vocal Album’ Grammy® goes to Cecile McLorin Salvant’s "For One to Love"

Todd Whitelock in Avatar's studio A

San Jose, CA – (March 7, 2016) – Engineer Todd Whitelock loves the Lauten Audio ‘Atlantis’ FC-387 microphone for recording vocals, it’s now his “go-to” female vocal mic. At Avatar Studios in New York last year he used the Atlantis to record vocals on the Grammy® Award-winning album "For One to Love" by Cecile McLorin Salvant which garnered the prestigious “Best Jazz Vocal Album” for 2016. The album category awards the Grammy to the Artist, Producer, and Engineer. The album was released on Mack Avenue Records. Whitelock has engineered albums for many of today’s most lauded artists including Josh Groban, Idina Menzel, Christian McBride, Brian Blade, Harry Connick Jr., Yo Yo Ma, as well as Chick Corea, Wynton Marsalis, and the Jazz at Lincoln Center Orchestra, to name just a select few.

For One To Love was recorded live in the studio with Aaron Diehl (piano), Paul Sikivie (bass), Lawrence Leathers (drums), and Cecile on vocals. “Each of these musicians are masters of their craft, their talents go well beyond their amazing musicality,” notes Whitelock. “Together they are a quartet, not just a trio backing vocals and they play in a rarefied zone of precision, intuition, and conviction that was just awesome to watch and hear—and record!”

“Of all the Grammys that I have been honored with, this one is special. I feel this one is

Cecile at Avatar studios singing into Atlantis microphone

personal and so deserving for the artist and her artistry as it’s Cecile’s first Grammy and producer Al Pryor’s as well. It’s an intimate record, a portrait actually, that puts it all out there for everyone to behold. Cecile is one of the most natural performers and artists that I have ever had the pleasure to record. She performs the music naturally, effortlessly, so I need to make sure it sounds natural and effortless. For One To Love was one of those perfect storms, the right artist singing the right music in front of the right microphone, in the right studio. She made the magic, I didn’t do anything but get out of her way.”

“I have to thank Fabrice Dupont for turning me on to the Lauten Audio ‘Atlantis’ microphone, which I used for both of Cecile's records,” says Whitelock. “We listened to all the famous ‘old tube mics’ on her voice before choosing Atlantis for its clarity, quietness, and dynamic range — it quickly became my go-to favorite for female voice.”

When he first tried the Atlantis mic on Cecile’s voice at Avatar Studios he was pleasantly surprised, “Besides Avatar’s incredible collection of microphones, I had a couple of my other favorites with me too. It was really about blindfold testing, putting all those mics up there and seeing what was most complimentary for her vocal and dynamic range, and to capture her real character, the essence of her performance. We all listened to playback and the Atlantis was a revelation! I chose the Atlantis, Al Pryor and Cécile both chose the Atlantis as their favorite. It was like ‘Oh my god! – Thank god I brought the Atlantis!’”

Whitelock says, “With the Atlantis I found I was not having to push Cecile into the balance, her voice just floated above the track with this really vivid picture of her voice, bigger than anything else that I had tried, she just filled the track, letting the music just wrap around her. That was everything for me. It was staggering.”

Check out a live session at KCRW from Cecile's previous album “Womanchild” which was nominated for a Grammy 2 years ago, Whitelock also recorded her vocals using the Atlantis mic: https://www.youtube.com/watch?v=9RsjZFG76Qk

“Actually, a lot of amazing singers have been on my Atlantis microphone,” he adds, “from Rene Flemming, to Rhiannon Giddons, Idina Menzel, to Audra McDonald. And in most of these cases I have to put up their favorite mics, but in the same blind/ playback tests the Lauten Audio Atlantis wins every time. And these singers have sung for years and years on what they think is their favorite microphone! The Atlantis makes my job much easier. It’s eliminated the guesswork. You bring in Lauten Audio mics and you know what you’re going to get. If it’s a new client they are going to be amazed, and if it’s an old client, that’s what they’re expecting to hear.”

The Atlantis FC-387 microphone was a collaborative effort between Lauten Audio, and New York engineer and producer Fab Dupont. Its Multi-voicing™ feature gives recordists three distinct timbre’s to choose from with just the flip of a switch. Originally designed for vocals, the Atlantis also shines on acoustic instruments of all types.

