Recording - February 2012 - 6

Note to faithful writers: When sending your letters by email, please remember to include your name and where you hail from.
The road to wellness leads through Chicago Hi guys. A while back (maybe a couple of years ago), you published an article addressing how to avoid the pitfalls of physical strain that can occur as a result of being a musician or engineer. The writer mentioned a hospital/institution (which I have since forgotten) in the Chicago area that specialized in working with musicians’ ailments. Unfortunately, my vocal cords haven’t recovered after a very stressful recording/performing schedule and I happen to live in the Chicagoland area. Could you provide me with the name of the medical facility mentioned in the article I read? It would be greatly appreciated. Thanks!
Gregory Hyde via email

Michael Schulze replies: Hi Mike! Your solution using three cardioids is clever and intuitive. I wish I had thought to include that in the article. And yes, not as many people know about M/S as should; it’s one of those techniques everyone should be aware of. By the way, if you want to see and hear something really cool, go to my video on M/S at www.recordingmag.com/videos/videoDetail/18.html, and to www.ambisonic.net. Thank you for writing!—MS And speaking of Ambisonics...! Dear Michael Schulze: I am an Audio Production Technology student at Mesa Community College in Mesa, AZ. Just last week, our Studio Recording I class (taught by Andy Seagle, who has also taught at CRAS) began discussing various stereo mic techniques—ORTF, coincident pair, Blumlein, etc.. As students, we receive Recording Magazine for free. Your article entitled “Mid-Side Stereo Recording” was very timely—I will definitely direct my classmates’ (and instructor’s) attention to your article. Although I have read studio recording and microphone books by Ramsey, Eargle, Gibson, Huber and others, I found your article both enjoyable and readable. While reading your article, “Ambisonics” kept popping into my mind. Consequently, I was pleased when I saw that you had suggested Ambisonics for “creating mind-blowing surround.” The reason Ambisonics popped into my mind is this: I recently created a website (www.cochlearconcepts.com) with a focus on hearing research and how high-order ambisonics could be used in hearing research. In fact, I stepped into studio recording and live sound engineering as a hearing scientist. Few people in the recording industry mention that recording engineers might be hired to make live recordings for research. While being hired for research endeavors is probably a rare occurrence, expertise in the recording arts could be of tremendous value to speech and hearing scientists if one is aware of contemporary research. Many of the researchers I know use MATLAB regularly for signal processing, but they don’t know how to make good recordings. Thank you for your time, and thanks again for a great article!
Sincerely, Eric Carmichel via email

Paul J. Stamler replies: Hi Gregory: The place is the Rehabilitation Institute at Northwestern University Hospitals, which is just north of downtown Chicago (north of the river) and east of Michigan Avenue. The doctor’s name I saw was Alice Brandfonbrener, and the department she founded was the Performing Arts Medicine program. Dr. Brandfonbrener is the tops—she founded the Journal of Performing Arts Medicine, and is one of the pioneers in the field; I think you’ll like her. If you go and if they’re able to help you, tell us about it! And tell them Recording Magazine sent you. Good luck, and here’s to a quick and uneventful recovery! Peace—PJS Mid-Side modifications Dear Michael Schulze, thanks for the great article about mid/side stereo recording (November 2011). I was intrigued by the concept. I have been playing for about 40 years and have been in many studios around the country. I have never seen this technique. I had to try it. I track on a HD recorder, and if I have to, I put the files in the DAW to fix stuff. I would rather play and sing than sit in front of a computer and fix stuff. I used 3 condenser mics because I don’t have a mic with a figure 8 pattern. One pointing right-panned right, one left pointing left-panned left, and one down the middle. I reversed the polarity on the right mic. The mikes were about 4 foot away from where I was playing my Hummingbird and singing. It is a nice room, not too lively or dead. That was the best reverb I have ever heard or recorded. It was full and sweet, but I could not tell reverb was there. It was better than any reverb machine or program that I have ever heard. Being that far away from the mics, there was no proximity effect, something I have to deal with on stage. There will be a place for this procedure in my studio when I record and produce future projects. It will give me the upper hand on my competition. Thanks again.
Mike Burelle via email

Write to us at: Talkback, Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301 Or save stamps and send email to talkback@recordingmag.com
6
RECORDING FEBRUARY 2012


http://www.recordingmag.com/videos/videoDetail/18.html http://www.recordingmag.com/videos/videoDetail/18.html http://www.ambisonic.net http://www.cochlearconcepts.com

