Recording - June 2012 - 64

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Less effective to our ears was the sound of the splash cymbal, and the overall balance of the mix. Through our monitor speakers, and also our Grado Labs SR 325 headphones, the clean (right-panned) electric guitar seemed quite a bit louder than the more distorted electric guitar. The distorted guitar also seemed to be placed much closer to the center of the mix, resulting in a bit of a lopsided feel. It was also fairly obvious that the fellas skipped a click track on the recording, but hey, so did the Grateful Dead and they’re in the R&R Hall of Fame. Suggestions: In their cover letter the band supplies a very good description of their recording process. Apparently the original snare and tom parts were replaced by samples, while the rest of the kit was mixed from the original sounds. The band also reported that “a single delay bus was used to move instruments further back or forward in the mix.” Hmm... could this be the source of the lopsided feel? While time delays can be very effective in creating spatial interest, caution is urged here. In our experience anything in excess of 7–9 milliseconds applied to one side can cause a rather weird shift in the stereo field. Slow and steady on this one, guys. As for the cymbal, there can often be a sonic disconnect between a sample and a sound captured by moving air (the drum overheads in this case). Re-eq-ing the overheads may help to tame the splash.
Summary: A good foundation.
Contact: Jason Sees, jksees@gmail.com

Jason Sees Music
Equipment: Apple iMac with M-Audio FireWire 410 interface running Logic 8 and EastWest Quantum Leap Spaces convolution reverb. Mics: M-Audio Sputnik (vocals, drum and guitar amp room mic), Shure Beta 52A (kick drum, bass amp), SM57s (toms, snare, bass and guitar amps), SM81s (XY array for guitar amp and overheads). sE Electronics Reflexion Filter, Focusrite Voicemaster Pro vocal preamp, M-Audio Keyrig 25 MIDI controller, Takamine G Series acoustic, Yamaha BB5 bass.

Mark Adorni
Equipment: Dell PC with MOTU 828 MkII interface running Cakewalk SONAR; Mackie DFX-12 mixer, KRK V8 monitors; Yamaha Motif ES8 keyboard, Yamaha FX550 Guitar Processor, Carvin V220 guitar (1985).

Music: “A New Perspective” is a male vocal rock song. Jon Cannefield played the drums, the bass and lead guitar were played by Kevin Jahne and Bennett Keasey respectively. Zandy Sees sang backup vocals and Jason Sees wrote the song, sang the lead vocals and played rhythm guitar. It was recorded in Jason’s home studio. This isn’t Jason’s first time in our pages; we reviewed his track “In Your Shade” in our August 2009 column. Recording: The kids are alright on this trippy jamband-style track. We found that for the most part the tones were fine throughout, particularly the Edie Brickell/New Bohemians (Google time, children!) autowah effect on the clean electric guitar. The bass was full and rich and was a good match for the meaty drum tones (which used parallel compression, although Jason doesn’t name his compressor). Bass was amp-miked and mixed with DI (and ducked with the kick), and the guitar amps were miked with the 57, the 81 XY array, and the Sputnik on the room!
64
RECORDING JUNE 2012

Music: “No Shame” is a rock instrumental track. Mark did all of the playing, programming and recording at his home studio. Recording: Nicely done for the most part. Mark has stayed simple with his drum and bass programming, wisely allowing his considerable guitar chops to shine. To that end, however, in our opinion the mix comes across as too center-focused. While both the clean and distorted electric guitars sport fine tones, they are basically parked on top of each other in the center of the mix. As the song’s arrangement builds in intensity and the riffs on the distorted guitar become faster and more complex, we begin to lose the clean electric guitar in the mix. Suggestions: The dude can flat out play and the slow Floyd/Gilmour-styled track is the perfect showcase for his talents. We suggest that Mark employ some simple left side/right side panning for his guitars and all will be well.
Summary: Good stuff! Just spread it out a little and give it some space to breathe.
Contact: Mark Adorni, madorni@comcast.net


