Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
MOTU 896 interface (recording at 96kHz/24bit) – Onboard preamps used
This project was conceived with the idea of emulating the sound of the work of Rudy Van Gelder in the early 1960’s (a mutual choice of my own and the drummer, for whom this was an audition tape). Of course I did not have any of the same equipment as Mr. Van Gelder, but I attempted to capture some characterstic elements with instrument placement, intentional mic bleed, dynamic treatment and equalization in mixing. There is no editing/crossfading in this example.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
This is an example of two excellent performers in a very complimentary acoustic space (the same 900-seat university recital hall as above). My method consisted of repositioning the ORTF pair a few times to achieve the desired balance between soloist and accompaniment and between direct and indirect sound. In the end, this became one of my favorite recordings. There is no reverb added in this example. There are edits/crossfades in this example.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
This session was particularly interesting for several reasons. The multiple-percussion setup of this piece resembles a drumset in that it’s main elements are kick drum, snare drum, tom-toms and cymbals, with bongos, and various woodblocks and cowbells added. In planning, I vacillated between close mic’ing the various instruments or groups of instruments and using a stereo ORTF mic’ing/bass drum or spaced overhead pair/bass drum setup. After some brief experimentation, I decided to use an overhead ORTF pair and bass drum mic, for several reasons.
With the spaced overhead pair setup, the non-cymbal voices were noticably “deeper” in the stereo field than the cymbal, causing an timbral and volume imbalance. The ORTF pair achieved a more “realistic” environment, that is, the impression of being in a small room full of instruments being hit, and not a “fabricated” acoustic space (which would have occured in a dry, close mic’ing situation).
In the end, I was pleased with this recording. I avoided the main personal objection I have to many studio concert percussion recordings; many times, the sounds are more like drum sounds you’d hear on a pop or rock record, unlike the piece would sound in performance. While these are aesthetic preferences, I currently feel that the ‘acoustic’ approach is closer to the spirit of most concert percussion pieces. In most cases, the pieces were written for live, acoustic performance and recordings I make of them should reflect that aesthetic intent as much as possible. There were edits made in this example, no reverb was added.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
Mixed in Cubase, using PreSonus Firepod interface (44.1kHz, 16bit)
PreSonus Firepod, pressure zone microphone (hemispheric polar pattern), on floor near lip of stage, equidistant from 604s
Process/Issues/Evaluation:
In this particular space, (a 900 seat university recital hall), the spaced omnidirectional pair with a touch of the pzm mixed in has become a favorite setup of mine for recording piano recitals. I have tried ORTF, XY and close ORTF, with and without a hemispheric mic, and the omni pair provides the piano tone and combination of direct and reverberant sound I am looking for.
There is no reverb added, or editing/crossfading in this example.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
MOTU 896 interface (recording at 96kHz/24bit) – Onboard preamps used
Hamptone HVTP2 tube preamp – Vocals and direct input electric bass
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
Microphones:
Vocal – Heil PR 40 (cardioid dynamic)
Piano – MXL 603 (cardioid condenser) (ORTF Configuration)
This live multitrack session was completed in a house dining room with no baffling/gobos. The main challenge was capturing the vocals without too much bleed from the drums, for maximum flexibility in mixing (the vocalist was not playing piano). The null point of the vocal microphone faced the drums. Additionally, the mic was placed at standing height in a doorway which led to the larger living room, where I liked the sound of the voice better (this also helped with separation). This was a sort of “lesser of two evils” choice, as the room reflections complicated adding reverb (very slight) convincingly.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
ART Tube MP preamp, MXL 604 (small capsule omnidiretional condenser)
Edited in Cubase
Process/Issues/Evaluation:
Solo marimba in a large concert hall (2,100 seats). The instrument was noisy, however beginning around 00:14 seconds, what sounds like distortion does appear. A particular frequency range **(name it)** was problematic, most likely to the mic amplifier circuit. Because the session was gratis (and during a specified time slot), I did not stop the performance to try to troubleshoot the situation.
There is no reverb added, or editing/crossfading in this example
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Setup/Equipment
TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
Mixed in Cubase, using MOTU 896 interface
Hamptone HVTP2 tube preamp, (2) MXL 604 (small capsule omnidirectional condenser) (spaced omni pair configuration – 3ft. separation, 6ft. height, right mic facing top strings, left facing center strings)
ART Tube MP preamp, pressure zone microphone (pzm) (hemispheric polar pattern), on floor between spaced omni pair
Process/Issues/Evaluation:
This track comes from a recording session that took place over several days in a university recital hall (900 seats). Though no splicing was necessary in the end (the performer was exceptional), making sure the setup was exactly the same session to session was a challenge. Additionally, using the spaced omni pair in close proximity to the instrument required careful placement, resulting from a bit of experimentation. In the end, I felt the ratio of direct and reverberant sound was exactly what I had in mind, without the use of much of the signal from the hemispheric pzm.
There is no reverb added, or editing/crossfading in this example
That’s my friend from Truman State University, Scott Quade performing on a set we made. Scott, like many others at the school, is a fantastic percussionist.
Anyway, James had some sketches of a set of blocks which belonged to a former teacher. Along with this, Kolberg makes “Power Blocks”, which are often used for the piece. There is a great video of percussionist Pedro Carniero playing Rebonds B. Carniero’s blocks are cool, but of course I’m partial to “XenakibloX”!
…next up will be designing and building a mounting system for the blocks.
Backyard Shark at Bentley’s 7/25/09 Photo by Taylor Thornton
I play in a couple bands based in Champaign, IL. One of them – definitely the most domestic-aquatic themed one – is called Backyard Shark. I love playing with Ed, Tony and Tommy B – we’ve been together for several years now, which not many bands that have members in 3 cities (4 from Aug. ‘08-May’09) can say. We have a lot of fun, and we like to think our audiences do, too! Check us out at:
John and Jay of Faster Forward – Photo by Taylor Thornton
I play in two bands, the Fastest and most forward-moving of them is Faster Forward (although it’s generally about the same speed as Backyard Shark, and in fact, if you averaged the tempos of all the songs from the respective bands, probably slower, and I’m not sure if it is in fact any more forward-moving than Backyard Shark…). ANYWAY, that is the name of the band! John Caparoon (the guy on the left) is the primary singer and a fantastic songwriter. Jay Creek (on the right, keeping us honest) plays bass.
