MRT:CSW

As of current, the blog is now located at http://mrtcsw002.wordpress.com/

ProSoundWeb:

Record Great-Sounding Drums Using Only Four Tracks

April 09, 2009, by Ward Lionel Kremer

Page Through Article

Full Article

Tonight from 6-8:30 AES hosted a drum miking session presented by Michael Washkevich

The night started off with the idea of double miking.  Be careful of phasing issues.  It is best to reverse the phase of the bottom mic when using top and bottom miking techniques.

Most of the mics used I have either seen, heard, or used at one point while mixing or tracking drums but he brought some new mics into the mix.  See my preferences page for more miking options.

Bass Drum Techniques:

• internal large diaphragm dynamic and external large diaphragm condenser
• internal large diaphragm dynamic and external speaker wired backwards into a mic preamp
  • just as i posted on a previous post a Yamaha NS-10 speaker is commonly used
  • Mike recommended and demoed the Yamaha Subkick:

  

• dual element microphones
  • these microphones consist of a dynamic mic for lower mid range and a condenser for added attack in one microphone.  the mic has two outputs for each mic and mix fairly well
• dual external mics (one on the batter head and the other on the resonant head)
• stereo (x/y, M/S)
• bass “tunnel”
• mic preferences:
  • Dynamic: Shure Beta 52, Audix D6, EV RE20, Sennheiser MD421, AKG D112, EV 868
  • Dual Element: Audio Technica AE2500, ATM250DE

Snare Drum Techniques:

Toms:

Drum Overhead Techniques:

Leakage:

Post Production:

Some of the equipment used:

• Pearl Rack Kit
• Yamaha Subkick
• Shure SM57
• Shure Beta 52
• Neumann U87
• Royer SF1
• Sennheiser 421

Overall a very informative, interesting, and detailed perspective in drum miking.  Let us with many great ideas and how to improve the sound of drums in the overall mix.

I’ll continue this post as soon as I find some free time…

Devlin DVE-150WN Speedking Series:

VOX: Valvetronics AD50VT:

Yo guys, I remember one of the publishers at the Music Industry Conference mentioning “LinkedIn” being a way of keeping in touch with people and making connections.  It’s fairly easy to set up, it’s free, and they also offer an application to embed your WordPress blogs into your profile.  Check it out!

Check out the bookshelf provided by FOH and PLSN of popular sound engineering handbooks and techniques under my resources links:

Some of my favorite include:

• http://fancinematoday.com/moderator/
  

Another great book:

“By today, complete a detailed post on your blog about your thoughts on your choice of major. Any questions? Concerns? Anything in the class that opened your eyes? Turned you off? Anything that’s on your mind is fair game for this post–it’s your thinking, after all. Be honest.” Dr. Hill

Hmmmmm…. my thoughts on my major huh?

Haven’t changed my mind.

As the fall semester comes to a close, I’ve been extremely happy with my choice in major.  I’m glad to have chosen and have the opportunity to attend Lebanon Valley College to pursue such a career.  I was unsure at first, at how musically oriented the program was, but I’m now appreciative to have the opportunity to learn both the musical and technical side of the field.

At first, I was curious whether we did any live sound production, but after joining AES, things are looking up.  I prefer live sound engineering but I’m glad to see that LVC well rounds their students with live and recording sound, sound and physics fundamentals, and fundamentals of music.

I’m also glad to see how many of our alumni out of LVC have been successful in the career.  I’m looking forward to internships and observing more studio work during the spring semester.

So after MRT 177, the studio observations, participating in AES, and attending the Music Industry Conference, I can’t wait until sophomore year to dig into the recording classes and studio work!

On the other hand I should probably put forth more work into english and class piano.  I enjoy class voice, and should even be putting more effort into my main instrument, guitar.  I’m surprised at how aural theory is finally clicking!  Not sure whether I made a good decision to take baritone sax lessons in addition to guitar next semester but we shall see.  Can’t hurt.

