The London Project
The London Project
The London Project
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Category: My Audio Engineering Journal

Mushroom Studio's - Vancouver, Canada


By Beerhunter, 2008-05-18

<a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/SDHxIAQi_UI/AAAAAAAAAMo/oiUR_07HhFE/s1600-h/DSC02126.JPG"><img id="BLOGGER_PHOTO_ID_5202204164400282946" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/SDHxIAQi_UI/AAAAAAAAAMo/oiUR_07HhFE/s320/DSC02126.JPG" border="0" /></a>I can remember many years ago, driving down W. 6th Street in Vancouver and seeing the big backlit Mushroom Studio's sign (wonder what happened to the sign anyways... isn't there anymore). Just the sight of the studio sign triggered memories of one of my favorite bands, <a href=&quot;http://bp0.blogger.com/_KcCGgmBQFy4/SDM56QQi_XI/AAAAAAAAANA/93xcalg8cGo/s1600-h/IMG00120.jpg"><img id="BLOGGER_PHOTO_ID_5202565667502620018" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 213px; CURSOR: hand; HEIGHT: 151px" height="183" alt="" src="http://bp0.blogger.com/_KcCGgmBQFy4/SDM56QQi_XI/AAAAAAAAANA/93xcalg8cGo/s320/IMG00120.jpg" width="225" border="0" /></a>Heart. Heart and the Mushroom label were synonimus at the time. The music during this era was very electifying to me. In some ways Mushroom Studios was very much a part of my childhood as I grew up living with the music that came out of this studio. As a producer/Engineer, this was truly something that I have wanted to experience my entire life.

<a href=&quot;http://bp0.blogger.com/_KcCGgmBQFy4/SDM5vQQi_WI/AAAAAAAAAM4/9Uj2j0QL8xI/s1600-h/IMG00110.jpg"><img id="BLOGGER_PHOTO_ID_5202565478524058978" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp0.blogger.com/_KcCGgmBQFy4/SDM5vQQi_WI/AAAAAAAAAM4/9Uj2j0QL8xI/s200/IMG00110.jpg" border="0" /></a>Upon entering Mushroom Stuidio's I could quickly confirm that all my favorites had been there. Chilliwack and their "Dreams, Dreams, Dreams" gold record was displayed as expected. Tom Cochran and Red Rider, Marcy Playground, Loverboy, Prism and many other great records that I had forgotten about were recorded here as well. With all this history painted on the walls how can you not hear the music?
In 1946, one of Canada's first studios named Aragon Recording Studios was opened in Vancouver, aided by Al Reusch. Reusch was a <a href=&quot;http://bp2.blogger.com/_KcCGgmBQFy4/SDH1lQQi_VI/AAAAAAAAAMw/d_9cVs81eno/s1600-h/IMG00115.jpg"><img id="BLOGGER_PHOTO_ID_5202209064957967698" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" height="205" alt="" src="http://bp2.blogger.com/_KcCGgmBQFy4/SDH1lQQi_VI/AAAAAAAAAMw/d_9cVs81eno/s320/IMG00115.jpg" width="181" border="0" /></a>musician, big band leader, and one of Vancouver's first DJ's. By 1954, Reusch acquired sole ownership of Aragon Studios which would lead to the construction of Mushroom Studios.
The current home of Mushroom Studios was built in 1966 at 1234 West 6th Avenue, Vancouver. Built by Aragon from the ground up as a first class audio recording studio, it was an orchestral recording room for special sessions by the Canadian Broadcast Corporation (CBC). Howard Tremaine consulted on the original acoustic design and equipment installation. One of the first clients was Diana Ross and The Supremes, and later Led Zeppelin would also record there.

<a href=&quot;http://bp0.blogger.com/_KcCGgmBQFy4/SDM9KQQi_YI/AAAAAAAAANI/Ii7kw-5LgW4/s1600-h/IMG00109.jpg"><img id="BLOGGER_PHOTO_ID_5202569240915410306" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 182px; CURSOR: hand; HEIGHT: 207px" height="207" alt="" src="http://bp0.blogger.com/_KcCGgmBQFy4/SDM9KQQi_YI/AAAAAAAAANI/Ii7kw-5LgW4/s320/IMG00109.jpg" width="193" border="0" /></a>This is the first of several blogs that will be writing as a result to my weekend full of rubbing elbows with some of the great producers and engineers that have worked in Vancouver.

