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Monday, July 25, 2011
Barry Rudolph 07/25/11 06:41 PM, 1 CommentThis is the third in a series of articles on recording vocals. View part 1 and part 2. With mic choice and signal chain dialed in, listen to your singer over the monitor speakers to determine the correct distance from the microphone. You should have a fixed the initial distance back when you set the microphone height for the singer out in the studio. Some engineers will open a hand and use the distance from the end of the thumb… View this story
Filed in: Recording • Feature • Audio • Engineer • Microphone -
Wednesday, July 06, 2011
Barry Rudolph 07/06/11 12:11 PM, 0 Comments(See part 1 of this series.) During a session, I remember when an artist was on mic, out in the studio ready to start vocal overdubs, and the producer asked: “how do we look in here from out there?” Interesting, because he knew the appearance of the control room to the artist might affect the vocal performance. The control room (from the studio) does look like an aquarium with the huge window and the silent action of the animals encased… View this story
Filed in: Recording • Feature • Poll • Study Hall • Consoles • Digital Audio Workstations • Engineer • Microphone • Mixer • Processor • Software • Studio -
Thursday, June 23, 2011
Barry Rudolph 06/23/11 06:32 PM, 2 CommentsI’ve long wondered why a very useful musical feature is not included in all mixing consoles: a digital tuner. This realization led a few of my record clients to connect a tuner, via an additional buffered output, to the output of the monitor solo bus or even right across the stereo monitor bus. I’ve also routed one effect send bus output to a tuner input as well, so the guitarist can tune up anytime even while his track mix plays… View this story
Filed in: Recording • Feature • Product • Digital Audio Workstations • Digital • Processor • Sound Reinforcement • Stage • Studio -
Thursday, June 09, 2011
Barry Rudolph 06/09/11 09:32 AM, 0 CommentsOf all acoustic instruments, drums and percussion instruments seem the most elusive to capture with a compelling sound. Pop recordings are (mostly) driven by an unique and attractive drum sound. The definition of what makes a “good drum sound” has been greatly expanded since the advent of drum machines, samplers and the endless manipulations possible with Pro Tools. Record producers are looking for the drummer to drive the “feel” of the song and their drum sound to “fill” a certain… View this story
Filed in: Recording • Feature • Poll • Study Hall • Digital Audio Workstations • Education • Microphone • Studio -
Monday, June 06, 2011
Barry Rudolph 06/06/11 08:46 AM,There is something warm and fuzzy about the Waves Hybrid line of plug-ins. They have the look, feel and sound of outboard gear I grew up with ‘way too back in the day’ but they operate in a modern way with the power and precision that only a plug-in processor can provide. The Waves Hybrid Line is a win-win winner—get all the great sounds of those old processors when they are working correctly on a perfect day without all the… View this story
Filed in: Recording • Feature • Opinion • Poll • Product • Digital Audio Workstations • Digital • Software • Studio -
Friday, November 19, 2010
Barry Rudolph 11/19/10 02:40 PM, 0 CommentsFor recording electric guitars, I’ve been using a “trick” lately with the figure-of-eight Royer R121 ribbon microphone. I like this method because it increases the “coupling” of the low-end frequencies and air of the speakers to the mic, and I also find it great for loud clean sounds and cruncher rhythm parts, especially low-tuned guitar parts where you want as much “sturm und drang” as possible. I line up dual 4 x 12 Marshall cabinets directly facing each other as… View this story
Filed in: Recording • Feature • Poll • Analog • Audio • Microphone • Studio • System -
Monday, February 08, 2010
Barry Rudolph 02/08/10 04:51 PM, 2 CommentsNEW! Check out more than 40 videos detailing new products making their debut at the show. “Enthusiastic” was the overarching feeling at the show as most manufacturers experienced good to great traffic flow at their booths from super-interested buyers and others. If sales were off in 2009 you couldn’t tell it by the company-packed Halls A through C. Only Halls D and E had noticeably more empty floor space than last year. Some companies were conspicuous by their absence. Notably… View this story
Filed in: Recording • Feature • Product • Analog • Audio • Digital Audio Workstations • Digital • Microphone • Mixer • Processor • Software • Studio -
Tuesday, October 13, 2009
Barry Rudolph 10/13/09 01:56 PM, 1 CommentThe dampening effect of our economic times was noticeable at the just-concluded AES Show at the Jacob Javits Convention Center in New York City. Even though it was a smaller show with less companies showing in downsized booths, enthusiasm and confidence coming from the big crowd was as strong as ever. Everyone said they were doing great business so go figure. PLUG-INS, PLUG-INS & MORE PLUG-INS! Judging by the many fascinating and powerful new plug-ins offered, no software plug-in developers… View this story
Filed in: Live Sound • Recording • Feature • Product • Analog • Audio • Business • Digital Audio Workstations • Digital • Education • Sound Reinforcement • Studio -
Friday, May 22, 2009
Barry Rudolph 05/22/09 04:09 PM, 0 CommentsThe Marshall Electronics MXL professional microphone line has evolved with the introduction of the V89, a fully pro condenser microphone whose performance belies its $599 MSRP (U.S.). The V89 is proof positive; a perfect example of the way Marshall has “dialed in” quality control of their own overseas manufacturer to produce an instrument worthy to be called “professional.” The V89 starts with a custom body design made of brass that minimizes body resonance while the chromed tuned grill cavity helps… View this story
Filed in: Recording • Feature • Opinion • Product • Digital Audio Workstations • Microphone • Studio -
Monday, April 20, 2009
Barry Rudolph 04/20/09 01:16 PM, 0 CommentsThe “love” is obvious in every microphone John Peluso turns out by hand at his Floyd County, Virginia lab. Peluso’s 29 years of experience repairing and restoring all brands of vintage and modern microphones, his extensive stock of vintage parts, and diaphragm repair lab make him precisely qualified to produce his modern classics. The P12 is inspired by and styled after AKG’s legendary C12 and is indicative of his whole line of microphones with its custom design and handcrafted quality.… View this story
Filed in: Recording • Feature • Review • Slideshow • Microphone • Studio
Articles Tagged Barry Rudolph
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