Dream Weekend at Avatar: Lessons Learned At METAlliance

MIDTOWN MANHATTAN: Dream weekend. I spent February 19th and 20th with the METAlliance at the historic Avatar Studios in New York City.

Who is this Alliance, you ask? Al Schmitt, Phil Ramone, Chuck Ainlay, Ed Cherney, George Massenburg, Frank Filipetti, and Elliot Scheiner — the absolute elite top recording and mix engineers in the music business, committed to providing real-world product reviews and endorsements and sharing their years of experience with up-and-comers through events like the one I attended.

If you don’t recognize some of these names, go to allmusic.com and look them up to identify all the records you grew up with that these guys recorded and mixed. It’s very humbling.

We spent the weekend tracking two artists – the delightful Kat Edmonson and the rocking Lazer Cake and attended a mix class with George and Frank “In the Box” and Chuck Ainlay on a J-series SSL.

I own and operate Outloud Audio, a three-room music and post facility in New York City. Even with my 10+ years in the business, I leaped at the chance to spend some time with guys who defined the sound of great music and see if I could tap into their magic.

I quickly learned why these engineers are the tops. Their work is absolutely amazing and each one displayed an enthusiasm for our business that brought me right back to the first time I heard a guitar and wanted to be a part of the world of music.

While much of what I learned I want to keep in my personal arsenal, here are some nuggets from the seminars.

First, some of these guys work in the box, and some work on analog boards.  Most work with Pro Tools, some with Nuendo. All of their work is world class.  So I learned if I can’t make it sound good, it’s the driver, not the car.

Second, check phase! Every one of them checked and rechecked phase on their mics and in some cases on the wiring throughout the systems – identifying incorrect wiring at any point in the chain!

Third, every one of them eschewed pitch correction and timing correction in the face of what was a compelling performance. Focus on how it sounds, not how it lines up on a grid.

Chuck Ainlay provided terrific perspective to help get us away from looking at the computer.  He noted that we are all visually trained and yet our eyes are fooled by 30fps; they convince us that we are seeing motion, whereas it takes 44,100 samples per second to convince our ears of a natural sound. And, in some cases, even that fails.

So turn off your monitor, don’t take visual cues, and listen to the mixes. Our ears are our most sensitive instruments.

In addition to these observations, I also met and made music with people I greatly admire. All in all, if you have the money and the time, I urge you to run to one of the METAlliance events.

With so many of the big studios closing in recent years, access to engineers like these is becoming scarcer.  This is the closest you can get to a mentor opportunity inside of a weekend, and if you are serious about your music, this opportunity is a must.

Mark Kondracki is a composer, recording and audio post engineer.  He owns and operates Outloud Audio, a studio that provides original music, sound design, mixing for TV, film records and radio, VO and ADR, and audio book recording. Visit www.outloudaudio.com to get in touch!

Psyched On Sonics: How to Record Strings

Matt McCorkle of EqualSonics.com brings you a day in the life of a New York City recording engineer.

The Mission: A String Tracking Session At Tainted Blue Studio NYC
Producer Andrew Koss, owner of Tainted Blue Studio, requested my services tracking string overdubs for Maxine Linehan‘s version of the Leslie Gore hit “You Don’t Own Me” for her new album release, dropping near the end of this year. The session called for overdubbing a string trio on to pre-existing tracks.

Tainted Blue Studio is an amazing facility for tracking strings, with its all wood live room and tasty microphone collection. It’s a playground for engineers, producers and musicians alike.

The Challenge
String recording can be a tricky and challenging process. The goal is to capture the instruments in their purest form, highlighting each instrument’s sonic range while avoiding the masking of individual instruments. To ensure that the players sound good in the room together, you can “acoustically mix” just by moving a couple of chairs and players around in the physical room.

Patience and listening to various microphone placements are key to a good recording. If you’re unsure about how your microphone placement will sound, listen to it! Poor string recordings come from microphone phase cancellation at certain frequencies and ugly reflections from various surfaces. I enjoy the challenge string recordings bring, as the approach for this type of recording is much different than any other instrument.

The Arrival
Once at the studio, I began examining the tracks in Pro Tools listening for how to blend these string overdubs together.  Then I approached the producer, Andrew Koss, inquiring into the type of sound he was looking to capture with today’s string tracking. “Intimate and warm,” was the answer.

My plan was to mike the instruments individually, to get the warmth. To get the intimacy, I planned to use an XY stereo configuration to capture the instruments playing together in their natural environment of the live room.

The Quest for Intimacy
First, I positioned three seats equally apart from one another, in a semi-circle facing the glass in the live room. Next, I picked two AKG 414′s to be used in my XY stereo configuration. Also, I wanted to make sure that the cellist will be in the center of my XY stereo configuration, as to not throw off either side of the stereo spectrum later on in the mix.

Then I proceeded to make the angle at which the microphone capsules will be positioned to form the XY configuration. My focus here was to make sure that both the violin and the viola would be in the pickup zone of their respective 414, which were both set in cardioid polar pattern. My goal with the XY setup is to have the violin to the left, the cello in the center, and the viola to the right in the stereo spectrum.

