Recording - January 2012 - 2

PUBLISHER: Thomas Hawley ASSOCIATE PUBLISHER: Brent Heintz

EDITOR: Lorenz Rychner ASSOCIATE EDITOR: Mike Metlay EDITOR AT LARGE: Beto Hale MÚSICO PRO EDITOR: Fernando Curiel

EDITORIAL

Drummer Knows Best Relax, it’s not another corny television series, it’s the realistic truth in studios run by experienced drummers. They know what their drums should sound like on playback, and since we have dedicated this issue to drums and percussion, we checked in with a few stalwart timekeepers. They were kind enough to tell us what mics they use, in what kind of a room, and why. A quick look at their biographies and a little arithmetic tell us that the combined years of experience between Pat Bautz, Steve Bowman, Al Bouchard, and Chet McCracken must exceed a century. These drummers know what they’re doing, and it shows in their credits—check them out, beginning on page 18. Were you around in the ’80s when sample-based drum machines took hold? People would program patterns—just because they could—that sounded like they would require three hands and four feet if played by a human. A bit like what people said about Stravinsky’s Rite of Spring, or some of what Don Ellis or Franz Zappa wrote— “too hard to play”, “doesn’t lay right for the instrument”, “too machine-like” and so on. Well, just like orchestras the world over now routinely play the Rite of Spring, and alumni of the Zappa ensembles now inspire others to play the “unplayable”, drummers perfected playing in stricter time, with or without a click, and developed incredible independency that often leaves us non-drummers wondering “how did he do that?”. It pays to look back and analyze some of the iconic drum sounds of the past. Bonham, anyone? Or that hard-driving drummer with the catchy name, Zutty Singleton, a giant in his day? Paul Stamler digs deep to tell us how some of those classic drum sounds came about, from the way players were placed in the studio to the mics that were used. Armed with that knowledge, and with the help of a friendly realtor, maybe you, too, can find an open stairwell? Then comes the question of mic choices. How many, and which ones? Paul Vnuk Jr. supplies food for thought, beginning on page 40. At last, you have to mix those drum tracks, of course, so pick up on some of the advice that Michael Nickolas offers, beginning on page 48. Happy crash, bang, and wallop! Our Mike Metlay went above and beyond in completing his AES show report in time for this issue, highlighting all manner of items, from the small and quirky Windjammers (bubblebeeindustries.com) to the Big Kahuna of attention getters, Pro Tools 10 (avid.com), and much in between. Even if you were there, chances are you missed many of those items that Mike didn’t miss. The report begins on page 10. We’re embarking once again on a long journey of learning, of reviewing, and of— we hope and intend—critical thinking: Recording Fundamentals is the new knowledge series we have been hinting at, and it begins in this issue. Eric Ferguson, the author of the series, is familiar to regular longtime readers of this magazine. This month he lays the groundwork in Chapter 1 by asking what we mean by “good” audio. Rules are there to be broken, but should expectations be fulfilled or not? See what you think, it starts on page 38. We’ve also been hinting at new instructional videos that we have produced for your edification. Soon after this issue goes to print we intend to make them available, on our website and elsewhere—go to the home page at www.recordingmag.com and look for further info and links. Watch the videos, and tell us what you think about them, and what ideas you might have for us to implement as we’ll carry on producing more videos in the same vein. Please write to lorenz@recordingmag.com—your input will be appreciated! A hearty Welcome Back to Beto Hale, who is now our Editor At Large in L.A.— he moved there to pursue his own projects after years of working here in Boulder at our editorial office. We convinced him to be our eyes and ears on the ground in SoCal where he still lives and works. He can be reached at beto@recording mag.com. With all the best wishes and season’s greetings, we trust you’ll do lots of— Happy Recording.

