Recording - June 2018 - 66

Readers'

TRACKS
BY MARTY PETERS

Listen online at www.recordingmag.com

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John Bowen
EQUIPMENT: Lenovo Core i5 4460 desktop PC (Windows
8) with Focusrite Scarlett 6i6 interface and Nektar LX61 keyboard
MIDI controller, running Cakewalk SONAR X3 Studio, Native
Instruments Session Strings and Vintage Organs, Toontrack EZkeys
and EZdrummer2, Spectrasonics Trilian, and stock Cakewalk plug-ins.
Avantone Pro CV-12 tube condenser microphone, JBL LSR308 8"
active monitors, Sennheiser Pro HD 280 Pro headphones.
MUSIC: "Twilight Side of Morning" is a male vocal one-manband effort.
RECORDING: John has submitted a pretty successful ballad
here, although not free of issues. Starting off with a simple piano/
organ and vocal intro, we noticed no particular problems with
the track from a recording standpoint. As the track built to include
bass and drums, we felt that John had done a good job across
the board with his sound sources, particularly the EZdrummer kit.
Both the tones and panning impressed us and the clear, articulate
bass guitar helped to create a solid rhythm section.
So what are the issues? John tells us that despite investing
in acoustic treatment for his recording space and in the
well-regarded CV-12 mic, he's unhappy with his vocal sound.
SUGGESTIONS: A huge part of any recording process is the
struggle to translate the sound we hear in our minds onto our recording
medium. Along the way, this journey is affected by myriad components,
from mics and cables to preamps, converters, and speakers. Oh,
and software, plug-ins, room acoustics... you know, the works!
In John's case, we personally don't find any technical problems
with his vocals-no distortion, overprocessing, or sibilant artifacts
to be found. That said, John clearly has a "sound" in mind that is
not happening here.
Pairing a microphone to a particular voice can be a tremendous
challenge, and the sheer number of choices available can be confusing.
66

RECORDING June 2018

Most of us have a favorite singer or vocal sound that moves us, and
ideally that's what we would love to recreate in our own work. The
problem is that like fingerprints or DNA, each of our voices is unique.
That being said, different types of mics-tube or solid-state,
condenser or dynamic or ribbon-deliver identifiably characteristic
sounds that can aid in the search. We suggest that John spend
time with some of the fine articles we have shared here at
Recording over the years. He is in possession of a fine microphone, but it may not be the ideal complement to his voice.
SUMMARY: You're closer to a solution than you think.
CONTACT: John Bowen, jbowen1441@comcast.net

David Howe / The MAD Project
EQUIPMENT: Korg D1600 desktop recorder (tracking),
Apple MacBook Pro with Focusrite Saffire Pro 14 interface and
M-Audio Oxygen49 keyboard controller running Apple Logic
Pro X and Alchemy (editing/mixing). Mics: Shure SM57 (guitar
amp), AKG C3000B (vocal). Aphex 207 mic preamp, dbx
160X compressor, Audio-Technica ATH-M40fs and ATH-M50x
headphones, Mackie MR5 monitors. PRS Custom and PRS SE
Singlecut guitars, Fender Blues Junior amp, Fender Precision Bass
through Demeter HBP-1 bass preamp, Korg DR3 drum machine.
MUSIC: "Hurry Up and Wait" is a female vocal rock song.
The song was written by Mike DelFava, Angela Alvarado,
and David Howe. Mike played guitar, Angela sang the
vocals, and David handled guitar, bass, and keyboards,
along with programming and all of the recording chores.
RECORDING: This is a fantastic effort by all concerned; shy
of a few balance concerns, one that's worthy of our SPOTLIGHT
e-newsletter. With a sound that harks back to the punky/New
Wave style of Blondie, David and friends have presented a
catchy, tightly arranged track that boasts great clarity and energy.
Angela's vocals are perfectly executed and recorded, without
a trace of sibilance or other artifact, and presented appropriately center-stage. The bright electric guitars give the track an
edgy quality, in keeping with the genre, and their slight panning
leaves plenty of room for the rhythm section in the stereo field.
Unfortunately it's with the rhythm section that things begin
to lose their balance a bit. While David has done a tidy job
with his drum programming, through our monitors and headphones their low volume level (particularly in relationship to
the robust bass guitar) leads to a top-heavy mix that lacks the
drive and muscle to take things to a higher level.
SUGGESTIONS: Let's start by congratulating all involved here.
"Hurry Up and Wait" is a fine effort from the writing on down.
As for the drum balance, experience suggests that this was
likely by design rather than accident; this wouldn't be the first
time we have heard a programmed drum section "tucked
back" into a mix to somewhat disguise its machine origin.
If our hunch is correct, we suggest that David reconsider his
decision and raise the volume of his kit up to "real drum" levels.
Millions of records have sold by groups using programmed
drums, including several of The Cars' biggest hits of the same
era, but those mixes were balanced and unapologetic. In our
opinion, yours deserves the same treatment.
SUMMARY: "Give the drummer some"!
CONTACT: David Howe, soggypawsmusic@gmail.com

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