Harry and the Monologue

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

It’s only Tuesday, and already, it’s been quite a week. I have been working away on a monologue I am set to deliver this Saturday at Flower Street Station in Phoenix.

As you might guess, listening to a monologue and delivering a monologue are quite different, and composing this first monologue has not proven a simple task. For several days now, I have shouldered the burden of great anxiety over the content, you know, just trying to find the right words to share on such a momentous occasion.

In fact, it has begun to adversely effect my sleep to the point where I am experiencing nightmares. Usually I don’t recall my dreams, but one in particular continues to haunt me.

In this dream, I’m sitting in the front row of what begins as a typical show here at Flower Street station, but then suddenly morphs into a large, exquisite auditorium, complete with orchestra pit, and an entire orchestra, with a pair of cellists sitting just below me, perhaps no further than three or four feet away. In this dream, I am so close to the musicians, I can see the eyes as they follow along with the dots on the sheets of music before them, strange, as I should have been staring at the backs of their heads. May I remind you, it was, of course, only a dream.

On stage is a large, pearl white grand piano. Playing that piano is none other than singer, songwriter, Marc Cohn, known primarily for his one big hit, Walking in Memphis released back in 1991. In fact, Mr. Cohn is performing a rather moving rendition of Walking in Memphis, and is just about to admit to being a Christian of convenience, when out of the blue, in swings Terrible Ted Nugent, high above the crowd, one hand grasping a rope, the other a cross-bow. Terrible Ted is quite old in my dream. He appears to be in his late seventies, perhaps older. Like many his age he has little body fat… he is all skin and muscle, and he is wearing nothing more than a deer skin G-string and a camouflage-colored military style beret that makes him appear as though he is wearing camel genitalia on his forehead. It is not a pretty sight, mind you, and it’s about to get downright ugly.

Just as the song is reaching it’s dramatic crescendo, Ted aims with precision, discharging his trusty cross-bow. Ted, as you know, is a master marksman and bow hunter. He scores a direct hit, striking Mr. Cohn in the center of his heart, which explodes on impact, sending a stream of blood gushing onto the pearl white grand piano, and covering the nearly naked Nugent. As Ted reaches up to wipe the blood from his eyes, he looses grip of the rope and falls into the orchestra pit below, impaled on a cello. There he lies, obviously mortally wounded, poked through the middle like a shish kabob.

I react as any man would. I lean over the orchestral pit, and I ask the mortally impaled Ted if he is alright. Of course, he isn’t alright, and I believe he would have said as much if he hadn’t been so delirious. Ted is in shock now, and his time on this Earth slipping away. Again, I speak to the dying man, asking if he has any last words before moving on to that great used car lot in the sky. He looks at me with a kind of a look only a nearly dead Ted Nugent can conjure up, and with his final breath, mutters the words,,, Harry Bedurchy.

Harry Bedurchy, and then he just slumps back on the cello and dies. Harry Bedurchy, I repeat, as the house lights come on and the crowd begins to shuffle out. Harry Bedurchy, indeed, and with that I awakened from my dream. Even now, I have no idea what may have prompted this nightmarish scenario. I can only wonder.

Well, I suppose it’s time to wrap up this, my first of monologues. I hope you’ve enjoyed it, and I hope the next time you hear the song Walking in Memphis, you think of an aged Ted Nugent sporting camel genitalia. I know I will. Good night everyone. Oh and by all means, Harry Bedurchy.

Brad

B. Thomas Cooper - Editor

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Flower Street Station, March, 2008 - Part One

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

Flower Street Station, March, 2008 - Part One

For those of you new to Sound and Recording, I’d like to welcome you, and perhaps explain the premise of the site. About once a week we post a new story or article related to sound and recording.

I began SoundandRecording about two years ago at the urging of others. I had my sights set elsewhere, but eventually I acquiesced, and today it’s my most successful blog, with world-wide readership. This is in fact, posting number fifty.



For those of you that are return visitors to SoundandRecording, welcome back, and thank you for supporting our website. We have several new articles in the works, but I can only complete one at a time. Maintaining a successful website is not as easy as one may think.

On to the topic at hand.

B. Thomas Cooper and Friends performed for an intimate crowd at Flower Street Station in downtown Phoenix on the last Sunday of March. Here’s a video culled from Sunday’s show. Enjoy.


