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Archive for the ‘Uncategorized’ Category

Recording Healey Willan’s “The Reproaches” Part 2

Tuesday, June 10th, 2014

By Frank Lockwood
The recordings described here were done at the Church of St. Mary Magdalene in Toronto from January to May, 2009. This article is based on a presentation given by Frank Lockwood to the AES Toronto chapter in January 2014.

Recording The Music

For the main choir pickup, I chose a pair of Neumann KM 140 microphones. Specifically for the pickup of the room sound, I chose the Pearl TL4 two-channel microphone. Its unique construction features two separate microphones mounted back-to-back, facing 180 degrees apart from each other. This microphone is extremely well suited for capturing room sound, when the capsules are oriented so that they face the side walls. Pickup of the
performers here is de-emphasized, leaving that job for the main microphone array. The main pair was just behind the conductor’s position, and the choir was on the floor and the first step just by the communion rail.

SP2_PS_JuneJuly14-2
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Recording Healey Willan’s “The Reproaches” Part 1

Friday, April 4th, 2014

By Frank Lockwood

The recordings described here were done at the Church of St. Mary Magdalene in Toronto from January to May, 2009. This article is based on a presentation given by Frank Lockwood to the AES Toronto chapter in January, 2014.

1-01 mic placement

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The Last 10 Per Cent

Tuesday, February 11th, 2014

PS Feb14 SoundAdvice McCambridgeBy Ryan McCambridge

 

“The devil is in the details” is likely the most valuable idiom relevant to audio production. There seem to be multiple definitions for the phrase, but the overarching theme is always the same: The details will make or break a project. I didn’t set out to open this article with a clichéd definition, but I think that it’s the best way to illustrate what I’ve come to call “the last 10 per cent.”
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Get The PA Right First

Tuesday, February 11th, 2014

PS Feb14 SoundAdvice ClarkeBy Graham Clarke

 

When mixing any live act, it’s imperative that you first get the PA right. You may have had the production supplier bring an XL4 and racks full of tube comps or an Avid desk loaded with plug-ins, but if the PA and crossover aren’t properly configured, you’re not doing your client justice.

In this world of line arrays and digital crossovers, we have lots of new tablet apps and tools that allow us to remotely make adjustments and walk the 300 level of the arenas or the balconies of the theatres while making zone level adjustments and matching complimentary EQ to the various components of the system. We need to give the people in the balconies and side seats the same quality experience and imaging as the person sitting in the twelfth row.
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The Lack Of Meaningful Loudspeaker & Headphone Specs

Wednesday, December 11th, 2013

SeanOliveBy Dr. Sean Olive

AES International President Dr. Sean Olive, also the Director Acoustic Research for Harman International, tells PS that one of his biggest pet peeves is a lack of perceptually meaningful loudspeaker and headphone specifications for consumers. Here he is explaining what he means and what should change…

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Quick Tips On Miking Pianos

Wednesday, December 11th, 2013

KevinDietzBy Kevin Dietz

There are as many ways to mic a piano as there are types of pianos. For that reason, it’s important to think about what type of sound you want to achieve when recording. Even a grand piano can yield a variety of sounds depending on mic selection and placement.
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