Mix Analysis 5: The Specials-Ghost Town (Presentation)

Artist: The Specials
Song: Ghost Town
Year Released: 1981

Producer: John Collins

Mixing Engineer: John Rivers
Mixing Studio: Woodbrine Street studio
Also worked with: The Selector and Horace Panter

Mastered at Chrysalis Records
also worked with: Blondie, Billy Idol, and Pat Benatar

http://www.youtube.com/watch?v=1WhhSBgd3KI

Tempo 4/4, stays consistent
0:00-0:03 wind gusting through a city
0:04-0:05 Drum kit comes in
0:05-0:12 Guitar, Bass, Drums, Organ Wind gusts
0:13-0:32 Guitar, Bass, Drums, Organ, Horns
0:33-0:35 Guitar, Bass, Drums, Organ, Synth
0:36-0:37 Guitar, Bass, Drums, Organ, Horns
0:38-0:59 Guitar, Bass, Drums, Organ, Vocals, Backing vocals
1:00-1:04 Guitar, Bass, Drums, Organ, Vocals, Backing Vocals, Synth
1:05-1:33 Guitar, Bass, Drums, Organ, Backing vocals (shrieks)
1:34-1:36 Guitar, Bass, Drums, Organ
1:37-1:50 Guitar, Bass, Drums, Organ, Horns, Vocals
1:51-2:09 Guitar, Bass, Drums, Organ, Horns
2:10-2:15 Guitar, Bass, Drums, Organ, Horns, Synth
2:16-2:42 Guitar, Bass, Drums, Organ, Vocals, Backing vocals, Synth, horns
2:43-3:07 Guitar, Bass, Drums, Organ, Backing vocals (shrieks), synth
3:08-3:39 Drums, backing vocals, wind noises again

Instrument                 Level               Pan
Drums                        6                      0
Bass                           5                      0
Guitar                         5                     0
Organ                         5                      0
Horns                         7                      0
Synth                          7                     0
Vocals                         7                     0
Backing Vocals           5                     0
Shrieks                        5                     0
Wind (fades in and out to) 7              0

            This recording was done on an 8-track recorder, with plenty of overdubbed parts to fill in gaps. Guitar, Bass, Drums, and Organ were done first, since those are the backbone of reggae and were finished first. The drums had a track, the bass on another track, and the organ and guitar on another track. After that there was a horn track, then a vocal track, a backing vocal track, and finally an extra part track (used for the wind sounds). Everything was set in mono, and it was easier to balance things like that. The drums were simple, few mics, few drums, simple beat so the bass and organ can fill in the on beat melody, and the guitar on the off beat. The drums only had an AKG D12 on the kick, a Beyer M67 on the snare, and a Calrec 1051 on hi-hat For the brass, there was one mic in the middle of the room, and the two horns were put in diagonal corners, and it balanced itself out. The vocals used the Calrec 1051 with a pop filter. The backing vocals were also sung the whole time through, but muted for most of the time, used only when it sounded good. The wailing was done later on smaller recording equipment and added into the mix.
             The room was a cellar with a small 6 foot ceiling. It wasn't professional by today's standards, but it had it's own close reverb that compliments reggae and ska extremely well. There was reverb added to everything, as is common in reggae. It creates a haunting and otherworldly effect. Considering this song is called "ghost town" and is about social unrest in England, violence on the streets, and racial tensions rising at the time, it is meant to be a little scary and haunting. Even the band wasn't happy with each other, and tensions were rising between the band members on what they should spend their time in the studio working on.

Source: http://www.soundonsound.com/sos/nov11/articles/classic-tracks-1111.htm

The Specials
http://media.soundonsound.com/sos/nov11/images/ClassicTracks_01.jpg