Engineer Darrell Thorp Chooses Loads of Lauten for Foo Fighters Concrete & Gold Album

Darrell Thorp in his private studio with his Series Black Microphones. Photo Credit: Derek McCoy

Seven-time Grammy winning engineer and mixer, Darrell Thorp, used Lauten Audio mics, including its flagship tube mic, Eden, on new Foo Fighters album “Concrete and Gold”

San Jose, CA — Sept 19, 2017 — Engineer Darrell Thorp recently recorded the Foo Fighters new album at EastWest Studios in Los Angeles and chose to use loads of Lauten Audio microphones, including the Atlantis, Eden, Clarion, and the new Series Black LA-120, LA-220, and LA-320. The new Foo Fighters album “Concrete and Gold” (Roswell Records/RCA Records) was released on September 15, its first single, “Run,” hit the top 10 on the Rock Airplay Billboard charts in June. “We had a massive setup for recording the band,” says Thorp, “part of the challenge was we had 4 drum kits set up at once, a bass station, vocals, keys with 2 keyboards and pianos, and over 20 guitar amps, some in the live room and some in Iso-booths — I was using a lot of Lauten Audio mics.”

Discussing how and where some of the different mics were used, he explains, “For a sonic clarity difference I was having all the background vocals recorded on the Lauten Audio Eden mic, it’s a bit of a sweeter sounding mic, and I was using the ‘Forward’ switch so they would always sound breathy, and open and airy, around the lead vocal.” 

“On the song ‘Happy Ever After’ which is the quietest, most acoustic track on the record, Dave Grohl was playing this Harmony solid body acoustic guitar, which is super quiet, but it has a ‘sound’ — so I grabbed a Lauten Audio Atlantis mic and switched on the +10 dB gain switch — which is "expletive" genius!” exclaims Thorp. “I was barely rocking my mic pre, so I had plenty of level to Pro Tools and I was able to get a really good guitar sound. I was also using the Atlantis and LA-320 on guitar amps a lot, sometimes the LA-320 was on room guitar amps as well at about 15 to 20 feet from where the amps would sit in Studio One at EastWest — the room is huge and sounds amazing.”

The Series Black LA-220 mics were used for some of the main tom mics says Thorp, “They were amazing, they worked so well. I used the LA-220s on the Gretsch ‘George Lake’ kit with a 13-inch rack tom and a 16-inch floor tom.” 

  

Thorp concludes, “I really do stand behind the Lauten Audio mics, I use the products a lot! I’m not just a face on an ad and a face on the website. We just did a Foo Fighters BBC Live session and I took an Eden for a mono overhead on the drums, which sounded great. I use the mics all the time when recording!”

Darrell Thorp is a seven-time Grammy® Award winning producer, mixer, and engineer (Foo Fighters, Radiohead, Switchfoot, Molotov, Beck), with over 20 years experience and many multi-platinum records on his discography. Thorp moved to Los Angles in 1997 after a 4-year service in the U.S. Navy and started interning at smaller studios, and eventually worked his way up to an Assistant Engineer at some of L.A.’s prestigious studios such as Track Record, Conway, and finally Ocean Way Recording. He recently had the pleasure of recording and mixing the new Foo Fighters album "Concrete and Gold," and also engineering the new Beck record "Colors". 

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

Lauten Audio Expands 'Series Black' Line with Two New Condenser Microphones

Lauten adds LA-220 Solid-state vocal condenser and LA-120 small diaphragm instrument pair to the “Series Black” microphone line aimed at budding recordists

San Jose, CA – August 2nd, 2016 – Today, Lauten Audio announced two additions to its new line of microphones aimed at budding recordists, dubbed “Series Black.” The LA-220 ($249 est. street), is a professional, solid-state, large diaphragm true-condenser studio vocal microphone, while the LA-120 ($349 est. street), is a pair of professional, solid-state, small diaphragm FET instrument condensers. Inspired by classic designs, both new microphones give users access to great sounding, yet affordable, professional quality products. The 2 new Series Black microphone models will ship starting in August and Internationally in October.

At its core the LA-220 features a U.S. made ultra-low-noise JFET amplifier, a 1-inch pressure gradient, large diaphragm, and a true-condenser capsule with cardioid polar pattern. The new mic features independent 120 Hz low-cut and 12 kHz high-cut filters, a transformer balanced output, and includes a spider-style shock mount.

The LA-120 mic package comes as a pair, and features interchangeable 17mm pressure gradient condenser cardioid and omni-directional capsules, U.S. made ultra-low-noise JFET amplifiers, 50 and 150Hz low-cut filters, 10 and 15kHz high-cut filters, and a transformer balanced output. The dual mic package ships with a wooden box and hard mounts.

