by Barry Rudolph [prosoundweb]
Many studios built in the 1970’s were designed NOT to have any acoustic influence on the recorded sound produced in them.
This was accomplished by over-deadening walls, floors and ceilings so no sound waves (leakage) would reflect and add (or subtract) from the instrument’s original sound waves.
Bass traps were purpose-built for controlling sound from electric bass amps, small isolated (and dead sounding) drum booths were mandatory and heavy gobos or baffles were used around all musicians separating them and their instrument’s sound.
Even before 16-track tape recorders became standard, engineers and producers were overly concerned with maximum separation of each instrument for ultimate mixing control.
I can remember throwing extra rugs on the floor, laying moving blankets on top of pianos, and using a beach umbrella over the drum kit to contain and control sound emanation.
After a few years of this approach, some musicians began to complain that they couldn’t hear themselves, and more importantly, couldn’t hear the other musicians.
Their instruments didn’t sound or feel right in these dead spaces. Any time I happen to record in older rooms, built before the ‘70’s dead zone era, musicians are much happier, especially brass sections and drummers.
I had occasion to record a brass session recently in a private-use studio that was built in the ‘70’s, and I was immediately confronted with a disgruntled group of horn players very upset to be stuck playing there.
The producer and I wanted good performances from these guys, yet all we initially heard was complaining about the room and the poor sound of their horns. I needed to liven the room up now!
Short of ripping up all the wall-to-wall carpeting and pulling down all the acoustic treatments, what could I do?
read the rest of this article on prosoundweb.com
Share/Bookmark this!
“Your kids will love this Saw figure.” So, too, must have been the calculation of the person who decided to immortalize the film Saw with little toys and figures containing 30 seconds of voice recording, because this toy is now available in quantity for — wait for it — US$2. A $2, 30-second sampler? Now that’s a bend waiting to happen.
read more on createdigitalmusic.com
Share/Bookmark this!
This headphones packaging design (released last month by the European branch of Panasonic) was designed by Berlin-based Scholz & Friends, a creative agency whose motto is “Surprise! Convince!”
As Scholz & Friends explained to the Coloribus Global Advertising Archive,
The selection of earphones is huge and the products are often interchangeable. Only a packaging with a clear visual idea is able to stand out at the market among the generic packagings of the competition….The earphones show at first sight for whom they are made: for passionate music lovers.
…The new packaging was met with positive reactions from retailers and clients because it clearly stood out from the generic packaging of the competition. As such it helped to attract new target groups for Panasonic
[via core77.com]
Share/Bookmark this!
Stereo Guitar
Share/Bookmark this!
A FULL WEEKEND OF MUSIC HACKING. SOFTWARE + HARDWARE + ART + THE WEB. COME BUILD THE FUTURE OF MUSIC.
Music Hack Day returns to London, where it all began, to explore and build the next generation of music applications. It’s a full weekend of hacking in which participants will conceptualize, create and present their projects. Music + software + mobile + hardware + art + the web. Anything goes as long as it’s music related.
Music Hack Day is a free to attend, final registration will close on 6th August.
Share/Bookmark this!
Summing up the appeal of his upcoming Epiphone Slash Appetite For Destruction Les Paul, Slash tells MusicRadar, “The guitar that I used for Appetite, the Use Your Illusion records, Snakepit and my new record, it’s a replica of that guitar. The sound on Appetite is a very sought-after tone – I’ve been hearing that for years and years – so this Epiphone Les Paul is for the die-hard fans who really love that sound.”
keep reading on www.musicradar.com
Share/Bookmark this!
Packing a comprehensive selection of production-ready sounds and effects, this is the perfect introduction to the world of KOMPLETE. This collection delivers studio quality tools at unbeatable value, and is infinitely expandable with the ever-growing range of KOMPLETE Instruments and Effects.
KOMPLETE 7 ELEMENTS comprises of over 12 GB of 2,000 premium, studio quality sounds. With a vast array of KONTAKT instruments, including ABBEY ROAD drums and VSL orchestral instruments, as well as stunning REAKTOR ensembles, GUITAR RIG amps and effects and the best sounds of the legendary synths MASSIVE and ABSYNTH, this collection is a fully equipped and ready-to-roll production suite.
[more info on www.native-instruments.com]
Share/Bookmark this!
Steinberg released a new version of its VST3 plug-in development kit. Used by industry leading companies such as Waves, Brainworx and Vienna Symphonic Library to create stunning new plug-ins and exciting software instruments, Steinberg’s VST3 has rapidly become the most advanced standard for today’s plug-in development.
“This new VST3.1 update extensively enhances the technical capabilities of VST3 by offering important functionalities that dramatically reduce the development efforts,” comments Timo Wildenhain, product marketing manager at Steinberg.
VST3.1 comes with two convenient “wrapping” tools, enabling VST3.1 plug-ins to be transformed into the Audio Unit format as well as – for older DAWs – into the VST2.4 standard. This allows a maximum flexibility and reduces the porting time. Further features are the support of MIDI poly pressure, a future proof Mac 64-bit test host as well as four new interfaces, including time accurate parameter group editing, delayed opening of the plug-in editor while loading a project/preset, “dirty status” allowing the plug-in to communicate generic changes to the host and several editor features like the set knob mode to open the about or help window. More sample code and an extended documentation rounds out the VST3.1 package.
Please visit Steinberg’s developer area to download the VST3.1 update or to register in case you’re new to the VST development platform.
Share/Bookmark this!
WHAT WE DO
With our highly professional mixing service you can make your music sound as you want. »
We can make your music radio ready and compatible with any hi-fi system. »
We provide a 48 hours express service. Get your music ready whenever you need.
Comunicate directly with our engineer to make extra adjustments on your music. »
Read more about our Services »
SEARCH
Welcome to online-mixing.com
Your online mixing and mastering studio.
This is where you get your recorded music mixed and mastered in the way you want.
With us you can achieve the same high quality sounding mix as today’s major artists.
Get in touch!
We will be happy to hear from you, no matter the subject. For contacting us please use our contact page
To stay updated on our news and promotions subscribe to our Newsletter