Quote of the Day

“When somebody really puts themselves out there, then you can’t help but respond from the heart, and that is what we value so much in music...It’s funny that all of this recording technology, from our standpoint, exists just to take away some of the curtains between the music and the listener.”- Tuck Andress of Tuck & Patti

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Do you use ribbon mics?


Begins with the use of a single mic on the bass cabinet, exploring miking distance, mic location, and proximity effect. Tonal characteristics are demonstrated for the following mics: Sennheiser MD421, Shure Beta 52A, Shure SM57LC.
Comparing the sound of each of three mics aimed at a cab from various distances and angles.
By Michael Schulze and Lorenz Rychner
These three mics are used on the bass cabinet: Audix D6, Electro-Voice RE20, Electro-Voice RE320. Demonstration of the effect of Electro-Voice's Variable-D that negates proximity effect.
Comparing the sound of each of three different mics aimed at a cab, with demo of EV mics with Variable-D.
By Michael Schulze and Lorenz Rychner
Demonstrates the use of active and passive DI (Direct-Input) boxes, dbx DB12 and Radial ProDI, and explains time-alignment of tracks to regain tonal quality when signals are mixed together.
DI boxes (active and passive), time-shifting tracks for time-alignment of blended tracks.
By Michael Schulze and Lorenz Rychner
Presents different tonal combinations from blending mics: Audix D6,  Sennheiser e604, Electro-Voice RE320, with time alignment as shown in Part 3. Also introduced into the mix: Signals from DI boxes. Demonstrates reamping techniques, with a vintage 1969 Ampeg B15 Portaflex amp and a Radial ProRMP...
Blending and time-aligning mic combinations. DI signals, reamping with a vintage 1969 Ampeg B15 Portaflex amp.
By Michael Schulze and Lorenz Rychner

Garritan Abby Road Studios - CFX Concert Grand Virtual Piano

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