Producer/engineer Anthony J. Resta (pictured) used Crowley and Tripp ribbon microphones in his Studio Bopnique (Boston) on several cuts for the upcoming album from Jane’s Addiction/Porno for Pyros frontman Perry Farrell.
“When it comes to microphone selection and techniques, my heroes are producers with an adventurous spirit. That’s what drives us to look for something that’s anything but generic,” says Resta. “The Crowley and Tripp Proscenium, Soundstage Image and Studio Vocalist microphones have been an amazing addition to my sonic palette. They’re crucial tools in helping me to achieve the warm saturation of analog that I love, even with today’s fully digital recording setups.”
Resta was introduced to Farrell by guitarist Nuno Bettencourt. Sensing the potential for a creative working relationship, Farrell began uploading raw tracks from Los Angeles to Bopnique in Boston, giving Resta free reign to overdub instrumental tracks that would fit in with Farrell’s distinctive style. “Perry has a fearless and innovative musical soul,” Resta says. “He is always breaking new ground and expanding his horizons, yet somehow, no matter how experimental things get, he ultimately stays focused on the song. The record has elements of classic rock, electronica and so much more. It’s really cinematic in scope and pushes all sorts of interesting sonic boundaries. There are also some very special guests, one being a legend from the ’60s—that’s all I can say for now!”
The Crowley and Tripp Proscenium was Resta’s go-to mic for many of his Farrell-inspired audio experiments. “The sound of these ribbon mics was essential to creating what I call my ‘sci-fi mambo madness,’” he explains. “For example, I really like to re-amp synthesizers though small, vintage 1950s guitar amps. The speakers get desirable distortion from pedals and the Crowley and Tripp Proscenium really captures what I’m hearing. It makes the synth sit very nicely in the mix without being harsh.
“Usually,” Resta continues, “I’ll put the Proscenium on-axis right in front of the amp, but sometimes I’ll experiment by placing it at a right angle and combining it with another mic, putting them out of phase. Another technique I like is to put the Proscenium two or three feet back from the mic, which gives you a nice dose of the room sound.”
Resta also used the Studio Vocalist while recording percussion for Farrell. “The combination of the Studio Vocalist and Proscenium works great on the bongos,” says Resta. “I put the Proscenium in the center and used the Studio Vocalist as a rear mic. I use them all the time for drum ambiences because these mics deliver the transients nice and sharp. I’ve used a lot of mics for that application, but Crowley and Tripp have been really innovative with these microphones. They provide my percussion recording sessions with a lot of output and natural brightness.”