RECORDING November 2022 - 64
Readers'
TRACKS
BY MARTY PETERS
Readers' Tracks is where respected engineer
and producer Marty Peters listens to your
recordings and critiques them, pointing out
where and how you can make them better.
Listen to the songs, read the reviews and
submit your own materials online.
" Invocation (Ancient Egyptian Melody) " / ÆUR
Equipment: BOSS MICRO BR 4-Track, Vintage Yamaha
FG-412 SB ll 12-String Acoustic Guitar with Dean Markley ProMag
Plus pickup, and Behringer Headphones (BH 470).
Music: " Invocation (Ancient Egyptian Melody) " is a piece
of instrumental World music composed, performed, produced,
engineered, mixed and mastered by Joaquín Vélez.
Recording: Joaquín submitted a short and interesting work
that makes great use of his gear. The track comprises a multi-instrument
percussion bed, an acoustic 12-string guitar and a
basic bass sound of unspecified origin.
Joaquín recorded the entire song on a BOSS MICRO BR
four-track digital recorder, billed by the manufacturer as " The
World's Smallest Pro Studio. " This little " four-tracker " is chockfull
of features, including 293 onboard rhythm patterns, 32
virtual tracks, time stretch and an impressive list of additional
goodies-all in a device about the size of your hand.
In Joaquín's hands, the results on " Invocation " are pretty impressive!
We
are not sure whether the percussion bed here was one
of the presets or something Joaquín assembled. Either way,
the tones are very realistic and balanced, providing an ideal
platform for the acoustic guitar. The guitar part was nicely
performed and captured, and the sounds delivered via the
Dean Markley ProMag Plus acoustic soundhole pickup were
a pleasant surprise. As longtime readers are well aware, we
are strong proponents of miked acoustic instruments whenever
possible. That said, we found the 12-string tone here to be
articulate yet mellow, avoiding much of the " twang " that can
often accompany the instrument. Well done!
64 RECORDING November 2022
Suggestions: We absolutely love it when we receive an
example of someone creating a successful track with the tools
at hand. While we would all flip for a vintage Neve console
and a bag full of Neumann mics, reality is quite a different
thing. Often in our haste (guilty as charged!) to get to the next
big thing, we fail to explore the potential of the gear we have
in front of us, often to our detriment.
Kudos to Joaquín for creating a pleasing result with what
many would consider a bare-bones setup. A great reminder,
" It's not the car; it's the driver. "
Summary: Inspiring
" L.O.S.T. " / Jzade Forte
Equipment: Mac computer, Universal Audio Apollo, Image-Line
FL Studio, Neumann mic, Yamaha Speakers, Yamaha
Keyboard and a KRS.
Music: " L.O.S.T. " is a rap song performed, recorded and
mixed by Jzade Forte. Mastering was done by Jeson H.
Recording: A fine solo effort here by Jzade. The slow,
steady rhythm section is well-crafted and presented in the mix,
with a genre-defining 808-style trap beat. The overall feel had
both the rich bottom end and the sharp tap of the faux snare
that is instantly recognizable.
We love the excellent panning and arrangement choices that
Jzade made throughout the song. The keyboard maintains a
steady presence at approximately the 2 o'clock position in the
stereo field while the backing vocals dart in and out smoothly,
creating interest and tension in the mix.
Speaking of the vocals, the Neumann/Universal Audio combination
comes up aces here. While we are not exactly sure
which models were employed, the quality level associated with
each brand is beyond reproach, and the marriage between
them and Jzade's voice is excellent.
We hear no sibilance or other artifacts through our speakers
and Grado Labs SR325 headphones. Kudos also for the vocal
performance here, the backing vocals are tight as can be, and
the rap delivers a poignant message in a powerful fashion.
Suggestions: As you can tell, we were quite impressed
with " L.O.S.T. " The strong writing and arrangement are combined
with a skilled performance, clean tracking, a solid mix
and mastering-what's not to like? As for suggestions, we'd
simply say keep up the excellent work!
Summary: Strong
Listen online at RECORDINGMAG.COM
https://recordingmag.com/readers-tracks/
https://recordingmag.com/readers-tracks/
RECORDING November 2022
Table of Contents for the Digital Edition of RECORDING November 2022
Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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