B. Thomas Cooper & Friends
Recorded Live at Flower St. Station in Phoenix

In Part Two, I hope to provide you with a little of the inside poop on how a show like this is put together, including the micing techniques applied during recording. I’ll also be posting some photos of the show, and more videos, as well.

In Part Three, I’ll be sharing with you a little about the artists who appeared on Sunday’s bill. This particular bill was special, or so they’d like you to believe, but we’ll go into more on that later.

The artists, in order of appearance were: Paul Bruce, Don Biscoe, Koi Stuertzel, and B. Thomas Cooper & Friends, which included Nick Gill, Jon Duff, and myself, of course.

It was one of those rare nights when nearly everything went well. Not right, per se, as nothing ever goes right, but certainly well. I’ll tell you all about it. You can judge for yourselves.

B. Thomas Cooper - Editor

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Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many talented singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.



It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal nearly every quality microphone imaginable. One quickly learns not every vocal should be captured with an expensive condenser or ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.

Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A microphone can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.




Depending on the vocalist, an engineer may determine it necessary to use a ‘pop screen’ or ‘wind screen’. The purpose of this device is to soften the ‘sibilance’ or hissing noises associated with singing. It might also prevent you from spitting into an expensive microphone. The distance one should sing from the microphone depends on a number of variables. Again, think it through, and don’t be afraid to experiment.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Become a part of the process. Learn all you can about recording, and keep an open mind. A strong vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Notice of Public Appearance

Sound and Recording
B. Thomas Cooper
Editor

Greetings,
It appears we are about to get busy, ready or not. Of course, this is old hat by now, and it’s a well worn and comfortable fit. I foresee nothing but good.

We, by the way, are B. Thomas Cooper and Friends, which includes myself, Jon Duff, and Nick Gill. In fact, the three of us will be performing at Joe’s Grotto in Phoenix next Wednesday evening at 9:pm. (That’s March 12th, for those of you with calendars.) Following our set, I will make myself available for questions, etc. I’m sure the others will as well.

I realize only a small handful of my readers are located in the valley, but fret not, we intend to hit as many spots on the map as we can before we wrap this thing up. After all, we’ve only just begun.

The appearance at Joe’s Grotto will be in front of an intimate crowd, providing an excellent opportunity for recording the performance. Joe’s Grotto always has great sound and lighting. You are welcome to bring your cameras. We will be bringing ours. The set will only last about a half an hour, so I suggest you arrive early. Oh, and while you’re there, be sure to ask about Echo.

Later,
Brad

Product Review: SONY MDR-V600 Dynamic Stereo Headphones

Sound and Recording
B. Thomas Cooper
Editor

Product Review

SONY MDR-V600 Dynamic Stereo Headphones

This is a fine offering by Sony, a sturdy set of headphones, with firm, comfortable ear pieces and a warm, desirable frequency response. In simple words… a good investment for anyone looking for a reliable set of headphones.



I purchased my first pair of few years ago, and have really appreciated their durability and sound quality. After unconscionable abuse, the material on the ear pieces was beginning to wear thin, so I went in search of a new set, not really expecting to settle on another pair of Sony V600’s. However, once I’d listened to about two dozen different sets, I found myself eager to lay down the very reasonable ninety-nine dollar retail price. I suppose I could have saved myself some time and money by ordering the MDR-V600’s online, but hey, it was well worth getting out there and hearing for myself what was available. The result is that I now own two pair of MDR-V600‘s. I rate the product very highly.

Driver (40mm Aura-Normic Designed Driver)
Impedance (45ohms)
Frequency Response (5Hz to 30,000Hz)
Rated Power (500mW) *1/2 watt*
Max Power (1,000mW) *1 watt* (not recommended)
Cord Length (9.8 feet)

Networking With Other Musicians

Sound and Recording
B. Thomas Cooper
Editor


Networking. Some bands are good at it, some are not. Some musicians understand how important it is, others don't. Frankly, some people, musicians included, are simply too concerned about they're own egos to do the right thing. What is the "right thing"? working together, of course! Networking, so to speak.

Don't be afraid to get involved. After all, it's your career, and your opportunity to shine. Far too many young musicians believe the club scene is some kind of dog eat dog' scenario, but it doesn't need to be that way.

