Quote: " I'm told he was very opinionated about what studio he wanted to work in."
An Informed and Professional Approach.
Quote: " Wally Heider told me that Sinatra really liked to use the same mike that he used on stage for the sessions he witnessed at United-Western."
A personal axiomatic trend, extending through his career.
He did a similar thing on "New York New York."
With a hand held mic.
Although I understand on the earliest Capitol as well as the Columbia Recordings, he used an RCA 44 ribbon mic. In the late 50's into the 60's he used a Telefunken the same as the Neuman U47 and later U67 pretty much as one might expect.
But is there any mic he didn't use one wonders?
Please see pictures below.
Quote: " looks like an AKG D-24 although Wally told me Frank's own gold Shure 546 was used a lot."
I wrote in an earlier thread, it looked like an AKG D24 Studio Model.
But the only other thought I had, was that it could be a C28, but fitted with a type of pop capsule similar to a D24, which seemed incredibly unlikely, so I consciously dismissed that, but I suppose, it's not beyond the bounds of possibility. Stanger things have happened in Recording Studios.
Its accounting for the body band, a little way down that is the problem, which of course could be anything placed around it, and it's too hard to tell accurately for sure in the video.
AKG actually made Mr Sinatra a Gold Plated C535 Mic too, very thick Gold ,and he came to use their mic's more and more in later periods.
Quote: "As a singer being sorrounded by great musicians Sinatra seemingly was quite involved in the artistic, musical aspect of recording."
It was not uncommon for his Musical Arrangers, such as Nelson Riddle for instance, to have to listen to records that Mr. Sinatra played to them, sometimes at home.
Usually the Recordings were great Classic Works of the Master Composers, the absolute pinnacle of the Composing Art. Mr. Sinatra would explain that he wanted a particular piece of Music they would have to be writing the Musical Arrangements for, to have an introduction or ending, that had particular qualities he had identified in a section of the work of the Great Masters.
From a Musical Arrangers point of view. (there is an unspoken but general consensus that inside every great Musical Arranger there is a budding Composer waiting to blossom) Introductions and Instrumental Finale's actually provide the best vehicles for the expression of any Gift of Composition they might have, as they have more or less, a free rein comparatively, but Mr. Sinatra would give them the Guiding Light, to set the scene for what he wanted, taking his cues, from the Best Music ever Composed.
There are exceptions to every rule, but notwithstanding his many superlative Backing Arrangements, Nelson Riddle generally took the view that "When Frank Sings I get out of the way." so for him the Instrumental Introductions and /or Finale and occasional Instrumental Break, were THE opportunity to display his complete Mastery of the Craft.
After all, it's not as if we think of Nelson Riddle as a 'Horn Arranger' or a 'String Arranger' or anything Limited to a Section or similarly as jejune an occupation. And we haven't even mentioned Tommy Dorsey.
I loved and admired the manner, in which Mr. Sinatra always gave full credit to the Lyricist, Composer and Musical Arranger, and always made sure the his Musicians had a good crack of the whip. He did everything the best it could be good be done, expecting and demanding the same Professionalism from everyone involved.
The Consummate Professional.
Guess the Frank Sinatra Mic!Click here to view the attachment