Category Archives: music recording

Recording Tips and More!!

So I was thinking about other ways to help every one and to hopefully get some responses from other folks out there on better ways to record and to maybe get folks to share some tips and tricks that they have found over the years in their effort to capture the sweet spot. This gave me the idea for this posting.

On my other blog that I write usually sharing other info on a wide variety of topics I started this idea. You can find HERE  or follow the link http://markallanwolfe.wordpress.com/

I have found a LOT of info in a lot of places and thought I might share some of my ideas as well for all of you audio engineers and home enthusiast. Below you will find links and videos and I also would kindly ask that if you would like to share your thoughts and ideas please feel free to do so. Lets dig in!!

Grammy Award winning Producer/Engineer Ross Hogarth explains his critical microphone positioning technique using a Royer R-121 and Shure SM57 on a guitar cab.

Here is a great place to start if your just learning about microphones and how to use them properly and for discovering which ones to use. Find this article here, http://www.edinformatics.com/inventions_inventors/microphone.htm

I own a few of these microphones and when I found the manufacturers website I discovered it was chock full of all sorts of info and helpful links to better understanding and info on microphones and how the work. Here is one link  http://www.oktava-online.com/appl.htm

closed headphones

Closed-back headphones such as the Sennheiser HD250 (left) are more suitable for monitoring while recording than open-backed models such as the Sennheiser HD600 (below), because the former design reduces spill from the monitoring signal into the microphone.

However much you rely on a computer to provide sounds and help create arrangements, if you want to include vocals, you still need to know how to mike and record them properly in what may be a less than ideal room. We offer some tried and tested solutions…

 

A vocal recording starts at the microphone, but before even getting into the issues of mic choice and mic placement, there’s the matter of the recording location to sort out — and it goes without saying that this should be isolated as much as is possible from the physical noise generated by the computer’s fans and drives. A lot of people think they need to buy better gear to sort out a vocal issue, but when you get to the bottom of the problem, it’s often down to the room and its influence on the sound.

RVocals SEelecCased.s

Now that large-diaphragm condenser mics manufactured in the Far East (such as the SE Electronics SE1000) have become so affordable, it makes little sense to use a dynamic mic for vocal recording, even if you’re working to a strict budget.

RVocals SennHD250II.s

Closed-back headphones such as the Sennheiser HD250 (left) are more suitable for monitoring while recording than open-backed models such as the Sennheiser HD600 (below), because the former design reduces spill from the monitoring signal into the microphone.

RVocals SennHD600.s

RVocals 4.s

Positioning your singer with their back to an non-reflective surface can help avoid a boxy sound when working in a small room — a few panels of acoustic foam or a double duvet are often enough to do the trick.

You don’t You don’t need to do anything too fancy to record vocals, but the mic should be well away from any walls, and the area directly behind the singer should be non-reflective. This could be an area of foam tiles or it could be a duvet, but one point to watch out for is that, in rooms where a lot of damping material has been applied, you’ll often find that it only absorbs effectively down to around 250-300Hz. So what actually happens is that frequencies below 300Hz are allowed to predominate, making the sound seem congested or box
Set up the mic a couple of feet from the centre of the room and make a test recording using no processing at all to see if the basic tonality is OK. If it’s not, the chances are that the problem is with the room or the mic placement, so try more hanging absorbers and move the mic around relative to the walls

I will place more info on working with recording on the next issue. I also would love to have some of you share what are some great tips that you have found thru the years to make great recordings. You never know who might be influenced thru your wisdom and sharing they might have the next BEST recording out in the world.

 

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Working with Sonar X3 and your DAW

So there are a lot of helpful tools out there to help you in the creation process. If you are endeavoring to create the best music you can then at home or in a studio or both, you are sure to be inundated by the different DAW’s there are available to you.  If you are not familiar with what a DAW is , it stands for Digital Audio Workstation. Basically how you get your guitar, piano, or any other music into your computer for you to edit and tweak to share with the world.

I have found over the years you have to find what works for YOU. You may  hear folks swear by this or that but I have found a great tool that works for me and that is what you need to do for you. Find one that does what YOU want it to do and provides the necessary tools to get the job done.

