Archives
January 2012
Happy 2012! We're beating the drum for the start of a great year... and when we say "beating the drum", we mean it! The January 2012 issue of RECORDING is packed full of fascinating facts and great advice about recording drums and percussion.
In this issue, we bring you not one, not two, but four great articles about drum recording. Paul J. Stamler puts on his educator's hat and shares a detailed history of how drums were laid down on tape in the good old days, including reproductions of some famous drum sounds as heard on classic albums. Paul Vnuk Jr. discusses how your studio workflow changes when you have a lot of mics for your kit and when you have only a few... or only one. Michael Nickolas explains how drum panning helps create a unified and musical mix. And our Editor, Lorenz Rychner, interviews a host of A-List studio professional drummers about how they get their signature sounds.
And that's not all! In this issue, we review the new MA-300 multipattern tube mic from Mojave Audio; find out what all the fuss is about with the KH 120, the first-ever studio monitor from Neumann; look at an innovative hardware/software keyboard system from Arturia; and have fun with a selection of useful and inspiring iOS apps.
Want more? How about a full report of new products from the 2011 AES Convention in New York City to sharpen your appetite for cool new toys? And how about the debut of a far-reaching new monthly series on audio fundamentals by Eric Ferguson? All this is coming your way, along with our usual monthly features, Readers' Tapes with Marty Peters, in the January RECORDING. Take your drum tracks to the next level in the new year!
Pick it up now on the newsstand... and so you get your next issue early (and save on cost), why not hit the big red Subscribe Now button on this page and have RECORDING delivered to your door each month?
Neumann KH 120 A Monitors
|
Reviewed by
Lorenz Rychner
Neumann KH 120 A Monitors |
Reviewed by
Lorenz Rychner
Venerable mic manufacturer Neumann's first entry into the monitor market -- by way of the acquisition of Klein + Hummel.
Announced late in 2010 and shown at trade shows before finally being released a few months ago, the KH ......Expand
Venerable mic manufacturer Neumann's first entry into the monitor market -- by way of the acquisition of Klein + Hummel.
Announced late in 2010 and shown at trade shows before finally being released a few months ago, the KH 120 A has created considerable interest because it is the first ever studio monitor in Neumann's long history. As the letters KH convey, the 120 A began life as a product from Klein + Hummel, a company that was acquired by Sennheiser/Neumann a few years ago. So now Neumann truly has both ends of the signal chain covered, from transducer to transducer.
Klein + Hummel never had the market penetration in North America that the brand enjoyed in Europe and elsewhere, where it had a long history of excellence. Upon the acquisition, its installed-sound product line was taken up by Sennheiser, and the studio monitors came under the Neumann brand. The K+H manufacturing facilities remain but were modified and updated to Neumann's high-end standards, as were the product designs and specifications.
I first heard the 120 A on show floors, and that meant that I could walk right up to a speaker and listen from an unrealistically close distance (to block out the ambient tradeshow noises...), but even though I was impressed with what I heard, there was no way that I could form a meaningful opinion. Now I'm glad to have a pair of the 120 A to myself for evaluation, and here's what I found...
Read more in the January 2012 issue of RECORDING!
Collapse
Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
|
Reviewed by
Paul Vnuk Jr.
Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone |
Reviewed by
Paul Vnuk Jr.
A multi-pattern update to the popular tube mic design offers greater flexibility.
I like to think of Mojave Audio as "David Royer's other microphone company" -- the outlet for all of his non-ribbon fare. The Mojave line curr......Expand
A multi-pattern update to the popular tube mic design offers greater flexibility.
I like to think of Mojave Audio as "David Royer's other microphone company" -- the outlet for all of his non-ribbon fare. The Mojave line currently includes a pair of large-diaphragm condensers -- the original MA-200 tube mic (reviewed January 2007) and the solid-state MA-201fet (December 2009) -- as well as a pair of pencil condensers, the vacuum tube model MA-100 (May 2008) and its solid-state counterpart, the MA-101fet (July 2010).
