I recently did my first studio podcast production. The client wanted to know if I had ever done one before so I asked him if it was similar to the NPR series “Radio Lab”. He told me that the “Radio Lab” format was very similar to what he was looking to do and we started to go down the list of what elements would be needed to put his together:
1. Original Music Creation
2. Voice Over Recording/Editing
3. Mixing and Editing Of Field Sound Recordings (ie. interviews that he had done on a Zoom Recorder)
4. Final Mix Of all Elements
We finished the project within the projected time and budget and it was a creative and fun session. Over the next week, I thought about how important it is to be open to learning new skills and to have an open mind in this “soup to nuts” economy. If I initially had no frame of reference (“Radio Lab”) with the client, his confidence in working with me would have been seriously undermined. And recording and editing/mixing VO (voiceover…the people on radio and TV who speak) for four years and writing and producing music for TV and radio while I was also writing and producing music for major labels….all of it gave me the experience and skills that come into play in producing the podcast.
Life is funny..you never know when you’re going to need to know what you didn’t think needed to know. (apologies to Yogi)
In our recent conversation, Chris Gehringer (Sterling Sound Mastering), one of the most sought after and respected mastering engineers on the planet, stressed the importance of an accurate and balanced listening environment (speakers and room design). I redid the cabling and monitor placement in my room at The Loft Studios in Bronxville, NY a few weeks ago and decided to bring in an expert to help get it as flat as possible…so I called Steve La Cerra.
Armed with his handy Phonic Room Analyzer, Steve ran the room through its paces as we identified audio “peaks and valleys” that were causing issues across the audio spectrum. It was fun, balancing the art and science of sound with Steve, as we adjusted the volume, EQ and crossover controls on the main speakers and sub woofer.
In addition to a flatter response (The Holy Grail of any control room), we also achieved a wider sweet spot…listeners in the back of the room are hearing pretty much what I am hearing in the mix position. Every one of the musicians that I worked with over the next week noticed the improvement. All I need now is a Lava Lamp!
..with the sound of a Les Paul?
I can’t wait to take this for a spin tomorrow (Click on the photo to see it in all its’ glory) .
Intonation and sustain up and down the neck seem to be fantastic (acoustically) and there is a push/pull knob that lets the rear pick up be either single or double coil.
Running it through an amp sim in Logic first but then through my Princeton Reverb later in the week…review to follow.
…when you go to the guitar closet in the studio and realize that you put one in there 3 years ago and forgot where it was….
Adele recently stated that if she hasn’t lived the experience in her song, she can’t sing it. And so it follows that if she wouldn’t WRITE a songs without having experienced those events and feelings.
While I am a big fan of her singing and songwriting, I hope that beginner songwriters don’t take this path as the ONLY way to write a “real” song.
One of my favorite songs, “Angel From Montgomery”, was written by a young John Prine and the first line is “I am an old woman”. Warren Zevon is an undercover spy in Central America in “Lawyers,Guns and Money” and a suicidal junkie in “Carmelita”. John Lennon sang “I am the Walrus”. John Hiatt was behind bars in “Tennessee Plates”. And are we to believe that Johnny Cash really “shot a man in Reno just watch him die”?
Confessional, personal songwriting is nothing new…think of Joni Mitchell and Jackson Browne. But they wrote lots of other kinds of songs as well. If you limit your songwriting to your own experiences and feelings, you had better be leading the life of Candide.
Wishing everyone a fantastic summer!!!
…so I took the plunge..the yearly “Slate Digital Everything Bundle” subscription. It was a tough call, as I had already bought the Virtual Mix Rack and the Virtual Bus Compressors. But the Virtual Tape Machine, as well as the Virtual Console Collection were beckoning; when they threw in the Relab 480 (an emulation of the famed Lexicon Unit), I had to dive in.
Everything sounds great and they’re adding new plug ins all the time. I tried out the Virtual Neve Preamp to add some drive to a vocal track and it really did the trick. I’m looking forward to the release of the Amp Modeler soon and will keep you posted on how it stacks up against the usual suspects (Line 6,etc).
