The Hollies · Album, 1974
Hollies
13 sourced items across 5 sectionsVerified1Reported3Inferred9
This is an album-level record: the sources describe how the album as a whole was recorded, not one song. Where a detail belongs to a single song, the row says so.
Songs this record stands for: The Air That I Breathe. We found nothing specific to this song, so this album record is the closest account we have.
What the sources do and do not say
One Sound On Sound Classic Tracks article read in full; it is mainly Alan Parsons talking. Only the plate echo, the DI bass and the Studio Three control room are tied to this song; the microphone choices are Parsons' usual practice at the time and are marked general-practice. Settings and positions are not stated.
Harmony and lead vocals
1 item
Allan Clarke, Tony Hicks, Terry Sylvester
Microphone
The real chain
Neumann U 87
InferredUsual practice
Each of the three singers stood in front of one of these microphones when the vocals were recorded together, as was usual on Hollies sessions.
A suggestion, not a documented fact: Parsons says usually, about Hollies sessions rather than this track alone.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
Acoustic and electric guitars
2 items
Terry Sylvester, Tony Hicks
Microphone
The real chain
Neumann KM 84
InferredUsual practice
Usual practice, not stated for this record: His preferred acoustic guitar microphone on Hollies sessions, with a little top end added.
A suggestion, not a documented fact: Stated as his preference across Hollies work, not for this song specifically.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
The real chain
Neumann KM 86
InferredUsual practice
Generally used on the electric guitar amplifiers on Hollies sessions.
A suggestion, not a documented fact: Stated as general practice (generally).
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
Bass
1 item
Bernie Calvert
Amplifier
The real chain
Recorded direct (DI), no amplifier
ReportedOne song
Bass was recorded through a direct box rather than a miked cabinet.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Recorded direct, so there is no amp to model. Leave the amp simulator off.
Drum kit
4 items
Bobby Elliott
Microphone
The real chain
AKG D20
InferredUsual practice
Usual practice, not stated for this record: Kick drum microphone in the engineer's standard drum setup of the time.
A suggestion, not a documented fact: Described as his established approach then.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
The real chain
Neumann KM 84
InferredUsual practice
Usual practice, not stated for this record: Snare drum microphone in the engineer's standard drum setup of the time.
A suggestion, not a documented fact: Described as his established approach then.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
The real chain
STC 4038
InferredUsual practice
Usual practice, not stated for this record: Pair of ribbon microphones used as overheads in the engineer's standard drum setup of the time.
A suggestion, not a documented fact: Described as his established approach then.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
Mix effects
The real chain
Unidentified Plate reverb (model not stated)
VerifiedOne song
A huge delayed plate echo was running when Bobby Elliott's tom fills were dubbed on, and it came to dominate the track.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
Close match
Universal Audio EMT 140 Classic Plate Reverberator
reverb
Models EMT 140 plates. The source does not name the plate used.
Also worth a look 1
- Waves Abbey Road Reverb Plates (Models the EMT 140 plates at Abbey Road. The source does not name the plate used)
Tracking room and orchestra
5 items
Microphone
The real chain
Neumann KM 86
InferredUsual practice
Used on the violins when Parsons close-miked the orchestra, according to his usual approach.
A suggestion, not a documented fact: Described as his approach since his earliest orchestral sessions.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
The real chain
Neumann KM 84
InferredUsual practice
Used on the violas in his usual close-miked orchestral setup.
A suggestion, not a documented fact: Described as his approach since his earliest orchestral sessions.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
The real chain
Neumann U 87
InferredUsual practice
Used on the cellos, and on any double basses individually, in his usual orchestral setup.
A suggestion, not a documented fact: Described as his approach since his earliest orchestral sessions.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
No plugin suggested. Microphone-modelling plugins only work with their own matched hardware microphone, so there is no plugin to link. Placement and the room matter more than the model.
Input chain
The real chain
Neve Console (model not stated)
ReportedOne song
Studio Three's 24-channel Neve console, in the control room where most of the track was recorded.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
Approximate
Waves NLS Non-Linear Summer
console emulation
Adds the summing character of three desks, one of them a Neve. The source does not name the console model, so this is only a family resemblance.
The real chain
Studer A80
ReportedOne song
Tape machine in the Studio Three control room where most of the track was recorded.
Source: Sound On Sound, accessed 15 Nov 2026
Get the sound · our suggestion
Emulation of this unit
Slate Digital Virtual Tape Machines
tape
Models a Studer A827 multitrack and an A80 mastering machine.
Also worth a look 1
- Universal Audio Studer A800 Tape Recorder (Models the related Studer A800)
Sources
- Classic Tracks: The Hollies 'The Air That I Breathe', Sound On Sound, 2005-10. Accessed 15 Nov 2026.
What the ratings mean
Stated by the engineer, producer or artist, or by the manufacturer.
Stated by a reputable secondary source.
An educated suggestion, not a documented fact.
Disclosure: plugin links currently go straight to the maker and earn us nothing. If that changes, affiliate links will be marked here. Suggestions are chosen on fit, never on commission, and are kept separate from the recording facts. More.