Recording - February 2013 - 4

PUBLISHER: Thomas Hawley ASSOCIATE PUBLISHER: Brent Heintz

EDITOR: Lorenz Rychner ASSOCIATE EDITOR: Mike Metlay EDITOR AT LARGE: Beto Hale MÚSICO PRO EDITOR: Fernando Curiel

EDITORIAL

CONTRIBUTORS Michael Schulze, Eric Ferguson, Paul Vnuk Jr., Darwin Grosse, Bill Stunt, Marty Peters, Kevin King, Ethan Winer

Right or wrong? Just when you thought you were doing the right thing by working from home, you could find yourself on the wrong side of the law. You’re not driving to work, your car is not contributing to gridlock and pollution, your home is your castle, what’s the problem? I just talked to Bryan Cumming, a recording musician in Nashville, who tells me that he received a citation, out of the blue, for violating city codes by having a home studio. He tells me that he has registered a business, he has taken out insurance, and yet he’s in violation. Now his photo was in the paper and he has become the poster boy for quite an upheaval going on in Music City (of all places!), with hastily-drawn-up new regulations aimed at making it easier to have a home studio but actually likely to do more harm than good. Rules like maximum square footage of your home studio (does that include, say, the wardrobe in the spare bedroom where you stash your old guitars?), and a limit of ten people a day visiting your home studio (does your son’s math tutor count as the eleventh visitor if a jealous neighbor keeps track and turns you in?). Let’s hope the debate will have positive and sensible outcomes by the time you read this. This situation is nothing new, of course. When this magazine was still based in Los Angeles, there was already a never-ending tug of war going on between advocates of the “work from home and stay off the freeways” mindset, and those who worry about home businesses in residential streets contributing to increased traffic and declining property values. In some areas of L.A. every other garage will never house a vehicle again, even though it still looks like a garage—the number of home studios is staggering. You can buy houses advertised as having enhanced value due to just that permanently converted garage. The irony here? Bryan Cumming had a home studio in those days, and it was in Los Angeles... If any lessons can be drawn, it could be these: If your home studio is on a street zoned as residential, and a local newspaper or broadcast entity wants to do a feature about you and your home studio, think twice before you say Yes. It might get you publicity, but with the wrong consequences. And do take out insurance (including liability), get straight with the taxman, and be considerate towards your neighbors. Earlier this month, I had a rare opportunity to peek behind the scenes at a major importer and distributor’s facility. When we buy gear for our studios, we don’t often think about the long journey from the manufacturer’s loading dock to our front door. A visit to the Canadian company Plurison (its US arm is Audio Plus Services) taught me a lot about how it can be done. The Montreal-based company imports mostly home audio products, some of the best in the field, from the likes of Mordaunt-Short and Cambridge Audio, and some pro audio items, like Focal monitors for example. It not only imports and transships orders but provides full service on all fronts. I visited Simaudio outside of Montreal, and got a detailed introduction to the design intricacies of their Moon 3500MP 2-channel preamp that is sure to make waves. We’ll review it soon. I also got to hear the fabulously treated room at Le Lab Mastering in Montreal... or, rather, I didn’t hear the room, just the out-of-this-world sound system. I encourage you to read my blog entry about my trip at www.recordingmag.com/blogs/post/166.html to learn more. What are the most important tools of the trade for us? I’d argue for the transducers— the mics and the monitors. If you capture good sounds with good mics, and you can hear exactly what you have to work with after you’re done tracking, you’re more than halfway there. Way more than halfway. So this issue, with five mic reviews (hugely useful and versatile and affordable mics!) and three quality monitors, should be one to keep around. Add to that the advice on different and tricky miking scenarios, like drums in a huge room and a rock band with orchestra, and the other pieces of good reading, and it should all lead to a lot of— Happy Recording!

SOCIAL MEDIA Brent Heintz, Paul Vnuk Jr.
ART DIRECTOR: Scott Simmonds PRODUCTION MANAGER: Colin Courtney WEB GOALIE: Colin Courtney

ART & PRODUCTION

EDITOR/PRODUCER:

PLAYBACK PLATINUM SERIES Lorenz Rychner CIRCULATION Tiffany Sepe

CIRCULATION MANAGER:

ADVERTISING SALES AND MARKETING DIRECTOR: Brent Heintz CLASSIFIEDS MANAGER: Colin Courtney
ACCOUNTS RECEIVABLE:

