Recording - April 2016 - 8

Note to faithful writers: When sending your letters by email,
please remember to include your name and where you hail from.
Insulation made painless (literally)
Dear Bruce Black: I just finished reading "So Just
What Am I Hearing?" (March 2016). Thanks for writing
an informational and concise article, but I have one
question. When you mention supported Bonded Logic R7, what do you mean?
RL Alexander
via email

Bruce Black replies:
Hi RL-Thanks for your email. Bonded Logic is a company that makes batt insulation like the fiberglass stuff
you see in rolls at home centers. The difference is the
Bonded Logic stuff is made from recycled textiles, rather
than fiberglass. You can handle it or even stick your face
in it and not have the irritation or itchiness like you get
with fiberglass. Sometimes it's referred to as recycled
denim, as it is blue in color. Home Depot sells it under
the Ultra Touch name.
Some folks don't like fiberglass, as they feel it can
shed and put breathable particles in the air, not to mention the dangers of working with it (building gobos, etc.).
This material is an excellent substitute for fiberglass,
especially if you have asthma or other lung problems.
R-7 is the thermal resistance of insulation, which corresponds to around 2 inches thick. I've found 2 inches
to be a good thickness, as it absorbs down to around
300 Hz. For frequencies below that it's better to use resonant absorbers like Helmholtz resonators, tuned to the
specific problematic frequencies. Best regards-BB

what's happening, and tweak them to make sure they're not too
aggressive and processed-sounding.
I process on the master fader heavily because with my workflow, a
lot of times my mixes exist for a long while before they go to mastering. These mixes get played for a lot of people who make decisions
about the future of the music, and because of the Loudness War, I
need to make sure my mixes can compete on many different systems.
I always stress to everyone that I am not a mastering engineer, and I
advise them to never use my preprocessed tracks as finished masters!
I have a great relationship with the mastering engineer that I use the
most (Gene Grimaldi from Oasis Mastering). Usually, for final bounces,
I'll keep some of my glue on the master fader. Sometimes it affects the mix
to the point where it sounds too different when I take it off; it becomes a
creative move. I always change settings to leave enough room for the
mastering engineers to do what they do. Hope that helps!-GO

Dear Greg Ogan: Thanks for the great article on mixing
("Mix To The Max!", September 2015). It was a good
reminder to stick with what matters and not overprocess.
While mastering tools should be saved for mastering, do
you do any processing or tone shaping on the pre-mastered
stereo mix, such as compression, EQ, reverb? I've heard it
discussed with people advocating both ways-either no
processing at all, or slight processing (particularly compression) before mastering. What's your take? Thanks,

(Not so) Crazy Mics
Hi Sven-Erik Seaholm: Thanks for your great piece "Build Your Mic
Locker" (October 2016). It was right-on advice for any serious
recordist, especially one just beginning to build their arsenal.
Your description of the Electro-Voice RE20 particularly stood out as a
mic "that does wonders on everything"-an assessment with which I
agree. But, to me, that would have put the RE20 in your first category
as a cardioid dynamic, even though its lack of proximity effect is
indeed unique. I fear that by putting it in the "crazy and unique" section, some might get the impression it's a specialty mic like the harmonica mics listed in the same category-clearly not your intention.
If asked what's one mic to start with, I usually mention the RE20 first,
if budget allows. If money is a problem with respect to obtaining a new
RE20, I suggest Ebay, or the slightly more affordable RE16 (which has
the same diaphragm). The discontinued RE15 is even better.
For "crazy", I might have advised an omni like the RE55 or PL9
(DO54). As you know, many don't think of using them, so the omni
might qualify as a secret weapon. It's gotten me out of a lot of jams
where not even my U87 or KM84 would do the job due to strange
acoustical situations.
I really hope that most readers studied your entire piece carefully,
as you eventually named the RE20 as the closest thing out there to an
"everything mic". That's been my experience for nearly 40 years.
Thanks,

Greg Thurman
via email

Steve Griffing
Plano, TX

Processing the premaster-or not

Greg Ogan replies:
Hi Greg, thanks for reading and thanks for your question.
In addition to a limiter, I always process on my master fader. I'll mostly use a multiband compressor, usually
on its own. I'll use an EQ sometimes for utility purposes,
but not for aesthetics-I won't use EQ for boosting lows
or highs, but rather for cutting out bad frequencies,
small moves that open the mix, etc. Very rarely I'll throw
on something aggressive, like iZotope Ozone, just to
see what happens. I'll scroll through presets, and if one
does something that's awesome, I'll use it-because
why not! I'll always go into the settings to see exactly

Hi Steve: Thanks for your letter. Moving the RE20 to that section of
the article was my call, not Sven's. So many people think of "dynamic
mic" and "proximity effect" in the same breath that the Variable-D
design of the RE20 can actually flummox them at first. It's a tremendously flexible mic, but it really doesn't work the way a novice might
expect it to!-MM

Correction
In the sidebar "Yes, But HOW Big?" (in my First Steps column, March
2016), I said that the nominal level of professional analog audio signals is +4 dBu, which works out to 0.775 V RMS. Sorry for the math
glitch; +4 dBu works out to about 1.228 V RMS.-Paul J. Stamler

Write to us at: Talkback, Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301
Or save stamps and send email to talkback@recordingmag.com
8

RECORDING April 2016



Table of Contents for the Digital Edition of Recording - April 2016

Contents
Recording - April 2016 - Intro
Recording - April 2016 - Cover1
Recording - April 2016 - Cover2
Recording - April 2016 - 1
Recording - April 2016 - 2
Recording - April 2016 - 3
Recording - April 2016 - 4
Recording - April 2016 - 5
Recording - April 2016 - Contents
Recording - April 2016 - 7
Recording - April 2016 - 8
Recording - April 2016 - 9
Recording - April 2016 - 10
Recording - April 2016 - 11
Recording - April 2016 - 12
Recording - April 2016 - 13
Recording - April 2016 - 14
Recording - April 2016 - 15
Recording - April 2016 - 16
Recording - April 2016 - 17
Recording - April 2016 - 18
Recording - April 2016 - 19
Recording - April 2016 - 20
Recording - April 2016 - 21
Recording - April 2016 - 22
Recording - April 2016 - 23
Recording - April 2016 - 24
Recording - April 2016 - 25
Recording - April 2016 - 26
Recording - April 2016 - 27
Recording - April 2016 - 28
Recording - April 2016 - 29
Recording - April 2016 - 30
Recording - April 2016 - 31
Recording - April 2016 - 32
Recording - April 2016 - 33
Recording - April 2016 - 34
Recording - April 2016 - 35
Recording - April 2016 - 36
Recording - April 2016 - 37
Recording - April 2016 - 38
Recording - April 2016 - 39
Recording - April 2016 - 40
Recording - April 2016 - 41
Recording - April 2016 - 42
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Recording - April 2016 - 45
Recording - April 2016 - 46
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Recording - April 2016 - 49
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Recording - April 2016 - Cover3
Recording - April 2016 - Cover4
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