{"id":61475,"date":"2024-08-20T12:40:36","date_gmt":"2024-08-20T17:40:36","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=61475"},"modified":"2024-08-20T16:51:42","modified_gmt":"2024-08-20T21:51:42","slug":"sheldon-gomberg-interview","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/sheldon-gomberg-interview\/","title":{"rendered":"Sheldon Gomberg Interview"},"content":{"rendered":"<div id=\"produ-2044106681\" class=\"produ-leaderboard-placement produ-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-7456367598414-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-7456367598414-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-7456367598414-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-7456367598414-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-7456367598414-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div><div class=\"flex-video widescreen youtube\">\n<div class=\"container-lazyload preview-lazyload container-youtube js-lazyload--not-loaded\"><a href=\"https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s\" class=\"lazy-load-youtube preview-lazyload preview-youtube\" data-video-title=\"From Bassist to Producer - Sheldon Gomberg Interview\" title=\"Play video &quot;From Bassist to Producer - Sheldon Gomberg Interview&quot;\">https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s<\/a><noscript>Video can&#8217;t be loaded because JavaScript is disabled: <a href=\"https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s\" title=\"From Bassist to Producer - Sheldon Gomberg Interview\">From Bassist to Producer &#8211; Sheldon Gomberg Interview (https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s)<\/a><\/noscript><\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Sheldon Gomberg is a session bassist turned producer\/engineer who has worked with an impressive array of artists including Jackson Browne, k.d. lang, Ben Harper, Plain White T\u2019s, and many more. He recently spoke with Warren about his musical journey, his approach to record production, and his inspirational story after having been diagnosed with Multiple Sclerosis (MS).<\/span><\/p>\n<p><b>On Working With Warren Zevon<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Gomberg played with legendary songwriter Warren Zevon on \u201cMy Ride&#8217;s Here\u201d which was released only a year before Zevon\u2019s death in 2003. Gomberg was brought in alongside other bassists, who were each to play on a couple songs, but ended up playing on the entire record.<\/span><\/p>\n<p><b>\u201c<\/b><span style=\"font-weight: 400;\">He (Zevon) called me and said, &#8216;Everyone loved what you played. Now you have to play on the whole record.\u2019\u201d Gomberg laughs.<\/span><\/p>\n<p><b><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-61911 aligncenter lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here.jpg\" alt=\"\" width=\"401\" height=\"401\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here.jpg 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-150x150.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-75x75.jpg 75w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-270x270.jpg 270w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-225x225.jpg 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-170x170.jpg 170w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-40x40.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-18x18.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-160x160.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-16x16.jpg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-14x14.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-10x10.jpg 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-20x20.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-9x9.jpg 9w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Warren_Zevon_-_My_Rides_Here-100x100.jpg 100w\" sizes=\"auto, (max-width: 401px) 100vw, 401px\" \/><\/b><\/p>\n<p><b>The Carriage House<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Gomberg built his studio \u201cThe Carriage House\u201d in Los Angeles in part to be able to record future records for Zevon, who had been recording in his apartment.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;He was kind of complaining that there wasn&#8217;t enough money or whatever, so I was going to build the studio anyway just to have fun producing, but not taking it seriously. Part of the impetus was to have a studio that we could do the next record in.\u201d<\/span><\/p>\n<p><b>The Quad Eight Console<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Carriage House is home to a Quad Eight Pacifica console, which Gomberg acquired, but not before purchasing and then selling a Coronado, a different highly sought after console by Quad Eight.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;You came and played with us at Rob Brill&#8217;s place, and he had a Pacifica. That was where I first discovered them. Later, I found a Coronado in Australia with only 24 of the 36 channels. These consoles usually came in 24, 28, 32, or 36 channels, with 36 being the most common. I started rebuilding the 24-channel one, and then Brian Kehew told me about another 36-channel one in Georgia. I bought it and sold the 24-channel one. I&#8217;ve had it for years.