Feeling weary, in and out of the studio? Limiting stressors and establishing healthy habits can keep your body in tune and help you beat fatigue.
If you're reading this, odds are you're not part of the 8-5-workday world. Quite likely, you put in at least the occasional 12- or...
","url":"/tutorials/58/studio-fatigue","authorName":"Liz Brown","authorSlug":null,"contributors":[{"id":"71dc22cc-f6e1-4f23-a515-0e8053adbe18","name":"Liz Brown","role":"author","firstName":"Liz","lastName":"Brown"},{"id":"b1bb6565-02e8-4b02-9c6a-06b7ee35a4ca","name":"Sarah Murphy","role":"author","firstName":"Sarah","lastName":"Murphy"}],"viewCount":23718,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"d24f5d41-cd59-4dd8-9705-4d4da3b2019a","title":"Key Listening","slug":"key-listening","subtitle":"The Key to Using Key Listen","issueNumber":54,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Anyone using a DAW for audio probably has a plug-in that features a \"key input\" section. Unfortunately, very few people bother to find out what this option does or how it can make your recordings better. This needs to change. The two most common devices that use a \"key input\" or a \"key listen\" are gates and compressors. This idea isn't new to audio. Hardware recording gear has been using keys for a long time. Sometimes it's called a side- chain. Basically, a \"key\" is a feature on a device that allows the user to control the specific frequency range used to trigger an effect.","type":"text"}]},{"type":"paragraph","content":[{"text":"In the simplest form, a key is set by the actual track that the effect is affecting. For example, say you wanted to gate a snare track. (For the uninitiated, a gate is a device that mutes a track unless a particular threshold, level or frequency is encountered.) Say you have a snare drum track that has a lot of hi-hat bleed, and despite your best attempts at mic positioning, your Ringo beats the snot out of his hats. The weird and phase-y, hi-end slush that bleeds into the snare track is causing havoc on your mix. What can you do? One option is to set up a gate that mutes the track unless the snare is hit. You could try pre-sets, but those were written by people who have never heard the recording you're working on! How do they know what your client's snare sounds like?","type":"text"}]},{"type":"paragraph","content":[{"text":"Instead, you can adjust the key frequency to define a specific frequency range to trigger the gate to close. A common production technique is to use the key controls to filter a drum track so that only specific high frequencies (a hi-hat, for example) trigger the gate to close. (A word of caution: Some key filters tell the gate when to close, and some tell the gate when to open. Make sure to experiment or read the owner's manual).","type":"text"}]},{"type":"paragraph","content":[{"text":"Once you've mastered basic gating, you're ready to move on to some more advanced applications. Instead of using the source track as your key, look across the mixer to another channel. A standard example would be to use the kick drum track to trigger the gate on a bass guitar track. Another common situation is when you have an instrument that plays the entire track, but masks a solo instrument here and there. For instance, say you have a nylon guitar part that gates a flute pad (a very common pair of instruments among Tape Op readers). The flute pad is allowed to play until the nylon guitar comes in. Then, the gate clamps on the flute, allowing the nylon lead to take center stage. When the nylon's last note decays the flute gate reopens, bringing that instrument back into the mix.","type":"text"}]},{"type":"paragraph","content":[{"text":"Compressors that use side-chains are using a key input, too. Two common examples are de-essing and ducking. With de- essing, you connect an equalizer to the compressor's side-chain key. Now, instead of the compressor using the entire signal to feed it's internal threshold, the equalizer filters what the compressor \"sees.\" Thus, filtering out all the frequencies above and below a sibilant range (say around 8 kHz for men) will make the compressor ignore all of the other levels and frequencies unless they are in the 8 k region.","type":"text"}]},{"type":"paragraph","content":[{"text":"Ducking is often used for commercial work. For example, if you're watching a car commercial, the music will play as the vehicle comes on screen. As soon as the announcer starts to speak, the music level seems to \"duck\" down below her vocal level. One way to do this is to set a compressor on the music track that is keyed by a side-chain listening to the voice over track. (So, unlike gates which mute the audio, a compressor side-chain can lower the volume.) When the announcer is finished, the music level raises up again.","type":"text"}]},{"type":"paragraph","content":[{"text":"The best way to understand keys and side-chains are to set some up in real life. Here is a generic how-to list:","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","content":[{"text":"1. First, enable the side-chain input on your hardware or plug-in. (On hardware, this is usually done by plugging in a device to the side-chain, but there may be a hardware switch, too.) Select the input, bus or track that you want to use as your input source.","type":"text"}]},{"type":"paragraph","content":[{"text":"2. Set your Key to Side-Chain or Key (whatever is not auto).","type":"text"}]},{"type":"paragraph","content":[{"text":"3. Most plug-ins will have a \"key listen\" button that will allow you to hear only the side-chain or key that will be used to trigger the gate or compressor. Enable that feature and tune accordingly.","type":"text"}]},{"type":"paragraph","content":[{"text":"4. Use the frequency selection controls of the plug-in or equalizer to narrow the selection to the area you wish to be the \"cause\" of the gate or compression.","type":"text"}]},{"type":"paragraph","content":[{"text":"5. Playback the audio. This time, listen to the whole signal. Check to make sure the effect is being triggered at the right time, by the right frequency.","type":"text"}]},{"type":"paragraph","content":[{"text":"6. Adjust the threshold, release, or other parameters to achieve a smooth sound.","type":"text"}]},{"type":"paragraph","content":[{"text":"(Unless you want a different effect.) There it goes. Now get out there and stop using pre-sets to do your dirty work!","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"d24f5d41-cd59-4dd8-9705-4d4da3b2019a-primaryImage","url":"https://images.tapeop.com/9713e8b3-0805-48fe-a4e0-81d5915d017e","alt":null,"caption":null,"width":1347,"height":1386,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2006-07-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/9713e8b3-0805-48fe-a4e0-81d5915d017e","excerpt":"Anyone using a DAW for audio probably has a plug-in that features a "key input" section. Unfortunately, very few people bother to find out what this option does or how it can make your recordings better. This needs to change. The two most common devices that use a "key...
","url":"/tutorials/54/key-listening","authorName":"Garrett Haines","authorSlug":null,"contributors":[{"id":"6632fe41-706e-4df1-b3ee-d99f57ee6ee1","name":"Garrett Haines","role":"author","firstName":"Garrett","lastName":"Haines"}],"viewCount":21333,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"0f920a5d-8f3c-4c7c-997c-0efb5edcba04","title":"Analog Summing","slug":"analog-summing","subtitle":null,"issueNumber":49,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Recently, we've seen an influx of analog summing mixers on the pro audio scene. Products like the Dangerous Music 2-BUS, Chandler Limited Mini Rack Mixer, Audient Sumo, and Folcrom RMS216 are examples of this emerging market. These mixers are designed to complement your favorite digital audio workstation (DAW), allowing you to reap the benefits of working in both the digital and analog worlds. The algorithms and equations that govern the process of digital summing are tricky and require dithering, rounding off and other possible compromises. Analog summing requires none of these adjustments. It is also a great opportunity to add some common character, or sonic glue, to your tracks. Whether this degradation is real or just perceived doesn't really matter. The truth is, when you sum your tracks through a high quality mixer or analog summing box like the ones mentioned above, your mixes will sound noticeably different. Like many choices in audio, it can't be stated concretely that analog summing improves the sound. It is simply another tool that can help you build the mixes you hear in your mind.","type":"text"}]},{"type":"paragraph","content":[{"text":"I developed a simple setup technique using my DAW, Pro Tools HD, and analog summing while working on the last record I produced (Aidan Hawken, Pillows and Records). Some years ago, before these other products were introduced, I bought two 10x2 Neve mixers manufactured by Brent Averill (brentaverill.com). They only have volume and pan on each channel, and are linkable. This simplicity as well as the quality of the signal path makes them perfect for use with a DAW as an analog summer. When mix time came around, I had all these sessions whose track counts were anywhere between 16 and 60. With only 20 analog mix channels (most summers come with 16), I needed to do some initial summing within the machine and then output those sums into the mixer. Many engineers utilize a multi- stage summing process when mixing on an analog mixing desk or within a computer. This article describes a setup that is based on these concepts.","type":"text"}]},{"type":"paragraph","content":[{"text":"The method I developed keeps things as simple and repeatable as possible. The setup features two important benefits: First of all, it allows you to switch back and forth between your 'in the box' mix and your analog mix to easily highlight the difference in sound while also making sure nothing funny is happening. Once you leave the purely digital world, you have to watch out for bad patch cables, out-of-phase wiring and other interferences. Secondly, it creates an analog mix that is 100 percent recallable without the need for a half-million dollar SSL or Neve console. The key is that you can use your DAW for automation, levels, panning and plug-ins and then do the final summing in the analog domain. In order to use this method you will need an interface with multiple outputs, a mixer, and a monitoring matrix such as the Dangerous Monitor, PreSonus Central Station, Grace m904 or the Mackie Big Knob. My setup has 16 outputs via a Digidesign 192, the Neve 20-channel mixer mentioned above, and a Coleman M3 for monitoring. First, patch DAW outputs 1 and 2 into the monitoring matrix input A. This is probably your normal 'in the box' mixing connection anyway. Then, patch DAW outputs 3-16 into your mixer's first 14 inputs. Pan all channels into stereo pairs except for the last two (13 and 14). We will use these for mono lead vocals and mono bass. Leave all track volumes at unity. Patch the mix output of your analog summer into input B of your monitoring matrix.","type":"text"}]},{"type":"paragraph","content":[{"text":"Within the session, go to I/O setup and click on the bus tab. Pick and rename seven stereo busses — I start at 20 which leaves me the first 20 busses for FX, headphones and whatever else I may need. Renaming the busses makes it easier to keep track of where you'll be sending each track when the time comes to assign each one for output. Depending on what your session looks like, you could name your busses as follows:","type":"text"}]},{"type":"paragraph","content":[{"text":"Once you've renamed your busses, create six stereo aux tracks and two mono aux tracks. Name these to match your busses and set their input to look at the corresponding bus of the same name. (See Figure 1.)","type":"text"}]},{"type":"paragraph","content":[{"text":"Next, set the bus outputs to send to your interface outputs starting at output 3. We want to leave 1 and 2 for our digital mix. So Drums are output 3 and 4, Keys are output 5 and 6, etc. Lead Vox and Bass should end up on outputs 15 and 16, respectively.","type":"text"}]},{"type":"paragraph","content":[{"text":"Next, you'll be creating a series of master faders so that you can control the level being sent to your interface output. In addition to creating a master fader for outputs 1 and 2, which will be the master output of your digital mix, you're going to create a master fader for each of the individual buss outputs. Name these master faders in the same way you named the busses (and aux tracks) but add an \"M\" on the front of each name to easily distinguish them from your buss track names. For example, Mdrums for drums, Mbass for bass, etc.","type":"text"}]},{"type":"paragraph","content":[{"text":"The next big step is to reroute all your individual audio and FX tracks to the appropriate bus for summing. Go through your session and assign the master output of each track to its corresponding bus. For example, all your drums will be outputting to the \"drums\" bus, and all your guitars will be outputting to the \"guitars\" buss, instead of outputting to the master 1 and 2 stereo outputs.","type":"text"}]},{"type":"paragraph","content":[{"text":"Once you have reassigned the outputs of each of your individual tracks, no audio tracks or effects tracks should be going directly to an interface output. They should all be routed to a bus within your session. These busses, in turn, are coming up on collective aux tracks. The aux tracks themselves are then sending their audio to an interface output, and the master faders for each aux channel are governing the overall level sent by each aux track to the output.","type":"text"}]},{"type":"paragraph","content":[{"text":"The last step is to mult the outputs of your aux tracks so their audio is sent to both their unique interface outputs and interface outputs 1 and 2. In Pro Tools, this is done by holding down the ctrl key while selecting an output. You'll see a '+' appear next to the output, signifying that it is routed to multiple outputs. So Drums will be going to outputs 3 and 4 and 1 and 2, keys will be going to outputs 5 and 6 and 1 and 2, and so on. Lead vocals will be going to mono output 15 and stereo output 1 and 2. Bass will be going to mono output 16 and stereo output 1 and 2.","type":"text"}]},{"type":"paragraph","content":[{"text":"Multing the outputs of each aux master fader will allow you to easily A/B the two different mixes that you have set up. One mix, let's call it Mix A, will be the mix going to output 1 and 2 and will correspond solely with your digital only mix. The other mix, Mix B, will allow you to hear your mix when the summing is happening in the analog realm. When you select monitor matrix A, you hear your DAW mix A and when you select monitor matrix B you will hear your analog mix. With a little calibration to ensure equal levels, the click of a button now allows you to A/B your two mixes, hearing the difference in sound and making sure nothing is getting lost somewhere. This ability to hear the difference between digital and analog summing is really the greatest benefit of the above technique because it allows you to make an informed decision about what your preference may be.","type":"text"}]},{"type":"paragraph","content":[{"text":"Once you've made your decision and are happy with the sound of the mix, patch the mixer outputs to your favorite 2-track tape deck, Masterlink or right back into your DAW. Happy analog mixing!","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"0f920a5d-8f3c-4c7c-997c-0efb5edcba04-primaryImage","url":"https://images.tapeop.com/d8f2eb61-979e-4608-97db-816f81c6ae2a","alt":null,"caption":null,"width":1900,"height":184,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2005-09-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/d8f2eb61-979e-4608-97db-816f81c6ae2a","excerpt":"Recently, we've seen an influx of analog summing mixers on the pro audio scene. Products like the Dangerous Music 2-BUS, Chandler Limited Mini Rack Mixer, Audient Sumo, and Folcrom RMS216 are examples of this emerging market. These mixers are designed to complement your favorite...
