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Andrew Cole Multi-Track Session Files

Andrew Cole - "Dead Roses"

In these modern times most audio equipment manufacturers provide random out of context "sound clips" of their products. TELEFUNKEN Elektroakustik has once again taken this process one step further, with a continuing episode of the "Multi-Track session files" series.

The TELEFUNKEN Elektroakustik "Multi-Track session file" series provides "sound clips" in the full context of an actual "full band" recording, with actual comparisons of the various models employed on the same performance rather than the more commonly supplied sound bits with no contextual reference.

The latest addition to the TELEFUNKEN Elektroakustik multi-track session file series was recorded at Germano Studios in Manhattan on October 22nd 2011, during the 131st Audio Engineering Society Convention. Engineered by Germano Studios staff engineer Kenta Yonesaka through the studio's SSL "Duality" console, with able assistance from TELEFUNKEN Elektroakustik's very own Brendan Morawski the latest edition to the series contained quite a few surprises.

The artists featured during this recording session were songwriter Andrew Cole ( backed by female vocalist Chantel Upshaw (, guitarist Lee Sylvester, drummer Bryan Kelly, bassist Bill Carleton ( and pianist Tony Parlapiano. Andrew's original song "Dead Roses" is an acoustic folk-pop song with a breathy male lead vocal and a haunting female accompaniment.

Some of the highlights you will hear on these files feature several TELEFUNKEN Elektroakustik classics employed for vocals. The ELA M 251, U48, C12, as well as the AR-51 and CU-29 have become the norm for vocal duties on the multi-track session series. Unconventionally, a pair of AK-47 mkII microphones were placed in direct comparison to a pair of the venerable classic C12 in overhead duties.

Additionally, TELEFUNKEN Elektroakustik premiered two prototype models from the dynamic range. The M82 specialized kick drum mic made its debut, along with the soon to be released M81 instrument microphone. Featuring a less forward upper midrange character, the M81 was employed for tom recording, and placed next to R-F-T series CU-29 Copperhead and AR-51 on electric guitar.

Also in less familiar microphone applications, a pair of ELA M 260 microphones was used to record an upright piano while a prototype DI and CU-29 made their first appearance in a bass recording application. To fill out the session, an AR-70 stereo microphone expertly captured the overall room sound.

These files are available for download to your favorite DAW system in 24-bit WAV format at 44.1k sampling rate. You are welcome to not only audition these files, but to listen to and compare the various "multi-mic'ed" scenarios while you find a textural mix balance that suits your personal sense of aesthetic.