TweetI consider myself lucky to live in a time period when recording technology is developing so rapidly.
Want to setup a studio, had one about 15 years ago here in the Bahamas using Logic, Mac pro, etc… where do I begin? Sounds like the essentials you would need are a digital recording interface, microphone(s), and microphone cable(s) just to get you started with recording. Not sure how loud the cars are driving by, so it’s hard for me to judge, but one of the simplest effective solutions without going all out and soundproofing your room would be to have a close range dynamic mic like the SM-57. Not sure what your budget is, but if you only need to record 1 or 2 tracks at once and want to get a lot of bang for the buck on a recording interface, look into the Presonus Firebox. It depends on your price range and your personal preferences for what sounds most appealing to your ears.
The times of struggling to find a way to record a video of your screen on Android are over.
Pro audio recording studio near London producing a high quality sound at an affordable rate. At Ten21 recording studio, we pride ourselves on our quality of sound and service, but don't take our word for it, read our customers' testimonials or listen to some of our recent visitors audio clips. We are one of the few recording studios in the area to offer the sound of analogue via the iz ADA converters and Protools HD.
Less than an hour from London and set in the idyllic Kent country side, the friendly and relaxed atmosphere of Ten21 recording studios makes it the perfect choice for your recording project. With a wide variety of available local Hotels and B&B's listed on our dedicated accommodation page finding a suitable place to stay is made easy and with 6 pubs, 4 restaurants, 2 takeaways and a Tesco express within a mile, you'll never starve at Ten21 studios. Couple this with our close proximity (just over a mile) to mainline road and rail links plus plenty of free parking and Ten21 recording studio has to be your studio of choice.
Ten21 recording studios has been designed to be as flexible and as versatile as possible in the range of services it can provide. Years Later they returned as 1 Weeping Angel made a Ship Crash and it went underground to Thousands of Weeping Angels Regenerating. The brass and woodwind families enjoy a unique and pervasive presence as both ensemble and solo instruments in a plethora of musical arrangements for the orchestra, the marching band, and the popular song. The members of the brass family include the trumpet, the cornet, the flugelhorn, the trombone, the tuba, the euphonium and the French horn. Brass instruments are notably loud and exhibit a very wide dynamic range, particularly in their lower registers.
The point is that brass instruments in general sound better when miked at distances from 2-6' or more, with the mic aimed roughly 30-40° off-axis from the center of and positioned a few inches above or below the bell. Brass instruments (and woodwinds as well) sound good in larger, livelier, and minimally damped reverberant spaces with harder reflective surfaces such as wood or concrete.
When recording brass ensembles, a pair of omnidirectional overhead mics 8-9' in the air and 1-5' apart, positioned at a distance of anywhere from 8-15' generally works well. Woodwinds instruments include the clarinet, oboe, bassoon, saxophone (think brass clarinet with a larger bell) and flute (silver or silver-plated). Unlike the brass family, most of the woodwinds? sound comes from the body of the instrument (the keys and the mouthpiece) as opposed to the bell.
Since so much of the woodwind sound comes from the body of the instrument, the microphone should generally be aimed toward the lower middle part of the body at the players? left hand.
A somewhat more distant miking approach works best with woodwind instruments, although close miking is often applied in pop or big band recording contexts where they might be overpowered by the volume of brass and electric instruments.
As a secondary or even primary microphone, a PZM boundary mic in omni mode taped to a hard reflective surface such as a wall or window will often work wonders for the saxophone, creating a nice sonic expanse while rounding off some of the ?honking? character that instrument sometimes projects. As with any other instrument, don?t be afraid to move the mic around to achieve the best results.
Large-diaphragm condenser mics, ribbon microphones, and the aforementioned PZM boundary microphones are all very capable choices for recording brass and woodwind instruments. Some large-diaphragm dynamic mics in cardioid mode will also work very well, particularly for trombone, trumpet and sax at distances of 2-4'. The PZM boundaries work beautifully in omni mode as either primary or ambient microphones, often rounding out the more strident upper-register edges of an instrument while preserving its inherent flavor and character.