Nowhere has the pressure been greater or the egos larger than on the Sunset strip in Hollywood during the Big Hair' era. Still, my band, based in Phoenix nearly four hundred miles eastward, played alongside Guns & Roses, Poison, and other future legends without getting sucked down by personal egos. We were always supportive of the bands on the scene, and it paid off for us in big ways. One should not think of music as a competition.

Of course, there are numerous ways to be helpful and self serving at the same time whether it be creating and distributing fliers for the next gig or maintaining a website. Cooperation, as well as determination, are tantamount to any bands' success.

This reasoning applies onstage as well. I often urge my band-mates to help the other bands strike the stage, for example. After all, the sooner the stage is clear, the sooner my band can set up. Doesn't this just make good sense?

Ultimately it's up to you, but having personally booked literally hundreds of gigs at dozens of clubs, I can assure you that a band with a bad reputation is far less apt to be offered the choice gigs, no matter how cool they may think they are. On the other hand, if you can't network on the local level, what ever gives you the idea you'll be ready to work with the big boys?

So get out there and get it done! Making excuses is not going to get you where you want to go in this industry or any other. Don't be shy to show your meddle and remember, networking is your friend. Now that's what I call sound reasoning'.

Recording Keyboards and Synthesizers

Sound and Recording
B. Thomas Cooper
Editor

Over the years, I have learned not to be surprised by people who go to great lengths pontificating on subjects they no nothing about. Unfortunately, this happens far too often, and the subject of recording synthesizers has proven no different.

For starters, it is very rare to record a synthesizer running through an amplifier during a studio session. I have known exceptions, of course, but not many. This is simply bad science, and is not indicative of the process. Put away your microphones, we are running this baby direct.


B. Thomas Cooper

As a staff producer for the legendary Power Station, I worked on an array of projects, ranging from standard Jazz to Meat Loaf. Most of the Meat Loaf keyboard arrangements were recorded meticulously over a period of many months. This was usually assigned to a studio wizard by the name of Jeff Bova, who worked in his own facility, with no other musicians in the room. He would have little use for an amplifier under these conditions. A good set of headphones however, were of priceless value.

Live recording is somewhat different, but even then, a direct signal is tantamount. Unless the sound you are trying to achieve can only be accomplished through an amplifier, why would we even haul the amp out of the closet?

Furthermore, and like it or not, when a major act records live, you can bet the bank the recordings were brought back to the studio, where entire parts are added or re-recorded. A keyboard part run through an amp would likely be replaced for fidelity reasons alone. This is big business, folks. We don't make junk when we don't have to.

Still, feel free to experiment as you wish. There are no hard and fast rules that can't be broken. Recording should be fun, and the results artistically satisfying. Approach each aspect of recording with an open mind, and again, by all means, enjoy the experience.

Fresh As a Daisy - Chasing Unique Sounds

Sound and Recording
B. Thomas Cooper
Editor

For myself, one of the more intriguing aspects of the recording process is the merging of art and Science. When the two work in tandem, the results can be magical.

As such, it has long been the desire of many an artist or producer to create fresh sounds, something indeed unique. Predictably many long studio hours have burned away during such pursuit. Guitar tone, drum sounds, even vocal treatments are fair game, but just how much of this is really necessary?

For starters, let's try to focus on the song. When the song is right, it will usually tell you what it needs. A good producer will often recognize a songs strengths or weaknesses rather quickly. It's all about the song. A good song will always outshine the production sensibilities.

Of course, over the years there have been a number of songs that greatly befitted from unique recordings. Early examples include Do the Mess Around, written by producer Ahmet Ertegun and recorded by the legendary Ray Charles. The recording itself is of very poor quality, but the performance is truly and purely magical.

Another example of a unique recording comes to mind. Telstar, recorded by English producer Joe Meek, represents some of the most imaginative techniques ever applied to recording. Of course, Joe himself was more than a tad unique. I strongly recommend his work to anyone interested in the history of recorded music.

There are many more. Crimson and Clover, by Tommy James, and more recently, the early recordings of Nine Inch Nails, and industrial genius, Scraping Fetus From the Wheel. In each case, the uniqueness of the recordings were tantamount to their appeal.

The question as to how one should approach such a process is subjective at best. Obviously, if creating fresh sounds was really that easy, everyone would be doing it, which is far from the case. Let the song dictate what it needs and try to keep an open mind. Most of all relax and enjoy the ride. This is your experience. Make the best of it.

