Recording - January 2013 - 56

By submitting a Readers’ Tapes entry you automatically grant permission to Music Maker Publications to feature your submission here, on our website, and in our SPOTLIGHT e-newsletter. We might need to shorten entries for editorial reasons. By listing your name with the submitted work, MMP does not imply any assignment of rights to the submitted work. We can neither guarantee publication of a review nor engage in correspondence about individual submissions. Media can be submitted physically (as in an actual recording through the mail) or online at our website. For online submissions, please go to www.recordingmag.com and click on Readers’ Tapes, then select “Submit Your Recording” and fill in the requested information. We accept MP3 and AAC files of up to 5 MB size. File bitrate is up to you but we strongly recommend a minimum of 128 kbps; note that the higher the bitrate, the shorter the song that will fit in the 5 MB limit. You’re free to submit an excerpt of a longer song if that helps! Send physical submissions to: Readers’ Tapes c/o Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301. Please be sure to include: a) a CD, CD-R, cassette, DAT, or MiniDisc with only one song preferably no longer than 3:30 in length (or tell us which track you want reviewed); b) a credit list (who did what); c) a list of equipment used. Remember that CD-Rs with unevenly applied paper labels, smudges, or scratches won’t play back reliably. PLEASE state which part of your contact info we can publish (address, phone, and/or email)—if you don’t tell us precisely, we won’t print anything at all.

Tools 10 setup. Marc’s drum tracks were then shipped off to Houston TX, where the remaining tracking, mixing and mastering were done. Well, Marc, our hats are off to you, this is big-league stuff. If anyone was wondering why you’d hire an outside drummer to play on your tracks, you need go no further than “Blindfold” to hear what a pro drummer in a great room with great mics and equipment can do for you! The second thing that impressed us was the inclusion of a female vocal into this almost entirely male-dominated genre of music. The vocalist sounds great and the male/female counterpoint takes the track out of its usual “metal formula”. As for the other sound sources, well, if the track weren’t so inexplicably bass-guitar-shy, it would be headed for our Spotlight feature. Suggestions: “Metal” guitar sounds are, in our opinion, more reliant on hyped low-midrange frequencies than most other genres of rock music, often due to the song being written in “dropped” tunings as low as B. Because of this, frequency masking can take a real toll on the bass guitar. Whether this was the case here, or whether it was a monitoring/mix position issue (yet again we’re not told what kind of monitors or headphones were used in the recording process... is there something in the words “tell us how you’re hearing this stuff” that just goes in one ear and out the other? Come on people!), the weak bass guitar on “Blindfold” is not bringing it, at least through our monitors. We would urge Alexander to make a space for it, using panning or frequencies, as its absence is the one thing keeping this mix from being very successful in our opinion.
Summary: Soooo close...!

Alexander Kamburov / Descent Into Madness
Equipment: PC with PreSonus FP10 interface running Cakewalk SONAR Producer 7.0 and Sony Sound Forge 10 under Windows XP, with IK Multimedia AmpliTube 2 and AmpliTube Fender. Shure SM57 on female vocals, AudioTechnica AT2020 on male vocals. Jackson Soloist Bloodline 7-string and Schecter Hellraiser 7-string guitars, Sterling Ray35 bass. BOSS Dr. Rhythm 880 used as bass processor. Drums recorded and edited by Marc Norgaard (session drummer, www.marcnorgaard.com) at his personal studio through Pro Tools.

Contact: Alexander Kamburov / Descent Into Madness, band@descentintomadness.com

Mark W. Harvey
Equipment: Power Mac G5 dual-core with Focusrite Saffire Pro 40 audio interface running Apple Logic Pro 8, Waves Gold Bundle and GTR3, IK Multimedia T-RackS, and Toontrack EZdrummer processors; Audi-Technica AT4047, Event 20/20 monitors. Fender Stratocaster, Ibanez bass, Roland XP-30 keyboard synthesizer and TD-8 V-Drums kit.

Music: “Blindfold” is a male and female vocal “metal” tune. No individual credits were given with the exception of Maryland-based session drummer-for-hire Marc Norgaard (interviewed October 2007), who played and assembled the hellacious drums! Recording: Several things help “Blindfold” to stand out over the majority of “metal” that we usually receive, numero uno being the incredible drums, which are hands down the best that we have heard in this genre (both in performance and tone) in our sixteenplus years as the author of this column. Alexander tells us that the drums were done by Marc in Maryland. No details were provided on mics or signal chain, but a quick look at marcnorgaard.com reveals a pretty tasty setup: solid standby mics like Neumann KM184s, AKG D112, Shure SM57 and SM81 mics, Sennheiser MD421 and e609 mics, the Granelli G5790 (essentially a Shure SM57 in a right-angled body), Electro-Voice RE20, and Heil PR-30, recorded through Digidesign, Yamaha, and PreSonus hardware into a Pro
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RECORDING January 2013

