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Sound Advice

Design Giudelines For DIY Studio Owners

April 9th, 2015

By Fred Gilpin

Owning your own studio is great. Having neighbours complain about hearing your next big hit all night isn’t so great. This is where I always start my studio designs: how much sound isolation exists and how much do we need? When we talk about sound isolation, what we measure is the “transmission loss” (T.L.) of a partition (i.e. walls, ceiling, doors, windows, etc.).The basics of measuring T.L. are: 1. Measuring and storing the response in the studio at your normal listening level (90dB SPL is pretty standard) 2. Measuring the response outside your studio 3. Subtracting the outside response from the inside response, giving you the T.L. of your existing partitions.

There are a number of free software audio analyzer packages you can use to make these measurements. To use these with a degree of accuracy, you will need a measurement microphone. There are a number of 1/4-in. omni-directional measurement microphones available for around $50 that will work just fine for this application. Most use the same miccapsule so the responses are very similar. Read the rest of this entry »

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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