\u201d<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-61912 aligncenter lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-300x300.webp\" alt=\"\" width=\"482\" height=\"482\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-300x300.webp 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-150x150.webp 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-75x75.webp 75w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-270x270.webp 270w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-225x225.webp 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-170x170.webp 170w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-320x320.webp 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-40x40.webp 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-18x18.webp 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-160x160.webp 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-540x540.webp 540w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-16x16.webp 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-14x14.webp 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-340x340.webp 340w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-10x10.webp 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-20x20.webp 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-9x9.webp 9w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-385x385.webp 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2-100x100.webp 100w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/used_43157_2.webp 600w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\" \/><\/span><\/i><\/p>\n<p style=\"text-align: center;\"><i><span style=\"font-weight: 400;\">A Quad Eight Pacifica<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Gomberg goes on to explain the sonic characteristics of the Pacifica, and how essential it is for his studio.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;I&#8217;m a bass player, so I&#8217;m not very technical, but they&#8217;re really clean\u2014clean but not boring. They&#8217;ve got, I don&#8217;t know if it&#8217;s personality, but they&#8217;re just pure and fantastic. I&#8217;ve got Neves over here, which we usually use for vocals and sometimes for kick and snare, but I&#8217;ve also got some APIs, which I hardly ever use. A friend who made the Ventura by A Designs also made some of his own preamps, the CRS Industries 2412s, I\u2019ve got a bunch of those. But I rarely go to outboard stuff; the console sounds fantastic.&#8221;<\/span><\/p>\n<p><b>On Working With MS and Giving Back<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Gomberg explains how his diagnosis led to creating records with <\/span><a href=\"https:\/\/www.sweetrelief.org\/\"><span style=\"font-weight: 400;\">Sweet Relief<\/span><\/a><span style=\"font-weight: 400;\">, which is a non-profit organization that provides financial assistance to musicians and music industry workers facing illness, disability, or age-related issues.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;I have MS, which is why I don&#8217;t play anymore. I started having trouble walking around 2007, and Sweet Relief helped me install an elevator so I could get into my house with a scooter because I couldn&#8217;t walk up the stairs anymore. I&#8217;m not comfortable with getting gifts, so I offered to repay them. Sweet Relief started in &#8217;93 when Victoria Williams was diagnosed with MS and had to leave the Neil Young tour. Musicians like Pearl Jam, Lucinda Williams, and Lou Reed recorded her songs, and it made more money than she needed, so she decided to start a charity to help others. They also did a Vic Chestnutt record in &#8217;95. In 2008, they helped me, and I suggested doing a record to help pay them back. It was so much fun and felt so good to give back to them and to the music community that supported me all these years. I&#8217;ve probably done eight of them now or something like that.&#8221;<\/span><\/p>\n<p><b>Vocal Mic Selection and Recording Live<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Carriage House is home to tons of gorgeous music equipment including Fairchild compressors, vintage musical instruments, and classic microphones. Gomberg goes on to describe his preferred vocal mic.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;Depending on the situation, usually a (Neumann) 47. We were just using (an AKG) C12 on a record we were working on, and it sounded fantastic. I mean, obviously, (Telefunken) 251s are fantastic too, but I&#8217;m usually going with a 47. If it&#8217;s live with the band, quite often I&#8217;ll use a 47 or 67. I love ribbon mics, so a (RCA) 77 is a great vocal mic. Sometimes I&#8217;ll use (a Shure) SM7 if I need the rejection.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Warren asks Sheldon about his preferred method of tracking, and if there are situations in which he records everything live including the vocal.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;We&#8217;ve done them where you start with the vocal and then build everything around, or the vocal and guitar and then build everything around. My favorite way is if the band&#8217;s all playing together. I mean, you can add overdubs on top of that, but if everybody&#8217;s playing together, they react to each other, and it&#8217;s just greater than each individual part. I don&#8217;t know if you&#8217;ve noticed this, but you can be tracking live, and then when somebody goes back to replace something, it takes forever to fix it for some reason. Maybe because they&#8217;re concentrating on it or nervous. But when everybody&#8217;s playing together, even the mistakes\u2014if they&#8217;re good mistakes or if the people are good\u2014 I&#8217;d prefer that.&#8221;<\/span><\/p>\n<p><b>On His Assistant, Kevin<\/b><\/p>\n<p><span style=\"font-weight: 400;\">As Sheldon\u2019s MS progressed, he became more reliant on studio assistance. He explains meeting his assistant and engineer Kevin, and their specific workflow.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;Sometimes I&#8217;ll click on the mouse and my finger won&#8217;t let go, so I&#8217;ll just drag everything across and mess up the whole session. So Kevin has now become the guy here. When it comes to mixing, we&#8217;ll mix together. Kevin will be driving, and I&#8217;ll be sitting here listening and making comments.