MOONROOM Recording

Upcoming Gus Stagg Album

2011-10-12T15:07:00.000-07:00

After working for several months on the latest Gus Stagg project, we are now probably almost maybe certainly close enough to the finish line to announce his new forthcoming album, "New Songs for Old Souls"...

As a bit of a preview/teaser, here is a video of an alternate take of one of the album tracks, "My Job To Do":

Of course, the video only has fair-to-middling audio quality, having been recorded directly into the camera microphone...but it's not too bad. I should be able to post a track or two of some higher-quality bits that couldn't fit on the album - some interesting studio banter, some quasi-intellectual ramblings about the songwriting process, ditties about duct tape...maybe that knock-knock joke about Tom Waits...

We'll keep you posted!

Recording & Your CONSTITUTIONAL RIGHTS

2011-09-01T20:56:00.000-07:00

This has nothing to do with Moonroom Recording, per se, but I thought that it was relevant to recording in general and American's Constitutional Rights specifically.

It is hard to believe that this is actually going on - a man arrested and looking at up to 75 years in prison, because he recorded the police (once known as "public servants") without their consent.

I don't mean to get all POLITICAL (this blog is not the place for that), but hopefully this case gets THROWN OUT before it ever gets to court!

CAD MH310 / Superlux HD-662F Review

2011-03-23T16:42:00.000-07:00

There is almost no info available about the new CAD MH310 headphones right now - but I just got three pair today.

Here's the available spiel on the CAD cans:

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"CAD MH310 Closed-Back Studio Headphones Details

The CAD MH310 is a closed back, circumaural, precision built monitor headphone equipped with 50mm neodymium drivers offering extended frequency response while delivering exceptional detail and clarity. Exceptionally comfortable, the MH310s are designed with a self-adjusting headband with closed-back leatherette ear cushions that allow for hours of comfortable, fatigue free listening.
CAD MH310 Closed-Back Studio Headphones Features

* Frequency response: 10Hz-30kHz
* Sensitivity: 98 +/- 3dB
* High output, Neodymium 50mm drivers
* 2.5 Meter (98”) cord with 1/4" and 1/8" plugs
* Impedence: 30 ohms
* Foam cushions for maximum comfort and sound isolation
* Carrying pouch
* One year Limited Warranty"
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So, with just about zero information anywhere online on these, I had to start searching for some super-similar styles with the same specs (use that line to test for sibilance the next time you set up a vocal mic).

The closest I came up with was the brand-new Superlux HD-662F. Superlux is the new up-and-comer big-bang-for-the-buck headphone brand made in Taiwan. "Close" isn't even the word for the match I got - except for the branding, the CAD and Superlux seem nearly identical. The Superlux HD-662 series are all closed-back, and they offer good isolation. There are three styles: the 662 (red trim-well balanced), the 662-F (white trim-true bass), and the 662-B (blue trim-bass punch).

The CAD MH310 has white trim, so it's probably the HD-662F. Here I have removed one of the ear cushions to get a better look inside:

Here's a shot someone took of the guts of an AKG (left) and a Superlux (right)...not sure of the exact models used, however:

So it sure looks like the CAD is a rebranded Superlux.

There are a few differences from the original description, once you have the item in front of you: The Superlux is from Taiwan, the CAD box says Made in China. The specs have changed, too - from 10Hz-30KHz to 20Hz-20KHz...darn, I lost some frequency response during shipping! That's perfectly fine with me in this case, because humans generally CAN'T HEAR down to 10Hz (that is bass you feel in your chest at a live show, not something that comes out of 50mm/2-inch drivers) or up to 30KHz.

So it also looks like CAD has put the specs into...perSPECtive. More real-world.

AND my paperwork has the one year warranty upped to a two year warranty. Nice.

***MY REVIEW***

I'm currently "burning-in" a pair right now, I'll be able to comment on those after 100+ hours of burn. My first comments will be on a fresh, unburned set:

These offer pretty good isolation, though not quite as good as some of my vintage cans. Probably thinner-walled plastic in the cups. Might be room for some modding, there (I was thinking that something like fiberglass lining the inside would do some good, I dunno). Comments/suggestions?

They clamp pretty well on my head, around the ears (circumaural), which is a must for tracking, to reduce leakage from the headphone. I am used to this style of headphones, as all of my vintage ones for tracking and my AKG K240-M's for mixing are this type. I like the solid feel of these. Those who aren't used to circumaural headphones may feel a bit claustrophobic in them.

These have a very similar design to the AKG K240's, but the curved metal rods that connect the earpieces (not sure what these are actually called - the headband/s?) are extremely resonant on the CADs...they vibrate/ring at around 80Hz, while the same parts on the AKGs are isolated and do not ring at all. Not that you're going to go around flicking these with your fingernail making them vibrate very often, but it does seem to be a negative as far as using them for a quality reference. If your source material happened to have lots of 80Hz in it, the CAD headphones would probably ring (sympathetic vibration). I will probably add some sort of damping to eliminate the resonance.

Now for the sound quality: VERY NICE. Certainly beyond the price (these list for $99 currently, generally go for about $69, and can be found for as little as $49). I am used to mostly "flat" sound...I use my AKG's for monitoring, so the sound that they output must be as close to the original source material as possible - that's why I chose the AKG's.

The CAD's add a bit of "smile" eq to the source (similar to what a listener might add on their own with a separate equalizer): a bass bump, and some high-end peaks around 6KHz, as shown in this Superlux frequency response chart:

Though I might like to hear a little bit more midrange definition, I must say I really enjoy listening on these headphones! The bass is very full and present, while not being overdone or flabby. The treble is natural and clear, not harsh.

I was able to hear ALL of the test tones 20Hz-20KHz from the Alan Parsons "Sound Check" cd through these headphones, and although the highest and lowest tones were much quieter than the rest, they were most certainly audible.

Please keep in mind that I am only making an assumption that these are rebranded Superlux headphones. I do not have any Superlux HD662-F's yet to make a "for-certain" call. But from the photos and specs online, it seems a safe assumption they are the same...who knows? CAD may have had some alterations done to the Superlux design, to make these their own. Time will tell.

But I must say that I approve of these headphones! Comfortable fit, quality build, nice isolation, and a great listening experience. A GREAT bang-for-the-buck, in my opinion.

2351

The Orchestra As Sardines

2011-01-23T14:53:00.000-08:00

I spent the first weekend of 2011 recording a small orchestra in a small hall. Or rather, HALLWAY. 8^)#

The performance space measured about ten feet wide by fifteen feet high by thirty feet long. The performers numbered eleven: flute, oboe, clarinet, bassoon, french horn, violin, viola, cello, contrabass, drums/percussion, piano. Plus the composer/conducter Mike Przygoda, and the recordist, yours truly.

There were a few six by eight foot practice rooms attached to the main area, and a baby grand piano in an alcove by the entrance.

With a bit of discussion about the (generally poor) room acoustics, and musician-to-conducter sight lines, and what multiple microphones would be likely to introduce in the way of phase cancellation, we decided on the following:

Still shoot for a stereo recording - mono would solve the phase problems, but finding a sweet spot for it would take too long, and anyway, stereo is almost always better...

