William Whittman (who produced and engineered the track) discusses the recording of Cyndi Laupers’ Time After Time:
IN the mix I took the shaker (I just realised we always CALLED it a shaker, but actually it’s the Linn Cabasa), through an Eventide Flanger to make it dance around in stereo a bit and get it out of the dead centre, where it was too demanding. It sounded better being a little diffused… less artificial.
Ever heard of the “Cardinal Points Pan Law?” It’s not a law, so much as a mixing guideline:
The poster is talking about “hard” panning everything, as if there were only L,C,R switches instead of pan pots. So basically, there is no middle ground, except for necessity, as he says. You only use the spaces in between when you want some thing to stick out, like a tom.
Here’s a thread on Gearslutz discussing the 1960’s bass sound
if we’re talking pet sounds/association type bass sounds…first off i’d recommend flat wound strings. a hollow body bass would get you very close to that da dunka dunk/clacky bass sound…playing very controlled and muted and towards the bridge of the guitar.
next…and this is a really good trick in general…use a guitar amp. preferably a 60’s style tube amp. i’ve been able to get awesome bass sounds using all of the above through a fender deluxe reverb. my thought process is…generally there weren’t that many massive peavy/ampeg bass rigs laying around…especially towards the early part of the 60’s. most bassists would have used slightly more robust guitar amps. lastly…i used a ribbon mic about a foot and a half away from the speaker grill.
