For The Nights I Can’t Remember

Posted: 12th September 2012 by Aaron in Van Howes Studios

Something a bit different today.  While not everyone may enjoy sitting down and listening to a Hedley album, it is undenialable that the quality of recording, editing and mixing is top notch thanks to Jay Van Poederooyen (JVP) – although technically most are not mixed for final release by him.  Regardless, I thought I would share some excerpts from one of my notebooks I found recently regarding some recording sessions at Van Howes Studios in Vancouver.  I am unsure whether this reggae-inspired remake made it to release yet (perhaps it never will…)  but I am fairly certain they use it live.



  • Kick In: 441 pointed at beater
  • Kick Out: FET 47
  • Snare: SM57 top and bottom
  • Toms: 421 top & SM57 bottom wired with a phase-inverted Y-cable to a single channel
  • Hats: C451B (angled towards snare)
  • Ride: C451B
  • Overheads: Korby KAT System mics setup as an XY pair w/ 6db pad in-line
  • Rooms: U87′s in NOS ran thru a pair of dbx 160′s
  • Mono mic:  Wunder Audio Tele in Cardiod setup to the right of Crippin pointed at the snare
  • Notes: All panned audience perspective as JVP says drummers perspective is “egotistical”.  Also, Omni pattern is hardly used at Van Howes Studios as their opinion is that “you don’t have ears all the way around your head”.


Bongos, Shakers & Other Percussion:

  • All recorded in the “cave”
  • AEA R44 ribbon placed between bongos approx. 1.5′ away
  • Same setup used for shakers, etc.



  •  Tommy used a Fender Jazz Bass to a vintage Ampeg head + 8×10 cab
  • AKG D12 was placed 1/2″ off the grill
  • Great River MP-2NV preamp (after disliking the SSL desk preamp – too dirty).  Discussed taking the DI signal, but decided it was not needed.
  • dbx Subharmonic Synthesizer
  • RCA BA-6A Leveling Amplifier


Acoustic Guitar:

  • Setup the “recording cave” – absorbtive side facing Dave all around, packing blankets over the entire enclosure
  • Pop filter setup in front of a vintage 451


Electric Guitar 1:

  • Used for the fills and double stops
  • Vintage Gibson ES-334 into Fulltone OCD, followed by a 1970′s Silverface Fender Vibro Champ
  • Royer 121 approx. 2 or 3″ off grill (after using an SM7B approx. 3/4″ off grill for a few takes, decided to switch)


Electric Guitar 2:

  • Used on the reggae syncopated up-beat rhythms
  • Fender Strat into AC30 with a Royer 121 approx. 2″ off the grill – halfway between the dust cap and support ring
  • Delay shots pre-chorus were sent thru an old tape delay (Roland Chorus Echo) and while adjusting the delay time in real-time



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