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

David Crosby Chooses Lauten Audio ‘Eden’ Microphone for Vocals

FOR IMMEDIATE RELEASE

David Crosby Chooses Lauten Audio ‘Eden’ Microphone for Vocals

Producer/Engineer Fab Dupont discusses recording David Crosby’s new album “Lighthouse” which features the Eden tube mic on lead vocals

San Jose, CA – (October 24, 2016) – Producer and engineer Fab Dupont recorded David Crosby’s new album “Lighthouse” (GroundUP Music/Verve Label Group) at Groove Masters, Jackson Browne’s private studio in Santa Monica, then mixed it at Dupont’s own Flux Studios in New York. The microphone choices were many, but the chosen were very few, with the Lauten Audio “Eden” tube microphone featured on Crosby’s lead vocals. The album was produced by multi-instrumentalist Michael League of Snarky Puppy fame and co-produced, recorded and mixed by Fab Dupont.

Dupont, commenting on the vocal mics used in the ‘Lighthouse’ recording sessions said, “There was the Eden, which is all the lead vocals, and all the lead harmonies were done with the Eden. The Eden is the sound of the vocals.” David Crosby added, “With the Eden mic, Fab Dupont was able to capture the best vocal sound I've ever had in my entire career.”

When asked how the lead vocal mic was chosen out of Groove Masters’ vast vintage mic selection, Dupont elaborated, “Basically what happened is David didn't know me, Michael brought me in, and so on the first day David sees the Eden and is like, ‘What's that?’ He says, ‘I record here all the time. There's microphones here I love. I want to use those,’ and I said, ‘Okay, cool, no problem. I'll put those up, but would you mind trying this one? Because I think you'd like it.’ He said, ‘Okay, sure, because, you know, why not?’ I asked the assistant, I said, ‘What's David's favorite mic here?’ and that's how the [Neumann] U 47came up. Then, I took the 47 that was his favorite 47 from all the vintage 47s in this 47 museum and then put the Eden up and recorded him singing into both, and then he picked the Eden. That's how the Eden became the microphone for the record.”

“David, who has no allegiance to anything, just immediately loved the Eden right away,” Dupont adds, “wanted one for himself immediately, and he has choice, you know? He can do whatever he wants. Yeah, there is something very special about that mic on vocals.”

Describing his sonic ideas as co-producer and engineer on the album, Dupont reveals, “I have a certain idea of how music should sound to make me happy—and Michael League and David Crosby had a very clear idea of what they wanted to do. Since they decided to not put any drums on the record that allowed me to do whatever I wanted. After going back and listening to David's old stuff and more recent stuff, my vision was to do something extremely pure, to focus on the lyrics and the picking on the guitars.” Lauten Audio’s Atlantis FC-387 microphones were also used to record acoustic guitars in combination with vintage microphones.

Dupont continues, “What I wanted to try and achieve is get all the good stuff from the old recordings, which is all those vocal blends and all that kind of warmth, like fuzzy tone, but without the inherent artifacts of older recording, which is this slightly distant sound. I wanted to capture the warmth and capture the blend that they had back in the day by everybody playing together. I wanted to capture something like that, but put it in a shell of super Hi-Fi HD gloss, in your face, ‘no recording’ kind of vibe. It's a difficult balance but I think we did it.”

Check out David Crosby’s new album “Lighthouse” at: http://www.davidcrosby.com
Lauten Audio’s flagship microphone Eden model LT-386 is assembled in the USA and features a modified version of the Company’s 31.25mm dual-diaphragm capsule, a custom wound, U.S. built output transformer, EF806s or equivalent pentode vacuum tube, Switchcraft® 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 include Lauten’s custom tube microphone cable with Switchcraft connectors, hard case and mount.  The LT-386 has a list price of $3,999.00. (USD).

Lauten Audio
www.lautenaudio.com

Fab Dupont
www.fabulousfab.com

Lauten Audio Press contact:
Paul de Benedictis
pdbmusic@pacbell.net (650)-303-2565

David Crosby Photo Credit: Nikki Birch

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