Percussion items and drumset in a practice room with a single overhead mic (CAD M179 set to cardioid pattern). Piano lid on half-stick with a few winter coats placed over the opening, mic'ed inside with two AT4040's. Maestro Przygoda in the center of the room, conducting directly under the ten-foot tall mic stand (almost against the wall, holding two more CAD M179's, cardioid pattern, two or three feet apart, angled slightly outward). The rest of the musicians spread out across the room in a big arc, all facing the conducter, strings toward the left, woodwinds toward the right.

Recordist in the other practice room.

So here is a quick mix of one of the twenty-four pieces we recorded that weekend.

This is the primary stereo pair with some added reverb, and the unprocessed percussion track added in to the center. No stereo piano tracks added, as there is no piano in this piece.

After listening, I think I could add just a bit more volume on the percussion...what do you think?

"Dishes" Live At Martyr's

2010-12-11T13:10:00.000-08:00

So here's a little example of some live recording - from this past summer's Diana & The Dishes cd-release party at Martyr's in Chicago. The track is titled "If You're Not Mine", and features some groovy banjo work by multi-instrumentalist Mike Przygoda.

This is a "matrix"-ed recording, a mix of the house P.A. (line out) and my binaural recording head Lamont (microphones), time-shifted, equalized, compressed, limited and high-quality mp3'ed for your listening pleasure.

Photo by Bil Gaines

If you happen to enjoy the song, you might want to pick up the album "Take A Picture", HERE or HERE.

WWGJD?

2010-10-22T13:37:00.001-07:00

...which of course stands for "What Would Glyn Johns Do?"

Recording the band Rego a few months back, I used the "Glyn Johns method" for recording the drums. I was VERY pleased with the results.

Glyn Johns has worked with such artists as Bob Dylan, The Beatles, The Easybeats, The Band, The Rolling Stones, The Who, The Kinks, Led Zeppelin, Eagles, Eric Clapton, The Clash, The Steve Miller Band, Small Faces, Spooky Tooth, The Ozark Mountain Daredevils, Blue Öyster Cult, Linda Ronstadt, Emmylou Harris, Midnight Oil, New Model Army, Belly, Joe Satriani, Ronnie Lane, Rod Stewart with Faces, Joan Armatrading, Buckacre, Gallagher and Lyle, Georgie Fame, Family, Helen Watson, Fairport Convention and many others. Suffice it to say, THE GUY KNOWS HIS STUFF.

The Glyn Johns method uses only four microphones to cover the entire drumset.

The real backbone to the method is the 2 "overhead" mics: not actually placed overhead in the current mega-mic way, but with the "left side" mic directly over the snare drum facing straight down, and the "right side" mic 6-8 inches above the floor tom, facing the snare and high-hat. These cardioid mics must be equidistant from the center of the snare head. Although I often see people suggesting small-diaphragm condensers for these overheads (and SDC's are a better choice if using them as regular overheads, to pick up primarily cymbals), I don't think that they pick up the *entire* drumset as well as large-diaphragm condensers - so, my pair of AT4040's got used (with the 10db pad engaged). Both forty inches away from the snare (use your tape measure, get them exactly the same distance!). Pan these tracks halfway left and halfway right for a natural stereo balance.

The other 2 mics are just there to reinforce the overheads: a snare mic (I used a Shure BG4.0, SDC, clipped to the top rim, pointed at the center of the snare head, null side toward the high hat) and a kick drum mic (I used a Heil PR40, cardioid dynamic, goes down to 28Hz, 145 SPL, about 6 inches away from the drum, with a surrounding tunnel of a few acoustic foam pads).

No effects on the overheads, some EQ and compression on the snare and kick. Fifteen minutes to set up. Does it get any better than this?

Stephanie Whiton on the drums...sounds a bit like John Bonham to me. Now I've got to find an empty three-story stairwell, so I can get that killer live reverb!

Audio Mythology

2010-07-02T08:18:00.000-07:00

Or "SNAKE OIL". Stuff that JUST AIN'T TRUE.
...as far as I know...

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"Digital-Ready" headphones - they're ALL ready for digital. They always WERE, even before digital. Digital is zero's and one's, which we can't hear. All digital must be converted to analog in order to be heard. All headphones are analog.

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Vinyl sounds "better" than cd - Nope, no scratches or motor noise. The recording industry would love us to go back to vinyl, so we could continue to re-purchase music once it had a tiny scratch...but they've been doing pretty well selling us the same music over and over on cd: mastered, remastered, remixed, restored, mono, stereo, surround, SACD...this is why I never bought the Beatles remasters. George Martin did a great job in 1987, there was never any real need to remaster them (besides profiting from a gullible public).

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Contact enhancers - Baloney, in fact "Tweek" (from the 1980's) actually CAUSED CORROSION on dissimilar metals.

PLUS, if you're sloppy applying your enhancing goop, you may make an electrical contact where there is supposed to be none: also known as a "SHORT".

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Special cd Cleaners:

"Cleaning the cd twice is said to produce best sound" = "Lather, rinse, repeat" = Buy more sooner.

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Great bass from small speakers - You need AT LEAST an 8" diameter woofer to reproduce frequencies down to 40Hz. Physics, dude.

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Monster Cables - Mega price inflation for Micro electron flow improvement...in fact, after a certain size electron flow DEGRADES.

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Headphone response lower than 20hZ - Frequencies below 20Hz can be important when actual speakers are involved, because you FEEL them in your chest...there's no use in paying to get those freqs in your ears!

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Ion zappers - static-y cd's...WTF?!?

Of course these make sense for vinyl lp's, static builds up and attracts dust which settles in the grooves (is that why vinyl sounds better?), but for cd's? How soon until they market an mp3 version? Until the warehouse is empty, I guess...

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Gold-plated plugs - Generally only gold-colored BRASS plating, which gradually oxidizes and reduces connectivity.

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M600 microphone clamp to reduce infrasonic vibrations - infrasound is, by definition, sound below the limit of human hearing. It cannot even be reproduced by regular speakers. This is the "sound" of tectonic plates, deep-flowing magma and cautious elephants, NOT the world of audio recording.

At least the poor economic climate has brought the price of these M600 clamps down below $200 (!).

Shinybox Ribbon Mic Mod

2010-06-06T15:13:00.000-07:00

If you happened to have a pair of Shinybox 23 ribbon microphones set up in front of you, like so:

...would you be able to tell which one had more clarity, a more open tone?

What if the mics were lit from the back, like this:

It seems pretty obvious that the mic on the left, which allows more LIGHT through, would certainly allow more SOUND through. This is accomplished by doing a few simple modifications, which I have photographed, and am putting up here.

First, a few notes about ribbon microphones: they are some of the most delicate and sensitive mics - a cough or a fast breath can rip the 2-micron-thick aluminum ribbon, which ruins the mic. Never blow into a ribbon mic ("Is this thing on? Fff! Fff!"), and always handle with extreme care. Keep them right-side-up or upside-down, NOT horizontal/sideways, as this will cause the ribbon to sag, and not work properly.