The cardioid-patterned MA-200 was the first mic in the line, and since its creation it has gained a very solid following. On the web, it usually pops up in "What's a good U67 clone/replacement" threads. While it isn't intended to be a full-on U67 clone, it does share similar sonic characteristics, qualities and favored uses. Mojave's brand new MA-300 is essentially a multi-patterned version of the 200, with a handful of additional new features...
Read more in the January 2012 issue of RECORDING!
Collapse
Arturia Analog Experience: The Laboratory 49
|
Reviewed by
Mike Metlay
Arturia Analog Experience: The Laboratory 49 |
Reviewed by
Mike Metlay
Dedicated hardware makes this plug-in synth collection fun and easy to use.
In our August 2008 issue we took a look at an interesting new product from French music-software maker Arturia: the Analog Factory Experience (now r......Expand
Dedicated hardware makes this plug-in synth collection fun and easy to use.
In our August 2008 issue we took a look at an interesting new product from French music-software maker Arturia: the Analog Factory Experience (now renamed the Analog Experience: The Factory), which combined a preset-based virtual analog synthesizer engine with a dedicated hardware controller, a USB keyboard -- the first of several now being offered by Arturia.
While those controllers can be used with any software synth you may own (or hardware -- they work as MIDI controllers, too), they're not sold separately. When you purchase one, you buy it as part of a bundle that links the controller keyboard to a specially designed virtual analog synth that runs on your Mac or PC as either a standalone product or as a VST, AU, or RTAS plug-in within your DAW of choice.
The central idea of these hardware/software bundles is very elegant, simple, and frankly delightful: the controls on the keyboard in front of you precisely match the controls on the software on your computer screen! Turn a knob or press a button, the software reacts exactly as you think it should. No mapping of functions, no trying to remember if Slider 1 controls filter resonance or LFO rate on this or that synth... it all just works. For non-tweakhead studio owners or composers who love synth sounds but are intimidated by complex front panels, or who just plain want to work quicker and smarter, this design saves lots of time and headache.
Arturia now has three more Analog Experience bundles. The Player offers a simple 25-key controller and a streamlined software package, and The Laboratory 49 (and brand-new 61) combine feature-rich 49- and 61-key keyboards with the most powerful software of the series -- with enough new features to warrant another look.
Read more in the January 2012 issue of RECORDING!
Collapse
iOS Music Tools: Analog Synthesis on iOS
|
Reviewed by
Mike Metlay
iOS Music Tools: Analog Synthesis on iOS |
Reviewed by
Mike Metlay
We explore the iOS approach to analog synthesis with Korg iMS-20, Moog Animoog, Tempo Rubato NLog Synth PRO, VirSyn iSyn Poly, and Way Out Ware SynthX.
iOS devices have a fair bit of computing power, and it's not surprising ......Expand
We explore the iOS approach to analog synthesis with Korg iMS-20, Moog Animoog, Tempo Rubato NLog Synth PRO, VirSyn iSyn Poly, and Way Out Ware SynthX.
iOS devices have a fair bit of computing power, and it's not surprising that some of the earliest apps for them were analog synth emulations. Some manufacturers have gone old-school, offering precise emulations of vintage hardware in a modern format with added performance tweaks that become possible on a multitouch device like the iPad; others have designed entirely new ways to play "keyboards", with sound engines inspired by the analog synths of old but with a modern twist; many add extra features to turn your playing experience from a solo keyboard outing to more of a full-arrangement approach. Here's a selection of some of my favorites...
Read more in the January 2012 issue of RECORDING!
Collapse
Recording Drums--Then And Now
|
Reviewed by
Paul J. Stamler
Recording Drums--Then And Now |
Reviewed by
Paul J. Stamler
Classic drum recordings from the past can teach us a thing or two about drum recording with today's equipment. Know the styles, know the gear, get results.
In this article, I'm going to look at drum sounds from the hundred-y......Expand
Classic drum recordings from the past can teach us a thing or two about drum recording with today's equipment. Know the styles, know the gear, get results.
