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Sound Advice

Using Ribbon Mics for Percussion

February 10th, 2015

By John JenningsJJennings

While at Revolution Recording in Toronto for an event organized by HHB Communications Canada, Royer Labs Co-Owner John Jennings spoke to Professional Sound about recording situations where some wouldn’t consider using a ribbon microphone but it might be a good solution. Here is such an example…

There are some applications that people just don’t really consider putting a ribbon microphone on but where they excel. For example, tonight, one of the percussion players, who’s excellent, kind of flipped out that we were putting a ribbon microphone on him. We put both condensers and ribbons on him and he said, “You can use a ribbon on this?”

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Working With An Inexperienced Band

February 10th, 2015

By Kevin Dietz

KevinDietzSometimes as a recording engineer, you end up working with a band or artist who has little or no professional recording experience, or perhaps no recording experience at all. This can present a few challenges that we take for granted when working with experienced artists and session musicians. As a producer or engineer, it’s our job to make the process as transparent as possible for the artist, help them perform at their best, and end up with the best sounding recording possible. Here are a few things you can do to help maximize the performance, experience, and end result when working with a band or artist inexperienced with the recording process.

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Neighbouring Rights Royalties: Canadian Studios’ Secret Weapon for Attracting American Artists

December 11th, 2014

Matt WhibleyBy Matt Whibley

The following article is not meant to substitute for legal advice.
For legal advice, seek the advice of a lawyer directly.

As the music industry continues to search for new revenue streams, one major source of income often goes unexploited – particularly by American recording artists and record labels. They’re called “neighbouring royalties.” Interestingly, American recording artists, Canadian record labels, and Canadian recording studios could all benefit if they produce recordings falling within the qualifying parameters of neighbouring royalty rules. Read the rest of this entry »

Jimmy Shaw Defi nes “Emotional Accuracy”

October 8th, 2014

02 JimmyShawAt a Universal Audio users event hosted by HHB Communications Canada, Metric guitarist and producer Jimmy Shaw spoke to Professional Sound about a phrase that guides his work in the studio. Here’s what he had to say…

I’ve been talking with other producers about recording techniques, and about
being a musician and engineering, producing, and all the things that make up being a creative person. One of the things that came up is a phrase that I got  from a producer I worked with called “emotional accuracy.”
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Too Many Microphones?

October 8th, 2014

01 Graham ClarkeBy Graham Clarke

I always feel grateful for the opportunity to work with creative people in unconventional live sound applications. Whether it’s a concerto written for 20 pianos performed live in the open air beside Roy Thompson Hall or a full orchestra and a 25-person gospel choir, proper microphone selection, phase orientation, and signal treatment will always be your friends.

When we get over 70 open microphones on one stage, we fi nd ourselves with several precarious situations that need to be handled properly. I love these challenges.
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Recording Healey Willan’s “The Reproaches” Part 3

August 6th, 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.

Editing & Processing The Mix

The next stage was to assemble the whole piece, with the correct timing,
from the various takes. The Pyramix DAW is the choice of most classical music recording specialists worldwide because of its superior editing  controls. The crossfades and the sound material can all be shifted in time independently in order to perfectly align the “Out” and “In.” The crossfades can be made longer or shorter, and the fade shapes can be modified as spline curves. The goal is to create a seamless transition from one take to the next so that the listener is not distracted by any sudden shifts or changes in the sound quality that are not part of the music.

I completed the editing from all the selected takes and then identified which sections belonged to either of the two choirs. The Choir II sections, with all the fades, were moved (constrained in time) to four new tracks so that each choir could have its own processing chain.

Edited Takes Separated

Edited Takes Separated


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