Choosing Furniture For Your Studio

Sound and Recording
B. Thomas Cooper
Editor

During my thirty plus years of recording, the subject of studio furniture has never been the hot topic of conversation. Understandably, of course. Who can really say for certain what kind of furniture is appropriate for a recording studio?

Still, myths abound. As such, I see where room for some clarification may be in order. For starters, very few studio settings are alike. There are basic rules governing sound re-enforcement, but frankly, the door is wide open. What you do once inside, is really up to you.

Admittedly, there are aesthetic considerations, but these are always trumped by the sonic properties of the room. Black leather couches are all but standard in most major studio lounges, but one must learn to differentiate the studio from the lounge. Even with a digital workstation such as mine, neither the gear, nor the most comfortable furniture will greatly effect the performance of the musicians.

Remember, these are the same cats sleeping on some drum riser in Fresno, or on a table backstage in Detroit. I kid you not when I say I have seen a clean, well organized studio throw some musicians into a funk, not unlike a fish out of water.

True, it’s nice to feel at home when recording, but let’s be practical, shall we.
Wood paneling provides a soft, warm sonic solution. Carpet, bass traps, baffling, etc. should also be realistic considerations. As for the couch, I suggest you leave it in the lounge, as most musicians do not play their best when sprawled out. It’s simply bad science.

I recommend tables close to the ground and away from sensitive equipment. Trust me on this. Spills will happen, and they will happen often. Ash trays and beer bottles topple with regularity. You can keep some stuff out of the room entirely, but something always slips through the cracks. Just be prepared.

In closing, choose you studio furniture based on your pragmatic needs rather than aesthetics. Be confident, be comfortable, and by all means, enjoy the experience.

Sampling Vs. Stealing

Sound and Recording
B. Thomas Cooper
Editor

Sampling Vs. Stealing.

Although I have never had the success of say, Madonna, Montana, or Metallica, I have written my share of tunes, some which have charted. As such, I may offer just a tad of insight on this subject.

Over the years, I have been confronted with a variety of these situations, in a variety of settings. I have been sampled, borrowed from, quoted, and mentioned by name. On multiple occasions, I have even had the opening act feature my songs in their set-list.

I for one, find the process amusing, and artistically satisfying. As a musician, I started out as an artist first, and my interest remains primarily at the creative level. The business end cannot be neglected, but hey, business is business.

Although I have always been the principle lyricist in my projects, I have never been under the allusion that those words belong to me, and can never be uttered in that particular order again without my consent. Lifting an entire chorus line sounds artistically intrusive, but each situation is unique.

The record companies, however, are somewhat less concerned about my artistic integrity and tend to focus on maximizing profit margins. In fact, they are contractually obligated to do so. Although my attitude may seem relaxed in comparison, the bevy of attorneys minding my books have very little sense of humor.

Keep in mind, the one thing Madonna, Montana and Metallica all have in common? Money, the most important ‘M’ word other than ‘mother’.

Here’s the low down. Chances are, unless you are seeing a substantial profit, no-one is apt to notice or even care if you have sampled without permission. Furthermore, some work like parodies for instance, are above the fray, protected under constitutional right of free speech and expression.

In closing, let’s just say this isn’t your normal cup of soup, folks, I’m afraid we’ve opened a can of unknown substance, frothing just below the surface. My advice, approach with caution. Sampling isn’t a crime, but stealing is unconscionable. Ultimately, you must make the call. Make it a sound one.

Seasons Greetings!

Sound and Recording
B. Thomas Cooper
Editor


Season's Greetings!



The holiday candles are burning, my friends. Christmas is only days away. Many presents have yet to be purchased, let alone, wrapped and distributed. Thank the good lord above (thanks be to Allah, etc.) I can always count on Santa to bear the brunt of the load.

Yes, the holiday season is again upon us. Rest assured good old Saint Nick knows who’s been naughty and who’s been nice, no matter what George W. Bush or Dick Cheney may say to the contrary. I recommend two lumps a piece. Of coal that is, but then I assume you knew where I was going with this.

Ah, but I digress.

We acquired our Christmas tree in the usual manner, and from the usual suspects, whom we have ascertained use the proceeds to fund a covert children’s hospital in a predominantly Hispanic neighborhood. Mum is the word.

