Category Archives: Recording

How To Record Various Acoustic Stringed Instruments – Free Tutorial Part 1

Here is an excellent article from Pro Tools Expert contributor Audrey Martinovich.

In the article, she goes into great detail on setting up microphones for recording various stringed instruments. She says;

“The last 6 years of my career have been spent recording a wide range of classical musicians and instruments. Whether it’s a full blown orchestra, a string quartet, a solo performer, in the studio or in a different venue, I’ve recorded it. While in the studio, I’ve found myself favouring certain microphones and miking techniques for full bodied instruments such as cello or bass, and something completely different for instruments like the ukulele or acoustic guitar. In this article, I am going to take you through a couple of the most popular techniques complete with photos of mic placement and one-minute audio clips for you to compare. These photos and clips feature upright bass, cello, guitar, violin, ukulele, and mandolin. These clips have no EQ, compression, or other processing to allow you to compare mic technique rather than mix, however, I’ve also included a basic mix of my preferred mics for each instrument just for funsies.”

Head over to Pro Tools Expert to read the entire article and to hear examples of different microphone set-ups. 

How To Record Various Acoustic Stringed Instruments – Free Tutorial Part 1

Has Technology Made Us Dumb, Lazy or Both?

I buy some stuff; one of the things is 77p, the other £1.20p and the third is 88p. I pay with a £5 note, how much change am I owed?

Whenever I pay for something at a checkout, I have a little game I play with myself, which is to work out in my head the amount of change I should get. As soon as I arrive at the number (in this case £2.15), I tell the cashier, we check and hopefully the technology, and I agree.

So why this silly game? It’s to keep my brain active. Yes, the technology can give me the answer, but that helps the store and not me. 

I make and edit a lot of videos and belong to several groups for like minded people. Today someone posted a screenshot of an image they were editing of an office block and in the middle of the shot was a large radio tower, they were asking how to remove it from the shot.

A discussion then played out in the comments with several people suggesting various plug-ins that could track and remove the object. I looked at the shot and saw that the radio tower was sitting on a clean background and that it could be painted out of the shot in Photoshop and then the shot re-composited – no plug-ins necessary. At this point of the story, you may not live in a world of editing video and motion graphics so I may be talking jibberish to you. With that said, the point of this illustration is that while a plug-in might fix the problem, there may be another way that just requires some thought. My experience of being handed this kind of problem before has shown me that solving solutions without the aid of technology can help grow your skill set and reduce your reliance on what may be costly and in some cases unnecessary purchases.

The real answer to the radio tower problem is finding a DOP (Director of Photography) who doesn’t create the problem in the first place. I spent several years in post houses in Soho, London and the propensity for a movie ‘Director’ (speech marks intentional) to send a drive of footage and say ‘now edit’ this jumble of footage into a meaningful movie increased as the DSLR revolution took over, where everyone is a film director. The concepts of storyboarding, shot planning, lighting tests, checking the shots as your shoot, labelling the footage, shot logging, etc. seem alien to many new film makers.

Enough of the movie world, this is an audio blog, but my concerns translate into the world of recording, and I think they are worth discussing.

The term fix it in the mix should be one we frown upon for two reasons;

1. We should get it right in the first place by taking the time to record things right.
2. You can’t fix it in the mix, you can repair it, but it will never be as good.

Firstly, preparation. The RAF (Royal Air Force) have an old saying which is called the seven p – prior preparation prevents piss poor performance.

What does this look like in the world of recording?

  • The song is written and arranged before we even think about recording.
  • The artist/band have rehearsed the song so well they can perform it in their sleep.
  • If you are recording a third party, then you speak with them before they get to the studio to find out what they need. What instruments are being recorded and with this information you know what mics, preamps and other hardware you will need.
  • The hardware is set-up and tested before the band talent arrives.
  • If you are self-recording most of what is written above still applies to you.
  • Also take the time to experiment when capturing the audio, try different mics, different positions for the instruments in the room. I challenge you to get one mic and move it around the room and listen to the results; you’ll find you have a multitude of different sounds, none of them is right or wrong, just different. One of them may be the sound you want and as it’s then tracked right will need little treatment in the mix.
  • To the second point, I was asked to do a video where I was challenged to mix a track in 15 minutes just using stock plug-ins. When I got the track to mix in 5 minutes, I was done. It was so well recorded, the only thing I could do with the plug-ins was to ruin it. Conversely, I have been sent mixes that had you given me 15 hours and all the plug-ins in the world and I couldn’t have made it sound good.