","url":"/tutorials/49/analog-summing","authorName":"J.J. Wiesler","authorSlug":null,"contributors":[{"id":"0294f8ef-364a-4def-8122-400c1664c875","name":"J.J. Wiesler","role":"author","firstName":"J.J.","lastName":"Wiesler"}],"viewCount":44263,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"27577951-1379-4217-8609-290a5d096a9c","title":"Spring Reverb","slug":"spring-reverb","subtitle":null,"issueNumber":49,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Plate reverbs, with their large tensioned metal plate and transducers, were one of the first electronic ambience simulators used in the recording studio. A variation on the plate reverb concept is the spring reverb, using metal springs instead of a metal sheet. An advantage of this design is the smaller size of the device. In fact, spring reverbs are compact enough to be used in guitar amps — anyone who has jarred one of these amps will recognize the metallic \"kerrang\" of the springs striking the sides of the chamber. Aside from an inherent metallic sound, spring reverbs impart a sort of \"bounce\" to the signal. Percussive sounds (congas, guitar finger picking, etc.) cause vibrations to bounce back and forth along the spring. Depending on the intensity of the input, this can be very pleasing. To help control input levels some vendors use limiters on the feeds, while other designs put more control in the end user's hands by way of a variable input buffer. The ability to attenuate the input signal is very a very useful tool for moderating the amount of \"boing\" in the sound, and in some ways, serves as a wet/dry control.","type":"text"}]},{"type":"paragraph","content":[{"text":"Like a plate reverb, a good deal of thought must go into the spring reverb's initial design. A main consideration is the size of the metal enclosure, which is sometimes called a \"pan.\" In theory, the longer the pan, the smoother the decay of the reverb. In truth, the length of the pan provides a different reverb sound, not necessarily a better one. Both have their place.","type":"text"}]},{"type":"paragraph","content":[{"text":"Using a spring reverb in stereo is also possible. Instead of single spring, the unit has a pair — one for left and one for right — each fed by its own transducer. You might be thinking — won't that just be a louder mono reverb? Well, it would. That's why the composition of the springs must be varied — usually it's done by wire gauge. The differences of the springs contribute to the stereo image.","type":"text"}]},{"type":"paragraph","content":[{"text":"Spring reverbs offer a sound that differs from other reverb types. Instead of the initial reflection-attack produced by most reverbs, a spring unit has a gradual swell. They are particularly suited for guitars instruments with percussive qualities. However, there are some drawbacks. First, spring reverbs can be noisy. Most generate some sort of hum, making them problematic to use in a studio session. (This is usually interference from a nearby transformer, which, in the case of guitar amps, are hard to avoid). Moreover, the springs and tank are susceptible to external vibrations, and can be driven to feedback by loud objects. Nonetheless, spring units provide another interesting color in the reverb palette, and should not be overlooked.","type":"text"}]},{"type":"paragraph","content":[{"text":"Older units that can commonly be found include spring reverbs by Orban, Master Room, Furman, AKG (some of the best ones) and Biamp. Current production model spring reverbs include the Real Reverb by Demeter Amplification (www.demeteramps.com), the Vermona RetroVerb by HDB Electronics in Germany and the PAIA Hot Springs Reverb kit (designed by Craig Anderton). There's also a great article on the history of spring reverbs (Hammond organs and Bell Labs!) at the Accutronics (makers of much of the world's reverb tanks) site (www.accutronicsreverb.com).","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"27577951-1379-4217-8609-290a5d096a9c-primaryImage","url":"https://images.tapeop.com/1cd23390-7615-4a07-b878-b8b39f27ad1e","alt":null,"caption":null,"width":1052,"height":1820,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2005-09-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/1cd23390-7615-4a07-b878-b8b39f27ad1e","excerpt":"Plate reverbs, with their large tensioned metal plate and transducers, were one of the first electronic ambience simulators used in the recording studio. A variation on the plate reverb concept is the spring reverb, using metal springs instead of a metal sheet. An advantage of this...
","url":"/tutorials/49/spring-reverb","authorName":"Garrett Haines","authorSlug":null,"contributors":[{"id":"6632fe41-706e-4df1-b3ee-d99f57ee6ee1","name":"Garrett Haines","role":"author","firstName":"Garrett","lastName":"Haines"}],"viewCount":16980,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"eec38b25-472e-4101-9554-e24e5929a1cc","title":"Dummy Head Mic","slug":"dummy-head-mic","subtitle":"Making a Binaural Dummy Head Microphone","issueNumber":47,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Dummy-head microphones — the idea behind them is as simple as their name implies.","type":"text","marks":[{"type":"bold"}]},{"text":" Construct a mannequin imitation of a human head with a microphone inserted into each of its ears. This imitation should then mimic the physical properties and paths that a sound follows to our eardrums, with the left and right microphone diaphragms acting as eardrums.","type":"text"}]},{"type":"paragraph","content":[{"text":"The goal here is to imitate our natural hearing system, particularly the way our ears collect the spatial characteristics of any sound and its surrounding environment. The directional cues result from the variations in reflection patterns occurring at the outer ear. Those reflection patterns cause different comb- filtering effects, giving a unique signature frequency response for each direction of sound.","type":"text"}]},{"type":"paragraph","content":[{"text":"A dummy-head microphone is a two-channel system where the pair of recorded signals is meant to be reproduced independently to each ear, hence the term binaural. It's been called many names: artificial-head, binaural-head, dummy-head, head-and-torso-simulator (HATS), and (adopting the German term) kunstkopf microphone. A variation on this idea would have the recordist place small microphones into their own ears to capture the sound from their own unique perspective. Sennheiser used to make a model, the MKE-2002, that had the microphones mounted on a type of doctor's stethoscope and Soundman makes the OKMI and II in- ear microphones.","type":"text"}]},{"type":"paragraph","content":[{"text":"Some binaural-head microphones were developed for purposes other than music recording, such as medical, psychological, space and aeronautical acoustics research. A lot of engineers dismiss the idea of using these microphones for music because they are aware of the problems in playing back binaural signals through loudspeakers (more on that later), but many are realizing the special dimension a dummy-head recording can add to a more traditionally recorded mix. Tchad Blake is one notable user of binaural-head mics (see Tape Op ","type":"text"},{"text":"#16","type":"text","marks":[{"type":"link","attrs":{"rel":"noopener noreferrer nofollow","href":"/interviews/16/tchad-blake/","target":"_blank"}}]},{"text":").","type":"text"}]},{"type":"paragraph","content":[{"text":"The initial reason I set out to explore binaural recording was for my own research on its possibilities for surround-sound. Binaural-head mics don't come cheap; the most expensive of the available models can cost around $8,000. I set off trying to assemble my own from various parts and sources, not only to save a bunch of money, but to have the best quality mics as the transducers within the head. I'd heard about others making binaural-head mics, but they all used miniature lavalier type mics, which aren't as good as regular microphones as they typically suffer from erratic frequency responses and low signal-to-noise ratios. And, by investing in a matched pair of studio-quality microphones, I could have the extra advantage of using them as regular recording mics separately from the dummy-head.","type":"text"}]},{"type":"paragraph","content":[{"text":"The three main components of a dummy-head mic are:","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","content":[{"text":"- a life-size replica of a head","type":"text"}]},{"type":"paragraph","content":[{"text":"- a pair of life-like ear replicas (called \"pinnae\", or \"pinna\" for one)","type":"text"}]},{"type":"paragraph","content":[{"text":"- a matched pair of omnidirectional mics","type":"text"}]},{"type":"paragraph","content":[{"text":"For the head, I sought to find a mannequin, preferably a bald one (as one with hair can be creepy for some). You might know someone who works in a clothing store that has access to a reasonable one. I chose to call upon a local shop that specialized in creating mannequins of various types for stores. It was called \"The Mannequin Shop\". Run by two brothers, it was located in the borough of Saint-Lambert just outside of Montreal. One of the brothers walked me through their mess of a workshop strewn with mannequin bodies of all sorts, looking a bit like the recalled \"butcher baby\" Beatles LP cover. We found one that seemed perfect. It only had to be separated from its body below the shoulders. Most commercially available dummy-head mics don't have the shoulders included, but I believe that the effect of the shoulder reflections is significant enough to include them because of the way the sound is also modified by the upper body. This chosen one (dubbed \"Henry\" or \"Hank\") was cast in hard plastic and had near enough dimensions to an average adult head with about a 7-inch width along the axis between the ears. The facial contours were somewhat smoothed out — that is, there was not too much detail — it was more an abstraction of facial features which would better translate as an averaged-out frequency-response. Uniquely detailed features (like a large nose or protruding cheekbones) might bias the frequency response too much in a particular way.","type":"text"}]},{"type":"paragraph","content":[{"text":"From there, I needed to hollow out the mannequin head enough so that I could insert the microphone bodies through it. The left-ear mic would pass in through the right side, and vice versa for the right ear mic. It was a pretty messy job to drill and gouge through the head like that. I mention this because it's important to thoroughly clean and vacuum out all the excess tiny debris, otherwise it will find its way sticking onto the microphone diaphragms.","type":"text"}]},{"type":"paragraph","content":[{"text":"Most mannequins feature some sort of stylized ear imitations. I felt this feature shouldn't be a generalized version, but a replica of typical ears, which was as authentic as possible since it is the intricate details of the pinna curves and ridges that modify the sound input from different directions. Also, the ear is placed right at the mic diaphragm, putting it at an influential position to affect the frequency and time response just before the sound falls upon the microphone. Some audiologist researcher friends helped me find a source that supplies accurate ear replicas normally intended for medical training, hearing research and clinics. A special pair of these called \"soft plastic ears\" (item number 2317) was ordered from Dahlberg Hearing Systems (or search the internet for \"ear replicas\"). They were made of a soft, malleable rubber material simulating the texture of a real outer ear. A hole was drilled through the rear block of the ear replicas in order to fit a microphone into each. The microphone was inserted through the back until the capsule was almost flush with the ear canal entrance. This is the optimal position for the collection of sound with the directional cues of the sound kept intact. Positions deeper into the ear canal should be avoided since they cause strong resonances that are not related to the direction of sound.","type":"text"}]},{"type":"paragraph","content":[{"text":"The microphones had to be pressure-type microphones as opposed to pressure-gradient types that have directional (cardioid, hypercardioid, figure-eight, etc.) polar patterns. Pressure type mics are naturally omnidirectional and, like our eardrums, receive sound from only one side of the \"diaphragm\". It is the ear and head shape that impose the directional patterns on our otherwise basically omnidirectional ears. On the other hand, pressure-gradient type mics can also be omnidirectional (mostly found in multi-pattern dual- diaphragm mics) — but the problem with these is that the sound must not be blocked from entering the sides and rear of the capsule in order to work properly. With the microphones stuffed into the fake ears, pressure-gradient omnis wouldn't work right. The best microphone I could find to suit these needs was the Sennheiser MKH-20. They have an exceptionally high signal-to-noise ratio with a sensitivity rating of 25 mV/p (or -32 dBV) and a noise specification of 10 dBA. Other mics that could also do well here are the DPA compact series mics, and pressure omnis from Josephson, Earthworks, Schoeps, as well as the Neumann KM-series.","type":"text"}]},{"type":"paragraph","content":[{"text":"The two microphones cross paths through the middle of the head with the diaphragm front-end at the ear entrance and the back-end with its connector at a hole opening behind the ear. Here, I made mic cables with right-angle XLR connectors so that the cable would immediately drop down from behind the ear and not stick out too much as would happen had I used regular straight connectors. (You can also buy XLR cables ready- made with right-angle connectors on either