More musicians playing in homes to smaller audiences
House concerts have been around for years but with the internet creating "fractional audiences" they might be the new live music scene.
The live music scene for local, regional and even small appeal acts of national and international importance has been a dwindling thing since the 1970s. Down the street from my home is a club that on one night featured the Red Hot Chili Peppers and Faith No More before their rise to stardom. The club used to feature a lot of acts in that "on the rise" circumstance. Somewhere along the way the club's management realized the profits turned on alcohol sales rather than featuring worthy recording artists. The bar sales tend to be the same regardless. In essence, the club tends to feature a lot of club level bands rather than the up and coming national acts it used to feature.
On the other hand, I know of more than a couple recording artists who have quit performing due to objections to alcohol and tobacco smoke.
The internet has created more opportunities for recording artists and for fans to find each other. House concerts will be the thing that brings these new artists and these new fans face to face.
--Steven Langer
Monday, January 5, 2009
Sunday, January 4, 2009
MXL 990 and MXL 991
The perennial cheap mic combo offered by that big music gear store
Here it goes: The cubic zirconia in the rough of these two mics is the MXL 991. It's a small diaphragm condenser microphone.
It's on the bright side of things. For comparison, we recorded tracks with the 991 and several other mics ranging in price from $19 to $1,000. How did the MXL 991 fare? Not bad at all. The MXL 991 is a cardiod pattern mic. We liked it in two places: Acoustic guitar and over a drum kit.
It's too bright for my tastes to use it in a solo instrument setting but in the context of multiple tracks I thought I wouldn't mind using an MXL 991. My favorite acoustic guitar mics range in price from $200 to $300 and I even got one that I use a lot that costs $800, which is the Blue Dragonfly. In the context of the MXL 990 and 991 package deal, the MXL 991 costs about $50. One of my friends who owns a commercial recording studio uses the 991 and owns several of them. I now know why. Yes, it doesn't as good as my fave $800 go to acoustic guitar mic but it's pretty good nonetheless. And, if someone craters the 991 while here on a session, then I'm only out $50 rather than $800. The MXL 991 possesses a little sizzle that you don't get with the Blue Dragonfly, which possesses a complex high end that normally only comes in more expensive microphones. Still, the 991's sizzle comes across as a smidge musical and it's not grating (on acoustic guitar anyway).
On a session, my friend, Steve Beckett, used the MXL 991 over a drum kit. Interestingly, he also used the Blue Dragonfly (yes, it's a great mic for this use as well). He liked the 991 on the floor tom side of the kit.
The MXL 990 is a small diaphragm cardiod pattern condenser as is the 991 but the 990 is in a different body in a side address configuration. The 990 did not do much for me on most things. Steve Beckett pointed out he liked it on toms. I'd heard from Harvey Gerst about his son Alex Gerst using the 990 on toms at recording sessions at Indian Trail Studios in Sanger, Texas. Steve played me some of his tracks with the MXL 990 on toms. I listened. I found myself reassessing my distrust of low cost mics. Yes, it did one thing that did not suck.
The Bottom Line: I would limit the use of the "cubic zirconia" 991 to acoustic guitar and to over a drum kit. I would limit the use of the "it did one thing that did not suck" 990 to toms. Street price for the pair including carrying case is $99 approximately at that big music gear store.
--Steven Langer
MXL
Here it goes: The cubic zirconia in the rough of these two mics is the MXL 991. It's a small diaphragm condenser microphone.
