I spent the last year researching what our grandfathers and great grandfathers went through over there. I researched the weapons, equipment, process, and the flora and fauna of Normandy. Our mission was to create a historically accurate audio “snapshot” of what it was like to land behind enemy lines on that fateful day.

One of the coolest aspects of the job was recording the WWII weapons. We got to meet some wonderful people who passionately believe in keeping the memory of WWII alive. They reenact WWII events and collect WWII memorabilia including the actual weapons. And they were kind enough to share it with us.

Prior to this project, the only gun I had ever fired was a BB gun when I was a child. As we were recording the Thompson submachine gun, the owner turned to me and asked if I wanted to shoot it. So on that day I lost my gun virginity to a Thompson on fully automatic! What a way to go!

This video was shot in a canyon in Texas. Enjoy. I know I did.

Imagine my surprise when I came across an advertisement in the newspaper that totally refuted his premise! I, of course, needed to correct him quickly. So here’s our email exchange along with a copy of the ad below. Enjoy!

My email to Drew:
From: Scott Faris
To: Andrew Farley
Sent: Sun, January 3, 2010 10:43:41 PM
Subject: Who knew?!?

Apparently Drew, you have it wrong. This news paper advertisement proves it. It’s actually Jesus plus copper plus magnets!

:)

s

His response:
I had no idea, Scott. Thank you! I am contacting the publisher right away so that we can do some edits to the next printing of my book and add some insights regarding the truth of the magnet. I cannot thank you enough.

Drew

Dreams In Progress: Indie Producer Shares His Story

willterrell.com
superzeroes.net

Oh, and I used to teach his sister Heather guitar… It’s a small world.

He said something that really stopped me in my tracks. He was relating a story about how they had a huge ice storm hit Amarillo, Texas. So they sent their weather team out into the thick of it with their new quarter-of-a-million dollar mobile satellite truck to capture the essence of the storm. Unfortunately, the ice came down so fast that it completely froze their state-of-the-art broadcast truck.

So instead of throwing in the towel, the crew went into problem solving mode. Luckily, someone on his staff had the foresight to pack a laptop and a webcam. So here they are in the middle of the ice storm broadcasting with a webcam. A gigantic media company would have had zero live coverage of the storm if it hadn’t been for the simple problem solving and forethought of one individual. It might not have been hi-def video, but it was news and they got the job done.

How does this apply to the studio? If you own one, you know things are constantly breaking down and you have to fix them on the fly. If you own a studio where more than one engineer works, things get misplaced easily. Case-in-point:

I had a session that needed that big Fender vibrato surf-thang. I own a ’66 super, so that’s an easy tone to achieve. Except the pedal for the vibrato was missing. If you own an old Fender, you know that you can’t turn vibrato on without the switch. So I searched. No dice.

So I had to solve a problem. How do you turn the vibrato on? It’s a simple RCA jack. Connecting the tip and ring turns it on. So I pulled out the tool kit to see how I could rig it. I had some desoldering braid in there. So I wrapped it around the tip until it filled the gap and touched the ring.

Volia! We had vibrato! If you’re out there and want a studio job, learn how to solve problems. It seriously impressed an owner (not to mention the client) when you can solve problems creatively and quickly.

I have no complaints at all about how the mount holds the mic. I actually think it’s quite brilliant. It’s very easy for you to adjust angles, etc. But they break way too easily at the neck between the clip and the mount itself. One recently fell over at my studio and snapped in half. Then, not more than two weeks later, I was working at Studio 1916 down in Austin and, low and behold, I see an AKG C414 shockmount on their shelf broken in exactly the same way.

Dusty Wakeman over at Mojave Mics says most manufacturers spend very little money on their shockmounts. In the range of about 50¢ (see this video from audiomidi.com at about 7:30). That’s pretty frikin’ cheap. I have no idea how much AKG spends on these, but they sure sell for a small fortune. $120 bones or so. And the warranty doesn’t cover “accidents.” That sucks. Bad business, AKG.

Luckily, the guys over at Sweetwater are fantastic and gave me a hook-up on a replacement. AKG, I love your mics. They make me happy every time I use them. Please. I implore you to make your shockmount more durable.