Both microphones are designed to give budding recordists an affordable entry into the world of professional sound recording. “We are giving developing recordists two excellent new microphone options that complement each other, as well as the LA-320 vacuum tube condenser mic that is already available, also in the Series Black line,” says Brian Loudenslager, Founder of Lauten Audio. He continues, “Our unique high and low cut filters offered on these mics have already garnered rave reviews from users and professional reviewers. These features take into consideration common problems in home, basement or bedroom recording environments and make achieving great recording results easy for anyone.”  Both microphones feature two independent filters located on the microphone with easy to engage switches. If the room or source is boomy, or if there is low-end rumble from outside noise, recordists can turn on the low-cut filter and eliminate much of the problem. The high-cut filter can be used to roll-off high frequencies helping tame bright sources. 

Both new mic packages feature high quality components often found in much more expensive microphones. “We have again utilized our years of experience to create what we believe to be the best value of any professional microphones on the market today. With the classic inspired designs, ultra-low-noise JFETs, built-in filters, and included accessories, these microphone are sure to quickly become a popular choice for any recordists on any budget.” adds Loudenslager.

The LA-220 has a manufacturer suggested retail price of $499 and an estimated street price of $249 and the LA-120 has a suggested retail price of $599 and an estimated street price of $349. They will be available in U.S. retailers starting in August and worldwide in October. 

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 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.

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

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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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Hi-Res Photos download:

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Lauten Audio “Atlantis” Microphone Now Shipping

 Audio “Atlantis” Microphone Now Shipping

New FC-387 “Atlantis” solid-state large diaphragm condenser microphone available worldwide June 1, 2012

Fab Dupont with the Atlantis FC-387

San Jose, CA — May 29, 2012 — Lauten Audio has begun shipping its new microphone, the FC-387 “Atlantis” model. The new mic is a solid-state large-diaphragm condenser with three distinct personalities. Atlantis features multiple switches for three different polar patterns, gain, and unique timbre settings. The FC-387 offers a blend of full and rich low- and mid-range, as well as smooth and unique high-mid and high-frequencies - recordists seeking an incredibly diverse and useful modern FET studio microphone will like it. The Atlantis FC-387 microphone retails for $1599. US and will be available worldwide from dealers June 1, 2012.

The engineer who had a huge ‘voice’ in the tuning and settings of Atlantis, Fab DuPont, a New York engineer and producer says, “Nobody is making a microphone for the modern recording process - everybody is making microphones as if we were still going through consoles and transformers to tape several times in the process of recording. The reality is we don’t. The reality is that we all record into a very clean preamp, into a very clean converter, into a very clean DAW, coming out a very clean D-to-A. And everything in incredibly open and bright and pristine; it’s really hard to make a modern, good sounding record because everything is too bright and everything is very wide open.” 

Fab had been speaking with Brian Loudenslager from Lauten Audio at parties and tradeshows and telling him about this predicament. Fab recalled telling Brian, who agreed to work with him on a new model of Lauten Audio microphone, “I need a microphone that can be custom tailored, for recording female vocalists, so that when they start belting on the chorus - my eyes don’t hurt!” 

Brian Loudenslager, Founder of Lauten Audio reveals, “It’s really been a pleasure and an eye opening experience working with Fab on the Atlantis. Getting what I feel was a true non-biased opinion during the development and tuning of the Atlantis has taught me a lot about how others perceive the timbre of a microphone. This microphone is just so useful, with the many different preamps, voices and sources available today; the Atlantis can work with them all. Just flip a switch, or two.”

Fab adds, “The idea was to put it all in one microphone. A microphone that would be neutral enough for modern recording, so that when you plug it into a regular preamp it’s all good and it doesn’t sound too bright and annoying. Then it would have several personalities. One personality would be the neutral one, one personality would be a mellower one for bright vocalists. And a bright setting too, even brighter than neutral—if you are recording dull instruments you can use that.”

After shipping many experimental microphone builds back and forth between California, where Lauten Audio is located, and New York, where Fab’s studio is housed, they finally agreed on the specs and the sound of the mic. “We came up with what is now the Atlantis. Which to me is my very first ‘desert island mic’ - I can do anything with it,” says Fab. “It’s probably the most versatile mic I’ve ever had because of those three different personalities.”

Multiple switches located on each side and back of the FC-387 Atlantis microphone allow the engineer to uniquely configure it. First is a polar pattern switch giving recordists the option of choosing between Cardioid, Omnidirectional or Figure-8 polar patterns. Borrowing the gain options from its sibling, the Lauten Audio ‘Clarion’ FC-357 microphone, the Atlantis features a -10db and +10dB switch. The +10dB gain switch increases versatility by allowing a choice of whether to have more character from the preamplifier gain or directly from the microphone, while the -10dB switch reduces its output and increases the maximum SPL level allowing it to record very loud sources.

