{"title":"Articles And Reviews","description":"\u003cp\u003eHere you will find articles right from the pages of RECORDING magazine. Whether you're a beginner or have been recording for years you'll find a wealth of information in these articles.\u003c\/p\u003e\n\u003cp\u003eEvery month new articles will be added. Be sure to check back!\u003c\/p\u003e","products":[{"product_id":"a-sound-studio","title":"A Sound Studio","description":"\u003cp\u003eThe space where a recording engineer captures audio could be referred to as a sound studio, but there’s another meaning to the word “sound”—healthy or sturdy. We talk about being of sound mind and body, or of a building that’s structurally sound. While most folks wouldn’t usually apply these definitions of “sound” to a studio, they’re actually quite relevant.\u003c\/p\u003e\n\u003cp\u003eThere are lots of unsound studios and unsound studio practices out there. They make for great stories to tell over a beer—the session lasting long into the night while struggling to get the perfect take, the excesses in food \/ drink \/ chemicals that turned into a totally-off-the-chain party, the slapped- together chain of adapters to simulate the one cable the studio didn’t have—but in the end, that’s about all they’re good for. Great music isn’t made because studios aren’t set up properly or the engineer isn’t taking care of himself or there are missing pieces that require frantic DIY workarounds. Great music is made despite those things, and taking steps beforehand to minimize them is a sound decision.\u003c\/p\u003e\n\u003cp\u003eA sound studio should be based on sound practices. That goes counter to the expectation of the crazy music lifestyle and the mad-genius mess of the stereotypical studio, but when your sessions go smoothly and your clients (and you!) come away happy, you’ll be able to forgive yourself for not doing things the picturesque way.\u003c\/p\u003e\n\u003cp\u003eHere, in no particular order, are ten crucial elements of a sound studio.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":2268287139869,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/A-Sound-Studio-1.jpg?v=1507519847"},{"product_id":"understanding-the-audio-signal-path-part-1-basic-concepts","title":"Understanding the Audio Signal Path - Part 1: Basic Concepts","description":"\u003cp\u003eSimply put, the signal path is the route audio takes from its source to a recording medium or monitoring device. That simple description belies a rather complicated and sometimes fraught process. Even in the simplest of signal paths—say, a direct to hard disk recording—the audio must pass through at least one amplifier and A\/D converter. Using a mixer or external preamplifiers adds complexity to the route.\u003c\/p\u003e\n\u003cp\u003eTo mix that audio with other tracks requires a complicated mixing device or DSP engine that sums the individual tracks through a matrix of channels, sends, buses, etc., to a master out-put. Every juncture along that path requires the audio to pass through a number of circuits or DSP processes. These need to interact with each other near optimally in order to maintain the integrity of the sound.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":4827452997661,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Audio-Signal-Path-1-Thumbnail.jpg?v=1511979656"},{"product_id":"understanding-the-audio-signal-path-part-2-pieces-of-the-puzzle","title":"Understanding the Audio Signal Path - Part 2: Pieces of the Puzzle","description":"\u003cp\u003eIn Part 1 of this series I emphasized the importance of proper levels throughout the recording signal path. Staying close to unity gain ensures a good signal-to-noise ratio by respecting the dynamic range of the various components of your recording rig. You’ll want to apply this principle with all the gear we’ll discuss today.\u003c\/p\u003e\n\u003cp\u003eIn Part 2, I will walk through some of the subtleties of specific components and what they can add to your recordings. We’ll also cover how modern recording engineers tweak signal paths from the input stage through to the final mix, adding character to the (theoretically) uncolored digital recording medium. I’ll also show you how to mimic those modern high-end record-ing techniques economically, with reasonably priced outboard gear or within your DAW.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":4827556511773,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Audio-Signal-Path-2-Thumbnail.jpg?v=1511980090"},{"product_id":"recs-2017-holiday-buyers-guide","title":"REC's 2017 Holiday Buyer's Guide","description":"\u003cp\u003eIt’s that time of year again, and we’re pleased to bring you a dozen great products that should be on your gift-giving (or getting) radar. Over the course of each year, we gather up gear that deserves holiday attention and present it to you here—and because these are actual reviews, you can be sure that any product mentioned here is tried and tested for your satisfaction.