Let me be clear, I don’t subscribe to the idea that it’s only good if it’s hard – I’ll use technology to save me time where appropriate, but often we simply use it because we are too lazy to do things right or we haven’t taken the time to learn a new concept to add to our skill set.

I think we are all poorer for it if we continue to take the line of least resistance.

Returning to my checkout game, and this is a more serious point. One of the greatest health threats facing us globally and especially in the West is dementia and other related illnesses. It’s a complex subject but one we must all consider. Many leading studies are saying that some of it can be prevented, here is the list of things that can help from the Alzheimers Association;

  1. Stay curious and involved — commit to lifelong learning.
  2. Read, write, work crossword or other puzzles.
  3. Attend lectures and plays.
  4. Enrol in courses at your local adult education centre, community college or other community group.
  5. Play games.
  6. Garden.
  7. Try memory exercises.
  8. I don’t know about you, but I still want to be doing this in later life not battling with this heartbreaking condition.

Has technology made us dumb, lazy or both? I think so, and for the sake of this industry and our long term good, I believe that we must do all we can to change that.

Discuss.

The Importance Of Making Music For Yourself – Personal Projects vs. Regular Work

As some of you may know, I’m a commercial TV and Film writer so most of the time I’m writing to a brief. The last few years have been very productive, but I’m hoping that very soon I’ll be able to carve out enough time to do some personal tracks – perhaps even a whole album. In our house we are jokingly referring to this as going solo…. Which is funny because I already work completely solo! So what’s the difference? 😉

Well for starters I won’t have a director or my publishers guiding me on the brief. That might sound like a good thing, but when you’re producing dozens of tracks a year to a high spec having people around with an outside perspective is really useful. They can steer a project back on track when it goes slightly off course [it happens!] and pick up on a whole bunch of issues – track length, mix issues, versioning, etc. Plus, there’s the fact that somebody else is invested in the deadline which helps things move along nicely.

Interestingly enough, now with my own ‘solo’ project on the horizon, I’m becoming aware that I’m so used to working to a brief that I will probably have to write my own brief just to stop from going off the rails!

Blocking out the time

I was chatting to an animator friend the other week and he’s just finishing a big personal project. He had a team of animators all working long hours as volunteers. I’ve never met an animator who didn’t do crazy hours and these guys were no exception. Their goal is to have an excellent showreel piece – and to be honest, so is mine. We were discussing personal projects and he said that in order to tie up his project he ended up having to a take a month off from regular ‘paid work’. That’s a tough call, especially with a family, but his team were all putting faith in his abilities as director/producer to reach the finish line.

I’ve always tried to do my tracks on spare days and evening’s and I think I’ve proved to myself that it hasn’t worked too well. Perhaps its time to try the month out idea. As for my current situation – I’m lucky I can do that so why not go for it.

How to make it do-able

I’m a guitarist and the way I see it, this is just what the world needs.. Another instrumental guitar album! I have a whole bunch of tunes from over the years that I would like to do proper justice to in a recording, and that’s great BUT many of them are suffering from “demo-itis”. In other words, I’m kind of tired of them so will need to give them all some kind of refresh. In my experience that can be a massive drain. So my solution is to split the project into 6 old tunes and 6 brand new tunes. That way I can always switch from an old one to a new one when I’m struggling to re-imagine a track, just to keep the energy up.  

Pre Production to avoid Option Paralysis

You’re reading this site which means you’re using a DAW, so you likely already know a thing or two about option paralysis. Studio One offers a tons of choices but somehow we still add more plug-ins and in the end you find you’re spending ages just picking them out.

These days, I’m mostly using Softube’s Console 1 system and my mix process has become much calmer. No more scrabbling around to choose a comp/eq combo. But the same can’t be said for my choices in other areas. This can only get worse without a producer breathing down your neck. And with the self indulgence brakes set to ‘off’ it could be easy to spend way too much time on unimportant details. So pre-production will be super important. Just off the top of my head I’ll need:

  • An outline to describe the overall aims of the project. Some do’s and don’ts perhaps. 
  • A brief for each track, especially with new writing because it can help with scoping a whole album and prevent it from being too samey. Also I’ll likely set out start points for tracking like ‘use the strat on this one’ or ‘not too much overdrive’. Anything that helps it to take shape in your mind. 
  • A really good template that anticipates all the recording I/O needs and also outputting needs via busses and VCAs for stems, different versions etc.

So now that I feel I’m off to a good start, the next thing to do is put the recording dates in the diary! But more on this later..