end).","type":"text"}]},{"type":"paragraph","content":[{"text":"Next, there is some EQ needed. The main reason is the strong resonance buildup caused by the largest concave shape of the pinna. This resonance is typically around 2.5 kHz. It's perfectly normal, but the problem arises when you play the dummy-head signals over loudspeakers (as well as many headphone types) where the 2.5 kHz area is boosted once during recording by the dummy-head ear, then an additional time by the listener's ear on the playback end. This resonance happens globally at any angle of sound direction so reducing its level won't affect the spatial cues. Using a mid-Q dip at 2.5 kHz of around 10 dB solves what would otherwise be an ugly, overbearing midrange peak. Other less important equalizing stages that I've found help make the overall frequency response more natural sounding include a slight HF shelf boost of only 2 or 3 dB above 5 kHz, and a narrow-Q boost near 8.8 kHz of around 5 or 6 dB.","type":"text"}]},{"type":"paragraph","content":[{"text":"On the playback end, the ideal situation with binaural encoding is when each ear hears only its corresponding signal; i.e., the listener's left ear is exposed only to the left side signal. Headphones can preserve this left/right separation, but — let's face it — typical stereo images reproduced over headphones are spatially challenged with sounds that are perceived at the center of your head, at either ear or perhaps stretched in-between those imaginary positions. Binaural recordings provide most headphoned listeners with the potential to perceive an externalizing of the sound images, and also to perceive sounds from behind and overhead. So over headphones the full possibility of binaural spatial effects can be appreciated — sort of like a surprise bonus feature on a CD.","type":"text"}]},{"type":"paragraph","content":[{"text":"Loudspeaker playback can still serve dummy-head recording well, but you should be aware that playing binaural recordings over loudspeakers would cause some crosstalk to reach each ear. Any (left or right) side signal would reach the intended ear as well as bend around the listener's head and reach the opposite ear. Sounds that were encoded from above, behind and to the sides would all be localized within the area covered between the loudspeakers. But despite this limitation of its full potential over loudspeakers, dummy-head recording easily rivals any standard stereo mic technique — and in some situations, can actually produce a much more striking spatial sound.","type":"text"}]},{"type":"paragraph","content":[{"text":"Binaural mics have long been widely used in outdoor environment recording, capturing the sounds of birdsongs, trains, ocean waves, etc. They are a good choice as room mics and for picking up background ambience, where they can give more of a continuous spread of sound as compared to many stereo mic techniques that might give more distinct clusters of images. Binaural-mic recording of audience sounds and reactions during a live performance can allow the listener at home to feel more involved and enveloped in the event than a recording with regular stereo or multiple mics. You could use it to sneak in an occasional extra sound effect into your mix (e.g. a quiet whisper into one ear, or some sudden sound from behind).","type":"text"}]},{"type":"paragraph","content":[{"text":"Using a binaural mic for vocals, subtly mixed with the usual close mono mic, can give a sense of real space and depth behind the singer. In this application, you'd probably want to keep the binaural mic linked with the close vocal mic when using compression unless you want the room to appear louder every time the compressor kicks down the close mic signal level.","type":"text"}]},{"type":"paragraph","content":[{"text":"Sonic advantages aside, the mere presence of a mannequin at a recording can add an eerie or fun atmosphere, which could work for you and the artists involved.","type":"text"}]},{"type":"paragraph","content":[{"text":"Using the binaural dummy-head microphone can open up a whole new world of stereo recording and headphone listening. Have fun experimenting!","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"eec38b25-472e-4101-9554-e24e5929a1cc-primaryImage","url":"https://images.tapeop.com/9b747893-73eb-4107-9dbe-8064ecb4a3e1","alt":null,"caption":null,"width":2620,"height":1752,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2005-05-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/9b747893-73eb-4107-9dbe-8064ecb4a3e1","excerpt":"Dummy-head microphones — the idea behind them is as simple as their name implies. Construct a mannequin imitation of a human head with a microphone inserted into each of its ears. This imitation should then mimic the physical properties and paths that a sound follows to our eardrums...
","url":"/tutorials/47/dummy-head-mic","authorName":"John Klepko","authorSlug":null,"contributors":[{"id":"ebd9ba2c-7fa2-4f62-a8ae-8f040e1863c2","name":"John Klepko","role":"author","firstName":"John","lastName":"Klepko"}],"viewCount":43527,"showCoverImageIntro":true,"tiptapFooterJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"http://www.johnklepko.com/home/main.html","type":"text","marks":[{"type":"link","attrs":{"href":"http://www.johnklepko.com/home/main.html","target":"_blank"}}]}]}]},"footerEnabled":true},{"id":"1e92b0ae-6d1f-4f34-801f-b2e429fc9fa7","title":"Alesis 3630 Mod","slug":"alesis-3630-mod","subtitle":null,"issueNumber":45,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"The Alesis 3630 is a very popular, full-featured compressor. It offers up RMS and peak compression, variable knee, adjustable attack and release times, and great metering for under a hundred bucks. But although it uses the same THAT 2150A chip found in dbx compressors, it never sounded as nice as dbx units to most engineers. A few years ago, an enterprising fellow on a message board announced that he had discovered a modification for the 3630 to open up the sound. Apparently, the gate detection circuit adversely affects the sound of the compressor. By clipping two wires, he was able to remove the gate detection circuit from the 3630 and make the unit sound more like a dbx compressor. Unfortunately, I didn't save the name of the author, so he will have to remain anonymous for this article. This is one of the easiest equipment mods you can do. All you have to do is open up the unit, clip two wires, close it back up, and you're done. I modified mine using a Swiss Army Knife.","type":"text"}]},{"type":"paragraph","content":[{"text":"There are three things you have to be aware of before attempting this mod. First, this will void your warranty, so you might want to wait until it expires before doing this. Second, the gate won't work anymore after you do this. If you still want to use the gate, you might want to skip this mod. But if you use the 3630 for recording into a DAW, you might not use the gate anyway. Finally, neither Tape Op nor myself is liable for any damage you do to the unit during modification. Attempt at your own risk.","type":"text"}]},{"type":"paragraph","content":[{"text":"Still curious? Well, grab a screwdriver, needle-nose pliers and diagonal cutters and let's get started.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Remove the six screws on the top and bottom of the unit. The side panels will come off.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Alesis 3630 mod step 1","src":"https://images.tapeop.com/948a39b3-7d11-441f-8c40-3d86df87aa68","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"948a39b3-7d11-441f-8c40-3d86df87aa68"}},{"type":"paragraph","content":[{"text":"\u0019 Unscrew the six plastic nuts around the jacks on the rear panel. You might need to use the pliers or a socket wrench if they're on too tight.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Remove the U-shaped rear panel. There will be six metal washers on the other side of the jacks. Carefully remove them (or pick them up off the floor) and set them aside.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Pull the knobs off the 14 potentiometers on the front panel. You might need pliers or a screwdriver for this as well — they're stuck on pretty tight — but they'll pull right off with enough force.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Unscrew the nut around each potentiometer. Needle-nose pliers work fine for this, but be careful not to scratch the front panel.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Alesis 3630 mod step 2","src":"https://images.tapeop.com/0b947691-7de3-448f-845c-5e973387357b","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"0b947691-7de3-448f-845c-5e973387357b"}},{"type":"paragraph","content":[{"text":"\u0019 Remove all the nuts and washers and slide off the metal front panel.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Disconnect the ribbon cable on the main board (marked J5). Slide the plastic piece over the front- panel pots, leaving only the main board visible.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 You are going to cut two jumper wires. One is near the Channel A Output jack. Note that the board is upside down, so this is just left of the middle of the board, to the left of the blue Stereo Link switch. If the jacks are facing you, it's to the bottom-left of C20, parallel with the output jack (see diagram).","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Alesis 3630 mod step 3","src":"https://images.tapeop.com/35388b4b-da60-4b39-ae0e-a322dc55571e","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"35388b4b-da60-4b39-ae0e-a322dc55571e"}},{"type":"paragraph","content":[{"text":"The second jumper to cut is to the right of the blue Stereo Link switch. You'll see six horizontal jumpers in a row. With the jacks still facing you, look to the right just below the closest horizontal jumper for a vertical jumper. There's a big blank space to the right of this jumper. That's the second one you cut (see diagram).","type":"text"}]},{"type":"paragraph","content":[{"text":"(Optional) At this point, you might want to see if the compressor is still working before you put it all back together. Plug the ribbon cable from the jack board back into the main board at J5. Make sure the cable is facing the right way — it should be folded into the right orientation with the pots facing away from you. Plug the unit in and play some audio through it. You might even want to do this before cutting the second jumper to see if the audio improvement it worth losing the gate function. Make sure you don't touch any of the exposed parts to avoid damage or shocks.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Slide the plastic piece back over the jacks and re-attach the ribbon cable at J5 if you didn't do this in step 10.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Place the front panel back on. Replace the washers and nuts on the pots and tighten.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Alesis 3630 mod step 4","src":"https://images.tapeop.com/af85de2f-4175-4a05-a18e-e4206a95acd2","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"af85de2f-4175-4a05-a18e-e4206a95acd2"}},{"type":"paragraph","content":[{"text":"\u0019 Put the six metal washers back on the rear-panel jacks. Slide the rear panel back on and screw the plastic nuts over the jacks.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Put the side panels back on (it doesn't matter which one is which) and tighten the six screws on the top and bottom panels.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Press the plastic knobs back onto the pots on the front panel. The knobs have a D-shaped hole that ensures that the pointer faces the right way.","type":"text"}]},{"type":"paragraph","content":[{"text":"\u0019 Make sure the Gate Threshold is turned all the way down, with the green light coming on.","type":"text"}]},{"type":"paragraph","content":[{"text":"You're finished! Plug the unit in and play some audio through it. Don't expect the 3630 to magically turn into an LA-2A, but I noticed a more open sound and extended frequency range when I compared it to an un-modified 3630. Not bad for a $100 compressor.","type":"text"}]},{"type":"paragraph","content":[{"text":"Editor's Note: We tried this mod on our 3630 and can confirm Jeff's observations above. However at lower compressions settings we found the difference between the un-modded and modded 3630 very subtle. But when you start to really compress a signal the differences between the two are more readily heard, with the modded one sounding better. In other words, if you generally use your 3630 with just 1-3dB of gain reduction and also use the gate, you're probably not going to want to do this mod. But if you like to really stomp on things and don't care about the gate, snip away! Lastly, it would be very easy to add a simple SPST switch to the circuit (right at the snipped jumper points) so you could go back and forth between the modded and un-modded versions. This would effectively act as a switch for the gate as well.","type":"text"}]},{"type":"paragraph","content":[{"text":"Next issue we plan to review the Black Lion Audio mod for the 3630, so keep an eye out for that. Thanks to Chris Woodhouse for helping us with our 3630 mod.","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"1e92b0ae-6d1f-4f34-801f-b2e429fc9fa7-primaryImage","url":"https://images.tapeop.com/948a39b3-7d11-441f-8c40-3d86df87aa68","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2005-01-15T08:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/948a39b3-7d11-441f-8c40-3d86df87aa68","excerpt":"The Alesis 3630 is a very popular, full-featured compressor. It offers up RMS and peak compression, variable knee, adjustable attack and release times, and great metering for under a hundred bucks. But although it uses the same THAT 2150A chip found in dbx compressors, it never sounded...