CONTRIBUTORS Paul Vnuk Jr., Paul J. Stamler, Eric Ferguson, Michael Nickolas, Marty Peters, Kelly Dueck SOCIAL MEDIA Brent Heintz, Paul Vnuk Jr.
ART DIRECTOR: Scott Simmonds PRODUCTION MANAGER: Colin Courtney WEB GOALIE: Colin Courtney

ART & PRODUCTION

EDITOR/PRODUCER:

PLAYBACK PLATINUM SERIES Lorenz Rychner CIRCULATION Tiffany Sepe

CIRCULATION MANAGER:

ADVERTISING SALES AND MARKETING DIRECTOR: Brent Heintz CLASSIFIEDS MANAGER: Stephanie King
ACCOUNTS RECEIVABLE:

ADMINISTRATION Stephanie King

PRESIDENT: Thomas Hawley VICE PRESIDENT: Brent Heintz

EXECUTIVE OFFICERS

SUBSCRIPTIONS/ADDRESS CHANGES: 1-800-582-8326 832-886-1126 ADVERTISING/CLASSIFIEDS/MAIN OFFICE: (303) 516-9118 RECORDING MAGAZINE (ISSN 1078-8352; USPS 002-298) is published monthly, 12 times per year, by Music Maker Publications, Inc., 5408 Idylwild Trail, Boulder, CO 80301-3523. Tel: (303) 516-9118 Fax: (303) 516-9119 email: info@recordingmag.com Los Angeles Editorial Office: Beto@recordingmag.com
Periodicals Postage is paid at Boulder, CO and at additional mailing offices. POSTMASTER: Send address changes to RECORDING, Subscriber Services, P.O. Box 334, Stafford, TX, 77497. Tel: 1-800-582-8326 or 832-886-1126. Subscription rate: $19.95 per year. All material is subject to worldwide copyright protection, and reproduction or imitation in whole or in part is expressly forbidden without written consent from the publishers. All reasonable care is taken to ensure accuracy in the preparation of the magazine, but Music Maker Publications, Inc. cannot be held legally responsible for its contents. The publishers cannot assume responsibility for the return of unsolicited manuscripts, photographs or materials. All trademarked names, whether indicated as such or not, are owned by their respective companies. Canada Post: Publications Mail Agreement #41491032. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2

© Copyright 2012 Music Maker Publications, Inc.

PRINTED IN THE U.S.A.

2

RECORDING JANUARY 2012


http://www.bubblebeeindustries.com http://www.avid.com http://www.recordingmag.com