\u003c\/p\u003e\n\u003cp\u003eThis year’s collection is affordable, eclectic and fun, and includes nine hardware pieces and three plug-ins; next issue we’ll bring you some fun iOS gear to round things out (our January issue reaches subscribers just before the holidays). So kick back, pour an eggnog, and check out the cool new toys!\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":4827783102493,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Buyers-Guide-RecMag-2017.jpg?v=1511980866"},{"product_id":"darrell-thorp-goes-for-the-concrete-and-gold-inside-the-recording-of-the-latest-foo-fighters-album","title":"Darrell Thorp Goes For The (Concrete And) Gold: Inside The Recording Of The Latest Foo Fighters Album","description":"Foo Fighters’ newest album concrete and gold was recorded at Eastwest studios in Hollywood, which has recorded thousands of hits over 50-plus years under various names (western recorders, ocean way, cello). we had a chance to talk with engineer darrell thorp, who walked us through the experience of recording the Foos’ most eclectic record yet.","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":4827853357085,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Darrell-Thorp-Thumbnail.jpg?v=1511981356"},{"product_id":"roll-your-own-studio-computer-that-is","title":"Roll Your own! (Studio Computer, That is...)","description":"\u003cp\u003eI went to a tiny elementary school in Taos, NM called Vista Grande, which we affectionately referred to as “Roll Your Own Academy”. The meaning should be apparent, but I took something else away: a DIY ethic that stays with me to this day.\u003c\/p\u003e\n\u003cp\u003eYou may have that ethic, or you may just find yourself in need of more power for less money, but in either case, if you’re mindful, your studio computer is a great place to apply the roll your own philosophy and save some serious scratch. I thought I’d lay out the process, based on my latest build.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":4827955527709,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Roll-Your-Own-Thumbnail.jpg?v=1511982000"},{"product_id":"line-6-helix-lt-and-native","title":"Line 6 HELIX LT and Native","description":"\u003cp\u003eThe groundbreaking effects processor takes on exciting new forms!\u003c\/p\u003e\n\u003cp\u003eLine 6 is raising the bar for digital modeling with the Helix family. The Helix multieffect processor from Line 6 is designed to be the nerve center of your guitar rig, focused on creating customizable guitar tones in a powerful, studio-quality, road-ready unit. I reviewed the original Floor unit in July 2016, and the product line has grown considerably since then—it now includes a Rack version (used with or without the Helix Control pedalboard), as well as the new Helix LT and Helix Native. For the past several weeks, I have put Helix LT and Native to the test.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5093741166621,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Line6-HelixLT.jpg?v=1513034216"},{"product_id":"recs-aes-report","title":"REC's AES Report","description":"The Audio Engineering Society returned to the Javits Center in New York City on October 18–20. The unusual show timing, in the middle of the week, was to allow AES to convene at the same time as the New York meeting of the National Association of Broadcasters, whose primary show takes place in Las Vegas in the spring. With the two events next to one another at the Javits, there as crossover traffic that helped to produce some impressive crowds. Here’s a sample of the gear shown on the exhibition floor.","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5374394138653,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/AES-product-image.jpg?v=1515018789"},{"product_id":"george-massenburg-goes-all-in-on-superior-drummer-3","title":"George Massenburg Goes All In On Superior Drummer 3","description":"First previewed in our October 2017 issue, Toontrack’s Superior Drummer 3 is an astounding software package by pretty much any measure you care to name. It has great ease of use, extensive tools for arranging and orchestrating, beautiful built-in mix and effects capabilities, the impressive Tracker sound replacement utility... but none of those would be compelling at all if not for the drum sounds themselves.","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5374431592477,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/George-Massenburg-SD3.jpg?v=1515019032"},{"product_id":"one-kit-two-mics","title":"One Kit, Two Mics, Lots of Inspiration","description":"\u003cp\u003eHow does one track drums? That’s a common question with a myriad of often-complicated answers... especially in this day and age, when even small 4-piece drum kits often get tracked with two mics each on the snare and kick, mics on every tom, spot mics on the hi-hats and ride, stereo and mono overheads, a front-of-kit mic, room mics, and a mic to capture drum throne squeaks. It’s no wonder many small studios opt for one of the many excellent virtual drum programs on the market.