Recording - February 2013 - 56

By submitting a Readers’ Tapes entry you automatically grant permission to Music Maker Publications to feature your submission here, on our website, and in our SPOTLIGHT e-newsletter. We might need to shorten entries for editorial reasons. By listing your name with the submitted work, MMP does not imply any assignment of rights to the submitted work. We can neither guarantee publication of a review nor engage in correspondence about individual submissions. Media can be submitted physically (as in an actual recording through the mail) or online at our website. For online submissions, please go to www.recordingmag.com and click on Readers’ Tapes, then select “Submit Your Recording” and fill in the requested information. We accept MP3 and AAC files of up to 5 MB size. File bitrate is up to you but we strongly recommend a minimum of 128 kbps; note that the higher the bitrate, the shorter the song that will fit in the 5 MB limit. You’re free to submit an excerpt of a longer song if that helps! Send physical submissions to: Readers’ Tapes c/o Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301. Please be sure to include: a) a CD, CD-R, cassette, DAT, or MiniDisc with only one song preferably no longer than 3:30 in length (or tell us which track you want reviewed); b) a credit list (who did what); c) a list of equipment used. Remember that CD-Rs with unevenly applied paper labels, smudges, or scratches won’t play back reliably. PLEASE state which part of your contact info we can publish (address, phone, and/or email)—if you don’t tell us precisely, we won’t print anything at all.

Our main suggestion to Nelson centers around the ambience of the drum track. While we are all for collaboration and jobbing out sound sources to others who may be more qualified, some artistic vision must be agreed upon before proceeding. Whether or not Nelson “ordered” up the extralarge drum sound from Dave and Sully is anyone’s guess, but that is indeed what he got. As a producer, his job at that point was to find a way to integrate the remaining sound sources with the drums to create a unified sound... or to ask the fellas for another drum mix with less ambience. As for the steel drum sound, we again would suggest Nelson put on the producer’s hat and ask if that part is really bringing anything to the table. To our ears the track would have been better without it.
Summary: Those hats can get heavy sometimes, but wearing them improves with practice.
Contact: Nelson Rudiak, nrudiak@aol.com

Chas Tharp
Equipment: Mac Pro w/ 8 GB of RAM with RME Fireface 800 interface running Apple Logic Pro 9; Neumann TLM 103 and KM 184 mics, Mackie HR824 monitors, PreSonus MP20 preamp, Line 6 POD XR PRO, Korg Triton 61, Fender American Deluxe Strat, Taylor LKSM 6 acoustic guitar, Fender American Deluxe Jazz Bass, “plus some other stuff.”

Nelson Rudiak
Equipment: Recorded on Pro Tools (computer system not described). Instruments: Korg M61 keyboard (direct), Selmer Paris Mark VI alto sax (miked with Shure SM67), Fender Strat Plus Ultra, Gibson ES 125T, Fender P-Bass (processed through a Line 6 POD X3).

Music: “BBQ Boogie” is a jazz instrumental, Nelson played and recorded all of the instruments, minus the drums which were played by Sully Sullivan and recorded by Dave Fibiger at another studio. Recording: Nelson has submitted a nice uptempo piece with some fine performances all around. As for the sounds, well, it’s a bit of a mixed bag... The track starts out strong with two well-recorded and nicely panned saxes doing a harmony—the cat can flatout burn on the sax, folks! While we have heard better “faux” Hammond organ sounds than what Nelson coaxed from his Korg keyboard, the part serves its purpose in the mix. Unfortunately, the same cannot be said for the steel drum sound that enters at approximately 1'20". To our ears the steel drum sound is not only artificial, but its inclusion severely disrupts the good energy that the track had built up. The rhythm section was also a tad confusing. While we love the killer funky bass performance, the drums have such a huge room ambience that they seem disconnected from not only the bass, but from the rest of the mix in general. Compounding this push-pull is the inclusion of a left-panned, dry-as-a-bone electric guitar, which seems to throw the stereo balance for a loop at about the 2'08" mark. Suggestions: First off, kudos to Nelson for some great chops; the sax and bass playing here is as good as any that we have heard during our tenure at Readers’ Tapes. That said, the wearing of so many hats can be a tough sled, as they say up in our neck of the woods.
56
RECORDING February 2013

