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This is an excellent example of how good microphone technique can make all the difference: the audible vitality of the dobro and immersive space and presence of the rest of the band was all achieved on the way into Pro Tools.

Jay spent a lot of time adjusting mic positioning and preamp choices/levels (a Neve preamp into a Sony DMX console), and as a result, what he recorded was well balanced and is almost exactly the same as the final mix. He had Mike Mattison (lead vox) reasonably well isolated, and the rest of the band shared the same live room. Joyce placed Derek Trucks (dobro/electric guitar) in a lively sounding bathroom hallway, close micвЂ™d with a Royer 121 for warmth along with a distantly positioned Neumann SM-69 stereo tube mic to capture the bright, reflective nature of the hallway. I talked with producer Jay Joyce, who tracked/engineered the record along with engineer Jason Hall, to hear more about how they did it. Live-tracking an entire band certainly has itвЂ™s challenges, as musicians risk overplaying, and technically, a good sound may be hard to achieve with bleed everywhere. ItвЂ™s a masterclass in balance, all-the-more impressive given it was live-tracked in the same acoustic space, with only a couple of solo overdubs. The combination of great musical performances and wonderful transient, rhythmic and tonal sonic qualities are why this mix is one of my top go-to reference mixes when evaluating the acoustical properties of a playback medium or listening space.