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The Importance Of Space In A Mix: Part #2 – The Tools

Big Al — Wed, 23 Mar 2011 15:00:16 +0000

Read part 1 of “The Importance of Space in a Mix”

Reverbs

As with all facets of mixing and recording, the source sounds are paramount.

Choosing the best reverb(s) for the job up front will ultimately determine the end result. So, even before we get into the mixing of the space, let’s talk about sound selection. In a musical piece, we can treat the reverb as any other sound source, with four basic components:

Rhythm
Volume
Tone
Texture

Rhythm

One of the key elements of any reverb is it’s decay. The length of the tail is often an indication of the expanse of the space. However, it also determines the time in which the reflections sustain in the mix – and that’s a rhythmic concern.

A long sustaining sound in a fast tempo piece, or rhythmically complex piece is going to mask elements of the mix and generally slur the overall rhythm. A quickly decaying tail in a slow piece on the other hand, will leave a lot of empty space with very little impact from the reverb. Find a tail length that compliments the speed of the piece.

Pre-Delay

Another rhythmic consideration is the speed of the pre-delay. Pre-delay is a key element in determining the front to back relationship of the dry sound and the space it exists in. In other words, pre-delay helps the ear recognize how close or far the dry sound is.

Generally speaking, the longer the pre-delay, the closer the dry sound. A zero millisecond pre-delay means that the reflections and the dry sound are reaching the ear simultaneously – which puts the dry sound far away. This acoustic phenomenon could be an article all to itself, but we’ll leave it at that for now.

Pre-delay is also a rhythmic element – it determines a space of time from the initial dry sound before the early reflections show up. Anything within the Haas Zone (10ms or less), isn’t going to have much effect on the rhythmic sense of the sound. Once you start getting up to 20ms and greater, the slap back effect becomes distinct and there is a clear rhythmic effect. Find a pre-delay that compliments the speed or rhythm of the piece.

Lastly, some reverbs (particularly room and hall style reverbs) have a rhythmic space between the early reflections and late reflections. This is not always controllable, but listening for that “bulky” moment in the reverb sound is very important when selecting a reverb. Often times, plates are a good choice for drums partially because there are no “early” or “late” reflections – eliminating that particular rhythmic concern.

Volume

Generally, when I’m mixing, I prefer just enough reverb to add a little life to the elements in the mix. Often, I’m setting my reverbs 15 or 20dbFS lower than my dry elements. However, this isn’t to say reverbs can’t come to the foreground. It’s a very important aesthetic decision.

Just remember that whether the reverbs are subtle or prominent, they still need to sound right. Tone and Texture – this is where we get into the gritty stuff. There are many factors in determining the tone and texture of a reverb. First comes the style of the algorithm or convolution, then the three “D”s: diffusion, density, and damping.

Algorithms and Processors:

Springs and Plates – A transducer sends vibrations across a metal coil, which are then picked up by another transducer. Springs have a “rigged” texture, and a hollow tone. Certain frequencies will jump more than others. Plates use a similar system, but work around vibrating metal plates. The result is a more natural sound – but one which is often “denser” than a real space.
Plates will also highlight certain frequencies. The exact tonal qualities will vary to some degree in spring reverbs, and to a greater degree in plates. One major tonal difference is that plates tend to be “shinier” than springs, which feel more “empty” or “lonely” if those words can even apply to sound. Vibrations appear immediately and decay linearly – there are no early or late reflections.

Because of these things, plates and springs are often very distinct and forward sounding reverbs, and useful for adding firmness or punch to the elements that feed them.
Chambers, Halls and Rooms – Hall and room reverbs simulate the way a sound would actually acting in a given space. The characteristic sounds will change distinctly from unit to unit.
Rooms are often based on rectangular or semi-rectangular, level spaces. Halls are often modeled off of minute amphitheater designs with curvature to the walls and incline from the sound source. Halls will usually have less separation between the early and late reflections.

Otherwise, the algorithms are generally based around a size approximation. Halls are designed to be vast and deep. Rooms are designed to be natural. Halls will have a more even tone, whereas rooms may have resonant peaks and dips – but this is entirely dependent on the particular reverb unit. Chambers are unique room designs, and will vary as often as actual reverb chambers will vary.