These large Shinybox 23 mics are generally the same mics as the Nady RSM-2, the Apex 210, the t.bone RB-500, and the Cascade Vin-Jet, with only very minor differences. The multilayered mesh headbasket can resonate or ring, adding an undesirable metallic haziness to some sources. There are several layers of nylon mesh which are added to avoid wind/breath damage, but they also attenuate the high frequencies, and add phase shift to the low frequencies. And at the front and back of the "motor" (ribbon-and-magnet assembly, the heart of the microphone) are metal "waffle" plates (high frequency resonators), added to provide an acoustical boost in the high end (presumably replacing what the nylon mesh lost), but these parallel plates also create some high frequency comb filtering.

If we promise to be careful with our microphones, we should be able to remove these multiple layers of problematic "help" without any adverse effects.

Here's what we'll need:

That's it? No special tools? No solder? That's right. Piece'o'cake.

Here's a shot of the 1/2" thick foam pieces with a tape measure, for their general size and shape.

What I'm shooting for here, is a full set of step-by-step idiot-proof instructions. Please realize that even though all of my pictures show only ONE hand holding the mic or hand tool, it is because my OTHER hand had to hold a CAMERA. USE BOTH HANDS WHEN DOING THIS MOD. There. Now we're idiot-proof. Not that you're an idiot, but if you were only JUST slightly BARELY considering RIPPING OPEN your ONLY super-delicate ribbon mic, a set of instructions like this might let you go ahead and do it.

SO DO IT.

First, unscrew both knurled round nuts by hand. Remove the 2 small washers. Gently spread open the yoke (the big "Y"-shaped piece), and remove it from the mic.

After moving those parts out of the workspace, use the pliers to loosen the double hex bolts on both sides. I'm calling them "double hex bolts" because they are 2 opposing bolts joined in the middle with a hexagonal head.

Finish removing both double hex bolts by hand, along with the 2 washers.

Move those parts out of your way, then use the screwdriver to loosen the 3 small screws at the base of the headbasket (wire mesh).

Then remove the 3 screws completely.

Move the screws out of the way, then gently lift the headbasket.

Lift it completely off, leaving the microphone assembly sitting inside of the base.

The inside basket is sort of rectangular, covered with fine white nylon mesh. It should simply pull out by hand - wiggle it a bit, watch out for sharp edges.

Discard the rectangular basket and nylon mesh. Then gently lift the motor up out of the base, with the circuit board FACING you. This is the side to work on FIRST.

Use the pliers to loosen the tiny nuts. These have been painted over at the factory to keep them from coming loose, so use the pliers to completely remove them. This is where you have to begin being very careful not to drop any tiny parts! Also, remember to handle the ribbon motor gingerly.

Also remove the tiny little washers...use your fingernail to lift them off the posts. Don't drop them, if you can help it! Generally, if you drop a part, it ends up being trapped in the base (cup), but it could fall through to the ribbon and ruin the mic - CAREFUL!

Move the loose washers and nuts out of the work area. Now ease the motor out of the frame. Gently push the top and bottom bolts out of the black rubber grommets at the top and bottom of the frame. It is a snug fit, just don't force anything or be in a hurry.

Once the assembly is free of the frame, use the pliers to loosen the long cylindrical nuts on both bolts.

Then carefully finish unscrewing them by hand. Also remove the tiny washers.

Now VERY CAREFULLY remove the waffle plate. The layer of nylon should come along with it. Once this is done, the delicate ribbon element will be exposed. No sneezing or coughing or open windows allowed.

The ribbon element:

Now carefully replace the tiny washers and cylindrical nuts. Tighten them to "very snug" (that's tight enough to stay in place well, but not so tight as to strip out the threads) with the pliers. Don't drop anything on the ribbon. Don't slip with the pliers.

Push the bolts back through the rubber grommets in the frame.

Get the 2 tiny washers and hex nuts, and replace them on the bolts, washers go on first. You might need the pliers once you start them by hand, because the leftover paint makes these a snug fit. Tighten to "very snug".

The first side is done. Now turn it over/around to work on the opposite side. Be sure to CUP your hand - don't let the assembly lay flat in your hand, as you need to protect the ribbon from any contact or air movement.

Use the pliers to remove the 2 hex nuts and lift off the 2 tiny washers, the same as the first side.

Carefully lift off the waffle plate and nylon mesh.

Replace the washers on the bolts, and then the hex nuts. Use the pliers to tighten them down "very snug".

The completely unobstructed ribbon motor:

Next, sqoosh some foam into the gaps between the motor and the frame at the top and bottom. This should help reduce some mechanical resonances, as the motor virtually pivots on the bolts without this additional support.

Now lift up the mic assembly away from the base, and push in the slotted piece of foam, placing the heavy cable in the slot in the foam.

Carefully replace the assembly into the base, taking care not to detach any wires along the way.

Push/pull with the needle-nose pliers if needed, to help everything sit together nicely. The foam filling the base should reduce or eliminate the resonant frequencies that can build up there. Go ahead and speak with an empty coffee cup next to your mouth to get an idea of the types of "telephone" sounds that can be produced in the base...

Replace the outer mesh headbasket and install the first double hex bolt loosely. There are 1/2" squarish inside plates on either side which should have stayed attached to the frame (that the double hex bolt screws into) - IF you had one fall out during the disassembly, THAT side is the side you should start with: a little tricky, but do-able.

Repeat for the opposite side:

Then tighten both double hex bolts to "very snug" with the pliers.

Then replace the three small screws - just get them started by hand...

Then gently tighten with the screwdriver.

Then replace the yoke on top of the bolts.

Finally add the washers and the round knurled nuts, and tighten to finger tight.

Remember that now you almost ALWAYS have to use a pop filter to protect the ribbon element!

And you must promise to COVER the microphone before moving it to a new spot (yes, evidently even moving the microphone from HERE to THERE creates enough air movement to damage the ribbon)!

Remember that we agreed to be MORE CAREFUL with the microphones after they were modified...

Now go and ENJOY your more open-sounding, slightly brighter, less resonant ribbon microphones...go find a brass band, and record them like crazy!

Diana Lawrence - New Album

2010-06-06T14:13:00.000-07:00

"Is that THE Diana Lawrence?!?"

"Is that Steve Jansen, the Moonroom GOOROO?"

YUP!

Mastering (here at the Moonroom) on the new Diana And The Dishes album (featuring super-talented singer/ songwriter/ pianist Diana Lawrence!) "Take A Picture" is complete.

Production by Mike "Doesn't-He-Ever-Stop-Working" Przygoda (where have I heard that name before?).

This album is simply a JOY to listen to: replete with string sections, bells, vibes, swirling organs, banjo, horns, phenomenal guitar work...lyrics and delivery that alternate between heartbreak and hilarity...something like Ben Folds jamming with Chicago's best session musicians with Motown's Norman Whitfield producing.

Check out a few songs at http://dianalawrence.com/ to hear what I'm talking about. The album should be out very soon - you must get it.

The PAWNS - First Line Of Defense

2010-01-30T22:47:00.000-08:00

January 19th, the Pawns had their cd-release party at Martyr's in Chicago. Yes, the album that was recorded in less than a week (and pared down, mixed and mastered in only a year!) is finally finished. It's titled "First Line Of Defense", and if you happened to come to the show at Martyr's, you were treated to a free copy of the album: quite a special release, since the cd came in a 45-rpm-style sleeve, along with a full double-sided lyric sheet, sticker, and three buttons!

