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Author Archive

Recording Tips: Fixing Proximity Effects, Sibilance and Plosives when recording vocals

Slow, sparse songs allow the vocals to become the central focus of the recording, and that’s when the choice of microphone and mic preamp can make a big difference. Not many can afford a Neumann U47 (pictured) through a Neve channel, but even with a limited microphone/preamp arsenal, a lot that can be done to improve your vocals’ tone. There is a degree of enigmatic “chemistry” between some mic+preamp combos and some voices – to be discovered through trial and error – but here are a few simple tips that can help fix some common problems: 1. The distance of the mouth from the microphone is crucial: vocal mics feature the so called “proximity effect” which exaggerates low frequencies at close distance and reduces them progressively after a certain range. 8 inches from the mic is normally a good place to start, try closer for a warmer tone, farther for a tinnier one.... Click on the title for more

Recording Tips: Fixing Proximity Effects, Sibilance and Plosives when recording vocals

Pedal Review: Analog Man’s ARDX20

Analog Man’s ARDX20 ($265) is the epitome of boutique production on a global scale, handsoldered in China, before heading to Japan where pedal designer Ohbayashi San and his team calibrate, tune and engrave each one. Unusually, the ARDX20 is a two-channel delay. Each channel gets three knobs, delay time, feedback, and delay level. It's the sort of design people who read instruction manuals find intuitive and wouldn't be necessary in a digital pedal, which could store presets for each channel. But hey, this is analog, man. The left footswitch turns the pedal on and off and the right toggles between channels.... Click on the title for more

Pedal Review: Analog Man’s ARDX20

Secrets of Mixing: Resolving Midrange Conflicts

When people ask me what the secret of mixing is, I answer: “Use as few tracks playing at once as possible, and you are golden.” Yes, because mixing is a job that gets exponentially more difficult the more tracks you are dealing with. This is due to the fact that not only each recorded instrument requires its own share of attention (dynamics/volume control, EQ sweetening, placement in the stereo field, spacial depth, and even effects if you wish), but also because each extra part adds a new variable in the mix, interacting in often unpredictable ways with the other sounds.... Click on the title for more

Secrets of Mixing: Resolving Midrange Conflicts

Ambassadors and the Recording Process

Ambassadors' music is full and energetic, but they aren’t scared to slow things down and get sensitive from time to time. The sound of this Brooklyn based quartet emanates from drummer Adam Levin’s thunderous grooves and Noah Feldshuh’s powerful and catchy riffs; rounding it up, brothers Sam and Casey Harris fill out the band’s sound. Here is a bit on how they accomplish that while recording.... Click on the title for more

Ambassadors and the Recording Process

New Pedals: TSVG’s Slow Ride Overdrive/Fuzz

Philly based boutique stompbox manufacturer TSVG just announced the release of the Slow Ride Overdrive/Fuzz, a pedal "designed for endless sustain and gritty yet articulate over driven tones." The pedal will be showcased at the Stompbox exhibit we are organizing at Summer NAMM.  The two unmarked knobs are for gain and volume - or so it seems - while the toggle switch acts as a high end filter.  The down position will allow the full signal to pass, but the up position cuts most of the bass response.   This true bypass effect features AC 128 germanium transistors and Mullard “Tropical Fish” caps throughout.  The Slow Ride is built by hand and sells for $200. ... Click on the title for more

New Pedals: TSVG’s Slow Ride Overdrive/Fuzz

Laura Stevenson and the Recording Process

With the new album "Wheel", just fresh out of the oven, NYC songwriter Laura Stevenson decided to up the production value, steering away from the lo-fi approach of her previous two albums. She enlisted producer Kevin McMahon, someone whose work she respected immensely and who would, as she put it, “be the perfect set of ears for these songs.” She also brought in Rob Moose on violin and Kelly Pratt to play brass, adding their own layers of depth to the band’s full arrangements. Despite the move to sleeker production, the album retains its organic nature, relying primarily on the resonance of acoustic instruments and the electricity of simply over-driven amplifiers, with its most synthetic moment coming from a Roland organ, an unconscious decision explained as Laura Stevenson and the Cans’ way of “being real, relying on each other’s energy to keep time and just playing the songs like human beings, flaws and all.” ... Click on the title for more

Laura Stevenson and the Recording Process

Pedal Review: Diamond’s Memory Lane Jr.