\u003c\/p\u003e\n\u003cp\u003eWhat is easy to forget is that many of the classic records we love often had the drums captured with four mics or less, and often just two. While this classic approach is making a comeback with many engineers and producers, it does mean giving up the ability to alter the levels, EQ, or panning of individual kit pieces.... or does it?\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5374470881309,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/One-Kit-Two-Mics.jpg?v=1515019300"},{"product_id":"recording-drums-advice-for-the-drummer-and-the-engineer","title":"Recording Drums - Advice For The Drummer And The Engineer","description":"Playing a live show is different from a recording session—when you’re playing live, any imperfections pass by in the blink of an eye. On the other hand, a recording is a permanent record of your playing on a given day, and blemishes are forever. With that in mind, I’ve put together some things to consider in preparation for recording. I’m giving advice to both drummer and engineer, in order to get the absolute best-recorded performance.","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5374490640413,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Recording-Drums.jpg?v=1515019447"},{"product_id":"studio-101-part-1-the-essence-of-sound","title":"Studio 101 - Part 1: The Essence of Sound","description":"Readers of our very first issue (October 1987) will remember an article called “Studio 101,” an introduction to the (at the time) modern personal recording studio. Things have changed a lot since then, and I’m proud to present the first in a monthly series of articles on the subject by my colleague Darwin Grosse. Darwin is a musician, engineer, sound library composer, computer software guru, and famed music interviewer, with over 200 episodes in his Art+Music+Technology podcast, which you can check out at artmusictech.libsyn.com. In this series, Darwin will bring a modern touch to educating readers on the basics of sound and recorded music. The aim will be to embrace modern tools and get confident with them rather than poking at them suspiciously and expecting them to bite. I’ve enjoyed working with Darwin on starting this series, and I’m sure you’ll enjoy learning from him as we go.—MM","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5374524719133,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Studio-101.jpg?v=1515019662"},{"product_id":"chandler-limited-abbey-road-tg12345-mkiv-eq-and-tg-opto-compressor","title":"Chandler Limited: Abbey Road TG12345 MKIV EQ and TG Opto Compressor","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eC\u003c\/span\u003ehandler Limited, based in the unassuming city of Shell Rock, Iowa, is the company that makes spot-on recreations of vintage EMI\/ Abbey Road recording gear. More importantly, Chandler is the only company in the world that is authorized by Abbey Road Studios to be able to do so. If the words “Abbey Road recording gear” mean nothing to you, I’m not sure we can be friends... but I’ll give you the benefit of the doubt: these are reproductions and new designs inspired by the gear used at Abbey Road Studios in the 1960s and 1970s on sessions by the Beatles, The Hollies, Pink Floyd, and more. How’s that for a pedigree?\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAbbey Road’s gear was custom-built by EMI engineers for use only at EMI facilities. That gear, as well as the latest Chandler creations, can largely be distilled into two series based upon two recording desks. The REDD series is based on circuits from the tube-based 1950s\/1960s REDD console; the solid-state TG Series console was first commissioned in 1968, and used on the classic albums \u003ci\u003eAbbey Road \u003c\/i\u003eand \u003ci\u003eDark Side of the Moon\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eChandler’s founder and chief designer Wade Goeke launched his TG series in 2001, with REDD valve (tube) based products following in 2015. Just last year Wade had the honor of creating the first new EMI-authorized microphone since the 1930s with the REDD microphone, which I reviewed in February 2017.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685715042333,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Chandler-Limited-1.jpg?v=1517512428"},{"product_id":"jhs-pedals-colour-box-500","title":"JHS Pedals: Colour Box 500","description":"\u003cp class=\"p1\"\u003eIn our July 2016 issue, we took a look at the Colour Box pedal from Kansas City-based stompbox manufacturer JHS Pedals. The Colour Box isn’t just an overdrive-distortion pedal with EQ; it’s one that was based upon a classic Neve 1073 preamp channel. In a fun twist, it also includes an XLR input for use as a traditional microphone preamp for passive dynamic and ribbon microphones (there’s no phantom power for condensers). Its best trick is its multiple-stepped input, useful not only in front of a guitar amp, but also as a direct preamp for overdriving guitars and other sources like a classic overdriven recording channel.