Dynamic range is the ratio between the largest and smallest possible values of a changeable quantity.


Watts’ influence as an Asian Studies and Eastern philosophy scholar, author and KPFA regular remains strong. Setting four of the lectures to music, Walton would lay whole sections of dialogue over warm, analog sounding electronic tracks and carefully place other spoken word snippets within the sequenced arrangements. When I was a child, I never thought it would be possible to produce professional sounding music at home. It depends on your budget, but I recommend to begin with a computer capable running audio software, your choice of DAW software (I like Cubase), at least 1 good multi-purpose microphone (SM-57 is popular), a good recording interface (I like the Presonus Firestudio), some studio reference monitors (for this you should go to a music store that lets you listen to them on display such as Guitar Center, and pick the one that sounds best to YOU while listening to music you are very familiar with. Then, I would seriously consider getting a decent set of studio monitor speakers so you can have an accurate reference when mixing your songs to make them sound nice and spiffy!
Get it as close to the sound source as possible and make sure the sound source is loud so you don’t have to make the recording signal as hot (Although you still want the results to be somewhat close to clipping without actually clipping. If there is a Guitar Center near you or some place where you can listen to monitor speakers on demo, this is the best way to do it.
That could be a test area – try your mix on as many systems as possible, including car speakers. You need to be sure coming to the right place and to help you decide we recommend you check out our recording studio gallery as well as our recording equipment page for technical details and our testimonials page for client endorsements. In this article we?ll look at the manner in which these instruments produce their sound and how to best record them in the home and project studios or in location recording environments.
Their design, which consists of a series of tubes opening like a flower into a bell, hasn’t changed much since the mid-19th century. As a family their frequency range is from 29Hz (bass and contrabass tubas) to over 10kHz (trombone).
You?ll avoid high-SPL mic distortion, wind-pop and boom as well as overemphasized directional harmonics, which are usually harsh and strident in character. Hallways and bathrooms often work well too, as tile and bare wall reflections can be very attractive and create the illusion of a greater apparent space than actually exists. The musicians will usually work out the dynamic balance and tonal blend amongst themselves.
With the exception of the flute, woodwind mouthpieces include a reed; clarinets and saxophones use a larger, wider single reed, oboes and bassoons deploy a slimmer, narrower double reed setup. They possess a very wide dynamic range and a frequency response rich in harmonic content that extends up to 12kHz. This necessitates more awareness on the part of the engineer of the mechanical noise produced by the keys, depending on the experience and technical expertise of the player. For recording a clarinet or saxophone the mic may be positioned 3-7' away from the instrument, in front of it and roughly level with the top half of the body aimed at the keyholes in the lower half. When recording the flute, an overhead approach with a cardioid mic 6-12" (pop) and 3-8' (classical) away, aimed on-axis midway between the mouthpiece and the center of the instrument should yield a nice blend of breathy character and body tone. It?s also worth noting that unlike many guitar and bass players, you?ll rarely find a completely self-taught trumpet or saxophone player, or one that can?t read music. The large-diaphragm condensers often sound best in omni mode; properly positioned they deliver an open, natural sound and adeptly capture the occasionally transcendent blend of room and instrument. Ribbon microphones, which come in both dynamic and condenser flavors, are typically configured in a figure-of-8 polar pattern. In audio engineering, dynamic range generally refers to the distance between the loudest possible sound and the quietest possible sound in an audio recording. The four-track EP will be released digitally with PDF booklet (when purchased at the label’s on-line store) on May 19 and will be available in physical form as a thoughtful — and thorough — 10” vinyl package with digital download card on May 26. His son, Mark Watts, recorded lectures that he gave on his famed Sausalito houseboat and elsewhere that are now available online as podcasts and via a related iOS app.