 

 

 

 

 

Demystifying The 3 Different Ways To Activate Recording In PreSonus Studio One

Not only does Studio One offer various different ways to approach recording with features such as takes to layers, etc – it also offers different ways to activate recording. Depending on what you are trying to accomplish, and whether you are in the position of having to perform & engineer your own sessions, some of these might be useful to know.

In this video, Marcus Huyskens demonstrates the 3 different ways to activate recording in PreSonus Studio One, and goes over when each method can be useful in specific workflow scenarios.

Crafting Guitar and Bass Tones With Plugin Alliance

In this free video tutorial, Michael demonstrates using the bx_bassdude, bx_bluechorus2, bx_greenscreamer, bx_yellowdrive, bx_distorange and bx_console from Plugin Alliance to craft guitar tones in the box.

A Must Have Free Plug-In For All Your Metering Needs

Most of us rely on specific plug-ins that are part of our workflow. It seems everyday new and improved products are released giving us many options. Options are great however sometimes you find something that just works for you and the latest greatest doesn’t meet or exceed your needs. Such is the case for my favorite free plug-in T-RackS Metering by IK Multimedia.

T-RackS Metering is always on my mains when tracking and mixing.

Three reasons why I always use this plug-in :

1. The spectrum analyzer. I haven’t found any other that functions quite the same.

2. The GUI is well designed and doesn’t take up much screen space.

3. It’s free.

Here’s some info about T-RackS Metering :

Nothing beats the T-RackS Metering module for getting your mix under control. This is a complete metering section with level, phase and frequency in a single, easy-to-read display for immediate access.

It features the following sections:

  • Precision, three-scale Peak meter with sample accuracy and digital “overs” warning

  • Real Perceived Loudness meter

  • Phase Scope with options to match style and indication you are used to

  • Phase correlation

  • Spectrum Analyzer with Peak, RMS and Averaging indications

  • RMS Meter

  • Loudness and RMS Meter “optimal” zone indication, selectable by genre and style

Peak metering shows the maximum level reached by the signal down to the single sample, while “Perceived Loudness” metering gives the listener a more effective sense of the average loudness of the track which is calculated by combining an accurate frequency weighting of the program and can be used as a reliable reference for how loud the track is being mixed. The added bonus of the selectable genres or music styles gives the user a “ballpark” reference for the music that’s being mixed.

The RMS meter is a standard reference showing the “power” of the audio signal. Typical RMS level for commercial tracks hovers at around -9dB, but this is not complete information as the RMS level is based on a flat frequency response which does not take into account the massive amount of low frequencies which are vey common in modern pop and rock mixes. Using it in conjunction with the “Perceived Loudness” will provide very useful and trusted information to set the loudness of mixes or masters.

The Phase Scope included in the meter is superior to the average plug as it reacts 40 to 50 times faster providing much more useful information. When the level of a track is pushed very hard, the scope will reflect it with a progressive squaring of the picture with sharp edges.

The Phase Correlator is a handy tool to measure the phase relationship between the Left and Right channels of a stereo mix. A +1 value shows that the mix is completely mono, while a -1 value shows a completely out-of-phase signal. In normal conditions, a mix will show values continuously varying between +1 and 0.

The Spectrum Analyzer is an 1/6-octave FFT type with flexible, customizable settings that can be tailored to a wide number of diverse situations – in either Peak or RMS mode with fast or slow response – so that the overall frequency balance of the mix can always be easily displayed.

For more information on T-RackS Complete Metering suite, and everything IK Multimedia, click here.

If you have a favorite metering plug-in or want to share what’s your favorite free plug-in please comment.

Video Review – Antelope Audio Orion Studio

Courtesy of our sister site, Pro Tools Expert, check out this fantastic video review of the Orion Studio from Antelope Audio.

In this video James Ivey from Pro Tools Expert takes a look at the Orion Studio, a 1U rack USB and Thunderbolt audio interface from Antelope.  The Orion Studio houses 12 class A mic pres along side built in effects processing for realtime tracking. This is a class act of an interface. Watch and see how there is nothing else in the market that has the routing flexibility of the Orion Studio. For it’s sonic quality, it’s connectivity and it’s routing options James has given the Antelope Orion Studio the Pro Tools Expert Editors Choice. 

Orion Studio Audio Interface

Orion Studio fits Thunderbolt™ and USB connectivity, 12 mic pres and our signature clocking technology in just 1U rack space. A centerpiece for any studio or live show environment. 

Most Mic/Line Channels

Orion Studio is the latest addition to Antelope Audio’s new breed of ThunderboltTM & USB audio interfaces. Its 12 Class-A Mic Pres make it the one and only piece of gear you need to record a full band like a pro. Orion Studio features our traditionally stunning AD/DA conversion, powered by our acclaimed 64-bit Acoustically Focused Clocking (AFC) technology.