","url":"/tutorials/45/alesis-3630-mod","authorName":"Jeff Laity","authorSlug":null,"contributors":[{"id":"721981c7-fb77-4ee8-a5a5-d7d65eadbe87","name":"Jeff Laity","role":"author","firstName":"Jeff","lastName":"Laity"}],"viewCount":29541,"showCoverImageIntro":false,"tiptapFooterJson":null,"footerEnabled":false},{"id":"9361eca4-f6b0-4a91-b0c7-70c31d275193","title":"Stereo Microphone Techniques","slug":"stereo-micing","subtitle":null,"issueNumber":45,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Want to pump some air and life into your recordings? Try mic'ing some instruments in stereo with two microphones. To create a stereo effect, the mics can be angled apart, spaced apart, or both. In this article we'll look at several techniques for recording in stereo. Normally, we put a single mic on an instrument, record it, and pan its track somewhere between our two monitor speakers. Then we get a sense of where each instrument is — left, center, half-right, whatever. But pan-potted mono tracks are not the same as true stereo. Stereo mic'ing captures an instrument, or an entire ensemble, with two mics. It gives a sense of depth and ambience that adds a lifelike quality to a recording. And if you record the members of an entire musical ensemble in stereo, they sound like they're in a shared space. In fact, you can set up a stereo pair of mics in a live room, and do stereo overdubs. Place each instrument you want to overdub in a different location and record it in stereo. When you mix the stereo overdubs, the mix will sound like a group of players in a single room.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Some instruments are point sources, so one mic is usually enough to record each one: saxophone, guitar amp, electric bass, lead vocal. But some instruments are larger. These instruments benefit from being recorded in stereo: a drum kit, piano, horn section, string section, Leslie organ speaker, choir or background singers, vibes, acoustic guitar, even a small jazz group or folk combo.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"But how about the electric guitar or other amplified instruments? If you use two mics to record two separate, identical guitar amps, you'll get a mono image in the center between your monitor speakers. That's because there's no difference in the signals in both channels. Instead, try running the guitar through a guitar amp (recorded on the left channel) and through a Leslie organ speaker (recorded on the right channel). You'll get a swirling, spacious effect.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Stereo Imaging","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Traditionally, stereo mic techniques are used to record classical-music ensembles and soloists, including the concert-hall acoustics. During playback of a stereo recording, you hear images of the musical instruments in various locations between your stereo speakers. Ideally, these images are in the same places, left-to-right, that the instruments were at the recording session.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Figure 1 shows three stereo localization effects. In Figure 1A, various instrument positions in an orchestra are shown: left, left-center, center, right-center, right. In Figure 1B, the reproduced images of these instruments are accurately localized between the stereo pair of speakers. The stereo spread or stage width extends from speaker to speaker. If the mics are placed improperly, you hear either a narrow-stage effect (Figure 1C) or an exaggerated-separation effect (Figure 1D).","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Fig 1 - Stereo Image","src":"https://images.tapeop.com/f0d62c39-7407-4804-a85a-0b71c3e5e542","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"f0d62c39-7407-4804-a85a-0b71c3e5e542"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"To judge these stereo localization effects, it's important to sit as far from the speakers as they are spaced apart. You should be the same distance from each speaker. Otherwise, the images will shift toward the side on which you're sitting and will become less sharp. Also, place the speakers several feet from the walls and put some foam on the wall behind them. This delays and weakens early reflections, which can degrade stereo imaging.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Here's a way to check the stereo imaging of a mic technique:","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"1. Set up the stereo mic array in front of a stage.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"2. Record yourself speaking from various locations on stage where the instruments will be — center, half- right, far right, half-left, far left. Announce your position.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"3. Play back the recording over speakers.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"4. If you hear a narrow stereo spread, angle or space the mics farther apart. If you hear exaggerated separation, angle or space the mics closer together.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Types of Stereo Microphone Techniques","type":"text","marks":[{"type":"bold"}]}]},{"type":"imageFloat","attrs":{"alt":"Fig 2 - Coincident Pair","src":"https://images.tapeop.com/a0c1fa7a-3ca3-4c50-8034-42322b812c98","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"a0c1fa7a-3ca3-4c50-8034-42322b812c98"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Four general mic techniques are used for stereo recording: coincident pair, spaced pair, near-coincident pair, and baffled-omni pair or artificial head.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Coincident Pair","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"With the coincident-pair method (XY or intensity stereo method), two directional mics are mounted with grilles nearly touching and diaphragms one above the other, angled apart to aim roughly toward the left and right sides of the ensemble or instrument (Figure 2). For example, two cardioid microphones can be mounted angled apart, their grilles one above the other. Other directional patterns can be used, too. The greater the angle between microphones, and the narrower the polar pattern, the wider the stereo spread. A typical angle is 90 to 120 degrees.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"The coincident array codes instrument positions into level differences (voltage differences) between channels. During playback, the brain decodes these level differences back into corresponding image locations. A pan pot in a mixing console works on the same principle. Listening tests have shown that coincident cardioid mics angled 90 degrees apart tend to reproduce the musical ensemble with a narrow stereo spread. That is, the reproduced ensemble does not spread all the way between speakers. A drum set mic'ed this way sounds almost mono. A coincident-pair method with excellent localization is the Blumlein array, which uses two bidirectional mics angled 90 degrees apart.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null}},{"type":"imageFloat","attrs":{"alt":"Fig 3 - Mid-Side","src":"https://images.tapeop.com/23e2f558-aa84-4aa1-b01f-db2bd3f40c88","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"23e2f558-aa84-4aa1-b01f-db2bd3f40c88"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"A special form of the coincident-pair technique is the mid-side (MS) recording method shown in Figure 3. A mic facing the middle of the sound source is summed and differenced with a bidirectional mic aiming to the sides. This produces left- and right-channel signals. With this technique, the stereo spread can be remote- controlled by varying the ratio of the mid signal to the side signal. This remote control is useful at live concerts, where you can't physically adjust the microphones during the concert. MS localization accuracy is excellent.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"A recording made with coincident techniques is mono-compatible, meaning the frequency response is the same in mono or stereo. Because of the coincident placement, there is no time or phase difference between channels to degrade the frequency response if both channels are combined to mono. If you expect your recordings to be heard in mono (say, on radio or TV), you should consider coincident methods.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Spaced Pair","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"With the spaced-pair (or A-B) technique, two identical mics are placed several feet apart, aiming straight ahead toward the musical ensemble or instrument (Figure 4). These mics can have any polar pattern. The greater the spacing between mics, the greater the stereo spread.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Instruments in the center of the ensemble produce an identical signal from each microphone. During playback of this recording, you hear an image of the center instruments midway between the stereo pair of loudspeakers. The spaced-pair array codes instrument positions into time differences between channels. These time differences create the image locations between your monitor speakers. The spaced-pair method tends to make off-center images unfocused or hard to localize. ","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Fig 4 - Spaced Pair","src":"https://images.tapeop.com/8705e20e-1ed9-4867-af3b-2c6e9ed5aa65","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"8705e20e-1ed9-4867-af3b-2c6e9ed5aa65"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"This method is useful if you prefer the sonic images to be diffuse or blended, rather than sharply focused. Also, the large time differences between channels corresponds to gross phase differences between channels. Combining both mics to mono sometimes causes phase cancellations of various frequencies, which may or may not be audible. Spaced mics are said to provide a warm sense of ambience. That's because the two channels of recorded reverberant sound have random phase relationships, which gives a diffuse or spacious effect. With the spaced-pair method, you can use omni condenser mics. This type of mic has a more extended low-frequency response than a unidirectional condenser mic and tends to have a smoother response and less off-axis coloration.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Near-Coincident Pair","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"As shown in Figure 5, the near-coincident technique uses two directional microphones angled apart, with their grilles spaced horizontally a few inches apart. Even a few inches of spacing increases the stereo spread and adds a sense of depth and airiness to the recording. The greater the angle or spacing between mics, the greater the stereo spread.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Angling directional mics produces level differences between channels; spacing mics produces time differences. The level differences and time differences combine to create the stereo effect. If the angling or spacing is too great, the result is exaggerated separation. If the angling or spacing is too small, the result is a narrow stereo spread. A specific near- coincident method is the ORTF system, which uses two cardioids angled 110 degrees apart and spaced seven inches (17 cm) apart horizontally. (ORTF stands for Office de Radiodiffusion Television Française — French Broadcasting Organization.)","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"This method tends to provide accurate localization; that is, instruments at the sides of the orchestra are reproduced at or very near the speakers, and instruments halfway to one side tend to be reproduced halfway to one side.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Baffled-Omni Pair","type":"text","marks":[{"type":"bold"}]}]},{"type":"imageFloat","attrs":{"alt":"Fig 5 - Near-Coincident","src":"https://images.tapeop.com/ff2fb45c-49e0-4d31-a9b8-494f23295fb5","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"ff2fb45c-49e0-4d31-a9b8-494f23295fb5"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"With this method, two omnidirectional mics are separated a few inches by a baffle between them. The baffle is a hard disk covered with absorbent foam (as in the Jecklin disk, Fig. 6). Or the baffle is a hard sphere with the mics flush-mounted on opposite sides (as in the Neumann, Schoeps and THE spherical mics, Fig. 7).","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Another format uses two Pressure Zone Microphones, ear-spaced on angled boundaries, with a foam baffle between the mics (as in the Crown SASS-P MKII — Fig. 8). You can even tape a couple of mini omni mics onto glasses, with each mic on either side of your head near your ears. To compensate for the acoustic effect of the head, this setup needs some EQ (a broad dip around 3 kHz). With the baffled-omni pair, the level, time, and spectral differences between channels create the stereo images. The omni condenser mics used in this method have excellent low-frequency response.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Comparing the Four Stereo Mic'ing Techniques","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"The coincident-pair technique has the following features:","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Fig 6 - Baffled Omni","src":"https://images.tapeop.com/5ae4819d-8cec-451f-a15c-0f31a7fd08f3","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"5ae4819d-8cec-451f-a15c-0f31a7fd08f3"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It uses two directional mics angled apart with grilles nearly touching, one mic's diaphragm above the other.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Level differences between channels produce the stereo effect.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Images are sharp.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Stereo spread ranges from narrow to accurate.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Signals are mono-compatible.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"The spaced-pair technique has these features:","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It uses two mics of any polar pattern spaced about two to 12 feet apart.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Fig 7 - Sphere Mic","src":"https://images.tapeop.com/815c060b-2255-4a5c-833e-fd24dfbe65de","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"815c060b-2255-4a5c-833e-fd24dfbe65de"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Time differences between channels produce the stereo effect.