It's on the bright side of things. For comparison, we recorded tracks with the 991 and several other mics ranging in price from $19 to $1,000. How did the MXL 991 fare? Not bad at all. The MXL 991 is a cardiod pattern mic. We liked it in two places: Acoustic guitar and over a drum kit. It's too bright for my tastes to use it in a solo instrument setting but in the context of multiple tracks I thought I wouldn't mind using an MXL 991. My favorite acoustic guitar mics range in price from $200 to $300 and I even got one that I use a lot that costs $800, which is the Blue Dragonfly. In the context of the MXL 990 and 991 package deal, the MXL 991 costs about $50. One of my friends who owns a commercial recording studio uses the 991 and owns several of them. I now know why. Yes, it doesn't as good as my fave $800 go to acoustic guitar mic but it's pretty good nonetheless. And, if someone craters the 991 while here on a session, then I'm only out $50 rather than $800. The MXL 991 possesses a little sizzle that you don't get with the Blue Dragonfly, which possesses a complex high end that normally only comes in more expensive microphones. Still, the 991's sizzle comes across as a smidge musical and it's not grating (on acoustic guitar anyway).
On a session, my friend, Steve Beckett, used the MXL 991 over a drum kit. Interestingly, he also used the Blue Dragonfly (yes, it's a great mic for this use as well). He liked the 991 on the floor tom side of the kit.
The MXL 990 is a small diaphragm cardiod pattern condenser as is the 991 but the 990 is in a different body in a side address configuration. The 990 did not do much for me on most things. Steve Beckett pointed out he liked it on toms. I'd heard from Harvey Gerst about his son Alex Gerst using the 990 on toms at recording sessions at Indian Trail Studios in Sanger, Texas. Steve played me some of his tracks with the MXL 990 on toms. I listened. I found myself reassessing my distrust of low cost mics. Yes, it did one thing that did not suck.
The Bottom Line: I would limit the use of the "cubic zirconia" 991 to acoustic guitar and to over a drum kit. I would limit the use of the "it did one thing that did not suck" 990 to toms. Street price for the pair including carrying case is $99 approximately at that big music gear store.
--Steven Langer
MXL
Friday, December 26, 2008
AES Nashville to hold two day workshop in February 2009
Great talent, very reasonable conference fee
The AES Nashville Section has developed a two-day recording workshop and gear expo focused on getting the most from your studio environment. With multiple Grammy Award winner, musician and studio owner Ricky Skaggs as the keynote address speaker, the AES Nashville section, in conjunction with Audio Engineering Society, Inc., is offering this two-day program on Friday to Saturday, February 20 to 21, 2009, at the Musician's Hall of Fame and Museum. Whether you are a recording musician, a songwriter laying down demos, or a professional engineer working in a personal production space, the Nashville Recording Workshop and Expo will provide essential insight and information geared to boost your career.
Affordable and more powerful technology has made for a burgeoning market in recording equipment as songwriters, musicians and engineers create their own personal production spaces. Nashville has long been touted to have more personal studios per capita than anywhere in the country, and never has this been truer than in today's DAW-centric recording environment. NRW+E presents a unique opportunity for personal studio owners to learn from the pros who put the Music in Music City, to check out the latest tools of the trade in the exhibition space and to network with their peers.
NRW+E presenters will include leading producer/engineers Ricky Skaggs, Jeff Balding, Russ Long, Pat McMakin and Gary Paczosa, and Lynn Fuston of 3D Audio, to name but a few of the high-profile participants. Subjects planned for the two-day event include vocal and acoustic instrument mic'ing, a singer/songwriter production roundtable, producing a dynamite demo, arrangement and recording for better mixes, adding rhythm and spice with virtual tracks, collaboration across time and space, work environments that enhance creativity, practical acoustic and room treatment, when to call in a pro, a beats and loops workshop, and many more.
Mike Porter, Chairman of the Nashville section of AES states, "The Nashville community has long hoped to host an AES event, with enthusiastic support from many outside our area. While this isn't as big an event as New York or San Francisco, it will certainly be a mini AES for area people to attend. AES conventions usually are geared more toward engineers; this workshop will have much more to offer songwriters, musicians, home and small studio owners and recording enthusiasts, as well as the studio professionals."
Early Bird registration for AES members and members of participating professional songwriter, performance, musician and engineering organizations is $79, non-members is $99, student members is $39, and non-member students is $59. Early registration is open through January 12, 2009. For the full program listings, information on registering or to book an exhibition space visit Nashville Recording Workshop.
