Easy To Love (One Microphone Recording)

Kate McGarry

15.9919.99
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Original Recording Format: Analog Tape
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Easy to Love is a most appropriate title for the recording debut of vocalist Kate McGarry. Right from the voice-bass intro on “My Heart Stood Still”, you know that this is to be no run-of-the-mill program.

An immediate reaction may be to notice the exceptional diction and enunciation and the distinctive phrasing that McGarry demonstrates. It’s not surprising to learn that her greatest influences have been such unique stylists as Jon Hendricks, Betty Carter, and Mark Murphy, as well as the great lady of jazz vocals, Ella Fitzgerald.

Easy To Love is a One Microphone Recording by Producer, Recording Engineer and Tube Audio Designer David Manley from Vacuum Tube Logic (VTL).  It was recorded direct to Stereo Analog Tape using a single Manley Gold Reference Stereo Condenser Microphone and a 2-track Studer C37 Analog Tape Deck updated by VTL mechanically that contains only our Manley pure tube circuitry.

Kate McGarry – Vocals
Paul Kreibich – Drums
Karen Hammack – Piano
Eric Von Essen – Bass

Tracklist

1.
MY HEART STOOD STILL
05:21
2.
THE NIGHT HAS A THOUSAND EYES
03:33
3.
AUTUMN NOCTURNE
06:13
4.
JUST YOU, JUST ME
05:17
5.
GET IT STRAIGHT
04:30
6.
BODY AND SOUL
04:23
7.
THE THRILL IS GONE
05:31
8.
EASY TO LOVE
03:27
9.
HAUNTED HEART
03:58
10.
A FELICIDADE
04:41
11.
DEARLY BELOVED
04:47
12.
YOU'RE NEARER
03:16

Total time: 00:54:57

Additional information

Label

SKU

SACD068

Qualities

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Channels

Artists

Composers

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Genres

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Analog Mixer

Custom VTL Manley Analog Mixer

The mixer is based around the Manley Reference preamplifier and can mix up to 10 microphones into 2 busses. Mixing of microphones is achieved by each input having its own dedicated grid, and not by the usual “pot and buildout resistor” method as found in every console in use in the recording industry. No equalization of any kind is employed,

The patch-bay itself is comprised of audiophile-quality 4mm silver-plated banana-plugs, and not of the commonly used `tip-ring-sleeve' post-office style jack plugs.

Analog Tape

AGFA type 468 tape was used at 200 nano-Webers, but run somewhat on the `hot' side, (+5dB), without any kind of noise-reduction.

We chose to accept a small amount of tape hiss, in preference to the sterility and inherent phase shift distortion produced by (solid-state) noise-reduction

Analog Tape Machine

2-track Studer C37 Analog Tape Deck updated by VTL mechanically that contains only our Manley pure tube circuitry.

The 1/2 inch 2-track Studer C37 Analog Tape Deck has been fully updated by us mechanically and contains only our Manley pure tube circuitry. At 15 ips this machine is flat from 20 HZ to 20 KHZ ±.2 dB.

Cables

The microphone is connected via VTL `Quad' double screened cable right into a unity gain mixer for level-setting and metering. All fixed wiring in the patch-bay and control-room is VTL “White wire” 3 x pure copper and 2 x silver cores in teflon.

Microphone

Manley 'Gold Reference' Stereo Condenser Microphone

The Manley Gold Reference Stereo Condenser microphone is the center piece and the single microphone used for this recording. No other additional microphones were used at all.

It is of the so-called `large capsule' variety, having a diameter of 11/4 inches with 3-micron gold-deposition mylar diaphragms. The stereo version has one fixed capsule and one rotatable capsule which offers a continuously variable “pick up pattern”.

For our own recordings we use custom-versions of the `Reference Gold' microphone, in that the entire vacuum tube amplification is built into the microphone body, (8 triodes in the stereo microphone!), and no transformer coupling or external amplification is used at all.

Original Recording Format

Producer

David Manley

Recording Engineer

David Manley

Recording Location

VTL Studio in Chino, California.

I designed the acoustics of the VTL studio in Chino, California, for 'purist' recording techniques only, with all the music being played 'live' and captured straight on to 2 stereo tracks.

Measuring 40 ft x 30 ft with a cathedral-peak ceiling of 16 ft height, the entire acoustic treatment is finished in Oregon Oak and Douglas Fir timbers with continuous Helmholtz tuned resonance absorbing slots.

The floor is rubber over high-density particle board over concrete with a resultant reverberation time of approximately 1 1/2 seconds, providing a totally neutral and resonance-free acoustic.

Every single piece of equipment in the (entirely tube, entirely analogue) recording chain is of my design and is built in our factory in Chino. Unusually, this includes the microphones themselves.

Recording Type & Bit Rate

Analog to DSD64

Release DateAugust 27, 2014

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