I have used and been using it for years since the first one, I use SONAR Cakewalk Producer Edition, currently running X3 This is the reason why I am writing this little post. I been fine tuning this software every so often to keep my system up to date.  I thought about how this is so needed in today’s current business climate. You need to always adjust, tweak what you do to stay in the game and give it your best.

It makes me sad to hear other musicians I know and have met who say, ” I am NO good with computers so I do not use them” THen they wonder why they are not getting to where they want to be. Even if you just start a little bit each day you need to learn about the software and tools that are available to you. Your competition is. You need to take time out of every day or week to learn something new about your craft. This is one way to try to stay on top.

I am going to try to help facilitate you in your quest, I am trying to post information on my website that will help you both creatively, technically and spiritually. The three stones on which we are to build. If you take these little nuggets into your life you just MAY start to find somethings begin to change in your musical career and personal life.

So I encourage you to start with the videos posted below in this blog and also bookmark the other blogs on the website. You will also find other links and pages with tools to help you in your approach to this task of learning and applying what you learn.

If you are looking to find a great product to use as your recording software then I would suggest that you check this video out. Sonar makes a great plateform with a fairly easy learning curve . You will find a lot of great videos all over the net on how to get around it.

This is a great video called SONAR X3 Clinic by Craig Anderton – Berklee Online

Watch, learn, and listen to the Chief Magic Officer: Craig Anderton outline a number of his favorite features in SONAR X3 including:
-The MIDI advantage for songwriting
-Using loops for both songwriting and EDM
-Speeding up workflow to prevent “inspiration atrophy” (effects chains, track templates, browser techniques, etc.)
-Creating your own mixer architecture
-Using “spot” timing correction to tighten timing without destroying feel
-How to make amp sims sound great (e.g. effects chains)
-Mastering in SONAR

 

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Tips for recording better acoustic guitar

Whether you are a seasoned pro or an absolute beginner when it comes to recording acoustic guitars, here are 10 snippets of advice that will help you get a better recorded sound. You can find that tone you always dreamed of if you take some time out to do it the right way

1. Try a different guitar

Whether you choose from your extensive collection, or you borrow a guitar from a friend, it’s worth trying at least a couple of different guitars when recording: they can sound radically different.

2. Practice makes better

This is obvious. If you know what you’re playing and you’re playing it confidently, it will sound better by default. If you don’t, it won’t and all the tonal ‘trouble’ you’re having will snowball.

3. Be aware of reflections

What’s beneath you, to your sides and above you when recording? For example, you’ll notice that recording on a hard floor sounds very different than when you’re on a thick carpet, because of the reflected sound (or not) coming back to the mic. Experiment, listen, learn – you don’t have to kill the reflections, but you do have to be aware of what they’re doing.

4. Sometimes, lo-fi works

Jez Williams, Doves: “Sometimes, in the studio, I like the [acoustic] guitars to sound quite trashy, like an early Bowie sort of sound, and you can get that by using dictaphone microphones, and blending it with an expensive mic signal. It puts a load of middle crunch on it.”

5. Try a different pick

If you’re layering a strummed rhythm part, try using a thin PICK (plectrum). Different thickness picks can have a remarkable effect on tone, so before you stampede for the EQ knobs or buy that expensive mic, first try shelling out 79p on a thin pick.

6. Try an X-Y crossed pair

A step on from basic mic techniques, take two cardioid mics close together, around 90-degrees to one another, around a foot from the guitar. Point one towards the neck/ body join, the other towards the soundhole: a classic Nashville recording technique. Rode makes a single mic for the job, the NT4.

I have placed another blog posting showing different configurations of mics that may help you out. The little things sometimes make the biggest changes.

 

7. EQ gently

If you find you’re needing to EQ things radically, you probably have a fundamental issue with mic choice and placement. Get that right in the first place and you’ll save yourself a great deal of work. But…

8. Cut bass

You might like your acoustic all fat and bassy. It can be good when solo, but it’s a problem in a band mix because the acoustic may clash with the bass. Try rolling off frequencies below 100Hz, creeping up to around 350Hz to taste. Notice how mixing just got easier? Remember to use your EQ a little bit at atime. You should not have to be to drastic as you think. I am all for experimenting but you do not want to make something to booming then you have no headroom in the rest of the mix.