The AES Nashville Section has developed a two-day recording workshop and gear expo focused on getting the most from your studio environment. With multiple Grammy Award winner, musician and studio owner Ricky Skaggs as the keynote address speaker, the AES Nashville section, in conjunction with Audio Engineering Society, Inc., is offering this two-day program on Friday to Saturday, February 20 to 21, 2009, at the Musician's Hall of Fame and Museum. Whether you are a recording musician, a songwriter laying down demos, or a professional engineer working in a personal production space, the Nashville Recording Workshop and Expo will provide essential insight and information geared to boost your career.
Affordable and more powerful technology has made for a burgeoning market in recording equipment as songwriters, musicians and engineers create their own personal production spaces. Nashville has long been touted to have more personal studios per capita than anywhere in the country, and never has this been truer than in today's DAW-centric recording environment. NRW+E presents a unique opportunity for personal studio owners to learn from the pros who put the Music in Music City, to check out the latest tools of the trade in the exhibition space and to network with their peers.
NRW+E presenters will include leading producer/engineers Ricky Skaggs, Jeff Balding, Russ Long, Pat McMakin and Gary Paczosa, and Lynn Fuston of 3D Audio, to name but a few of the high-profile participants. Subjects planned for the two-day event include vocal and acoustic instrument mic'ing, a singer/songwriter production roundtable, producing a dynamite demo, arrangement and recording for better mixes, adding rhythm and spice with virtual tracks, collaboration across time and space, work environments that enhance creativity, practical acoustic and room treatment, when to call in a pro, a beats and loops workshop, and many more.
Mike Porter, Chairman of the Nashville section of AES states, "The Nashville community has long hoped to host an AES event, with enthusiastic support from many outside our area. While this isn't as big an event as New York or San Francisco, it will certainly be a mini AES for area people to attend. AES conventions usually are geared more toward engineers; this workshop will have much more to offer songwriters, musicians, home and small studio owners and recording enthusiasts, as well as the studio professionals."
Early Bird registration for AES members and members of participating professional songwriter, performance, musician and engineering organizations is $79, non-members is $99, student members is $39, and non-member students is $59. Early registration is open through January 12, 2009. For the full program listings, information on registering or to book an exhibition space visit Nashville Recording Workshop.
Monday, December 22, 2008
Manley Dual Mono Microphone Preamplifier
Check out Steve Beckett's review of one of our favorite mic preamps
In recent memory, a lot of gear seems to get made over online hype. And, without disparaging the makers of that gear, usually these are simple pieces that put out ear candy sounds right of the box.
The Manley Dual Mono Microphone Preamplifier does not get a lot of online hype. I thought about this as I have used it. It is a versatile unit that features different sounds. The construction is on par with the best in the industry. I finally came to the conclusion that the Dual Mono Mic Pre was overdue for its own online hype, which probably would not be coming as too many people neglect to read the manual. Although the Dual Mono Mic Pre is a fairly simple to control unit, review of the manual is necessary to get full use of the pre.
The Manley Dual Mono Mic Pre features quality components and workmanship. The front faceplate appears to be 10 gauge steel with an engraved faceplate. The sides appear to be adonized extruded aluminum, which is an expensive touch not common in pro audio gear. The aluminum sides help dissipate heat.
The top and bottom of the Dual Mono Mic Pre feature perforated 24 gauge steel panels, which allow more than adequate cooling of the internal components. This unit does get warm when left on for long periods. I would not pack it solid in a rack but rather leave a space above and below to allow some air circulation.
The top and bottom panels remove with one screw and slide toward the back. I work with metal often and found myself impressed with this aspect of the Manley Dual Mono Mic Pre. The sides feature guide rails which hold down the perforated panels allowing for the one screw design.
The front of the unit features a power switch, a gain control which controls the gain for both channels, a phantom power switch for each channel, 1/4 inch direct input plugins for each channel, and an input attenuate control for each channel. Each channel also features a switch that controls polarity. The same switch features a setting for DI that disconnects the mic input and mic transformer.