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Off-center images are diffuse.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"With wide spacing, the stereo spread tends to be exaggerated unless a third center mic is mixed in.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It provides a warm sense of ambience.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"The near-coincident-pair technique has these features:","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It uses two directional mics angled apart and spaced about seven to 11 inches apart.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Level and time differences between channels produce the stereo effect.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Fig 8 - SASS","src":"https://images.tapeop.com/f1245c40-a54d-45f0-9825-dac222d880e1","size":"small","float":"right","width":null,"height":null,"caption":null,"imageId":"f1245c40-a54d-45f0-9825-dac222d880e1"}},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Images are sharp.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Stereo spread tends to be accurate.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It provides a greater sense of \"air\" and depth than coincident methods.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"The baffled-omni-pair technique has these features:","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"It uses two omnidirectional mics about seven inches apart, separated by a baffle.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Level, time and spectral differences between channels produce the stereo effect.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Images are sharp.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Stereo spread tends to be accurate.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Low-frequency response is excellent.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Mounting Hardware and Matched Mics","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"A handy device is a stereo mic adapter or stereo bar. It mounts two mics on a single stand, and lets you adjust the angle and spacing between the mic pair. For sharp imaging, the microphone pair should be well matched in frequency response and polar pattern. Be sure both mics are the same model number, and match their levels when picking up a sound source in the center. Or use a stereo mic, which mounts two mic capsules in a single housing for convenience.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Each stereo mic technique has its advantages and disadvantages. Give stereo mic'ing a try, and you'll be rewarded with an enhanced sense of air and realism in your tracks.","type":"text"}]}]},"tiptapIntroJson":{"type":"doc","content":[{"type":"paragraph","attrs":{"textAlign":null}}]},"primaryImage":{"id":"9361eca4-f6b0-4a91-b0c7-70c31d275193-primaryImage","url":"https://images.tapeop.com/f0d62c39-7407-4804-a85a-0b71c3e5e542","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2005-01-15T08:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/f0d62c39-7407-4804-a85a-0b71c3e5e542","excerpt":"","url":"/tutorials/45/stereo-micing","authorName":"Bruce Bartlett","authorSlug":null,"contributors":[{"id":"a3f87df1-3486-4556-9a39-6b39030c32e8","name":"Bruce Bartlett","role":"author","firstName":"Bruce","lastName":"Bartlett"}],"viewCount":33033,"showCoverImageIntro":false,"tiptapFooterJson":null,"footerEnabled":false},{"id":"6b5d18f4-46a9-47a3-bb1f-2043db795a1d","title":"Oktava Mic Mod","slug":"oktava-mic-mod","subtitle":"Modifying Your Oktava ML52 Ribbon Mic","issueNumber":44,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Ribbon microphones are finally coming back into vogue these days after a long, unexplainable hiatus from the recording studio. The sudden proliferation of Oktava's ML52 is in no small part due to the relatively low price (they can be picked up on eBay for around $300), and their sound is, well, quite good. However, Oktava has long been notorious for poor quality control, and each mic varies fundamentally in how they sound — some are darker, some are brighter, etc. Regardless, there are some nifty modifications that can be made to improve the mic, and they're very simple and cheap to do.","type":"text"}]},{"type":"paragraph","content":[{"text":"First off, the pictures in this article of the \"MK-II\" model — MK Is are a single ribbon design, and the MK- IIs are a dual ribbon design. In the interest of space, I won't go into the benefits of one over the other, but I use both, and the same modifications make both better, so let's get started. You will need:","type":"text"}]},{"type":"paragraph","content":[{"text":"A soldering iron","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 1","src":"https://images.tapeop.com/5907a9c3-e002-4504-85c4-f555e2feb50e","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"5907a9c3-e002-4504-85c4-f555e2feb50e"}},{"type":"paragraph","content":[{"text":"Solder (is this obvious or what?)","type":"text"}]},{"type":"paragraph","content":[{"text":"A narrow-tipped flathead screwdriver","type":"text"}]},{"type":"paragraph","content":[{"text":"Hookup wire","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 2","src":"https://images.tapeop.com/a741f7ac-8176-4c9c-a3ad-98d799d90a2e","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"a741f7ac-8176-4c9c-a3ad-98d799d90a2e"}},{"type":"paragraph","content":[{"text":"A Lundahl 2911 ribbon mic transformer (available from ","type":"text"},{"text":"www.kandkaudio.com","type":"text","marks":[{"type":"link","attrs":{"rel":"noopener noreferrer nofollow","href":"http://www.kandkaudio.com/","target":"_blank"}}]},{"text":" for $58 plus shipping)","type":"text"}]},{"type":"paragraph","content":[{"text":"Wire clippers","type":"text"}]},{"type":"paragraph","content":[{"text":"Rubber cement (best) or crazy glue (in a pinch)","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 3","src":"https://images.tapeop.com/46cb123a-c0ef-47d9-867e-5d0939e9fa4c","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"46cb123a-c0ef-47d9-867e-5d0939e9fa4c"}},{"type":"paragraph","content":[{"text":"A thin gossamer fabric, about 1' square. And c'mon, no panty hose. Use some cheap see- through panties. It's gonna add vibe. (for MK-Is only)","type":"text"}]},{"type":"paragraph","content":[{"text":"Optional — Panavise (I only have two hands, so this makes things easier)","type":"text"}]},{"type":"paragraph","content":[{"text":"First things first — remove the four screws on the bottom ring of the mic.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 4","src":"https://images.tapeop.com/466ebcf8-5ead-4f5b-b2ce-a721d32672b0","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"466ebcf8-5ead-4f5b-b2ce-a721d32672b0"}},{"type":"paragraph","content":[{"text":"Gently remove the bottom ring (gently may not be an option — sometimes these things are pretty jammed on there. No disclaimers on how you get it off...) Now it looks like this: (picture 1)","type":"text"}]},{"type":"paragraph","content":[{"text":"Clip the two green leads leading to the XLR plug — but save those wire insulators -they come in handy later. (picture 2). Get your soldering iron hot and tin the tip (melt a little solder on there). ALWAYS USE SOLDER WHEN DESOLDERING. Desolder the two disconnected green wires, but leave the short one connected to the body pin alone. We'll use it later.","type":"text"}]},{"type":"paragraph","content":[{"text":"That alien boat in the middle of the cavity is the transformer you're replacing. Take out the screws, clip the leads going up into the head and take it out. Feel free to throw it away or (encouraged) open it up and look at it to get an idea of what a transformer looks like. (picture 3)","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 5","src":"https://images.tapeop.com/04bec031-9949-420e-86f4-4d33d5e16d24","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"04bec031-9949-420e-86f4-4d33d5e16d24"}},{"type":"paragraph","content":[{"text":"Now remove the four screws that hold on the grill. Be careful breathing — you're now operating close to the ribbons, and blowing too hard/sneezing will rip them. Don't sweat it — I've only done this once after working on many ribbon mics, and I wasn't even the one who sneezed.","type":"text"}]},{"type":"paragraph","content":[{"text":"Let's take a look: (picture 4) See that brass cross on both sides? Just pry it off from the sides (it's held on with cheap glue). It's supposed to a) protect the ribbon and b) provide some sort of resonant frequency. Whatever. Oktava has some weird ideas.","type":"text"}]},{"type":"paragraph","content":[{"text":"Is the head assembly jiggling a little bit? Remove the two black screws that hold it to the body, flip it over, and tighten the two gold screws underneath. (picture 5) Then re-attach it. No-brainer.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 6","src":"https://images.tapeop.com/ecb24384-5972-46aa-85c2-6f23cd7c0432","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"ecb24384-5972-46aa-85c2-6f23cd7c0432"}},{"type":"paragraph","content":[{"text":"Now, desolder the white leads by heating the connection points at the top of the head assembly. That's some cheap-ass wire and we can do better with Radio Shack.","type":"text"}]},{"type":"paragraph","content":[{"text":"Cut two 7\" lengths of new wire, strip about one- quarter inch off one end of each, and tin that. MORE SOLDERING TIPS — FRESH SOLDER SHOULD BE ON BOTH ENDS OF A CONNECTION BEFORE CONNECTING THEM. Now, remember that insulation we took off earlier?","type":"text"}]},{"type":"paragraph","content":[{"text":"Cut off a little bit and slide it over the wire. Connect both the leads and slide the insulation over it. Clean work is good work. Twist the wires together and feed them through the holes that lead down to the cavity. Things should now look like this: (picture 6)","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 7","src":"https://images.tapeop.com/589afaef-b068-4db7-b426-d643cf108551","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"589afaef-b068-4db7-b426-d643cf108551"}},{"type":"paragraph","content":[{"text":"If you're working on a MK-II, skip this step. Take that thin gossamer you bought, cut out a rectangle of fabric that will cover the inside ring of the grill and glue it on around the edges. The top dome of the grill comes off to make this easier. MK-IIs already have a fabric lining.","type":"text"}]},{"type":"paragraph","content":[{"text":"Put the grill back on. Top is done.","type":"text"}]},{"type":"paragraph","content":[{"text":"Transformer time — one side has six pins, the other has five. Orient it so the six pins are on the right. TIN EVERY PIN except the four corner ones that are close together. You'll need to strap the corner pins together on all four corners — A quick and dirty way to do this is to strip off the insulation on a piece of hookup wire, take about three strands and wrap a figure eight around the pins about four times. Once it's wrapped, then tin the whole thing. Don't try to make it a blob of solder, but if it happens, that's okay.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 8","src":"https://images.tapeop.com/7751d5ab-8499-4e0b-a0f8-25c5e0dd2d43","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"7751d5ab-8499-4e0b-a0f8-25c5e0dd2d43"}},{"type":"paragraph","content":[{"text":"You need to make an \"X\" across the corners. Cut two lengths of hookup wire and strip a bit off both ends. Connect one end to the corner \"blobs\" on the right side (the side with six pins).","type":"text"}]},{"type":"paragraph","content":[{"text":"Cut three lengths of hookup wire about three inches long, strip a little off all ends, tin them, and attach one to each of the stand-alone pins you haven't messed with yet. Use some more of that insulation you saved earlier. The whole thing should now look like this: (picture 7)","type":"text"}]},{"type":"paragraph","content":[{"text":"Okay, the rest is tricky only because it's hard to hold everything at once. Maybe get a friend to help. Basically, the wires leading down from the head assembly need to attach to the corners you haven't connected your \"X\" to yet (red wires to the white wires to the strapped corner posts in the picture). Hopefully, your wire lengths are long enough where you can just wrap them together. Just do it.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Oktava mic mod step 9","src":"https://images.tapeop.com/094ed882-03e4-4a3e-8de8-aa86969b109c","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"094ed882-03e4-4a3e-8de8-aa86969b109c"}},{"type":"paragraph","content":[{"text":"At this point, glue the transformer into the cavity. It makes things easier. Looks better, too. Looks like this: (picture 8)","type":"text"}]},{"type":"paragraph","content":[{"text":"In the picture, I used the green wires to represent + and — audio — these go to the XLR connector on the bottom pan. The black wire is ground here (purists who only use green for ground can just bugger off). I connect that to the little pin attached to the pan and leave the tiny green wire connected to the XLR ground pin alone. It's easier, that's why. (picture 9)","type":"text"}]},{"type":"paragraph","content":[{"text":"Screw the bottom pan back on. You're done! Try it out! If you're not getting signal, check all of your connections — you might have a cold solder joint. Also, you may want to flip the phase (reverse + and -), check it out by listening, and flip the XLR connection if warranted.","type":"text"}]},{"type":"paragraph","content":[{"text":"This is pretty easy stuff to do, and you can clearly hear the difference. I recorded some before and after clips and heard the highs open up, the middle range transitions smooth out, and the bass become less \"boomy\". Overall, much better. Hopefully, you'll have fun doing it, and in the end have a better microphone to add to your toolbox.","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"6b5d18f4-46a9-47a3-bb1f-2043db795a1d-primaryImage","url":"https://images.tapeop.com/5907a9c3-e002-4504-85c4-f555e2feb50e","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2004-11-15T08:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/5907a9c3-e002-4504-85c4-f555e2feb50e","excerpt":"Ribbon microphones are finally coming back into vogue these days after a long, unexplainable hiatus from the recording studio. The sudden proliferation of Oktava's ML52 is in no small part due to the relatively low price (they can be picked up on eBay for around $300), and their...