Recording - January 2012

Table of Contents for the Digital Edition of Recording - January 2012

Recording - January 2012
Fade In
Contents
Talkback
Fast Forward
2011 AES Convention Report
“How I Like To Record My Drums”
Neumann KH 120 A Monitors
Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording Drums—Then and Now
Recording Fundamentals. Chapter 1: What Is Good?
Drumming and Drummers and Mics—Oh My!
Mixing Live Drum Tracks
Arturia Analog Experience: The Laboratory 49
Readers’ Tapes
Advertiser Index
iOS Music Tools: Analog Synthesis on iOS
2011 Annual Index
Fade Out
Recording - January 2012 - intro
Recording - January 2012 - Recording - January 2012
Recording - January 2012 - Cover2
Recording - January 2012 - 1
Recording - January 2012 - Fade In
Recording - January 2012 - 3
Recording - January 2012 - Contents
Recording - January 2012 - 5
Recording - January 2012 - Talkback
Recording - January 2012 - 7
Recording - January 2012 - Fast Forward
Recording - January 2012 - 9
Recording - January 2012 - 2011 AES Convention Report
Recording - January 2012 - 11
Recording - January 2012 - 12
Recording - January 2012 - 13
Recording - January 2012 - 14
Recording - January 2012 - 15
Recording - January 2012 - 16
Recording - January 2012 - 17
Recording - January 2012 - “How I Like To Record My Drums”
Recording - January 2012 - 19
Recording - January 2012 - 20
Recording - January 2012 - 21
Recording - January 2012 - 22
Recording - January 2012 - 23
Recording - January 2012 - Neumann KH 120 A Monitors
Recording - January 2012 - 25
Recording - January 2012 - Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording - January 2012 - 27
Recording - January 2012 - Recording Drums—Then and Now
Recording - January 2012 - 29
Recording - January 2012 - 30
Recording - January 2012 - 31
Recording - January 2012 - 32
Recording - January 2012 - 33
Recording - January 2012 - 34
Recording - January 2012 - 35
Recording - January 2012 - 36
Recording - January 2012 - 37
Recording - January 2012 - Recording Fundamentals. Chapter 1: What Is Good?
Recording - January 2012 - 39
Recording - January 2012 - Drumming and Drummers and Mics—Oh My!
Recording - January 2012 - 41
Recording - January 2012 - 42
Recording - January 2012 - 43
Recording - January 2012 - 44
Recording - January 2012 - 45
Recording - January 2012 - 46
Recording - January 2012 - 47
Recording - January 2012 - Mixing Live Drum Tracks
Recording - January 2012 - 49
Recording - January 2012 - 50
Recording - January 2012 - 51
Recording - January 2012 - 52
Recording - January 2012 - 53
Recording - January 2012 - 54
Recording - January 2012 - 55
Recording - January 2012 - Arturia Analog Experience: The Laboratory 49
Recording - January 2012 - 57
Recording - January 2012 - Readers’ Tapes
Recording - January 2012 - Advertiser Index
Recording - January 2012 - iOS Music Tools: Analog Synthesis on iOS
Recording - January 2012 - 61
Recording - January 2012 - 62
Recording - January 2012 - 63
Recording - January 2012 - 64
Recording - January 2012 - 65
Recording - January 2012 - 66
Recording - January 2012 - 67
Recording - January 2012 - 68
Recording - January 2012 - 69
Recording - January 2012 - 2011 Annual Index
Recording - January 2012 - 71
Recording - January 2012 - Fade Out
Recording - January 2012 - Cover3
Recording - January 2012 - Cover4
https://www.nxtbook.com/musicmaker/musicmaker/recording_202502
https://www.nxtbook.com/musicmaker/musicmaker/recording_202501
https://www.nxtbook.com/musicmaker/musicmaker/recording_202412
https://www.nxtbook.com/musicmaker/musicmaker/recording_202411
https://www.nxtbook.com/musicmaker/musicmaker/recording_202410
https://www.nxtbook.com/musicmaker/musicmaker/recording_202409
https://www.nxtbook.com/musicmaker/musicmaker/recording_202408
https://www.nxtbook.com/musicmaker/musicmaker/recording_202407
https://www.nxtbook.com/musicmaker/musicmaker/recording_202406
https://www.nxtbook.com/musicmaker/musicmaker/recording_202405
https://www.nxtbook.com/musicmaker/musicmaker/recording_202404
https://www.nxtbook.com/musicmaker/musicmaker/recording_202403
https://www.nxtbook.com/musicmaker/musicmaker/recording_202402
https://www.nxtbook.com/musicmaker/musicmaker/recording_202401
https://www.nxtbook.com/musicmaker/musicmaker/recording_202312
https://www.nxtbook.com/musicmaker/musicmaker/recording-november-2023
https://www.nxtbook.com/musicmaker/musicmaker/recording_202310
https://www.nxtbook.com/musicmaker/musicmaker/recording_202309
https://www.nxtbook.com/musicmaker/musicmaker/recording_202308
https://www.nxtbook.com/musicmaker/musicmaker/recording_202307
https://www.nxtbook.com/musicmaker/musicmaker/recording_202306
https://www.nxtbook.com/musicmaker/musicmaker/recording_202305
https://www.nxtbook.com/musicmaker/musicmaker/recording_202304
https://www.nxtbook.com/musicmaker/musicmaker/recording_202303
https://www.nxtbook.com/musicmaker/musicmaker/recording_202302
https://www.nxtbook.com/musicmaker/musicmaker/recording_202301
https://www.nxtbook.com/musicmaker/musicmaker/recording_202212
https://www.nxtbook.com/musicmaker/musicmaker/recording_202211
https://www.nxtbook.com/musicmaker/musicmaker/recording_202210
https://www.nxtbook.com/musicmaker/musicmaker/recording_202209
https://www.nxtbook.com/musicmaker/musicmaker/recording_202208
https://www.nxtbook.com/musicmaker/musicmaker/recording_202207
https://www.nxtbook.com/musicmaker/musicmaker/recording_202206
https://www.nxtbook.com/musicmaker/musicmaker/recording_202205
https://www.nxtbook.com/musicmaker/musicmaker/recording_202204
https://www.nxtbook.com/musicmaker/musicmaker/recording_202203
https://www.nxtbook.com/musicmaker/musicmaker/recording_202202
https://www.nxtbook.com/musicmaker/musicmaker/recording_202201
https://www.nxtbook.com/musicmaker/musicmaker/recording_202112
https://www.nxtbook.com/musicmaker/musicmaker/recording_202111
https://www.nxtbook.com/musicmaker/musicmaker/recording_202110
https://www.nxtbook.com/musicmaker/musicmaker/recording_202109
https://www.nxtbook.com/musicmaker/musicmaker/recording_202108
https://www.nxtbook.com/musicmaker/musicmaker/recording_202107
https://www.nxtbook.com/musicmaker/musicmaker/recording_202106
https://www.nxtbook.com/musicmaker/musicmaker/recording_202105
https://www.nxtbook.com/musicmaker/musicmaker/recording_202104
https://www.nxtbook.com/musicmaker/musicmaker/recording_202103
https://www.nxtbook.com/musicmaker/musicmaker/recording_202102
https://www.nxtbook.com/musicmaker/musicmaker/recording_202101
https://www.nxtbook.com/musicmaker/musicmaker/recording_202012
https://www.nxtbook.com/musicmaker/musicmaker/recording_202011
https://www.nxtbook.com/musicmaker/musicmaker/recording_202010
https://www.nxtbook.com/musicmaker/musicmaker/recording_202009
https://www.nxtbook.com/musicmaker/musicmaker/recording_202008
https://www.nxtbook.com/musicmaker/musicmaker/recording_202007
https://www.nxtbook.com/musicmaker/musicmaker/recording_202006
https://www.nxtbook.com/musicmaker/musicmaker/recording_20205
https://www.nxtbook.com/musicmaker/musicmaker/recording_202004
https://www.nxtbook.com/musicmaker/musicmaker/recording_202003
https://www.nxtbook.com/musicmaker/musicmaker/recording_202002
https://www.nxtbook.com/musicmaker/musicmaker/recording_202001
https://www.nxtbook.com/musicmaker/musicmaker/recording_201912