Many reverbs, especially the “natural” space algorithms also may have settings for diffusion, density, and damping…

Click here to read the rest of this article written by Matthew Weiss and learn more about diffusion, damping and density

The Importance Of Space In A Mix: Part #2 – The Tools is a post from: Home Recording Studio Guru

Microphone Shootout: Neumann Vintage U87i Vs. U87Ai

Big Al — Sun, 20 Mar 2011 15:00:14 +0000

Does the new Neumann U87Ai sound as good as a vintage U87i?

Hear both mics on vocals, male voiceover, and acoustic guitar on Episode #2 of Matt McGlynn’s (http://RecordingHacks.com) “The Microphone Show”.

This shootout features Mark Keller on voiceover and acoustic guitar, and George Merrill of “Boy Meets Girl” singing an acappella chorus of his 1998 hit, “Waiting for a Star To Fall.”

Details and raw audio files can be found at http://MicrophoneShow.com/2

Using a screen reader? Click here for the video

Microphone Shootout: Neumann Vintage U87i Vs. U87Ai is a post from: Home Recording Studio Guru

Microphone Shootout: Audio Technica AT4060 vs. Neumann u87Ai

Big Al — Wed, 23 Feb 2011 01:50:43 +0000

Andre Sogliuzzo

Today brings another cool mini microphone shootout from @RandyCoppinger.

This one features the voice of Andre Sogliuzzo.

Both mikes recorded at the same time (in the same take) are listed in order of presentation: Audio Technica AT4060 (street value $1,300.00) then the Neumann u87Ai (street value $3,400.00).

The recording chain is as follows:

- Neumann u87Ai (cardioid, no pad, no rolloff) to Focusrite Red 8 to Apogee PSX-100

- Audio Techinca AT4060 to Red 8 to Apogee PSX-1000.

This was recorded at 24bit, 48k Hz and level matched in ProTools by ear. Download is enabled so take the opportunity to listen to the full bandwidth file on some decent speakers.

Information on the gear used in this shootout can be found below. Click on any of the “Buy” buttons for more info and prices.

Microphone Shootout: Audio Technica AT4060 vs. Neumann u87Ai is a post from: Home Recording Studio Guru

Music Tech Guru Says Web Is Not The Enemy

Big Al — Thu, 26 Aug 2010 12:37:03 +0000

This is a very interesting post from Greg Sandoval over at Cnet News.

The Internet is a killer of art–at least that’s how a couple of former rock ‘n’ roll gods see it.

John Mellencamp, known for such ’80s hits as “Jack and Diane” and “Hurts So Good,” last week said the Web is the most dangerous creation since the atomic bomb. Stevie Nicks, the Fleetwood Mac songstress, concluded in an interview this week that the “Internet has destroyed rock.”

We have to be free enough with our music to permit people to adapt it for their own purposes. - Jack Holzman (Credit: Warner Music Group)
Jac Holzman, the man who discovered The Doors, founded Elektra Records, and nudged the big recording companies into adopting the compact disc, considers the Web and says: “I think the music industry has a bright future.”

Wow, that’s quite a contrast in views. The difference is Holzman has witnessed most of the industry-shaking technologies during his six decades in the music business–and he’s not panicking.

This year, the 79-year-old celebrates Elektra’s 60th anniversary, and at a life stage when Holzman’s biggest trouble might be choosing the right 9-iron, he’s helping to search for answers to the music industry’s burning digital questions. He has said in the past that there were those in the record business who didn’t think he was relevant any longer, but Holzman is back in the thick of it. Warner Music Group CEO Edgar Bronfman Jr. sought him out, hired him as a senior adviser, and sees value in the context Holzman can provide.

“I love the way Jac approaches the intersection of music and technology–through the lens of opportunity,” Bronfman said.

At spotting opportunities, Holzman has a notable record. As a 19-year-old, Holzman started Elektra with $300 he received at his bar mitzvah. The label would later go to sign such acts as Queen, Judy Collins, The Stooges, and Jim Morrison. After Holzman sold Electra to Warner Communication (a forerunner of Warner Music Group and Warner Bros. Pictures), he became WCI’s chief technology officer. In that role, he helped oversee some of the company’s film and TV ventures.

When Jack Valenti, the chief of the Motion Picture Association of America, was trying to kill video recorders and comparing them to the Boston Strangler, Holzman was pushing WCI leaders to embrace the home-video market. With cable TV he recognized its potential early and contributed to the development of pay-per-view programming.

In music, Holzman saw the rise of the LP, 8-track tape, DAT, compact disc, MP3, and BitTorrent. After all that, new technologies don’t spook him. On the contrary, he says many of these technologies helped make a lot of artists and industry people rich. When it comes to the Internet and digital distribution, Holzman is confident music labels can capitalize on them too. He says they really don’t have a choice.

