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Articles Tagged Techniques

  • Tuesday, April 14, 2015
    Jon Tidey 04/14/15 08:13 AM,
    This article is provided by Audio Geek Zine.   One of the challenges we face is creating lifelike music with a realistic three-dimensional soundstage. Recording direct with guitars and synthesizers, there is no interaction with the instrument and the room, the sound comes out of nowhere, and it can be a challenge mixing several of these disembodied performers into something that sounds real. Recorded music is an illusion—you can shape it however you want, and these tips should help. Room… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsInterconnectMicrophoneProcessorSignalSoftwareStudio

  • Monday, March 30, 2015
    Bruce Bartlett 03/30/15 07:58 AM,
    Perhaps the most exciting type of recording comes in the live realm, whether it be in a club or concert hall or stadium. Many musicians and bands want to record live because they feel that’s when they play best. The goal, then, is to capture the performance so it can be brought back alive. Remote recording is exhilarating. The musicians - excited by the audience - often put on a stellar performance. Usually you only get one chance to get… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSound ReinforcementStage

  • Friday, March 27, 2015
    old soundman
    Old Soundman 03/27/15 02:49 PM,
    Somebody has been feeding misinformation to our pal Roy here. He wrote in twice and I have taken the liberty of mixing and matching excerpts from both his missives. Good Sir - Yes, Roy! I was hoping you would grace us with your suggestions on miking guitar amps, placement and such. When you go to concerts, do you ever see the taped “X” on some poser’s 4 x 12 cabinet? Either he or his guitar tech has painstakingly determined that… View this story
    Filed in: Live SoundFeatureBusinessEngineerMicrophoneSound Reinforcement

  • Thursday, March 26, 2015
    Greg Stone 03/26/15 02:46 PM,
    I’ve often joked that my funeral ceremony will include a small monitor wedge next to the casket, with a sign on my chest that reads “I’d like a little more of me in the monitor.” It’s a way of finding humor in a comment that sound mixers hear all too often.  On a more serious note, watch out! Trying to accommodate “more of me” can quickly provoke an endless string of errors that can turn the strongest mix master into… View this story
    Filed in: Live SoundFeatureBlogConsolesEngineerLoudspeakerMixerMonitoringSound ReinforcementStage

  • Wednesday, March 11, 2015
    Bobby Owsinski 03/11/15 11:11 AM,
    This article is provided by Bobby Owsinski.   If you’re recording a live performance, then you want to pick up some of the audience to make it sound realistic. Here are some techniques and considerations culled from the latest edition of the Recording Engineer’s Handbook. Audience recording is both the key and the problem with live recording. It’s sometimes difficult to record the audience in a way that captures its true sound. The transient peaks of the audience makes it… View this story
    Filed in: RecordingFeatureBlogStudy HallConcertEngineerMicrophoneMixerSignalSound ReinforcementStudio

  • Monday, March 02, 2015
    recording drums
    Joe Gilder 03/02/15 05:56 PM,
    Article provided by Home Studio Corner.   Ever want to get “huge, cannon-sized” tom tracks? On this video, Joe Gilder demonstrates an approach he’s developed to do just that. He starts with an example of a song featuring big tom sound that really fits the vibe and mood of the song, and then he loops back to his method in attaining that specific sonic signature. It’s not just a matter of working with reverb and EQ, but rather a more… View this story
    Filed in: RecordingFeatureBlogVideoStudy HallDigitalDigital Audio WorkstationsMixerProcessorSoftwareStudio

  • Thursday, February 26, 2015
    Greg Stone 02/26/15 04:11 PM,
    All microphones are not created equal. Cardioid, supercardioid, hypercardioid, condenser, ribbon - literally dozens of choices. (It’s enough to give you a cardioid cardiac!) In many situations, our budgets just won’t allow the top-of-the-line models in our mic cases. Meanwhile, the same questions present themselves for every show, large or small. What kind of mic(s) on the backline? What to do about the softly singing angel at lead vocal? What about the singer that can never ever stay on mic… View this story
    Filed in: Live SoundFeatureVideoStudy HallEngineerMicrophoneMonitoringStage

  • Tuesday, February 17, 2015
    Barry Rudolph 02/17/15 09:26 AM,
    The origin of the “Daryl Hall and John Oates” album which came to be known as “The Silver Album” because of its silver metallic cover had a lowly start in the mid-Seventies on a Monday morning at Larrabee Sound in West Hollywood, CA. From the very first time I met Daryl and John when they walked into the control room, I was impressed by how together—how in sync and “present” they were. I remember the proclamation Oates made on that… View this story
    Filed in: RecordingFeatureBlogStudy HallMicrophoneSignalStudioSystem

  • rep recording phasing
    Jerry Ferree 02/17/15 08:31 AM,
    From the archives of the late, great Recording Engineer/Producer (RE/P) magazine, this feature offers an interesting look back at techniques for recording electronic instruments. The article dates back to September, 1970. (Volume 1, Number 1). The text is presented unaltered, along with all original graphics. Everyone who listens to pop music has at some time heard that weird swishing effect swooping down through a drum solo or a vocal group making them sound rather like a long-distance short wave broadcast.… View this story
    Filed in: RecordingFeatureBlogStudy HallAnalogEducationProcessorStudio

  • Wednesday, February 11, 2015
    Daniel Keller 02/11/15 01:57 PM,
    Before there was digital recording, before spring reverb, even before analog tape, there was EQ. Equalization is one of the oldest tools in the audio engineer’s arsenal, and one of the most useful. Used judiciously, EQ can do wonders to de-clutter a crowded soundscape. Used with precision, it can remove offending sounds we hadn’t necessarily intended to capture. Used correctly, a bit of EQ can be all that’s needed to make peace between dueling guitars, scoop the mud from the… View this story
    Filed in: RecordingFeatureBlogConsolesMixerProcessorStudio