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Recording - June 2012

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

Recording - June 2012
Fade In
Contents
Talkback
Fast Forward
Finale 2012 As A Tool For Sample Playback
Mark De Clive-Lowe
Applied Acoustics Systems Chromaphone.
Reviewed and Revisited: PreSonus Studio One 2.0.
Toontrack EZkeys Grand Piano
Recording Fundamentals. Chapter 6: Introduction to Microphones—Part Three (From Proximity To Plosives)
Recording’s Showcase Of Sounds
Steven Slate Drums 4.0.
Sample Magic Electro and Hed Kandi: Disco House Samples
MOTU MachFive3
Reviewed and Revisited: audiobro LA Scoring Strings 2.0.
Milab DC-96B and DC-96C Condenser Microphones
Sennheiser MK 4 Condenser Microphone
Olympus LS-20M and LS-100 Portable Recorders
Readers’ Tapes
Advertiser Index
Fade Out
Recording - June 2012 - Recording - June 2012
Recording - June 2012 - Cover2
Recording - June 2012 - 1
Recording - June 2012 - 2
Recording - June 2012 - 3
Recording - June 2012 - Fade In
Recording - June 2012 - 5
Recording - June 2012 - Contents
Recording - June 2012 - 7
Recording - June 2012 - Talkback
Recording - June 2012 - 9
Recording - June 2012 - Fast Forward
Recording - June 2012 - 11
Recording - June 2012 - Finale 2012 As A Tool For Sample Playback
Recording - June 2012 - 13
Recording - June 2012 - 14
Recording - June 2012 - 15
Recording - June 2012 - 16
Recording - June 2012 - 17
Recording - June 2012 - 18
Recording - June 2012 - 19
Recording - June 2012 - Mark De Clive-Lowe
Recording - June 2012 - 21
Recording - June 2012 - 22
Recording - June 2012 - 23
Recording - June 2012 - Applied Acoustics Systems Chromaphone.
Recording - June 2012 - 25
Recording - June 2012 - Reviewed and Revisited: PreSonus Studio One 2.0.
Recording - June 2012 - 27
Recording - June 2012 - 28
Recording - June 2012 - 29
Recording - June 2012 - Toontrack EZkeys Grand Piano
Recording - June 2012 - 31
Recording - June 2012 - 32
Recording - June 2012 - 33
Recording - June 2012 - Recording Fundamentals. Chapter 6: Introduction to Microphones—Part Three (From Proximity To Plosives)
Recording - June 2012 - 35
Recording - June 2012 - 36
Recording - June 2012 - 37
Recording - June 2012 - Recording’s Showcase Of Sounds
Recording - June 2012 - 39
Recording - June 2012 - 40
Recording - June 2012 - 41
Recording - June 2012 - 42
Recording - June 2012 - 43
Recording - June 2012 - 44
Recording - June 2012 - 45
Recording - June 2012 - Steven Slate Drums 4.0.
Recording - June 2012 - 47
Recording - June 2012 - Sample Magic Electro and Hed Kandi: Disco House Samples
Recording - June 2012 - 49
Recording - June 2012 - MOTU MachFive3
Recording - June 2012 - 51
Recording - June 2012 - Reviewed and Revisited: audiobro LA Scoring Strings 2.0.
Recording - June 2012 - 53
Recording - June 2012 - Milab DC-96B and DC-96C Condenser Microphones
Recording - June 2012 - 55
Recording - June 2012 - Sennheiser MK 4 Condenser Microphone
Recording - June 2012 - 57
Recording - June 2012 - 58
Recording - June 2012 - 59
Recording - June 2012 - 60
Recording - June 2012 - 61
Recording - June 2012 - Olympus LS-20M and LS-100 Portable Recorders
Recording - June 2012 - 63
Recording - June 2012 - Readers’ Tapes
Recording - June 2012 - Advertiser Index
Recording - June 2012 - 66
Recording - June 2012 - 67
Recording - June 2012 - 68
Recording - June 2012 - 69
Recording - June 2012 - 70
Recording - June 2012 - 71
Recording - June 2012 - Fade Out
Recording - June 2012 - Cover3
Recording - June 2012 - Cover4
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