The parking lot was dimly lit. Actually, it was not lit at all. It was dark! We peered through the shadows, shaking branches curiously and horse-trading in our best broken Spanish. We settled on a fine tree. The gentle mannered attendant then secured the tree to the roof of our truck with about forty feet of heavy rope I assume was strong enough secure an angry bison to our rooftop. No extra charge.

As we pulled away from the unpaved parking area adjoining the unlit tree lot, we were greeted by the most unusual sign. 'NO REFUNDS OR RETURNS' the sign portended. They must be on to us, we mused, as we drove away, singing carols in our best broken Spanish.

More later,
Eggnog and fudge await.

Exploring Pre-Production (Things to do in Preparation for a Recording Studio Session)

Sound and Recording
B. Thomas Cooper
Editor

As we have touched on in previous articles, properly preparing for a studio recording session is unlike preparing for a live gig. Each present a unique set of variables, both which we desire to attain at least some degree of understanding, and perhaps eventually even mastery.

A band should be well rehearsed before entering the studio. Know your material well. Work on getting your lyrics down straight and your parts as tight as possible. Take some time to define the melodies and any harmonies. Be sure the drummer and bass player are playing in the pocket.

As a staff producer for the world famous Power Station Studios, I quickly gained a reputation for pushing the song, rather than the players. Divorce yourself from your ego and play for the song. This is what the great one’s do best, and they do it instinctively.

I strongly suggest recording rehearsal whenever possible. I also suggest you get in the habit of playing along to a click track, or metronome sooner rather than later. Being in my late forties, I’ve heard every stupid excuse imaginable for not playing to a click track. My advise? Get over it!

There are other considerations. How familiar are the musicians with playing with headphones? Different music requires radically different headphone mixes. This alone can determine whether the session is a success or a failure, and is far too often overlooked.

On occasion, young bands would show up at the studio with a record deal, but no drumsticks or guitar strings. Needless to say, these bands had not been doing any serious pre-production. Show up prepared. If your drummer needs new drum heads, by all means, buy them. Procure extra strings, and rehearse. It is not a crime to relax before a session, but don’t over party. The studio is your chance to shine, through your recordings, rather than in spite of them.

S&R Band Review: Judas Priest

Sound and Recording
B. Thomas Cooper
Editor

Judas Priest, influential Heavy Metal band, formed in Birmingham England in 1968, and has gone on to release dozens of successful singles, and selling over 35 million albums over a career lasting four decades.

Originally formed by guitarist K.K. Downing and bassist Ian Hill, the band found worldwide success with vocalist Rob Halford and fellow guitarist Glen Tipton. Of course, after forty years together, the band has experienced more than it's share of ups and downs, and famous ego clashes. Still the band continues to tour and record together, with Scott Travis, formerly of Racer X on drums. Their newest CD, Angel of Retribution, was released in 2005, and the boys are currently in the studio working on a follow up.

Judas Priest may not be the household name it once was, but the band continues to defy expectations, proving their meddle time and again. Indeed, this legendary band has earned it's wings and it's throngs of loyal fans. Judas Priest is not for everyone, but then, they have never tried to be. After forty years at the top of their genre, these guys having nothing to prove, but to themselves.



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S&R Band Review - Muse, Music for Butterflies & Hurricanes

Sound and Recording
B. Thomas Cooper
Editor

Music for Butterflies & Hurricanes. A simple song title or perhaps something more profound? Muse is infinitely smarter than their name implies, churning out complex, oddly mutated old school' Hard Rock from somewhere beyond the fringes.

This three piece juggernaut springs from the minds of guitarist and vocalist Matthew Bellamy, bass player Chris Wolstenholme, and drummer, Dominic Howard, and has released four discs, including their highly successful 2006 release Black Holes and Revelations, featuring the singles, Knights of Cydonia and Supermassive Black Hole.

Indeed, Muse might just be the best UK band you've never heard of. Matthew Bellamy, who also plays keyboards, provides the song-craft, and it's all top shelf. Concise melodies and beautiful fretwork are abundant throughout the bands catalog of catchy tunes. Although the boys continues to chart an impressive growth curve, they have yet to make any appreciable impact across the pond

Over here in the states, bands like Muse are a rare commodity. Modern Rock radio is in dire straights, struggling to gain a foothold in a changing environment. As a result, sometimes great songs get lost in a machine fueled by desperation. Fortunately, Muse has managed to pop its head above that super massive black hole we call radio, and when it happens, we rush to bask in their radiance.