The rear of the unit features XLR inputs and outputs for each channel. It also features unbalanced 1/4 inch outputs.
The Manley Dual Mono Mic Pre's gain knob works on both channels. It runs from 40 to 60 dB. It sets the amount of negative feedback. Even though one gain control affects both channels, the gain stage comes before the input attenuate stage. Each channel has its own input attenuate control. As the gain increases -- no matter the setting on the input attenuate stage -- the Dual Mono Mic pre gives you a more aggressive sound. The input attenuate knob controls the output level but does not really affect the color of the sound.
I found 60 dB, for example, on the gain control to be too aggressive for most sources. The sweet spot of the unit tended to be 45 to 50 dB in my experience.
If sound were lighting, then the 40 dB gain setting would be a soft light. The 45 to 50 dB would be a pleasing natural light. The 55 to 60 dB would be unfiltered halogens. And, 60 dB is sort of like when you are driving down the road and the oncoming car flashes its brights on you.
The Dual Mono Mic Pre features input and output transformers as well as input and output tubes. The output transformer is bypassed in the signal path when you use the unbalanced outputs. The balanced XLR output for each channel is bypassed anytime something is plugged into the unbalanced 1/4 inch output for that particular channel.
The direct inputs excel at synths. They are adequate for guitar and bass. You might prefer to use an additional DI box such as the Radial JDI which you plug into the XLR inputs for guitar or bass. Needing to add an outboard DI for guitar and bass perhaps was the only blemish I found from my time with the Manley Dual Mono Mic Pre.
On mic'ing electric guitar amps, the Dual Mono Mic pre at setting of 45 dB gave me a warm but natural representation of the amp's sound. I used both a ribbon and dynamic and got goods results with both.
I tracked an accordion with a Baby Bottle at 45 dB and the combination softened the harshness of this problematic instrument giving me useable results.
I tracked a cello with a Blue Dragonfly at 50 dB. The player commented that what she heard in the room was exactly what she heard in the headphones.
I plugged a keyboard workstation into the DI inputs. The gain at low settings softened the sounds. At high settings, the gain created thick tones. I like the versatility the Manley Dual Mono Mic Pre gives to keyboards and synths and I consider it my go to DI for these instruments.
The Bottom Line: The Manley Dual Mono Mic Pre is versatile. It's well made. It's one of the best mic pres to be reviewed at Mojo Pie. Highly recommended.
--Steve Beckett
Manley Laboratories
In recent memory, a lot of gear seems to get made over online hype. And, without disparaging the makers of that gear, usually these are simple pieces that put out ear candy sounds right of the box.
The Manley Dual Mono Microphone Preamplifier does not get a lot of online hype. I thought about this as I have used it. It is a versatile unit that features different sounds. The construction is on par with the best in the industry. I finally came to the conclusion that the Dual Mono Mic Pre was overdue for its own online hype, which probably would not be coming as too many people neglect to read the manual. Although the Dual Mono Mic Pre is a fairly simple to control unit, review of the manual is necessary to get full use of the pre.
The Manley Dual Mono Mic Pre features quality components and workmanship. The front faceplate appears to be 10 gauge steel with an engraved faceplate. The sides appear to be adonized extruded aluminum, which is an expensive touch not common in pro audio gear. The aluminum sides help dissipate heat.The top and bottom of the Dual Mono Mic Pre feature perforated 24 gauge steel panels, which allow more than adequate cooling of the internal components. This unit does get warm when left on for long periods. I would not pack it solid in a rack but rather leave a space above and below to allow some air circulation.
The top and bottom panels remove with one screw and slide toward the back. I work with metal often and found myself impressed with this aspect of the Manley Dual Mono Mic Pre. The sides feature guide rails which hold down the perforated panels allowing for the one screw design.
The front of the unit features a power switch, a gain control which controls the gain for both channels, a phantom power switch for each channel, 1/4 inch direct input plugins for each channel, and an input attenuate control for each channel. Each channel also features a switch that controls polarity. The same switch features a setting for DI that disconnects the mic input and mic transformer.