","url":"/tutorials/44/oktava-mic-mod","authorName":"Dave Fisher","authorSlug":null,"contributors":[{"id":"0b4ecc12-c314-4b4c-abb8-a76ab984a908","name":"Dave Fisher","role":"author","firstName":"Dave","lastName":"Fisher"}],"viewCount":15838,"showCoverImageIntro":false,"tiptapFooterJson":null,"footerEnabled":false},{"id":"cea46f96-1083-499d-a529-37aa93bab7ef","title":"Better Studio Guitars & Keyboards","slug":"better-studio-guitars-keyboards","subtitle":null,"issueNumber":42,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Part One: Better Guitars for the Studio","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","content":[{"text":"Why are engineers often asked to use their best gear to record a cheaply made guitar? This is the sonic equivalent of running a Formula One car on unleaded gasoline. No preamp, compressor, microphone, or amplifier will make a mediocre sounding guitar sound any better than mediocre. A good guitar makes your recorded sound more balanced and focused and allows it to cut through the mix with less actual volume. Good pickups give your sound a detailed, human voice-like quality that inspires your playing gives your music character. Although Gibson and Fender both produce great instruments, their moderately priced ($1000-$2000) instruments don't stand up to less expensive instruments produced by companies like Heritage and G&L. In this article I will introduce some better sounding and less expensive alternatives to popular Fender and Gibson electric guitar designs and touch on some of the aspects of these guitars that make them particularly suited for studio use.","type":"text"}]},{"type":"paragraph","content":[{"text":"G&L — Fender Alternatives Live recordings like Frank Zappa's Shut Up and Play Your Guitar and Buddy Guy's Stone Crazy! document how expressive and versatile the Fender Stratocaster can be. Unfortunately the Stratocaster can be a nightmare in the studio, with its out- of-tune tremolo system and brash, noisy pickups. Good Strat-style guitars are also hard to come by, with quality copies made by companies like Anderson and Suhr priced out of the reach of most musicians. Fortunately there is the G&L Legacy, an expertly crafted Stratocaster-style guitar available second hand for as little as $500. The Legacy's quiet, detailed pickups and impeccable tremolo system eliminate the typical Stratocaster studio headaches. George Fullerton and Leo Fender often said that pickups are responsible for 50 percent of a guitar's sound, and the Legacy's Alnico pickups are a sound to behold. These have a mellow, detailed tone and a very low output. In general, lower-output pickups tend to have a more detailed and complex tone, but are often misconstrued as \"weak\" in A/B tests because of their lack of volume. In comparison, many newer Fender pickups are honky, harsh, and tend to exaggerate the classic Stratocaster sounds. In fact, coveted '50s and '60s Stratocasters often had a much quieter and subtler tone that is comparable to the Legacy's. The Legacy's \"Dual Fulcrum\" tremolo system is one of the best on the market, and stays perfectly in tune when set up correctly. This means having the nut set up for your chosen string gauges — because G&Ls often ship with nines, many people put heavier gauge strings (tens or elevens) on these guitars and assume the tremolo system isn't working when the strings are simply getting stuck in the nut slots. When properly set up, this system works flawlessly and will stand up to bends as big as a minor third. The Legacy's light alder/maple construction gives it balance and focus, particularly on rhythm tracks where each note cuts through. These qualities give the Legacy a high 'perceived' volume when its actual mix volume is low. The Legacy is also perfect for the studio guitarist's constantly changing overdrive and effects setups because it retains a fundamental clarity, does not push effects or preamps too hard, and does not muddy up easily, unlike heavier, louder guitars.","type":"text"}]},{"type":"paragraph","content":[{"text":"But G&L's lasting legacy will certainly be its amazing ASAT. This unique guitar often gets pegged as a Telecaster copy because of its look, but it has a sonic character all its own. My own ASAT has a relatively large Canadian rock maple neck that is delightfully resonant, but is not uncomfortable and chunky like the baseball bats found on '70s Telecasters. It achieves a big-neck tone primarily because the maple is very high quality and is consistently dense. G&L also employs a \"Bi-Cut\" truss rod method in which they cut the neck in half lengthwise down the center of the fingerboard, insert the truss rod, and then glue the neck back together. This achieves resistance to warping and improves tone because the centrally located glue joint is actually stronger than the wood on either side. The underside of ASAT's burly bridge has a large pin that anchors it into the body and provides maximum transfer of vibrations from the strings to the body. There is also a small Allen screw at the end of the bridge that presses all the saddles together and causes them to vibrate as a unit. These innovative details make the ASAT record with an unusually powerful lead tone. The ASAT fills out a large frequency spectrum and tends to bring out the bottom end of a quality tube amplifier, giving it a broad, acoustic-like solo voice. This is an exceptional guitar often available used for less than $700.","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"Used gear","src":"https://images.tapeop.com/c8f85f1d-580d-4dde-bd70-74416789961b","size":"medium","float":"right","width":null,"height":null,"caption":null,"imageId":"c8f85f1d-580d-4dde-bd70-74416789961b"}},{"type":"paragraph","content":[{"text":"Yamaha and Heritage — Gibson Alternatives Gibson ES-335s are ideal studio guitars because of their versatility and their mellow humbucking sound. Listen to BB King's Live at the Regal, Live at Cook County Jail and Shuggie Otis' Shuggie's Boogie for examples of how these guitars can sing. Needless to say, engineers love humbuckers because they cancel external noise, but their notoriously high output levels often cause the muddy, compressed tones that make many players covet single coils. But the 335s semi-hollow design tends to tame humbuckers. As a result these guitars can achieve clearer humbucker sounds than Les Pauls and other solid- body humbucker guitars. With all these benefits, the ES- 335 design has changed very little since it was introduced in 1958. In fact, most recent Gibson 335s are fine guitars, but they cost about $700 more than they are worth simply because they bear the name Gibson.","type":"text"}]},{"type":"paragraph","content":[{"text":"Arguably the best 335-style guitar on the market is the Yamaha SA2200. This mass-produced Japanese guitar boasts an ebony fingerboard, Alnico pickups, and impeccable craftsmanship uncannily consistent with each guitar. The tone is clear and thick, and not muddy or hollow, as some 335 copies tend to be. Although these guitars retail for about $1,500, they don't hold their value and often go for half as much used. They are a great choice for their utility and quality.","type":"text"}]},{"type":"paragraph","content":[{"text":"With its visible tool marks and rustic wood grains, the rough-hewn Heritage H535 is certainly far from perfect. But these stunningly beautiful guitars are handmade with visual and sonic character. With the right pickups and setup, they sound every bit as good as a Gibson from any era, probably because they are constructed in the same Kalamazoo factory that produced the first ES-335s. With their substantial mahogany necks, these guitars have an open, singing tone when played acoustically, unlike some ES-335s that sound like muffled banjos when played without an amplifier. H535s seem to have more resonance and a tighter bass than their Gibson counterparts, possibly because of the quality of the woods or the beautiful hard quilted maple that adorns the top laminate. Heritage has also perfected the art of the Sunburst finish — their sophisticated \"almond\" and \"antique\" sunburst finishes are breathtaking. The Heritage H535 is a wonderful sounding guitar that is also a beautiful collectible, and it is available new for as low as $1200.","type":"text"}]},{"type":"paragraph","content":[{"text":"Archtops Listen to the mesmerizing sound of Jim Hall's D'Aquisto as he comps to \"My Funny Valentine\" behind Bill Evans on Undercurrent. You will never get this sound from an ES-175 or any laminated guitar, only from a painstakingly carved arch of solid spruce, mahogany, or pine, with the top directly mic'ed. Unfortunately this labor-intensive process is costly, but there are some fine solid-top archtops starting at around $2000, like the Heritage Eagle and the Hofner New President. The Eagle has a mahogany top and rosewood fingerboard making it the mellower and quieter of the two. The German-made New President boasts an ebony fingerboard, a spruce top straight from the Black Forest, jumbo frets, and a full, balanced sound. Both these guitars sound every bit as good as more expensive carved-top guitars made by Gibson, Buscarino, and D'Angelico.","type":"text"}]},{"type":"paragraph","content":[{"text":"Laminated archtops are more abundant, cheaper, sturdier, and won't feedback at moderate levels because the top doesn't resonate as easily. For these reasons a laminated guitar makes more sense in the studio for any music other than quiet jazz. Interestingly some of the best laminated-top bargains come from Gibson — they have flooded the market with so many models and reissues that some of their less popular designs like the ES-137 are available secondhand for under $1000. One thing to remember about a laminated archtop is that you are probably not going to mic the top directly, so the pickups are very important in achieving a good sound — a cheaper guitar with great pickups will probably sound better than a more expensive guitar with cheap pickups.","type":"text"}]},{"type":"paragraph","content":[{"text":"These are some of my favorite guitars that I have found valuable in the studio, but there are many more. If you are honest with yourself about how a guitar really sounds and avoid becoming a slave to guitar fashion, you will discover wonderful instruments that can inspire your music. Also remember George and Leo's advice about pickups — good sounding pickups like those made by Lindy Fralin, Bill Lawrence or Seymour Duncan will do wonders for the sound of any guitar.","type":"text"}]},{"type":"paragraph","content":[{"text":"Part Two: Home Keyboards for the Studio","type":"text","marks":[{"type":"bold"}]}]},{"type":"paragraph","content":[{"text":"If you played keyboards in a band in the '80s, chances are that what you lusted after was a Prophet 5, and what you had was a Casio. I'm not going to lie to you: the Prophet was better. But you loved your Casio, didn't you? You could play that flute patch over a bossanova rhythm accompaniment for hours, and when you finally grew up and got yourself a real synth (or, in my case, a guitar), you kind of missed the intimacy and immediacy of your old home keyboard. Well, all those keyboards are still out there, at swap meets and garage sales, and on eBay. If you're on a budget (who isn't) and need some cool sounds for your studio on the cheap, look no further. Believe it or not, not all home keyboards were cheesy — some of them were even great. Here, then, is a brief survey of some fantastic molded plastic, available for less — sometimes a lot less — than fifty bucks.","type":"text"}]},{"type":"paragraph","content":[{"text":"Yamaha VSS-30: These days, a lot of lo-fi mavens crow about the Casio SK-1, a cheap and tiny sampling keyboard released in 1985. I had one back then and used it in my band for sound effects and semi-realistic piano, and many a budding musician recorded 8-bit barfing sounds, to the delight of their little brothers and sisters. The SK-1 is pretty cool, but the Yamaha VSS-30 is better. You get the lo-fi sampling and the volume envelope from the SK, plus a bunch of effects — looping, reverse mode, \"U-turn,\" echo, fuzz, tremolo, and a