https://www.nxtbook.com/musicmaker/musicmaker/recording_201911
https://www.nxtbook.com/musicmaker/musicmaker/recording_201910
https://www.nxtbook.com/musicmaker/musicmaker/recording_201909
https://www.nxtbook.com/musicmaker/musicmaker/recording_201908
https://www.nxtbook.com/musicmaker/musicmaker/recording_201907
https://www.nxtbook.com/musicmaker/musicmaker/recording_201906
https://www.nxtbook.com/musicmaker/musicmaker/recording_201905
https://www.nxtbook.com/musicmaker/musicmaker/recording_201904
https://www.nxtbook.com/musicmaker/musicmaker/recording_201903
https://www.nxtbook.com/musicmaker/musicmaker/recording_201902
https://www.nxtbook.com/musicmaker/musicmaker/recording_201901
https://www.nxtbook.com/musicmaker/musicmaker/recording_201812
https://www.nxtbook.com/musicmaker/musicmaker/recording_201811
https://www.nxtbook.com/musicmaker/musicmaker/recording_201810
https://www.nxtbook.com/musicmaker/musicmaker/recording_201809
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201808
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201807
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201806
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201805
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201804
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201803
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201802
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201711
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201710
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201709
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201708
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201707
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201706
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201705
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201704
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201703
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201702
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201701
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201612
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201611
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201610
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201609
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201608
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201607
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201606
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201605
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201604
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201603
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201602
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201601
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201512
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201511
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201510
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201509
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201508
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201507
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201506
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201505
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201504
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201503
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201502
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201501
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201412
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201411
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201410
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201409
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201408
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201407
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201406
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201405
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201404
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201403
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201402
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201401
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201312
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201311
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201310
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201309
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201308
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201307
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201306
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201305
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201304
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201303
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201302
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201301
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201212
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201211
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201210
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201209
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201208
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201207
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201206
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201205
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201204
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201203
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201202
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201201
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201112
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201111
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201110
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201109
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201108
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201107
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201106
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201105
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201104
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201103
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201102
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201101
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201012
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201011
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201010
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201009
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201008
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201007
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201006
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201005
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201004
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201003
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201002
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201001
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200912
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200911
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200910
https://www.nxtbook.com/nxtbooks/musicmaker/nxtd
https://www.nxtbookmedia.com