At $279, Diamond's Memory Lane Jr. is more attainable by most guitarists than its $600 analog big brother, Memory Lane 2. And yet the Memory Lane Jr. has similar features, twice the delay time and it can run off a 9-volt battery. The big difference is that the Memory Lane 2 is all-analog, so you get that great vintage warmth. If you've got the means, you'd better move fast, though: Diamond's mine of NOS Panasonic MN3005 chips is running out, and with it goes the 2. Memory Lane Jr. is the practical choice then, but is it as good? That depends how you feel about digital technology. Memory Lane Jr. digitally records up to 1.2 schumtz-free seconds, whereas Memory Lane 2's analog chip maxes out at half that. Don't worry, though: That crystal-clear digital recording gets the all-analog treatment at the processing stage, preserving that intangible warmth so obsessed over by analog purists.... Click on the title for more

Pedal Review: Diamond’s Memory Lane Jr.

Production Tips: Recording the banjo

The banjo - this bizarre mutation of a guitar and a snare drum - can be a difficult instrument to record. The main challenge is to find a balance between the very attacky but thumpy sound audible near the center of the head, and the rest of the instrument’s sonic components, which - because of its complex harmonic structure - range from mid lows fundamentals to the top end side of the frequency spectrum.... Click on the title for more

Production Tips: Recording the banjo

New Pedals: TCJ Effects’ Amalgam Smooth Overdrive

T. Jauernig Electronics, or TCJ Effects, is a small Wisconsin based manufacturer of hand made pedals that's been around since 2004. They just finalized the New "Amalgam" Smooth Overdrive. The company states that this pedal is very touch sensitive and smooth, working in the mild to moderate gain range.  If you leave it on all the time it will affect the the gain from clean to mild, to thick and creamy all from the volume knob on your guitar. The Gain and Tone controls offer fine tuning to each rig. There is also a gain range toggle that allows  to choose between two distinct gain ranges.   There's only going to be 100 of these made in assorted colors, and their price will be $100 including delivery.... Click on the title for more

New Pedals: TCJ Effects’ Amalgam Smooth Overdrive

Bands in the Studio: Recording Parquet Courts

Jonathan Schenke, sound engineer and music lover, recorded the debut album of Brooklyn indie rock buzz band Parquet Courts. We asked him a few question about that experience. ... Click on the title for more

Bands in the Studio: Recording Parquet Courts

New Pedals: Source Audio’s Orbital Modulator

US pedal manufacturer
Source Audio is one of the few companies that's been trying in recent years to move the stompbox concept forward rather than... retro.  Their unique Hot Hand technology (basically a motion sensing remote control system) has brought unprecedented control of  pedal parameters directly to the guitarists' hands. Their latest product supporting such technology is  the Soundblox 2 Orbital Mod, a super-compact DSP powered pedal that features 12 modulation effects and a lot of shaping power. Check out the video by the manufacturer below for some spacey delight.... Click on the title for more

New Pedals: Source Audio’s Orbital Modulator

Pedal News: StompLabs launches the Fuzzi-Fier

Emerging Canadian pedal manufacturer Stomp Labs released their first pedal Fuzzi-Fier (pictured), which will be part of a hybrid analog/digital line called XPressWay. This line aims at making stompboxes that can be controlled more efficiently during the performance - rather than in between songs. More info about the pedal will be released soon. The company is also working on an iPhone app that emulates their guitar pedals.... Click on the title for more

Pedal News: StompLabs launches the Fuzzi-Fier