truly wild vibrato — which you can run separately or at the same time, and even tweak for speed or intensity! Furthermore, the presets are better than the SK's, especially the organ, which I've used on several recordings. My favorite trick is to plug an SM57 into the mic input jack (it's RCA, so you'll need an adapter, or probably a chain of them), record a crash cymbal, and play it backwards. Very gritty and retro.","type":"text"}]},{"type":"paragraph","content":[{"text":"Casio MT-68: With its gray casing, and knobs and buttons accented in orange and beige, this little keyboard positively screams mid-eighties. It's even more of a surprise when you play it, though — it sounds corny, but very distinctive! There are only 20 tones, but they're analog, and are accompanied by a terrific rhythm and bass-accompaniment section. There are some good organs and whistles, and sustain and vibrato, and the ability to slightly adjust the volume envelope with pushbuttons, plus it sounds even better with a bit of chorus or distortion. I use the organ sounds all the time for warm, simple accents, and though primitive Casio rhythms are pretty popular right now, I haven't heard these used much on recordings. And perhaps most importantly, the MT-68 makes a great sketchpad for songwriting. This keyboard is actually credited on Aimee Mann's last album, and you can pick it up (even on eBay) for less than 30 bucks!","type":"text"}]},{"type":"paragraph","content":[{"text":"Kawai PH50: Kawai's K1 digital synth was a popular and great-sounding keyboard, and it's still in use today by lots of electronic music composers. What most people don't know is that Kawai released a home version of the K1, the PH50. The PH50 is a preset synth, but it's stereo, and has MIDI and a joystick for real-time control of pitch and modulation. Plus, the 200 presets are terrific! Skip the \"realistic\" patches and try the imitations of famous synth sounds (\"Chick Solo\" and \"Jan's Solo\" have obvious antecedents), pads, or special effects. My favorite is patch 66, \"Visitors\", a killer layered wash with computerized bleeping in the background. Strings and brass are excellent too. If the patches don't sound full enough to you, try stacking them — you can stack up to four different sounds for some amazing monophonic leads. The PH50 is cheaply constructed, so expect a dodgy joystick (mine's busted) and lousy action from the stubby keyboard. Stereo implementation is odd, too — the left side of the keyboard is panned left, and the right side panned right! But the MIDI is great — I have mine permanently mounted on the wall, and control the notes, pitch, and modulation through a larger synth.","type":"text"}]},{"type":"paragraph","content":[{"text":"Yamaha PSS-380: Back in the '80s, Yamaha's FM (Frequency Modulation) synthesis was king, as typified on their DX7 synth, known for its bells, pianos, and metallic pads. The DX7 was great, but it was hard to program: FM itself was complicated, employing a bunch of sine waves that modulated one another in complex ways, and the DX7 (and its more advanced cousins like the DX5) lacked knobs, sliders, or any kind of manual controls. Well, as it happens, Yamaha did release an FM synth with sliders, but it was a home keyboard, the PSS-380! The PSS-380 (or PSS-390, which is the same thing with colored buttons, or PSS-370, the mono version) might be the coolest home keyboard ever. It's a diminutive preset board with 100 sounds, and while few of them are immediately interesting, they are endlessly tweakable. You can layer two patches, which allows either for interesting combinations or for thick, chorused versions of single patches. If that's not enough, turn on the \"digital synthesizer\" function, which lets you adjust \"spectrum\" (a kind of resonance control), \"modulation\" (ring mod), vibrato, and volume; plus there's a simple envelope (attack, decay, release) that functions as the FM equivalent of a filter. The result? Whacked-out electronic tones that, though rather cold, will really cut through a mix. My favorite tactic: layer two similar tones (\"Toy Piano\" and \"Music Box\" for instance), then synthesize them in real time. A genuinely unusual sound!","type":"text"}]},{"type":"paragraph","content":[{"text":"There are dozens more neat little keyboards worth looking for — the Casio Rapman, the \"My Music Center\" children's toy, the Casio MT-410V (which features a genuine analog filter, of all things!), the all-analog Yamaha PS-30. Keep your eyes peeled on your next trip to Goodwill. Give everything a try, no matter how crappy it looks, and don't forget to barter!","type":"text"}]}]},"tiptapIntroJson":{"type":"doc","content":[]},"primaryImage":{"id":"cea46f96-1083-499d-a529-37aa93bab7ef-primaryImage","url":"https://images.tapeop.com/6cc948c4-637e-4155-bffa-97fb0fc7ceec","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2004-07-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/6cc948c4-637e-4155-bffa-97fb0fc7ceec","excerpt":"No description available.
","url":"/tutorials/42/better-studio-guitars-keyboards","authorName":"Inverse Room","authorSlug":null,"contributors":[{"id":"26aeb567-e1b6-436b-9adf-bfb4147051a6","name":"Inverse Room","role":"author","firstName":"Inverse","lastName":"Room"},{"id":"c8fbb0b7-c4af-4aec-8068-efdae9b71c01","name":"Geoff Farina","role":"author","firstName":"Geoff","lastName":"Farina"}],"viewCount":13907,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"be7164ef-3a84-431b-8f1a-58b3c35b15af","title":"Three Practical and Personal Primers #2","slug":"three-practical-and-personal-primers","subtitle":"Equalization","issueNumber":41,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Equalization is a powerful weapon — something that can easily be abused and overused. We know frequencies are divided into lows, low mids, high mids and highs, but how helpful is that in terms of music? How and when should one use EQ?","type":"text"}]},{"type":"paragraph","content":[{"text":"Too much equalization causes frequencies to be pulled out of phase, potentially harming the integrity of a mix. A good general rule when using it is to have no more than 12 dB of combined added EQ across an entire mix. Keep it simple. If you're somehow not happy with the sounds you are getting, you change the variables at the source as opposed to \"fixing\" it later with EQ or other processes. This means trying different mic positions, different mics, different mic pres, changing drum heads, changing amps, switching instruments, or repositioning the source in the room — before using EQ. So to have no more than 12 dB of added EQ with that approach isn't difficult in practice and keeps you confined to finding the right sound before committing it to tape. Obviously there are certain special effects that one will try to achieve using EQ. That is a special application and is not what we're discussing here. What I'm suggesting is not to use EQ as a crutch when getting sounds, but rather a subtle solution to problems encountered during mixing.","type":"text"}]},{"type":"paragraph","content":[{"text":"Before using EQ try panning. Try moving a signal around in the stereo field before applying EQ. Often something that is difficult to hear in one area of a stereo image will clearly emerge when moved to another area. The idea of subtracting frequencies as opposed to adding is a valuable lesson. If something needs more highs, try subtracting lows before adding highs, and vice versa. The sound will remain more even and natural, and will likely sit in the mix better. It can mean the difference between a clear and enjoyable mix or one that's overloaded with harmonic distortion, phase errors and is fatiguing to listen to.","type":"text"}]},{"type":"paragraph","content":[{"text":"From legendary mixer Malcolm Chisholm, I would like to share with you his terminology to describe frequencies as related to music. The frequencies given are general starting points and are to be thought of as a range, not absolute values. These are subjective terms, so you may apply your own.","type":"text"}]},{"type":"paragraph","content":[{"text":"They may be used with either shelf or notch type EQs. It's up to you to decide which type is to be utilized. Shelving EQ will affect everything from the center frequency and on up or down. Notch or peak EQ will affect only the center frequency chosen plus a few dBs of frequencies on either side depending on the Q value or bandwidth of the filter.","type":"text"}]},{"type":"paragraph","content":[{"text":"Let's start at the bottom","type":"text","marks":[{"type":"bold"}]},{"text":" with 30 Hz, known as, um, \"balls\". Need more of that weight of the kick? Add some \"balls\" to it. 80 Hz is the \"rumble\" of a sound. At 100 Hz you get into the \"useless\" or muddy range.","type":"text"}]},{"type":"paragraph","content":[{"text":"At 200 Hz","type":"text","marks":[{"type":"bold"}]},{"text":" is where you start adding or taking away the \"warmth\" of a signal. I sometimes add it for lack of an audible proximity effect. At 700 Hz you'll find \"bass presence\". Not hearing enough of the bass? Instead of raising the level, try adding some 700 Hz to it and see how it feels after that.","type":"text"}]},{"type":"paragraph","content":[{"text":"As we get into the upper ranges","type":"text","marks":[{"type":"bold"}]},{"text":" we should consider that humans hear and respond best to frequencies between 1-5 kHz. The reasons are simple. A newborn baby cries at around 3 kHz. We also speak and sing within that range. Evolution has tuned our brains to hear best at those frequencies.","type":"text"}]},{"type":"paragraph","content":[{"text":"Let's move onto 1 kHz","type":"text","marks":[{"type":"bold"}]},{"text":", or \"level\". Not hearing a track well enough? Instead of raising the fader and bringing up all the frequency content, try adding a little 1 kHz. Or cut a little 1 kHz to bring a signal down in level. With 3 kHz you have \"presence\". Keeping in mind the idea about the frequencies of human speech, if a vocal is too present or not present enough, try adding or subtracting some 3 kHz.","type":"text"}]},{"type":"paragraph","content":[{"text":"My favorite term is for 5 kHz","type":"text","marks":[{"type":"bold"}]},{"text":". This is known as \"poison\". A little 5 kHz sounds wonderful but too much will kill you, so use caution. For example, it will open up the top end of a vocal but also add annoying sibilance. It's a magical frequency that mixers often abuse. I once was talking with a mastering engineer and joked that when my clients can't really afford mastering, I'll just squash the hell out of everything and add a lot of 5k. He just stared at me and said, \"Oh, you're one of those.\" So beware of 5 kHz. It sounds good, but it's poison, like a drug, and what might seem nice can turn around and bite you in the end.","type":"text"}]},{"type":"paragraph","content":[{"text":"Finally at 8 kHz","type":"text","marks":[{"type":"bold"}]},{"text":" and up we get to \"brilliance\". I think the term \"brilliance\" is self-explanatory. It's the shine or the sparkle of something.","type":"text"}]},{"type":"paragraph","content":[{"text":"Hopefully this will help some engineers and musicians to get a better idea of EQ, and that in using this knowledge they will remain cautious and respectful. It's okay to keep it simple and to be frugal in the processing of sounds — especially remember to always return to the source if possible and get it \"right\" there. As Malcolm would say, \"This ain't rocket science!\"","type":"text"}]}]},"tiptapIntroJson":null,"primaryImage":{"id":"be7164ef-3a84-431b-8f1a-58b3c35b15af-primaryImage","url":"https://images.tapeop.com/11826fb1-ad0a-4e8b-b3ae-bbc460c6d522","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2004-05-15T07:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/11826fb1-ad0a-4e8b-b3ae-bbc460c6d522","excerpt":"Equalization is a powerful weapon — something that can easily be abused and overused. We know frequencies are divided into lows, low mids, high mids and highs, but how helpful is that in terms of music? How and when should one use EQ?
Too much equalization causes frequencies to be pulled...
