Recording - February 2013 - 56
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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, firstname.lastname@example.org
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.”
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.
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, email@example.com
Table of Contents for the Digital Edition of Recording - February 2013
Recording - February 2013
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.
Radial Engineering Firefly Tube DI.
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.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
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
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Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
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Recording - February 2013 - Big Money Drums.
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Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
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Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
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Recording - February 2013 - Shure KSM9HS.
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Recording - February 2013 - Radial Engineering Firefly Tube DI.
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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.
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Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
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Recording - February 2013 - Stereo From A Mono Mic.
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Recording - February 2013 - Advertiser Index.
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Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4