In this article, I'm going to look at drum sounds from the hundred-year-plus history of music recording. I'll examine some classics which set the aural standard for how we hear recorded drums. It'll be a selective list; it will include only what I know (obviously) and what I could find information about from printed sources, album notes and photos, and of course the Internet. That's perilous, since the information out there is often contradictory and sometimes just completely wrong:
"The trouble with quotes on the Internet is that it's difficult to determine whether or not they are genuine." -- Abraham Lincoln
Read more in the January 2012 issue of RECORDING!
Collapse
"How I Like To Record My Drums"
|
Interviewed by
Lorenz Rychner
"How I Like To Record My Drums" |
Interviewed by
Lorenz Rychner
Experienced drummers know how they want their drums to sound. Listen and learn.
Stuck in a rut? Wondering if you should make some changes in the way you record drums? Sometimes the easiest way to get new ideas is to simply a......Expand
Experienced drummers know how they want their drums to sound. Listen and learn.
Stuck in a rut? Wondering if you should make some changes in the way you record drums? Sometimes the easiest way to get new ideas is to simply ask the right person "How do you do it"? And who better to ask than an experienced drummer who has been doing this for a long time and who also records?
We received a lot of photographs to go with these interviews, more than we can print; you can find them, and some audio examples to accompany this article, on our website at www.recordingmag.com, in our Resource Library under Magazine Extras > Audio and Music...
Read more in the January 2012 issue of RECORDING!
Collapse
2011 AES Convention Report
|
Written by
Mike Metlay
2011 AES Convention Report |
Written by
Mike Metlay
New York City hosted the 131st AES Convention, and there was a lot of cool new gear on display. Come with us for a lightning tour of the coolest new products on the show floor.
The 131st AES Convention took place at the Javi......Expand
New York City hosted the 131st AES Convention, and there was a lot of cool new gear on display. Come with us for a lightning tour of the coolest new products on the show floor.
The 131st AES Convention took place at the Javits Convention Center in New York City this past October 20-23. The exhibitor hall was located in a different part of the Javits than its usual home, and seemed a bit smaller than usual, but the smaller size interestingly did not translate to "lower traffic" or "a weak show". Everywhere we went, the exhibitors on hand were commenting on how slammed the show was from the moment it opened, and how the people visiting were interested and educated buyers, indicative of the industry's slow but ongoing rally after the slump of recent years.
There were a lot of new products on display, many of which will be reviewed here in upcoming issues. We had to leave out a bunch of exhibitors, who either didn't have anything brand-new for the show, or whose new products weren't directly relevant to RECORDING's readership (e.g. wireless or headset mics), or whose press materials didn't get to us in time for this issue. Time to hit the aisles...!
Read more in the January 2012 issue of RECORDING!
Collapse
Recording Fundamentals. Chapter 1: What Is Good?
|
Written by
Eric Ferguson
Recording Fundamentals. Chapter 1: What Is Good? |
Written by
Eric Ferguson
It's a new year and a new series on the fundamentals of recording music, in both art and science... and we dive right in with a heavy question on a heavy topic: what makes a recording "good"?
Welcome to Recording's new month......Expand
It's a new year and a new series on the fundamentals of recording music, in both art and science... and we dive right in with a heavy question on a heavy topic: what makes a recording "good"?
Welcome to Recording's new monthly Recording Fundamentals column! What's this new series all about? Each month we will introduce and review the fundamentals of audio, recording, and music production. Will this column be targeted only at beginners? Absolutely not! Even professionals need regular review of audio's trickier aspects, and this series will present the content in a manner accessible for all.
What's the best thing about Recording Fundamentals? Free web content! Starting next month, articles will be supported with new video clips, audio examples, and links at recordingmag.com. So without further ado, let's dive in...
Read more in the January 2012 issue of RECORDING!
Collapse
Drumming and Drummers and Mics--Oh My!
|
Written by
Paul Vnuk Jr.