During the next few days I will be writing about my experiences with Mike Fraser (AC/DC, Led Zepellin, Metallica, Aerosmith) Jeff Dawson (State of Shock, Daniel Powter, Holly McNarland) Roger Swan (K-OS, Swollen Members) Devin Townsend (Lamb of God, Bleeding Through, Darkest Hour) Ben Kaplan (Chevelle, Trapt, Shakira) GGGarth Richardson (Red Hot Chili Peppers, Rage Against The Machine) Howard Redekopp (Tegan &amp; Sara, New Pornographers)

Audio Engineering Session 14


By Beerhunter, 2008-05-05

<a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/SB-lsM88ECI/AAAAAAAAAMY/IHo0NDtNMOE/s1600-h/DSC02096.JPG"><img id="BLOGGER_PHOTO_ID_5197054673818488866" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/SB-lsM88ECI/AAAAAAAAAMY/IHo0NDtNMOE/s320/DSC02096.JPG" border="0" /></a>
In this session we all shuffled around which audio application we were to use. Emile and Cash on Sonar, Greg and Jessie on the V-Studio, and Sophie and I were are on Pro Tools.
For us to be able to mix last weeks tracks we first had to use a ripper tool which converts Roland's proprietary file format to WAV files. The ripping process only took about 2 minutes.
Once we imported all the tracks into ProTools we gave it a quick listen. It sounded really good without any tweaks. This was because we spent some time last week capturing great sound right at the source.
I hadn't had a chance to hear the piano tracks up until now. As mentioned earlier, we used a pair of AT 4033's (see session 13 for more on mic'ing the piano). Click on the player to listen to the raw piano tracks. No effects have been added. The tracks have only been panned hard left and right. It should be noted that this is not a stand alone piano piece. I simply solo'd the piano from the multitrack session.

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Audio Engineering Session 13


By Beerhunter, 2008-04-25

The first thing we did this class was a de-brief of our previous tracking session with Greg's band. We reviewed the workflow and came up with a basic strategy that should be used to maintain order and to stay calm. We were told that when recording a rock band, the most important thing is to get a great drum take. All the other instruments/vocals can be re-done easily as everyone was in separate isolation rooms.
An important aspect of tracking is communication. It is important for the engineer to make the musicians feel comfortable. This will bring out their best performance. It is best to keep everyone well informed about the tasks at hand and what will be happening next. If a lot of focus is on the drums for example, you can let the other musicians know that they can kick back and get a coffee. Tell the bass player to relax for 15 mins while the headphone mix is being dialed in. Without a doubt a good Audio Engineer will be able to bring out the best in them and not make them feel like they are under a microscope in a fish bowl.<a href=&quot;http://bp0.blogger.com/_KcCGgmBQFy4/SBKgTM88D9I/AAAAAAAAALo/-55xG0hUHdQ/s1600-h/yamahagrand.JPG"><img id="BLOGGER_PHOTO_ID_5193389572066381778" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp0.blogger.com/_KcCGgmBQFy4/SBKgTM88D9I/AAAAAAAAALo/-55xG0hUHdQ/s200/yamahagrand.JPG" border="0" /></a>
Tracking can get quite stressful. There are a lot of things going on at once. A clearly defined plan is very important. Most of your energy needs to be directed at making a great mix. This is the ultimate goal in any tracking session. Of course there are several other aspects of major importance (mic placement, tuning etc), in the end a great mix will be inspiring to the musicians. Everything else will fall into place rather naturally if your energy is focused on the mix.
After the debrief we moved onto layering some additional tracks for one of Greg's songs from last session. We did some backing vox first. Greg sang into an Audio Technical AT4033.


<p><img id="BLOGGER_PHOTO_ID_5193389099619979186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp2.blogger.com/_KcCGgmBQFy4/SBKf3s88D7I/AAAAAAAAALY/5v1oAi_9RLc/s400/yamaha_front.JPG" border="0" /></p><p></p><p><a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/SBKgDc88D8I/AAAAAAAAALg/kjtN-2bKP28/s1600-h/at4033.JPG"><img id="BLOGGER_PHOTO_ID_5193389301483442114" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/SBKgDc88D8I/AAAAAAAAALg/kjtN-2bKP28/s200/at4033.JPG" border="0" /></a>After a couple of takes we moved on to recording the piano. We used a stereo pair of AT4033's. These were placed about 10 inches away from the strings. One on the low end and one on the treble end. Now then, Greg has been playing piano forever and this is a very nice piano in a very good room so as one would expect, the piano sounded great!
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Audio Engineering Session 12


By Beerhunter, 2008-04-17

No theory this week, we jumped right into tracking Greg's band. I appoligise in advance for the picture quality as they were taken with my cell phone.