","url":"/tutorials/41/three-practical-and-personal-primers","authorName":"Graham Hick","authorSlug":null,"contributors":[{"id":"a258ac49-c148-4030-8a5f-c1d4640ca42c","name":"Graham Hick","role":"author","firstName":"Graham ","lastName":"Hick"}],"viewCount":9801,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"a990e399-af46-4218-b202-24a7422c97c8","title":"Three Practical and Personal Primers #1","slug":"microphones","subtitle":"Microphones","issueNumber":41,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","content":[{"text":"Engineers are good at spreading information about recording techniques. In fact, most love to talk about recording as much as they love to make recordings. This magazine you're reading right now is an obvious example of that. The result is a folklore of recording techniques that's ever-growing and ever-changing. However, no two people hear sound quite the same way, so no two people use all the same techniques. Finding out why something works or doesn't work is fun, but it can take a lot of time. Often, there's no time. So if it sounds good, use it, and if it doesn't, don't.","type":"text"}]},{"type":"paragraph","content":[{"text":"That's very practical thinking. Most ideas passed around concern specific solutions to specific problems rather than broadly useful methods. An example of this is the topic of microphone techniques.","type":"text"}]},{"type":"paragraph","content":[{"text":"Microphones are sometimes like a voodoo art.","type":"text","marks":[{"type":"bold"}]},{"text":" Yet it's really just smoke and mirrors, and personal preference. For every person who likes dynamics on an acoustic guitar, there's another who thinks condensers are the way to go, and a third who knows those other two are crazy, because ribbons are IT. If they all get paid to do what they do, they're all correct.","type":"text"}]},{"type":"paragraph","content":[{"text":"There are badly made microphones, but microphones are not good or bad.","type":"text","marks":[{"type":"bold"}]},{"text":" Microphones have characteristics. Those characteristics are a function of how a microphone converts sound to electricity. There are certainly some variations in sound from one dynamic to another, but no dynamic sounds like a condenser or a ribbon. Each picks up sound differently because they each work differently. Using that information eases the confusion of endless combinations of microphone models and appli-cations. Just select a microphone \"family\".","type":"text"}]},{"type":"paragraph","content":[{"text":"The primary characteristics of a family will be the same for all the mics in it. Since the characteristics are a function of the pickup element, we should consider those elements first.","type":"text"}]},{"type":"paragraph","content":[{"text":"Condensers","type":"text","marks":[{"type":"bold"}]},{"text":" have an extremely light pickup element made of thin plastic with a metal coating a few molecules thick, resulting in a very flexible diaphragm. Almost no energy is needed to put it in motion, and it will move very fast.","type":"text"}]},{"type":"paragraph","content":[{"text":"Dynamics","type":"text","marks":[{"type":"bold"}]},{"text":" are somewhat the opposite. A dynamic is like a teeny tiny loudspeaker used in reverse and is very rigid. It won't move fast, and it takes a fair amount of energy to move it at all. Bongos from a close distance require a mic with a slow response, such as a dynamic.","type":"text"}]},{"type":"paragraph","content":[{"text":"Ribbons","type":"text","marks":[{"type":"bold"}]},{"text":" don't have a diaphragm but instead have a corrugated aluminum ribbon, from around 4 inches to 3/8ths of an inch, hung in an extremely powerful magnetic field. The element needs very little energy to move.","type":"text"}]},{"type":"paragraph","content":[{"text":"According to legendary engineer Malcolm Chisholm, based on his experience and thought, ","type":"text"},{"text":"condensers","type":"text","marks":[{"type":"bold"}]},{"text":" sound best on instruments with fundamentals in the 5 Hz to 12 kHz range, will react very fast to transient sounds, are terrible for isolation, and have a three dimensional pickup \"balloon\" of around 20 feet.","type":"text"}]},{"type":"paragraph","content":[{"text":"Dynamics","type":"text","marks":[{"type":"bold"}]},{"text":" are used for any instrument within the 80 Hz to 8 kHz range, will react terribly to transient sounds, have moderate isolation, and a balloon of 6 feet.","type":"text"}]},{"type":"paragraph","content":[{"text":"Ribbons","type":"text","marks":[{"type":"bold"}]},{"text":" are used for a 40 Hz to 9 kHz range, with a variable sensitivity to transients, extreme isolation, and a small balloon.","type":"text"}]},{"type":"paragraph","content":[{"text":"Bear in mind that none of these opinions are scientific, nor do they take into account the increased durability of modern ribbon mics.","type":"text"}]},{"type":"paragraph","content":[{"text":"According to Malcolm, ribbons are the \"weapon of choice for live studio work\", because, he theorizes, they \"cancel out of tune distortion\". He believes this is due to the ribbon reacting like a string in resonance to the loudest signal driving it. It is also ignoring everything else including stray noise, out of phase, and out of tune signals.","type":"text"}]},{"type":"paragraph","content":[{"text":"Furthermore, Chisholm states that the double ribbon design probably squares the effect and produces \"phenomenal results\", which makes them sound \"so much like whatever's in front of them.","type":"text"}]},{"type":"paragraph","content":[{"text":"The reason for all of this reorganization of microphone specifications was because of the apparent lack of usefulness of the published specs that don't have anything to do with music so much as with sine waves. This isn't any fault of the manufacturers; there's just no practical way to test mics with music, so they only publish demonstrably accurate data.","type":"text"}]},{"type":"paragraph","content":[{"text":"So forget the models, forget the makes, and forget the specs. Just go by family and characteristics and keep it simple. As Malcolm would say, \"This ain't rocket science.\"","type":"text"}]}]},"tiptapIntroJson":{"type":"doc","content":[]},"primaryImage":{"id":"a990e399-af46-4218-b202-24a7422c97c8-primaryImage","url":"https://images.tapeop.com/ab573e85-ce62-4ac1-81c4-8f3a47f24bdf","alt":null,"caption":null,"width":null,"height":null,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2004-05-14T14:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/ab573e85-ce62-4ac1-81c4-8f3a47f24bdf","excerpt":"No description available.
","url":"/tutorials/41/microphones","authorName":"Graham Hick","authorSlug":null,"contributors":[{"id":"a258ac49-c148-4030-8a5f-c1d4640ca42c","name":"Graham Hick","role":"author","firstName":"Graham ","lastName":"Hick"}],"viewCount":5823,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false},{"id":"afdeeaa2-7b52-4d6b-8473-b8890a75f407","title":"Acoustic Baffling","slug":"acoustic-baffling","subtitle":"Affordable Acoustic Baffling","issueNumber":34,"tiptapJson":{"type":"doc","content":[{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"These are the supplies and tools you will need to complete the project","type":"text","marks":[{"type":"bold"}]},{"text":":","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"1. Drill ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"2. Pencil ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"3. Measuring Tape ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"4. Straight Edge ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"5. Utility Knife ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"6. Staple Gun ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"7. Screwdriver ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"8. Circular Saw ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"9. 2\" Wood Screws ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"10. 30\" X 80\" hollow door ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"11. 12\" x 30\" x 1/2\" piece of wood ","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"12. King size foam bed pad (makes two baffles)","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"All of these items, with the exception of the foam bed pad, can be purchased at your local hardware store. I purchased the bed pad from a Bed Bath & Beyond outlet.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Start by measuring and cutting the baseboard of the baffling. Measure the width of the 12\" x 30\" x 1/2\" wood and make pencil marks at both the 5 3/8\" and 7 5/8\" locations. Trace a straight line along the length of the board at both the 5 3/8\" and 7 5/8\" locations using the straight edge. Between these lines is where you will position the hollow door before fastening it to the baseboard. On the other side of the board, using the straight edge once again, mark a straight line along the length of the board at 6\". This is your reference point when fastening the base to the door with the 2\" wood screws.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Second, cut angles at all four of the base's corners. This is done to allow multiple baffles to create isolation areas (vocal booths etc.). Measure 3\" down the length of the baseboard from the top. Mark this measurement with your pencil. From both the 5 3/8\" and 7 5/8\" marks, trace a line with the straight edge connecting the 3\" mark to the appropriate 5 3/8\" or 7 5/8\" mark. Cut along each of the diagonal lines using the circular saw, leaving what appears to be almost a 45 degree angle on all of the edges. The finished baseboard should appear similar to the base in the photo below.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Third, fasten the base to the door by drilling 8 pilot holes along the bottom of the baseboard. Fasten the baseboard to the bottom edge of the hollow door with the 2\" wood screws. You should now have what appears to be a free standing door, like the photo above.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"Last, but certainly not least, staple the foam padding squarely on one side of the door. Remove the excess foam padding with the utility knife.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"I have found many useful ways to use the four baffles that I have constructed. The first and foremost idea is that I use the acoustic baffling to create an isolation area for recording vocalists and acoustic instruments. I simply create a semi-circle around the performer and microphone with the four baffles. Utilizing the foam side of the baffle, the semi-circle creates an acoustic dead space. This is beneficial when your recording surrounding is not ideal. If you decide to use the other side of the baffle you will achieve a slightly brighter and reflective sound. This effect can be useful when you are recording acoustic instruments.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"When recording drums I use the foam side of the acoustic baffling as a bass trap. I place one or two of the baffles directly in front of the kick drum, effectively diminishing overwhelming bass frequencies. While recording a jazz trio, the baffles serve as sound isolation between the drums and upright bass.","type":"text"}]},{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"I have found that my acoustic baffling is best used for eliminating the effects of a bad recording environment as well as providing sound isolation. I was surprised to hear such improvement in my recordings since I started using these baffles. They sound crisp, clean and I don't have to deal with hanging comforters or rugs on my walls anymore! Plus, for under $40 a piece you can't go wrong! ","type":"text"},{"text":" ","type":"text"}]},{"type":"imageFloat","attrs":{"alt":"","src":"https://images.tapeop.com/02715688-406e-48b6-bec9-4f25d67511b4","size":"full","float":"center","style":null,"title":null,"height":null,"caption":null,"imageId":"02715688-406e-48b6-bec9-4f25d67511b4","aspectRatio":null,"originalUrl":null,"variationUsed":null}}]},"tiptapIntroJson":{"type":"doc","content":[{"type":"paragraph","attrs":{"textAlign":null},"content":[{"text":"More often than not, home recording studio owners search for inexpensive, creative ways to turn their bedrooms or living rooms into acoustically stable environments. Home studio owners frequently find themselves seeking out new and creative ways to isolate sound for recording purposes. Constructing your own light-weight acoustic baffling can be done without having to take out a second mortgage to remodel your basement. I have developed a method of constructing light-weight acoustic baffling with minimal materials, and above all, minimal financial investment. Each baffle should cost approximately $40 a piece.","type":"text"}]}]},"primaryImage":{"id":"afdeeaa2-7b52-4d6b-8473-b8890a75f407-primaryImage","url":"https://images.tapeop.com/50fa98ba-804c-45fa-b063-7b44c099bf5b","alt":null,"caption":null,"width":733,"height":550,"variations":null,"is_primary":true,"position":0,"use_case":null},"publicationDate":"2003-03-15T08:00:00.000Z","featuredImageUrl":"https://images.tapeop.com/50fa98ba-804c-45fa-b063-7b44c099bf5b","excerpt":"More often than not, home recording studio owners search for inexpensive, creative ways to turn their bedrooms or living rooms into acoustically stable environments. Home studio owners frequently find themselves seeking out new and creative ways to isolate sound for recording purposes....
","url":"/tutorials/34/acoustic-baffling","authorName":"Michael Drost","authorSlug":null,"contributors":[{"id":"f60ad747-6f7d-4c67-af1a-8f69c78f1a05","name":"Michael Drost","role":"author","firstName":"Michael ","lastName":"Drost"}],"viewCount":13673,"showCoverImageIntro":true,"tiptapFooterJson":null,"footerEnabled":false}],"page":2,"pageSize":12,"hasMore":true}