So say what you will, sayer of things naysayers say. Muse has captured my heart and my imagination. The more I listen, the more captivated I become. It goes beyond explanation, really. A sickness, perhaps? Some kind of hysteria, like say Stockholm syndrome? It's always possible, I suppose. After all, I'm just following the muse.

Brad

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Recording Acoustic Guitar, Pt. One Revisited

Sound and Recording
B. Thomas Cooper
Editor

Who says recording an acoustic guitar is difficult?

Oh contraire, my friends. Recording an acoustic guitar is no harder than recording any other acoustic stringed instrument. Oh sure, some simple sonic rules apply, but certainly nothing worth getting high strung about.



I’ll begin by addressing a few of the common misconceptions. Most microphones are designed with a general recording purpose in mind, but there are few hard and fast rules that apply to recording. Although a particular mic may seem appropriate for the setting, there are few guarantees. No two acoustic guitars sound alike, no two rooms sound alike, and no two players play alike. Each recording presents a different set of variables.

Some folks believe a good acoustic guitar sound can only be accomplished by placing the microphone inside the sound-hole of the acoustic. My advise is to forget such nonsense, as it falls dangerously far from the truth, and almost always results in a very poor recording. Even a high quality contact condenser mic mounted inside the instrument produces a compromised result and is generally not used for serious recording. You don’t stick your ears in the sound hole when you listen to an acoustic guitar do you? I certainly don’t.

Indeed, microphone placement is key to recording any acoustic instrument, but it need not be difficult. An acoustic guitar has wonderful ambient and dynamic qualities, often overlooked or misunderstood. Try backing the mic away from the guitar a few inches, pointing the diaphragm toward the sound-hole. Relax, and let the instrument breathe. Changing the axis alignment of the mic, even ever so slightly, can produce startling results. Most importantly, listen for the subtle changes, and learn what is meant by ‘critical listening’. Don’t settle for the first sound you dial in. Take your time, and by all means, enjoy the process.

Microphone Placement for Recording Amplified Guitar

Sound and Recording
B. Thomas Cooper
Editor

I recently spent a couple of very short hours advising some rather talented friends of mine on the fine art of properly ‘micing’ a guitar cabinet for recording. Over the course of the evening it occurred to me even the finest seasoned musicians can use a refresher course on common sense every now and then. Myself included.



Fortunately, this group of guys tend to be sensible by nature, a rare commodity for musicians as a whole. Our goal was to record ‘scratch tracks’ of the lead guitar lines for two tunes, and ‘keeper tracks’ for a third. We were recording in Sonar Studio Pro, I believe, an inexpensive, but highly recommended digital recording software.

Scott, the guitarist for the project attended the ‘old school’ of ‘big rock‘, if you catch my drift. We’re talking the classic, early sixties Gibson SG through a Marshall half stack. Of course, the Marshall ‘four twelve’ cabinet needs to be kicked pretty hard, just to get the old girl to bark. (translation: the amplifier needs to go to eleven) This is where our story really begins.



We are set up in a living room, with the computer and various interfaces off to one corner. The Marshall amplifier has been rolled into an adjoining bedroom. The occupant of room, along with his pet Salamander, have been given the boot.

We set the cabinet in the bedroom pointing the speakers toward the right side of the corner, across the length of the bed. We are careful not to point the cabinet directly at the wall, or directly into the corner, as both may produce unwanted response. Sound travels much like water. A pebble in still water will create even concentric ripples, whereas a larger stone is apt to make quite a splash.



At higher decibels, sound also tends to make quite a splash. Especially so, in cramped quarters. One of our greatest concerns will be avoiding the afore mentioned, and truly dreaded ‘square wave’.

The cabinet is about three feet from the edge of the mattress, at perhaps a forty degree angle. It is obvious the old Marshall tube amp will not produce the desired tone at a lower volume, so we don’t even drive down that alley.
Instead we concentrate on controlling the physical properties of sound.

