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Posts tagged "Recording"

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

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

Bedroom Monitoring Basics

DIY musicians, who choose NOT to work on their music exclusively in the headphones, often make easily addressable mistakes when setting up their recording equipment: The most common blunder that I see in DIY project studios is monitors placed on a table and facing the recorder’s nipples (or belly). Near field studio monitors are designed to reproduce the sound accurately only at a listening angle close to 90 degrees (i.e. smack in front of them). This is why ideally you want to place them so that each on of your ears face one of them, in particular when you are mixing or looking for the right sound for an instrument you are recording. Your ears should be at the same distance from the respective monitors, or you’ll perceive one side louder than the other one. So the ideal situation is to create an equilateral triangle whose corners are formed by the two speakers and your head, with the monitors rotated and even inclined if necessary so that the tweeter faces your ear.... Click on the title for more

Bedroom Monitoring Basics

Neve’s 1073 EQ Module for 500 Series

In a follow-up to the lunchbox version of its famous 1073 preamp, Ams-Neve has released the 1073LBEQ ($1,295): a 3-band mono equalizer based on the original Neve 1073 EQ circuit. It integrates seamlessly with the 1073LB preamp, resulting in a fully discrete, portable version of the 1073 mic pre/EQ used on countless recordings for its distinctively fat, punchy sound. Basic functions include an EQ in/out switch with LED indicator, and a signal presence LED that lights up green from -25dB and red from +24dB. Rotary knobs control 3 bands of EQ as well as an adjustable high-pass filter. When mounted in the same lunchbox with a 1073LB mic pre, a few simple modifications allows the EQ to be inserted between the inputs and outputs of the 1073 pre. Design limitations associated with 500 series modules prevented Neve from combining both mic pre and EQ of the original unit into one lunchbox pre/EQ without sacrificing audio quality: “Trying to fit both the preamp and EQ functions into those dimensions simply wasn’t an option – not if we wanted to retain key features like the hand-wound transformers which are proprietary to AMS Neve and are such an important part of ‘that Neve sound’,” […]... Click on the title for more

Neve’s 1073 EQ Module for 500 Series

Shure announces Beta 181

Coming this fall from Shure: A compact side-address condenser mic with interchangeable capsules. The Beta 181 will be the company’s first wired mic to have swappable polar pattern capsules (cardioid, supercaridioid, omnidirectional, bidirectional) that attach to the mic body with a locking ring for a secure connection. With it’s extremely compact profile and side-address capsule, the 181 lets you use a condenser in tight miking conditions where large diaphragm mic’s simply wouldn’t fit. Whether you’re placing it on a drum kit, guitar amp, or inside a piano, you should be able to get close to the source without much hassle – plus the inclusion of switchable capsules further increases it’s versatility. Like other microphones in the Beta family, the 181 features sturdy construction, low handling noise, and high gain before feedback, which tailor it for live sound applications in addition to studio use. The 181 will retail for $499 with one capsule, windscreen, stand mount, and carrying case. Additional capsules will sell for $249 apiece, while the preamp body on it’s own will also be available for $249. Expect it in stores November 15th. –Mike Bauer... Click on the title for more

Shure announces Beta 181

ADK S-7 and A-6 Microphones

Over the course of two weeks I anticipated a delivery of two new ADK microphones to be used for a month of extensive testing. This review was done over the course of a month of tracking with various rock bands at Monsterland Recording Studio in Williamsburg, Brooklyn. Everything was recorded to protools using high end Lynx converters and api microphone preamps. There was an effort to keep the signal chain similar throughout the testing process. Via email, Larry Villella of ADK was extremely honest and informative about the nature of his microphones. Often gear manufacturers act like pimps hustling their goods under the veil of trendy marketing terms and “celebrity” testimonials. ADK took a different stance and talked with me frankly about what they sell and how it can aid in the recording process. I received one S-7 and one A-6 large diaphragm condenser microphone. The mics arrived in nice piano painted wooden boxes with cloth lined interiors. Each mic comes with a stand mount but no shock mount. Although there was no shock mount, the microphones are typical in shape to other mics and I had no problem finding shock mounts in my collection that would fit each microphone. […]... Click on the title for more

ADK S-7 and A-6 Microphones

CrashGuard drum mic shield by Primacoustic

Trying to tame excessive hi-hat or cymbal bleed from snare and tom tracks is a source of frustration for many engineers. Gating your snare track can take the life and air out the performance, and using EQ can kill the tone. Rather than modifying the track or using drum replacement software to swap out your sound, Primacoustic has a new tool designed to help reduce cymbal bleed during tracking. The CrashGuard ($39.99) is a lightweight ABS plastic shield that blocks high frequencies from reaching your drum mics, while also protecting them from the impact of stray drumstick hits. The shield attaches between the microphone clip and stand, and it’s large enough to successfully fit over your trusty SM57, 421, or 414. Thankfully, the extremely lightweight construction means that you won’t be constantly readjusting sagging mic stand booms. The underbelly of the CrashGuard is covered with a high density open-cell foam, which reduces reflections from the source you are miking and helps prevent phase cancellation issues. A cable cutout at the back allows you to adjust the angle of the mic: the further from the guard you get, the less it affects the polar pattern and tone of the mic. By […]... Click on the title for more

CrashGuard drum mic shield by Primacoustic

Choosing the right Recording Studio

What do you need to look for in a recording studio? In this article you'll find all the advice you need about equipment, engineers, rooms, rates, and ways of approaching the recording experience. - read... Click on the title for more

Choosing the right Recording Studio