A saxophonist, composer and producer who frequently gigs with Antibalas, he was best friends with a philosophy major. It impressively manages to build upon, reflect and extend the creative and spiritual inspiration that Alan Watts established and Mark Watts now maintains at the Alan Watts Mountain Center at Mount Tamalpais in a decidedly 21st Century manner.
You can bring what you want to listen to and ask the staff if you need assistance), and of course some decent cables and microphone stands.
Its better to start with what you need to start producing, and more importantly, get your media exposed! They almost attacked her and her Boyfriend but they can't look at each other but they did and they could never move again.


Sound is produced by blowing air with pursed lips into a mouthpiece at the start of the tube and depressing various keys to produce notes. Brass instruments can also produce very intense sound pressure levels at the bell ? a trumpet, for example, blowing a high note at a distance of 1.5' will blast about 130dB of SPL.
This mic technique is best applied to recording trumpets, trombones, and their various cousins. You may want to have the player face the wall or tiled surface with his or her back toward the mic and try to catch those reflections. When recording trumpet or trombone players that are using a mute, it?s generally a good idea to reposition the mic roughly 2-4' closer to the source.
By blowing across the reed(s) a vibration is created which stimulates a sympathetically-vibrating column of air throughout the tube-like body.
Both the clarinet and the saxophone project very strong high frequency content from the bell which reflects back from the floor to blend with the low and mid frequencies emanating from the body. The predominance of odd over even harmonics in the lower registers of the reed instruments contributes to their characteristically nasal, hollow or ?woody? sound.
For the saxophone some will move the mic to a distance of 1-3', positioned in front of and above the instrument aimed toward the middle of the body at the left hand. They?ll often be the most experienced and professional (not to mention expensive) players at the session, and often, due to the physical demands of performing a brass or woodwind instrument, the most easily fatigued. They can be very effective when recording both solo and ensemble brass or woodwind instruments in larger ambient spaces, capturing the instruments in nice detail along with the reflected sound from walls and windows. In a multi-track recording, each constituent track has a unique dynamic range; there is also a “master” or overall dynamic range, which is the total dynamic range of the tracks mixed together into the master bus. Choose the ones within your budget that are most true to the way the track sounds (of course, you may want to check reviews on it first as well just to be sure its good quality).
The Angels followed The Doctor and the Rest of the Team as they went one by one until The Doctor, Amy and River were the only ones Left. The sonic character of these instruments mainly originates from the vibrations of the bell.
The same instrument playing in the same register from 14' away is still producing over 96dB of SPL. Tubas and French horns sound best when miked above and a bit behind the shoulder, again off-axis from the bell.
In a controlled and sound-treated environment, try taping an omnidirectional boundary mic (again off-axis from the bell) to a wall or large glass window surface. Mutes will raise the instruments? pitch and require more force (one dynamic level louder than written) to project the same level. The length of the tube is covered by a series of keys covering specifically-spaced holes that determine the acoustic length of the tube in terms of pitch.
Woodwinds are not as loud as their brassy brethren, projecting a maximum 95dB of SPL at 6.5' (the saxophone). This will help to blend the low and mid body frequencies with the high harmonic content produced by the bell. Be aware of this if your production technique involves layering two or three different solo instruments, a common studio ?fattening? technique for brass in particular.
Consequently, dynamic range processing is often applied to tracks at an individual basis as well as on the master channel (the over-all mix). I also have the problem with cars driving past on the Prince George Drive making some noice whole day.
This approach essentially shields the mic from much of the mechanical noise produced by the keys, and adapts well to the fact that these instruments are usually played in a seated position.
The tube ends in the form of a small bell, whose vibration, along with the sound emanating from the keyholes, contributes to the sonic signature of the instrument. Woodwinds in general, and the saxophone and oboe in particular sound best in lively, reflective spaces, so unless your recording space of choice is exceptionally and unattractively boomy minimal sound damping is advisable. Fundamentally, dynamic range can either be increased or decreased, but there a several types of dynamic processors that act on the signal in different ways, producing different effects that utilize the inherent dynamic range of acoustically generated sounds.



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