Music: “Maybe” is a male vocal rock song in the singer/songwriter vein. Chas did it all at his home studio. Recording: Chas tells us, “I miked the acoustic with the KM184 at the 12th fret about 8 inches away. Everything else was direct. I used the TLM103 on vocals. It’s the classic OMB situation. I am set up in a small bedroom with some meager attempts at absorption... Hit me, hurt me, make me write bad checks! I am an old fat guy who needs to bring (find) his skills into the 21st century. Thanks!” Well Chas, that’s a bit out of our job description, but let’s take a look under the hood and see what’s tickin’, shall we? Things start out well enough here with a nicely recorded acoustic guitar supporting a doubled Neil Young/America style vocal. From there however, things get a little sticky. While the sound of the drums suits the genre nicely, we hear some very audible compression “pumping”, particularly on the kick drum. We also found the bass guitar to be somewhat underpowered through our monitors. The compression issues seem to extend over to the electric guitar as well, and the inclusion of a “Spanish” style acoustic guitar playing fills seems to add clutter to an already busy scene. Suggestions: One could stock a fairly good-sized library (that’s where people used to go to read books... you know, the ones made out of paper...? Oh well, never mind) with articles dealing with the misuse of compression. Now for the good news—there are at least an equal amount of articles advising on how to properly use the same. We urge Chas to use this magazine (in print form and online) as a gateway into a solid grasp of the compressor. That knowledge will pay dividends for a long, long time. As for the bass, once the kick drum is freed up, adding a few dB to the bass will help the rhythm section blend. Finally, the abovementioned guitar fills fall into the “just because you can doesn’t mean you should” category. In our opinion, losing them would not impact the mix in a negative way.
Summary: Hit the books!
Contact: Chas Tharp, chucktharp1955@gmail.com


http://www.recordingmag.com http://www.recordingmag.com

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
http://www.nxtbook.com/musicmaker/musicmaker/recording_202002
http://www.nxtbook.com/musicmaker/musicmaker/recording_202001
http://www.nxtbook.com/musicmaker/musicmaker/recording_201912
http://www.nxtbook.com/musicmaker/musicmaker/recording_201911
http://www.nxtbook.com/musicmaker/musicmaker/recording_201910
http://www.nxtbook.com/musicmaker/musicmaker/recording_201909
http://www.nxtbook.com/musicmaker/musicmaker/recording_201908
http://www.nxtbook.com/musicmaker/musicmaker/recording_201907
http://www.nxtbook.com/musicmaker/musicmaker/recording_201906
http://www.nxtbook.com/musicmaker/musicmaker/recording_201905
http://www.nxtbook.com/musicmaker/musicmaker/recording_201904
http://www.nxtbook.com/musicmaker/musicmaker/recording_201903
http://www.nxtbook.com/musicmaker/musicmaker/recording_201902
http://www.nxtbook.com/musicmaker/musicmaker/recording_201901
http://www.nxtbook.com/musicmaker/musicmaker/recording_201812
http://www.nxtbook.com/musicmaker/musicmaker/recording_201811
http://www.nxtbook.com/musicmaker/musicmaker/recording_201810
http://www.nxtbook.com/musicmaker/musicmaker/recording_201809
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201808
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201807
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201806
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201805
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201804
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201803
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201802
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201711
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201710
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201709
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201708
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201707
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201706
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201705
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201704
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201703
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201702
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201701
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201612
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201611
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201610
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201609
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201608
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201607
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201606
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201605
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201604
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201603
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201602
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201601
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201512
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201511
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201510
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201509
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201508
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201507
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201506
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201505
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201504
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201503
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201502
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201501
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201412
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201411
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201410
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201409
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201408
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201407
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201406
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201405
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201404
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201403
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201402
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201401
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201312
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201311
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201310
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201309
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201308
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201307
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201306
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201305
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201304
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201303
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201302
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201301
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201212
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201211
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201210
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201209
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201208
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201207
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201206
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201205
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201204
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201203
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201202
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201201
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201112
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201111
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201110
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201109
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201108
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201107
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201106
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201105
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201104
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201103
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201102
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201101
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201012
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201011
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201010
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201009
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201008
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201007
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201006
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201005
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201004
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201003
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201002
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201001
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200912
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200911
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200910
http://www.nxtbook.com/nxtbooks/musicmaker/nxtd
http://www.nxtbookMEDIA.com