I found this studio in the Virginia Yellow Pages when I was looking to record some original songs with my band. Local (about 8 minutes away) and priced right, this somewhat haphazard choice set the stage for my entire career path.
The owner and engineer Gilbert Jullien was as close to a genius as I have met. He had been given an Eventide Omnipressor that was supposedly unfixable (he jokingly referred to his broken unit as the “OmniDepressor) but, within 10 minutes of speaking to their tech department on the phone, Gil had not only figured out how to get it working, he had been offered a job with them on the spot.
He taught me (in the words of John Burr) “Everything you know but not everything I know” about recording. After about 3 months, he came to me while I was still finding my way around his studio and handed me the keys, saying “If you can figure it out, you can run it”. Thus began the first of the 10,000 hours.
So when Eventide offered a special price on their Ultra Channel Strip that included not only a software version of the Omnipressor but also a stripped down Harmonizer, I had to bite. One of the best features is the ability to drag any component within the strip into any order. Great emulation,great plug in..but why not throw a reverb in??!!
Adele,Taylor Swift, The Weeknd and Kendrick Lamar… but the big story last year was streaming. The future is here and, despite the rise in vinyl, it looks like physical media’s reign has ended. We saw lots of debates about artists, writers and producers (not) getting paid, despite the explosion of a global market. In a world where computers should be able to create truly “transparent” tracking and accounting, the labels and rights holders are remaining vague about how much is coming and/or going out.
I currently use Google Play, as it is pays one of the highest rates (see here). This service on my phone, coupled with a Bluetooth Speaker and set of headphones, has revolutionized my listening habits and experience. Wi Fi is just about everywhere so data consumption for streaming is not an issue for me. I can find 98% of what I am looking for and I find their “recommendations/similar artists” sections to be decent. The one thing that I miss is the “rarities” but most of those are on You Tube and that is part of the service that I’m paying for so I don’t feel guilty about that. Through streaming, I rediscovered some past favorites such as Todd Snider, Josh Ritter, The Amazing Rhythm Aces, Jellyfish, Martin Sexton and many more.
I also saw some great live performances by artists such as Bettye Lavette, Dawes, First Aid Kit, Teddy Thompson and Ben Sollee. All this plus a brilliant new album by Jason Isbell…not a bad year.
When the price is right, you have to go for it..but I think these last two will do it for now.
I first heard about Magic AB in a video by Dave Pensado. This is a handy plug in utility that sits on your stereo output bus and let’s you compare your current mix with up to 9 (!) different reference mixes..from any audio source on your computer AND while bypassing the other plug ins that you may have on that bus.
You can loop sections, adjust levels by ear or metering (Crest Factor included) and save playlists for easy recall ie. by genre if you do mix/master in different styles. Highly recommended.
On the more creative side, those mad professors from Warsaw at PSP Audioware got me again with the PSP N20.
They offer a fully functional 15 day demo and installation is a breeze (no iLok!!!)..I took it for a spin..and was floored.
So what is this thing and why hasn’t it taken the world by storm? The GUI should be a clue to the answer to both questions. Here is a multi effect plug in that has just about everything you would need to be creative: large selection of audio effects (multi-mode filters/distortion/delay/pitch change/reverb/compression and more), 4 different ways to modulate them (LFO/2 ADSR Types/Step Sequencer) and a routing/modulation matrix that lets you put anything in any order and be modulated..by everything. There are also assignable knobs that can themselves be assigned to midi controllers..whew!!
You might think that all of this power might be hard to put into an easy to use interface..and you would be right. The routing part looks alarmingly similar to the decidedly “un-user friendly” algorithms of the Yamaha DX-7. But a quick run through the included (and well done) presets help to demystify the inner workings of this monster plug in.
Other beefs..? No manual (Video only), sound tends to be a little “digital” in the distortion area and the actual tiny lettering and numbers seem to be in”typewriter” font….not exactly “warm and fuzzy” in the GUI.
But…this unit has some of the best elements of what PSP excels at such as compression/delay/eq….and it’s all about the sound.
Demo it for yourself. Unique and also highly recommended.