The rear of the unit features XLR inputs and outputs for each channel. It also features unbalanced 1/4 inch outputs.
The Manley Dual Mono Mic Pre's gain knob works on both channels. It runs from 40 to 60 dB. It sets the amount of negative feedback. Even though one gain control affects both channels, the gain stage comes before the input attenuate stage. Each channel has its own input attenuate control. As the gain increases -- no matter the setting on the input attenuate stage -- the Dual Mono Mic pre gives you a more aggressive sound. The input attenuate knob controls the output level but does not really affect the color of the sound.
I found 60 dB, for example, on the gain control to be too aggressive for most sources. The sweet spot of the unit tended to be 45 to 50 dB in my experience.
If sound were lighting, then the 40 dB gain setting would be a soft light. The 45 to 50 dB would be a pleasing natural light. The 55 to 60 dB would be unfiltered halogens. And, 60 dB is sort of like when you are driving down the road and the oncoming car flashes its brights on you.
The Dual Mono Mic Pre features input and output transformers as well as input and output tubes. The output transformer is bypassed in the signal path when you use the unbalanced outputs. The balanced XLR output for each channel is bypassed anytime something is plugged into the unbalanced 1/4 inch output for that particular channel.
The direct inputs excel at synths. They are adequate for guitar and bass. You might prefer to use an additional DI box such as the Radial JDI which you plug into the XLR inputs for guitar or bass. Needing to add an outboard DI for guitar and bass perhaps was the only blemish I found from my time with the Manley Dual Mono Mic Pre.
On mic'ing electric guitar amps, the Dual Mono Mic pre at setting of 45 dB gave me a warm but natural representation of the amp's sound. I used both a ribbon and dynamic and got goods results with both.
I tracked an accordion with a Baby Bottle at 45 dB and the combination softened the harshness of this problematic instrument giving me useable results.
I tracked a cello with a Blue Dragonfly at 50 dB. The player commented that what she heard in the room was exactly what she heard in the headphones.
I plugged a keyboard workstation into the DI inputs. The gain at low settings softened the sounds. At high settings, the gain created thick tones. I like the versatility the Manley Dual Mono Mic Pre gives to keyboards and synths and I consider it my go to DI for these instruments.
The Bottom Line: The Manley Dual Mono Mic Pre is versatile. It's well made. It's one of the best mic pres to be reviewed at Mojo Pie. Highly recommended.
--Steve Beckett
Manley Laboratories
Toft ATC-2
Toft ATC-2 dual channel strip a tweakers delight
I became initially interested in the Toft ATC-2 to track toms. I have a variety of Daking, Neve, Summit, Telefunken and Manley preamps but none of them seemed flexible enough to carve out the right tom sound. I record drum kits every week and the toms sometimes come up a little short. I sort of thought the problem not enough EQ bands, wrong bandwith and wrong frequencies. I purchased the Toft ATC-2 and found it the ultimate piece for this job. It imparts a distinct 1970s classic rock sound to the drums as well.
The Toft ATC-2 is a dual channel recording strip with mic pre, EQ and compression. I used the unit exclusively for recording toms for a number of months. All of the engineers here and the clients were impressed by the improved tom sound. The only problem that popped up from time to time seemed to be my cutting a little bit too much in the low mids. If the drummers played hard (and I mean very hard), then the sound came up a bit thin. Once I became more careful in where I cut the low mids the problem disappeared.
After I decided to write a review of the Toft ATC-2, I decided to try it on some other instruments and vocals. I first ran a DJ’s turntable mixer into the front panel inputs. The source came across solidly with no input clipping and the compressor set the tracks correctly in the mix with no other compression necessary.
I then used it on a vocal tracked through my Manley Reference Cardioid Microphone. The compressor on the Toft grabbed the vocal in a way similar to an old DBX 160. The Toft imparts a definite retro rock sound at four to five dB of compression. Higher amounts of compression seemed unnecessary due to the way it grabbed the vocal and held it. Higher amounts of gain reduction proved to have too much color for normal vocals.