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eNext, in our September 2017 issue, we took a look at a new direction for JHS: offering some of their best-loved guitar effects pedals as API 500 Series studio modules. In that issue we looked at the then-new 500 Series versions of the SuperBolt distortion and Emperor analog chorus. This month, we combine all of the above, with a look at the 500 Series version of the aforementioned Colour Box... an obvious choice to be offered in the 500 Series format.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685743550493,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/JHS-Pedals-Colour-Box-500-1.jpg?v=1517512743"},{"product_id":"manley-labs-reference-silver","title":"Manley Labs: Reference Silver","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eW\u003c\/span\u003ehen one mentions the name Manley Labs, the first thing that leaps to mind is probably “Tubes Rule,” followed by thoughts of Massive Passive EQs, VOXBOXes, and Variable-Mu compressors. However, Manley also offers a selection of tube-based microphones as well. The Reference Cardioid and its larger sibling the Reference Gold have been part of the Manley family for 27 years. EveAnna Manley showed off the firm’s first new microphone since then at last year’s winter NAMM show: the Reference Silver.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Reference Silver is hand-built stem to stern here in the USA, most of it at the company’s Chino, CA-based headquarters. The only thing not made in-house is the microphone’s capsule, which we will get to in a moment.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685752954909,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Manley-Labs-Reference-Silver-1.jpg?v=1517512912"},{"product_id":"recording-vocals-right-from-the-start","title":"Recording Vocals: Right... From the Start","description":"\u003cp\u003eIn today’s world of perfect vocal performances, it’s hard to know what’s real and what’s not. There’s Auto-Tune, there’s Melodyne, and a million other tricks to help finesse an imperfect vocal performance... but before you break open the bag of tricks, it’s important to start with the best possible recording you can get!\u003c\/p\u003e\n\u003cp\u003eIf your attitude is “I’ll fix it in the mix,” I would humbly suggest that you try the pleasure of getting it right from the get-go, so that you don’t have to worry about a bad recording later. Even in this day and age, it still holds true that the better you record your vocal, the better it will sound after all is said and done, or rather, “sung and done!”\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685763997725,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/REC-Vocals-Right-From-The-Start-1.jpg?v=1517513162"},{"product_id":"rme-babyface-pro","title":"RME Babyface Pro","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eR\u003c\/span\u003eME isn’t a household name in the USA pro audio world, but it should be. For decades, its interfaces have reigned supreme in mission-critical reliability, and its innovations have entered the market and become standards without most folks ever knowing where they came from. (Zero latency direct monitoring? Invented by RME.) Reviewing a new RME interface is always a blast, and the desktop\/portable Babyface Pro was no exception.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685784936477,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/RME-Babyface-Pro-1.jpg?v=1517513462"},{"product_id":"studio-101-part-2-storing-audio-from-analog-to-digital","title":"Studio 101 - Part 2: Storing Audio - From Analog To Digital","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eW\u003c\/span\u003eelcome back to Studio 101. In our first chapter, we covered the basics of audio as pressure waves, and converting those waves into electricity. We saw that we must perform such a conversion to make it possible to store the sound, since storing and retrieving audio is the heart of the recording arts. But a question remains: how does storing audio actually work? To get a better understanding, it is useful to dive into the history of audio storage—we can learn how earlier technologies worked, and will see why the advent of digital audio was such a game-changer for recording enthusiasts.