What makes the Atlantis microphone truly unique is its voicing switch. This feature gives recordists three very different timbres to choose from that satisfy an extremely wide range of recorded sources. The options are: Gentle, Neutral and Forward. The ‘Gentle’ position provides maximum control of bright or peaky sources like S’s in vocal recordings. The ‘Neutral’ position offers a nice even response with good control over vocal “S” sounds and other audio peaks, while the ‘Forward’ position can help bring life to dull sources without having to use EQ, but still maintaining control over any peaks.

As are all Lauten Audio microphones, the FC-387 Atlantis is built with extreme attention to detail. From the individually hand-tuned capsule to the premium high-resolution electronics, the microphone is a high-quality precision instrument that will meet or exceed the demands of any studio recording environment. 

Fab’s experiences with the Atlantis mic in his own studio, recording on real projects, has revealed how well the mic turned out. “I have tracked a pretty impressive amount of vocals through it - that’s the mic’s main target: vocals - and it has not failed yet. It’s great on female vocalists on the ‘Gentle’ setting,” says Fab. “It’s great on quiet folk singers on the ‘Neutral’ setting. It’s really great on far away drums and stuff on the bright setting because you get no phase problems, and you get the bite that you need. It’s really quite a wonderful mic.”

“The first thing I did with the Atlantis was the demo for the launch of the Universal Audio Apollo demo, that’s a pair of Atlantis mics on the drums. That’s also the Atlantis mic on the vocal for the Apollo demo,” explains Fab.

“I’m doing the next Cyrille Aimée record; she is the next biggest thing in Jazz. She’s totally in love with the Atlantis mic for her vocals. Everybody loves it, big engineers, small engineers. It’s not for people who go for the look of the mic or the name of the brand; it’s for people who actually listen to what’s coming out of the speakers. It’s for people who really know what the current modern recording problems are and want a solution: Atlantis is the solution.”

Technical Specifications for Atlantis FC-387:

Type: 31.25mm dual large diaphragm pressure gradient transducer microphone

Polar Patterns: Omnidirectional, Cardioid and Figure-8 selectable

Circuit: Low-noise solid-state FET

Frequency Range: 20Hz - 20Khz

Dynamic Range: 120dB minimum

Impedance: < 200 ohms

Max. SPL: 0.5%THD@1000Hz: 130dB

Self-noise Level: < 12dB(A)

Sensitivity: 16mV/Pa OR -36±2dB 0dB=1V/Pa 1000Hz

Special Features:

3-way -10 dB attenuation, 0dB and +10dB gain switch

3-way Gentle, Neutral, Forward voicing switch

3-way Polar pattern switch

Connector: 3-Pin standard XLR

Power Requirement: +48V phantom power

The Atlantis FC-387 microphone retails for $1599. US and will be available from dealers worldwide on June 1, 2012.

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 “Horizon” LT-321 tube microphone, the “Oceanus” LT-381 transformer-less tube condenser microphone, the ST-221 “Torch” small diaphragm microphones, and the new FC-387 “Atlantis” solid-state multi-functional 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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Mike Terry on Ambient Micing

Ambient micing can really help give an instrument or vocal space in a mix. Depending on how you prefer the particular part to sit in the mix, will give you an idea of which mic to choose, how to position it and how much to blend into the close mic, if you are using one.

Ambient micing can aide in placing an instrument in the 3 dimensional space of a mix, front to back. Usually when something is far away it is muffled, more dynamic, and less distinguishable, the closer it gets to you, the more detail it has, the ear will naturally begin to compress and the dynamics become less by perception. Using this line of thought, you can apply it to your ambient mics. If you want the part to seem far off, then place the mic far away, even down a long corridor with little to no compression. If you want the part to be just set back from the immediate front of the mix, try the mic backed off a little, use a little more compression, and pan it just opposite the direct mic, this approach can give nice balance and space.

Ribbon mics can be a nice choice for loud sources, such as, drums, electric guitar, etc... But for other sources a multi-pattern tube or condenser mic is a great choice. Try an Oceanus or Clarion in omni-directional, this will help you pick up the whole room and usually provide a nice balanced ambience that you can blend in to taste.

Now there are really no rules and a lot of fun and experimentation can be had. Once you get a feel for your room and how the placement of the mic or mics in the room can really change depending on the distance to walls, corners, and floors, try adding compression, EQ, or filtering, to get something that really works well for you.

Mike Terry
Lauten Audio