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-61914 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.42.45-PM-1.png\" alt=\"\" width=\"1080\" height=\"566\" \/><\/span><\/p>\n<p><span style=\"font-weight: 400;\">Warren recalls how this kind of collaborative mixing has benefitted him in his own career.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8220;I&#8217;ve actually found that I&#8217;ve got some of my best results working with Jack Douglas because he would sort of produce the mix. I&#8217;d be mixing, pulling up stuff, doing the usual sort of generic EQs\u2014cutting some low mids on the kick, putting a little bit of snap to it, a bit of low end\u2014all the things we all do by rote. Jack would tell me, &#8216;You need to compress that more, you need to do this, you need to do that.&#8217; Some of my best mixes are from that kind of environment, where you have two sets of ears working together.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Sheldon continues, &#8220;I have a bunch of people that I work with, and they&#8217;re all great, but Kevin and I just have this thing together. He\u2019s got great ears, I trust him, and he&#8217;s a really nice guy. It was easy to go, &#8216;Okay, it&#8217;s your turn. You do this now; I&#8217;m out of here.&#8217; When it comes to mixing, he&#8217;s really open to it. It&#8217;s hard to sit there and tell people, &#8216;Do this, do that,&#8217; and I don&#8217;t do a whole lot of it.&#8221;<\/span><\/p>\n<p><b>Studio Tour<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Sheldon and Kevin then provide a tour of the studio, which includes an impressive array of outboard equipment including compressors, equalizers, time based effects, and more.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Here&#8217;s a selection of the outboard units mentioned and their uses:<\/span><\/p>\n<p><b>Collins 26 U-1<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Old tube compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Fattening up sounds; used lightly due to its tendency to shut down oddly when hit too hard.<\/span><\/li>\n<\/ul>\n<p><b>UREI\/Universal Audio 1176<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Classic solid-state compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> General use; well-known and versatile.<\/span><\/li>\n<\/ul>\n<p style=\"text-align: center;\"><i><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-61916 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM.png\" alt=\"\" width=\"1080\" height=\"578\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM.png 1080w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-150x80.png 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-768x411.png 768w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-80x43.png 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-320x171.png 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-318x170.png 318w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-280x150.png 280w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-770x412.png 770w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-40x21.png 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-160x86.png 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-20x11.png 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-640x343.png 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-635x340.png 635w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-560x300.png 560w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-17x9.png 17w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-385x206.png 385w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2024\/07\/Screen-Shot-2024-08-20-at-2.48.01-PM-600x321.png 600w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\" \/><\/span><\/i><\/p>\n<p style=\"text-align: center;\"><i><span style=\"font-weight: 400;\">Several racked up 1176 Compressors<\/span><\/i><\/p>\n<p><b>Dbx 160 VU<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Solid-state compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Currently used on kick and snare mic; transparent and useful on guitars, acoustic, electric, and kick\/snare.<\/span><\/li>\n<\/ul>\n<p><b>Teletronix LA-2A<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Tube compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Vocal, guitars, and general use; known for its long-standing presence in studios.<\/span><\/li>\n<\/ul>\n<p><b>RCA BA-6A<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Tube compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Excellent on vocals, bass, guitars, and acoustic guitars; known for its warm tube sound and ability to handle high levels without sounding overly compressed.<\/span><\/li>\n<\/ul>\n<p><a href=\"https:\/\/www.empiricallabs.com\/distressor\/\"><b>Empirical Labs Distressor<\/b><\/a><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Analog compressor<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Currently used on drum rooms; appreciated for its versatility and fast processing.<\/span><\/li>\n<\/ul>\n<p><a href=\"https:\/\/www.overstayeraudio.com\/modular-channel\"><b>Overstayer Modular Channel<\/b><\/a><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Modular channel Saturator<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Alters sound with options for equalization, compression, drive, and harmonics; great for creating unique sounds and smashing the room.<\/span><\/li>\n<\/ul>\n<p><b>Eventide H3000<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Harmonizer<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Provides pitch shifting, reverb, and delay effects for versatile sound processing.<\/span><\/li>\n<\/ul>\n<p><a href=\"https:\/\/www.ams-neve.com\/outboard\/500-series-range\/ams-rmx16\/\"><b>AMS RMX16<\/b><\/a><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Digital Reverb<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Known for its high-quality reverb sounds, useful in various mixing scenarios.