ADMINISTRATION Thomas Hawley

PRESIDENT: Thomas Hawley VICE PRESIDENT: Brent Heintz

EXECUTIVE OFFICERS

SUBSCRIPTIONS/ADDRESS CHANGES: 1-800-582-8326 1-954-653-3927 ADVERTISING/CLASSIFIEDS/MAIN OFFICE: (303) 516-9118 RECORDING MAGAZINE (ISSN 1078-8352; USPS 002-298) is published monthly, 12 times per year, by Music Maker Publications, Inc., 5408 Idylwild Trail, Boulder, CO 80301-3523. Tel: (303) 516-9118 Fax: (303) 516-9119 email: info@recordingmag.com Los Angeles Editorial Office: Beto@recordingmag.com
Periodicals Postage is paid at Boulder, CO and at additional mailing offices. POSTMASTER: Send address changes to RECORDING, Subscriber Services, P.O. Box 5024, Fort. Lauderdale, FL, 33310. Tel: 1-954-653-3927, Fax: 1-954-7723393. Subscription rate: $19.95 per year. All material is subject to worldwide copyright protection, and reproduction or imitation in whole or in part is expressly forbidden without written consent from the publishers. All reasonable care is taken to ensure accuracy in the preparation of the magazine, but Music Maker Publications, Inc. cannot be held legally responsible for its contents. The publishers cannot assume responsibility for the return of unsolicited manuscripts, photographs or materials. All trademarked names, whether indicated as such or not, are owned by their respective companies. Canada Post: Publications Mail Agreement #41491032. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2

© Copyright 2013 Music Maker Publications, Inc.

PRINTED IN THE U.S.A.

4

RECORDING February 2013


http://www.recordingmag.com/blogs/post/166.html

Table of Contents for the Digital Edition of Recording - February 2013

Recording - February 2013
Fade In.
Contents
Talkback.
Fast Forward.
The Production Of Clare Fischer’s CD ¡Ritmo!
Big Money Drums.
Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Sonodyne SM200Ak Studio Monitors.
AKG D12 VR Reference Kick Drum Microphone.
Shure KSM9HS.
Radial Engineering Firefly Tube DI.
Audio-Technica AT4047MP.
Zoom Q2HD Handy Video Recorder.
iOS Music Tools: Take Control!
Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
DPA Microphones Reference Standard Mics.
Sony Creative Software Sound Forge Pro Mac.
Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Readers’ Tapes.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
Advertiser Index.
Fade Out.
Recording - February 2013 - Recording - February 2013
Recording - February 2013 - Cover2
Recording - February 2013 - 1
Recording - February 2013 - 2
Recording - February 2013 - 3
Recording - February 2013 - Fade In.
Recording - February 2013 - 5
Recording - February 2013 - Contents
Recording - February 2013 - 7
Recording - February 2013 - Talkback.
Recording - February 2013 - 9
Recording - February 2013 - Fast Forward.
Recording - February 2013 - 11
Recording - February 2013 - 12
Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
Recording - February 2013 - 15
Recording - February 2013 - 16
Recording - February 2013 - 17
Recording - February 2013 - 18
Recording - February 2013 - 19
Recording - February 2013 - Big Money Drums.
Recording - February 2013 - 21
Recording - February 2013 - 22
Recording - February 2013 - 23
Recording - February 2013 - 24
Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Recording - February 2013 - 27
Recording - February 2013 - 28
Recording - February 2013 - 29
Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
Recording - February 2013 - 33
Recording - February 2013 - 34
Recording - February 2013 - 35
Recording - February 2013 - Shure KSM9HS.
Recording - February 2013 - 37
Recording - February 2013 - Radial Engineering Firefly Tube DI.
Recording - February 2013 - 39
Recording - February 2013 - Audio-Technica AT4047MP.
Recording - February 2013 - 41
Recording - February 2013 - Zoom Q2HD Handy Video Recorder.
Recording - February 2013 - 43
Recording - February 2013 - iOS Music Tools: Take Control!
Recording - February 2013 - 45
Recording - February 2013 - 46
Recording - February 2013 - 47
Recording - February 2013 - Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
Recording - February 2013 - 49
Recording - February 2013 - DPA Microphones Reference Standard Mics.
Recording - February 2013 - 51
Recording - February 2013 - Sony Creative Software Sound Forge Pro Mac.
Recording - February 2013 - 53
Recording - February 2013 - Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Recording - February 2013 - 55
Recording - February 2013 - Readers’ Tapes.
Recording - February 2013 - 57
Recording - February 2013 - 58
Recording - February 2013 - 59
Recording - February 2013 - 60
Recording - February 2013 - 61
Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
Recording - February 2013 - 63
Recording - February 2013 - 64
Recording - February 2013 - 65
Recording - February 2013 - 66
Recording - February 2013 - 67
Recording - February 2013 - 68
Recording - February 2013 - 69
Recording - February 2013 - Stereo From A Mono Mic.
Recording - February 2013 - 71
Recording - February 2013 - 72
Recording - February 2013 - Advertiser Index.
Recording - February 2013 - 74
Recording - February 2013 - 75
Recording - February 2013 - 76
Recording - February 2013 - 77
Recording - February 2013 - 78
Recording - February 2013 - 79
Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4
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