Eddie Kramer Perhaps One of Research Paper

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133). Kramer wants to hear all the minute sounds coming from the lead singer, including his or her breath (Massey, p. 133).

Kramer employs many different methods to capture the best from the lead singer. If necessary, he will carpet a room, light candles, adjust lighting, and whatever it takes to set the mood for the singer in the studio (Massey, p. 133). Unlike many record producers, Kramer does not experiment with different polar patterns (Massey, p. 133). Instead, he leaves it up to the musicians to get the balance right (Massey, p. 133). This is a technique he learned when recording symphony orchestras (Massey, p. 133). Additionally, when recording vocals, Kramer always records with multiple limiters (Massey, p. 133).

Kramer adds that when recording vocals, he always employs the use of a nylon windscreen to position the microphone where it is most beneficial (Massey, p. 132). According to Kramer, he 'never puts the monitor out of phase because he does not care if there is some leakage' (Massey, p.

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132). If necessary, Kramer will provide a dead handheld microphone for the singer to hold although the live microphone is actually stationary (Massey, p. 132). It appears that what Kramer does best is to capture the raw talent of the musicians with whom he works.

Over the years technology has improved dramatically, thus effecting Kramer's choices for optimal equipment (Massey, p. 131). He insists that his basic philosophy with regard to capturing the best sound is that, "distance makes depth" (Owsinski, p. 323). Kramer starts with a microphone up in the air to capture the overall sound and then fills in with close microphones. However, Kramer could never have achieved his sound if he had not been blessed with two of the most talented pieces of equipment, his ears.

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