Music: “I Went Walkin’” is a male vocal rock song. Mark did it all at his home studio. Recording: Mark has delivered a fairly well realized track here, and while it is clear that he is primarily a guitarist, he definitely has brought some arranging chops to the table. The elements of the song are presented with care and in reasonable balance with one another that serves the song well. As for the sound sources themselves, some are better than others. The electric guitars are dominant in the mix and work well within the genre, and the lead and backing vocals are presented without any noticeable artifacts. On the down side, the rhythm section suffers in several places from frequency masking, where the low midrange of the 6-string guitars “invades” the upper end of the bass guitar’s normal frequency range. We also heard some significant and unpleasant compression “pumping” on the drums and felt that the tone of the toms was rather boxy in general; this is unfortunate as we have heard more than one submission to Readers’ Tapes in


http://www.recordingmag.com http://www.marcnorgaard.com http://www.marcnorgaard.com

Table of Contents for the Digital Edition of Recording - January 2013

Recording - January 2013
Fade In.
Table of Contents
Talkback.
2012 AES Convention Report.
Universal Audio Apollo.
ADAM Audio F5 and F7 Monitors.
Earthworks ZDT 1022 Mic Preamp.
Trident HG3 Close Field Monitoring System.
AKG K702 65th Anniversary Edition Headphones.
Grace Design m903 Reference Headphone Amplifier.
Monitors & Monitoring.
Lauten Atlantis FC-387 Condenser Microphone.
Recording Fundamentals. Chapter 13: Monitors Part 2.
PreSonus BlueTube DP V2.
Getting Into Your Head.
Shure SE215 Sound Isolating Earphones.
Readers’ Tapes.
iOS Music Tools: Last-Minute Audio Gifts!
Sennheiser HD800 Headphones.
Advertiser Index.
2012 Annual Index.
Fade Out.
Recording - January 2013 - Recording - January 2013
Recording - January 2013 - Cover2
Recording - January 2013 - 1
Recording - January 2013 - 2
Recording - January 2013 - 3
Recording - January 2013 - Fade In.
Recording - January 2013 - 5
Recording - January 2013 - Table of Contents
Recording - January 2013 - 7
Recording - January 2013 - Talkback.
Recording - January 2013 - 9
Recording - January 2013 - 2012 AES Convention Report.
Recording - January 2013 - 11
Recording - January 2013 - 12
Recording - January 2013 - 13
Recording - January 2013 - 14
Recording - January 2013 - 15
Recording - January 2013 - 16
Recording - January 2013 - 17
Recording - January 2013 - 18
Recording - January 2013 - 19
Recording - January 2013 - Universal Audio Apollo.
Recording - January 2013 - 21
Recording - January 2013 - 22
Recording - January 2013 - 23
Recording - January 2013 - ADAM Audio F5 and F7 Monitors.
Recording - January 2013 - 25
Recording - January 2013 - Earthworks ZDT 1022 Mic Preamp.
Recording - January 2013 - 27
Recording - January 2013 - Trident HG3 Close Field Monitoring System.
Recording - January 2013 - 29
Recording - January 2013 - AKG K702 65th Anniversary Edition Headphones.
Recording - January 2013 - 31
Recording - January 2013 - 32
Recording - January 2013 - 33
Recording - January 2013 - Grace Design m903 Reference Headphone Amplifier.
Recording - January 2013 - 35
Recording - January 2013 - Monitors & Monitoring.
Recording - January 2013 - 37
Recording - January 2013 - 38
Recording - January 2013 - 39
Recording - January 2013 - Lauten Atlantis FC-387 Condenser Microphone.
Recording - January 2013 - 41
Recording - January 2013 - Recording Fundamentals. Chapter 13: Monitors Part 2.
Recording - January 2013 - 43
Recording - January 2013 - PreSonus BlueTube DP V2.
Recording - January 2013 - 45
Recording - January 2013 - Getting Into Your Head.
Recording - January 2013 - 47
Recording - January 2013 - 48
Recording - January 2013 - 49
Recording - January 2013 - Shure SE215 Sound Isolating Earphones.
Recording - January 2013 - 51
Recording - January 2013 - 52
Recording - January 2013 - 53
Recording - January 2013 - 54
Recording - January 2013 - 55
Recording - January 2013 - Readers’ Tapes.
Recording - January 2013 - 57
Recording - January 2013 - iOS Music Tools: Last-Minute Audio Gifts!
Recording - January 2013 - 59
Recording - January 2013 - 60
Recording - January 2013 - 61
Recording - January 2013 - Sennheiser HD800 Headphones.
Recording - January 2013 - Advertiser Index.
Recording - January 2013 - 64
Recording - January 2013 - 65
Recording - January 2013 - 66
Recording - January 2013 - 67
Recording - January 2013 - 68
Recording - January 2013 - 69
Recording - January 2013 - 2012 Annual Index.
Recording - January 2013 - 71
Recording - January 2013 - Fade Out.
Recording - January 2013 - Cover3
Recording - January 2013 - Cover4
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