Read the rest of the article here…

Music Tech Guru Says Web Is Not The Enemy is a post from: Home Recording Studio Guru

StudioTrack Multitrack DAW App For Apple iPad

Big Al — Sat, 03 Apr 2010 15:08:13 +0000

StudioTrack is a powerful songwriting tool for musicians who want to capture musical ideas and record songs on the iPad. Every channel includes a reverb send and a configurable effects rack.

Effect options include a delay, EQ, and a compressor. The master channel has a Reverb Return knob as well as a parametric EQ and a stereo master compressor-limiter. StudioTrack multitrack recorder for iPad, developed by Sonoma Wire Works and Retronyms, is now available on iTunes for $39.99.

Using a screen reader? Click here for the video.

StudioTrack Features:

Multitrack Recording – 8 tracks plus bounce
Re-arrangable Tracks with FX Bypass, Reverb Send, Pan, Gain, Mute, Solo, Record Arm and Track Icon
TrackFX – Tempo-synced Delay, Compressor, Parametric EQ and Reverb Send on every track
Calibrated Meters – accurately monitor record and playback levels
Calibrated Faders – accurately adjust playback level of each track for Cross-Fading, Muting, and Playback Control
MasterFX – sweeten the sound of your recordings with a compressor-limiter and a 4-band parametric EQ
Output Compressor-Limiter – automatically fattens sound of the output mix
Master Channel with Reverb Return and Stereo Output meters
Metronome – select tempo by number or tapping (includes pro drum recordings)
Bounce – mix song to track 1 and 2 of a new song to record as many tracks as you want
Mix – Save the mix as a stereo file
AudioPaste – - allows pasting audio from AudioCopy compatible apps like InstantDrummer and DopplerPad
WiFi sync or mix individual tracks to a computer then import into any software that imports WAV files
Slide-to-Record – prevents over-writing your tracks
Latency Compensation – accurate to within 1ms
Recording Quality – 16 bit, 44.1 kHz
Supports both portrait and landscape iPad views

StudioTrack Multitrack DAW App For Apple iPad is a post from: Home Recording Studio Guru

How To Build A Portable Mini Vocal Booth

Big Al — Thu, 25 Feb 2010 04:44:44 +0000

If you’re a Project Studio Network podcast listener, you’re no doubt familiar with the upside down trash can vocal booth.

While that may be the ultimate solution in portable vocal booths, there are other approaches.

Here’s one of those approaches as posted over at Instructables.com
:

In this tutorial we will make a DIY portable mini vocal booth that can be used to record your voice on the road (on a flash disc recorder). But there’s more that can be done with this easy to make project.

You can cancel background noise when doing Foley recordings in your project or home studio, or have a portable mini dead room, ideal for specialized field recording.

The DIY Portable Mini Vocal Booth is ideal for podcasters, DIY filmakers and sound designers alike. My personal motivation to build this, was a desire to have a mobile mini deadroom to make foley recordings and recordings for my music.

For full instructions, see the original posting here.

How To Build A Portable Mini Vocal Booth is a post from: Home Recording Studio Guru

How To MultiTrack Record With Garageband 09

Big Al — Mon, 01 Feb 2010 05:09:36 +0000

Big O shows you what you need to know to use multitrack recording in GarageBand ’09. Here’s how he introduces this tutorial:

In this tutorial I walk you through how to do multitrack recording in Garageband 09. I’m not covering software instruments or MIDI, that will have to be a different tutorial.

Most of what I go over can be applied to previous versions of Garageband or other recording software as well, because there are always similarities with any multitrack software.

Using a screen reader? Click here for the video.

How To MultiTrack Record With Garageband 09 is a post from: Home Recording Studio Guru

10 Tips To Prepare Your Music For Mastering

Big Al — Fri, 09 Oct 2009 22:42:48 +0000

This is a great article originally posted over at http://Musformation.com

You made the final decision about your music and you’ve decided to go the full nine yards and have your record mastered by an actual professional instead of doing it yourself or getting it done online. But now you’ve come all the way down to the wire and your record is getting mastered tomorrow – so what do you do? Relax and follow our tips and your session should be as smooth as a moonwalk on a hardwood floor in sock-feet. We will discuss mastering techniques more in later posts but this article is about what to do BEFORE get there.