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685801254941,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Studio-101-Part-2.jpg?v=1517513687"},{"product_id":"tweak-your-own-studio-computer-that-is-audio-performance-optimization","title":"Tweak Your Own! (Studio Computer, That Is...) - Audio Performance Optimization","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eI\u003c\/span\u003ef you read my article “Roll Your Own (studio computer, that is)” from December 2017, you’ll remember I promised to talk later about setting up that computer for optimal audio performance. Even if you haven’t built your own machine and you’re using a store-bought PC, you’ll still want to optimize audio performance, so this article is for you too.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685813051421,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Tweak-Your-Own-Studio-Computer-That-Is-1.jpg?v=1517513952"},{"product_id":"universal-audio-ocean-way-microphone-collection","title":"Universal Audio: Ocean Way Microphone Collection","description":"\u003cp class=\"p1\"\u003e\u003ci\u003eJust a few months ago, in our November 2017 issue, we took our first look at the Sphere L22 Modeling Microphone from Townsend Labs. While I assumed that we’d be revisiting the L22 as new models became available down the line, I admit I wasn’t expecting that to be just a few months later... not that I’m complaining!\u003c\/i\u003e\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5685826355229,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Universal-Audio-Ocean-Way-1.jpg?v=1517514191"},{"product_id":"beyond-the-clap-test-part-2-we-know-what-to-measure-and-why-heres-how","title":"Beyond The Clap Test - Part 2: We Know What To Measure And Why-Here's How","description":"\u003cp\u003eIn Part 1 of this series (November 2017), we looked beyond the simple evaluation of the “clap test” to identify more characteristics of good-sounding rooms than the simple reverb time it reveals, and began to discuss ways to evaluate the sound quality of a given room. We introduced the fantastic Room EQ Wizard software (henceforth REW, see roomeqwizard.com for details), going over many of the basic features included in the software. We talked about how to get the software working with your computer and sound system, its powerful signal generator functionality, and its Real-Time Analyzer (RTA). But these features are only the beginning! The real power of REW lies in its ability to measure and provide extraordinary detail on what the acoustics are doing in your room. Last time we did not get into this kind of room testing with REW, promising that it would come in the next part of this series. And here it is!\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5847516774429,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Beyond-The-Clap-Test-Evaluate-Your-Room-Part-2.jpg?v=1519857572"},{"product_id":"kef-ls50w-powered-musicsystem","title":"KEF LS50W Powered MusicSystem","description":"KEF has been around for a good long while, but it’s been several years since we’ve featured one of this company’s exceptional coaxial monitors in our pages. Back in July 2013, Lorenz Rychner reviewed the KEF LS50, a coaxial passive monitor that he lauded for its exceptional clarity and detail. In this case, the W stands for Wireless—the LS50W takes the tried-and-true LS50 cabinet (still available for $1299.99\/pair, not including a power amp) and adds onboard amplification and intelligence to bring it into the world of the modern home listener... or home recording musician.","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5847555932189,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/KEF-LS50w-Monitor-Review-1.jpg?v=1519857941"},{"product_id":"max-out-your-monitoring-a-hard-look-at-the-art-and-science-of-hearing-your-music-right","title":"Max Out Your Monitoring: A hard look at the art and science of hearing your music right","description":"\u003cp\u003eIn studios of all types and sizes, every decision made—levels, EQ, compression, reverb—is based on what the engineer hears in the studio monitoring system. And that’s not just the speakers, but also the physical environment—the room itself. It can be easy to forget just how critical this is, and to get lost in the fun of assembling and experimenting with the latest and greatest mics, plug-ins, and other studio toys. You can end up paying less attention than you should to the selection and setup of the monitor speakers and the arrangement and treatment of the control room, where those critical decisions will be made. \u003c\/p\u003e\n\u003cp\u003eBut a studio is only as good as its monitoring system allows, and there are a number of important considerations that need to be taken into account when setting up a production facility of any size. Naturally, top studios can choose from among the priciest state-of-the-art speakers, and have room response measured and tweaked by professional designers with big-ticket test equipment. But even smaller operators on more limited budgets can do a lot to optimize their listening environments, as long as they know what to watch out for. So let’s take a look at some of the main considerations for monitor speakers and room issues that should be taken into account when setting up an audio production facility. We’ll start with the speakers...