Overall, I’m excited to see what my career path and LVC have in store for me.

http://lvcmic.com/

Not only did attending the Music Industry Conference this Saturday confirmed my career path but also opened up my mind and gave me new perspectives in this business. Throughout the day a reoccurring theme was “SELL YOURSELF!”

The first panel I attended was “Independent Recording Engineers.” The panelists included Mike Newman, Brad Ziabelski, Tom Volpicelli, and Joe Trojcak. After being asked what software and platform they preferred, Mike Newman was quick to respond with Protools and Mac. Brad Zabelski, owner of Traveling Tracks specialized in mastering, replied with DP-5 and his Macbook. With a more open mind Volpicelli, president and engineer of The Mastering House, responded with Protools on both platforms. Trojcak, owner of Progressive Studios, agreed with using both platforms but with software such as Digital Performer and Sony Soundforge. All of the panelists made comments in agreement that the ear must be developed. “Nothing matters if you don’t know what to listen for and what you should be hearing.” Tips given include but are not limited to, listening to all types of music, becoming familiar with EQ, compression, and frequency, and trying Dave Moulton’s Golden Ears ear training.

They all were asked how they determine which gear to buy without the opportunity to try it before hand. Although controversy occurred between the panelists, they seemed to settle with starting the source with good equipment. Newman argues, “The magic happens in front of the mic.” He also stated, “Use analogue gear when possible to get a full sound from the start.” This caused much dispute but settlement was found on trying gear until you find you like it. Trojcak brought up, “Rent gear, don’t let it be a crutch on your projects, and buy your own gear after trying.” Get to use gear through internships and employers that provide it until you find systems and setups you like. “Pick up recording gear and practice, practice, practice.”

Not only is equipment and training important but involvement and relationships are important to get a head start on. Most work in this field come from the same people/employers so get to know them. It was recommended to get involved in AES, LinkedIN, make connections, and “never burn bridges.” Even interning without pay, with the right people, is worth it in long run. Get out there, get to know people, but most importantly make relationships. Along those lines, broaden your horizons. Make sure you are well rounded and diverse. For example, learn how to work lighting, sound, and anything needed.

In this career the willingness to travel is an option but it is still possible to stay stationary. Volpicelli stated, “ It is possible to have a family, but not a life.” Be willing to make your life your work and enjoy it. Choose something you enjoy and enjoy your life.

The second panel I listened to was “Music Publishing.” As discussed in class the different types of licensing were explained and how the money is dispersed. They did not go into detail with copywright issues because that is a battle within itself. Paula Savastano, publisher with Spirit Music Group, argues that CD’s are still such a popular form of audio along with digital downloading. Illegal downloading is really hurting publishers and the bands producing the music.

When approaching a publisher the relationship is what is important and is not a good idea to shove your music in their face. How do they get your music? After establishing a relationship at events such as conferences, it is important to keep up with them and show them you care. Then later on, your music might come up in conversation and they will most likely ask for a copy to listen to. Relationships are extremely important in this business.

After lunch I was interested in hearing what the professionals had to say about “Independent Record Labels.” The panelists on this panel included but are not limited to Harry Dean, DJ Q-Ball and vocalist of the Bloodhound Gang, and Martin Atkins, owner of Invisible Records. Martin Atkins has been, for 20 years, the owner and creator of his own record label, Invisible Records. He also is a successful drummer playing with bands such as Nine Inch Nails. He is the author of Tour:Smart, a great book explaining the business and how to be successful. He states, “Marketing music is in a sense shooting a dolphin in the waves.”  He used this metaphor in a way to explain that not only must one aim for digital formats and sales but also the sale of CDs, vinyls, and/or merchandise.

