EQ Magazine - January 2009 - (Page 14)

PUNCH IN (Continued from page 12) ensure a tactile mixing experience. “The S612 was the first sampler that Akai ever made, and it has this great ability to edit samples physically, using levers and buttons,” he says. “There are no internal menus or selectors—it’s the closest you can get to an analog feel in a digital sampler.” After he has edited his samples using the S612, he mixes them with the Big Band tracks and vocal stems into the final 2-track mix that goes off to the mastering house. Herbert says he is awed by the recent technological leaps that have made producing greatsounding recordings cheaper and easier than ever—most notably in the field of portable recorders. “It’s a revolution in music, because composers have long written about places,” says Herbert. “But you can now go out and record the actual landscape! I no longer have to write a song about going to a McDonald’s. I can actually go there, take my gear, drop chairs and tables, stomp on french fries, blow into straws, and record the noise of a Coke. I don’t even have to put words to it—it just is what it is. It’s an incredible liberation.” WINNER ANNOUNCED FOR JZ MIC GIVEAWAY Congratulations to Matt Ramey of Raleigh, NC-based act Gods of Harvest, who posted the following on www.eqmag.com’s Letters to the Editor forum: “I was trying to get the perfect kick sound to my ears—deep but not woofy, sharp but not slappy. After many hours of trying, here’s the setup that worked best. I used a Groove Percussion 22 x 18-inch kick, miked with an AKG D112 and a Røde K2. The D112 was placed just outside the sound hole (about three to four inches away from the rim, facing directly towards the back end of the kick). The K2 was placed about 12 inches away from the kick, dead center, set to a cardioid pattern. These mics were then run into a PreSonus Firepod into Logic. “The D112 really picked up the attack without sounding too slappy, and the K2 picked up the bottom-end boom. The room we recorded in—which measured about 20 x 20 feet—had hardwood floors (with a rug underneath the kit, of course) and vaulted arch ceilings. It was an absolutely beautiful room to record in, as the reverb was nice and lush without being overly so.” We suggest you check out Mr. Ramey’s band by heading over to www.bandmix.com/godsofharvest. Good stuff for sure. He did manage to a get nice kick sound using tools that are practically in any recording musician’s budget. And now he has a brand new JZ Black Hole to aid him in the quest for the perfect tone! Stay tuned for more giveaways in upcoming issues of EQ. This Month on EQTV Join us at EQtv—EQ’s own video channel chock full of tips, tricks, tutorials, behind the scenes footage of some of the hottest sessions, and tons more. To check it out, visit www.eqmag.com and click the pretty little link, or go direct to www.eqmag.tv. You’ll be glad you did. This month you’ll see: Tracking Tuvanese throat singers Hun Huur Tu at Fantasy Studios, Berkeley, CA Drummer Brian “Brain” Mantia on recording Guns ‘N’ Roses’ Chinese Democracy More behind-the-scenes studio footage with American Idol runner-up Amanda Overmyer AND TONS MORE!!! 14 EQ JANUARY 2009 www.eqmag.com http://www.eqmag.com http://www.bandmix.com/godsofharvest http://www.eqmag.com http://www.eqmag.tv http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - January 2009

EQ Magazine - January 2009 Contents Talk Box Sounding Board Punch In Bob Dylan The Killers Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Microsoft Windows Vista Apple Mac OS X "Lite" Software Roundup "Lite" Software Gadgets & Goodies Sounds Room With a Vu

EQ Magazine - January 2009

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