In his long career, Adrian has worked with Maxi Priest, Third World, En Vogue, and many others.
Adrian Odle, who hails from Bridgetown, Barbados, works with a huge assortment of Caribbean artists as a production manager, FOH engineer, and monitor engineer. In his 15 year career Adrian has worked with Maxi Priest, Third World, Alison Hinds, En Vogue, Elan Trotman, Arturo Tappin, Nicholas Brancker, 2 Mile Hill and many others. Since 2007, he has been touring consistently with International Reggae Legend Beres Hammond and is currently the Production Manager and Head Engineer.
[LEWITT] Can you tell us a little bit about your favorite mics in the studio?
[Adrian Odle] I’ve used a lot of microphones, and it was not too long ago that I started using ones by LEWITT when I got myself an LCT 840 tube mic. It’s a really warm-sounding microphone, and it captures what I actually hear coming from the instruments. I’ve used it on vocals, horns, acoustic guitars, drums … and it translates very well and can handle high SPLs. Recently I did some horn section recordings, and I was amazed by how well it stood up to what the guys threw at it – it was clear, warm, smooth, and really transparent in the mix. Everything was as I heard it in the room, and that was really good.
[LEWITT] You also use LEWITT microphones live; can you tell us about your experiences?
[Adrian Odle] I’m currently using the MTP 440 DM, and that’s a great mic for snares. I do different genres, and the MTP 440 DM works really well for R&B stuff, since it’s not too dark and it’s right up where I need it to be in the mix. I also use it on guitar amps, where it gives me a really good, warm guitar sound.
Then there’s the DTP 640 REX, which – to me – is a savior. This is the mic that has a condenser and a dynamic capsule in one housing, so I no longer have to worry about phasing issues ... and it also gives a good punch, it gives a good click on the high end, and you get the full sound of the kick drum: that’s where I use this mic most of all, but I’m using it on the cajón, too, which works very well. I’m also using a pair of LCT 550’s on overheads – and they really do give me a great image of the sound, with lots of clarity and a nice sizzle.
On vocals, I’m using the MTP 550 DM. I used to use a lot of other mics, and they were all kind of muddy in the middle, but the MTP 550 DM delivers a very warm sound with a smooth high-end. I gave the mic to some of my engineer friends to try it out, and they loved it too and couldn’t stop talking about its clarity. I also like this mic’s design: it’s very robust and sturdy, and it does very well on the road.
[LEWITT] Is there anything else you’d like to say about LEWITT microphones?
[Adrian Odle] First of all, I’d say that the guys at LEWITT understand what we – the technicians and musicians – want to hear and what we’re looking for in a microphone. I’ve been able to get the sound that I’ve been looking for from the LEWITT microphones, and they’re very strong both in the studio and onstage. I like the fact that they translate very well, that what I hear is what I get back. And the musicians are happy: they like what they hear, they like what they feel – and everyone is asking me if I can bring them to their gigs. So I’m very happy with these mics!