Our instructor, Greg, is in a 3 peice band and they have been preparing for their upcoming benefit gig, "Stop the Rain". This was an opportunity for them to rehearse and for us to apply our recently aquired knowledge to a real world situation.

<a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/SAj-kyXA-QI/AAAAAAAAAJg/bE2amwXn8Jc/s1600-h/IMG00070.jpg"><img id="BLOGGER_PHOTO_ID_5190678478491547906" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/SAj-kyXA-QI/AAAAAAAAAJg/bE2amwXn8Jc/s200/IMG00070.jpg" border="0" /></a>We started by setting up the drums for Vern in the main live room exactly as we have in the past. (Mic and positioning details are found in previous blogs so I won't go into detail again in this one). As we have experienced a few times now, the Ayotte kits are a PITA to setup. These Ayotte kits may be fully adjustable but without a doubt are one of the more complicated kits to setup.

The bass player was setup in the air lock off of of the control room. He (John) was play an awesome Ricky through a Sansamp so his setup<a href=&quot;http://bp3.blogger.com/_KcCGgmBQFy4/SAj-uSXA-RI/AAAAAAAAAJo/fMyzYMRIgV8/s1600-h/IMG00073.jpg"><img id="BLOGGER_PHOTO_ID_5190678641700305170" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_KcCGgmBQFy4/SAj-uSXA-RI/AAAAAAAAAJo/fMyzYMRIgV8/s200/IMG00073.jpg" border="0" /></a> was fast and easy. Greg was in one of the other isolation rooms playing his Godin through a Roland BR-8 and into a Roland amp which we mic'd up with a SM57.

The next step was to create a decent headphone mix for them to monitor with. We began with the drums. Adjusting the levels for each one of the mics, one at a time. Then we introduced the bass guitar into the mix and once again adjusted the levels. Finally, we adjusted the levels for Greg's guitar/amp and the vocals. After about 45 minutes we had what we thought was a solid mix for them to monitor with but found that the output to the headphones was not loud enough. The output from the V-Studio on it's own simply didn't have enough power to be heard over the drum kit. We quickly inserted a headphone amp to increase the output to all the headphones. This gave us more than enough volume and we were ready to start recording.

The band played 4 songs and we tracked 2-3 virtual tracks of each song. By the time we finished tracking our session was over so we didn't have any time to review what we had recorded. We will do this next session.

***In case you missed them on the first go around, previous sessions blogs can always be found here http://www.imusicscene.com/the_london_project/blog.php***


Audio Engineering Session 11


By Beerhunter, 2008-04-05

Theory for this week filled in a couple of blanks that we have had left over from previous <a href=&quot;http://www.dak.com/reviews/ImagesR/2024_FreqGraph.gif"><img style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 176px; CURSOR: hand; HEIGHT: 215px" height="293" alt="" src="http://www.dak.com/reviews/ImagesR/2024_FreqGraph.gif" border="0" /></a>sessions. First thing we did was finish ofF the acronym for the seven characteristics of sound (WAVEPHF). We now know these characteristics as Wavelength, Amplitude, Velosity, Envelope, Phase, Harmonics and Frequency.

<div><div>One of the blanks we filled in was "Harmonic Content". In this example we will use "whole number multiples" of the A note. The first harmonic is the fundamental note. The remaining harmonics follow this example;</div><div>A = 110 Hz = 1st harmonic/fundamental, A = 220 Hz = 2nd harmonic, E = 330 Hz = 3rd harmonic, A = 440 Hz = 4th harmonic, C# = 55o Hz = 5th harmonic, E = 660 Hz = 6th harmonic, </div><div>G = 770 Hz = 7th harmonic, A = 880 Hz = 8th harmonic.</div>
<div>One example that was used to illustrate harmonic content was by using a piano. Upon striking the A note, you could hear the various harmonics as the note rang out.</div>
<div>The next item to discuss was "envelope". Envelope is also known as "loudness contour". There are three properties on an envelope. These are "attack, decay and release". A piano can be used to illustrate these envelope properties. When the keys are first struck, until the time the note reaches maximum amplitude, this could be considered the attack. The decay is the time this note will ring out and the time it takes to fade away. If the noted is "choked" then the time it takes for the note to finish ringing out is called the release. </div>
<div><a href=&quot;http://bp3.blogger.com/_KcCGgmBQFy4/R_laRzbZXVI/AAAAAAAAAJU/MQ-YfR3SW5A/s1600-h/sledge2mv9.jpg"><img id="BLOGGER_PHOTO_ID_5186275707803229522" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" height="151" alt="" src="http://bp3.blogger.com/_KcCGgmBQFy4/R_laRzbZXVI/AAAAAAAAAJU/MQ-YfR3SW5A/s320/sledge2mv9.jpg" width="182" border="0" /></a>An "envelope generator" introduces "sustain". In the case of keyboards for example, the envelope would be "attack, decay, sustain and release".
Now that we have moved on from the theory aspect of the session, it was time finalize our mixes. We began opened up our mixes where we left off last session. I found this illustration that provides a visual representation of mixing. </div>
<div>With many thanks to Greg, I have included a version of my mix which can be heard using the player below.
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I have also posted a seperate track of the drums only. You can find the "drums only" version in the previous Audio Engineering Session 9 below. Next week we will be recording Greg's band doing a live set. </div>
***In case you missed them on the first go around, previous sessions blogs can always be found here http://www.imusicscene.com/the_london_project/blog.php***