The fourth panel I attended was “State of the Industry.” Vinny took charge of interviewing Russ Diamond, Emily Kalda, Paula Savastano, and Crazy John Harris. Russ Diamond, the owner of Raintree Productions, is specialized in CD duplication for independent musicians and record labels. He started off with slow success for years but stuck with it to this day where he enjoys his career. There is no extreme pay in his field but he finds his enjoyment in helping bands being successful with duplication and setting up business plans. “Have a business plan.” Russ said he was working with a band with great music for a good year for their CD release but they neglected to work out the album artwork and other important fan based goals.

Emily Kalda, alumni of LVC, is service planner and project manager for Helio, Rhapsody, and Real Networks. Her business offers services such as ringtones, ringbacks, and music on demand. They have opened a Canadian insdustry portal where band can upload their music.

As mentioned earlier Paula Savastano is a publisher for Spiritual Music Group. She started off early in Broadcast Music Inc. (BMI) which led to her success today. She discussed file sharing problems and stated, “Copywright all of you music, even collections.” She mentioned in addition to one of Emily’s comments that they are soon passing a law the allows publishers with bands to receive profit off of ringtones and ringbacks. Along those lines, the video game field with their synchronization licenses are still pulling in a good bit a profit for the publishers and the composers.

Crazy John Harris, owner and writer of Ragazine, is an online radio DJ. He is out to help and lend a helping hand to up and coming bands. He states, “He will broadcast any music sent to him.” He mentions how popular social networking is growing in a way to expose your music and make relationships with people. He also stated, “There is still a need for both social networking and physical product such and CD’s, vinyls, shirts, and other types of merch.” “Have multiple t-shirt designs for sale!” One of the most important lines mentioned was, “Sell yourself, not just your music.” This was a theme shown through the majority of the panelists. “Have a good resume!”

All four of them agreed that it is important to have a solid resume and then have the ability to alter and perfect it for each employer. Paula stated, “Make sure to know what the employer needs and what you have to offer them. They might not even know what they need until you show them. Also be sure to know the questions they will ask you in the interview.”

Paula ended the conference with her comment stating, “Make sure to not only think outside the box, but have the ability to think inside the box when needed.

Among the many things, I learned I need to “sell myself” no matter which aspect of the industry I’m in. I also was at ease the possibilities, job opportunities available, and the future of being able to have a family. It was nice to get the perspectives of professionals and what steps they took to make it to where they are. I need to make more relationships and never burn any of my bridges.

posters property of http://lvcmic.com/

Tonight from 9-10, I observed Shannon Steifeneder work on her mastering assignment in studio C. Using software such as Protools HD and McDSP plugins, she was given the task to master one audio track to have the sound characteristics of another given reference audio file. Plugins used include but are not limited to EQ, dynamics, compression/limiting, reverb, ozone, and revolver (type of reverb).

While EQing, I noticed she turned the gain up a good bit in a frequency area, almost as if it were being soloed out, and then picked the frequency she wanted and the cue and then set her gain back down to a reasonable level. The cue narrows and widens the bandwidth of the frequency and gain response curve within the frequency section. For example, she was going for a narrower objective at one point to bring out the punch of the snare.

When working with reverb, the options in the specific plugin included reverb in, out, the overall mix, algorithm (type such as hall), room size, diffusion, decay, pre delay, hf cut, and low pass filter.

I couldn’t help but notice that the original track overall sounded better than the reference track, but the assignment consisted of simulating what the artist wants and not what you as the engineer wants. To do this, Shannon boosted the bass, kick, snare, and around 1K range. Her assignment last week had to deal with hip hop and the lower frequencies were boosted as it plays a big role in the artists liking in that genre.

We also talked about how it would be beneficial to be able to pick out frequencies by ear to ease the process. The mastering class is working on ear training and being able to pick out such boosts and drops in frequencies. I’ve personally found this product, “Golden Ears,” by Dave Moulton to be very useful: http://www.moultonlabs.com/full/product01

Finally got myself a pair of Sony MDR-7506 Professional Studio Headphones

I knew this day would come!