Recording - May 2012 - 4

Miking Heading for its 25th anniversary later this year, this magazine has brought you untold multitudes of articles on ways to use microphones. We have covered a myriad of miking techniques, for everyday situations, for extreme applications, and for everything in between. You may remember these: ~ Pointing an SM57 toward the speaker cone of a guitar cabinet? S(h)ure, been there and done that, umpteen times. ~Reamping/miking an upright piano, where a playback speaker and a mic both are inside the piano? Why not—see August 2002. ~ Flying Fritz, the KU 100 “dummy” head with Neumann mic capsules in the ear canals, high up above the audience and facing the rear of a huge concert hall? Check, for example in this issue on page 57. Not only have we published legions of articles on the topic of miking, but as of last year we also have our own how-to videos on our website, on miking techniques—so far for electric and acoustic guitar and for electric bass, with more to come in the future. So—have we seen it all? Are we experiencing symptoms of déjà-vu and ho-hum? You couldn’t be more wrong if you thought that to be the case. There is always something new just around the corner. Take a look at the interviews in this issue. How many mics do you think you can throw at a grand piano for a solo live performance? Not willy-nilly but with a distinct method in mind? How about sixteen? That’s how Lynne Arriale’s custom-modified and scientifically prepared grand piano was miked, and the results speak for themselves. Gary Baldassari has an impressive track record doing just this, and he shares his method in great detail. Fanny Franklin is a singer who needed to find the comfort zone for her “real-me” voice, and she found it with the help of Jason Gutierrez, who shares her love for a certain organic retro sound. Together they produced an album in his small personal studio where the mics and the instruments and the mixing combine for a sound not often heard these days— so much so that the mastering engineer had to be gently nudged to come on board. Back on a live stage, we go to another extreme—that of a full orchestra with huge choir, in a cavernous concert hall almost too big for the occasion, especially without an audience to damp the hall’s overly long reverberation. Mike Pappas took advantage of the fact that it was a recording session rather than a concert, and with the support of Neumann he put up a selection of mics, mostly the latest digital models, some of them remotely controlled, that really pushed the envelope. I mentioned the almost 25 years to date of this magazine’s history. During all those years we’ve reviewed legions of microphones—from legendary flagship models and their reissues, coming in at the price of a small car (and giving better mileage...), to the more and more affordable models of recent times. Just as there is never a dull moment in the area of miking, there is always some new excitement with mics coming from both new and long-established manufacturers—new and old, side by side. For example, the well-established Audio-Technica 4050 can now be had in a stereo configuration, AKG goes the USB route, and both Kel Audio and Earthworks brought versatile new mics to market. We review them all in this issue. Spring has sprung, which means that Austin TX was again the buzz with SXSW taking over the city. Our Marc Urselli reports on the opportunities it presents to those who want to advance their musical cause—research, prepare, network, then network some more, and try to have fun in the process. He always does. Happy Recording!

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

CONTRIBUTORS Paul Vnuk Jr., Chris Pelonis, Marc Urselli, Eric Ferguson, Darwin Grosse, Marty Peters 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

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And finally: As we began laying out this issue, we learned of the passing of Ronnie Montrose at age 64. The Bay Area-based guitarist was renowned for playing with Van Morrison, Sammy Hagar, Edgar Winter, The Neville Brothers and many more, as well as for his own work with his bands Montrose and Gamma. And just as we went to press, we mourned the loss of Earl Scruggs, the Grammy®-winning bluegrass master whose characteristic banjo technique has been forever named “Scruggs Style” and who inspired generations of country, bluegrass, and Americana artists who followed him. He died in Nashville, aged 88.—MM
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RECORDING MAY 2012

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Recording - May 2012

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