Audio Engineering Session 10


By Beerhunter, 2008-03-31

<a href=&quot;http://www.soundonsound.com/sos/aug06/images/sonar2consoleview_l.jpg"><img style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 320px; CURSOR: hand" alt="" src="http://www.soundonsound.com/sos/aug06/images/sonar2consoleview_l.jpg" border="0" /></a>Hooray!! The blog is now up to date over here at IMS. Future postings of this blog will now be once a week. If you wish to see my ohter blog entries please check out http://beerhunter341.blogspot.com I will only be posting my Audio Engineering course over here but you can read about my other ramblings at my other site. Now back to our regularily scheduled program....
Mixing! W00t! My favorite part! I've always liked mixing. Back a few years ago, well ok. more like a lot of years ago, I used to mix my own party music on cassettes. I had a couple of turntables and an old Radio Shack mixer. I used to love doing my own crossfades. Some of the crossfades even started to have a life of its own. Anyways.. I guess what I'm try to say here is that it has captured my interest for over 30 years. Ha, even did some DJ'ing back in the day. Before I get to wrapped up in the past, let me get back to the session...
<div><div>Now that we have all the pieces to make a song it was time to put it all together. The instructor gave us individual wav files from the previous sessions. We then imported the wavs into Sonar version 2.0. Yup, Sonar 2. Ok well now, gut reacti<a href=&quot;http://www.audiomidi.com/aboutus/reviews/fujio_sonar6/Sonor%206%20Main%20Window.JPG"><img style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 320px; CURSOR: hand" alt="" src="http://www.audiomidi.com/aboutus/reviews/fujio_sonar6/Sonor%206%20Main%20Window.JPG" border="0" /></a>on is, I'm on version 6 now, how can I benefit from using version 2. What is this antique piece of software? When I compare version 6 to version 2, there is not a lot different. In the end, you can acheive the same results. The biggest difference is that you can run earlier versions of software on REALLY cheap (old) machines. In our class we used a P3 with 256 Mb RAM. Keep the chuckles to yourself, in the end we were able to create a great mix. This reinforces the fact that it is the person behind the console, not the equipment that make a great mix.</div>
<div>In the end it is about having a great mix. Don't fool yourself into thinking that mean mixing with the latest, greatest software. </div></div>


Audio Engineering Session 9


By Beerhunter, 2008-03-30

<a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/R9qcBwnuqKI/AAAAAAAAAHk/DN3VN1CXh9o/s1600-h/IMG00037.jpg"><img id="BLOGGER_PHOTO_ID_5177622275661146274" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/R9qcBwnuqKI/AAAAAAAAAHk/DN3VN1CXh9o/s320/IMG00037.jpg" border="0" /></a>This weeks session involved tracking drums using a session musician. The first part of the session did not go as smoothly as we had liked however. We had to do a bunch of trouble-shooting before we could proceed. Through the process of elimination we were able to determine a problem with mic wall plate "B" which inevitably delayed us by a couple of hours.
<div><div><div><a href="http://bp3.blogger.com/_KcCGgmBQFy4/R9qa1QnuqHI/AAAAAAAAAHM/DQpd01vZYxg/s1600-h/IMG00035.jpg"></a>
<div><a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/R9qbzwnuqJI/AAAAAAAAAHc/pXuUAGNvQ5k/s1600-h/IMG00036.jpg"><img id="BLOGGER_PHOTO_ID_5177622035142977682" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/R9qbzwnuqJI/AAAAAAAAAHc/pXuUAGNvQ5k/s320/IMG00036.jpg" border="0" /></a>Once we identified and solved the problem with the wall plate it was full speed ahead. By this time our session drummer (Dustin) had plenty enough rehearsal time and was able to crank out a couple of "keepers" within the first couple of takes.</div><div>In the end patience prevailed and we were able to get Greg's song that much closer to completion.</div></div></div></div>
Here is a drum only track using the room mics only. I will post a mixdown of the entire kit in a later blog.
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Audio Engineering Session 8


