Recording - February 2013 - 69

Seeing that this is not meant simply as a concert piece, does that impact the way in which it gets recorded and mixed? When you’re recording for film it’s different than recording for a concert release or a radio broadcast; you don’t just set up stereo mics and record the performance, you have to mike all the instruments so that mixers can have stems when they’re on the soundstage afterwards. I have to have complete flexibility over all the sections, all the solos, so that they’re not interfering with dialog or narration or sound effects. When I hand my mixes to, say, Skywalker, they want those stems so they can remix my mixes. Boettcher Hall is much more live and bass-heavy than your regular filmscore soundstage...

To counteract that you don’t use figure-8 patterns much, or omnis, you mike a little closer, you don’t rely on your hall mics as much, you put up plexiglass around the timps... We did all that and actually achieved a tight sound. And you have full control right here... I have complete isolation over the tracks here too. I don’t just let the tracks play and use eq; each track is mastered for level, dynamics are added—not with compression but I automate the dynamics, almost like gates but softer, every track is cleaned, and after all that I was surprised I had to actually add reverb despite the Boettcher’s big-hall sound. Recording wishes to once again thank Mike Pappas for giving us access, project details and photographs. He can be contacted via pappas@recordingmag.com. We also thank his cheerful and most capable assistants, Joey Kloss and Devin Shorb, for making us feel welcome whenever we intrude into their space. We appreciate the cooperation of David Moke of DeVotchKa’s enditmanagement.com. We thank Charles Denler for his cooperation and his insights. Charles Denler’s extensive list of credits and award-winning compositions is at charlesdenler.com. DeVotchKa band photos courtesy DeVotchKa management. Charles Denler portrait by Kay Ellen Denler. All other photos by Lorenz Rychner.

Charles Denler Gives Us A Tour Of His Mic Locker
Neumann TLM 69 paired with a Universal Audio SOLO/610 preamp. I use this for almost everything these days. Acoustic guitar, flutes, flugelhorn, violin, cello and vocals. Royer R-121. I use this for upright bass, hand percussion and brass. The presence is incredible! AKG 451, a vintage matched set with multiple capsules. I’ve used these on almost every instrument at one point or another. They work great for small string ensembles. (Not too great for close brass miking...) RØDE NT1-A. I’ve used this with acoustic guitar quite a bit. It brings out the high end of the guitar without sounding brittle. Audio-Technica AT4033. This is one of the few mics that work with my voice. I’ve used it on a bunch of albums. sE Electronics X1. This mic has really surprised me! It is incredibly rich sounding for its modest price tag. The company sent me one to try, and I totally love the sound.


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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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