A small collection of throw pillows are arranged on the edge of the mattress to create very subtle baffling. I don’t throw a blanket, or any other object around the cabinet. It normally isn’t necessary.

Next comes the actual ‘micing’ technique. ‘Micing’ is the term used to describe the process of microphone placement. More often than not, microphone placement is a forgotten art form. It is a process often neglected, or simply misunderstood.

There are no hard and fast rules. Use your imagination. That having been said, let’s discuss our situation before progressing any further. Simple guitar tracks, right? Perhaps.

One microphone, or two please? Would you like your sound dry and boxy, or would you prefer a tad of ambience? In other words, do we place the microphone close to the speakers, or far away. How close, or how far away, and why? Does the type of microphone make a difference?

For this situation, I highly recommend an ordinary, medium priced Dynamic microphone. Nothing fancy, mind you. Here’s my reasoning. The polar pattern of most dynamic stage mics responds most favorably within five to fifteen inches of the sound source. Get much closer, and the mic starts to get a little punchy. Back off too far, and the mic doesn’t reproduce transients. Transients are those are the little things, the stuff of which your sound is made of. We really don’t want to lose them in transmission.

The cabinet we are ‘micing’ contains four standard twelve inch Celestion speakers. Our goal is to place the mic close enough to catch the little things but far enough so as not to do the freak. Here’s a few quick don’ts. Don’t ever drape the mic over the front of the cabinet. Sound doesn’t work that way. Don’t ever put the microphone directly against the grill cloth or speaker.
Don’t ‘mic’ the center of a four twelve cabinet, and don’t point the microphone directly at the center of the speaker. That round looking thing in the center of the speaker, well, that’s a dust cover. It does not reproduce sound. Whenever possible, aim the microphone at an angle parallel to the paper of the speaker cone.

We set the mic about s foot or so from the cabinet, and after a quick listen, we moved the microphone forward perhaps two inches. It was all very simple, and very productive. Very little time was squandered twittering knobs and wiggling stands.

The session was a success on multiple fronts. Scott got to keep his tone, and Jon, the producer, got to keep his sanity. It was a pleasant evening for all. The moral to this story? Think about what you are trying to accomplish, take your time, keep it simple, and by all means, enjoy the process.

More Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many wonderful singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.

It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal, nearly every mic imaginable. One quickly learns that not every vocal should be captured with an expensive ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.



Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A mic can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Learn all you can about recording, and keep an open mind. A vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Recording Drums and Percussion

Sound and Recording
B. Thomas Cooper
Editor




Recording drums and percussion instruments can be tricky at times. Every sound engineer has his own story to tell. Noisy symbols, poorly tuned drum heads, questionable room acoustics etc. All can contribute to the chaos, a kind of sonic dysentery. We can't actually cure the disease, but we can treat the symptoms.

The underlying problem can be attributed to those pesky transients. No, not the ones under the overpass. Transients are those sounds that come out of nowhere, like the crack of a snare drum, a sudden burst of signal, or the grinding smash of a distorted guitar or a crash symbol. Drum related transients often tend to be especially problematic. So where do we begin?

For starters, new drumheads and a decent pair of drumsticks seems obvious, but never overestimate a musicians common sense. Invest in your craft. You are only as good as your tools. Dampening the drums heads is often necessary, but certainly not mandatory. When recording, capturing a workable signal is tantamount. Learn to strike your drums in a manner conducive with good sound management. Pardon my saying so, but garbage in, garbage out.

Next, let's go over room acoustics, as a bad room adversely effects those afore-mentioned transients, and any listeners within earshot. A live' sounding room, like a garage or a nite-club will be subject to various bounce back' issues, such as unwanted room echo or worse yet, the dreaded square wave'. You can't see it, but it's stalking your studio, even now. The louder you play, the angrier it gets. Acoustic treatments will usually do the job, but each room is different. Sound baffling, bass traps etc. all play an important roll, but ultimately, it's up to you to get it under control.

Finally, we reach the subject of microphone placement and technique. The possibilities are limitless, so I'll cut to the chase. The more microphones you set up, the more sounds you must dial in. Some engineers can successfully mic an entire drum kit with a pair of overhead room mics, but as a rule, I recommend a minimum of at least four, adding a mic for the kick drum, and another for the snare. The overhead microphones can be adjusted to pick up signal from the toms and the symbols. The two produce radically different signal response, so crosstalk and cancellation usually aren't a factor.