The show was a rousing success - the band managed quite well, even though there was barely enough room on stage for the multiple keyboards, acoustic and electric guitars, banjo, drumset, bass, vibraphone, cello, and a bunch of amps, let alone the handful of guest musicians!

The Pawns rocked - here's the song "Off Limits" which I recorded at the show (with the help of my binaural aide, Lamont):

And because I'm so proud of the work we did on the album (mixed and mastered here at the Moonroom!), here's a song from the album, "Howard Street":

Now, there has been talk in the band that they may make this album a digital download ONLY release. If that ends up being the case, these cd's in this special package are going to be the ONLY physical release of the album.

If you are interested in getting a copy of this special release while there are still some left, contact Mike Przygoda at mprzygoda#hotmail.com (replace the # symbol with the @ symbol). I would urge you to get one while you can.

Voice Actor Mark Kettner

2010-01-09T08:44:00.000-08:00

Mr Mark Kettner decided that it was time to get himself a job in the world of voice-overs. So we worked together on producing a demo recording which would showcase his pleasant, trustworthy voice in several different styles.

Several ads were included: humorous "gardening", hot cereal, high-class automobile, and blue-collar Christmas.

Also a few theatrical bits, and some technical medical and office paragraphs, and a couple of historical pieces on the ancient Maya and Rudolph (the Sheik) Valentino.

All in all, a very nice representation of work that seemed very well-suited to Mark's mellifluous tones.

But for the opening "grabber" track, Mark chose a mashup that we did, which included bits of most of those recordings, strung together in a humorous ping-pong stereo presentation.

Here it is:

If you have some voiceover work that needs to be done, please contact Mark at

mark_kettner@yahoo.com

Gus Stagg Records

2009-11-17T18:34:00.000-08:00

I hooked up recently with my old friend Gus Stagg, who was out playing a local festival. For some inexplicable reason, Gus did not have any cd's of his music to offer the music-hungry crowd (which is always a good way to make a few extra bucks, especially since the work has already been done).

After a little while catching up, we decided to do some work together: he does the musical stuff, and I hit "Record". Since Gus does his best singing and playing (guitar and harmonica) all together live, that's what we're shooting for in these recorded versions. I've just got him set up here in the Moonroom, with a Mid-Side microphone setup to pick up the performance in stereo, and a clip-in acoustic guitar pickup for a bit of reinforcement.

Here's a video of the song "Einstein" - "He knew his 'rithmatic", indeed!

Sometimes Getting Good Sound Is Simply Knowing What To Avoid

2009-10-15T14:21:00.000-07:00

Now, first off, nothing against Tad Donley - he's been through a lot and seems like a genuinely good fellow...

But it may be in your best interests to look somewhere else for your recording project if the guy running the studio sounds like this:

Of course, that's "NOY-mon" U-87...which IS a top-notch mic.

C'mon - the dude missed becoming one of Spinal Tap's drummers by some fluke (mainly because he was a guitarist), so they let him be their live sound guy...he's GOT to have some killer skills...in there...somewhere...right? Pretty sure he mixed "Jazz Odyssey", anyway...

Beatles Remasters, or "You Like Me Too Much"

2009-09-13T07:14:00.000-07:00

Or maybe "I Should Have Known Better". Golly, the whole damn world is falling over themselves going on and on about how great these new Beatles remasters sound - the clarity, the punch, the sparkle, instruments that they'd never heard before (!)...

I'll agree that they are a bit better. But not necessarily ALL THAT.

I do think that President Obama missed out on a great opportunity for a stimulus package on this, however. Can you imagine if he'd given a $50 voucher toward the purchase of this box set? Turn in your old "clunker" Beatles cd's for a new and improved batch! Help support the economy, your country, and Michael Jackson's long line of lien holders!

Try this for grits and shins - take one of your new remasters, and play it while following along in this site of Beatles Anomolies. This site lists a bunch of audio oddities and mixing mistakes that ended up in the final Beatles recordings. Now, granted, this stuff is bound to be considered minutia by most casual listeners, but they're actually in there, for anyone to hear.

Of course, many of these mistakes have become integral part of the songs, themselves, but many more have not. Most are generally transparent, until you know that they are there. You all knew that someone says "Oh, f*cking 'ell!" in "Hey Jude", right? Plain as day. Right there at 2:58, along with the line "Then you begin". Listen here, if you don't have it handy. NOW you hear it...now you'll ALWAYS hear it. And if it were missing, the song would be incomplete...we all hear it as part of the song.

But I was amazed/appalled at how much non-critical stuff was NOT FIXED! These are the 21st century remasters of the Beatles, for Pete's sake! Are they worried that listeners are going to miss that "fwip" on the cowbell at :47 on "Taxman"?!? No.

These are the same guys who turned 12 albums worth of great music into (gasp!) 19 albums here in the states. And a whopping 34 albums of compilations! It's all about q u a n t i t y of product. Heck, they even have a MONO box set, which in my opinion, ought to cost about HALF as much as the stereo set, but for some reason costs even MORE. Besides the fact that once the U.S. Limited Edition run of 10,000 copies ran out, they promptly MADE MORE...doesn't sound so limited or exclusive any more, does it?!?

Some fans may think that the $12 per cd price tag isn't that bad...but, come on! These are 35-minute albums! What about the other 45 minutes available on the cd? Howbout two-fers maybe? Both the stereo and mono versions on the same disc? Bonus tracks? Nope. Just crappy 5-minute Quicktime movies that you'll watch one time. Meh.

Leaving a bunch of mistakes in the remasters allows them to re-re-re-re-release the same material yet AGAIN, once sales of these remasters has leveled off. "Newly Repaired Remasters - Sounds Better Than Ever Before!"...then the Remixes...then the 5.1 Surrounds...then the separate multitracks...by which time the true Beatlefans who have every available released version could have bought themselves a car, and listened to the Beatles on the car radio instead. Beep-beep 'm' beep-beep yeah!

The 1999 "Yellow Submarine Songtrack" cd of remixes was impeccable. My only hangup about the Songtrack album was that the tracklist was brand new: I'm unaccustomed to listening to these songs in this order. But THIS is the way to have our Beatles music: clean, polished, fixed...these songs on this disc actually were revelatory. The new remasters, I'm afraid, are not.

When I think back to how impressive some other remix/remasters have been (Alan Parsons Project 1976 1987 "Tales Of Mystery And Imagination", Beach Boys 1966 1997 "Pet Sounds Sessions", among others), these remasters almost pale in comparison.

I bought most of the Beatles lp's, some tapes, sheet music, all of the cd's, scores of bootlegs, Anthology...I just don't happen to have the spare $400 right now.

And I won't, until these are fully remixed. And re-re-re-re-re-re-re-re-remastered...

NOTE: Even though the above rant may have seemed a bit cynical, we can rest assured that the REMIXED remasters will probably be coming out - look at the most recent Beatles bootleg/leaks: a year ago, sixteen multitracks from Sgt Pepper's Lonely Heart's Club Band were making the rounds on the internet, and in February of this year, take 20 of "Revolution 1" (which showed the evolution from the slow version to the Revolution 9 version, along with some odd "Mama, Dada" vocals from Paul and George)...not to mention those 2006 "Love" album's mashup/remixes.