<\/span><\/li>\n<\/ul>\n<p><b>Lexicon Prime Time (Model 1 and 2)<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Digital Delay<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Provides delay effects; both models are known for their distinctive delay and modulation capabilities.<\/span><\/li>\n<\/ul>\n<p><b>Cooper Time Cube<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Type:<\/b><span style=\"font-weight: 400;\"> Analog Delay<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Use:<\/b><span style=\"font-weight: 400;\"> Utilizes coiled hoses to create delay effects, providing different delay times (14 and 16 or 14 and 17 milliseconds) for unique sound textures.<\/span><\/li>\n<\/ul>\n<p><b>Drum Miking Techniques<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Sheldon and Kevin then go through describing how they would capture a drum kit. The kick drum usually features either an Electro-Voice 868 or an AKG D12 inside if there\u2019s a hole in the head, sometimes swapping with an ATM 25 from Audio-Technica or a D112. For the current setup, the D12 is positioned outside along with a FET 47, which is typically used for outside kick applications.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">On the snare, Shure SM57s are used for both the top and bottom, with the polarity flipped on the bottom mic. The toms are miked with the reliable Sennheiser 421s. For the mono room mic, a Royer R-121 is placed, while the overheads are handled by Coles mics, although AKG 451s have also been used successfully.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A unique aspect of the setup is the &#8220;crotch mic,&#8221; an American D22 aimed at the drummer&#8217;s crotch area, which is heavily compressed through an Altec 436c to add a gritty, filled-in texture to the drum mix. The main room mic is a <\/span><a href=\"https:\/\/royerlabs.com\/sf-12-3\/\"><span style=\"font-weight: 400;\">Royer SF-12<\/span><\/a><span style=\"font-weight: 400;\">, which provides a balanced stereo image of the drum room. On the hi-hat, a Beyerdynamic M160 is used, although the ideal hi-hat mic is still being sought.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For the shell mic, a Royer pointing at the shell runs through an 1176 compressor, serving as a closer-than-room mic to capture additional nuances of the drum shells. Adjustments to the overheads were made to address issues with crash cymbals being too prominent, initially angled straight down and later repositioned to face away from the cymbals and more towards the drums, solving the balance problem without altering the drummer\u2019s playing style.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This setup, combining various dynamic, condenser, and ribbon mics with strategic positioning and compression, ensures a rich, well-rounded capture of the drum kit\u2019s sound.<\/span><\/p>\n<p><b>Additional Instruments and Studio Gear<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Finishing up the studio tour, Sheldon and Kevin introduce a handful of impressive amps, guitars, keyboards, and even a \u201ctack piano\u201d.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This beautiful and unique sound is achieved using a Wing and Son piano equipped with five pedals. The far-left pedal creates a marxophone effect, while another pedal produces the tack piano sound, which is slightly tighter. Standard sustain pedals are also present. For miking, they use AKG C414 EB microphones with CK2 capsules, which remain on the piano covered with bags to keep dust out. This unique setup and miking technique produce a distinctive piano sound that many studio visitors appreciate.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Find out more about Sheldon Gomberg here:<\/span><a href=\"https:\/\/www.youtube.com\/redirect?event=video_description&amp;redir_token=QUFFLUhqbHpGOGtDcXBtMzlRRnFVUUVrYUF1bzN1WG9sd3xBQ3Jtc0tuVUF3VlItYWcydVlIZ09MZWt2T0VNUTVSUFpEcEFFODVBNnNNa3k1dlNaWG1WcVROZGpSZkZMTzBzaHV2SGRyZ2ozXzJwVk84NXlaWGU0Q1BvQlR6bTc1eXdjSXk2RHdDT1p4by1naEU1eUxmcG5Tdw&amp;q=https%3A%2F%2Fwww.sheldongomberg.com%2F&amp;v=LqPBS73bEl8\"> <span style=\"font-weight: 400;\">https:\/\/www.sheldongomberg.com<\/span><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724sVideo can&#8217;t be loaded because JavaScript is disabled: From Bassist to Producer &#8211; Sheldon Gomberg Interview (https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s) &nbsp; Sheldon Gomberg is a session bassist turned producer\/engineer who has worked with an impressive array of artists including Jackson Browne, k.d. lang, Ben Harper, Plain White T\u2019s, and many more. He recently spoke with Warren about his&hellip;<\/p>\n","protected":false},"author":25,"featured_media":61476,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1,62],"tags":[13133,13132,13131,581,13130],"class_list":["post-61475","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering","category-interviews","tag-bass-player","tag-bassist","tag-engineer","tag-producer","tag-sheldon-gomberg"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Sheldon Gomberg Interview - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/sheldon-gomberg-interview\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sheldon Gomberg Interview - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724sVideo can&#8217;t be loaded because JavaScript is disabled: From Bassist to Producer &#8211; Sheldon Gomberg Interview (https:\/\/www.youtube.com\/watch?v=LqPBS73bEl8&#038;t=1724s) &nbsp; Sheldon Gomberg is a session bassist turned producer\/engineer who has worked with an impressive array of artists including Jackson Browne, k.d. lang, Ben Harper, Plain White T\u2019s, and many more. 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