By Beerhunter, 2008-03-29

<a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/R9D_gKjjC0I/AAAAAAAAAG0/rOFBmg63wKY/s1600-h/IMG00004.jpg"><img id="BLOGGER_PHOTO_ID_5174916899903048514" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/R9D_gKjjC0I/AAAAAAAAAG0/rOFBmg63wKY/s320/IMG00004.jpg" border="0" /></a> This sessing we track drums using the Roland VS-2480. We used the 8 builtin pre-amps. I didn't catch the name of tom or room mics but we used a <a href=&quot;http://bp1.blogger.com/_KcCGgmBQFy4/R9D_sKjjC1I/AAAAAAAAAG8/G8-0LNBm5KU/s1600-h/IMG00003.jpg"><img id="BLOGGER_PHOTO_ID_5174917106061478738" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_KcCGgmBQFy4/R9D_sKjjC1I/AAAAAAAAAG8/G8-0LNBm5KU/s320/IMG00003.jpg" border="0" /></a>SM57 on the snare and an AKG D112 on the kick. The tom mics were Audio-Technica ATM250's (I think, gotta confirm that. They were definately ATM's though) and the spaced pair room mics were AKG C451. We left 1 <a href=&quot;http://bp3.blogger.com/_KcCGgmBQFy4/R9D_IqjjCzI/AAAAAAAAAGs/kZvDCjiZIP4/s1600-h/IMG00002.jpg"><img id="BLOGGER_PHOTO_ID_5174916496176122674" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_KcCGgmBQFy4/R9D_IqjjCzI/AAAAAAAAAGs/kZvDCjiZIP4/s320/IMG00002.jpg" border="0" /></a>channel available to use if needed on either the hi-hat or the snare. We decided after hearing our setup that we didn't need it (this time).

<div><div>The AKG D112 was placed in the kick drum about 4" to the left of the beater and about 6" away from the drum head, angled towards the beater.


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<div><a href=&quot;http://bp0.blogger.com/_KcCGgmBQFy4/R9D-k6jjCxI/AAAAAAAAAGc/zjdVpHjb_IA/s1600-h/IMG00005.jpg"><img id="BLOGGER_PHOTO_ID_5174915881995799314" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp0.blogger.com/_KcCGgmBQFy4/R9D-k6jjCxI/AAAAAAAAAGc/zjdVpHjb_IA/s320/IMG00005.jpg" border="0" /></a>The spaced pair of condenser mics (AKG 451) were placed 8 feet from the centre of the kit pointing at the space between the snare and the kick drum. They were 60" from the floor.</div><div></div></div></div></div></div>

***In case you missed them on the first go around, previous sessions blogs can always be found here http://www.imusicscene.com/the_london_project/blog.php***

Audio Engineering Session 7


By Beerhunter, 2008-03-28

<a href=&quot;http://www.recordingeq.com/EQ/req1001/images/outaph.gif"><img style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 320px; CURSOR: hand" alt="" src="http://www.recordingeq.com/EQ/req1001/images/outaph.gif" border="0" /></a>
<div>It took me awhile to get to this entry but here we go. Phase. What is it and why should we care about it? Well, phase issues appear from time to time and will (most often) have a negative impact on your recordings. Recordings that are out of phase will sound thin, muddy and just generally not too good. Phase issues can be difficult to track down. Microphones should be positioned in such a way as to reduce the possibility of phase issues.
An interesting psychoacoustic phenomenom occurs regarding phase. If you flip phase on one of two identical tracks they will cancel each other out.</div>

My Audio Engineering Journal


By Beerhunter, 2008-03-28

Hi everyone,

I have been maintaining a blog for a few months now that documents the Audio Engineering class that I'm attending at a college here in Vancouver.
Dazed has thought it would be good to post in a blog in here as well. In order to get the two blogs in sync, I had to upload a bunch at once.
If you missed the first few blog entries, you can always see the complete blog history here; http://www.imusicscene.com/the_london_project/blog.php
Cheers,
Lonnie


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