Drumming and Drummers and Mics--Oh My! |
Written by
Paul Vnuk Jr.
You have a drum kit, or a set of percussion instruments, to record in your room. Do you go with a bunch of mics, or just three or four, or even only one or two? Here's how to make the call and get good results every time.
Th......Expand
You have a drum kit, or a set of percussion instruments, to record in your room. Do you go with a bunch of mics, or just three or four, or even only one or two? Here's how to make the call and get good results every time.
This month I get to combine my three favorite passions into one article -- drumming, percussion and audio engineering.
In his article we are going to look at a variety of drum-recording steps that will hopefully fit your needs and style: Full "mike-'em-all" set-ups, minimal setups with 1-4 mics, and then -- to top it off -- I have asked my good friend David (who has been bitten by the lo-fi/hip-hop bug) to chime in with some of his successes in his bedroom with extremely budget gear...
Read more in the January 2012 issue of RECORDING!
Collapse
Mixing Live Drum Tracks
|
Written by
Michael Nickolas
Mixing Live Drum Tracks |
Written by
Michael Nickolas
So you've managed to track a drummer yourself or hire in a professional drummer to lay down live miked drum tracks for your new song. How do you mix them for best effect?
No, wait, don't go! You don't have to skip over readi......Expand
So you've managed to track a drummer yourself or hire in a professional drummer to lay down live miked drum tracks for your new song. How do you mix them for best effect?
No, wait, don't go! You don't have to skip over reading this article just because you don't record live drums with your setup. Sure, many of you don't have the space and microphones needed to record a full drum kit, but there are other ways live drum tracks can make their way into your tune. You might hire out a bigger studio to record drums, then bring the tracks back to your setup for mixing. There are companies selling sample discs that offer live recorded drums split out to individual tracks, and there are drummers offering the service of recording custom drum parts to songs you send them.
All of the above give you more control over your drum parts than you would get with a stereo loop, but with this control comes more complexity. Getting good drum sounds in your mix can take patience, and the more experience the better. With this in mind I'm bringing in an expert to help. Many of the tips below came from Frank Basile of Live Studio Drums (www.livestudiodrums.com), a custom drum track recording service. He records and mixes drums on a daily basis and will provide tips based on over 20 years of experience...
Read more in the January 2012 issue of RECORDING!
Collapse
2011 Annual Index
|
Written by
2011 Annual Index |
Written by
Wow, we were busy last year! Check out a full list of our features, interviews, and gear reviews.
Read more in the January 2011 issue of RECORDING!
Wow, we were busy last year! Check out a full list of our features, interviews, and gear reviews.
Read more in the January 2011 issue of RECORDING!
Collapse
Fade Out
|
Written by
Kelly Dueck
Fade Out |
Written by
Kelly Dueck
Listening -- The First Step On The Road To Great Recordings.
Let's face it ... if you're into sound recording, you're probably into gear. That's a good thing, because knowing what your gear does, and knowing how to g......Expand
Listening -- The First Step On The Road To Great Recordings.
Let's face it ... if you're into sound recording, you're probably into gear. That's a good thing, because knowing what your gear does, and knowing how to get your gear to do what you want it to, is a key to making great recordings. But there's a more fundamental aspect of recording that we sometimes forget about in the midst of all the gear lust: Listening.
That's right. Knowing what to listen for, and how to listen for it, is the absolute basic prerequisite to making pro recordings. Ask yourself -- how much time do you spend poring over gear reviews, technical specs and owner's manuals (OK, scratch that last one)? Now -- how much time do you spend practicing your listening skills? If you're like most recording enthusiasts, you spend a lot more time on the gear side of the equation.
You've probably heard it said that great engineers can make good recordings even with average gear. That is mostly true -- and for one reason: Pro engineers know how to use their ears. They know when their gear is hitting the limits of its capabilities and they know what good recordings sound like. I urge you to take a little time to develop your listening skills. You will be amazed at how much better your recordings get in no time. Here's how to do it...
Read more in the January 2012 issue of RECORDING!
Collapse