9. Flock of seagulls?

If you’ve ever tried to mic up a guitar with brand-new strings, you’ll know all about finger noises: we call them seagulls. To avoid them, get a good few hours on the strings before recording. Coated strings (such as Elixir Poly- or Nanoweb) can reduce squawks too.

10. Just feel it

The most over looked yet most important factor is if your not into it your not going to make it sound good. Just relax maybe take a break. If it is somehting for someone else see if you cannot do something to make it your own or find something in the song that is cool. Just chill. if your not into playing the acoustic and your head is not in it, walk away and try it again later.

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Copyright what is it and who needs it?

You need to copyright your music if you are trying to do anything with your music. If you are trying to get music placed with in Film and TV, played on the radio, or performed by some of the biggest or smallest stars in the music industry. By having a copyright for your music or written works it will protect you and your works from those who will want it for free so they can profit off of your work.

I can tell you that when I first started I did not know much about it and did not even really think it mattered. Then as I started to understand things I had someone tell me I can make a poor man’s copyright. This is a myth in the music industry that the old-fashioned fix of recording a song, placing it in an envelope and mailing it to yourself then guaranteed copyright protection. The post date on the stamp was supposed to serve as proof of the date of origin of the song, provided the envelope remained sealed.

However, this method didn’t stand up in various court cases and has since been discredited. Some folks will tell you it works but who is to say that an envelope’s seal cannot be carefully unsealed and resealed. So if you r going to take the time to do that why not do it right? Do you not consider your work valuable? You think it is priceless yet you will not spend $35- $40 to register it with the US Copyright office or office in your country that handles it?

WHAT is a COPYRIGHT?

Under international law, copyright is the automatic right of the creator of a work. This means that as soon as you write down a song or make a recording, it’s copyrighted. In order to enforce the copyright, though, you’ll need to be able to prove your ownership. In the US, that means you need to register your song with the U.S. government’s copyright website. This will make it much easier to assert your rights if your copyright is infringed. Read on to learn more about how to protect your song with a copyright.

A cool tip I found!!

As a songwriter, composer, artist writer, author it is important to keep track of every song or work you have written, when you wrote it, and who you wrote it with, whether or not you register it with the copyright office. A useful and free tool we recommend is a website such as “MyWerx” www.mywerx.com. There, you can create a free account and log every song you create to help protect your intellectual property rights!

If you want to copyright online (the recommended method):

Visit copyright.gov

At the top of the page, it says there are several link options. I recommend you choose “eCO Tutorial.” and “HOW TO REGISTER a WORK.” This will bring up a pages that walk you through the steps of copyrighting your materials online, which includes creating an account on the website and logging in. The account itself is entirely free of charge, but remember that there are filing fees.

Copyright Office forms and information circulars are available from:
Register of Copyrights
Copyright Office
Library of Congress
Washington, D.C 20559-6000
(202) 707-6787

Fees for
Copyright
Registration:
Basic: $45
Online: $35
www.loc.gov/copyright

Whether you want to copyright online or by mail, go to http://www.copyright.gov/eco. Eco stands for electronic copyright.

If you want to copyright by mail:

At the bottom of the page, it says “Alternate Methods” and gives you a list of alternate ways to copyright your materials and the steps necessary to complete those.

It is very important that you begin the process as fast as you can. If you are wanting to make money off your work or protect it YOU are the one who needs to do it. No one cares more about your work than YOU. Always remember that.

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Mark Allan Wolfe online Radio Interview TONIGHT!

I am proud to announce I will be giving a radio interview on a radio program called, IT MATTERS RADIO at http://www.itmattersradio.com/
also the page for this is located here

http://www.blogtalkradio.com/itmattersradio/2013/10/25/its-all-about-the-music-we-follow-in-life

The program will be available for live listening and also podcasting so if you miss it you can still go and listen to the podcast. It should be informative, fun and if you know me a little crazy. I hope you will tune in and share the link with your friends and either listen to the program live or download the podcast.

