|I am Will Manning, a recording engineer based in Athens, Georgia. In 2007 I graduated from Savannah College of Art & Design with a BFA in Sound Design, focus on Music Production. I interned at Echo Mountain in Asheville, North Carolina and learned on sessions with Band of Horses, The Avett Brothers, Samantha Crain and countless others.
I find fulfillment in both the creation of new ideas and the resurrection of old ones. The endless art and beauty that comes from uniting technical and creative aspects of recording fascinates me. I direct my efforts to collaborating with artists and effectively routing their energy while recording.
If you want to hear the Peluso R-14 ribbon microphone, it's all over YAZAN's Your Crooked Part.
The R-14 Ribbon Microphone from John Peluso at Peluso Microphone Lab recently made its way into the Village Recordist's mic locker, or…my small blue vintage box purse. The R-14′s design is inspired by classic ribbon microphones, which Peluso has certainly crossed paths with in his 27 years of working with microphones. Appropriately timed, I had the pleasure of spending a week with Yazan, a good friend & country blues musician (who was born/raised in New York City) In hind site, it was only right that a player of this caliber christen this microphone.
Usually I futz around with mic placement to hear my options, but this time the mic stayed where I first placed it. The Peluso R-14 sounded just right, right there – three feet in front of Yazan's head, aimed at his throat. It responded just as I was hoping it to. Why I hadn't purchased the microphone earlier was the only question I had. The ribbon captured just enough presence of his Gibson to let you know this man was doing much more than strumming – it caught the motion of Yazan's playing. The percussiveness was not overstated, it was tamed. The movement was clear and round, not distracting. The top end was smooth and warm yet defined.
Yazan's vocals didn't have a problem traveling three feet, in fact he even had me reaching for a pop-filter occasionally. The vocals slid into the R-14 with warmth and body. Once in a while the figure-8 pattern beautifully picked up reflections from across the pond – adding a slight & wonderful effect to the performance. We were recording on the porch of a an old house facing a pond. The mic maintained its clarity & sensitivity, picking up great detail even at low levels.
When Yazan went to stompin' in the middle of a take, the R-14 was waiting to pick up his porch rattling beats with enough clarity & low-end to remind you where these songs were coming from; however, it was far from an out-of-control muddy rumble. It was curious to me what this microphone was capable of.
The R-14 captured realism with an undeniable musicality – Peluso's 27 years of experience are obvious when you hear this microphone. Needless to say, the R-14 gets another great review and I'm looking forward to checking out his other microphones.
On this album, we ultimately used the Peluso R-14 in combo with an AKG C-1000. The C-1000 was used as a room mic. We tracked straight to 1/4″ 2-track on an Otari MX-5050 using ATR master tape. I dumped into Protools HD: Peluso R14/vocal track through an LA-2A and C-1000/room through Distressor.