Now, referring to this CNN report, Allan Rouse says that the remaster project took four and a half years, that the team spent an average of two weeks on each album...let's do some math...it should certainly have taken less than a year to remaster the entire catalog, then! Just what was being done the other three and a half years?!?

Transferring all of those multitracks, is my guess. So I'm saving now to buy the remixed remasters in a few years. THOSE will be worth the wait. And I don't doubt that they're coming - just wait for the current sales to taper off, and be ready for the announcement.

I'll start by buying a "Piggies"-bank.

More Recording Secrets

2009-08-01T11:30:00.000-07:00

Some thoughts on the often overlooked RECORDING CHAIN

The path (chain) of how audio gets recorded:

Instrument> Performance> Microphone> Placement> Room Acoustics> Cable> Preamp> Recorder

In order to get the best sound, you need to concentrate earlier in the chain. For example, even if you have the absolute BEST stuff available from later in the chain, you won't be able to get anything worth a listen if the instrument is crap. It is infinitely better to actually have new, bright strings on a quality guitar rather than try to emulate that sound later.

The better things sound earlier in the chain, the less work each successive link has to handle.

1. Get the best instrument that you can. Clean/ replace/ tune so it sounds as good as it possibly can.
2. Get the best player that you can. Practice/ sobriety/ comfort/ attitude make all the difference.
3. Use the proper microphone. A Shure 57 works on a LOT of stuff, but not everything. Much of this depends on the character you expect the instrument to have in the song. Background instruments would probably merit a mellower mic choice (say, a ribbon mic over a condensor)
4. Place the mic well. Be aware of proximity effect, polar patterns, directionality, bright/dull character, etc. Closer miking picks up less room sound, further picks up more.
5. Use/refuse the room. Use acoustical treatments and/or instrument placement to your advantage. Consider gobos, blankets, walls, hallways...
6. Use a quality cable. Not ultra-expensive mythological MONST*R cable, just not cheap ready-to-fail stuff. It'll bite you when you least expect it.
7. Use the best pre-amp that you can. Better standalone ones (rather than the merely competent ones on your board) will introduce less noise to your signal.
8. Record at the highest quality you can. You can always shrink files later.

Part of what brings this to my mind right now is that I have been buying some more mics lately. The phenomenal CAD M179, to be precise. This multipattern large diaphragm condenser KILLS. Down to 10Hz?!? 133dB Dynamic Range?!? 11dB Noise Level?!? 143 dB SPL?!?

The M179 features a non-capacitive 20 dB pad switch and an 80 Hz high-pass filter.

Specifications

Type:
Side Address, External bias condenser
Frequency Response:
10-20 kHz
Polar Pattern:
Variable
Impedance:
Low (200 ohms nominal).
Output Level At 1 kHz.:
Open Circuit Voltage:
-56 dB (0 dB = 1 volt per microbar).
15.9 mV/Pascal.
Dynamic Range:
133 dB.
Equivalent Noise Level:
11 dB Equivalent SPL, A weighted
Maximum SPL:
143 dB SPL (With pad on)
Total Harmonic Distortion:
Less than 0.15%

These specs compare with mics more than 5 times the price! Granted, this is not an AKG C414, or a Neumann TLM 170R (obviously!). But to have a microphone this quiet, able to withstand extreme Sound Pressure Levels, with almost NO coloration, and a choice of omni/ wide sub cardiod/ cardioid/ hyper cardioid/ figure-8 bidirectional polar patterns (almost like 5 mics in one)...at it's original price of $400 it was a great bargain. NOW THAT IT HAS BEEN DISCONTINUED, if you can find them, the price is just around $150.

Now, WHY such a nice microphone bargain has been discontinued is a mystery to me! Evidently they're not selling as well as they could, but WHY NOT? A mic that is super-quiet and picks up the original audio without adding "character" (i.e. a "presence peak"), is so versatile and this affordable should be in everyone's microphone cabinet! This mic fits/ adapts into the >Microphone>Placement> part of the recording chain so nicely, it's not funny. I have been thinking lately that a LOT of mic customers are buying for audio coloration, rather than considering the recording chain: concentrating on mic type and placement. Or maybe they think it's ugly (as if looks have anything to do with a mic!) - I think it looks really sharp, BTW!

You just wait and see. Five or ten years down the line, I expect that these will be going for even MORE than their original prices. IF anyone lets them go at all.

I guarantee I won't let mine go (four, so far)!

Great Free Tool!

2009-06-22T15:24:00.000-07:00

There is a great new FREE tool available from a German website: Pleasurize Music Foundation. It is a Dynamic Range measurement tool, which works regardless of the volume of the music.

As many of you may know, there has been a "Loudness War" going on in the music industry this last decade-and-a-half...resulting in many, many albums that have been "maximized" (compressed and limited) to the point where they have almost no dynamic range (and are ugly and fatiguing to listen to).

There is a "live" version available as a plugin, designed to be used while mixing and mastering in your own software, and an "offline" standalone version for measuring tracks after mixing and mastering.

This freebie is brand spanking new, and I haven't yet used it to it's fullest extent, but it is an EXCITING tool! Since the recording industry gave us the cd format with its' wonderful huge dynamic range, then the same industry gives us music with less and less range in it...what are we to do? WE TAKE OUR MUSIC BACK, that's what! We produce music that is once again musical, pleasant to hear, using accessible technology to improve the audio to what it CAN BE...

Go to the site. Check out their info. Sign up if you agree with their goals. Download the Dynamic Range meter HERE.

Good stuff.

The Pawns

2009-04-18T16:27:00.000-07:00

Mike Przygoda and Company (aka "The Pawns") and I have been secretly working on a phenomenal audio project - we've been working on mixing this upcoming release for several months now. Originally some TWENTY-NINE songs recorded with up to THIRTY-SIX tracks, it has now been pared down to about nineteen songs, and mixed down to two tracks (that's *stereo*, for you neophytes!).

Here is a hybrid from the sessions: the song is called "The Only One". The mix is a composite of a very early live performance of the song (I believe when the song was only a few days old!), a quick mix of the original recorded tracks, and a more polished "prefinal" mix.

And howbout that groovy/ugly cd cover I threw together? "Pawns? I thought you said Prawns!"...just look closely and nod like you get the joke.

Stay tuned for updates about the exciting release...

More Polish Audio Drama

2008-10-30T19:07:00.000-07:00

Here's some newly-restored thirty-year-old Polish radio drama, freshly baked here at the Moonroom...as all "quality" Shamrock tape should be. This show is called "Rzeznia", which I believe translates as "Slaughterhouse".

This was about 2 hours of audio, spread out on five reels. I hear lots of excellent acting, even though I can't understand what is being said (bummer!).

I'm not sure whether it's a very HEAVY human drama, or a horror show...maybe it's just better not knowing. Check out the audio snippet below:

Paddy Leitsch Shills For MOONROOM

2008-10-09T16:33:00.000-07:00

Check it out! The Paddyman has posted a neat little vid on YouTube featuring the Moonroom Recording Studio. We've done quite a bit of work here...he was even good enough to continue to work with me while it was being built! This pretty much shows the general attitude here: relaxed and fun. Gotta love that giant prehistoric iPod - how many songs on THAT hard disk?