Intimacy obtained!

The Quest for Warmth
Warmth! The second half of the producer’s request. This called for getting up close and personal with each instrument.  I began with the cello, and chose a Royer 122 for this task, a phantom-powered ribbon microphone.

It’s strange because when I was first learning audio the golden rule was “Never apply phantom power to ribbon microphones!”  This is because applying 48 volts to a ribbon microphone will normally blow up the ribbon element. But, what am I doing today? Applying phantom power to ribbon microphones!

There are exceptions to rules and the Royer 122 is one of those exceptions. This ribbon microphone has an amazing tone and accepts phantom power to enable a much higher output gain.

Cello -
I listened to the cellist play her instrument for a few minutes. After listening carefully to the way this particular cello acts and responds to her bowing, I grabbed my mic and went to work.

I positioned the Royer just above the bridge of the cello pointing near the body and the F Hole. This was to capture the bowing of the strings and body of the cello. However, I had a problem with this microphone placement – not enough low end was going to be captured. I remedied this with a large capsule dynamic Audix D6 microphone. (What a mouthful!) I directed this microphone towards the body of the cello pointed around the F Hole. These two microphones together will produce a full-bodied cello while capturing the players’ nuances.

Viola –
Next up for treatment, the viola. This instrument sits between the cello and the violin in the sonic spectrum. Listening for a microphone placement, too close to the body will produce too much low end that will compete with the cello for sonic space. Too far away from the body will make the instrument sound thin. The viola can be a tricky placement as you want to make sure it doesn’t compete with either the cello or the violin.

I choose a Royer 122 for this instrument as well.  I had the violist play some of the chorus for me as I leaned over the instrument to have a listen, and sure enough found my spot for the microphone placement! I positioned the microphone over the viola about 15 inches, encompassing the instrument in the microphones entire pickup pattern. The Royer 122 is a slim, elongated microphone so I was able to position it parallel with the viola to get a warm, natural sound. Along the way, I was primarily focused on picking up the strings and body of this instrument.

Violin -
Finally… the violin. I took the same approach with the violin that I had with the viola. However, I opted for a switch in microphones, choosing to go with a Neumann U87. I like the voicing of this microphone as it tends to be nice and pleasant on the violin, bringing its high-mid frequency nuances to life. This microphone choice also helps out the stereo panorama later in the mix, as it will provide a different texture from the Royers when the close mics are mixed together with the 414′s in their XY stereo configuration.

Hear “You Don’t Own Me” and witness the behind the scenes video (complete with string session footage) right here:

Did You Double Check?
After wrapping up my microphone placements, I made sure that all my stands were tight, the cables were looking neat and secure, and the artists were comfortable. My assistant, Michael Thurber, was finished getting every artist their own cue mixer and cans – this was so each player could personalize their own cue mixes while tracking. With one quick glance around the live room to make sure all was well, we headed to the control room.

What do You Know of Signal Flow?
In the control room I went to the patchbay to start my signal flow. First up to get piped through some TT cables were the 414′s into an Avalon 2022, a stereo pre-amp. These two play very nice together, as they produce a nice smooth top end that is very appealing for strings. The 414′s as drum overheads coupled with the Avalon 2022 is simply amazing as well!

The two Royer 122s and the Neumann U87 were sent through a Grace 801 unit – I was very confident in my microphone placement and was not looking for much coloration on the pre-amp side of my signal flow.

Lastly, I patched up the Audix D6 through a vintage Neve 1073 pre-amp to pump it full of low-mid silkiness to give the cello a smooth and rich body. After my pre-amp patching I patched the line level signals straight into the studio’s Apogee converters, which are directly linked to Pro Tools HD. We were ready to set pre-amp gain levels!

How Healthy Are Your Levels?
I kindly asked each player to give me a range of expressions on their instrument, adjusting the close microphone pre-amp’s gain accordingly. After I was satisfied with my close microphones’ pre-amp levels, I had them play together as a trio. I then set the gain levels on the Avalon 2022 for the 414′s XY stereo configuration.

With the pre-amp gain levels set, I panned my channels corresponding to the string players’ placement in the live room and then made some quick monitoring level adjustments.

Time to begin tracking!

The Moment You’ve Been Waiting For!
The producer, who also created this amazing string arrangement, started speaking with the musicians prepping them for various parts in the song.

We took a pass from start to finish. After some kinks were worked out and the musicians felt comfortable, we started taking full passes at the song, layering. Layered a few passes of the string section on top of each other to get a nice, full sound. After the initial layering we went on to add accent tracks of various expressions throughout the track, with the trio still playing together.

The producer had some final parts for each instrument to add depth and nuance to the string section. To accomplish this we had each player take individual passes in various parts of the song. (This was the only time each instrument was playing solo.)

Tracking complete!

The Final Touches
My assistant went to begin breaking down the live room, waiting for the capacitors in the condenser microphones to dissipate their 48 volts. If one were to disconnect the microphone cable immediately after turning off phantom power, damage could occur to the condenser microphone. This is extremely important, and forgetting this is a sure way to get fired on your first assisting gig! Wait a few minutes, to be safe, if you are not sure of how long your particular condenser microphone takes to discharge its capacitors.