Lauten Audio
www.lautenaudio.com

Todd Whitelock
Allmusic.com credits

Lauten Audio to Reveal "Eden" a Multi-voicing Tube Microphone

Building on the success of the Atlantis, Lauten Audio announces "Eden," a vacuum tube Multi-voicing(tm) microphone at 2015 Musikmesse Trade Show in Frankfurt.

Frankfurt, Germany - April 13, 2015 - At the 2015 Prolight + Sound / Musikmesse in Frankfurt, Lauten Audio will, for the first time in public, reveal the model LT-386, nick named "Eden," a vacuum tube, Multi-voicing(tm), large-diaphragm condenser microphone. Eden features Lauten's proprietary "Multi-voicing(tm)" technology; a switch offering unique timbre settings, three different polar patterns, and an exclusive high-pass filter.  Eden is for recordists seeking the most diverse and useful modern vacuum tube microphone. It offers a smooth and rich character reminiscent of the most sought after classics. Lauten will be showing the Eden microphone at Prolight + Sound / Musikmesse in Frankfurt, Germany, April 15-18, at booth A60B, in Hall 5.1. Eden is estimated to list for $3,999.00 (USD) and be available at dealers starting in June 2015.

Brian Loudenslager, Founder of Lauten Audio, reveals, "This was our greatest challenge yet. In preparation for and during development, I spent time learning to understand what people think is so special about vintage and vintage inspirations like the C12, 47, 251 etc. I spent many hours in the studio with industry veterans learning what they hear. Not that I haven't done this in the past; it's just that this time, rather than think what I could do differently, I was trying to imagine what I could do the same within our own microphone range and then expand upon it. Eden was designed as a result of these experiences. I've even surprised myself; the Eden is so smooth, with a sprinkle of that magic 'pick your adjective' you often hear described."

"I need to give a shout-out to several people including Grammy(r) winning Producer/Engineer, Jason Carmer, who lent us his studio and ears for many, many hours, as well as Mastering engineers Michael Romanowski and Piper Payne and everyone at Coast Recorders," adds Loudenslager.

Multiple switches located on each side and back of Eden allow the engineer to highly configure it. First is a polar pattern switch located on the microphone itself; which is not common for a modern vacuum tube microphone, giving recordists the option of choosing between a Cardioid, Omnidirectional or Figure-8 polar-pattern. It also features a unique high-pass filter; of course, this high-pass isn't like others. "I'm not revealing the per-octave's yet, if ever, but can say, it's unusual in a microphone," says Loudenslager.  Lastly, Eden will feature a voicing switch that offers Forward, Neutral, and Gentle timbre options. "Without a doubt, adds Loudenslager, "Eden could arguably be the smoothest, most versatile, large diaphragm, vacuum tube vocal microphone ever."

As the Company did on its Atlantis model, once again Lauten Audio worked with engineer and producer Fab Dupont to help develop the sonic signature. "I wanted something that has all the benefits of a true vacuum tube transformer mic without the drawbacks, and Lauten Audio made that happen," says Dupont. Some of the many challenges Fab requested were a unique high-pass and a semi-permanent shock-mount. Dupont adds, "The high-pass switch in Eden gives you bass drum clean-up and vocal clean-up options. Imagine having a Lauten Atlantis with all its characteristics and adding the control and density of a tube and transformer design-that is Eden by Lauten Audio." 

"Fab and I have evolved in our ability to understand each other and while this is a good thing, he also challenged us a great deal more," says Loudenslager. "In reality, Eden is a completely 'from-the-ground up' design with a much more vintage inspired design methodology. I started with a tube version of Atlantis, but in my opinion, we ended up with something quite different-this is our new flagship microphone."

Eden will be assembled in the USA and feature a modified version of Lauten Audio's 31.25mm dual-diaphragm capsule, a custom wound, U.S. built output transformer, EF86 or equivalent pentode vacuum tube, Switchcraft(r) connectors through-out, nickel plated head, a semi-permanent shock mount, and Lauten's new unique surface finish also done in the USA. Accessories included with the microphone will be Lauten's custom tube microphone cable with Switchcraft connectors, hard case and mount.  Final specifications will be released prior to the product shipping which is estimated to be in June 2015, with a list price of $3,999.00. (USD)

About Lauten Audio

Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound.  Their product line includes the award-winning "Oceanus" LT-381 transformer-less tube condenser microphone, the FC-357 "Clarion", and the FC-387 "Atlantis" solid-state Multi-voicing(tm) large diaphragm condenser microphone.  Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world.  Lauten Audio is located in San Jose California.  For more information visit http://www.lautenaudio.com or call 1-877-721-7018.

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

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