And of course I meant "spiels" for Moonroom, not "shills"!

;^)#

Some Great Recordings

2008-07-04T12:20:00.000-07:00

Here are some GREAT recordings - good for use as reference recordings (depending on the type of music you care to reference). These are notable for being innovative, for being prime examples of great production and engineering. Some are genre bending, others create their own genres. Not a definitive list or anything like that, just some stuff that I pulled out of the cd rack - of course, there are records and tapes that I have that are not represented here. These are some of my favorites: incredible studio work, impressive arrangements, music that makes the brain work! These "set the bar" for me:

Alan Parsons Project - 1976 - Tales Of Mystery And Imagination
HEADPHONES. A superb "electronic"-sounding album, done before electronic instruments were common. Great mix of rock and orchestra, all under a common theme (Edgar Allan Poe). Also check out his albums "Pyramid", "Eve", "Turn Of A Friendly Card", and "Eye In The Sky".

Les Baxter - 1959 - African Jazz
Even though the "jazz" on here is as "African" as the cover model is, this is one fantastic album! This exotica gem showcases Baxter's terrific arrangements, odd instrumentation, and presents a sort of "Hollywood" version of percussive Africa.

Beach Boys - 1966 - Pet Sounds
Brian Wilson's masterpiece. How can an entire album be so good? Heartbreakingly beautiful. "God Only Knows" is Paul McCartney's favorite song of all time. And the stereo version (1996) only doubles the beauty of the original mono version.

The Beatles - 1966 - Revolver
"Turn off your mind, relax and float downstream" with this one. Top-notch writing. A wonderful mind trip. And no two songs sound alike. Also try "Rubber Soul", "Sgt Pepper", and "Abbey Road".

Adrian Belew - 1996 - Op Zop Too Wah
From King Crimson and David Bowie and Talking Heads and The Bears comes Adrian Belew. Whimsical and dark wordplay, beautiful melodies...this drummer won "Best guitarist of the year" for several years in a row - plus the guy recorded and played and sang the entire album himself!

Clockhammer - 1992 - Klinefelter
You never heard of them. From Nashville, this HEAVY rock group incorporated jazz and some wonderful lurching time signatures. Victims of the "Only Two Albums" curse.

Donald Fagen - 1982 - The Nightfly
HEADPHONES. The voice of Steely Dan. This album is a recording BENCHMARK. Absolutely impeccable recording work by Roger Nichols. Also try "Kamakiriad".

Stan Getz - 1965 - Mickey One OST
The follow-up to "Focus", this soundtrack album was also a Stan Getz/Eddie Sauter pairing. Eclectic tenor sax solos intertwined with thrilling small orchestra arrangements, this music jumps genres from track to track effortlessly.

Flaming Lips - 1997 - Zaireeka
A 4-cd set designed to be played on 4 different cd players at the same time. Wonderful conceptual audio art. Get this and have a Zaireeka party with friends. Simply beyond cool.

Flaming Lips - 1999 - The Soft Bulletin
HEADPHONES. Their "Sgt Pepper's", this album is full of lush fake orchestration, mind-blowing lyrics, possibly the best album of the '90's. Also try "Yoshimi Battles The Pink Robots" and "At War With The Mystics".

Flat Earth Society - 2006 - Psycho Scout
You never heard of them. Oddness is king with these virtuosos. Rock with a full brass section, lots of dark humor...Zappa music from Belgium.

Bernard Herrmann - 1958 - The Seventh Voyage Of Sinbad OST
This is a stereo bootleg of the complete score (only a re-recording of the score has been legitimately issued). Bennie was notoriously tough on his orchestras, and AM I GLAD HE WAS! All of the original Herrmann-directed orchestral recordings are spectacular, and put the re-recordings TO SHAME. There is passion and fury here that just doesn't come through on the later recordings. Good luck finding this one. Also try "Mysterious Island", "Sisters", "North By Northwest", "Journey To The Center Of The Earth", and "Taxi Driver".

Jellyfish - 1993 - Spilt Milk
HEADPHONES. Doesn't get better than this. Killer production, great songs. Beach Boys meet Queen meet Schoolhouse Rock. Whimsical pop, dark grown-up subjects wrapped in uber-catchy music. Victims of the "Only Two Albums" curse.

Michael Kamen - 1988 - The Adventures Of Baron Munchausen OST
HEADPHONES. Severely strange blackly comic full orchestra, to match the style and feel of the Terry Gilliam film. I especially love "The Torturer's Apprentice" piece, which is a song that the Sultan plays on his turture instrument. Each key he presses causes a different sort of pain in a different slave, and the entire song is a chorus of painful "ooh's", "yow's", and "ouches". Brilliant! Good luck finding this one.

King Crimson - 1993 - The Concise King Crimson
A career retrospective of this unbelievable band. Music that makes musicians go "Whoa!". Also try "In The Court Of The Crimson King", "Red", "Discipline", "Beat", "Three Of A Perfect Pair"

King's X - 1992 - King's X
A heavy metal/heavy rock band originally associated with Christian rock (but don't hold that against them), with lush Beatles-y vocals in their powerful pop songs. LOTS of music out of just three guys. They ought to be much more popular than they are. Also try "Gretchen Goes To Nebraska", "Faith Hope Love", "Mr Bulbous".

Pink Floyd -1973 - Dark Side Of the Moon
HEADPHONES. Goes without saying, top notch. Alan Parsons engineered this masterwork. On sixteen tracks (NOT twenty-four!). THE album on ALL the lists.

Shiina Ringo - 2007 - Japanese Manners
You never heard of her. Amazing, unusual, incredible vocalist with supremely strange arrangements. Her cunning wordplay works across the several languages she sings in. This album is very soundtrack-y, not as gimmick-y as her earlier work. Impressive. Also try "Lawsuit Winning Strip", "Lime, Semen, Chestnut Blossoms". Good luck finding them.

Raymond Scott - 1992 - Reckless Nights And Turkish Twilights
This is the guy who originally composed the music that you heard on those Bugs Bunny cartoons. Quirky pseudo-jazz from this musician who would not read or write music. He engineered his own recordings in his own recording studio: his music from the 1930's has the fidelity of the 1950's! Invented the electronium (automatic composing machine), the clavivox (keyboard theremin), and was the grandfather of electronica.

Steely Dan - 2000 - Two Against Nature
HEADPHONES. Simply gorgeous. Becker and Fagen and Nichols continue the spectacular sparkling Steely Dan stuff, after a twenty year break. Still more ugly underbelly lyrics attached to lush, sweet music. William Burroughs must have been proud that the pedantic pair pulled their band's name from his novel "Naked Lunch"... Also try "Katy Lied", "Gaucho", "Aja", "Royal Scam".

The Three Suns - 1961 - Fever And Smoke
"Quirky" doesn't quite sum this up. Maybe "goofy". Anyway, these fellows are phenomenal musicians with wicked chops playing the most unusual arrangements you've ever heard. Nothing but FUN! Innovative exotica well worth searching out.

The Tories - 2001 - Upside Of Down
HEADPHONES. I'm a sucker for well-done power-pop. This is just that. Every song here is a hit song. There is NO FILLER on this album. Victims of the "Only Two Albums" curse.