\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":5847682940957,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Max-Out-Your-Monitoring.jpg?v=1519859645"},{"product_id":"winter-namm-show-2018-new-year-new-venue-new-toys","title":"Winter NAMM Show 2018: NEW YEAR – NEW VENUE – NEW TOYS","description":"\u003cp\u003eThe 2018 Winter NAMM Show convened at the newly-expanded Anaheim Convention Center on January 26–29, and it was an eye-opener for all attendees. The new ACC North building housed most of the pro audio companies, and most exhibitors liked the brightly lit and modern building as well has having a proper “community area” to show off new products to interested attendees, far from the roar of drums and guitars in the older building. There were some glitches—NAMM took a lot of heat for mishandled security procedures that introduced delays and frustration—but overall, the show boded well for future events.\u003c\/p\u003e\n\u003cp\u003eHere’s a selection of products we saw introduced at the show. We can’t possibly fit everything we saw into one report, and we apologize for any omissions. 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Version 2.0 was released just before we went to press, and I took the opportunity to take a quick look at the subtle but significant retooling of VMR’s look, layout, and functions.\u003c\/p\u003e\n\u003cp\u003eVirtual Mix Rack is a suite of plug-ins designed by modeling guru Fabrice Gabriel and the Steven Slate team. VMR launches in your DAW as a modular plug-in rack enclosure that you then populate with any combination and order of available VMR plug-ins. VMR comes stock with the Mix Bundle One: the FG-S (SSL) and FG-N (Neve) EQs, FG-401 (modified SSL), FG-116 (1176LN), and Monster (all-buttons-in 1176) compressors, Trimmer (metering\/trim\/phase reverse), and the unique and handy Revival audio enhancer.\u003c\/p\u003e\n\u003cp\u003eFrom there, you can add on modules of your choice, including console channel models, preamps, enhancers, compressors, and a recent addition that I hope to review in a future issue: a VMR edition of the Audified U37B tube compressor plug-in. There are dozens of modules, many of them conveniently bundled to give you lots of choices for your money.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":8665264783480,"sku":"","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Slate-Digital-Virtual-Mix-Rack-2-1.jpg?v=1528144850"},{"product_id":"the-life-and-times-of-mixerman","title":"The Life And Times of Mixerman","description":"\u003cp\u003e\u003cstrong\u003eFrom mix engineer to mysterious author to educator— THE JOURNEY OF ERIC SARAFIN\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eERIC SARAFIN is a mix engineer whose work can be heard on records by everyone from the Pharcyde to Ben Harper, having come from classical trumpet and jazz piano though stints at Boston’s Dimension Sound Studios and Capitol Records and Hollywood Sound in LA to a successful freelance career.\u003c\/p\u003e\n\u003cp\u003eHe’s also famous in the audio world as the author of several books under his pen name of MIXERMAN, starting with the infamous Daily Adventures of Mixerman... a blow-by-blow account of a rock album session bursting with all kinds of music-industry insanity, from backstabbing musicians and hysterical A\u0026amp;R people to Teflon-slick industry moguls and the world’s most clueless doorman, with now-immortal characters like Willy Show, Fingaz the Wegro, and Penny Pincher. He kept the industry guessing for years, with writing so deft that many people believed the fictional sessions were actually real, despite reading about a session drummer playing with headphones duct-taped to his skull or a DAW set up in a bathroom with the tech sitting on the toilet.\u003c\/p\u003e\n\u003cp\u003eSince then, Mixerman has produced a variety of excellent books on the various aspects of record production: The Zen of Recording, The Zen of Mixing, and  The Zen of Producing. By sheer luck, our Paul Vnuk Jr. recently found himself in Eric’s current hometown of Asheville, NC, where he was able to sit down for a fascinating interview about (as you might guess) all kinds of stuff.—MM\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":12111844343928,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/MixerMan-1.jpg?v=1530294334"},{"product_id":"studio-101-part-7-cutting-tracks","title":"Studio 101 - Part 7: Cutting Tracks!","description":"\u003cp\u003eIn our last article, we set up our DAW, created a project, and hit the Record button. We also talked about a few of the setup procedures you will need to keep in mind—procedures that will ease the process of organizing your sessions in the future. But, unless you happen to have a band immediately at hand—and they are infinitely patient about you gaining some recording chops—you’re going to have to spend time doing tracking on your own.