Here's something to keep in mind. Most drum isolation booths are far more trouble than they are worth, so don't bother. The drums are the foundation upon which your song is being constructed, so set them babies up in the big room. Let the guitarist set his rig up in the iso' booth, as his tracks may need to be re-recorded later anyway. Today, it's all about the drums.

Keep an open mind and learn all you can about your craft. Leave your ego home, and play what is best for the song. Recording music is really not that hard, but capturing the magic often takes a little time. Just keep banging away, and by all means, enjoy the process.

Diamond Dave vs. Elvis Costello, Once More for the Glory Days

Sound and Recording
B. Thomas Cooper
Editor


The more things change, the more they stay the same. The year is 2007, but it sure feels like 1984. Why you ask? Well for one thing, I’m writing about David Lee Roth and his nemesis Elvis Costello in the same article.

I believe it was none other than David Lee Roth who once stated: "Rock critics like Elvis Costello because they look like Elvis Costello." David whom, you ask? My reply is, precisely. You see, it was also DLR who famously remarked: "Here today, gone later on today."

Perhaps both statements bear merit, with one distinction. David Lee Roth is a goner, and the rock critics are still writing about Elvis Costello, albeit, he's no longer this years model. True, David has rejoined the Van Halen brothers for an up-coming-reunion tour, but I wouldn’t hold your breath. We’ve all been down that road before, and it’s barricaded. Elvis, on the other hand, never really went away, releasing new music every year or so.

Elvis was born Declan Patrick MacManus on August 25th, 1954 in London England. A gifted songwriter, his quirky demeanor was quickly embraced by the early British punk movement. Costello's first album, My Aim is True' was released early summer of 1977. The album cover featured the now infamous photo of Elvis looking like Buddy Holly. The album spawned two classic singles in America, Alison, and the haunting Watching the Detectives'.

Elvis Costello has often been credited with possessing a virtual encyclopedia of songwriting ability. Three decades and countless releases into his career, critics still write about Elvis because he continues to be relevant in an irrelevant arena. Indeed, his contemporaries are mostly gone, with few exceptions. Elvis adapted to a career as an outsider years ago, and has come to represent the ultimate survivor. He is perhaps the most diverse and prolific songwriter of his generation.

Elvis Costello is currently touring Europe in support of his latest CD, Almost Blue', but don't shell out your hard earned cash expecting to see that skinny, knock-kneed kid from the seventies. Elvis has matured, as has his music. He has redefined the accepted parameters of Rock and Roll and contemporary songwriting. Yes, Elvis Costello still resembles a record critic. An old, balding, bearded critic perhaps, but is that really so bad? Long live Elvis Costello, always more jester than king.

As for Diamond Dave, the jury is out. It’s an uphill climb for David and the boys, and frankly, I’m just not convinced Roth can get a grip. I'm afraid that ship has sailed for the last time, and is currently taking on water at an alarming rate. My advice: abandon ship. Women and children first, of course.

Samson C-Que 8 Product Review

Sound and Recording
B. Thomas Cooper
Editor


Samson C-que 8
4 Channel Headphone Amp

Features:

Four channel headphone amplifier with individual controls for each channel.
Ideal for digital-audio workstations or studios.

Dual headphone outputs, front and rear. Plus one front panel output per channel, allowing for a total of eight headphones at one time.

Separate Left and Right line inputs for master stereo bus.

2-channel / Stereo mode switch.


Samson C-que 8


This versatile little headphone amp, one of Samson’s C Class Signal Processors, delivers as promised. Indeed, the C-que 8 is ideal for small studios, addressing many of the problems associated with typical inferior headphone mixes.

A bad headphone mix is as inexcusable as it is predictable. How in the name of Marilyn Manson can anyone expect to lay down strong basic tracks if you can’t hear what the other musicians are doing? The same holds true for the overdub process. A musician is only as good as his (or her) ears. If the sound in your cans doesn’t rock, your not apt to perform at your best.

With a retail price of around $149.00, the Samson 4 C-que 8 is a safe and affordable solution. It fits nicely on the desk or console, and my unit has yet to throw me any curves. This is a quality device with no apparent drawbacks. I would recommend the Samson 4 C-que 8 to anyone serious about their workstation or studio headphone mixes.