While the live room breakdown was being completed, I began to listen back to the recorded tracks in order to start making a quick, rough mix. Then printed the rough mix, labeled our session, backed up our file and gathered our notes.

The arrangement was beautiful and the string tracks came out wonderfully. For the main, accent and individual passes the mixer will have plenty of choices on which microphone tracks to use. They could use the XY stereo configuration, just the close microphones, or a mixture of both depending on what sound they are trying to achieve at that particular moment in the mix.

It was a successful tracking session at Tainted Blue Studio. It’s always a pleasure to track great musicians, in a great room, with great a big selection of audio toys.

As the owner and operator of his own mobile recording studio, Matt McCorkle of EqualSonics.com is capable of bringing professional audio to anyone, anywhere, anytime. His expertise involves acoustic instrumental recordings, vocal productions, live tracking sessions, electronic music production and mixing. Whether in the studio or out in the field, Matt’s goal is simple: To create new music and sounds with passionate artists. To contact Matt please visit EqualSonics.com.

Josh Clark’s Indie Recording Tips: DIY Tracking Basics

By Josh Clark

So you’re a band or musician that needs to record. Cheaply. You have a rehearsal space with a reasonable level of isolation and some basic recording gear. It can be done, but as easily as it could sound great, it could also come out sounding terrible.

It’s hard to know what you’ll get when you’re embarking on these projects in your cramped rehearsal space for the two-hour slot you get each week while waiting for your neighbors, Head X-Plosion to finish playing their 10 minute metal opera.  There are a lot of variables and in this case the most important is experience, the one thing you’re most likely lacking.

I’ll assume you’ve already got a digital setup like Pro Tools or Cubase and know enough to get in trouble.  Most of you can get this far with few problems and have successfully recorded and combined some tracks to form a completed recording but you’re wondering why it doesn’t sound cool.

My premise is basically “if you can’t do it professionally, make it interesting and unique.”  Here’s some advice on how to do that.

Keeeeep it cheap and simple.

If you are looking for mics to buy, the best bet is to buy older, used dynamic mics as they are plentiful on Ebay or Craigslist, cheap and are usually in great working order since they need little maintenance. Old EVs are great and really anything under $100 is going to be worth it somehow.

A weird sounding dynamic is probably going to be a lot more useful than a new $200 overly bright, harsh condenser made in China. Condensers also need phantom power.  Maybe you knew that, maybe not. Now that you’ve got four “new” mics for $150, add a couple SM57s and you’ve got the important stuff.  Feel happy that you didn’t buy a $300 mic that you couldn’t sell for $150 when you realize that another works best for you.

Find a good sounding space or modify the space you’re in.

There’s so much advice on acoustic treatment and I’d guess that 50% is bull and the other 50% probably won’t apply to you.

If you’re like most of us, your space is small and covered in drywall.  If the walls are bare, spread everything out in the room so every wall has something in front of it. Grab some heavy curtains and cover a wall or get some office cubicle walls — they’re on the street in the city or on Craigslist all the time. You basically either want to absorb the sound with heavy fabric or fiberglass insulation covered in fabric, or diffuse it with items spread around the space.

Another easy and cheap treatment is regular R-11 insulation hung from the ceiling with fabric draped over it for a billowy “cloud.” Hopefully your room is a bit more manageable for recording now.

The SM57 is your best friend.

You can use it on anything and it can sound perfect. Be aware that anything closer than 6″ or so will have an increased bass boost so if you’re singing, you are best off to stand about a foot away depending on what you’re going for.

For drums, two [Shure] SM-57s about the height of a kick drum and maybe 2-4 feet in front of a simple kit in an X-Y pattern can get a really balanced sound.  Experiment. Adding two overheads for 4 in total — one over the hats/snare and one over the floor tom can really make for a great sound. You might be surprised.

Now try some of the other cheap mics you bought and see what they do.  You’re best bet with any tracking if you don’t have good monitoring (you’re probably using headphones) is to keep some distance from your source.  Really close mics can get a drastically different sound than what is being produced in the room so it’s better to start further away, like a foot or two and move in.

Skip any compression before going into the recorder.

Most people don’t have enough experience with compression, most pro-sumer compressors are junk and most home recordings I’ve worked on that used compression (going into a digital audio workstation) were quite compromised.  Play with plug-in compressors after you’ve recorded. You’re not going to need a hardware compressor for a long time.

Hopefully this is enough to help you lay some tracks down in a way that represents what you and your band want to show the world.  I always tell people to either buy cheap or buy expensive. You’ll quickly outgrow the middle of the road gear and won’t be able to resell it easily.

That’s all for now — next time I might let on why your bass tracks sound horrible and impossible to hear in the mix.

Long live tape and fun!

Josh Clark is a Brooklyn-based musician/producer/engineer and co-owner of Seaside Lounge Recording in Park Slope. Clark has recorded and/or mixed for Antietam, Federale, Beirut, The National, The New Pornographers and his own psychedelic roots-rock band, Rope. Rope’s “Montagne” is available on 7″ via www.allhandselectric.com.