Lowest Sound Latency

Orion Studio’s secret weapon is the extremely powerful Field-Programmable Gate Array (FPGA) device. Its massive parallel processing capabilities are far ahead of DSP chips used in similar devices. Through smart algorithms, oversampling and custom-tweeked models, the FPGA provides the lowest latency possible, giving the Antelope audio effects a real hardware-like behavior and feel.

Pro Guitar Interface

Antelope Audio and Overloud made Orion Studio the #1 audio interface for professional guitarists by creating the integrated vintage and contemporary guitar amp & cab simulations. The hardware-based FPGA effects bring precision and audio realism to a whole new level, allowing artists to experiment with multiple speaker configurations, mic placement and EQ settings.

Advanced Remote Apps

Orion Studio features an exciting new approach to control, allowing convenient device management from various access points. The interface is fully controllable via user-friendly desktop and mobile applications. You can now manage all functions of the device from multiple computers. An intuitive iOS / Android mobile app gives you even greater freedom by granting full mic pres control from a smartphone or tablet.

Realistic Vintage FX

With Orion Studio’s extremely low latency, playing and recording guitars has never felt so real. Thanks to our love for both analog detail and digital perfection you can now capture the true sound of legendary guitar amps through a unique sampling technique for vintage gear modeling. Orion Studio offers an array of hardware-quality audio effects, among which the legendary Pultec EQ emulation and the extremely versatile AuraVerb reverb.

Monitoring Revolutionized

With Orion Studio you can create up to four independent, zero latency mixes. Those can be easily assigned to any output including the two separate headphone outs. Now the musicians and the engineer can monitor the session in their preferred manner. Thanks to the convenient Orion Studio software you can quickly switch between two pairs of monitors and easily control the two independent headphone outputs.

FPGA Thunderbolt & Custom USB

Orion Studio’s FPGA powered ThunderboltTM and custom USB are Antelope’s guarantee for the lowest sound latency on the market. The massive parallel processing capabilities of the interface allow fast, simultaneous streaming of multiple audio channels and instant effects processing.

Connectivity Gone Wild

Orion Studio works with any Windows or OS X DAW on the market. The variety of digital and analog I/O combined with the flexible routing matrix make the device easily interconnectable to various outboard gear. Orion Studio offers two pairs of monitoring outputs, 16 analog outs, 2 reamp outputs, plus 16 channels I/O via ADAT and 2 channels I/O on S/PDIF.

Review Of The Native Instruments Komplete Kontrol S61

In this video review Michael shows us the Native Instruments Komplete Kontrol S61 in PreSonus Studio One 3.

Here’s the basic’s:

THE KOMPLETE INSTRUMENT

  • Bold design, superior build quality, and premium Fatar keybeds in four sizes
  • Intuitive Smart Play features inspire musical creativity
  • Total connectivity – NKS for superior plug-in integration, plus full VST, DAW and hardware control

The KOMPLETE KONTROL S-Series combines smart, elegantly-designed keyboards with advanced control software to form a fully integrated centerpiece for studio and stage – matchless control over all your software instruments from one award-winning keyboard.

Visit the Komplete Kontrol Product page for more details.

Should We Move Up From 44.1kHz?

Check out this interesting article by Paul Maunder from our sister site Pro Tools Expert.

Ever since the release of compact disc in 1982, we’ve had 44.1kHz. Most of the music which has ever been released in a digital format has used this sample rate; millions of albums, both on CD and more recently as MP3 and AAC downloads. 44.1kHz has been with us for a long time but the question is, do we still need it in the modern world and why was it chosen as a sample rate in the first place?

44.1kHz Origins

During the development of CD, one of the requirements was that the format must be able to reproduce the entire audible frequency spectrum. This is generally quoted as being roughly 20Hz to 20kHz for human hearing. It was known from Nyquist’s Theorem that in order to reproduce any given audio frequency, the sample rate had to be at least double the highest frequency you wanted to reproduce. This meant that CD had to sample at a rate of 40kHz or higher in order to cover the audible frequency spectrum. In the early days of digital audio, storing the equivalent of a CD album worth of digital data on a hard drive wasn’t possible because the drives of the time simply didn’t have sufficient capacity. Video recorders were therefore re-purposed to store audio samples as black and white video signals. In the US, these video recorders ran at 30 frames per second and had 490 useable lines per frame (excluding blanking lines). It was decided that 3 audio samples should be stored per line of video.