1. Make Sure The Mix Is Great – Mastering is not a time to make huge mix changes, it is instead accentuating what you have already done. While some engineers can perform miracles, don’t always expect you can “fix it in the mastering”. If you’ve gotten a great mix, you’ve made the mastering engineers job much easier. In addition, make sure everyone is happy with the mix before you send it up to the engineer. At your mastering session is the last place you want to be arguing about the level of the kick drum.

2. You Don’t Need To Normalize Or Get It As Loud As Possible – Keep in mind most Mastering Engineers like some head room. Even having your mix peaking 2db below zero is great. I regularly turn in mixes with peaks at -12db since that’s where I find my gain staging sounds good on the console I work on. The mastering engineer will have great gear to gain stage it as long as you go to a pro.

3. Make Sure The Bounce Is Done Properly – When bouncing your files, it is most common to do so in the WAV format. Pay attention and make sure that you are bouncing at the same sample rate you recorded at (if you recorded at 44.1 then make sure to do the bounce at 44.1) – and keep Bit Rates the same as well. Remember: do the least amount of processes to your audio as possible to prevent signal degradation. Make sure that Dithering is set to “None” and as we stated above, normalizing is not necessary. If you are using a compressor you like that really helps get the tone you want, feel free to bounce it with the compressor. However, also remember that your engineer will mostly likely have much better and higher quality gear than some of the plug-ins you’re probably using. If you are going to use compression on your bounced track (and many people choose not to) just make sure you don’t overdo it. Many people will make a compressed and uncompressed version so their mastering engineer can hear what they were going for but recreate it on better gear.

4. Come With An Open Mind – Keep in mind a mastering engineer is a objective perspective. They are giving you fresh ears and if you have listened to your mixes for a month before your date you may be used to the huge size of the bottom end but the mastering engineer may find this hugeness to be sloppy bottom end eating your mix. Thirty days later when you have fresh ears you may agree with him. Give the mastering engineer the benefit of the doubt but if you have a clear vision of what you want and they missed it, be sure to tell them!

5. Know Your Sequence Before You Arrive – You are going to be choosing song order and spacing for the song. When I worked as mastering engineer assistant I would constantly have bands making it up as they go along. You pay a high price to do this, since mastering time is not cheap and anyone with a copy of iTunes can use a playlist to test it out.

6. Email Your Engineer The Files Before You Meet With Them – If there is a problem with your mix bounce you don’t want to find out when it’s too late. Most engineers will take a quick listen to your mix earlier to make sure there are no egregiousness errors. If there are, having your bounce checked first could save you a lot of headache. Use a service like MegaUpload, Mobile Me to email your files to the engineer and you and the him/her will feel more at ease when the actual day comes around.

7. Have A Copy Online And With You – It’s much better to be overly cautious with backups. Even if you email the files to an engineer ahead of time, something can still happen to them. Make sure you take a copy with you and for extra protection, keep a copy somewhere online where you can get access to it. Most likely, you won’t need it, but with something this important, you’ll want to be sure.

8. Bring Reference Tracks – Sometimes you’ll be dealing with an engineer who understands your music and perhaps even appreciates it, but this is not always the case. For volume and style comparisons, you’ll want to bring in high quality MP3′s or WAV’s of other music you like or want to imitate so you can reference them to your own music. This will the individual mastering your record immensely and can show you how you fair with your heroes.

9. Skip The Sauce And Get Some Sleep - Just because you finished your record doesn’t mean it’s time to pop bottles yet. The night before your mastering session is not the time to get crunked up on booze. Save that for another date. Make sure you get plenty of rest so that you’ll be as fresh as possible. Listening to your music at loud volumes repeatedly and helping the engineer make the important decisions is the last thing you want to do while hungover. You have come too far at this point to screw it up, so just hold out until the mastering’s done to hit the bar.

10. Be Prepared With Money – Mastering sessions are almost always estimated beforehand, which means you can go over the time limit and over budget. Be prepared for this to happen and please be prepared to pay for services at the time they are rendered. Especially when dealing with a professional, you don’t want to look like an amateur when it comes down to business. This engineer is probably well connected and you don’t need anyone spreading the word that you are an irresponsible band or artist. Besides, it is not likely you will walk out of the session with a disc in your handle until you put down some cash. It’s time to end the cliche of musicians being cheap bums who are always broke – if you’re serious enough about your music to have it mastered, you should certainly have the money and then some.

Article originally posted over at http://Musformation.com

10 Tips To Prepare Your Music For Mastering is a post from: Home Recording Studio Guru