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Archive for the ‘Uncategorized’ Category

Recording Jingle Announcers by Ben McPeek

Thursday, July 18th, 2002

“When recording announcers while doing characters, I prefer to use the Neumann U87 because it’s a warmer sounding mic, recorded flat (no EQ), and I prefer the AKG 414 for recording announcer tags because it has more punch (also record flat). The reason for this is that it gives more definition between the body of the commercial and the tag (which usually contains the slogan and must stand out in the commercial).”

Ben McPeek – engineer, radio producer (Captain Audio).

Improving Television Audio by Rob Rettberg

Thursday, July 18th, 2002

“Due to limited dynamic range of television broadcast, it is advisable that components within a mix such as toms, loud instruments like guitars and percussive instrments should be dynamically controlled by compression. It is also advisable that an entire mix be compressed in order to create a punchier overall reduced dynamic range that still feels dynamic after transmitter broadcast. In this way even the smallest speaker in an average television set can handle a fair amount of volume without overloading and distorting. This will also make the average consumer television sound better than it really is (This is caused by the reduced work load on the television speaker.)

Controlling dynamic range at the source when music is performed and mixed creates a smooth signal that does not hit on the broadcast limiter, which subsequently would make the music sound squashed and fairly undesirable. By compressing the mix to your taste you would have a more controlled musical environment allowing control over the texture of the music, as opposed to being subjuct to – and stuck with – a broadcast transmitter just waiting to clamp and squash down on the music.”

Rob Rettberg – producer/engineer (CTV, Global, CBS).

Making Better Demos by Stacey T. Heydon

Thursday, July 18th, 2002

“When a band or artist is planning to go into the studio, choose a quality product as opposed to an assortment of many songs that may not have had enough time to be completed properly. Handing an A&R person a product that is much more finished, as opposed to a very rough copy of a song, gives one an upper hand in dealing with these individuals. This applies to A&R in record labels, not publishers. Instead of recording five songs as a rush job, I suggest that you record only two songs. Give the A&R people a product which is (production-wise) as close to finished as possible.

You have a better chance of getting a release if you hand these A&R people a demo that sounds more finished, polished and more produced than one that is very rough, live off the floor sort of thing. Remember most A&R people cannot imagine what a finished product will sound like from a rough tape.

Needless to say, remember that the two songs you plan to record should be targeted to a specific market in today’s radio format.

Basically, quality not quantity is the best road to follow when recording a demo for A&R people to listen to.”

Stacey T. Heydon – producer of #1 Billboard hit (sheriff), guitarist (David Bowie).

Studio Reverb by Carl Harvey

Thursday, July 18th, 2002

“As a rule I try to stay away from longer reverb times, especially on percussive type instruments. The accumulative effect of all the different reverbs seem to clutter up the mix, thereby robbing it of transparency. I believe that reverbs, when properly used, can create a three dimensional effect in your mix – giving it height, depth and width. Use reverb to enhance the natural groove of the song by timing the reverb cut off point in tempo with the groove.”

Carl Harvey – producer/songwriter/musician (Messenjah, Leroy Sibbles, Sway, Courtney Morrison, Black Diamond).

Choosing Studios by John Punter

Thursday, July 18th, 2002

“When choosing studios for my projects I try to select the one that has a natural acoustic sound about it. This can range from a vast, acoustically untreated warehouse situation as in The Metalworks Studio Two in Toronto, to a large, acoustically treated orchestral studio as in Air Studio One in London, England, to a smaller, harder and brighter studio as in Venture Studios in Vancouver.

I really like to capture the natural acoustic ambience of a studio in my recordings, not only for the drums but also for guitars, vocals and keyboards. For keyboards I send the dry signal into the soundroom via speaker(s) and using a Neumann 87 or AKG 414, mic the speaker(s) and bring the signal back into the control room. It’s very important in my productions to make the natural ambience of the room work for me, to create more of a three-dimensional effect in my recordings. This gives me a strong sound identity and character to my work.”

John Punter – producer/engineer, Bryan Ferry, Roxy Music, Japan, Nazareth, Slade, The Spoons, Boulevard.

Discipline is Wings by Ken Tobias

Thursday, July 18th, 2002

“One of the most common complaints I’ve heard from engineers is lack of preparation by artists and producers – lack of homework. The studio can be a magical place, but you can’t expect technology to do it for you. Engineers are there to do their job, you must do yours. Like they say in the East, ‘Discipline is wings’. You must have a plan before entering the recording studio.”

Ken Tobias – writer/artist/producer, Corey Hart, Dan Clancy, Shahira (film) and various TVO film scores.


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