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":12111846146168,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Studio-101-Part-7-Cutting-Tracks-1.jpg?v=1530294756"},{"product_id":"miking-electric-guitar-hands-on-ears-open","title":"Miking Electric Guitar: Hands-On \u0026 Ears Open!","description":"\u003cp\u003e\u003cstrong\u003eA Step-By-Step Guide To Proven Miking Setups\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecording electric guitars is fun. When Mike asked me to write a new article about some of my favorite approaches, I was excited to share the mic type and positioning combinations I’ve been using lately in my studio. The possibilities are endless. You might have applied some of these approaches (or something similar), but it’s never a bad idea to review them for your next session. Please note that even though I am working in a professional studio, I learned a lot of these approaches while recording in the myriad untreated bedrooms where I honed my craft. These ideas can be applied in any recording environment! The corresponding audio examples for all these techniques will be available at recordingmag.com in the Resource Library under Audio Content.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":12111848669304,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Miking-Electric-Guitar-Hands-On-_-Ears-Open-1.jpg?v=1530295043"},{"product_id":"girl-you-know-its-a-lot-more-than-you-realize","title":"Girl You Know It's... A Lot More Than You Realize","description":"\u003cp\u003eMost of us remember Milli Vanilli and Ashlee Simpson,their careers ruined by mishaps with playback systems that exposed their lip syncing. While the public may be quick to judge an artist for not singing live, they might not know how much actually goes into a live performance these days, especially a televised one.\u003c\/p\u003e\n\u003cp\u003eThey might not know that over the last 20 years, everyone from Rihanna to Rascal Flatts uses playback in live performances. Further, even though the post-traumatic stress of these very public disasters runs deep in the minds of the concert-going populace, they might not know that without recorded playback, many of their favorite artists wouldn’t be able to perform at all.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":12122903314552,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Girl-You-Know-It_s-A-Lot-More-1.jpg?v=1532038877"},{"product_id":"live-orchestra-recording-an-introduction-to-the-trickiest-easy-gig-youll-ever-get","title":"Live Orchestra Recording: An Introduction To The Trickiest Easy Gig You'll Ever Get","description":"\u003cp\u003eSomeday you might be called upon to record an orchestra or choir, whether in a school or at a local concert or public event. It’s an interesting exercise, one that’s different than most of the recording work people do today. First, you’re likely doing it at some other location—unless you have a studio the size of a concert hall?—and that means working with unfamiliar monitoring. Second, you’re miking the room and not the orchestra itself; I’ll explain in a bit what that entails. Third, you are giving up much of the control that you’re used to having; the conductor and the room dictate the balance of elements, not you.\u003c\/p\u003e\n\u003cp\u003eBefore I mix, I first consider: what is this music about? It’s almost always about the vocal, when a song has one. Sometimes it’s about the guitar. In jazz it could be about the horn or piano, or even the interaction between performers rather than one specific “money track” (a frequently-heard term that I find rather offensive). I build my mixes by starting with what the music’s about, and then bringing up everything else to sit well with it in the mix. (No song is ever about the kick drum.)\u003c\/p\u003e\n\u003cp\u003eOrchestral music is about the orchestra as a whole. Even for a typical piano or violin concerto, it’s more about the orchestra than the solo instrument. So we’re miking the orchestra as a whole and bringing that up, and then working with that as the starting point for our mix. All, or nearly all, of the final product will be a recording of the room with a single pair of mics, and your goal should be to get the balances in that single pair as good as possible.\u003c\/p\u003e","brand":"Recording Magazine","offers":[{"title":"Default Title","offer_id":12122909376632,"sku":"","price":1.29,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/products\/Live-Orchestra-Recording-1.jpg?v=1532039175"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2392\/2951\/collections\/REC-Articles-Collection-image.jpg?v=1511979213","url":"https:\/\/recording-magazine.myshopify.com\/collections\/recording-magazine-digital-articles\/mixing-in-atmos.oembed","provider":"Recording Magazine","version":"1.0","type":"link"}