I will be sharing about the upcoming new release of my CD “Passing Thru”, music licensing and other topics of interests regarding the music of Mark Allan Wolfe. I hope you would tune in or at least help me share this information with folks. It should be a great time.

Also feel free to visit http://www.markallanwolfe.com/ for more info abouot what I am doing, working on, past and future. You can also visit http://www.wolfiesmusicpublishing.com/ for the same lets stay in touch and stay connected

Sign up and set a reminder @ http://www.blogtalkradio.com/itmattersradio/2013/10/25/its-all-about-the-music-we-follow-in-life

Life has ups and downs, highs and lows yet it is the music we follow within our heart that will ultimately define who we are and what we become. Tonight, we present to you, the gifted composer, Mark Allan Wolfe.

Mark Allan Wolfe is a composer and an artist in the truest sense. His film and TV compositions run from thought-provoking, high energy, laced with adrenaline and atq times sincerity. Combining heart-pounding Rock ‘n Roll with tributaries of Electronics, World, Hip-Hop, Pop and Americana, Mark’s songs draw on his 25 years of striving for professionalism and musical merger of sound and genre.

His fans span the world and the 1500+ compositions verify that diversity on TV, internet, film and commercials. You may have hummed one of Mark’s tunes not even realizing the tunesmith behind the music. Web site: Mark Allan Wolfe

http://www.youtube.com/v/TMoaJEA1Au0

Grace Peterson is an author, garden columnist and blogger. Depending on the weather, she can be found either pecking on her laptop or puttering in her garden. She is a member of the National Association of Memoir Writers and the Association For Writing Excellence and her work has been published in several anthologies.

Tonight we will speaking of her first book, Reaching. Is it Demon possession or mental illness. A personal descent into cult extremism and the aftermath,.

Grace lives in western Oregon, sharing a home with her husband and four furry felines while their four grown children come and go. REACHING is her first book. Her gardening memoir is slated for publication later this year. Web-site: Gracepete.com

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How to get paid in the music business

While doing some research on the subject today I stumbled upon an interesting graphic located at the future of music coalition.org website. There is a great article filled with several graphics explaining the how’s and who’s. THis is a nice peice written by Kristin Thomson.

There are several graphics which open to larger ones but if you scroll on thru to the bottome or middle of the page there is a large graphic easy to read. I would like to thank every one over there for this information it was quite helpful. So lets dig in….

http://www.futureofmusic.org/article/article/music-and-how-money-flows

How are musicians and songwriters compensated when their music is played on the radio, sold on digital platforms, webcast or streamed on interactive services? Click on this infor graphioc to learn how.through any of the infographics below to see how the money flows, at least on US sales, performances and streams.

http://www.futureofmusic.org/article/article/music-and-how-money-flows

graphic of how money flows thru the music business

 

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Recording Acoustic Guitar Tips

Acoustic guitar require a rather different approach from electric guitars. For example when recording an acoustic you rarely would send it thru an amp. A much more common way would be to run the signal through a DI box, Mic or both

 

One thing that makes the acoustic guitar different from the electric is the character of the sound starts with the source. It maybe plain and obvious but it is the reason why when recording the acoustic you do not throw it through an amp for it tends to sound artificial.

From the strumming, the picking of the strings, the air floating in and out of the sound hole, the type of strings even the pick all help to create the sound even the wood which is probably the most important but that is another discussion all together. It is better for you to take the time and experiment with the placements of the mic’s then trying to figure that you will fix it in the mix.

Some cool things you can do to try to capture the essence of the acoustic guitar in recording would be as follows. Start by investing in new strings! Take care to set the action and tuning right for your guitar. If you are trying to capture a great rhythm or strumming groove to make a main music bed, try using a thinner pick. If you want to capture the guitar solo or lead use a thicker pick.

Audio-Technica AT3031

When you are ready to record the guitar, start by placing the microphone close to the sound hole. A small diaphragm condenser is ideal, such as Audio-Technica’s AT3031 or a studio condenser like RodenNT1-A both are excellent and fairly affordable choices and will work well in working in recording other instruments as well as vocals.

