Drew Zingg's Debut Album Project

Feb 1, 2013 9:00 AM, By Matt Gallagher

PRODUCER/ENGINEER GEORGE WALKER PETIT SPOTLIGHTS GUITARIST

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photo of George Walker Petit

George Walker Petit at the Neve 8038 console in Oliver Leiber’s private studio in Los Angeles, The Doguehouse

“I would say 90 percent of Drew’s tracks are played on his Gibson ES 335 through a JS Technologies Suhr Badger 18 amp. He played a couple of rhythm tracks on a Fender Stratocaster, and a couple on a Gretsch Hollowbody. Drew was in [the live room] but his amplifiers were in one of the iso booths, and we used Little Labs units to create that daisy-chain between Drew’s guitar pedalboard and signal into the amp room, where the amp was miked. The amp was close-miked with, depending on the tune, either a Shure SM57 with a Royer 121, and then a pair of Neumann large-diaphragm condensers. I think we used a U 67 and a U 87 for miking the room. The larger of the two iso booths looks on through glass into the live room. We put George Whitty into that station with his Hammond [B2 organ] and his other three keyboards.”

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Following tracking sessions at The Doguehouse, Petit and Zingg visited Different Fur in San Francisco to spend 11 days with assistant engineer Nick Pope overdubbing and experimenting with various song parts. A trumpet overdub took place in New York City at Downtown Music Studios. The final overdubbing session took place at Hyde Street Studios in San Francisco.

Petit took all the sessions on a hard drive to his mix room in New York City, Petit Jazz. Notably, Petit mixed the entire album in the box, primarily using his Universal Audio UAD Powered Plug-Ins and an SSL Nucleus controller. He strongly favors analog character and strove for the most transparent and natural-sounding mixes. “Part of my intention was to make sure that you couldn’t hear what I was doing,” Petit says. “I didn’t want to hear a big delay, I didn’t want to hear incredible amounts of compression [or] reverb. That said, I used multiple instances of plug-ins on each of these tunes! But I wanted them to be used in a subtle way. Absolutely not one piece of processing was used other than in the box. And I’m staying in the box—I’m sorry. I’m happy about the way this record sounds. People are freaking out about the sound of the record.”






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