A-T’s entry into the studio microphones marketplace ushered in what we like to call our “golden era,” which took place from 1988-1998.
The microphones of the “golden era” helped to harvest some of our most important endorsements from major record producers and engineers.
This is the fifth installment in guest blogger Frank Klepacki’s series on music production. Today Frank discusses adding analog aspects to digital recording. If you missed Frank’s previous post on the role of the music producer, you can read it here.
For a great while now, people have been making music digitally. Whether they transitioned over from analog, or started digitally from the get-go, it’s a reality, a convenience and, moving forward, will be the norm of how music production is introduced to future generations.
While today’s up-and-comers making albums in their bedrooms and garages may never know what it means to cut tape or use a large format console, there are some ideas worth sharing to help and encourage their decision-making when recording in the future.
Award-winning producers, engineers and musicians everywhere have come to rely on Audio-Technica’s 40 Series studio microphones for their superior, dependable performance. They turn to these mics again and again for a sonic consistency that’s hard to find elsewhere.
Each of these microphones is individually tested and inspected for 100 percent quality assurance. If it doesn’t pass, we don’t sell it, simple as that. We’d like to talk about a couple of our 40 Series mics in detail to give you an inside look.
Robert Bigelow’s Tips on Mid-Side Mic Recording
Continuing our series of Livestream sessions at NAB 2014, we return to Robert C. Bigelow for a new discussion on mid-side microphone recording.
While hardly a new technique, many engineers shun mid-side because they don’t know how to properly execute this technique. Luckily for us, veteran sound mixer/editor Robert Bigelow does, and he was on hand to show attendees how it’s done.
Mid-side microphone recording is used primarily for capturing ambient sounds and live music. It permits a wide array of stereo field sizes, much wider than with a single stereo microphone. Mid-side lets the engineer make the stereo field as wide or as narrow as desired. Here’s how it works.
This is the ninth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed his latest post – Part 2 of his series on Dynamics and Effects – you can read it here.
I know…you are probably thinking, acoustic guitars in metal and hard rock?! Yep, it does happen. There are two usual approaches when dealing with acoustics. Some have a built-in pickup, which can sound good, but oftentimes doesn’t, so using a good DI box and bypassing (setting flat) any of the tone controls can give you something better to work with. The second approach: using mics on it. Once again, it can be either a dynamic, condenser, or a combination of both mics and even a combination of the mics and the DI.
On the road again.
To continue our series of Ask Me Anything sessions from NAB 2014, here are the highlights from our sit-down with Robert C. Bigelow.
This is the eighth installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed Part 1 of his posts on Dynamics and Effects, you can read it here.
Now for the fun part! Effects. Some folks would ask “Why add effects, most guitar players have a billion pedals in front of ’em, so why add more?” Well, why not? No doubt the players are adding in effects to create a specific sound, with reverbs, delays, flange, chorus, phase, and so on and so on. Sometimes those effects might not translate very well when mic’d up and coming through a PA, so we might need to help support it, or even gloss it up more to help it stand out.
Steve’s home while on the road.
This is the seventh installment in guest blogger Steve Lagudi’s series on Guitars & Bass in a Live Setting – if you missed his most recent four-part series on selecting and placing mics on stage, you can read it here.
So I covered what mics I like, how I place them and so on. I touched a little on how I EQ (or lack of EQ I should say). Now let’s talk a little about other treatments, such as dynamics and effects.
Steve at home, in the studio.
Audio-Technica M-Series headphones have enlightened experienced engineers and critical listeners alike since the original ATH-M50 headphones first hit the scene.
Today, the M-Series boasts a remastered version of the original M50, plus three other pro-grade headphones to choose from. If you’re thinking about jumping into the world of serious studio monitor headphones, we encourage you to take the plunge with one of our new M-Series models. Below we reveal what sets our M-Series apart.
The annual National Association of Broadcasters (NAB) Show is the largest B2B media company conference.
We showcased our professional audio products and also provided some key learning channels at NAB 2014. Join us now for a review of our “Ask Me Anything” sessions, where the live NAB audience and those following on Twitter asked experts questions about sound engineering. First up, Lenise Bent.