Recording - February 2012

Table of Contents for the Digital Edition of Recording - February 2012

Recording - February 2012
Fade In
Contents
Talkback
Fast Forward
Electric Lady Connections
Lewitt Audio LCT 640 Condenser Microphone
Sebastian Arocha Morton: The Singer and The Song—Going For The Perfect Match
Kel Audio Song Sparrow Condenser Microphone.
KRK Systems RP10-3 Powered Mid Field Studio Monitors
The Mixing Workshop: Tips For Mixing Vocals
Harrison Lineage 8-Channel Microphone Preamplifier.
M-Audio Fast Track C600 Audio Interface.
Sing, Sing a Song: Recording Inexperienced Singers
Earthworks SR40V Condenser Microphone
Stellar Singing From Small Studios
RØDE Limited Edition Black Classic II Tube Condenser Microphone.
Recording’s Showcase of Sounds
Recording Fundamentals. Chapter 2: Introduction To Audio—Part One (What is Sound?)
Plug-In Outlet
Reviewed and Revisited: Apogee Duet 2
iOS Music Tools: DAWs From Laptop To Pocket
Readers’ Tapes
Advertiser Index
Fade Out
Recording - February 2012 - Intro
Recording - February 2012 - Recording - February 2012
Recording - February 2012 - Cover2
Recording - February 2012 - 1
Recording - February 2012 - Fade In
Recording - February 2012 - 3
Recording - February 2012 - Contents
Recording - February 2012 - 5
Recording - February 2012 - Talkback
Recording - February 2012 - 7
Recording - February 2012 - Fast Forward
Recording - February 2012 - 9
Recording - February 2012 - 10
Recording - February 2012 - 11
Recording - February 2012 - 12
Recording - February 2012 - 13
Recording - February 2012 - Electric Lady Connections
Recording - February 2012 - 15
Recording - February 2012 - 16
Recording - February 2012 - 17
Recording - February 2012 - 18
Recording - February 2012 - 19
Recording - February 2012 - 20
Recording - February 2012 - 21
Recording - February 2012 - 22
Recording - February 2012 - 23
Recording - February 2012 - Lewitt Audio LCT 640 Condenser Microphone
Recording - February 2012 - 25
Recording - February 2012 - Sebastian Arocha Morton: The Singer and The Song—Going For The Perfect Match
Recording - February 2012 - 27
Recording - February 2012 - 28
Recording - February 2012 - 29
Recording - February 2012 - 30
Recording - February 2012 - 31
Recording - February 2012 - 32
Recording - February 2012 - 33
Recording - February 2012 - Kel Audio Song Sparrow Condenser Microphone.
Recording - February 2012 - 35
Recording - February 2012 - KRK Systems RP10-3 Powered Mid Field Studio Monitors
Recording - February 2012 - 37
Recording - February 2012 - The Mixing Workshop: Tips For Mixing Vocals
Recording - February 2012 - 39
Recording - February 2012 - 40
Recording - February 2012 - 41
Recording - February 2012 - Harrison Lineage 8-Channel Microphone Preamplifier.
Recording - February 2012 - 43
Recording - February 2012 - M-Audio Fast Track C600 Audio Interface.
Recording - February 2012 - 45
Recording - February 2012 - 46
Recording - February 2012 - 47
Recording - February 2012 - Sing, Sing a Song: Recording Inexperienced Singers
Recording - February 2012 - 49
Recording - February 2012 - Earthworks SR40V Condenser Microphone
Recording - February 2012 - 51
Recording - February 2012 - Stellar Singing From Small Studios
Recording - February 2012 - 53
Recording - February 2012 - RØDE Limited Edition Black Classic II Tube Condenser Microphone.
Recording - February 2012 - 55
Recording - February 2012 - Recording’s Showcase of Sounds
Recording - February 2012 - 57
Recording - February 2012 - Recording Fundamentals. Chapter 2: Introduction To Audio—Part One (What is Sound?)
Recording - February 2012 - 59
Recording - February 2012 - 60
Recording - February 2012 - 61
Recording - February 2012 - Plug-In Outlet
Recording - February 2012 - 63
Recording - February 2012 - 64
Recording - February 2012 - 65
Recording - February 2012 - 66
Recording - February 2012 - 67
Recording - February 2012 - 68
Recording - February 2012 - 69
Recording - February 2012 - 70
Recording - February 2012 - 71
Recording - February 2012 - 72
Recording - February 2012 - 73
Recording - February 2012 - Reviewed and Revisited: Apogee Duet 2
Recording - February 2012 - 75
Recording - February 2012 - iOS Music Tools: DAWs From Laptop To Pocket
Recording - February 2012 - 77
Recording - February 2012 - 78
Recording - February 2012 - 79
Recording - February 2012 - Readers’ Tapes
Recording - February 2012 - Advertiser Index
Recording - February 2012 - 82
Recording - February 2012 - 83
Recording - February 2012 - 84
Recording - February 2012 - 85
Recording - February 2012 - 86
Recording - February 2012 - 87
Recording - February 2012 - Fade Out
Recording - February 2012 - Cover3
Recording - February 2012 - Cover4
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