Trenchmouth - 1991 - Construction Of New Action
You never heard of them. Chicago punk band that KICKED my ear's ASS in the early '90's (thanks so much)! This cd is full of great unusual sounds, and the disc ends with some SPEAKER-DESTROYING sonics (no kidding - careful!). Watch for their drummer, Fred Armisen, on Saturday Night Live.

Vinyl Kings - 2002 - Time Machine
HEADPHONES. You never heard of them. Soulful pastiche of the Beatles/ Beach Boys/ Marvin Gaye. Eminently singable. You must go to CdBaby and buy it now. Victims of the "Only Two Albums" curse. Also try "A Little Trip".

Brian Wilson - 2004 - SMiLE
After following the dozens of iffy bootlegs of the great 1967 "lost album" by the Beach Boys, it was SUCH A JOY that this was finally released. How wonderful, too, that they didn't update or "improve" it, they simply re-recorded it, note-for-note, plus a few new bridges. Perfect.

XTC - 1989 - Oranges And Lemons
XTC has always been "quirky pop". Ugly and catchy all in the same breath. Another band that should have been much more popular than they were. With a bit of a nod to psychedelia and a winkwinknudgenudge of humor...beautiful. Also try "Skylarking", "Mummer", "Big Express", "Nonsuch".

XTC - 1999 - Apple Venus
HEADPHONES. After holding out for some seven years (due to a bad recording contract that Virgin refused to renegotiate), XTC comes back, BETTER THAN EVER. This album and it's follow-up "Wasp Star" each had an album's-worth of demos. XTC fans had four albums to listen to almost all at once.

Yes - 1983 - 90125
HEADPHONES. No apologies - I adore this album. Great tunes, something like SIX hit songs. Wonderful production by Trevor (Buggles) Horn. Just get over the sound of the eighties (which this album helped CREATE), and enjoy the sound of the great music. Also try "Drama".

Frank Zappa - 1975 - One Size Fits All
HEADPHONES. Engineered by Kerry McNab. Astounding musicianship, mind-blowing compositions. Progressive rock that ROCKS. This album voted most popular by Zappa fans. There is so much going on, so much to listen to, so much conceptual continuity...thirty years, and I'm still trying to digest it all. Audio utopia.

Frank Zappa - 1984 - Them Or Us
HEADPHONES. Engineered by Mark Pinske and Bob Stone. Full and crisp, this album takes you from '50's doowop to backwards masking to frighteningly good guitar shreds to comedy to the Allman Brothers "Whippin' Post" (Zappa's version beats the original, without a doubt). Also features some "xenochrony", dropping a guitar solo into a song from a completely different one: different keys, different tempos, but it works (!).

And a note about my comment "You never heard of them." - Maybe you did. Then you are much cooler than those others who didn't.

Enjoy.

"Baking" Reel-To-Reel Tapes

2008-05-24T09:26:00.000-07:00

Recently, I accepted a job to transfer some 30-year-old reels - Polish radio dramas, stored and never heard since their original broadcast. It is important, of course, to preserve this type of obscure stuff.

Opening the package, I first noticed the brand of tape: "Shamrock". This rang a bell for some reason, so I did a quick search for some information on Shamrock tape. Evidently, this is about the very worst tape that one could record on, being super-susceptible to what is called "sticky-shed syndrome". They weren't trying to confuse customers that this was Scotch brand recording tape, were they?

In the late 1970's, most tape manufacturers changed the binders in their tape formulations (the binder being the glue that holds the rust on the plastic tape) due to health concerns. Unknown to them, this hygroscopic compound would, over the course of years, pull moisture directly out of the air, and get somewhat gooey, allowing the recorded layer to separate from the plastic tape. This is not only bad for the recorded media, but also for the equipment that it gets played back on.

So after a bit more research, I purchased a wonderful device which would remove the water, and render the tapes playable. It is compact, and holds the exact temperature needed for "baking". It can also make banana chips - it's a food dehydrator! This is one of those times that the DIY mentality has given us the absolute perfect solution to our problem.

The tapes played back perfectly, with great fidelity. The only problem was that they were all in Polish, which is all Greek to me! It seemed to me that since I could hear the actors moving around the recording space, interacting with each other, yet heard no pages turning, this show was memorized and blocked out the way a stage play would be. Very impressive - it lent a sense of realism to the entire production! I hope to get a bit of a translation soon.

HERE is a little snippet, some of the opening. The couple seems to be doing some pillow talk...not really discussing the barking dogs that introduce the scene. Well, that's what I hear, anyway. Let's hope it's not too off-color!

"The Linkup" STINKS

2008-05-14T19:38:00.000-07:00

Once upon a time there was an online filesharing/backup company called Streamload. It was good - offered quality service at a good price, even offered freebie filesharing.

Then the company changed into MediaMax. It was not as good - service was nowhere near as good as it was, MANY important files "backed up on secure servers" were lost, never to be seen or heard again, very poor customer service, but we paying customers still had hopes that it might return to it's former quality.

Now the company has changed into "The Linkup". It is just plain NO GOOD. Service is essentially NONEXISTANT. ALL the remaining files from MediaMax have been lost, absolutely nothing is accessable. No links to files work: the audio that you may try listening to on this blog is GONE, although I have PAID for a service that guarantees the files to be there.

While I am trying to get my money refunded from these thieves, I will also try to find another (quality) backup company to store my files, so that they can once again be shared with my blog visitors.

My apologies for the technical difficulties.

DO NOT USE "THE LINKUP". AVOID THIS SHADY COMPANY AT ALL COSTS. DO NOT DEPEND ON THEM TO KEEP YOUR FILES SAFE. BE SURE TO TELL YOUR FRIENDS TO AVOID IT LIKE THE PLAGUE.

The Newest Oldest Recording

2008-04-04T13:52:00.000-07:00

This beautiful archaic device is a PHONAUTOGRAPH. Invented in 1857 by Frenchman Leon Scott deMartinville, a printer and writer, it was created to show how sound waves looked: possibly as as an "oral shorthand". The idea being that one could LOOK at the squiggly lines and tell what had been said (!).

The original design (1857) used a barrel-shaped wood-and-plaster horn (the auricle) and scratched the sound waves into a lampblacked glass cylinder. A later design (1859) changed the horn to a more tapered metal horn, and transferred the scratches to a blackened piece of paper wrapped around a cylinder. Notice how there is even decorative scrollwork shown on the original diagram of the machine!

SO - my point being, they've just discovered phonautograms from 1860 that are able to be "played" and are recognizable - predating the other "earliest" recordings (from 1888)! There are a few other, older phonautograms, but they only sound like squawks and warbles...nothing recognizable.

Here is a phonautogram, showing the white scratch in the lampblack (soot) on paper. The sort of sad thing about the phonautograph is that is was NOT for reproducing sound, just for creating a representation of sound on paper. The phonautograms that were recently discovered had to be digitally scanned and "played" in a virtual environment. Leon Scott died in 1879, penniless and for the most part, forgotten. At least Thomas Edison knew that people would want to HEAR their recordings of sounds, and not just LOOK at them! What the heck would people ever use a GRAPHICAL REPRESENTATION of sound for, anyway?!?

Listen to the earliest known recorded sound that we can recognize HERE.

