Nashville, TN, January 25, 2022 — The past two years have been extremely prolific for Grammy-winning guitarist Peter Frampton. Despite ongoing health issues, he was spectacularly productive – performing multiple dates on his final tour, completing his memoir Do you feel like me? (who debuted on the New York Times Bestseller list of 2020), releasing an all-instrument blues album (2019’s all the blues) and a new solo album, Frampton forget the words, performed with the Peter Frampton Band. If that’s not enough, he has another full blues album “in the box” currently awaiting release, and he’s also completed at least six new songs for an upcoming solo album.
When he moved to Nashville in the mid-90s, Frampton befriended his “favorite engineer” Chuck Ainlay, who later worked on most of his tracks and is the in-house sound engineer. Studio Phenix – named after his Les Paul. Custom heard on the iconic 1976 album Frampton comes to life. Working alongside Ainlay, Frampton made continual refinements to capture the sonic nuance of his evocative and soulful guitar playing. One element of his signal chain that has never lost its place is the BAE 1073: “When I was living in Los Angeles 20 years ago, the very first pair of preamps I bought were from BAE, and after that, I just couldn’t go back. ,” he says.
Since Ainlay has been Phenix’s “engineer-in-residence”, the duo have been constantly upgrading the equipment, which includes an SSL 4000 series console, several vintage microphones and 1073 rackmount units. “We improved the computer and so many other things. It’s wonderful and it has probably the best drum room in town,” he says. Over the years, he has also modernized his own house installed in parallel, located about ten minutes from the studio. At home, some of his more recent upgrades include a pair of BAE 1073s and a BAE 1073D 500 Series mic preamp, which plug into his Universal Audio Apollo interface.
Compose on the tone
“When I’m at home, on my guitar amps, I always use a U67 and a 57, exactly the same distance from the speaker so that it doesn’t go out of phase,” he explains. “It’s a Chuck Ainlay thing I stole, and oh my god, that’s awesome. Those two mics go into my BAE 1073s, and then straight into my computer from there. Upstairs, I I also have a BAE lunch box, which has the 500 1073D series, so I’m a pig in the mud of my room too!”
Frampton, whose 1976 album Frampton comes to life! has sold over 17 million copies worldwide, is old enough to appreciate classic mic preamps, having spent much of his young adult life behind vintage consoles: “When I started recording , especially in England, each console was pre-made by the studio itself. Then I became aware very early on of the 1073 being used in different studios, and I realized that it was still the best. When things got smaller in the 80s, so did the sound. It gives Frampton comfort knowing he can still achieve authentic vintage sound using BAE’s “vintage modern” preamps and EQs. “I use the 1073D on both vocals and guitar, and Chuck likes the 1081 in the studio, especially for drums, because it has an extended EQ section. He often says to me, ‘If you had just of them 1081, I wouldn’t have to bring my own!”
Frampton has his guitar sound dialed in, mostly with old Fender Princeton Reverbs, a Vox AC 15, and a ’63 Fender Vibroverb. “I’m more or less just a combo guy now,” he says. “I don’t usually use the EQ on the input, because the mic preamp is what does all the work. That’s why we’d rather like BAE mic preamps, without EQ, for the studio. They are so transparent in that you can get great sound. They obviously color the sound exactly the way you want it.
The language of a craftsman
A music maker himself, Frampton appreciates the work of designing and developing high-quality tools: “Mark [Loughman, BAE President], will never short out the design or what goes into a piece of equipment unless it’s the right thing,” he says. “I’ve used this 1073D 500 series unit on several of my demos and it’s been fantastic. On the blues record I have a slew of 1073s in the studios in a big rack and Chuck was using them most of the time. This rack includes four original BAE mic preamps without EQ.
“My experience with BAE has been great – build quality, sound, it’s all there,” concludes Frampton. “I respect Mark’s passion for what he does. It won’t release anything to the public until it’s 150% like it and everything I’ve had so far from BAE has been wonderful.
For more information on BAE Audio, please visit http://www.baeaudio.com/
About BAE Audio
BAE Audio is an American manufacturer of high-end microphone preamps and equalizers, all faithful to the vintage designs of the 70s and before. The company is committed to the vintage philosophy of hand-wiring and hand-soldering all of its components to achieve high-quality, authentically vintage sound. For more information about BAE Audio, please visit our website at www.baeaudio.com.