I found that using small amounts of compression and a little low mid boost on electric guitar put across an Allman Brothers type lead guitar sound. I then used the ATC-2 on a variety of odd percussion instruments played by an experimental music band. I used unusual EQ boosting, overcompression, and forced preamp distortion to the delight of the band. The band wanted some unusual treatment of the sounds and the ATC-2 delivered.
I tried plugging a Fender Precision Bass into the front panels inputs and didn't like the results. These inputs seemed to be optimized for line level inputs. I plugged the bass into the mic pre XLR input on the back through a direct box and was delighted by a fat 1970s bass sound using a little low boost and compression.
If someone wants to carve up sounds with EQ and wants a compressor that can be heard, then the Toft ATC-2 should be considered. It can be a bit touchy to use but if you don’t over EQ or overcompress it sounds great. It does lack phase reverse. The low cut filter is sometimes too noticeable. But, I've been able to work around those limitations. If you’re looking for the 1970s sound that you heard on countless classic rock songs, then you should give the Toft ATC-2 a try.
The Bottom Line: It's retro. It can be a little touchy. But, damn, the EQ and compression sound great. Recommended.
--Jay Matheson
Toft Audio Designs
I became initially interested in the Toft ATC-2 to track toms. I have a variety of Daking, Neve, Summit, Telefunken and Manley preamps but none of them seemed flexible enough to carve out the right tom sound. I record drum kits every week and the toms sometimes come up a little short. I sort of thought the problem not enough EQ bands, wrong bandwith and wrong frequencies. I purchased the Toft ATC-2 and found it the ultimate piece for this job. It imparts a distinct 1970s classic rock sound to the drums as well.
The Toft ATC-2 is a dual channel recording strip with mic pre, EQ and compression. I used the unit exclusively for recording toms for a number of months. All of the engineers here and the clients were impressed by the improved tom sound. The only problem that popped up from time to time seemed to be my cutting a little bit too much in the low mids. If the drummers played hard (and I mean very hard), then the sound came up a bit thin. Once I became more careful in where I cut the low mids the problem disappeared. After I decided to write a review of the Toft ATC-2, I decided to try it on some other instruments and vocals. I first ran a DJ’s turntable mixer into the front panel inputs. The source came across solidly with no input clipping and the compressor set the tracks correctly in the mix with no other compression necessary.
I then used it on a vocal tracked through my Manley Reference Cardioid Microphone. The compressor on the Toft grabbed the vocal in a way similar to an old DBX 160. The Toft imparts a definite retro rock sound at four to five dB of compression. Higher amounts of compression seemed unnecessary due to the way it grabbed the vocal and held it. Higher amounts of gain reduction proved to have too much color for normal vocals.
I found that using small amounts of compression and a little low mid boost on electric guitar put across an Allman Brothers type lead guitar sound. I then used the ATC-2 on a variety of odd percussion instruments played by an experimental music band. I used unusual EQ boosting, overcompression, and forced preamp distortion to the delight of the band. The band wanted some unusual treatment of the sounds and the ATC-2 delivered.
I tried plugging a Fender Precision Bass into the front panels inputs and didn't like the results. These inputs seemed to be optimized for line level inputs. I plugged the bass into the mic pre XLR input on the back through a direct box and was delighted by a fat 1970s bass sound using a little low boost and compression.
If someone wants to carve up sounds with EQ and wants a compressor that can be heard, then the Toft ATC-2 should be considered. It can be a bit touchy to use but if you don’t over EQ or overcompress it sounds great. It does lack phase reverse. The low cut filter is sometimes too noticeable. But, I've been able to work around those limitations. If you’re looking for the 1970s sound that you heard on countless classic rock songs, then you should give the Toft ATC-2 a try.
The Bottom Line: It's retro. It can be a little touchy. But, damn, the EQ and compression sound great. Recommended.
--Jay Matheson
Toft Audio Designs
Subscribe to:
Posts (Atom)