Behringer presents their new Truth B3030A, B3031A, and 1030A, active monitors.
To see more exclusive video demos visit Audiofanzine Videos.
August 31, 2009
August 27, 2009
Behringer – F1220A Active Floor Monitors
Behringer presents the F1220A 12-inch active floor monitor, featuring a feedback filter.
To see more exclusive video demos visit Audiofanzine Videos.
August 26, 2009
Behringer – New Loudspeakers Eurolive B
Behringer introduces some new active loudspeakers.
To see more exclusive video demos visit Audiofanzine Videos.
July 3, 2009
PSI Audio A214-M Active Monitor
PSI Audio shows us their new A214-M a “centre” speaker for surround monitoring applications featuring CPR (Compensated Phase Response) and AOI (Adaptive Output Impedance) technology that is a hallmark of the company.
To see more exclusive video demos visit Audiofanzine Videos.
June 19, 2009
JBL – PRX PA Series
JBL presents two models in their PRX portable PA series, the 512Mi & the 718s.
To see more exclusive video demos visit Audiofanzine Videos.
May 17, 2009
Dynacord CXM 15 Monitor
Dynacord shows us their new floor monitor, the CXM 15.
To see more exclusive video demos visit Audiofanzine Videos.
April 25, 2009
Making a Studio Pt.1
Studio Considerations
The magic of the recording studio has often mystified even the most seasoned professionals. With all the knobs, switches and buttons on various gear and large format consoles, no wonder confusion sets in to most non-techies. Many people, especially artists, composers, producers, and engineers, will end up putting together their own studio for writing and preproduction, with some eventually deciding to take the plunge and create a full-fledged recording complex that is capable of recording major albums. This series of articles will try to shed some light on the considerations to take into account when making a studio, be it a small home studio or a professional recording studio.
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Is bigger better?
Is size important? Some may say it is so but this is not always the case. The dimensions of the studio are very important. A room too large may become over-reverberant or full of unwanted echoes. A room too small may sound tight and unnatural. It is important that the room size and room sound is relevant to the type of music you are recording. You don’t want to go into a very small tight room to record BIG rock drums. Although, big room sounds can be achieved by adding external reverb effects to simulate rooms at a later time when necessary.
It is best to find the room that suits the sound you are trying to achieve from the beginning of the recording process. The smaller the room, the smaller and tighter the sound will be; this is not necessarily a bad thing. Small tight rooms can be good for vocals, guitars and percussion if you are going for a tight clean sound. Larger rooms have more air for the sound to travel in, so it will be in fact a bigger more open sound. The sound has a longer travel time for the sound wave to move, therefore the reflection from the walls will take longer to bounce back creating a bigger more spacious sound. The decision of size and sound has to be made early on before the recording starts. One advantage that a larger room will have is the ability to be scaled down by closing up the room using modular baffles or gobos (go betweens). Gobos are structures that are partitions, that help to block sound by placing them in between the musicians, instruments, and microphones. Placing the gobos around the microphone at a close distance will help a large room with too much ambiance sound smaller. This will eliminate the reflections coming off of the walls that are further away.
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Small rooms can produce big heavy tight sounds with the absence of the decay from the reverb that is caused from big rooms. Sometimes a large room can sound like it’s washed out, or far away. With a good engineer any room can sound amazing with a little adjusting. A poor sounding room can be manipulated to sound good, although it requires much more work and time. Deciding on the proper room size for your needs is critical to the sounds that get re-produced. This will highly dictate the type of sound the microphones will pick up.
Clapping your hands in a room can give a good representation of what a room will sound like. The reflection coming off the walls will be picked up by a simple hand clap. The true test is to try out some instruments or vocals and position them in various sections of the room until reaching the optimum sound quality. If one side of the room sounds bad try a different spot or move around into a corner until the sound is improved.
Experimenting with different sections of the room also keeps the sound fresh when recording many instruments. If the acoustic guitars are recorded in the center of the room, when the time comes to record the electric guitars you may try recording them in a corner of the room for a different room sound. This gives clarity on the final mix creating separation and providing more distinction on various sounds.
If you are starting your own studio, remember that the bigger the studio the higher amount the bills will be. The benefit is that larger studios can charge more for their studio rates.
Now let’s take a closer look…
Check List: Part 3
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CD RECORDER
Records and plays back compact discs. Gives the ability to record stereo mixes and playback these mixes on other CD players. CD standard for consumer playback is a sample rate of 16 bit and a sampling rate of 44.1kHz. Sony, Tascam, Alesis, and Yamaha all make good studio CD recorders.
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TAPE MACHINES
Recording machines that use analog or digital tape for recording and playback of music. Some purists in sound recording prefer the sound of analog tape. There are many digital tape machines used for recording both music and video.
CABLING
Literally miles of various cabling could be needed for a single studio. Common cables in sound reproduction are XLR balanced mic cables and Unbalanced 1/4 inch instrument cables.
MONITORS / AMPS
Speakers in the studio are referred to as Monitors. Powerful clean amps are needed to run monitors. Many monitors are self powered, which means that they have built in amplifiers. Monitors usually consist of high frequency tweeters, low frequency woofers and cabinets that contain the speakers and components.
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HEADPHONES / DISTRIBUTION
By using a set of earphones this allows communication between the control room and the studio, also allows pre-recorded tracks to be heard during the overdubbing process. Headphones are also referred to as cans.
INSTRUMENTS / KEYBOARDS / DRUMS / GUITARS
These are more of the tools of the craft. You may have all the best studio gear in the world, but if the instruments sound bad you are starting in the wrong place. Anything could be considered an instrument if it makes noise that could possibly be recorded on a record.
AMPLIFIERS
This is often referred to as an amp. Amps increase the amplitude or volume of electrical signals from sound waves. These are used in powering speakers. Guitar and Bass amps can be used for many other applications such as running a vocal or snare drum through them.
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MICROPHONE STANDS
A wide variety of sizes and styles are needed for a proper studio. The mic stand helps to get the microphone placed properly for the best sound quality possible.
STUDIO FURNITURE
There are many types of racks and furniture designed to hold consoles and outboard gear. The interior decoration of the studio completely sets the vibe of the working environment.
To Be Continued…
That’s the end of part one. For part two, we’ll be discussing electricity, A/C requirements, separate rooms, location, and more…
To read the full detailed article see Making a Studio Part 1
April 15, 2009
March 6, 2009
Video: Eddie Kramer and JBL Monitors
Eddie Kramer tells us about his recent work on Woodstock live recordings with JBL studio monitors.
To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.
February 4, 2009
NAMM 2009: Video Demo New Klein & Hummel Active Monitors
Achim Gleissner from Klein & Hummel shows us their new twin ten inches active monitoring subwoofer.
To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.