Place a mic around 16 inches or so (40cm) from the guitar, aiming it towards where the neck joins the body. It usually gets you a full bodied sound. It will capture some of the dynamics coming from the sound hole but yet will also pick up the sounds evolving else where from the guitar.

Rode NT1-A

What I would suggest is moving it around to find that sweet spot. If you move up the neck you tend to get higher frequencies lower towards the body emphasizes lower frequencies. You will want to experiment for the dynamics of the room your in, placement of the microphones, strings all the stuff just mentioned will depend on the tone you capture.

If you are able and have the finances to I would get two microphones set up. Set one up on the sound hole and another directional microphone aimed at the neck near where your hands play. You will capture separate styles and tones when balanced right will actually bring out the best.  You can also place the one microphone in front of the sound hole and another one down deep below the body of the guitar which will emphasize the deep tpnes as well. All I can say is experiment to find out what works best.

The greatest thing is nothing you will be considered strange I have set up my amp in the closet of my apartment and placed a mic in front of it, ran the chord all the way down the hall into where I was playing. I had all kinds of clothes hanging in there. The clothes acted like sound proofing in a way. A poor mans version lol. It isolated the tones and you did not hear the fret buzzing or any other oddities. I also placed an amp in my shower stall,(remember to not turn the water on!) the tile in the bathroom acted like a natural reverb of sorts.

Something I have been experimenting as of late has been combining a DI signal (from a DIRECT BOX) as well as including the several different mic placements. When you mix them all together in the mixing portion you can find a nice balance between the both to create a sonic palette that may just be what you are looking for.

I hope some of these ideas may help you out in your quest in finding that all illusive number one hit. One thing I cannot stress enough is you are only limited at times by your own imagination.  Just because some producer or famous engineer has not thought of it first does not mean it cannot work for you. The greatest thing in making music is YOU are the painter that is holding the brush on the mind of your listeners.

Acoustic guitar mic placement ideas

 

  1. Big body, big bottom. You’ll get your low-end (as well as boomy, so be careful) and a general warmth of the wood in this area well behind the bridge, but not too close to the edge. The clarity of all the notes are not as… clear… here, however, so don’t rely on it to get everything you need.  Try placing your mic off axis to decrease the proximity effect of the cardioid microphone.
  2. Twang between bridge and sound hole. Closer to higher strings for more of the brightness. The string sound here is tight and twangy. Off axis will slightly decrease the harshness, as well as pulling it further away by inches. There’s a “solid” sound to the wood as well in this area. If you lower the mic below the strings so it’s approaching the edge where the guitar starts to narrow you’ll get less string twang and more of the “tight” sounding wood tone.
  3. Sound hole balance. Angling down towards the lower strings (again, angled of off axis to help control any boom from close mic’ing). You should get a fairly balanced high to low tone here, but depending on the guitar will lose some of the high-mids.
  4. Bony Shoulders. I’m sure you’ve tapped and slapped the wood at various places on acoustic guitars. Start there to help understand what the sound will be like placing a microphone at position four. The wood is tense and there’s not a lot of space for it to resonate and release, so it’s got some tight mids and a solid woody tone. Of course, being close to the strings and neck, you’ll get a decent amount of pick attack as well.
  5. 12 fret subtle and smooth harmonics. Great place for a small diaphragm mic, angled inward to get a balanced string tone with all of the complimentary harmonics from the string vibrations at that position. If you EQ out some of the more harsh (1-3k) attach sounds, you can get some good sounds here that balance with any other mic placement on the body.
  6. “over the shoulder” as a possible microphone placement

A cool link to find some other interesting ideas as well as some test and sound samples of various other microphones and placements that you might find helpful in other areas. I do not know much about the website but I found this page to be a great resource and thought heck you might as well if you came this far your into what I am trying to share with you and your a pretty serious dude or dudet. Check it out here.

http://recordinghacks.com/2012/09/20/acoustic-guitar-tube-mic-test/

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