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Sound Advice

Miking Tips From Echoplant Sound Recording Studios’ Ryan Worsley

October 26th, 2017

Ryan WorsleyBy Ryan Worsley

I really like sending miked signals into guitar amps, especially with drums. When I’m tracking drums, I usually have an amp miked up in the bathroom, with an SM7 on it, that I can send any of the close mics to. Typically, it will be a kick or snare… or both. You can do this right off the console via sends, or back out of your DAW sends, but make sure to that everything is in phase (especially when sending kick and snare together).

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The Secret of Stevie Ray Vaughan’s Guitar Tone

October 26th, 2017
Clifton Broadbridge

Clifton Broadbridge

By Clifton David Broadbridge

One of the most powerful musical influences that I had growing up was Stevie Ray Vaughan and Double Trouble. Stevie’s guitar tone was clean, clear, loud, and soulful, with a huge soundstage. Although I was aware that he recorded with multiple amps, there was still something happening sonically in the studio mixes that went beyond EQ, compression, delay, and reverb.

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Talking Theatre Sound Design with Peter McBoyle

August 28th, 2017

PS Aug17 SoundAdvice PeterMPeter McBoyle is one of Canada’s most successful theatre sound designers and consultants. In his 20-plus years in the industry, McBoyle has designed the sound for countless theatre productions for the Stratford Festival, Charlottetown Festival, National Arts Centre in Ottawa, Troika Entertainment, Ross Petty Productions, Dallas Theatre Centre, and Twyla Tharp’s Broadway musical Come Fly Away, among others. He is also the owner of PM Audio Design and teaches theatre sound at Humber College in Toronto.

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The Curious Case of Mastering Your Boy Tony Braxton’s ‘Adult Contempt,’ pt. 2

July 14th, 2017

Adult ContemptBy Noah Mintz

Last issue, I explained the different methods I tried out when mastering Your Boy Tony Braxton’s Adult Contempt, with the mandate of making it sound like it was released in 1990.
I sent the various test mixes to Shad (aka Your Boy), mixer Howie Beck, producer Matt Johnston, and Gurav, Shad’s manager. In the end, and to my surprise, they chose the digital master as their favourite. They were looking for something different and this was it – but not different enough. They asked for one more version with something that’s not normally done in mastering: reverb. So I added a Lexicon hall reverb with a short decay, sent this off, and the test-master was approved.
Approved “in theory,” that is, because I was told by the time the mixes were ready for mastering, the actual mixes would sound quite a bit different than the test mix. At least we had a methodology.

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The Curious Case Of Mastering Your Boy Tony Braxton’s ‘Adult Contempt’, pt. 1

May 8th, 2017

Adult ContemptBy Noah Mintz

Mixing engineer and friend Howie Beck called me up one day and told me he was mixing an interesting album and that I might be mastering it. He had a question about delivering the clients some reference mixes (usually somewhat pseudo-mastered). I asked him who the artist was. He told me he wasn’t yet able to say but that he is a Canadian radio personality. That narrowed it down to a surprisingly large amount of people.

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Talking Olympic Audio Quality Control with Doug McClement, pt. 2

March 17th, 2017

Doug McClementHaving previously worked at the 2014 Winter Olympics in Russia, Doug McClement of Toronto-based LiveWire Remote Recorders headed to Brazil for the 2016 Summer Olympics. He was one of the audio production quality control engineers for Olympic Broadcasting Services (OBS), the organization that provides the audio and video crews for the games. Professional Sound caught up with him to learn about the experience and what it entailed. Part one of this interview appeared in the December 2016 issue of Professional Sound.

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