3 samples per line X 490 lines X 30 frames per second. This gives us a total of 44,100.

In the UK, video recorders operated at a slightly different resolution and frame rate. Once again though, if you store 3 audio samples per line of video, the maths still works out:

3 samples per line X 588 lines X 25 frames per second. Again, we get 44,100.

As you can only store a whole number of samples per line (1,2,3,4,5 etc), 44.1kHz was the minimum sample rate possible in order to fulfil the nyquist requirement and also to allow for CD masters to be stored on video tapes.

The Two Families Of Sample Rates

By contrast, TV production and modern digital video workflows have always used 48kHz as their standard sample rate. Multiples of both 44.1kHz and 48kHz are also now fairly widely used. In certain workflows, higher sample rates can be of use. The two common sets of sample rates today are:

CD derived rates:

  • 44.1kHz
  • 88.2kHz
  • 176.4kHz

Video derived rates:

  • 48kHz
  • 96kHz
  • 192kHz

Why Do We Need So Many Sample Rates?

It’s evident that 44.1kHz was borne purely out of the technical constraints at the time of the development of CD. Its derivatives, 88.2 and 176.4kHz only exist because they’re mathematical multiples of it. As we move away from physical formats and into an era where most content is delivered electronically, is there really any reason to keep 44.1kHz? Obviously, we’ll need to retain the ability to work with legacy content at that sample rate and to be able to produce CD masters for as long as the format still exists, but shouldn’t we now just move to 48, 96 and (where required) 192kHz? I’m very interested to hear your viewpoints on this. 

Article by: Paul Maunder

Enhancing Your Productions With Live Percussion

In my opinion, one of the most useful group of instruments in a production is live percussion. In fact, I would recommend that every producer has at the very least a tambourine and an egg shaker. These reasonably priced instruments can be the final element that makes your production come to life. In this short article I am going to explain how to record and place these in your tracks.

Choosing Your Instrument

I have two tambourines, one has a gnarly aggressive sound that is perfect for hard driving productions, and the other has a sweet less aggressive tone that fits perfectly into slower tempo smooth productions. I also have two egg shakers, and the differences between the two are pretty similar to the tambourine’s but with such a high frequency instrument the differences are a lot more subtle. 

Recording

Tambourines can be tricky to record properly to say the least. When I first started recording I only had a reasonably priced large condenser microphone as my main microphone. Every time I recorded a tambourine I would make sure that the levels on my preamp and DAW were not peaking, but when I came to play back, it would sound like I had recorded it too hot and the peaks were very distorted. I then discovered the secret weapon for tambourines: Dynamic Microphones.

Most condenser microphones can’t handle the high SPL of a tambourine when close micing, sure some have a pad switch but even then they can still distort. In my opinion, I would always recommend recording with a dynamic microphone. Get yourself a Sure SM57 or an SM7b and you will get great results at a very reasonable price. If you can’t afford a dynamic microphone this month, then MOVE WELL BACK from your condenser. Shakers are a lot more forgiving although you’ll still need to give some distance to your LDC.

In The Mix

Tambourine’s don’t have a lot of frequency information below say 500Hz, so use your ears but you can safely hi pass at around 250Hz. If you want to bring out the tone of the tambourine, look between 800 to 1.5 KHz to start. The high end can be your friend or it can be your enemy.  Low pass and listen in the mix, cut off as much high end as you can. Personally, I like to leave that top end so that it doesn’t get in the way of any vocal frequencies. In regards to shakers, you’ll often find you can cut more low end and leave more high end in the mix.

Compression

I find that compressing tambourine’s is a great way of testing your attack and release skills on a compressor. If your attack is too fast you can really hear the initial transients begin to dull out. For me, the meter should be back at zero gain reduction before the next high transient so set your release accordingly. I find that I hardly ever need to compress shakers, but if you do, follow the above, and you should be in a good spot.

Panning

With shakers, I really like to get these away from the centre, move them out as wide as you can. It’s amazing how your ears become accustomed to things that initially sound like they are panned too far out. With tambourine’s, it really depends on the effect you are going for. Sometimes you might want to give the snare more impact so you should try the tambourine more central in the panning spectrum. If you want the tambourine to add more of a rhythmic groove, move it away from the centre and try recording two and pan them further apart.

Saving Your Audio Loops & Grooves

In Studio One there is a fantastic drag and drop feature that allows you to export your Audio Grooves/Loops for future use. In fact, I will do a video that will explain how to do this within the next few days. In the mean time, try adding some extra percussion into your tracks and see how much it can enhance your productions.