"Au clair de la lune, Pierrot répondit" - it has an otherworldly, sort of ethereal quality to it...and what more would one expect from sound salvaged from SMOKE?!? Time travel, indeed...

Another Sample

2008-03-30T13:09:00.000-07:00

And here's another quick sample: this is a track by Paddy Leitsch titled "Untitled Number Two". This was recorded live in a small club this past February. Paddy is the only person playing on stage, the rest of the band is just his own backing tracks playing through the PA. Tentatively calling this "GUITARAOKE", he plans on doing some gigs with this same lineup in the future.

I know that the crowd was certainly interested in what was going on - they kept looking around for the rest of the musicians, surprised to see just one guy onstage, shredding on his lit-up guitar! They hadn't seen anything like this before! Groovy.

This was simply recorded with Lamont (my binaural dummy head), and a bit of reinforcement from the original recorded tracks. Try it with headphones on - you'll get the feeling that you're sitting in the front row, with people all around you. Small club, no way to get away from the patrons...

Go check out Paddy's latest album HERE.

Check out his site HERE. (Yes, "Guitar Dragon Dojo" is him.)

Check him out live, when he plays near you!

Some Audio

2008-03-30T11:39:00.000-07:00

Here's an audio example of some of my recent work. This is a Chicago group calling themselves "Her Majesty's Secret Service", doing their renditions of some of the best James Bond soundtrack music. They play the stuff live, IN COSTUME. Too cool.

We did the entire five-song demo in two recording sessions - the first session was drums, bass, guitar and keyboard, laid down live. The second session was overdubs of the four-piece brass ensemble and vocals. A bit of post-production tweaking and preliminary mixing by me, then a few hours of final mixdown with the producer, and voila! (be sure to say the "V", yer an idiot if you say "wallah") - finished demo: ready to play for club owners and get hired and make some money!

I have to admit that calling this "work" makes me feel a little guilty. I really enjoyed the sessions, and working with every one of the musicians involved. What fun! If the recording sounds good, it's mostly their fault. I just hit the "record" button.

Click HERE for the track.

Enjoy!

My Qlist (Mic List)

2008-03-19T13:52:00.000-07:00

Before I post some audio examples (soon!), I thought I might show a quick list of the microphones I'm currently using (LDC is Large Diaphragm Condenser, and SDC is Small Diaphragm Condenser, of course):

2 Apex 140 Miniature Cardiod Condenser Mics
1 Apex 215 Dual-Ribbon Mic
1 Astatic 930VP Variable-Pattern Boundary Mic
2 AT4040 LDC Mics
2 ATM63HE Dynamic Mics
2 ATM25 Dynamic Mics
2 AT803b Miniature Omni Condenser Mics
1 AT Pro-1 Dynamic Mic
3 AT ST90 Mark II Dynamic Mics
1 CAD E300 2 Multi-Pattern LDC Mic
2 CAD equitek e70 SDC Mics (omni & cardioid capsules)
4 CAD M179 Multi-Pattern LDC Mics
1 CAD M9 Tube/Valve Mic
1 CAD Trion 6000 Multi-Pattern LDC Mic
1 Heil PR 40 Extra-Large Diaphragm Dynamic Mic
1 "Lamont" Binaural Dummy Head
2 Naiant MSH-1c Miniature Condenser Mics
4 Realistic PZM Pressure Zone Mics (Modified)
2 Shinybox 23 Ribbon Mics (Modified)
2 Shure SM57 Dynamic Mics
1 Shure BG-4 SDC Mic
1 DiMarzio Clip-In Acoustic Guitar Pickup

Plus a few mighty elderly clunkers that barely deserve to be classified as microphones, but I do occasionally use them for their unique..."clunkiness".

The Maestro

2008-02-22T15:11:00.000-08:00

Speaks about why music stinks these days...

I refuse to wear brown lipstick (if you're confused, you just don't get it!).

On the Monkees show.

Some Equipment...And A SECRET!

2008-02-22T14:05:00.000-08:00

Here's a list of some equipment used at "the Moonroom":

2 VF-160 Digital Multitracks, Linked For 32 tracks
2 VF-160 EX Digital Multitracks
Behringer ADA8000 Mic Pre / ADAT
2 Rane DC-24 Compressor / Limiter / Noise Gates
2 Rane VP-12 Voice Processors
Antares ATR-1a Auto-Tune Intonation Processor
Peavey 213 FX Equalizer
Fostex D-8 Pro DAT Recorder
Pioneer PDR-509 CD Recorder
Sony MD Recorder
Sony Portable MD Recorder
Zoom H4 Flash Stereo / 4 Track Recorder
Fostex R-8 8 Track Reel To Reel Recorder
Fostex 12 X 8 X 2 Mixer
Soundcraft 8 X 2 Mixer
Boss SE-50 Stereo Effects Unit
Alesis Microverb II Reverb
Kenwood Turntable
2 Akai 1/4" Reel To Reel Recorders

That's just a start. Sure, some of that equipment seems old - it is! Been doing this since 1988. Hold on to your old stuff long enough, and it becomes VINTAGE.

Now for the SECRET. Make sure that you don't tell anyone...

It doesn't really matter what equipment you have, what really matters is that you know how to use it well. Seriously. No kidding. Ask anyone who's been recording for at least ten years. "Equipment" is much further down on the list than the guys selling the magazines would have you believe. Important, just further down the list than skill, familiarity, and experience.

3-D Sound? 3-D Microphones!

2008-02-16T19:30:00.000-08:00

Here is a picture of "Lamont", my dummy head, used for recording binaural stereo. Binaural recording is a process used for ultra-realistic stereo. A pair of high quality omnidirectional microphones are mounted on either side of the lifesize resin head, picking up sounds exactly the way a real head would. This allows for some startling effects: a whisper right next to the ear, a flute solo that travels around the listener, people speaking in a room...all with incredible depth and vivid tangibility.

Then there's this oddity - an obscure Crapitol/EMY album from 1963 called "With The Dummies". Might this be where Frank Zappa copped the line in Camarillo Brillo: "She said her stereo was four-way"? One of the tracks on this album, "Eight Ears To Hear You" was later cribbed as "Eight Arms To Hold You" by both The Beatles and Veruca Salt. This album remains unheard by all but a select few, since it was recorded in the highly experimental octophonic format. Rumors of an 8-track release are unfounded - so far, the few 8-tracks that have turned up have proven to be fakes. Also rumored to have influenced Wayne Coyne of the Flaming Lips (see their album "Zaireeka", a 4-cd set designed to be listened to on 4 different cd players simultaneously!).

NOW BACK TO THE REAL WORLD...Here is a groovy picture of an assortment of microphones used here in the Moonroom. Since I was originally posting about binaural recording and 3-D sound, here is a 3-D photograph! Click on the picture to get the big version, cross your eyes until you get a third version in the middle of the original two, focus on it, and there you have it - microphones in three dimensions! Wow! And how many 7 foot square moon posters have you seen, let alone in 3-d?!?

Why name him Lamont? Click the funky-looking bar below to find out...

Test - 1, 2, 3, 4 - test, test!

2008-02-10T10:58:00.000-08:00

This is just a test. If this were a real emergency, you would have been instructed where to listen for more information. This is only a test. Beeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeep!