(356,'document','text/html','RSFTSS_Ch06Resources','Chapter 6: Single-mic Instrument Recording','','rs-ch6','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\n\n\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\n\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch06/RSFTSS_Ch6_WAVs.zip`]]\">217MB ZIP</a>)</span></h3>\n\n<p class=\"pLibraryRedirect\"><strong><span class=\"spanLibraryRedirectHeader\"><a href=\"[[~362]]\">Click here to visit the \'Recording Secrets\' Library Of Mic Positions!</a></span></strong><br>It was getting so big that I decided to move it to its own dedicated page.<br><br></p>\n\n<ul>\n\n<li><strong><a name=\"TheRoleOfTheRoom\">The Role Of The Room:</a></strong> Moving an instrument and its miking setup to a different part of the recording space, or even to a different room altogether, can substantially affect the recorded sound. For example, the following examples feature a grand piano miked with a single omnidirectional small-diaphragm condenser about two metres in front of the instrument. This setup was recorded with the instrument (and its mic) in four different locations within a fairly live-sounding, medium-sized rectangular recital hall: roughly in the middle of the hall [[playerWavMp3Button? &exampleNumber=`06.001` &exampleFile=`Ch6/RS06001_Piano_LocationCentreOfHall`]]; towards the edge of the hall firing directly at a wall [[playerWavMp3Button? &exampleNumber=`06.002` &exampleFile=`Ch6/RS06002_Piano_LocationFiringAtWall`]], which emphasises the high frequencies, but at the expense of some comb-filtering artefacts; against one wall firing out into the hall [[playerWavMp3Button? &exampleNumber=`06.003` &exampleFile=`Ch6/RS06003_Piano_LocationAgainstWall`]], which enhances the low frequencies on account of the boundary effect; and directly in a corner, firing out into the hall [[playerWavMp3Button? &exampleNumber=`06.004` &exampleFile=`Ch6/RS06004_Piano_LocationInCorner`]], where the boundary-effect bass enhancement is further strengthened. The recording room also affects close-miked instruments, as you can hear in the following examples of an electric guitar cabinet recorded with a Shure SM57 close mic only 15cm from the grille: in the middle of an 18mx12mx5m recital hall [[playerWavMp3Button? &exampleNumber=`06.005` &exampleFile=`Ch6/RS06005_ElecGtr_LocationMediumHall`]]; in the middle of a small 4mx5m studio live room [[playerWavMp3Button? &exampleNumber=`06.006` &exampleFile=`Ch6/RS06006_ElecGtr_LocationSmallRoomCentre`]]; in the centre of the same studio live room, but raised 30cm off the floor on a heavy-duty podium [[playerWavMp3Button? &exampleNumber=`06.007` &exampleFile=`Ch6/RS06007_ElecGtr_LocationSmallRoomCentreRaised`]]; and in the corner of the same live room, firing out into the room [[playerWavMp3Button? &exampleNumber=`06.008` &exampleFile=`Ch6/RS06008_ElecGtr_LocationSmallRoomCorner`]]. For some more dramatic examples, check out these great little videos: <a href=\"https://www.youtube.com/watch?v=mY-f68J5PPo\">Wikidrummer</a> &amp; <a href=\"https://vimeo.com/132408379\">Wikisinger</a>.<br><br></li>\n\n\n\n\n\n<li><strong>The \'Tag Team\' Miking Method:</strong> The diagram in Figure 6.8 of the book illustrates a real-world application of tag-team recording I used while recording cello overdubs for the band <a href=\"https://www.facebook.com/dunningkrugerband\">Dunning Kruger</a>, a session I wrote about in detail in <i>Sound On Sound</i> magazine\'s <a href=\"http://www.soundonsound.com/sos/feb13/articles/session-notes-0213.htm\">February 2013 \'Session Notes\'</a> column. Here are the first two guesswork mic positions I tried, which were both recorded simultaneously: Mic 1 [[playerWavMp3Button? &exampleNumber=`06.009` &exampleFile=`Ch6/RS06009_TagTeam_Pos1_1_OffAxis`]]; Mic 2 [[playerWavMp3Button? &exampleNumber=`06.010` &exampleFile=`Ch6/RS06010_TagTeam_Pos1_2_OnAxis`]]. Feeling that Mic 1 was more promising tonally than Mic 2 at this point, but that it was also too wet overall, I moved move Mic 2 to address the instrument from the same angle as Mic 1 (for better tone), but from closer up (for a drier sound). I then did another test recording with both mics: Mic 1 [[playerWavMp3Button? &exampleNumber=`06.011` &exampleFile=`Ch6/RS06011_TagTeam_Pos2_1_OffAxis`]]; Mic 2 [[playerWavMp3Button? &exampleNumber=`06.012` &exampleFile=`Ch6/RS06012_TagTeam_Pos2_2_OffAxisCloser`]]. Mic 2 then sounded better than Mic 1, so I moved Mic 1 to the same miking distance as Mic 2, but experimented with another lateral position. At this point I ended up with two microphone signals which, while different, felt equally appealing aesthetically: Mic 1 [[playerWavMp3Button? &exampleNumber=`06.013` &exampleFile=`Ch6/RS06013_TagTeam_Pos3_1_OffAxisCloserAlt`]]; Mic 2 [[playerWavMp3Button? &exampleNumber=`06.014` &exampleFile=`Ch6/RS06014_TagTeam_Pos3_2_OffAxisCloser`]].<br><br></li>\n\n\n\n<li><strong>High-frequency Beams &amp; Shadows:</strong> The following examples illustrate some of the frequency beaming/shadowing issues discussed in Section 6.2.4 of the book. Because of the shadowing effects of a grand piano\'s lid, the sound captured in front of the instrument [[playerWavMp3Button? &exampleNumber=`06.015` &exampleFile=`Ch6/RS06015_HFBeam_PianoFrontOpen`]] will inevitably be brighter than that heard at the rear [[playerWavMp3Button? &exampleNumber=`06.016` &exampleFile=`Ch6/RS06016_HFBeam_PianoRearOpen`]]. Likewise, you\'ll also dull the sound by half-closing [[playerWavMp3Button? &exampleNumber=`06.017` &exampleFile=`Ch6/RS06017_HFBeam_PianoFrontHalfOpen`]] or fully closing [[playerWavMp3Button? &exampleNumber=`06.018` &exampleFile=`Ch6/RS06018_HFBeam_PianoFrontClosed`]] the instrument\'s lid. Any instrument with a horn will tend to direct its high frequencies primarily on-axis to the bell, as you can hear in these very bright-sounding on-axis recordings of trumpet [[playerWavMp3Button? &exampleNumber=`06.019` &exampleFile=`Ch6/RS06019_HFBeam_Trumpet`]] and trombone [[playerWavMp3Button? &exampleNumber=`06.020` &exampleFile=`Ch6/RS06020_HFBeam_Trombone`]]. A similar principle applies to guitar-amp speaker cones, where you\'ll get the brightest tones when close-miking the centre of the cone [[playerWavMp3Button? &exampleNumber=`06.021` &exampleFile=`Ch6/RS06021_HFBeam_ElecGtrConeCentre`]], and progressively rounder tones as you move the mic laterally: mic midway between the centre and the edge of the cone [[playerWavMp3Button? &exampleNumber=`06.022` &exampleFile=`Ch6/RS06022_HFBeam_ElecGtrConeMidway`]]; mic at the edge of the cone [[playerWavMp3Button? &exampleNumber=`06.023` &exampleFile=`Ch6/RS06023_HFBeam_ElecGtrConeEdge`]].<br><br></li>\n\n\n\n<li><strong>Room Resonances:</strong> Room resonances can causes certain frequencies of an instrument to dominate over others, for example in this recording of a church organ [[playerWavMp3Button? &exampleNumber=`06.024` &exampleFile=`Ch6/RS06024_Resonance_OrganResonance`]], where the musical root note becomes a bit overbearing. In such cases, vertically repositioning the microphone a little can help achieve a more consistent registral balance without altering the fundamental timbre [[playerWavMp3Button? &exampleNumber=`06.025` &exampleFile=`Ch6/RS06025_Resonance_OrganRepositioned`]]. You can hear something similar occuring in this upright bass recording too [[playerWavMp3Button? &exampleNumber=`06.026` &exampleFile=`Ch6/RS06026_Resonance_AcBass`]], where I suspect that the overprominent \'D\' notes may be the result of a floor-to-ceiling room mode (the resonant frequency is typical of normal domestic ceiling heights) -- although it could also be attributable to the main air resonance of the instrument\'s body cavity, which would also typically resonate around this kind of frequency, and may have been picked up too strongly on account of a mic position too close to the instrument\'s soundholes.<br><br></li>\n\n\n\n<li><strong>Balancing Instrument Facets:</strong>  The following examples demonstrate how different close-miking positions bias the microphone\'s pickup in favour of different tonal facets of a given instrument. Here\'s a microphone by the bridge of an acoustic guitar, for instance [[playerWavMp3Button? &exampleNumber=`06.030` &exampleFile=`Ch6/RS06030_FacetsAcGtr_Bridge`]], where the woody sound of the instrument\'s body predominates and pick and string-damping noises are quite prevalent. Moving the mic directly over the instrument\'s soundhole [[playerWavMp3Button? &exampleNumber=`06.031` &exampleFile=`Ch6/RS06031_FacetsAcGtr_Soundhole`]] overemphasises the instrument\'s air resonances as well as capturing very edgy picking noise. A mic position around the 12th fret [[playerWavMp3Button? &exampleNumber=`06.032` &exampleFile=`Ch6/RS06032_FacetsAcGtr_12thFret`]] manages a decent blend of the instrument\'s body timbre and string character, while keeping picking noise a fairly low in level. The level of the fret squeaks, however, isn\'t ideal, and only gets worse if the mic\'s repositioned further down the fretboard [[playerWavMp3Button? &exampleNumber=`06.033` &exampleFile=`Ch6/RS06033_FacetsAcGtr_Frets`]], where the overall tone also becomes rather thin and jangling. To take another example, a mic placed close behind the music stand inside a grand piano [[playerWavMp3Button? &exampleNumber=`06.034` &exampleFile=`Ch6/RS06034_FacetsPiano_Hammers`]] will capture a stronger hammer-attack component, as well as more audible damper noise during quieter passages, and won\'t do the same justice to the lowest frequencies of the instrument\'s longer strings as a position more over the centre of strings [[playerWavMp3Button? &exampleNumber=`06.035` &exampleFile=`Ch6/RS06035_FacetsPiano_Centre`]]. Right at the foot of the piano [[playerWavMp3Button? &exampleNumber=`06.036` &exampleFile=`Ch6/RS06036_FacetsPiano_Foot`]] the sound becomes much woodier, with the instrument\'s soundboard character taking on a more prominent role because most of the strings are further away from the mic. As a final example, check out this violin close-mic recording [[playerWavMp3Button? &exampleNumber=`06.039` &exampleFile=`Ch6/RS06039_FacetsViolin_BridgeNoise`]], where the microphone has clearly focused too closely on the bow contact point, yielding an unpleasantly dry and scratchy sound.<br><br></li>\n\n\n\n<li><strong>Spotlighting:</strong> Here\'s a selection of instruments recorded with identical mics at different distances, to illustrate the concept of spotlighting discussed in Section 6.2.7 of the book. In all these cases, the instrument timbre becomes more natural and well-balanced as the miking-distance increases (albeit with more room-sound pickup and some loss of warmth where directional mics have been used). Of course, whether that kind of fidelity is your ultimate artistic goal is a whole separate question!</li>\n\n</ul>\n\n<table class=\"tableExampleFiles\">\n\n  <tr>\n\n    <td class=\"tdExampleFilesDescriptionHeader\"><strong>Instrument &amp; Mic Orientation</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Distance&nbsp;1<br>(Closest)</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Distance&nbsp;2</strong><br></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Distance&nbsp;3<br>(Farthest)</strong></td>\n\n  </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Acoustic guitar with a medium-diaphragm cardioid condenser mic in line with the 12th fret and angled slightly inwards towards the instrument\'s body.</td>\n\n <td class=\"tdExampleFilesCompact\">20cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.040` &exampleFile=`Ch6/RS06040_Distance_AcGtrCls`]]</td>\n\n <td class=\"tdExampleFilesCompact\">45cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.041` &exampleFile=`Ch6/RS06041_Distance_AcGtrMid`]]</td>\n\n <td class=\"tdExampleFilesCompact\">90cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.042` &exampleFile=`Ch6/RS06042_Distance_AcGtrFar`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Electric guitar-amp with a cardioid dynamic mic roughly on-axis to the centre of the speaker cone.</td>\n\n <td class=\"tdExampleFilesCompact\">1cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.043` &exampleFile=`Ch6/RS06043_Distance_ElecGtrCls`]]</td>\n\n <td class=\"tdExampleFilesCompact\">30cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.044` &exampleFile=`Ch6/RS06044_Distance_ElecGtrMid`]]</td>\n\n <td class=\"tdExampleFilesCompact\">90cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.045` &exampleFile=`Ch6/RS06045_Distance_ElecGtrFar`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Snare drum with a cardioid dynamic mic positioned over the top rim of the drum, pointing midway between the centre and edge of the head.</td>\n\n <td class=\"tdExampleFilesCompact\">3cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.046` &exampleFile=`Ch6/RS06046_Distance_SnareCls`]]</td>\n\n <td class=\"tdExampleFilesCompact\">8cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.047` &exampleFile=`Ch6/RS06047_Distance_SnareMid`]]</td>\n\n <td class=\"tdExampleFilesCompact\">20cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.048` &exampleFile=`Ch6/RS06048_Distance_SnareFar`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Grand piano with a spaced stereo pair of omni small-diaphragm condenser microphones (spacing 40cm, mutual angle 45 degrees) inside the piano 20cm behind the music stand, pointing downwards towards strings.</td>\n\n <td class=\"tdExampleFilesCompact\">15cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.049` &exampleFile=`Ch6/RS06049_Distance_PianoCls`]]</td>\n\n <td class=\"tdExampleFilesVoid\">&nbsp;</td>\n\n <td class=\"tdExampleFilesCompact\">30cm<br>[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.050` &exampleFile=`Ch6/RS06050_Distance_PianoFar`]]</td>\n\n   </tr>\n\n\n\n</table>\n\n<br>\n\n<ul>\n\n<li><strong>Combatting Spotlighting With Refectors:</strong> In a dry acoustic, wooden-bodied instruments can sound rather lifeless and unnatural if miked very close, as in the case of this acoustic-guitar recording [[playerWavMp3Button? &exampleNumber=`06.051` &exampleFile=`Ch6/RS06051_Reflections_AcGtrDry`]]. Where such close-miking is unavoidable, adding reflective surfaces around the instrument to bounce more of its entire frequency dispersion into the microphone can help to revive the timbre [[playerWavMp3Button? &exampleNumber=`06.052` &exampleFile=`Ch6/RS06052_Reflections_AcGtrWet`]].<br><br></li>\n\n\n\n<li><strong>Off-axis Tonality Of Budget Large-diaphragm Cardioid Condenser Mics:</strong> To illustrate the off-axis response vagaries of typical budget large-diaphragm cardioid condenser mics, I\'ve recorded the same vocal phrase from five different angles around the same microphone (a mass-produced Groove Tubes GT57 operating in its cardioid mode) and then roughly matched the subjective loudness of the resulting files so that you can concentrate on the tonal changes. The miking distance in each case was identical, and the miking angles I used were: 0 degrees, ie. on-axis [[playerWavMp3Button? &exampleNumber=`06.053` &exampleFile=`Ch6/RS06053_Angle_0degCard`]]; 30 degrees off-axis [[playerWavMp3Button? &exampleNumber=`06.054` &exampleFile=`Ch6/RS06054_Angle_30degCard`]]; 90 degrees off-axis [[playerWavMp3Button? &exampleNumber=`06.055` &exampleFile=`Ch6/RS06055_Angle_90degCard`]]; 135 degrees off-axis [[playerWavMp3Button? &exampleNumber=`06.056` &exampleFile=`Ch6/RS06056_Angle135degCard`]]; and 180 degrees off-axis, ie. directly in the cardioid polar pattern\'s rear rejection null [[playerWavMp3Button? &exampleNumber=`06.057` &exampleFile=`Ch6/RS06057_Angle_180degCard`]].<br><br></li>\n\n\n\n<li><strong><a name=\"AcousticGuitar\">Mic Shootout -- Acoustic Guitar:</a></strong> Here\'s a shootout of eight classic microphones on three different acoustic guitars: a Taylor (\'Guitar 1\'); an Art &amp; Luthiere (\'Guitar 2\'); and a Huss &amp; Dalton (\'Guitar 3\'). The mics were set up in a tight pattern roughly 45cm in front of the guitar, pointing at the instrument\'s 12th fret, and all mics were recorded simultaneously for each guitar.</li>\n\n</ul>\n\n\n<table class=\"tableExampleFiles\">\n\n  <tr>\n\n    <td class=\"tdExampleFilesDescriptionHeader\"><strong>Microphone</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Guitar&nbsp;1</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Guitar&nbsp;2</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Guitar&nbsp;3</strong></td>\n\n  </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Coles 4038 ribbon microphone; figure-eight polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.060` &exampleFile=`Ch6/RS06060_AcGtrShoot01_Gtr1_4038`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.070` &exampleFile=`Ch6/RS06070_AcGtrShoot01_Gtr2_4038`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.080` &exampleFile=`Ch6/RS06080_AcGtrShoot01_Gtr3_4038`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C12 large-diaphragm valve microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.061` &exampleFile=`Ch6/RS06061_AcGtrShoot01_Gtr1_C12`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.071` &exampleFile=`Ch6/RS06071_AcGtrShoot01_Gtr2_C12`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.081` &exampleFile=`Ch6/RS06081_AcGtrShoot01_Gtr3_C12`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C414B-ULS large-diaphragm condenser microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.062` &exampleFile=`Ch6/RS06062_AcGtrShoot01_Gtr1_C414BULS`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.072` &exampleFile=`Ch6/RS06072_AcGtrShoot01_Gtr2_C414BULS`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.082` &exampleFile=`Ch6/RS06082_AcGtrShoot01_Gtr3_C414BULS`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C451 small-diaphragm microphone with CK1 capsule: cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.063` &exampleFile=`Ch6/RS06063_AcGtrShoot01_Gtr1_C451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.073` &exampleFile=`Ch6/RS06073_AcGtrShoot01_Gtr2_C451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.083` &exampleFile=`Ch6/RS06083_AcGtrShoot01_Gtr3_C451`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure SM57 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.065` &exampleFile=`Ch6/RS06065_AcGtrShoot01_Gtr1_SM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.075` &exampleFile=`Ch6/RS06075_AcGtrShoot01_Gtr2_SM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.085` &exampleFile=`Ch6/RS06085_AcGtrShoot01_Gtr3_SM57`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann U47 large-diaphragm valve microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.066` &exampleFile=`Ch6/RS06066_AcGtrShoot01_Gtr1_U47`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.076` &exampleFile=`Ch6/RS06076_AcGtrShoot01_Gtr2_U47`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.086` &exampleFile=`Ch6/RS06086_AcGtrShoot01_Gtr3_U47`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann U67 large-diaphragm valve microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.067` &exampleFile=`Ch6/RS06067_AcGtrShoot01_Gtr1_U67`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.077` &exampleFile=`Ch6/RS06077_AcGtrShoot01_Gtr2_U67`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.087` &exampleFile=`Ch6/RS06087_AcGtrShoot01_Gtr3_U67`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann U87 large-diaphragm condenser microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.068` &exampleFile=`Ch6/RS06068_AcGtrShoot01_Gtr1_U87`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.078` &exampleFile=`Ch6/RS06078_AcGtrShoot01_Gtr2_U87`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.088` &exampleFile=`Ch6/RS06088_AcGtrShoot01_Gtr3_U87`]]</td>\n\n   </tr>\n\n\n\n</table>\n\n<br>\n\n<ul>\n\n<li><strong><a name=\"ElectricGuitar\">Mic Shootout -- Electric Guitar:</a></strong> This shootout showcases five different microphone designs capturing a single electric guitar cabinet. The mics were set up in a tight pattern roughly 15cm from the grille of a Fender Twin Reverb guitar amp, pointing at the centre of the left-hand speaker cone. All the mics were recorded simultaneously.</li>\n\n</ul>\n\n\n\n<table class=\"tableExampleFiles\">\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescriptionHeader\"><strong>Microphone</strong></td>\n\n <td class=\"tdExampleFilesHeaderCompact\">&nbsp;</td>\n\n   </tr>\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C414B-XLS large-diaphragm condenser microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.090` &exampleFile=`Ch6/RS06090_ElecGtrShoot01_C414BXLS`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure KSM137 small-diaphragm condenser microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.091` &exampleFile=`Ch6/RS06091_ElecGtrShoot01_KSM137`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure SM57 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.092` &exampleFile=`Ch6/RS06092_ElecGtrShoot01_SM57`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Sennheiser MD421 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.093` &exampleFile=`Ch6/RS06093_ElecGtrShoot01_MD421`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">SE Electronics R1 ribbon microphone; figure-eight polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.094` &exampleFile=`Ch6/RS06094_ElecGtrShoot01_R1`]]</td>\n\n   </tr>\n\n\n\n</table>\n\n<br>\n\n<ul>\n\n<li><strong><a name=\"SnareDrum\">Mic Shootout -- Snare Drum:</a></strong> This shootout features seven classic microphones capturing the sound of three different snare drums: an Orange County 14x5-inch maple snare (\'Snare 1\'), a Ludwig Black Beauty 14x5-inch hammered brass snare (\'Snare 2\') and a deeper Gretsch 14x6.5-inch mahogany snare (\'Snare 3\'). Five of the mics were set up in a tight pattern over the rim of the snare at a distance of roughly 15cm from the drum, while the other two mics were in a tight pattern roughly 15cm from the underside of the rim. In both cases the mics were pointing at a spot halfway between the centre and the edge of the head, and all mics were recorded simultaneously for each drum.</li>\n\n</ul>\n\n\n\n<table class=\"tableExampleFiles\">\n\n  <tr>\n\n    <td class=\"tdExampleFilesDescriptionHeader\"><strong>Microphone</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Snare&nbsp;1</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Snare&nbsp;2</strong></td>\n\n    <td class=\"tdExampleFilesHeaderCompact\"><strong>Snare&nbsp;3</strong></td>\n\n  </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C414B-ULS large-diaphragm condenser microphone; cardioid polar pattern;<br>positioned above the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.110` &exampleFile=`Ch6/RS06110_SnareShoot01_Snr1_TopC414BULS`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.120` &exampleFile=`Ch6/RS06120_SnareShoot01_Snr2_TopC414BULS`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.130` &exampleFile=`Ch6/RS06130_SnareShoot01_Snr3_TopC414BULS`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C451EB small-diaphragm condenser microphone; cardioid polar pattern;<br>positioned above the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.111` &exampleFile=`Ch6/RS06111_SnareShoot01_Snr1_TopC451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.121` &exampleFile=`Ch6/RS06121_SnareShoot01_Snr2_TopC451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.131` &exampleFile=`Ch6/RS06131_SnareShoot01_Snr3_TopC451`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann KM84 small-diaphragm condenser microphone; cardioid polar pattern;<br>positioned above the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.112` &exampleFile=`Ch6/RS06112_SnareShoot01_Snr1_TopKM84`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.122` &exampleFile=`Ch6/RS06122_SnareShoot01_Snr2_TopKM84`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.132` &exampleFile=`Ch6/RS06132_SnareShoot01_Snr3_TopKM84`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann KM86 small-diaphragm condenser microphone; cardioid polar pattern;<br>positioned above the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.113` &exampleFile=`Ch6/RS06113_SnareShoot01_Snr1_TopKM86`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.123` &exampleFile=`Ch6/RS06123_SnareShoot01_Snr2_TopKM86`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.133` &exampleFile=`Ch6/RS06133_SnareShoot01_Snr3_TopKM86`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure SM57 dynamic microphone; cardioid polar pattern;<br>positioned above the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.114` &exampleFile=`Ch6/RS06114_SnareShoot01_Snr1_TopSM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.124` &exampleFile=`Ch6/RS06124_SnareShoot01_Snr2_TopSM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.134` &exampleFile=`Ch6/RS06134_SnareShoot01_Snr3_TopSM57`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG C451EB small-diaphragm condenser microphone; cardioid polar pattern;<br>positioned below the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.115` &exampleFile=`Ch6/RS06115_SnareShoot01_Snr1_BottomC451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.125` &exampleFile=`Ch6/RS06125_SnareShoot01_Snr2_BottomC451`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.135` &exampleFile=`Ch6/RS06135_SnareShoot01_Snr3_BottomC451`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure SM57 dynamic microphone; cardioid polar pattern;<br>positioned below the drum</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.116` &exampleFile=`Ch6/RS06116_SnareShoot01_Snr1_BottomSM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.126` &exampleFile=`Ch6/RS06126_SnareShoot01_Snr2_BottomSM57`]]</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.136` &exampleFile=`Ch6/RS06136_SnareShoot01_Snr3_BottomSM57`]]</td>\n\n   </tr>\n\n\n\n</table>\n\n<br>\n\n<ul>\n\n<li><strong><a name=\"KickDrum\">Mic Shootout -- Kick Drum:</a></strong> This shootout demonstrates the sound of six classic kick-drum microphones on a single drum. The mics were set up in a tight pattern roughly 45cm outside the front of a kick drum with a resonant head (with a small hole cut in it), and all the mics were recorded simultaneously.</li>\n\n</ul>\n\n\n\n<table class=\"tableExampleFiles\">\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescriptionHeader\"><strong>Microphone</strong></td>\n\n <td class=\"tdExampleFilesHeaderCompact\">&nbsp;</td>\n\n   </tr>\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG D12 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.100` &exampleFile=`Ch6/RS06100_KickShoot01_D12`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">AKG D112 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.101` &exampleFile=`Ch6/RS06101_KickShoot01_D112`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Sennheiser MD421 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.102` &exampleFile=`Ch6/RS06102_KickShoot01_MD421`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Electrovoice RE20 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.103` &exampleFile=`Ch6/RS06103_KickShoot01_RE20`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Shure SM57 dynamic microphone; cardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.104` &exampleFile=`Ch6/RS06104_KickShoot01_SM57`]]</td>\n\n   </tr>\n\n\n\n  <tr>\n\n <td class=\"tdExampleFilesDescription\">Neumann U47 FET large-diaphragm condenser microphone; supercardioid polar pattern</td>\n\n <td class=\"tdExampleFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleNumber=`06.105` &exampleFile=`Ch6/RS06105_KickShoot01_U47FET`]]</td>\n\n   </tr>\n\n\n\n</table>\n\n<br>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\n\n<ul>\n\n<li><strong>Equalisation:</strong> If you want to get up to speed with the fundamental principles and applications of equalisers for recording purposes, then check out this pair of fairly user-friendly explanatory articles from <i>Sound On Sound</i> magazine: \'<a href=\"http://www.soundonsound.com/sos/jul01/articles/equalisers1.asp\">Equalisers Explained</a>   \' and \'<a href=\"http://www.soundonsound.com/sos/aug01/articles/usingeq.asp\">Using Equalisation</a>\'.<br><br></li>\n\n\n\n<li><strong>Drum Tuning &amp; Damping Techniques:</strong> This useful little <i>Sound On Sound</i> magazine article is specifically aimed at small-studio engineers: \'<a href=\"http://www.soundonsound.com/sos/aug10/articles/drum-tuning.htm\">Engineer\'s Guide To Tuning &amp; Damping Drums</a>\'.<br><br></li>\n\n\n\n<li><strong>DIY Guitar Isolation Cabinets:</strong> If you\'re interested in pursuing this option for recording electric guitars on the quiet, then here are a few Youtube tutorials to whet your appetite: <a href=\"https://www.youtube.com/watch?v=xFxH9sVe3Ls\">Video 1</a>; <a href=\"https://www.youtube.com/watch?v=Of4dkAmiY-I\">Video 2</a>; <a href=\"https://www.youtube.com/watch?v=E50t38kAVGg\">Video 3</a>.<br><br></li>\n\n\n\n</ul>',1,6,12,1,1,1,1426664667,1,1461010446,0,0,0,1426663380,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch6.htm',0,0,1,NULL),(357,'document','text/html','RSFTSS_Ch07Resources','Chapter 7: Multimiking In Mono','','rs-ch7','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch07/RSFTSS_Ch07_WAVs.zip`]]\">134MB ZIP</a>)</span></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Phase-matching Coincident Multimics:</strong> Here\'s a little demonstration of the phase-alignment technique discussed in Section 7.1.1 of the book. In this example, let\'s say I want to mic up a guitar amp with a dual-mic coincident array comprising a Shure KSM137 small-diaphragm cardioid condenser mic and a Shure SM57 cardioid dynamic mic. I\'d therefore mix the two microphone signals together at an equal level, invert the polarity of one of them, and then slowly sweep the position of one mic relative to the other [[playerWavMp3Button? &exampleNumber=`07.003` &exampleFile=`Ch7/RS07003_PhaseCheck_MixFlip`]], listening for the strongest phase-cancellation effect -- which occurs about 20 seconds into the audio example. Note that if you mix those two signals without the polarity-inversion [[playerWavMp3Button? &exampleNumber=`07.004` &exampleFile=`Ch7/RS07004_PhaseCheck_Mix`]] the tightness of the phase-match becomes much harder to judge.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Balancing Instrument Facets:</strong> Multimiking is frequently used to balance different facets of an instrument\'s sound into a more representative whole. A common application is using a crossed coincident pair of cardioid microphones for acoustic guitar, one mic pointing towards the fretboard to capture the string character [[playerWavMp3Button? &exampleNumber=`07.005` &exampleFile=`Ch7/RS07005_MultimicFacets_AcGtr1_XYStrings`]] and one mic pointing more towards the soundhole to capture the body resonances [[playerWavMp3Button? &exampleNumber=`07.006` &exampleFile=`Ch7/RS07006_MultimicFacets_AcGtr1_XYBody`]]. These can then be blended together to taste [[playerWavMp3Button? &exampleNumber=`07.007` &exampleFile=`Ch7/RS07007_MultimicFacets_AcGtr1_XYMix`]] with negligible comb-filtering side-effects, on account of the coincident setup. Crossed pairs are often used for miking grand piano too, as in this example where a pair of small-diaphragm cardioid condenser mics are close in behind the music stand, one pointing towards the high strings [[playerWavMp3Button? &exampleNumber=`07.008` &exampleFile=`Ch7/RS07008_MultimicFacets_Piano2_XYHiStrings`]], and the other pointing towards the low strings [[playerWavMp3Button? &exampleNumber=`07.009` &exampleFile=`Ch7/RS07009_MultimicFacets_Piano2_XYLoStrings`]]. Mixing the mics together then gives a more even balance of the instrument\'s pitch registers [[playerWavMp3Button? &exampleNumber=`07.010` &exampleFile=`Ch7/RS07010_MultimicFacets_Piano2_XYMix`]], although inevitably without a tremendous degree of low-end weight given the close-miking position close to the ends of the strings. If you wanted to bolster the coincident rig\'s low frequencies, you might place another mic more in the centre of the piano where the low-end is more pronounced [[playerWavMp3Button? &exampleNumber=`07.011` &exampleFile=`Ch7/RS07011_MultimicFacets_Piano2_BassMic`]] and then mix that in [[playerWavMp3Button? &exampleNumber=`07.012` &exampleFile=`Ch7/RS07012_MultimicFacets_Piano2_FullMix`]]. The moment you use non-coincident multimic setups, however, you have to be aware that very small microphone repositionings can have a big influence on the mixed sound, because of comb-filtering between the mic signals. Take the following acoustic guitar multimic rig, for instance, where a cardioid condenser mic 30cm from the instrument just above the soundhole [[playerWavMp3Button? &exampleNumber=`07.013` &exampleFile=`Ch7/RS07013_MultimicFacets_AcGtr2_OverSH`]] is combined with an identical mic 30cm in front of the 12th fret [[playerWavMp3Button? &exampleNumber=`07.014` &exampleFile=`Ch7/RS07014_MultimicFacets_AcGtr2_12thFret_MicB_Mid`]] to create this composite mixed sound [[playerWavMp3Button? &exampleNumber=`07.015` &exampleFile=`Ch7/RS07015_MultimicFacets_AcGtr2_Mix_MicB`]]. Although moving the second mic 5cm closer to the instrument [[playerWavMp3Button? &exampleNumber=`07.016` &exampleFile=`Ch7/RS07016_MultimicFacets_AcGtr2_12thFret_MicA_Cls`]] or 5cm further away [[playerWavMp3Button? &exampleNumber=`07.017` &exampleFile=`Ch7/RS07017_MultimicFacets_AcGtr2_12thFret_MicC_Far`]] makes little difference to that mic\'s tone in isolation, its impact is much more audible on the mixed sound because it changes the phase relationship between the mics: here\'s the original mix again [[playerWavMp3Button? &exampleNumber=`07.015` &exampleFile=`Ch7/RS07015_MultimicFacets_AcGtr2_Mix_MicB`]]; here\'s the mix with the 12th-fret mic 5cm closer [[playerWavMp3Button? &exampleNumber=`07.018` &exampleFile=`Ch7/RS07018_MultimicFacets_AcGtr2_Mix_MicA`]]; and here\'s the mix with the 12th-fret mic 5cm further away [[playerWavMp3Button? &exampleNumber=`07.019` &exampleFile=`Ch7/RS07019_MultimicFacets_AcGtr2_Mix_MicC`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Mixing Mics On Different Guitar-amp Speaker Cones:</strong> Here are a couple of examples of multimiking two guitar-amp speakers and combining the results. The first setup comprises two on-axis Shure SM57s, directly against the speaker grille of a Fender Twin Reverb combo, one covering the left-hand speaker [[playerWavMp3Button? &exampleNumber=`07.020` &exampleFile=`Ch7/RS07020_MultimicFacets_ElecGtr1_LeftSM57`]], and the other covering the right-hand speaker [[playerWavMp3Button? &exampleNumber=`07.021` &exampleFile=`Ch7/RS07021_MultimicFacets_ElecGtr1_RightSM57`]]. This is what those two sound like mixed together [[playerWavMp3Button? &exampleNumber=`07.022` &exampleFile=`Ch7/RS07022_MultimicFacets_ElecGtr1_Mix`]]. The second setup involves a centrally placed pair of AKG C3000 large-diaphragm cardioid condenser mics 15cm away from the speaker grille. The mics are spaced 15cm apart and angled outwards so that each focuses primarily on a single speaker. Here are the left mic [[playerWavMp3Button? &exampleNumber=`07.023` &exampleFile=`Ch7/RS07023_MultimicFacets_ElecGtr2_LeftC3000`]] and the right mic [[playerWavMp3Button? &exampleNumber=`07.024` &exampleFile=`Ch7/RS07024_MultimicFacets_ElecGtr2_RightC3000`]] on the their own, and now the mix of both of them [[playerWavMp3Button? &exampleNumber=`07.025` &exampleFile=`Ch7/RS07025_MultimicFacets_ElecGtr2_Mix`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Miking An Instrument From Opposite Sides:</strong> There are some situations where you may wish to mike an instrument from opposite sides. The most common situation is where a mic over the snare drum [[playerWavMp3Button? &exampleNumber=`07.030` &exampleFile=`Ch7/RS07030_MultimicFacets_Snare_Over`]] and a mic underneath the snare drum [[playerWavMp3Button? &exampleNumber=`07.031` &exampleFile=`Ch7/RS07031_MultimicFacets_Snare_Under`]] are mixed together to give a combination of top-mic punch and bottom-mic rattle [[playerWavMp3Button? &exampleNumber=`07.032` &exampleFile=`Ch7/RS07032_MultimicFacets_Snare_MixWithFlip`]]. However, you have to be careful to check the polarity relationship between the two mics before mixing them, because one of the waveforms will usually be inverted in relation to the other, and if you don\'t correct this it will leave you with a gutless tone [[playerWavMp3Button? &exampleNumber=`07.033` &exampleFile=`Ch7/RS07033_MultimicFacets_Snare_MixNoFlip`]]. The same applies if you decide to dual-mic a kick drum from both sides to combine batter-head beater definition [[playerWavMp3Button? &exampleNumber=`07.034` &exampleFile=`Ch7/RS07034_MultimicFacets_Kick_Batter`]] with resonant-head roundness [[playerWavMp3Button? &exampleNumber=`07.035` &exampleFile=`Ch7/RS07035_MultimicFacets_Kick_Resonant`]]. Get the polarity relationship right and you get a useful composite of each mic\'s good qualities [[playerWavMp3Button? &exampleNumber=`07.035` &exampleFile=`Ch7/RS07036_MultimicFacets_Kick_MixWithFlip`]]; get it wrong, however, and you\'ll end up with a mixed sound that\'s a lot less than the sum of its parts [[playerWavMp3Button? &exampleNumber=`07.034` &exampleFile=`Ch7/RS07037_MultimicFacets_Kick_MixNoFlip`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Blending Microphone Tonalities Using Coincident Arrays:</strong> Coincident multimiking allows you to blend together the tonal colours of different microphone designs in a fairly natural manner, free from the unpredictable interference of comb-filtering effects. Consider this example: an electric guitar cabinet multimiked with a three-mic coincident array roughly six inches from the speaker cloth. The mics in question are a Shure SM57 cardioid dynamic mic [[playerWavMp3Button? &exampleNumber=`07.040` &exampleFile=`Ch7/RS07040_MultimicBlend_ElecGtr1_SM57`]] a Sennheiser MD421 cardioid dynamic mic [[playerWavMp3Button? &exampleNumber=`07.041` &exampleFile=`Ch7/RS07041_MultimicBlend_ElecGtr1_MD421`]] and an AKG C414B-XLS large-diaphragm condenser mic in its cardioid mode [[playerWavMp3Button? &exampleNumber=`07.042` &exampleFile=`Ch7/RS07042_MultimicBlend_ElecGtr1_C414BXLS`]]. To give an idea of the tonal colours this makes available, check out this mix [[playerWavMp3Button? &exampleNumber=`07.043` &exampleFile=`Ch7/RS07043_MultimicBlend_ElecGtr1_Mix_SM57toMD421`]] where I start with the SM57 signal on its own, and then slowly crossfade to the MD421, ending up with just the MD421. You\'ll hear a similar crossfade between the SM57 and C414B-XLS signals in this mix [[playerWavMp3Button? &exampleNumber=`07.044` &exampleFile=`Ch7/RS07043_MultimicBlend_ElecGtr1_Mix_SM57toC414BXLS`]]. If you\'d like to explore other combinations, import the three mic signals into your own audio system and balance them against each other for yourself. One way of getting maximum tonal range out of this multimiking technique is by choosing microphones that are very different in character. Here, for example, a rich-sounding AKG D112 cardioid kick-drum microphone [[playerWavMp3Button? &exampleNumber=`07.045` &exampleFile=`Ch7/RS07045_MultimicBlend_ElecGtr2_D112`]] and a thin-sounding AKG C418 clip-on electret mic [[playerWavMp3Button? &exampleNumber=`07.046` &exampleFile=`Ch7/RS07046_MultimicBlend_ElecGtr2_C418`]] set up in a coincident array six inches in front of the same guitar cabinet provide a broad range of different balances, as you can hear as I gradually crossfade between the two mics in this mix file [[playerWavMp3Button? &exampleNumber=`07.047` &exampleFile=`Ch7/RS07047_MultimicBlend_ElecGtr2_Mix_D112toC418`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Time-aligning Room Mics:</strong> Here\'s a guitar amp that\'s been miked up close with a Shure SM57 cardioid dynamic mic [[playerWavMp3Button? &exampleNumber=`07.070` &exampleFile=`Ch7/RS07070_MultimicRoom_ElecGtrSM57Cls`]], while an AKG C3000 large-diaphragm cardioid condenser mic picks up the room sound from roughly four metres away [[playerWavMp3Button? &exampleNumber=`07.071` &exampleFile=`Ch7/RS07071_MultimicRoom_ElecGtrC3000Room`]]. Here\'s what those two signals sound like simply mixed together [[playerWavMp3Button? &exampleNumber=`07.072` &exampleFile=`Ch7/RS07072_MultimicRoom_Mix`]], although some engineers like to compensate for the time-of-arrival difference between the two mics to reduce comb-filtering interactions, as you can hear in this example [[playerWavMp3Button? &exampleNumber=`07.073` &exampleFile=`Ch7/RS07073_MultimicRoom_MixTimeAligned`]]. One side effect to listen for, though, is what this time-alignement does to the sense of depth, because time-alignment of this type can make the instrument appear less \'upfront\'.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Sculpting Multimiked Guitar Tones With \'Phase EQ\':</strong> In Section 7.2.2 I mentioned that producer <a href=\"http://en.wikipedia.org/wiki/Jack_Douglas_%28record_producer%29\">Jack Douglas</a> has a method of sculpting the tone of electric guitar overdubs -- he calls is the \'Phase EQ\'. Here\'s the kind of setup he\'s referring to: two dynamic mics right up against the speaker grille at an angle, on opposite sides of the speaker cone, the first a Shure SM57 [[playerWavMp3Button? &exampleNumber=`07.050` &exampleFile=`Ch7/RS07050_PhaseEQ1_SM57`]] and the second a Sennheiser MD421 [[playerWavMp3Button? &exampleNumber=`07.051` &exampleFile=`Ch7/RS07051_PhaseEQ1_MD421`]], plus a large-diaphragm condenser mic on-axis about 30cm away, here a C414B-XLS in cardioid mode [[playerWavMp3Button? &exampleNumber=`07.052` &exampleFile=`Ch7/RS07052_PhaseEQ1_C414BXLS`]]. This file [[playerWavMp3Button? &exampleNumber=`07.053` &exampleFile=`Ch7/RS07053_PhaseEQ1_Combinations`]] demonstrates four very different tonalities that I managed to achieve by combining these recordings, using nothing more sophisticated than fader levels and polarity settings. There\'s nothing sacred about this specific setup, though, because the same kind of tone-bending power is available to any non-coicident multimic rig -- especially where each mic signal has been selected to provide a distinct timbre of its own. So here\'s another multimic electric-guitar recording you can experiment with on your own system, comprising: a Shure SM7B cardioid dynamic microphone two feet from the amp, with its sub-200Hz bass cut and 4kHz presence boost switches engaged to give it quite a boxy and aggressive sound [[playerWavMp3Button? &exampleNumber=`07.055` &exampleFile=`Ch7/RS07055_PhaseEQ2_Mics_SM7B`]]; a Shure SM57 cardioid dynamic mic roughly 40cm from the amp and slightly off-axis, giving it an uncharacteristically warm timbre [[playerWavMp3Button? &exampleNumber=`07.056` &exampleFile=`Ch7/RS07056_PhaseEQ2_Mics_SM57`]]; BLUE\'s unusual phantom-powered Kickball dynamic mic around 45cm inches from the amp, with its internal LF contouring switch in its central position for a nice balance between meaty low end and upper midrange crunch [[playerWavMp3Button? &exampleNumber=`07.057` &exampleFile=`Ch7/RS07057_PhaseEQ2_Mics_Kickball`]]; an Electrovoice RE20 cardioid dynamic mic about 60cm from the amp, towards the edge of the cabinet to capture lots of warm low midrange [[playerWavMp3Button? &exampleNumber=`07.058` &exampleFile=`Ch7/RS07058_PhaseEQ2_Mics_RE20`]]; and an AKG C414B-XLS large-diaphragm condenser mic in hypercardioid mode with its low-cut filter engaged, set back from the amp about 90cm [[playerWavMp3Button? &exampleNumber=`07.059` &exampleFile=`Ch7/RS07059_PhaseEQ2_Mics_C414BXLS`]]. Now let\'s say I decided to start off with the C414B-XLS as the basis of my sound [[playerWavMp3Button? &exampleNumber=`07.061` &exampleFile=`Ch7/RS07061_PhaseEQ2_Submix_C414`]], I might listen to the other mics and decide I\'d like to add some \'growl\' in the 700-800Hz region from the Shure SM57, only to discover when mixing the two mics together that its achieved the very opposite [[playerWavMp3Button? &exampleNumber=`07.062` &exampleFile=`Ch7/RS07062_PhaseEQ2_Submix_C414SM57`]], so I invert the polarity of the SM57 signal [[playerWavMp3Button? &exampleNumber=`07.063` &exampleFile=`Ch7/RS07063_PhaseEQ2_Submix_C414SM57Flip`]], which improves matters considerably, although with a certain loss of low-midrange warmth. I try to mix in some of the Electrovoice RE20 signal to compensate for this, but again it does the opposite of what I\'d hoped [[playerWavMp3Button? &exampleNumber=`07.064` &exampleFile=`Ch7/RS07064_PhaseEQ2_Submix_C414SM57FlipRE20`]], so I polarity-invert that signal too in order to reach a more well-balanced end result [[playerWavMp3Button? &exampleNumber=`07.065` &exampleFile=`Ch7/RS07065_PhaseEQ2_Submix_C414SM57FlipRE20Flip`]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>More On Using Speaker Drivers As Mics:</strong> Further to what I said about the low-frequency bias of speaker-based microphones on page 224 of the book, it\'s as well to mention that speaker drivers are also rather resonant devices, so if you take them out of a damped speaker cabinet to use them as microphones they\'ll tend to introduce a fixed-pitch low-frequency resonance related to the driver\'s inherent resonant frequency. The exact pitch and decay time of that resonant characteristic will, of course, depend on the specific speaker driver you choose, so the suitability of any given speaker driver will therefore depend upon the notes and harmonies used in the music you\'re recording. Broadly speaking, though, the larger the speaker cone, the lower its resonant frequency is likely to me. <br><br></li> \r\n\r\n</ul>   \r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Affordable Multimic Mounting Hardware:</strong> A decent short stereo bar is very affordable and useful for simple coincident multimiking tasks -- the <a href=\"http://produkte.k-m.de/en/Mic-stands/Accessories/23550-Microphone-bar-black\">K&M 23550</a> shouldn\'t set you back more than a tenner, for instance. For more complicated multimiking rigs, I\'d suggest investing in a few of K&M\'s <a href=\"http://produkte.k-m.de/en/Mic-stands/Accessories/238-Microphone-holder-black\">238 Microphone Holders</a>, which will clamp onto almost any mic stand (or indeed bannisters, curtain rails, random bits of furniture) to increase the number of mics you can put up at once -- and, again, they\'re only a tenner a pop, which is a whole lot cheaper than buying lots of extra mic stands.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Variable Phase Adjusters:</strong> Hardware phase adjustment still isn\'t particularly cheap, with things like the <a href=\"http://www.radialeng.com/phazer.php\">Radial Phazer</a> and <a href=\"http://www.littlelabs.com/ibp.html\">Little Labs IBP</a> demanding a considerably investment. For this reason, many small-studio users would prefer to stick with mic-positioning and polarity reversal tools while tracking, and leave variable-phase tweaks in the software domain. In this scenario, my top tip has to be Voxengo\'s [[$software_Voxengo_PHA-979]] plug-in, which I use all the time, but you can find several other suggestions <a href=\"http://www.cambridge-mt.com/ms-ch8.htm#links\">here</a>, as part of my \'Mixing Secrets For The Small Studio\' resource pages.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Using Loudspeaker/Headphone Drivers As Microphones:</strong> If you\'d like to experiment with building your own mics from loudspeaker or headphone drivers, check out these videos for ideas: <a href=\"https://www.youtube.com/watch?v=c1kFq4602ww\">Video 1</a>; <a href=\"https://www.youtube.com/watch?v=LFKUNNMAMwM\">Video 2</a>. There\'s also some nice background info <a href=\"http://www.zyra.org.uk/sp-mic.htm\">here</a>. Alternatively, <a href=\"http://www.solomonmics.com\">Solomon Mics</a> sell a smart-looking prefab model which is fairly affordable.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Guitar Tones Via Multimiking:</strong> I often use multimiking for tonal control while recording electric guitars, and wrote about one such session in this <i>Sound On Sound</i> magazine \'<a href=\"http://www.soundonsound.com/sos/aug13/articles/session-notes-0813.htm\">Session Notes</a>\' column. Also in the magazine\'s archives is this great article on guitar multi-miking from <a href=\"http://jackruston.com\">Jack Ruston</a> called \'<a href=\"http://www.soundonsound.com/sos/jan09/articles/loudelectricguitar.htm\">Bigger, Badder Electric Guitar</a>\', which has a selection of good audio examples to go with it.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,13,1,1,1,1426687115,1,1438879072,0,0,0,1426687080,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch7.htm',0,0,1,NULL),(358,'document','text/html','RSFTSS_Ch08Resources','Chapter 8: Multimiking In Stereo','','rs-ch8','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a id=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch08/RSFTSS_Ch08_WAVs.zip`]]\">23MB ZIP</a>)</span></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Dry/Wet Ratio &amp; Tone Of Central Sources For Different XY Mutual Angles:</strong> For the following three audio examples I replayed a small snippet of the BBC shipping forecast through a loudspeaker at the centre of the soundstage, and recorded it in stereo with three different crossed cardioid pairs. The microphones were all Avantone CK1 small-diaphragm condenser mics, so the only variable in these tests was the mutual angle between the mics in each case: 90 degrees [[playerWavMp3Button? &exampleNumber=`08.01` &exampleFile=`Ch8/RS0801_WetnessAndTone_XY90`]]; 110 degrees [[playerWavMp3Button? &exampleNumber=`08.02` &exampleFile=`Ch8/RS0802_WetnessAndTone_XY110`]], and 140 degrees [[playerWavMp3Button? &exampleNumber=`08.03` &exampleFile=`Ch8/RS0803_WetnessAndTone_XY150`]] respectively -- figures that will be familiar to anyone who\'s perused Tables 8.1 and 8.3 in the book! There are two specific things to notice: firstly, that the relative dry level of the centrally located source reduces as the mutual angle increases, making it appear more distant; and secondly that the tone of the voice becomes noticeably duller with increasing mutual angle, on account of the source moving progressively further off-axis to the mics.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>AB Stereo Miking Comparisons:</strong> With spaced stereo techniques, the spacing between the mics determines the array\'s acceptance angle, and hence the apparent stereo spread of the captured instrument, as you can hear by comparing these AB classical-style recordings of a grand piano taken from in front of the instrument, with the mics positioned just below the angle of the open lid at a distance of around 2.2m. In the first excerpt [[playerWavMp3Button? &exampleNumber=`08.05` &exampleFile=`Ch8/RS0805_ABComparisons_Omnis40cm`]], the small-diaphragm microphones were only spaced roughly 40cm apart, whereas in the second snippet [[playerWavMp3Button? &exampleNumber=`08.06` &exampleFile=`Ch8/RS0806_ABComparisons_Omnis100cm`]] the distance between them was more like a metre. It\'s also interesting to compare the sound of the wider-spaced pair when its omni capsules are replaced with cardioids [[playerWavMp3Button? &exampleNumber=`08.07` &exampleFile=`Ch8/RS0807_ABComparisons_Cardioids100cm`]] -- notice that the presentation is considerably drier and more restricted at the low end of the spectrum, as you\'d expect, but that the stereo imaging is nonetheless very comparable.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Coincident, Spaced, &amp; Near-coincident Stereo Techniques Compared:</strong> The following examples provide a demonstration of the relative characteristics of coincident, spaced, and near-coincident stereo recording methods. The setups on trial are a cardioid XY setup with a 110-degree mutual angle [[playerWavMp3Button? &exampleNumber=`08.10` &exampleFile=`Ch8/RS0810_StereoComparison_XY110Cardioid`]]; an omni AB setup with a 100cm inter-mic spacing [[playerWavMp3Button? &exampleNumber=`08.11` &exampleFile=`Ch8/RS0811_StereoComparison_AB100cmOmni`]]; and an ORTF near-coincident setup with a mutual angle of 110 degrees and a 17cm inter-mic spacing [[playerWavMp3Button? &exampleNumber=`08.12` &exampleFile=`Ch8/RS0812_StereoComparison_ORTFCardioid`]]. Whether the near-coincident setup combines the advantages or disadvantages of the XY and AB rigs is one of those judgement calls every engineer has to make...<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a id=\"links\">LINKS</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Printable Stereo Protractor:</strong> Here\'s a <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/StereoProtractor.pdf`]]\">PDF document</a> you can print out to help you setting up stereo-pair mutual angles more accurately. For reference, I\'ve also indicated on it the suggested mutual angles given in Table 8.1 of the book.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Origami Mutual-angle &amp; Mic-spacing Templates:</strong> It\'s possible to fold a mutual-angle template for any angle up to 160 degrees (increments of 5 degrees, accuracy +/-1 degree) from a piece of A4 paper -- this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/StereoOrigami.pdf`]]\">PDF document</a> shows you how. Note that, although I\'ve included the &#8209;30/&#8209;60 and &#8209;20/&#8209;70 folds for the sake of completeness, I rarely bother with them -- the &#8209;35, &#8209;45, and &#8209;55 folds on their own already allow angle templates for 70, 80, 90, 100, 110, 125, 135, and 145 degrees (as well as various smaller angles by halving), which gets you within 5 degrees of any of the suggested mutual angles in Table 8.1. Origami mic-spacing templates are also easy to create, given that A4 paper measures roughly 20cmx30cm, and these dimensions are easily halved/quartered to 5cm, 10cm, and 15cm.<br><br></li>\r\n\r\n\r\n<li><strong>Affordable Stereo Bars:</strong> The K&M <a href=\"http://produkte.k-m.de/en/Mic-stands/Accessories/23550-Microphone-bar-black\">23550</a> and <a href=\"http://produkte.k-m.de/en/Mic-stands/Accessories/23510-Microphone-bar-black\">23510</a> short stereo bars are both affordable and good-quality, but if you\'re after something longer and more elaborate (with mutual-angle and spacing markers), check out Superlux\'s relatively affordable <a href=\"http://www.superlux.us/accessories.html\">MA90</a>.<br><br></li>\r\n\r\n\r\n<li><strong>Low-frequency Shuffling Implementations:</strong> There are several ways to implement the low-frequency shuffling technique mentioned in the book, the simplest being to use one of those increasingly common MS-enabled EQ plug-ins to dial in 3-6dB of low-frequency shelving boost in the sub-500Hz region of the Sides channel. However, if you\'re trying to implement this kind of processing from first principles, this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/LFShufflingExamples.pdf`]]\">PDF document</a> gives a couple of block diagrams of specific implementations to get you started.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Freeware MS-Encoder/Decoder &amp; Vectorscope Plug-ins:</strong> For MS encoding and decoding (as well as simple MS rebalancing) in a software DAW, you need look no further than Voxengo\'s excellent cross-platform freeware [[$software_Voxengo_MSED]] plug-in -- a utility that I use on a daily basis. There\'s also a couple of great cross-platform freeware vectorscope plug-ins available if you\'re struggling to judge stereo width over headphones or under compromised monitoring conditions: Flux\'s [[$software_Flux_StereoTool]] &amp; Melda\'s [[$software_Melda_MStereoScope]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Stereo Array Calculators:</strong> If you want further help designing a stereo microphone array for a specific session, here are a few of the most useful resources: my personal favourite is Helmut Wittek\'s <a href=\"http://www.hauptmikrofon.de/ima2-folder/ImageAssistant2.html\">Stereo Image Assistant</a> (although it requires the latest version of Java to run, and it\'s worthwhile reading Wittek &amp; Theile\'s \'<a href=\"http://www.hauptmikrofon.de/HW/AES112_Wittek_Theile.pdf\">The Recording Angle -- Based On Localisation Curves</a>\' if you want to get the best out of it); Eberhard Sengiel\'s <a href=\"http://www.sengpielaudio.com/Visualization-EBS-E.htm\">web-based stereo-array visualisation page</a>; and Michael Williams\'s well-known \'<a href=\"http://microphone-data.com/media/filestore/articles/Stereo%20zoom-10.pdf\">Stereophonic Zoom</a>\' article from Rycote\'s Microphone Data site.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a id=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Creating Click Tracks:</strong> The <i>Sound On Sound</i> magazine archive has a great article about this from drummer Gavin Harrison: \'<a href=\"http://www.soundonsound.com/sos/aug03/articles/clicktracks.htm\">Creating Click Tracks For Drummers</a>\'.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Equivalent XY &amp; MS Stereo Arrays:</strong> For more theoretical and practical information on the degree of correspondence between XY and MS stereo coincident arrays, I\'d recommend casting an eye over Dooley &amp; Streicher\'s \'<a href=\"http://www.ribbonmics.com/pdf/technique.pdf\">MS Stereo: A Powerful Technique For Working In Stereo</a>\' and Trevor DeClercq\'s \'<a href=\"http://www.midside.com/pdf/nyu/masters_thesis.pdf\">A More Realistic View Of Mid/Side Stereophony</a>\'.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>The OSS (Jecklin Disk) Baffled-stereo Method:</strong> If you fancy experimenting with this, there\'s a translation of Juerg Jecklin\'s original 1980\'s \'Microfon Aufnahme Systeme\' paper on the <a href=\"http://www.josephson.com/tn5.html\">Josephson Microphones website</a>, although you\'ll have to be a German-speaker to read his <a href=\"http://www.mdw.ac.at/derton/?PageId=2882\">more up-to-date offerings on the subject of microphone technique</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Surround-sound Mic Techniques:</strong> Those determined to investigate the subject of surround-sound microphone technique should try John Eargle\'s <a href=\"http://www.focalpress.com/books/details/9780240820750/\"><i>The Microphone Book</i></a> in the first intance, as this gives a thorough technical background, as well as various case-studies backed up by audio examples from the author\'s own commercial releases. If that\'s not enough to put you off <img alt=\"grin\" src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"> then there\'s plenty more to chew on in Helmut Wittek\'s excellent <a href=\"http://www.hauptmikrofon.de/index.php?option=com_content&view=article&id=69\">publications archive</a>, Michael Williams\'s \'<a href=\"http://microphone-data.com/media/filestore/articles/MMAD-10.pdf\">Multichannel Microphone Array Design</a>\' article from the Rycote Microphone Data web site (and his own <a href=\"http://www.mmad.info/\">MMAD site</a>), and Eberhard Sengpiel\'s enormous <a href=\"http://www.sengpielaudio.com/Calculations03.htm\">article library</a>.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,14,1,1,1,1426687711,1,1443000778,0,0,0,1426687680,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch8.htm',0,0,1,NULL),(359,'document','text/html','RSFTSS_Ch09Resources','Chapter 9: Ensemble Recording With A Dominant Array','','rs-ch9','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch09/RSFTSS_Ch09_WAVs.zip`]]\">160MB ZIP</a>)</span></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Coincident Versus Non-coincident Imaging Character:</strong> The following audio files compare the imaging qualities of coincident XY and non-coincident AB stereo rigs with similar acceptance angles (around 110 degrees). A loudspeaker was used to play back a snippet of the BBC shipping forecast from different soundstage positions in the following sequence: 0 degrees (centre); 20 degrees right; 50 degrees right (close to the right-hand edge of the acceptance region); 0 degrees (centre) again; 20 degrees left; and 50 degrees left (close to the left-hand edge of the acceptance region). This was recorded through two different mic setups: an XY pair of Avantone CK1 small-diaphragm condenser microphones (mutual angle 90 degrees) using their hypercardioid capsules [[playerWavMp3Button? &exampleNumber=`09.001` &exampleFile=`Ch9/RS09001_Imaging_XY90Hypercardioid`]]; and an AB pair of Avantone CK1s (spacing 30cm) using their omnidirectional capsules [[playerWavMp3Button? &exampleNumber=`09.002` &exampleFile=`Ch9/RS09002_Imaging_AB30cmOmni`]]. Notice in particular the sharper imaging and drier pickup of the XY array, and the greater spaciousness and more naturally extended low end of the AB pair.<br><br></li>\r\n\r\n\r\n\r\n\r\n\r\n<li><strong><a name=\"BalanceToneDepthAcrossAcceptance\">Balance, Tone &amp; Depth Across The Acceptance Region:</a></strong> These audio files are designed to demonstrate how the choice of an XY array\'s mutual angle affects not only its acceptance angle, but also the balance, tone, and depth of sources within the acceptance zone. Again, a loudspeaker was used to play back a snippet of the BBC shipping forecast from different soundstage positions, and the result was captured with a coicident crossed pair of Avantone CK1 small-diaphragm condenser microphones (with their cardioid capsules fitted) using three different mutual angles: 90 degrees [[playerWavMp3Button? &exampleNumber=`09.003` &exampleFile=`Ch9/RS09003_CentreVsEdge_XY90Cardioid`]]; 110 degrees [[playerWavMp3Button? &exampleNumber=`09.004` &exampleFile=`Ch9/RS09004_CentreVsEdge_XY110Cardioid`]]; and 150 degrees [[playerWavMp3Button? &exampleNumber=`09.005` &exampleFile=`Ch9/RS09005_CentreVsEdge_XY150Cardioid`]]. In each case the loudspeaker was placed in relation to the array\'s acceptance angle (see Table 8.1 in the book) as follows: at the centre; at the right-hand edge; at the centre again; at the left-hand edge. Notice how the narrower mutual angle makes sources at the centre of the image louder, closer, and brighter than those at the edges; whereas the wider mutual angle makes sources at the edges of the image louder, closer, and brighter than those at the centre. By comparison, the 110-degree mutual angle maintains a more even sense of balance, tone, and depth across the whole width of the acceptance zone.<br><br></li>\r\n\r\n\r\n\r\n<li><strong><a name=\"ProblemsSimpleDominantArrays\">Frequent Problems With Simple Dominant Arrays:</a></strong> Because many ensembles are captured from a frontal position, it\'s very common for a single dominant array to make the rear rows of players appear both too quiet and too far away, as you can hear in this example [[playerWavMp3Button? &exampleNumber=`09.006` &exampleFile=`Ch9/RS09006_ArrayMisrepresentation_FrontalPlacement`]], where a big-band\'s room microphones were unavoidably placed closer to the front-row saxophones than to the trumpets, trombones, and rhythm instruments -- a situation that was addressed in this case using additional spot microphones. Another increasingly common problem I encounter is people placing figure-eight XY pairs (such as the classic 90-degree Blumlein setup) too close to an ensemble so that some sources fall well outside the array\'s acceptance zone into the out-of-phase pickup region, as you can hear with the cymbals in this Blumlein-array drum overheads recording [[playerWavMp3Button? &exampleNumber=`09.007` &exampleFile=`Ch9/RS09007_ArrayMisrepresentation_BlumleinTooClose`]]. Not only does this make the out-of-phase instruments unnaturally wide-spaced in the stereo image, but also results in poor mono compatibility.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Dual Dominant Arrays For A Fuller Sound:</strong> When recording single instruments, it\'s not uncommon to use two stereo arrays which capture different perspectives of that instrument\'s frequency dispersion to create a more appealing composite sound. For example, with piano you might combine an internal close pair [[playerWavMp3Button? &exampleNumber=`09.011` &exampleFile=`Ch9/RS09011_DualArrayFacets_Piano_InsideAB`]] with a further pair up by the edge of the lid [[playerWavMp3Button? &exampleNumber=`09.012` &exampleFile=`Ch9/RS09012_DualArrayFacets_Piano_OutsideXY`]] to get a better blend of definition and natural overtones [[playerWavMp3Button? &exampleNumber=`09.013` &exampleFile=`Ch9/RS09013_DualArrayFacets_Piano_Mix`]]. This same principle can also apply with ensembles, as in this instance where two sets of overhead microphones were used to mic up a drum kit from different angles within a highly damped acoustic: a spaced pair behind the drummer [[playerWavMp3Button? &exampleNumber=`09.008` &exampleFile=`Ch9/RS09008_DualArrayFacets_Drums_OverheadsAB`]] and a coicident pair at the front of the kit [[playerWavMp3Button? &exampleNumber=`09.009` &exampleFile=`Ch9/RS09009_DualArrayFacets_Drums_OverheadsXY`]]. Although neither of these pairs present the cymbals particularly well on its own, together they create a much more representative tone within the context of the full-kit drum submix [[playerWavMp3Button? &exampleNumber=`09.010` &exampleFile=`Ch9/RS09010_DualArrayFacets_Drums_MixWithSpots`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Dual Dominant Arrays For Dry/Wet Control:</strong> A very common reason for supplementing a simple stereo dominant array with an additional mic pair is to allow mixdown control of the recording\'s dry/wet ratio after recording. For this to work properly, you typically have to make the main pair a little drier than you might normally, as you can hear in this example [[playerWavMp3Button? &exampleNumber=`09.014` &exampleFile=`Ch9/RS09014_DualArrayWetDry_Duo_MainNearcoincident`]]. The room mics in this case sounded like this [[playerWavMp3Button? &exampleNumber=`09.015` &exampleFile=`Ch9/RS09015_DualArrayWetDry_Duo_RoomAB`]]. This technique is extremely popular for drum-kit recordings as well, with comparatively dry, close-placed overheads [[playerWavMp3Button? &exampleNumber=`09.016` &exampleFile=`Ch9/RS09016_DualArrayWetDry_Drums_Overheads`]] being supplemented by more distant room mics [[playerWavMp3Button? &exampleNumber=`09.017` &exampleFile=`Ch9/RS09017_DualArrayWetDry_Drums_Room`]] so that the levels of these signals can be automated at mixdown to enhance the apparent dynamics of the performance -- for example, by riding down in the verses and up for the choruses.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Coloration Of Off-axis Spill By Budget Large-diaphragm Condenser Mics:</strong> The following files demonstrate how the off-axis response of a fairly budget multi-pattern large-diaphragm condenser mic (a Groove Tubes GT57) colours spill pickup. A singer was set up 20cm away from the microphone roughly 135 degrees off-axis (in other words behind and to the right of it), and was recorded using each of the microphone\'s three polar patterns: cardioid [[playerWavMp3Button? &exampleNumber=`09.020` &exampleFile=`Ch9/RS09020_Spots_OffAxisColoration_135degCard`]], figure eight [[playerWavMp3Button? &exampleNumber=`09.021` &exampleFile=`Ch9/RS09021_Spots_OffAxisColoration_135degFig8`]], and omnidirectional [[playerWavMp3Button? &exampleNumber=`09.022` &exampleFile=`Ch9/RS09022_Spots_OffAxisColoration_135degOmni`]]. I\'ve evened out the levels between the files to make them easier to compare tonally, and you can easily hear how much more coloured the cardioid mic\'s tone is than that of the figure-eight or omni.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Spot Mics For Balance Correction:</strong> The most common reason for using spot mics within a dominant-array setup is to adjust a balance misrepresentation within the dominant array\'s signal. For example, in this dominant array recording, the necessity of locating the singer in the organ loft caused her to be underrepresented in the balance [[playerWavMp3Button? &exampleNumber=`09.023` &exampleFile=`Ch9/RS09023_Spots_Balance_MixNoSpot`]], so a spot mic was recorded [[playerWavMp3Button? &exampleNumber=`09.024` &exampleFile=`Ch9/RS09024_Spots_Balance_Spot`]] in order to redress this imbalance in the final mix [[playerWavMp3Button? &exampleNumber=`09.025` &exampleFile=`Ch9/RS09025_Spots_Balance_MixSpotReverb`]]. As is quite common, a little artificial reverb was used to avoid the spot mic\'s more direct sound pulling the vocalist too far forward in the depth perspective.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Spot Mics For Tonal Adjustment:</strong> In this dual-pair dominant-array recording the cembalo felt as if it could benefit from a bit more tonal warmth [[playerWavMp3Button? &exampleNumber=`09.026` &exampleFile=`Ch9/RS09026_Spots_Tonal_MainPair`]], simply because the instrument itself sounded rather thin acoustically. A smooth-sounding ribbon spot mic for the cembalo helped here, and using it up close also boosted the instrument\'s low end on account of the figure-eight polar pattern\'s strong proximity effect [[playerWavMp3Button? &exampleNumber=`09.027` &exampleFile=`Ch9/RS09027_Spots_Tonal_Spot`]]. Mixing this spot-mic signal in with the dominant array lent the instrument\'s lower midrange the desired hint of unearnt flattery [[playerWavMp3Button? &exampleNumber=`09.028` &exampleFile=`Ch9/RS09028_Spots_Tonal_FinalMix`]]. This kind of tonal use of spot mics has many applications, but it\'s important to scrutinise the dominant array\'s sound before placing the spot, so that you make sure the close mic delivers the necessary tonal character. For example, this drum overheads recording [[playerWavMp3Button? &exampleNumber=`09.029` &exampleFile=`Ch9/RS09029_Spots_Tonal_Overheads`]] clearly needs a snare-drum close mic not only to give it more level in the mix, but also to enhance the rather mellow high-frequency content. Sadly, however, the snare close-mic signal on this particular multitrack recording sounded both unnatural and muffled [[playerWavMp3Button? &exampleNumber=`09.030` &exampleFile=`Ch9/RS09030_Spots_Tonal_PoorSpot`]], and therefore required <a href=\"http://www.soundonsound.com/sos/mar11/articles/mix-rescue-0311.htm\">serious remedial work at mixdown</a>!<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Delaying Spot Mics At The Mix:</strong> Here\'s a baroque ensemble concert recorded through an ORTF dominant array [[playerWavMp3Button? &exampleNumber=`09.033` &exampleFile=`Ch9/RS09033_Spots_Delay_MixNoSpot`]]. Because the extremely shallow stage required the singer to be well off-axis to the main pair, she was given a separate small-diaphragm condenser spot mic [[playerWavMp3Button? &exampleNumber=`09.034` &exampleFile=`Ch9/RS09034_Spots_Delay_Spot`]], and here\'s the mix with that faded in [[playerWavMp3Button? &exampleNumber=`09.035` &exampleFile=`Ch9/RS09035_Spots_Delay_MixSpot`]]. However, this made the singer feel a little too close to the listener, so the spot mic was delayed 20ms at mixdown (based on measurements of the recording setup taken on the day) to roughly time-align it with the dominant array [[playerWavMp3Button? &exampleNumber=`09.036` &exampleFile=`Ch9/RS09036_Spots_Delay_MixSpot20msDelay`]]. A touch of artificial reverb was also applied to it for similar reasons\r\n\r\n[[playerWavMp3Button? &exampleNumber=`09.037` &exampleFile=`Ch9/RS09037_Spots_Delay_MixSpot20msDelayReverb`]].<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Equalising Spot Mics At The Mix:</strong> Here\'s a gospel-choir recorded through a three-mic \'curtain\' dominant array, supplemented with a direct feed from the accompanying keyboard [[playerWavMp3Button? &exampleNumber=`09.038` &exampleFile=`Ch9/RS09038_Spots_EQ_MixNoSpot`]]. The vocal soloist was also given a close-placed large-diaphragm condenser spot mic [[playerWavMp3Button? &exampleNumber=`09.039` &exampleFile=`Ch9/RS09039_Spots_EQ_VoxSpot`]] to try to give her more presence in the upper half of the frequency spectrum. However, the mic\'s proximity effect also boosted the vocal\'s low midrange, making the singer\'s tone indistinct and woolly when the spot mic was mixed in with the rest of the ensemble [[playerWavMp3Button? &exampleNumber=`09.040` &exampleFile=`Ch9/RS09040_Spots_EQ_MixSpot`]]. Cutting these unwanted lower frequencies with an EQ on the spot mic dealt with this problem [[playerWavMp3Button? &exampleNumber=`09.041` &exampleFile=`Ch9/RS09041_Spots_EQ_MixSpotEQ`]], and a splash of reverb then helped place the singer a little further back in the mix [[playerWavMp3Button? &exampleNumber=`09.042` &exampleFile=`Ch9/RS09042_Spots_EQ_MixSpotEQReverb`]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Correction:</strong> On page 308, line 31, the UK pricing for the C414B-XLS should be around &pound;650, not &pound;1600 as printed.<br><br></li>\r\n\r\n\r\n<li><strong>Spot-array Delays &amp; The Precedence Effect:</strong> While discussing the practicalities of delaying spot arrays (pages 303-305) I forgot to mention that doing this reduces the spot array\'s influence on the stereo positioning of its Focus instrument(s) -- particularly if the spot array is delayed beyond the point of phase-match with the dominant array. The reason for this is something called the <a href=\"https://en.wikipedia.org/wiki/Precedence_effect\">Precedence Effect</a> (or the \'Law Of The First Wavefront\'): by nature, we humans normally determine the location of any sound source based on the perceived direction of the first sound wave that reaches our ears, the underlying assumption being that this first sound wave will have come directly from the sound source, rather than being a sonic reflection. The upshot of this is that if you want a given spot array to adjust the stereo positioning of its Focus instrument(s), then it\'ll be more effective at doing that if you don\'t try to phase-match it with the dominant array using delay. In practice, though, for a lot of dominant-array acoustic-ensemble sessions you\'ll probably want to match the stereo positioning of each spot array to the dominant array anyway, so this isn\'t really an issue. However, for something like a dominant-array drum-kit recording it becomes more of a concern, because music-genre conventions for stereo positioning of different kit elements (for example the pop/rock norm of placing the snare-drum centrally, but the toms evenly spread across the image) may not tally with the pickup of any real-world dominant-array setup, in which case undelayed spots may be a more appropriate choice. (Besides, undelayed spots will also pull the spot-miked instruments more upfront in the depth perspective, of course, which many engineers consider desirable as well.)<br><br></li> \r\n\r\n</ul>   \r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Schoeps Polarflex System:</strong> This clever system uses a <a href=\"http://www.schoeps.de/en/products/categories/polarflex\">dual-mic coincident array</a> in conjunction with a special cross-platform <a href=\"http://www.schoeps.de/en/products/polarflex/overview\">DAW plug-in</a>. Check out these great <a href=\"http://www.schoeps.de/en/products/polarflex/samples\">audio examples</a> to hear some of the system\'s capabilities.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Rycote Microphone Data Site:</strong>  For detailed information about all the microphones mentioned in Chapter 9\'s two hypothetical case-studies, get yourself registered (for free!) at Rycote\'s fantastic <a href=\"http://www.microphone-data.com\">Microphone Data</a> web site.<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Critical Distance:</strong> For more information about measuring and using critical distance data for practical recording (rather than for acoustic design), try these articles from <a href=\"http://www.soundonsound.com/sos/oct05/articles/qa1005_2.htm\"><i>Sound On Sound</i> magazine</a> and the <a href=\"http://www.prosoundweb.com/article/critical_distance/\">ProSoundWeb site</a>.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Background Reading &amp; Case Studies Of Dominant-array Recording:</strong> The <i>Sound On Sound</i> magazine archives have plenty of good material here. Hugh Robjohns\'s \'Stereo Microphone Techniques Explained\' series is well worth a read (<a href=\"http://www.soundonsound.com/sos/1997_articles/feb97/stereomiking.html\">Part 1</a>; <a href=\"http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html\">Part 2</a>) for a historical perspective on the technical side of things, and there are several articles which discuss case studies of this kind of recording in depth too:\r\n\r\n\'<a href=\"http://www.soundonsound.com/sos/aug14/articles/session-notes-0814.htm\">Session Notes: Duo Melodika</a>\'; \'<a href=\"http://www.soundonsound.com/sos/may06/articles/recordingstrings.htm\">Recording A String Section: Theory &amp; Practice</a>\'; \'<a href=\"http://www.soundonsound.com/sos/sep04/articles/violinist.htm\">Recording Violin &amp; Piano</a>; \'<a href=\"http://www.soundonsound.com/sos/jun04/articles/liveconcert.htm\">Recording A Live Choral Performance</a>\'; and \'Recording A Choir On Location\' (<a href=\"http://www.soundonsound.com/sos/sep99/articles/location.htm\">Part 1</a>; <a href=\"http://www.soundonsound.com/sos/oct99/articles/location.htm\">Part 2</a>). I\'d also highly recommend tracking down the Delos-label recordings specifically discussed in John Eargle\'s <a href=\"http://www.focalpress.com/books/details/9780240820750/\"><i>The Microphone Book</i></a>, because they add an extra dimension of usefulness to what is already one of the essential books on the subject.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Using Artificial Reverb:</strong> Here\'s a fairly entry-level <i>Sound On Sound</i> <a href=\"http://www.soundonsound.com/sos/jul08/articles/reverb1.htm\">archive article</a> to get you off the starting blocks if you\'re new to reverb effects -- there\'s more than enough information about it in there for tracking purposes.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,15,1,1,1,1426712865,1,1455835589,0,0,0,1426687680,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch9.htm',0,0,1,NULL),(360,'document','text/html','RSFTSS_Ch10Resources','Chapter 10: Ensemble Recording With Peer Arrays','','rs-ch10','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio\">AUDIO FILES</a> -- <a href=\"#updates\">UPDATES</a> -- <a href=\"#links\">LINKS</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio\">AUDIO FILES</a> <span class=\"spanExampleFile\">(To download all WAV examples at once: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch10/RSFTSS_Ch10_WAVs.zip`]]\">69MB ZIP</a>)</span></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Some Perspective On Separation:</strong> When faced with the task of recording a band in one room, many small-studio recordists instinctively try to move the instruments as far as possible from each other and booth everyone off behind acoustic barriers. This is often quite unnecessary, as the following session demonstrates: a live full-band recording where the electric guitars were two feet either side of the drummer\'s kick drum, and the bass was only six feet in front of the kit. Here are the overhead microphones, for instance [[playerWavMp3Button? &exampleNumber=`10.01` &exampleFile=`Ch10/RS1001_Separation_Overheads`]], which usually pick up the most spill, but they actually pick up remarkably little because the guitar amps are firing away from them towards absorptive surfaces beside and behind the guitarists. The full 12-mic drums submix fares little worse [[playerWavMp3Button? &exampleNumber=`10.02` &exampleFile=`Ch10/RS1002_Separation_Drums`]]. Similarly, the bass amp\'s mic doesn\'t pick up much spill at all on account of its close placement and the use of a supplementary DI feed [[playerWavMp3Button? &exampleNumber=`10.03` &exampleFile=`Ch10/RS1003_Separation_Bass`]], and it was the same story with the guitars even though those didn\'t use DIs -- remember that close-mic placements are typically tolerated much more readily by electric instruments, especially (as in this case) if you multimic them to capture a more balanced picture of their frequency dispersion. Furthermore, because what spill remained followed extremely quickly behind the direct sound of each instrument, none of the instruments washed out once a complete rough mix of the whole peer-array had been put together [[playerWavMp3Button? &exampleNumber=`10.04` &exampleFile=`Ch10/RS1004_Separation_RoughMix`]], despite minimal mix processing.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Clarifying The Terms \'Focus\', \'Backdrop\', \'Meld\', and \'Ghost\':</strong> In Chapter 10, the terms Focus, Backdrop, Meld, and Ghost are frequently used to explain the somewhat complicated mechanics of ensemble-recording mic technique. To help clarify what they mean, consider the following examples taken from this live \'band in a room\' tracking session [[playerWavMp3Button? &exampleNumber=`10.05` &exampleFile=`Ch10/RS1005_PeerArrayMixing_Mix`]]. To take a simple example first, here\'s the vocal peer array [[playerWavMp3Button? &exampleNumber=`10.07` &exampleFile=`Ch10/RS1007_PeerArrayMixing_Vox_FocusBackdrop`]], comprising just a single mic. The Focus of this peer array is the singer, whereas its Backdrop comprises strong spill from the drums and slightly less from the two electric guitars. (The bass player was playing through a DI and monitoring in the control room, which is why he\'s completely absent from the live-room sound.) Now here\'s a submix of the drums [[playerWavMp3Button? &exampleNumber=`10.06` &exampleFile=`Ch10/RS1006_PeerArrayMixing_Drums_FocusBackdrop`]], recorded using a \'dominant array plus spots\' technique, within which each of the spot mics has its own Focus and Backdrop: in the case of the snare close-mic, for instance, its Focus would be the snare drum, while its Backdrop would be the spill from all the other drums and cymbals in the kit. However, within the contest of the full-band peer-array setup, the Focus of the drumkit peer array is the whole drumkit, while the Backdrop of that peer array comprises the spill from the electric guitars and, to a much lesser extent, the singer. Melding the vocal microphone with the drums typically involves much more than just mixing them together, because many live-room tweaks may also be required to get an acceptable combined Focus (drums and vocals) and Backdrop (guitars) sound. Now let\'s say that the vocal-plus-drums Meld sounded like this [[playerWavMp3Button? &exampleNumber=`10.08` &exampleFile=`Ch10/RS1008_PeerArrayMixing_DrumsVox_MeldGhost`]], and that I next wanted to mix in the low, chugging, rhythm guitar. Before even unmuting that guitar\'s own peer array, I\'d first listen carefully to what it sounded like in the Meld\'s combined Backdrop -- in other words, what I call the guitar\'s Ghost -- allowing me to design the sound of the guitar peer array itself to complement that. So, for instance, the rather boomy sound of the guitar\'s Ghost might encourage me to choose a thinner-sounding microphone or mic position for its peer array.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>The Power Of Duvets &amp; Quilts:</strong> In the book, I often recommend using duvets and thick quilts as impromptu absorbers, based on my own real-world session experience. However, <a href=\"http://www.soundonsound.com/sos/jul15/articles/absorbers.htm\">this recent article</a> includes acoustic measurement data which corroborates how well they perform, even in side-by-side tests with pricier purpose-designed foam and mineral-wool absorbers. To demonstrate the effects of using duvets as absorbers, here are some audio examples I\'ve done on my own sessions. The guitar spill on this overheads recording [[playerWavMp3Button? &exampleNumber=`10.10` &exampleFile=`Ch10/RS1010_Baffles1_Overheads`]], for instance, is considerably reduced by putting a thick duvet up behind/beside each guitarist to reduce the amount of guitar-amp sound bouncing towards the drum setup from nearby walls [[playerWavMp3Button? &exampleNumber=`10.11` &exampleFile=`Ch10/RS1011_Baffles1_OverheadsDuvet`]]. By the same token, some cymbal-spill harshness on one of the guitar peer arrays [[playerWavMp3Button? &exampleNumber=`10.12` &exampleFile=`Ch10/RS1012_Baffles2_Guitar`]] is mitigated by using a duvet to shield one of its two close mics from ceiling reflections [[playerWavMp3Button? &exampleNumber=`10.13` &exampleFile=`Ch10/RS1013_Baffles2_GuitarDuvet`]].<br><br></li>\r\n\r\n\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Correction:</strong> In Figure 10.9 on page 308, the arrows labelling the SE Electronics SE1A microphones are a little awry -- they should be pointing directly at the piano mics.<br><br></li>\r\n\r\n\r\n\r\n</ul>   \r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links\">LINKS</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Some Examples Of Real-world Peer-array Sessions:</strong> Quite a few of the projects listed in my <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> are based around peer-array ensemble recordings, and some of these provide further information about the recording process and the mixability of the results. For example, I wrote about the <a href=\"[[~373]]#DunningKruger\">Dunning Kruger EP</a> peer-array recordings for <i>Sound On Sound</i> magazine\'s inaugural <a href=\"http://www.soundonsound.com/sos/oct12/articles/session-notes-1012.htm\">October 2012 Session Notes</a> feature, and elaborated on the mixability of those three multitracks in these related Discussion Zone \'More Info...\' posts (<a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=173\">1</a>, <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=291\">2</a>, <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=352\">3</a>). More recently, the <a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">June 2015 Session Notes</a> column showcased another extensive small-studio peer-array session for the acoustic band <a href=\"[[~373]]#Spektakulatius\">Spektakulatius</a> -- further detailed information about the setup can be found on this <a href=\"[[~367]]\">resources page</a> and I further discussed the mixing of the project in this <a href=\"http://www.soundonsound.com/sos/jul15/articles/mix-rescue-0715.htm\">follow-up magazine article</a>. The multitracks provided by mic-manufacturer Telefunken are also worth checking out, because they all have supporting documentation and session photos, and the following ones also include peer-array recordings: <a href=\"[[~373]]#Abletones\">Abletones Big Band</a>; <a href=\"[[~373]]#Rounders\">Rounders</a>; <a href=\"[[~373]]#TelefunkenJavaJive\">Java Jive Sessions</a>.<br><br></li>\r\n\r\n<li><strong>Mic-mounting Hardware Tips:</strong> Here are links to the product pages of a couple of little K&M mic-mounting widgets I mentioned in this Chapter: the <a href=\"http://produkte.k-m.de/en/Mic-stands/Accessories/238-Microphone-holder-black\">238 Microphone Holder</a>, which can be used in conjunction with a cheap lighting stand to position multimic arrays several meters up in the air; and the <a href=\"http://produkte.k-m.de/en/Mic-stands/Booms/21431-Mini-boom-arm-black\">21431 Mini Boom Arm</a>, which can be fitted to any other stand as a drop-arm. Alternatively, Superlux do a ridiculously affordable and rugged mic stand called the <a href=\"http://www.thomann.de/gb/superlux_ms_200.htm\">MS200</a>, which has a vertical reach of more than 5m, although this only seems to be available in Europe.<br><br></li>\r\n\r\n<li><strong>Phantom-powered Signal Generator:</strong> Superlux also do a great little gizmo for single-handed line-checking, rejoicing in the name <a href=\"http://www.superlux.com.tw/productInfo.do?pdctid=3b82d434-9f15-488b-9c18-db6931b94072&pdkid=47e141eb-867b-4aac-b9b3-8c71cc50a785&level=2&lv0=1\">The Pink Stick</a>. (<a href=\"http://en.wikipedia.org/wiki/Frankie_Howerd\">Titter Ye Not!</a>) A couple of other great little line-checking gizmos are available from Axel Joost Elektronik: the <a href=\"http://www.optogate.com/xlr_generator_uk.html\">XLR Generator</a> and <a href=\"http://www.optogate.com/xlr_tester_uk.html\">XLR Tester</a>.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n<li><strong>Quilts &amp; Duvets As Acoustic Absorbers:</strong> For some interesting technical data on how surprisingly effective quilts can be as acoustic absorbers, check out this <i>Sound On Sound</i> magazine article, where they pitted the humble duvet against a variety of off-the-shelf acoustic absorption panels: \'<a href=\"http://www.soundonsound.com/sos/jul15/articles/absorbers.htm\">Choosing & Using Porous Absorbers</a>\'.<br><br></li>\r\n\r\n\r\n<li><strong>The Dangers Of Sagging Phantom Power:</strong> If you\'d like to know more about what you stand to lose if your phantom-power supply isn\'t up the job of powering all your mics, and indeed how to test for it, check out this article from Joerg Wuttke of Schoeps: \'<a href=\"http://microphone-data.com/media/filestore/articles/The%20feeble%20phantom-10_.pdf\">The Feeble Phantom</a>\'.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Uninterruptible Power Supplies For Small Studios:</strong> Here are a few resources on the subject you may find useful if you\'re planning to invest in a UPS for your recording work: \'<a href=\"http://ehomerecordingstudio.com/uninterruptible-power-supply-reviews/\">Adding A UPS To Your Home Studio</a>\' is a friendly introduction, whereas there\'s a bit more nitty-gritty detail in this <i>Recording</i> magazine \'<a href=\"http://www.recordingmag.com/resources/resourceDetail/139.html\">AC Power Handling</a>\' feature.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,16,1,1,1,1426713319,1,1438880663,0,0,0,1426687680,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch10.htm',0,0,1,NULL),(361,'document','text/html','RSFTSS_Ch11Resources','Chapter 11: Going Freestyle','','rs-ch11','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#updates\">UPDATES</a> -- <a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"updates\">UPDATES</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong>Correction:</strong> In Figure 11.2 on page 371, the drummer in the diagram should of course be shown with headphones on in order to be hearing the foldback mix. Or maybe he\'s just using in-ear monitors... <img src=\"[[$sitePrefixCMT]]SitePix/EmoGrin.gif\"><br><br></li>\r\n\r\n\r\n\r\n</ul>   \r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n\r\n\r\n<li><strong><i>Sound On Sound</i> Magazine Articles:</strong> The magazine\'s regular \'<a href=\"[[~376]]#SessionNotes\">Session Notes</a>\' column provides lots of practical insights into real-world project-studio recording methods (with accompanying audio files), and frequently demonstrates handy monitoring and isolation workarounds which you can use when working with multi-room setups. In addition, here are a few other one-off articles which also shed useful light on this kind of recording from a small-studio perspective: \'<a href=\"http://www.soundonsound.com/sos/jun10/articles/guerrillarecording.htm\">Guerilla Recording: How To Record Bands Outside The Studio</a>\'; \'<a href=\"http://www.soundonsound.com/sos/jul03/articles/recordingjazz.asp\">Recording A Jazz Band On Location</a>\'; \'<a href=\"http://www.soundonsound.com/sos/mar03/articles/recordingbands.asp\">Recording Bands On Location</a>\'; and \'<a href=\"http://www.soundonsound.com/sos/jul12/articles/alabama-shakes.htm\">Andrija Tokic: Recording Alabama Shakes</a>\'.<br><br></li>\r\n\r\n\r\n\r\n<li><strong>Recording Live Concerts:</strong> If you\'re interested in recording live concerts, you\'ll need a whole extra set of skills in addition to what\'s covered in \'Recording Secrets\'. To dip a toe in the water, check out these two articles: <a href=\"http://www.soundonsound.com/sos/nov11/articles/recording-live-show.htm\">Recording A Live Show</a> and <a href=\"http://www.homestudiocorner.com/7-tips-live-concert-recording/\">7 Tips For A Successful Live Concert Recording</a>. For more in-depth coverage, Bartlett &amp; Bartlett\'s <i><a href=\"http://www.focalpress.com/books/details/9781138022379/\">Recording Music On Location: Capturing The Live Performance</a></i> is a good place to start.<br><br></li>\r\n\r\n\r\n\r\n</ul>',1,6,18,1,1,1,1426713710,1,1435558460,0,0,0,1426687680,1,'',0,0,0,0,0,'modDocument','web',1,'rs-ch11.htm',0,0,1,NULL),(362,'document','text/html','RSFTSS_LibraryMicPositions','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions','','rs-lmp','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n<a href=\"#AcGtr01\">ACOUSTIC&nbsp;GUITAR</a> -- <a href=\"#ElecGtr01\">ELECTRIC&nbsp;GUITAR</a> -- <a href=\"#AcPno01\">GRAND&nbsp;PIANO</a> -- <a href=\"#AcPno02\">UPRIGHT&nbsp;PIANO</a><br>\r\n<a href=\"#Snare01\">SNARE&nbsp;DRUM</a> -- <a href=\"#Kick01\">KICK&nbsp;DRUM</a> -- <a href=\"#Cymb01\">CYMBALS</a> -- <a href=\"#AcBass01\">UPRIGHT BASS</a><br>\r\n<a href=\"#Sax01\">SAXOPHONES</a> -- <a href=\"#Clar01\">CLARINETS</a> -- <a href=\"#Flute01\">FLUTE</a>\r\n</h5>\r\n\r\n\r\n<p>The audio comparison files in this library are specifically designed to demonstrate the effects of microphone positioning as clearly as possible. To this end, each set of comparison files is made up of performances which have been multimiked using microphones of the same model, thereby minimising differences between the files on account of performance variation and microphone design. Because of this, you can import each family of files into your DAW and mix them together if you wish, perhaps to experiment with multimic combinations or phase interactions. All files are presented both in MP3 format (with an in-browser preview button) and in uncompressed 16-bit/44.1kHz WAV format.</p>\r\n\r\n\r\n\r\n<p>Below you can find links to the instrument-recordings available so far. Like the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>, this will be a continually expanding resource, so if you want to keep track of the latest uploads please subscribe to my monthly spam-free \'<a href=\"[[~372]]\">Small-studio Secrets News<a>\' mailing list. I usually post to this list towards the end of the month, and it also includes information about the latest additions to my <a href=\"[[~22]]\"><i>Mixing Secrets For The Small Studio</i> resources</a>. If you have any suitable multimic recordings that you\'d be willing to contribute to the library, then do <a href=\"[[~420]]\">get in touch</a>.</p>\r\n\r\n\r\n\r\n<p>Many musicians, engineers, and companies have generously helped with the recording sessions that generated these audio comparison files, and I\'ve credited them individually on the specific instrument pages. If you find these pages useful, then please follow the links and show your appreciation in any way you can. <strong>All downloads from this site are provided free of charge for educational purposes only, and the material contained in them should not be used for any commercial purpose without the express permission of the copyright holders.</strong></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcGtr01\"><a href=\"[[~364]]\">ACOUSTIC GUITAR</a>: <span class=\"spanExampleFile\">(96 files)</span></h3>\r\n\r\n<ul>\r\n<li>Three guitars, two multimic setups, and 22 mic positions, as well as demonstrations of absorption/reflection measures and some stereo mic combinations.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~364]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"ElecGtr01\"><a href=\"[[~366]]\">ELECTRIC GUITAR</a>: <span class=\"spanExampleFile\">(11 files)</span></h3>\r\n\r\n<ul>\r\n<li>A Fender Telecaster was played through a rather natty snakeskin-finish Fender Twin Reverb amplifier, and recorded using four different multimic rigs.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~366]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcPno01\"><a href=\"[[~363]]\">GRAND PIANO</a>: <span class=\"spanExampleFile\">(73 files)</span></h3>\r\n\r\n<ul>\r\n<li>A seven-foot Yamaha grand piano recorded in a medium-sized rectangular recital hall. A total of nine multimic setups were recorded, both inside and outside the piano, and with variations for half-open, closed, and removed lid. A variety of different stereo configurations are also demonstrated.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~363]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcPno02\"><a href=\"[[~435]]\">UPRIGHT PIANO</a>: <span class=\"spanExampleFile\">(18 files)</span></h3>\r\n\r\n<ul>\r\n<li>A Yamaha upright piano recorded in stereo in a medium-sized rectangular recital hall. Different multimic setups were recorded with the instrument\'s panels on and off, and variations were also done for three different miking distances.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~435]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Snare01\"><a href=\"[[~365]]\">SNARE DRUM</a>: <span class=\"spanExampleFile\">(17 files)</span></h3>\r\n\r\n<ul>\r\n<li>A snare drum was captured through a multimic array of five mics as part of a full-drumkit performance. In addition, three different snare drums were recorded with the same above/below mic close-mic pair. All files are provided with overhead-mic recordings alongside for context.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~365]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Snare01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Kick01\"><a href=\"[[~436]]\">KICK DRUM</a>: <span class=\"spanExampleFile\">(76 files)</span></h3>\r\n\r\n<ul>\r\n<li>A single kick drum was captured through a multimic array of five mics as part of a full-drumkit performance. Several additional mics were also recorded alongside to allow evaluation of the mic positions within the context of common \'inside+outside\' and \'front+back\' multimiking configurations. Two well-known spill-reduction  methods are showcased too.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~436]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Cymb01\"><a href=\"[[~445]]\">CYMBALS</a>: <span class=\"spanExampleFile\">(40 files)</span></h3>\r\n\r\n<ul>\r\n<li>Four different cymbals (two crashes, a ride, and a china) were captured through two different five-mic arrays.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~445]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcBass01\"><a href=\"[[~460]]\">UPRIGHT BASS</a>: <span class=\"spanExampleFile\">(90 files)</span></h3>\r\n\r\n<ul>\r\n<li>A range of both plucked and bowed acoustic-bass performance techniques were captured through two different eight-mic arrays, each made up of five identical small-diaphragm condenser mics and three identical ribbon mics. A DI signal was also taken from the instrument\'s bridge pickup so you can experiment with combining that with the mic positions.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~460]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Sax01\"><a href=\"[[~461]]\">SAXOPHONES</a>: <span class=\"spanExampleFile\">(40 files)</span></h3>\r\n\r\n<ul>\r\n<li>Four different saxophones (soprano, alto, tenor, and baritone) were captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~461]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Clar01\"><a href=\"[[~462]]\">CLARINETS</a>: <span class=\"spanExampleFile\">(20 files)</span></h3>\r\n\r\n<ul>\r\n<li>Two different clarinets (a Bb clarinet and a bass clarinet) were captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~462]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Flute01\"><a href=\"[[~463]]\">FLUTE</a>: <span class=\"spanExampleFile\">(10 files)</span></h3>\r\n\r\n<ul>\r\n<li>A western flute was captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~463]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01Header.jpg\"></a><br><br></p>',1,6,3,1,1,1,1426714930,1,1465191626,0,0,0,1427268540,1,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp.htm',0,0,1,NULL),(386,'document','text/html','Lazaretto','','','lazaretto','',1,0,0,385,0,'','',1,8,0,1,1,1,1433232372,1,1433232463,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'lazaretto.htm',0,0,1,NULL),(363,'document','text/html','RSFTSS_LMP_AcPno01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Acoustic Grand Piano','','rs-lmp-acpno01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with pianist <a href=\"[[$URL_JonWhitten]]\">Jon Whitten</a> using the seven-foot Yamaha grand piano in the Colin Hill Recital Room at Cambridge\'s <a href=\"[[$URL_HRSFC]]\">Hills Road Sixth Form College</a>. The microphones used were <a href=\"http://www.rodemic.com\">Rode</a> NT55 small-diaphragm condenser mics, kindly loaned by UK distributor <a href=\"http://www.sourcedistribution.co.uk\">Source Distribution</a>, which were preamplified via the mic preamps of a Tascam DM3200 digital mixer and recorded digitally without any signal processing. Many thanks to the college\'s Director of Music, Jonathan Sanders, for the use of the recital room and its adjoining control room, and also to <a href=\"[[$URL_DanJeffries]]\">Dan Jeffries</a> and <a href=\"[[$URL_TomAdams]]\">Tom Adams</a> for their assistance with the sessions.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (HORIZONTAL DISPERSION)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (VERTICAL DISPERSION)</a> -- \r\n\r\n<a href=\"#Setup3Diagram\">MULTIMIC SETUP 3 (DISTANCE TESTS)</a><br>\r\n\r\n<a href=\"#Setup4Diagram\">MULTIMIC SETUP 4 (SPACED STEREO PAIRS)</a> -- \r\n\r\n<a href=\"#Setup5Diagram\">MULTIMIC SETUP 5 (STEREO TECHNIQUES COMPARISON)</a><br>\r\n\r\n<a href=\"#Setup6Diagram\">MULTIMIC SETUP 6 (CLOSE-MIKING OUTSIDE THE PIANO)</a> -- \r\n\r\n<a href=\"#Setup7Diagram\">MULTIMIC SETUP 7 (CENTRE-LINE SWEEP INSIDE THE PIANO)</a><br>\r\n\r\n<a href=\"#Setup8Diagram\">MULTIMIC SETUP 8 (SPACED STEREO MIKING INSIDE THE PIANO)</a> -- \r\n\r\n<a href=\"#Setup9Diagram\">MULTIMIC SETUP 9 (COINCIDENT STEREO MIKING INSIDE THE PIANO)</a><br>\r\n\r\n<a href=\"#reading\">FURTHER READING</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used six Rode NT55 microphones with omnidirectional capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Horizontal Dispersion:</strong> These mics were all placed in the same horizontal plane so you can hear how the sound changes as you move the miking position around the piano.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Closed</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Half Open</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Open</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Off</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1A_HorizClosedMic1`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1A_HorizHalfOpenMic1`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1A_HorizOpenMic1`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1A_HorizOffMic1`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">1m</td>\r\n <td class=\"tdLMPFilesDescription\">Behind player, slightly to the treble side, 1.7m from floor</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1B_HorizClosedMic2`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1B_HorizHalfOpenMic2`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1B_HorizOpenMic2`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1B_HorizOffMic2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 1.7m from the floor</td>\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1C_HorizClosedMic3`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1C_HorizHalfOpenMic3`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1C_HorizOpenMic3`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1C_HorizOffMic3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the piano, 30 degrees anticlockwise from mic \'B\', 1.7m from the floor</td>\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1D_HorizClosedMic4`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1D_HorizHalfOpenMic4`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1D_HorizOpenMic4`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1D_HorizOffMic4`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the piano, 60 degrees anticlockwise from mic \'B\', 1.7m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1E_HorizClosedMic5`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1E_HorizHalfOpenMic5`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1E_HorizOpenMic5`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1E_HorizOffMic5`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At the foot of the piano, 90 degrees anticlockwise from mic \'B\', 1.7m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1F_HorizClosedMic6`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1F_HorizHalfOpenMic6`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1F_HorizOpenMic6`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_1F_HorizOffMic6`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Directly behind the instrument\'s lid, 1.7m from floor</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used six Rode NT55 microphones with omnidirectional capsules. The piano was recorded by all mics simultaneously</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Vertical Dispersion:</strong> These mics were all placed in the same vertical plane in front of the piano at an equal miking distance, so you can hear how the sound changes as you adjust the miking angle.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2A_Vert85cmMic6`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">1m</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 85cm from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2B_Vert115cmMic5`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 1.15m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2C_Vert155cmMic4`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 1.55m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2D_Vert195cmMic3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 1.95m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2E_Vert235cmMic2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 2.35m from the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_2F_Vert280cmMic1`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the instrument, directly on the line of the hammers, 2.80m from the floor</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup3Diagram\">MULTIMIC SETUP 3</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones with omnidirectional capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Distance Tests:</strong> Here the six microphones were placed at different distances from the instruments, using the most promising-sounding miking angle from Multimic Setup 2. This demonstrates how changing the miking distance affects the dry/wet ratio and overall tone.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01cHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01c.jpg\"></a><br>\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01cHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3A_Distance140cmMic6`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\">1.40m</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">In front of the instrument, directly on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3B_Distance185cmMic5`]]</td>\r\n <td class=\"tdLMPFilesDescription\">1.85m</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3C_Distance220cmMic4`]]</td>\r\n <td class=\"tdLMPFilesDescription\">2.20m</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3D_Distance250cmMic3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">2.50m</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3E_Distance285cmMic2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">2.85m</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_3F_Distance325cmMic1`]]</td>\r\n <td class=\"tdLMPFilesDescription\">3.25m</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup4Diagram\">MULTIMIC SETUP 4</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones, four with omnidirectional capsules and two with cardioid capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Spaced Stereo Pairs:</strong> For these examples three different spaced stereo pairs were set up at the most promising-sounding microphone position from Multimic Setup 3. Note that the central mic you can see in the picture is a Shure KSM141, so I not included it for the purposes of this comparison.)</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01dHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01d.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01dHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_4A_SpacedOmnis40cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Omni pair</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">2.20m</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 40cm) in front of the instrument, centred on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_4B_SpacedOmnis100cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Spaced stereo pair (spacing 100cm) in front of the instrument, centred on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_4C_SpacedCards100cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid pair</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup5Diagram\">MULTIMIC SETUP 5</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones, four with cardioid capsules and two with omnidirectional capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Stereo Techniques Comparison:</strong> For these examples three different stereo pairs were set up at the most promising-sounding microphone position from Multimic Setup 3: a coincident pair, a near-coincident pair, and a spaced pair.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01eHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01e.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01eHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_5A_CardioidXY110`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Cardioid pair</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">2.20m</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 110 degrees) in front of the instrument, centred on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_5B_CardioidORTF`]]</td>\r\n <td class=\"tdLMPFilesDescription\">ORTF stereo pair (mutual angle 110 degrees, spacing 17cm) in front of the instrument, centred on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_5C_Omni100cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni pair</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 100cm) in front of the instrument, centred on the line of the hammers, slightly below the line of the open lid</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup6Diagram\">MULTIMIC SETUP 6</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones, four with omnidirectional capsules and two with cardioid capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Close-miking Outside The Piano:</strong> The four omni mics were set up across the front of the piano in close-miking positions just outside the casing, along with a crossed coincident pair of cardioids. In addition, I\'ve also mixed the four omni mics to two stereo pairs (with the mic signals panned hard left and right) so you can hear how those sound.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01fHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01f.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01fHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n   <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6A_CloseOutsideMic1`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"7\">30cm outside case</td>\r\n <td class=\"tdLMPFilesDescription\">30cm above the edge of the case, close to the foot of the piano</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6B_CloseOutsideMic2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm above the edge of the case, 30cm from mic \'A\', 60cm from mic \'D\'</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6C_CloseOutsideMic3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm above the edge of the case, 30cm from mic \'D\', 60cm from mic \'A\'</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6D_CloseOutsideMic4`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm above the edge of the case, close to the line of the hammers</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">A+D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6AD_CloseOutsidePair2`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Omni pair</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 90cm) 30cm above the edge of the case</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterWhite\">B+C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6BC_CloseOutsidePair1`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Spaced stereo pair (spacing 30cm) 30cm above the edge of the case</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_6E_CloseOutsidePair3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid pair</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 90 degrees) 30cm above the edge of the case between mics \'B\' and \'C\'</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup7Diagram\">MULTIMIC SETUP 7</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones with omnidirectional capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Centre-line Sweep Inside The Piano:</strong> Here the six mics are set up to demonstrate how the sound inside the piano changes as you move your mic from just behind the music stand towards the foot of the instrument.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01gHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01g.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01gHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7A_FrontToBackMic6`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">Omni</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">30cm above strings</td>\r\n <td class=\"tdLMPFilesDescription\">20cm behind music stand on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7B_FrontToBackMic5`]]</td>\r\n <td class=\"tdLMPFilesDescription\">45cm behind music stand on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7C_FrontToBackMic4`]]</td>\r\n <td class=\"tdLMPFilesDescription\">70cm behind music stand on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7D_FrontToBackMic3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">95cm behind music stand on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7E_FrontToBackMic2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">120cm behind music stand on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_7F_FrontToBackMic1`]]</td>\r\n <td class=\"tdLMPFilesDescription\">20cm from the foot of the piano on the instrument\'s centre line, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup8Diagram\">MULTIMIC SETUP 8</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones, four with omnidirectional capsules and two with cardioid capsules. The piano was recorded by all mics simultaneously for five different recording passes:</p>\r\n\r\n<ol class=\"styleOverall\">\r\n\r\n<li>with the piano lid open and the mics 15cm from the strings;\r\n\r\n<li>with the piano lid open and the mics 30cm from the strings (as shown in the photo below);\r\n\r\n<li>with the piano lid off and the mics 30cm from the strings;\r\n\r\n<li>with the piano lid off and the mics 60cm from the strings;\r\n\r\n<li>and with the piano lid open, the mics 30cm from the strings, and the omni mic capsules swapped for cardioid capsules.\r\n\r\n</ol>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Spaced Stereo Miking Inside The Piano:</strong> Here the six mics are set up in three different professionally-used setups, two spaced omni pairs and a near-coincident pair of cardioids. Note how the sound of each changes with different miking heights and lid configurations.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01hHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01h.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01hHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Lid&nbsp;Open</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Lid&nbsp;Off</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\" rowspan=\"4\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8A_15cmOmniPair1`]]</td>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Omni pair</td>\r\n <td class=\"tdLMPFilesDescription\">15cm&nbsp;above strings</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">Spaced stereo pair (spacing 40cm, mutual angle 45 degrees) 20cm behind music stand, pointing downwards towards strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8A_30cmOmniPair1`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8A_30cmOmniPair1LidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8A_60cmOmniPair1LidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">60cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8A_30cmOmniPair1ToCard`]]</td>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid pair</td>\r\n <td class=\"tdLMPFilesDescription\">30cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\" rowspan=\"4\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8B_15cmOmniPair2`]]</td>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Omni pair</td>\r\n <td class=\"tdLMPFilesDescription\">15cm&nbsp;above strings</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">Spaced stereo pair (spacing 80cm), one mic over the high-register strings, one mic over the low-register strings, both mics pointing downwards</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8B_30cmOmniPair2`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8B_30cmOmniPair2LidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8B_60cmOmniPair2LidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">60cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8B_30cmOmniPair2ToCard`]]</td>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">Cardioid pair</td>\r\n <td class=\"tdLMPFilesDescription\">30cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\" rowspan=\"3\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8C_15cmCardioidPair`]]</td>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesDescription\">15cm&nbsp;above strings</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Near-coincident stereo pair (spacing 25cm) over the centre of the piano, with the mics angled towards the upper and lower strings respectively</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8C_30cmCardioidPair`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8C_30cmCardioidPairLidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesVoid\"></td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_8C_60cmCardioidPairLidOff`]]</td>\r\n <td class=\"tdLMPFilesDescription\">60cm&nbsp;above strings</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup9Diagram\">MULTIMIC SETUP 9</a></h3>\r\n\r\n<p>This microphone setup used six Rode NT55 microphones with cardioid capsules. The piano was recorded by all mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Coincident Stereo Miking Inside The Piano:</strong> For these files, three pairs of cardioid mics were set up in different professionally-used setups. Note how the sound differs from the spaced microphone configurations in Multimic Setup 8. (The two additional mics visible in the picture are an AKGC 414B-XLS and a Shure KSM141, so I\'ve not included those in these comparisons.)</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01iHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01i.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGPno01iHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>  \r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_9A_InsideCardPair1`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid pair</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">30cm above strings</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 90 degrees) 20cm behind music stand, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_9B_InsideCardPair2`]]</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 90 degrees) over the centre of the piano where the strings cross over, pointing downwards towards the strings</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Piano01_9C_InsideCardPair3`]]</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 90 degrees) over the sound-holes in the curve of the piano, pointing downwards toward the centre of the piano</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li>To read (and hear) more about recording grand piano, check out this <a href=\"http://www.soundonsound.com/sos/jan08/articles/pianorecording_0108.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate.<br><br></li>\r\n\r\n</ul>',1,6,2,1,1,1,1426716097,1,1465191446,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-acpno01.htm',0,0,1,NULL),(364,'document','text/html','RSFTSS_LMP_AcGtr01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Acoustic Guitar','','rs-lmp-acgtr01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p>The following audio examples were recorded with professional guitarist <a href=\"http://www.mattharveymusic.com\">Matt Harvey</a> at London\'s renowned <a href=\"http://www.livingstonstudios.co.uk\">Livingston Studios</a> using a set of <a href=\"http://www.seelectronics.com\">SE Electronics</a> SE4 end-fire condenser microphones kindly provided by UK distributor <a href=\"http://www.sonic-distribution.com\">Sonic Distribution</a>. All the mics were recorded through the resident SSL desk\'s mic preamps directly into Pro Tools without any signal processing. The microphones were set up in the main wood-panelled live room of Livingston\'s Studio 1, and for each microphone setup we recorded passes with three different guitars: a Taylor (\'Gtr 1\'); an Art &amp; Luthiere (\'Gtr 2\'); and a Huss &amp; Dalton (\'Gtr 3\').</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">MULTIMIC SETUP 1: <a href=\"#Distance\">MIKING DISTANCE</a> -- <a href=\"#SpotlightHoriz\">SPOTLIGHT SWEEP (HORIZONTAL)</a><br><a href=\"#SpotlightVert\">SPOTLIGHT SWEEP (VERTICAL)</a> -- <a href=\"#CardVsOmni\">CARDIOID VERSUS OMNI FOR CLOSE-MIKING</a><br>\r\nMULTIMIC SETUP 2: <a href=\"#Multimiking\">FURTHER MULTIMIKING OPTIONS</a><br>\r\n<a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\">MULTIMIC SETUP 1</h3>\r\n\r\n<p>This microphone setup used 12 SE Electronics SE4 microphones. Two of the microphones (mics \'D\' and \'H\') had omnidirectional capsules fitted, whereas the other ten mics all used a cardioid polar pattern. In addition to recording separate passes for each of the three gutiars, we also recorded a couple of extra passes of the Taylor guitar to show the impact of some DIY acoustics tactics on the miked sound: for the first set of files (\'Reflect\') we placed a number of hard surfaces behind the player to bounce more of the instrument\'s rear dispersion back into the mics; and for the second set of files (\'Absorb\') we used absorptive baffles, quilts, and carpets to soak up some of the room\'s natural early reflections. These setup variations can be seen in action in the pictures below (left to right: \'Gtr1\'; \'Reflect\'; \'Absorb\'):</p>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01varsHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01vars.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01varsHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<p>To allow easier comparisons, I\'ll present the mic signals from Multimic Setup 1 in smaller groups, each with its own diagram and audio-files table.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"Distance\">Miking Distance:</a></strong> These examples show how miking distance affects the timbre captured via a cardioid microphone when addressing the guitar from two common miking angles.</li>\r\n\r\n</ul> \r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01aHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Reflect</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Absorb</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 3</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Refl_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Baff_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr2_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr3_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"6\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\">20cm</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">A little above the level of the strings, angled slightly downwards towards a point just above the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1B_Gtr1_OverSH_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1B_Gtr1Refl_OverSH_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1B_Gtr1Baff_OverSH_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1B_Gtr2_OverSH_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1B_Gtr3_OverSH_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">45cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1C_Gtr1_OverSH_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1C_Gtr1Refl_OverSH_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1C_Gtr1Baff_OverSH_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1C_Gtr2_OverSH_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1C_Gtr3_OverSH_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Refl_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Baff_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr2_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr3_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">20cm</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">On the level of the fretboard, angled slightly inwards towards the 12th fret</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">F</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1F_Gtr1_Vanilla_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1F_Gtr1Refl_Vanilla_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1F_Gtr1Baff_Vanilla_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1F_Gtr2_Vanilla_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1F_Gtr3_Vanilla_MidCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">45cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">G</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1G_Gtr1_Vanilla_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1G_Gtr1Refl_Vanilla_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1G_Gtr1Baff_Vanilla_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1G_Gtr2_Vanilla_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1G_Gtr3_Vanilla_FarCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90cm</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"SpotlightHoriz\">Spotlight Sweep (Horizontal):</a></strong> In these examples, a cardioid close mic is swept across the guitar horizontally (from bridge to frets) to show how different regions of the instrument produce different timbres.</li>\r\n\r\n</ul> \r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01bHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Reflect</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Absorb</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 3</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">I</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1I_Gtr1_Bridge_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1I_Gtr1Refl_Bridge_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1I_Gtr1Baff_Bridge_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1I_Gtr2_Bridge_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1I_Gtr3_Bridge_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">20cm</td>\r\n <td class=\"tdLMPFilesDescription\">On the level of the fretboard, angled slightly inwards towards the bridge</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">J</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1Refl_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1Baff_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr2_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr3_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On the level of the fretboard, directly in front of the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Refl_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Baff_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr2_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr3_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On the level of the fretboard, angled slightly inwards towards the 12th fret</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">K</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1K_Gtr1_Frets_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1K_Gtr1Refl_Frets_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1K_Gtr1Baff_Frets_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1K_Gtr2_Frets_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1K_Gtr3_Frets_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On the level of the fretboard, directly in front of the 5th fret</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"SpotlightVert\">Spotlight Sweep (Vertical):</a></strong> In these examples, a cardioid close mic is swept across the guitar vertically in front of the guitar\'s sound-hole to show how the timbral balance changes.</li>\r\n\r\n</ul> \r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01cHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01c.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01cHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Reflect</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Absorb</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 3</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Refl_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Baff_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr2_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr3_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">20cm</td>\r\n <td class=\"tdLMPFilesDescription\">A little above the level of the strings, angled slightly downwards towards a point just above the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">J</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1Refl_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr1Baff_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr2_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1J_Gtr3_OnSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On the level of the fretboard, directly in front of the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">L</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1L_Gtr1_UnderSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1L_Gtr1Refl_UnderSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1L_Gtr1Baff_UnderSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1L_Gtr2_UnderSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1L_Gtr3_UnderSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">A little below the level of the strings, angled slightly upwards towards a point just below the sound-hole</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"CardVsOmni\">Cardioid Versus Omni For Close-miking:</a></strong> These examples show how the captured sound in two common close-miking positions changes depending upon whether you use a cardioid or an omnidirectional polar pattern.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01dHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01d.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01dHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Reflect</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1<br>Absorb</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 3</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Refl_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr1Baff_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr2_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1A_Gtr3_OverSH_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"4\">20cm</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">A little above the level of the strings, angled slightly downwards towards a point just above the sound-hole</td>\r\n  </tr>\r\n\r\n <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">D</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1D_Gtr1_OverSH_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1D_Gtr1Refl_OverSH_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1D_Gtr1Baff_OverSH_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1D_Gtr2_OverSH_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1D_Gtr3_OverSH_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Refl_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr1Baff_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr2_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1E_Gtr3_Vanilla_ClsCard`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">On the level of the fretboard, angled slightly inwards towards the 12th fret</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">H</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1H_Gtr1_Vanilla_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1H_Gtr1Refl_Vanilla_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1H_Gtr1Baff_Vanilla_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1H_Gtr2_Vanilla_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_1H_Gtr3_Vanilla_ClsOmni`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Omni</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\">MULTIMIC SETUP 2</h3>\r\n\r\n<p>This microphone setup used 10 SE Electronics SE4 microphones all with their cardioid capsules fitted. The same three guitars were used, each one being recorded by all 10 mics simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"Multimiking\">Further Multimiking Options:</a> </strong>These files demonstrate a variety of alternative mic positions you might consider when multimiking an acoustic guitar, and I\'ve also demonstrated how two of the microphone pairs might be used to generate a bit of stereo spread. To hear the impact that phase relationships can have on a multimiked acoustic-guitar recording, import the WAV files into your DAW system and listen to how each of the tight pattern of mics \'B\', \'C\', and \'D\' combine with any of the other mics.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01eHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01e.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01eHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Gtr 3</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar<br>Pattern</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2A_Gtr1_OverSH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2A_Gtr2_OverSH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2A_Gtr3_OverSH`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"12\">Cardioid</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">30cm</td>\r\n <td class=\"tdLMPFilesDescription\">A little above the level of the strings, angled slightly downwards towards a point just above the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2B_Gtr1_VanillaCls`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2B_Gtr2_VanillaCls`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2B_Gtr3_VanillaCls`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">On the level of the fretboard, angled slightly inwards towards the 12th fret</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2C_Gtr1_VanillaMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2C_Gtr2_VanillaMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2C_Gtr3_VanillaMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">35cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2D_Gtr1_VanillaFar`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2D_Gtr2_VanillaFar`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2D_Gtr3_VanillaFar`]]</td>\r\n <td class=\"tdLMPFilesDescription\">40cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2E_Gtr1_OverTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2E_Gtr2_OverTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2E_Gtr3_OverTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"8\">30cm</td>\r\n <td class=\"tdLMPFilesDescription\">At the tail of the instrument above the level of the fretboard, pointing down towards sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">F</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2F_Gtr1_UnderTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2F_Gtr2_UnderTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2F_Gtr3_UnderTail`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At the tail of the instrument below the level of the fretboard, pointing up towards sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">G</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2G_Gtr1_EarL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2G_Gtr2_EarL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2G_Gtr3_EarL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Above and very slightly in front of the instrument, by the player\'s left ear (as seen from the audience)</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">H</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2H_Gtr1_EarR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2H_Gtr2_EarR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2H_Gtr3_EarR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Above and very slightly in front of the instrument, by the player\'s right ear (as seen from the audience)</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesDescription\">G+H</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2GH_Gtr1_EarSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2GH_Gtr2_EarSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2GH_Gtr3_EarSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Mix of mics \'G\' and \'H\', panned slightly to give a little stereo width</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">I</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2I_Gtr1_XYL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2I_Gtr2_XYL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2I_Gtr3_XYL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the guitar\'s 12th fret, pointing towards the sound-hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">J</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2J_Gtr1_XYR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2J_Gtr2_XYR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2J_Gtr3_XYR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the guitar\'s 12th fret, pointing towards the 5th fret</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesDescription\">I+J</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2IJ_Gtr1_XYSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2IJ_Gtr2_XYSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcGtr01_2IJ_Gtr3_XYSt`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Mix of mics \'G\' and \'H\', panned slightly to give a little stereo width</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li>To read more about recording and mixing acoustic guitar, check out this <a href=\"http://www.soundonsound.com/sos/apr10/articles/acguitar.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate.<br><br></li>\r\n\r\n</ul>',1,6,0,1,1,1,1426766737,1,1465191412,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-acgtr01.htm',0,0,1,NULL),(365,'document','text/html','RSFTSS_LMP_Snare01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Snare Drum','','rs-lmp-snare01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p>The following audio examples were recorded with drummer Ant Fox in the Colin Hill Recital Room at Cambridge\'s <a href=\"[[$URL_HRSFC]]\">Hills Road Sixth Form College</a>. The instrument used was an Orange County 14x5-inch maple snare with Remo Ambassador coated heads, captured within the context of a full-drumkit performance. The microphones used were <a href=\"http://www.shure.com\">Shure</a> SM57 cardioid dynamic mics, kindly loaned by UK equipment rental company <a href=\"http://www.fxgroup.net\">FX Rentals</a>, which were preamplified via the mic preamps of a Tascam DM3200 digital mixer and recorded digitally without any signal processing. Many thanks to the college\'s Director of Music, Jonathan Sanders, for the use of the recital room and its adjoining control room, and also to <a href=\"[[$URL_GeoffSmith]]\">Geoff Smith</a>, <a href=\"http://www.danjeffries.com\">Dan Jeffries</a> and <a href=\"[[$URL_TomAdams]]\">Tom Adams</a> for their assistance with the sessions.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">MULTIMIC SETUP 1: <a href=\"#Distance\">MIKING DISTANCE</a> -- <a href=\"#Angle\">MIKING ANGLE</a><br>MULTIMIC SETUP 2: <a href=\"#AboveBelow\">ABOVE &amp; BELOW THREE DIFFERENT DRUMS</a><br>\r\n<a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\">MULTIMIC SETUP 1</h3>\r\n\r\n<p>This microphone setup used five Shure SM57 cardioid dynamic microphones over the top rim of the drum. All five mics were recorded simultaneously, but to allow easier comparisons I\'ll present the mic signals in smaller groups, each with its own diagram and audio-files table. A stereo overhead pair of Shure KSM141 small-diaphragm condenser microphones were also recorded alongside for context.\r\n\r\n\r\n</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"Distance\">Miking Distance:</a></strong> These examples show how miking distance affects the timbre captured when the microphones are aimed at the same spot on the drum head.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix//LMP_Snare01aHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Snare01a.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//LMP_Snare01aHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_1A_3cmMidway`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">3cm</td>\r\n\r\n <td class=\"tdLMPFilesDescription\"  rowspan=\"3\">Pointing midway between the centre and edge of the head</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_1B_8cmMidway`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">8cm</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_1C_20cmMidway`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">20cm</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGrey\">O</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_1O_Overheads`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Cardioid pair</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">1.8m&nbsp;above the floor</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 condenser mics over the centre of the kit pointing downwards towards the snare</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"Angle\">Miking Angle:</a></strong> These examples show how, for a given miking location, altering the miking angle to point at different areas of the drum head affects the recorded snare tone.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix//LMP_Snare01bHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Snare01b.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//LMP_Snare01bHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_2A_3cmRim`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">3cm</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Pointing at the edge of the head</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_2B_3cmMidway`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Pointing midway between the centre and edge of the head</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_2C_3cmCentre`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Pointing at the centre of the head</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGrey\">O</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_2O_Overheads`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Cardioid pair</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">1.8m&nbsp;above the floor</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 condenser mics over the centre of the kit pointing downwards towards the snare</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\">MULTIMIC SETUP 2</h3>\r\n\r\n<p>This microphone setup used two Shure SM57 cardioid dynamic microphones around 10cm from the top and bottom rims of the drum respectively, both pointing midway between the centre and edge of the drum head.\r\n\r\n\r\n\r\n</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong><a name=\"AboveBelow\">Above &amp; Below Three Different Drums:</a></strong> These examples show the difference in sound between the upper and lower heads of three different snare drums from typical close-miking positions above and below the drum. The three drums were an Orange County 14x5-inch maple snare (\'Snare 1\'), a Ludwig Black Beauty 14x5-inch hammered brass snare (\'Snare 2\') and a deeper Gretsch 14x6.5-inch mahogany snare (\'Snare 3\').</li>\r\n\r\n</ul>\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix//LMP_Snare02HiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Snare02.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//LMP_LMP_Snare02HiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\">Snare 1</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\">Snare 2</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\">Snare 3</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Mic Position</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3A_Snr1_TopSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3A_Snr2_TopSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3A_Snr3_TopSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Shure SM57 cardioid dynamic microphone around 10cm above the top rim of the drum, pointing upwards to a spot midway between the centre and edge of the drum head.</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3B_Snr1_BottomSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3B_Snr2_BottomSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3B_Snr3_BottomSM57`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Shure SM57 cardioid dynamic microphone around 10cm below the bottom rim of the drum, pointing upwards to a spot midway between the centre and edge of the drum head.</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGrey\">O</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3O_Snr1_Overheads`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3O_Snr2_Overheads`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Snare01_3O_Snr3_Overheads`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 condenser mics over the centre of the kit pointing downwards towards the snare</td>\r\n\r\n\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li>To read more about recording snare drum, check out this <a href=\"http://www.soundonsound.com/sos/jun08/articles/kickandsnare.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate. The article also includes a shootout of three different snares and a number of famous snare-drum recording microphones.<br><br></li>\r\n\r\n</ul>',1,6,4,1,1,1,1427265420,1,1465191490,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-snare01.htm',0,0,1,NULL),(366,'document','text/html','RSFTSS_LMP_ElecGtr01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Electric Guitar','','rs-lmp-elecgtr01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n\r\n<p>The following audio examples were recorded with guitarist <a href=\"[[$URL_TomAdams]]\">Tom Adams</a> (playing a Fender Telecaster through a Fender Twin Reverb amplifier) in the Music Technology Department of Cambridge\'s <a href=\"[[$URL_HRSFC]]\">Hills Road Sixth Form College</a>. The microphones used were Shure SM57 cardioid dynamic models, the most common professional choice for close-miking guitar amps. Many thanks to the college\'s Director of Music, Jonathan Sanders, for the use of the recording facilities. The mics were preamplified via the mic preamps of a Tascam DM3200 digital mixer and recorded digitally without any signal processing.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Setup1\">MULTIMIC SETUP 1 (CONE POSITION)</a> -- <a href=\"#Setup2\">MULTIMIC SETUP 2 (MIKING ANGLE)</a><br><a href=\"#Setup3\">MULTIMIC SETUP 3 (MIKING DISTANCE)</a> -- <a href=\"#Setup2Diagram\">MULTIMIC SETUP 4 (DIFFERENT SPEAKER CONES)</a><br>\r\n<a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n<p>This microphone setup used three Shure SM57 microphones, which all recorded a single performance simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Cone Position:</strong> These files demonstrate how the close-miked tone changes as you move the microphone from the centre to the edge of the speaker cone.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01aHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01a.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01aHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_1A_ConeEdge`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Directly on the grille cloth</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Perpendicular to the grille cloth, pointing at the outer edge of the left-hand speaker cone</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_1B_ConeHalfway`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Perpendicular to the grille cloth, pointing at a spot halfway between the outer edge and centre of the left-hand speaker cone</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_1C_ConeCentre`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Perpendicular to the grille cloth, pointing at the centre of the left-hand speaker cone</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n<p>This microphone setup used three Shure SM57 microphones, which all recorded a single performance simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Miking Angle:</strong> These files demonstrate how the close-miked tone changes as you angle it towards different parts of the speaker cone.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01bHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01b.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01bHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_2A_0Degrees`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Directly on the grille cloth</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Over the centre of the left-hand speaker cone, perpendicular to the grille cloth</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_2B_20Degrees`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Over the centre of the left-hand speaker cone, angled 20 degrees outwards</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_2C_45Degrees`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Over the centre of the left-hand speaker cone, angled 45 degrees outwards</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup3Diagram\">MULTIMIC SETUP 3</a></h3>\r\n\r\n<p>This microphone setup used three Shure SM57 microphones, which all recorded a single performance simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Miking Distance:</strong> In this comparison you can hear how the miking distance profoundly affects the recorded tone.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01cHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01c.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01cHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_3A_Grille`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">1cm</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"3\">A little to the left of the centre of the left-hand speaker cone, perpendicular to the grille cloth</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_3B_30cm`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">30cm<td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_3C_90cm`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">90cm</td>\r\n\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup4Diagram\">MULTIMIC SETUP 4</a></h3>\r\n\r\n<p>This microphone setup used two Shure SM57 microphones, which both recorded a single performance simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Different Speaker Cones:</strong> Although all the speakers in a guitar cabinet are usually meant to be identical, they never sound quite the same...</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01dHiRes.jpg\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01d.jpg\"></a><br>\r\n\r\n(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01dHiRes.jpg\">here</a>.</p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Polar&nbsp;Pattern</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position/Angle</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_4A_ConeLeft`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Cardioid</td>\r\n\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Directly on the grille cloth</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Over the centre of the left-hand speaker cone, perpendicular to the grille cloth</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n  <tr>\r\n\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_ElecGtr01_4B_ConeRight`]]</td>\r\n\r\n <td class=\"tdLMPFilesDescription\">Over the centre of the right-hand speaker cone, perpendicular to the grille cloth</td>\r\n\r\n  </tr>\r\n\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li>To read more about recording and mixing acoustic guitar, check out this <a href=\"http://www.soundonsound.com/sos/aug07/articles/guitaramprecording.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate.<br><br></li>\r\n\r\n</ul>',1,6,1,1,1,1,1427267061,1,1465191425,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-elecgtr01.htm',0,0,1,NULL),(367,'document','text/html','RSFTSS_Ch10CaseStudy1','Recording Spektakulatius: \'Wayfaring Stranger\' [[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/WayfaringStranger_Full_Preview`]]<br>(Small-studio Ensemble Recording Case Study)','','rs-ch10-case1','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n<a href=\"#Anatomy\">THE ANATOMY OF A ROUGH MIX</a><br> \r\n<a href=\"#Step1\">STEP 1: DRUM OVERHEADS</a> --\r\n<a href=\"#Step2\">STEP 2: SNARE DRUM</a> --\r\n<a href=\"#Step3\">STEP 3: KICK DRUM</a> --\r\n<a href=\"#Step4\">STEP 4: TOMS</a><br>\r\n<a href=\"#Step5\">STEP 5: UPRIGHT BASS</a> --\r\n<a href=\"#Step6\">STEP 6: GRAND PIANO</a> --\r\n<a href=\"#Step7\">STEP 7: TENOR SAXOPHONE</a> --\r\n<a href=\"#Step8\">STEP 8: LEAD VOCAL</a><br>\r\n<a href=\"#Spill\">SPILL CAN BE YOUR FRIEND!</a> --\r\n<a href=\"#Mix\">MIXING DEMONSTRATION VIDEOS</a> --\r\n<a href=\"#Perspective\">WHAT YOU DIDN\'T HEAR...</a><br>\r\n<a href=\"#Reading\">FURTHER READING</a></h5>\r\n\r\n<p>In Autumn 2014, a covers group called <a href=\"http://www.spektakulatius.de\">Spektakulatius</a> asked me to record two albums (a total of 28 songs) for them over a single five-day session. Budget limitations precluded the use of a purpose-designed studio, so we recorded on location in the function room of a former guest-house, a 12x6m room with a 3.5m ceiling height. An unfurnished 4x5m spare room nearby served as a control room. Given the work-rate required, I decided to record the musicians as an ensemble wherever possible, the main exception being that the band\'s vocalists were set up in a DIY isolation booth so that their takes could be edited independently if necessary. In addition, the band were keen to minimise their mixdown workload, so we made a strong commitment to capturing appropriate sounds at source during recording.</p>\r\n\r\n<p>Part of the challenge of the session was simply the logistics of recording so many songs in such a short space of time, particularly because the band were covering songs in many different styles and because the instrument and vocal line-up were different for pretty much every number. For detailed information about how I dealt with these practicalities, check out Sound On Sound magazine\'s <a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">June 2015 \'Session Notes\' column</a>. However, that article only includes basic information about the mic techniques I used, so I\'ve set up this additional web page to provide full details of how one of the songs (\'Wayfaring Stranger\') was recorded. The whole band were recorded as an ensemble in this instance, without any overdubs. Drums, upright bass, grand piano, and saxophone played together in the main function room, while the lead vocalist sang in the vocal booth.</p>\r\n\r\n<p>For readers of my book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>, this setup also provides a real-world case-study of the more advanced dominant-array, peer-array, and freestyle ensemble-recording techniques that I explain in depth in <a href=\"[[~371]]\">Chapters 9, 10, and 11</a>.</p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Anatomy\">THE ANATOMY OF A ROUGH MIX</a></h3>\r\n\r\n<p>Because spill between the microphones in ensemble recording setups affects the sound so substantially, it\'s difficult to evaluate any individual instrument\'s captured timbre simply by soloing the mic(s) you\'ve notionally assigned to it. The only way to be sure you\'re getting a usable ensemble sound is to create a rough mix of the signals while you\'re recording. So, for demonstration purposes, I\'m going to walk through the process of building this kind of rough mix, discussing the placement of each mic in turn, and demonstrating with audio examples how each signal impacted on the full ensemble sound.</p>\r\n\r\n<p>First of all, however, here\'s a picture showing the band-recording setup in action -- the vocal booth is behind the pianist and bass player:</p>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_FullBand01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_FullBand01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_FullBand01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<p>The diagram below also gives an overview of my miking approach:</p>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_FullBandDiagram01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_FullBandDiagram01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_FullBandDiagram01HiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step1\">STEP 1: DRUM OVERHEADS</a></h3>\r\n\r\n<p>I usually like to start with the mics that are likely to pick up the most spill, so I chose the drum overheads, because we didn\'t have any real options available for baffling those off.</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Mics: Shure KSM141 (x2).</strong> The KSM141 is a small-diaphragm condenser mic costing around $400, and offers two polar patterns: omni and cardioid. I chose the cardioid pattern, because I wanted to use near-coincident stereo miking to get an appealing degree of time-difference spaciousness without too much danger of mono-incompatibility or general phase-cancellation problems. The mics were mounted on a short stereo bar about 40cm above the drummer\'s head, pointing diagonally downwards towards the toms/cymbals. I used a mutual angle of 90 degrees and a spacing of 20cm to arrive at an acceptance angle of roughly 120 degrees, which meant that the kit components were spread fairly evenly across the stereo image, at the expense of a little centre-bias in the balance. (For more detailed explanation about these kinds of stereo-miking practicalities, see Chapter 8 of <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.)<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_OverheadsToms01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_OverheadsToms01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_OverheadsToms01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Audient ASP008 mic preamp &rarr; SSL X-Desk &rarr; recorder line inputs.</strong> No processing was used on these mic signals during recording, but they were panned for player\'s perspective.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw overheads recording ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0101_Overheads01_Raw`]]). As you\'d expect from the picture, the mics place the snare a little to the left of centre in the stereo panorama, while the ride and kick-drum are pretty much central. The strongest spill is from the sax off to the right, but the piano is also fairly prominent towards the left of the image. The bass comes through very little, partly by virtue of its lesser acoustic power, and partly on account of the baffling I placed round it to reduce spill on its own mic.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> The only processing these mics received at mixdown was a little transient processing to smooth stick noise from the ride cymbals, which had been slightly overemphasised by the mic positioning. Here\'s what the processed version sounded like ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0105_Overheads02_MixProc`]]).<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step2\">STEP 2: SNARE DRUM</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mic: Superlux R102.</strong> This is an active ribbon mic with a figure-eight polar pattern, and costs around $130. I placed it over the kit, 50cm above the edge of the snare, and aimed it back towards the drummer so that the polar pattern\'s null plane would help reject both the saxophone and the nearby ride cymbal.\r\n<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Snare01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Snare01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Snare01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Audient ASP008 mic preamp &rarr; SSL X-Desk &rarr; recorder line inputs.</strong> No processing was used on this mic signal during recording.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw snare-drum recording ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0110_Snare01_Raw`]]). Given the comparatively distant placement of the mic, it\'s no surprise that there\'s a bit of everything coming through it, but the polar pattern has nonetheless managed to favour the snare in the balance relative to the sax and ride, which still allows rebalancing potential when the snare and overhead mics are combined ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0111_Snare02_Meld`]]). I left the snare mic panned centrally, which pulls it to a significantly more central location in the drumkit\'s stereo image. (Likewise, of course, the saxophone and piano spill in the snare mic signal also shift those instruments a little towards the centre.) Experimenting with inverted polarity for the snare mic signal, this gave a much less satisfying combined drumkit timbre ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0112_Snare03_MeldInv`]]), thinning the snare and kick and undesirably favouring the ride cymbal in the balance, so I left the polarity unchanged.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> The only EQ this mic received at mixdown was a 38Hz high-pass filter to counteract the general build-up of low-frequency spill ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0115_Snare04_MixProcEQ`]]). However, once the rest of the microphones were in the mix, I also decided to apply limited-range gating to the snare mic to prevent its spill from pulling the saxophone too far back in the depth perspective ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0116_Snare05_MixProcEQGate`]]).<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step3\">STEP 3: KICK DRUM</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mic: ADK S7.</strong> This is a large-diaphragm cardioid condenser microphone with high-SPL capacity, now superseded by the same company\'s Odin, and cost around $250. Because I already had a decent amount of kick definition coming through the snare mic, I used the kick mic primarily for low-end weight. To combat sax spill, the mic was baffled with both an SE Electronics Reflexion Filter and a roll of packing foam fixed to a spare mic stand.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Kick01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Kick01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Kick01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Audient ASP008 mic preamp &rarr; SSL X-Desk &rarr; recorder line inputs.</strong> No processing was used on this mic signal during recording.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw kick-drum recording ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0120_Kick01_Raw`]]). The soft drum beater already gave a warm sound, which was enhanced by the proximity-effect bass boost and the lack of a direct line of sight between the mic and the batter head. Mixing it with the snare and overhead mics gave two slightly different kick tonalities depending on whether kick mic\'s polarity was inverted ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0122_Kick03_MeldInv`]]) or not ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0121_Kick02_Meld`]]), but that didn\'t affect the rest of the mixed sound much otherwise, because it contained so little spill from other instruments. In the event, I settled on the default polarity setting.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> The untreated acoustics in our makeshift control room on location made it difficult to judge the low end of the spectrum, and in this case I overcooked the low-frequencies on the kick drum. It was easy to sort this out with a high-pass filter at mixdown ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0125_Kick04_MixProcHPF`]]), but the snare-mic mix processing also robbed me of a little kick-drum definition in the midrange, so I ended up using a couple of bands of peaking EQ to redress this too ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0126_Kick05_MixProcHPFEQ`]]). The polarity setting for this mic channel was also revisited, and I eventually preferred the inverted signal. <br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step4\">STEP 4: TOMS</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mics: Avantone CK1 (x3).</strong> The Avantone CK1 is a small-diaphragm condenser microphone costing around $150. It has three interchangeable capsules providing omni, cardioid, and hypercardioid polar patterns. I was happy to rely on my overhead mics for most of the tom sound, so I placed the tom spot mics fairly close to the drums (about 10cm above the edge of each drum\'s rim) for attack and definition, using the cardioid polar pattern to get reasonable spill rejection without too much \'spotlighting\' of the drum head. As it turns out, the toms aren\'t actually played at all in this song, but I still recorded these microphones in case they contributed some useful ambience \'glue\' to the drum kit as a whole.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_OverheadsToms01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_OverheadsToms01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_OverheadsToms01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Audient ASP008 mic preamp &rarr; SSL X-Desk &rarr; recorder line input.</strong> In the X-Desk, the high rack tom\'s mic signal was polarity-inverted; and the mics were panned left-centre-right (from player\'s perspective) to feed a stereo pair of recorder inputs. No other processing was used on these mic signals during recording.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw toms pair ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0130_Toms01_Raw`]]). Not particularly impressive in isolation, it has to be said, and notice too that the high-rack-tom mic is making the saxophone spill appear to come from the wrong side of the stereo image some of the time. That said, I didn\'t think the sax-imaging vagueness would be distracting once the sax\'s close-mic signal was in the mix, and mixing in the tom tracks did contribute some extra cymbal richness ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0131_Toms02_Meld`]]) when compared with the simple overheads+snare+kick mix ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0121_Kick02_Meld`]]). Inverting the tom pair\'s polarity didn\'t work quite as well ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0132_Toms03_MeldInv`]]), seeming to distance the snare and add a slightly edgy quality to the ride cymbal, although the difference was admittedly quite subtle!<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> The tom pair received no further individual processing at mixdown, although the panning of the left and right channels was narrowed slightly to match the width of the drumkit as a whole ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0135_Toms04_MixProc`]]). In response to the EQ I applied to the kit at mixdown, I ended up preferring inverted polarity for the tom mics, despite my initial impressions while tracking.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step5\">STEP 5: UPRIGHT BASS</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mic: Avantone CK1.</strong> This is the same $150 small-diaphragm condenser mic I used for the toms, but this time I took advantage of its hypercardioid capsule to combat spill from the other instruments. The mic was 20cm away from the instrument, 10cm right of the bridge (from player\'s perspective) at the level of the player\'s right-hand fingers (ie. roughly 15cm above the \'F\'-hole). The DIY gobo (made from mic stands and mini-mattresses) and hanging quilts were also attempts to reduce spill. Part of the reason I took extra spill-reduction precautions with the bass was because I knew the instrument was being overpowered a bit acoustically in the room. However, I was also pretty sure I\'d want to compress the bass for extra consistency and sustain in the final mix, and that would have exacerbated any spill problems. As an additional safety measure I also took a DI signal from the instrument\'s built-in bridge pickup.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Bass01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Bass01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Bass01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain (Mic): Mackie 1604 VLZ3 mixer &rarr; recorder line input.</strong> The close miking position was making some of the instrument\'s machanical noises a little harsh, so I smoothed those off with a 6dB cut from the Mackie mixer\'s built-in 12kHz shelf EQ.<br><br></li>\r\n\r\n<li><strong>Recording Chain (DI): Radial Pro48 active DI box &rarr; Dbx 376 channel &rarr; recorder line input.</strong> I cut 3dB at 3kHz with the Dbx\'s mid-band EQ to make the signal a little less \'wiry\', and also compressed with the Dbx\'s soft-knee \'overeasy\' mode at a 2.5:1 ratio.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw bass mic ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0140_BassMic01_Raw`]]), which delivers a fairly warm and well-balanced sound with reasonable separation from drum and piano spill. The saxophone spill is still very strong, however, and there was little else I could now do against that without removing the saxophonist to a separate room -- something I was worried would adversely affect the musicality of the performances. So I resolved to supplement the mix with some of the spill-free DI signal ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0141_BassDI01_Raw`]]). When combining the mic and DI, it didn\'t make a huge difference whether I inverted the polarity of the mic ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0143_BassMicDI02_RawInv`]]) or not ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0142_BassMicDI01_Raw`]]), although I marginally preferred the default polarity. When mixing the two bass signals with the drumkit mics, however, I definitely preferred the default polarity match ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0144_BassMicDI03_Meld`]]) to the inverted-bass-signal version ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0145_BassMicDI04_MeldInv`]]) -- although the absence of bass spill on the drumkit mics protected the bass itself from comb-filtering damage, the polarity inversion made the sax spill appear much louder and more strident.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> At mixdown I bussed the mic and DI signals to a single channel for processing. General balancing work involved a 20Hz high-pass filter to remove unwanted subsonics; 2-5dB of soft-knee compression at a 2:1 ratio; and some midrange EQ contouring in the form of a 2dB cut at 150Hz and a 5dB boost at 700Hz ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0150_BassMicDI05_MixProc`]]). The only more advanced processing I used was a single narrow band of dynamic EQ at 78Hz to even out an unpredictable sporadic resonance in the instrument itself ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0151_BassMicDI06_MixProcDynEQ`]]).<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step6\">STEP 6: GRAND PIANO</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mics: Groove Tubes GT55 (x2).</strong> These are large-diaphragm cardioid condenser mics, which originally cost around $400 each, but have now been discontinued. I wanted to set them up as a coincident pair, to give me maximum control over the piano image without inter-channel phase problems, but in the end I settled for a side-by-side near-coincident configuration so that I could mount them both on a single large mic stand for easier repositioning. The mics were positioned 20cm above piano strings in the centre of the instrument, about 30cm back from the hammers. I used a mutual angle of 130 degrees in conjunction with the 5cm capsule spacing to arrive at an acceptance angle of roughly 130 degrees, which spread the strings fairly evenly across the stereo image, still delivered reasonable mono-compatibility, and helped compensate for the closeness of the central strings by biasing the captured balance towards the edges of the acceptance zone. (For more detailed explanation about these stereo-miking practicalities, see Chapter 8 of <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.) I\'d deliberately oriented the piano so that its lid naturally provided a little spill protection, and I also draped a thick quilt over the piano to reduce the spill a little further.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Piano01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Piano01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Piano01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Mackie 1604 VLZ3 mixer &rarr; recorder line inputs.</strong> No processing was used on these mic signals during recording, and they were panned for player\'s perspective.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw piano pair ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0155_Piano01_Raw`]]), which has a reasonably clear stereo spread without overblown width. The mic placement deliberately favours the clearer midrange and high frequencies, because I wanted to avoid conflict with the kick drum or bass in the arrangement. Notice again, though, that the leftwards placement of the sax spill in the piano array\'s stereo image contradicts the sax\'s rightwards stereo placement in the stereo image of the drumkit\'s overhead mics. As with the toms pair, however, I preferred the player\'s-perspective panning aesthetically so accepted a little more imaging vagueness in the saxophone spill as a trade-off. Adding the piano to the drumkit and bass seemed to work best for me with the default polarity relationship ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0156_Piano02_Meld`]]), which not only gave a slightly clearer piano timbre than when the piano mics were polarity-inverted ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0157_Piano03_MeldInv`]]), but also made the saxophone spill appear less prominent. On some other songs I chose to adjust the panning of the piano mics to match the left-heavy piano spill in the overhead mics, and this is what it would have sounded like had I done that panning manoeuvre here ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0158_Piano04_MeldPan`]]), but I decided against it on this occasion, because the piano frequently plays without the sax in this song and I\'m personally not a huge fan of having a lop-sided stereo picture.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> The only EQ applied to the piano pair at mixdown was a 40Hz high-pass filter to counteract the general build-up of low-frequency spill ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0160_Piano05_MixProcHPF`]]) and a 2dB cut at 2.2kHz to reduce frequency masking of the lead vocal ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0161_Piano06_MixProcHPFEQ`]]). In addition, though, I also bolstered the instrument\'s high-frequency sustain with some HF-boosted parallel compression ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0162_Piano07_MixProcHPFEQParaComp`]]).<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step7\">STEP 7: TENOR SAXOPHONE</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mic: Shure SM7B.</strong> This classic cardioid dynamic microphone only costs about $350, and I love the way it sounds on sax. For this recording, I left both of the mic\'s frequency-contouring switches in their \'flat\' positions. The mic was about 40cm away from the instrument, pointing about 30 degrees downwards towards the player\'s left hand.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Sax01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Sax01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Sax01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Mackie 1604 VLZ3 mixer &rarr; recorder line input.</strong> No processing was used on this mic signal during recording.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Here\'s a snippet of the raw sax recording ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0165_Sax01_Raw`]]). Between the acoustic power of the saxophone in the room and the well-controlled directionality of the mic, it\'s hardly surprising that there\'s not much spill on this mic. So when I came to mix this signal in with the piano, bass, and drums, it was naturally the sax timbre that I concentrated on when choosing a polarity setting for the SM7B. In the end, I preferred the default setting ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0166_Sax02_Meld`]]) to inverted polarity ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0167_Sax03_MeldInv`]]), as the latter made the saxophone feel a bit bloated, especially during its solo sections. Note also that I\'ve panned the mic about 35 percent to the right in these examples, although I didn\'t end up panning it quite that far in the final mix.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> At mixdown I applied a 38Hz high-pass filter to counteract the general build-up of low-frequency spill ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0170_Sax04_MixProcHPF`]]) and a 19kHz low-pass filter to soften the tone of the cymbal spill ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0171_Sax05_MixProcHPFLPF`]]). In addition, I applied 2-5dB of soft-knee compression at a 2:1 ratio for general mix-balancing purposes ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0172_Sax06_MixProcHPFLPFComp`]]).<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Step8\">STEP 8: LEAD VOCAL</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Mic: AKG C414B-XLII.</strong> A slightly brighter-sounding cousin of the well-known C414B-XLS, this large-diaphragm multipattern condenser microphone was, at around $1100, more than twice the price of any other microphone on the session. Funnily enough, though, I\'ve never been a huge fan of it for vocals, and only considered it for this purpose with Spektakulatius because they needed four vocal mics simultaneously on some of the songs. Fortunately it happened to suit this particular singer reasonably well! I set the mic to a supercardioid polar pattern (to help reject spill from the other singers in the vocal booth on other songs), and experimented with the miking distance, height, and angle to tweak the captured tone, using a popshield to keep the singer\'s position consistent. In this case, the final miking position was just above the singer\'s head height at a distance of around nine inches, pointing slightly downwards towards her eyes.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_Vox01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_Vox01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_Vox01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Recording Chain: Mackie 1642 VLZ3 mixer &rarr; Dbx 266 compressor &rarr; recorder line input.</strong> No EQ was applied to the vocal during recording, but it was compressed 4-10dB through one channel of the Dbx 266, using a 2.5:1 ratio in the unit\'s soft-knee \'overeasy\' mode.<br><br></li>\r\n\r\n<li><strong>Rough Balance For Tracking:</strong> Although the basic vocal timbre ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0175_Vox01_Raw`]]) is fine, with hindsight the compression setting used for recording was too severe, with the result that the sibilance was overemphasised. You can also hear that a significant amount of lower-frequency spill is still reaching the microphone through the wall and window of the DIY vocal booth -- although not enough to prevent editing between different vocal takes if necessary. Here\'s the vocal track within the context of the full-band rough mix ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0176_Vox02_Meld`]]). Given the minimal band spill on the vocal mic, and the lack of appreciable vocal spill on the band mics, polarity-inverting the vocal signal relative to the instruments makes negligible difference ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0177_Vox03_MeldInv`]]). Notice, however, that the lack of vocal spill also means that the singer feels very dislocated from the rest of the ensemble sound, rather than blending with it naturally.<br><br></li>\r\n\r\n<li><strong>Further Processing At Mixdown:</strong> During the mix I applied a 64Hz high-pass filter to nix the low-frequency spill ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0180_Vox04_MixProcHPF`]]) and another couple of EQ bands for general mix-balancing purposes: a 2dB cut at 195Hz and a 1dB boost at 560Hz ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0181_Vox05_MixProcHPFEQ`]]). I then applied a band of dynamic EQ cut at 11kHz ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0182_Vox06_MixProcHPFEQDynEQ`]]) and some high-frequency transient reduction ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0183_Vox07_MixProcHPFEQDynEQTransRed`]]) to troubleshoot the overemphasised consonant sounds. Combatting the vocal\'s lack of blend with the ensemble involved adding extra stereo-widening and ambience-reverb send effects just to that track.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Spill\">SPILL CAN BE YOUR FRIEND!</a></h3>\r\n\r\n<p>In my opinion, too many small-studio engineers try to minimise spill at all costs when recording ensembles. This recording session demonstrates a couple of important ways in which spill can actually work to your advantage, even when you\'re not working in an acoustically designed recording studio.</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Enhanced Sonics:</strong> Because every instrument in the ensemble is being picked up from many different angles by multiple mics, you tend to get a richer and more three-dimentional sound from each one. To demonstrate this, let\'s go back to the full-band rough mix ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0185_RoughMix01_FullBand`]]) that we arrived at just before adding the isolated lead vocal track in <a href=\"#Step8\">Step 8</a> above. Now compare the sound of each main instrument in that mix with the sound of it soloed (ie. without any of its spill through other mics in the room): drumkit ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0186_RoughMix02_Drumkit`]]); bass ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0187_RoughMix03_Bass`]]); piano ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0188_RoughMix04_Piano`]]); saxophone ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0189_RoughMix05_Sax`]]). Bear in mind, too, that the mics you\'re hearing cost, on average, only about $265 each.<br><br></li>\r\n\r\n<li><strong>Faster Mixdown:</strong> Using spill creatively during tracking typically makes your multitracks much quicker to mix. For example, the rough mix I\'ve built up here for demonstration purposes ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0176_Vox02_Meld`]]) is already pretty respectable, despite using no mix processing whatsoever and very little processing during recording (ie. one polarity inversion, two bands of EQ, and two compressors). In addition, the final mixdown of this song ([[playerWavMp3Button? &exampleFile=`CaseStudies/CS01/RSCS0190_FinalMix`]]) took me only about four hours, not just implementing all the per-channel \'Further Processing At Mixdown\' points listed above, but also flattering the overall sonics with a pair of global reverbs, some master-buss processing, and copious fader automation.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p>If you\'d like to investigate the full raw multitracks of this song in more detail (or indeed have a crack at mixing them for yourself!), you can download them from the <a href=\"ms-mtk.htm#Spektakulatius2\">\'Mixing Secrets\' Free Multitrack Download Library</a>. Any further questions about this session? Don\'t hesitate to <a href=\"AboutCMT.htm#contact\">get in touch</a>!<br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Mix\">MIXING A SMALL-STUDIO ENSEMBLE RECORDING: DEMONSTRATION VIDEOS</a></h3>\r\n\r\n<p>To underline how little mixing a small-studio ensemble recording can require if you make sensible decisions while tracking, I\'ve put together the following short series of videos, in which I build up a new mix of a section of \'Wayfaring Stranger\' from scratch. The players below stream 192kbps data-compressed audio, but you can also download a version of the video with lossless 24-bit/44.1kHz audio from the link beneath each player.</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Episode 1: The Drum Sound</strong></li>\r\n\r\n<p class=\"pRSCSPics\">\r\n<div class=\"divYoutubeEmbedCentre\">\r\n<iframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/VHdlQLXb76w?rel=0\" frameborder=\"0\" allowfullscreen></iframe>\r\n</div></p>\r\n<p class=\"pRSCSPics\">(Download this video with lossless 24-bit/44.1kHz audio by clicking <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/RSCS01_Episode01HiResAudio.wmv`]]\">here</a>. Session photography by Daniel Plappert.)<br><br></p>\r\n\r\n</ul>\r\n\r\n<ul>\r\n\r\n<li><strong>Episode 2: The Full Balance</strong></li>\r\n\r\n<p class=\"pRSCSPics\">\r\n<div class=\"divYoutubeEmbedCentre\">\r\n<iframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Y9r5wYlfPlE?rel=0\" frameborder=\"0\" allowfullscreen></iframe>\r\n</div></p>\r\n<p class=\"pRSCSPics\">(Download this video with lossless 24-bit/44.1kHz audio by clicking <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/RSCS01_Episode02HiResAudio.wmv`]]\">here</a>. Session photography by Daniel Plappert.)<br><br></p>\r\n\r\n</ul>\r\n\r\n<ul>\r\n\r\n<li><strong>Episode 3: Finishing Touches</strong></li>\r\n\r\n<p class=\"pRSCSPics\">\r\n<div class=\"divYoutubeEmbedCentre\">\r\n<iframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SnbI4FPognw?rel=0\" frameborder=\"0\" allowfullscreen></iframe>\r\n</div></p>\r\n<p class=\"pRSCSPics\">(Download this video with lossless 24-bit/44.1kHz audio by clicking <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/RSCS01_Episode03HiResAudio.wmv`]]\">here</a>. Session photography by Daniel Plappert.)</p>\r\n\r\n</ul>\r\n\r\n\r\n<p>The raw multitrack files for the song featured in this video can be found in the <a href=\"ms-mtk.htm#Spektakulatius\">\'Mixing Secrets\' Free Multitrack Download Library</a>, along with my own full Reaper mix project. The Reaper demonstration project I created for this video can also be downloaded by <a href=\"[[downloadTrackerMint? &downloadURL=`http://www.multitracks.cambridge-mt.com/Spektakulatius_WayfaringStranger_VideoDemo.zip`]]\">clicking here</a>. If you have any further questions about the videos, feel free to <a href=\"AboutCMT.htm#contact\">get in touch</a>!</p>\r\n\r\n\r\n<p>Check out these two Sound On Sound follow-up articles for more detailed information on the mixing and mastering process for both these records: <a href=\"http://www.soundonsound.com/sos/jul15/articles/mix-rescue-0715.htm\">Mixing Article (<i>SOS</i> July 2015)</a>; <a href=\"http://www.soundonsound.com/sos/aug15/articles/mix-rescue-0815.htm\">Mastering Article (<i>SOS</i> August 2015)</a>.<br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Perspective\">WHAT YOU DIDN\'T HEAR... (SOME PERSPECTIVE)</a></h3>\r\n\r\n<p>Although this kind of one-room ensemble recording is perfectly manageable in small-studio environments, it\'s nonetheless far from straightforward from an engineering perspective. Getting good results not only depends on thorough planning and organisation (as discussed in <i>Sound On Sound</i> magazine\'s <a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">June 2015 \'Session Notes\' column</a>), but also requires lots of hard work in the recording room(s) finding and continually refining sounds. None of the microphones used for this \'Wayfaring Stranger\' recording were set up that way at the start of the session -- those miking configurations are all more or less modified variations on my initial \'educated guesswork\' placements. Bear in mind, too, that this song was recorded on the fourth day of a two-album tracking session, and I usually take the opportunity of each changeover between songs to experiment with improving some mic position or other. To underline this point, let me describe some of experimentation that led to the recording setup above:</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Drum Overheads:</strong> Initially I had these mics further forwards, but that made the cymbals too present. The mutual angle between the mics was also narrowed a little to keep the drums from sounding unnaturally wide in stereo.<br><br></li>\r\n\r\n<li><strong>Snare Drum:</strong> I started the session with the drummer\'s preferred Sennheiser E906 on the snare (left-hand picture below), in a typical pop/rock close-miking position, but that really didn\'t suit the lighter-touch drum parts the band were using later on in the session. I tried using a Shure KSM137 cardioid small-diaphragm condenser mic for more high-frequency detail, but the drummer felt that sounded too harsh and forward. It was at that point that I reached for the Superlux ribbon mic, but initially placed it over the drummer\'s left shoulder, pointing towards the drum (right-hand picture below). Although this picked up a great sound, it also attracted way too much saxophone spill, which is why I moved it to its final position.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_SnareInitial01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_SnareInitial01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_SnareInitial01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Kick Drum:</strong> This microphone took quite a few placement attempts before it delivered the understated sound we were hoping for. In discussion with the drummer, he also suggested replacing his kick-drum beater with a softer one, which made a big difference.<br><br></li>\r\n\r\n<li><strong>Toms:</strong> Those Avantone mics work really nicely on toms, in my experience, but even so I did a certain amount of work deciding on the most suitable miking distance. The angle of each mic was also quite important to the sound on this session.<br><br></li>\r\n\r\n<li><strong>Bass:</strong> This was where the biggest turnaround happened. At the start of the session I set up the mattresses and duvet around the acoustic guitarist to keep him in the room with the rest of the band (see picture below). However, it quickly became clear that we needed to isolate the acoustic guitar, so I redeployed the baffling materials for the bass. Because I knew the bass would pick up a lot of spill, I also started off originally using a high-end large-diaphragm microphone from Brauner, with the hope that its well-managed off-axis response would make this inevitable spill sound better. There was so much spill on this mic, though, that I first tried using the SE Reflexion Filter there, and then abandonned the mic entirely in favour of the less high-spec, but much more directional, hypercardioid Avantone CK1.<br><br></li>\r\n\r\n</ul>\r\n\r\n<p class=\"pRSCSPics\"><a href=\"[[$sitePrefixCMT]]SitePix/RSCS01_GuitarInitial01HiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/RSCS01_GuitarInitial01.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix//RSCS01_GuitarInitial01HiRes.jpg\">here</a>. Photo courtesy of Daniel Plappert and <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Grand Piano:</strong> The first-guess positioning for these mics was the closest I got to a \'hole in one\' on this session. I moved them once to get a little bit more of the high-register strings, but that was the only tweak, beyond adding the quilt to take the edge off the drum spill.<br><br></li>\r\n\r\n<li><strong>Tenor Saxophone:</strong> Although the Shure SM7B sounded fairly good on the sax straightaway, we got a significantly better result in another position after about the third or fourth try.<br><br></li>\r\n\r\n<li><strong>Lead Vocal:</strong> I tried this singer on an SE Electronics Z5600A, but that really didn\'t suit her, even after two or three repositionings. Switching to the AKG C414B-XLII improved things, but I relocated this two or three times too before we arrived at the setup we used here.<br><br></li>\r\n\r\n</ul>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Reading\">FURTHER READING</a></h3>\r\n\r\n<p>This type of one-room recording isn\'t just for acoustic music, either, because it also works really well with rock bands as well. For example, here are two such sessions I wrote about for <i>Sound On Sound</i> magazine\'s \'Session Notes\' column, complete with extensive audio examples and raw-multitrack downloads: \'<a href=\"http://www.soundonsound.com/sos/oct12/articles/session-notes-1012.htm\">Recording Dunning Kruger</a>\' and \'<a href=\"http://www.soundonsound.com/sos/jan15/articles/session-notes-0115.htm\">Recording Brushes Held Like Hammers</a>\'. For a complete guide to all aspects of small-studio recording technique, check out my latest Focal Press book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.</p>\r\n\r\n<br><br>\r\n\r\n[[$RSFTSSPicAndBlurb]]',1,6,17,1,1,1,1429773703,1,1484733855,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-ch10-case1.htm',0,0,1,NULL),(527,'document','text/html','Snare Multimiking','Cambridge-MT Patrons Video Preview','','CMTPatrons-SnareMultimiking','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Snare-drum Multimiking: Four Recommended Microphone Positions To Mix & Match</h4>\r\n\r\n<p>In this video I demonstrate the sound of four different recommended microphone positions you might use when multimiking a snare drum, showcasing the sound characteristics of each mic position with audio examples. In addition, I discuss how you might go about combining them at mixdown.</p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_SnareMultimikingHeader.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_SnareMultimiking.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Snare-drum Multimiking: Four Recommended Microphone Positions To Mix & Match\"}]\'></div><br><br>\r\n</p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>01:19 -- <strong>The Four Microphone Positions</strong><br><br></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">03:08 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> over-snare cardioid mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:28 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> under-snare cardioid mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:49 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-snare figure-8 mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:09 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> side-snare figure-8 mic (vertical firing)</span><br><br></li>\r\n  </ul>\r\n\r\n  <li>04:29 -- <strong>Mixing The Multimics</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:24 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> mix of over-snare and under-snare mics</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:16 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of side-snare mic versus under-snare mic (in mix context with over-snare mic )</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> mix of over-snare, side-snare, and under-snare mics</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">07:31 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of vertical-firing side-snare mic with over-snare mic (in mix context with side-snare and under-snare mics)</span><br><br></li>\r\n  </ul>\r\n  <li>08:10 -- Credits <span class=\"spanPodcastMiniText\">(Total Running Time 08:37)</span></li>\r\n</ul>\r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Mix These Four Mic Signals For Yourself:</strong> Here\'s a <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_SnareMultimiking_RawMicSignals.zip`]]\">ZIP archive</a> containing the four raw mic signals. If you load this into your own DAW system and line them all up, you can experiment with mixing the signals for yourself. Although I\'ve taken the liberty of inverting the polarity of a couple of the mics during the recording process, don\'t forget to try out different polarity settings on your own system to see how dramatically this affects the combined sound.<br><br></li>\r\n\r\n<li><strong>What About Spill From The Rest Of The Kit?:</strong> A Patron quite reasonably asked me, having seen this video, what the ramifications would be of using these different mic positions within the context of a full drum kit -- especially for the two ribbon mics, of course. In the case of the ribbon mic that\'s aimed at the drum, in my experience it shouldn\'t pick up any more spill than an over-snare mic, as long as you\'re careful not to position the kit with a close reflective surface on the snare/hi-hat side. I clearly remember the session when I first tried this side-miking trick about 10 years ago, because I got stung really badly with hat spill for that reason! (Ho-hum. \"You live, you learn\" and all that...) The vertically aligned ribbon mic is a slightly trickier call, and you may find you get unhelpful levels of spill if there\'s a cymbal right above the mic position. Fortunately, I find there\'s often actually quite a lot of leeway in terms of where you can place this mic, with at least two approach angles usually available to chose from in most situations, so there\'s often something you can do to mitigate this concern at source. However, a little limited-range gating can also do wonders with the vertical-firing mic. As many of you may already know, I\'m no huge fan of gating drums in general, and prefer just working with the spill if possible, but here the mic\'s main appeal (ie. its hefty low-mid attack) makes it unlikely to suffer from serious processing side-effects if you do gate it sensibly, so I wouldn\'t think twice about gating it myself if I couldn\'t get the balance control I needed otherwise. In the worst case, you could always low-pass filter that mic too, especially if you\'re using an undersnare mic in conjunction with it.<br><br></li>\r\n\r\n<li><strong>A Tip About Placing The Vertical-firing Ribbon:</strong> In case you\'re wondering how to fit a vertical-firing ribbon mic in around all the other bits and pieces in a drum kit, remember that the microphone doesn\'t need to have its end pointing at the drum (as it\'s set up in the video). It could also be rotated in the horizontal plane however you like, just so long as it remains firing vertically.<br><br></li>\r\n\r\n<li><strong>Blending The Timbres Of Different Mic Models:</strong> If you want to try mixing together the sounds of several different classic snare microphones on the same drum performance, check out these <a href=[[~356]]#SnareDrum>mic shootout files</a>.<br><br></li>\r\n\r\n<li><strong>More About Multimiking Techniques For Different Instruments:</strong> For a more in-depth and wide-ranging explanation of instrument multimiking, check out chapters 7 &amp; 8 of my latest Focal Press book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.<br><br></li>\r\n</ul>\r\n\r\n[[$RSFTSSPicAndBlurb]]\r\n\r\n',1,6,1,1,1,1,1461003602,1,1465298504,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-SnareMultimiking.htm',0,0,1,NULL),(403,'document','text/html','Wolf\'s Head & Vixen: \'Lament\'','','','ms-mtk-projectmr1108','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,6,1,1,1,1435253099,1,1435302683,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1108.htm',0,0,1,NULL),(402,'document','text/html','Tom McKenzie: \'Directions\'','','','ms-mtk-projectmr1304','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\n[[$MTKProjectTemplate]]',1,6,5,1,1,1,1435250939,1,1435302676,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1304.htm',0,0,1,NULL),(396,'document','text/html','MSFTSS_Ch00ms-MTKLibUsageFAQs','The \'<a href=\"[[~29]]\">Mixing Secrets</a>\' Free Multitrack Download Library:<br>Frequently Asked Questions','','ms-mtk-UsageFAQs','',1,0,0,23,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p><strong><a name=\"MarketingUsage\">Can I use my mixes/masters of these multitrack projects as part of a portfolio to publicise my own mixing/mastering services?</a></strong><br>\r\nThat kind of usage is not permitted under the terms I agreed with the library contributors, so you\'d have to contact the artist/producer in question directly to ask for permission. (There are contact URLs alongside almost all the library listings. Where no contact URL is provided, it\'s because the contributor of that multitrack has chosen not to invite further contact, which therefore means you can\'t use mixes of their work for your own commercial publicity purposes.) The artists and producers concerned are generally a very amenable bunch, so I\'d personally expect most of them would be more than happy to give permission -- after all, you\'ll effectively be publicising their music for them.</p>\r\n\r\n<p><strong><a name=\"ResearchUsage\">Can I use these multitracks as part of a research project?</a></strong><br>\r\nWhile I\'m inclined to feel that this does fall within the general spirit of educational use\', it hasn\'t been specifically agreed with contributors to the library. So please contact the relevant contributors directly to agree proper terms of usage in this case, especially if your research is for commercial purposes.</p>\r\n\r\n<p><strong><a name=\"ClassroomUsage\">Can I use these multitracks as the basis for my on-line video tutorials?</a></strong><br>\r\nOn the basis that such usage is educational, this shouldn\'t be a problem, as long as the tutorial is entirely not-for-profit. However, if you\'re charging anyone to view the tutorial, or if the tutorial itself is \'monetized\' in any way (perhaps by including adverts or other promotional devices), then please contact the relevant multitrack contributors directly for permission.</p>\r\n\r\n<p><strong><a name=\"MixoffUsage\">Can these multitracks be used for mix-off competitions?</a></strong><br>\r\nYes -- just as long as the competition isn\'t part of some commercial venture. Most normal forum-based mix-offs are fine, it\'s only things like official manufacturer/publisher-led mixing competitions that fall significantly outside the \'educational purposes\' I agreed with the library contributors. If you\'re in any doubt, though, do please contact the relevant multitrack contributor directly via the web link accompanying their library listing -- again, the contributors are all reasonable people, and may well appreciate the additional exposure of featuring in a commercial competition. Bear in mind, too, that the artist in question may be eager to hear and comment on the different mixes, so dropping them a line to let them know that a mix-off is in progress would probably be appreciated anyway! <img src=\"[[$sitePrefixCMT]]SitePix/EmoSmile.gif\"> One further note: to link to a specific multitrack in the library, please use the \'direct-link URL\' alongside the multitrack listing (the link should look something like \"http://www.cambridge-mt.com/ms-mtk.htm#MultitrackName\" in your browser), not the raw URL of the ZIP archive (which currently looks something like \"[[$sitePrefixMTK]]Multitrack_Name.zip\") otherwise I may inadvertently break your link if I need to rename, reorganise, or rehost the files.</p>\r\n\r\n<p><strong><a name=\"ClassroomUsage\">May I use these multitracks for classroom assignments and audio demonstrations within a formal teaching context?</a></strong><br>\r\nAbsolutely. Providing useful classroom materials for teachers was one of the primary reasons I set up the resource in the first place. If you have any problems using the multitracks within your own school/college environment, please do <a href=\"[[~420]]\">let me know</a> so that I can make the library as user-friendly and accessible as possible for educators. The only proviso is that you aren\'t premitted to package these multitracks into any kind of commercial teaching product (such an instructional DVD for sale, say) -- for that kind of use, please contact the relevant multitrack contributors directly for permission. I\'d also advise against stock-piling downloaded multitrack ZIPs on your own local school/college server, simply because I do repair/improve these archive files from time to time in response to feedback from library users.</p>\r\n\r\n<p><strong><a name=\"CorruptedZIPs\">The ZIP file I downloaded is corrupted! What can I do about it?</a></strong><br>\r\nIf one of the ZIP files appears to be corrupted, then your download is probably incomplete, in which case you\'ll usually find that the filesize shown in your operating system is substantially different from the filesize stated in the library listing. Some people\'s network connections aren\'t very reliable with such large files. If the problem persists, try using a download manager such as the freeware <a href=\"http://jdownloader.org\"><i>JDownloader</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] or the <a href=\"https://addons.mozilla.org/en-US/firefox/addon/downthemall\">DownThemAll</a> add-on for Mozilla\'s open-source <a href=\"http://www.mozilla.org\"><i>Firefox</i></a>[[$softwareLogoMac]][[$softwareLogoWin]] web-browser.) Some downloaders can resume interrupted downloads from where they left off, so one of those may be a good bet if you\'re planning on downloading a large number of the multitracks. If these measures don\'t work, though, do please <a href=\"[[~420]]\">let me know</a> so that I can repair any truly corrupted files.</p>',1,6,8,1,1,1,1433271560,1,1494862717,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-UsageFAQs.htm',0,0,1,NULL);
INSERT INTO `modx_site_content` VALUES (369,'document','text/html','RSFTSS_Ch00ResourcesIntro','Introduction','','rs-intro','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\n\n<p>Welcome to the on-line resource pages for \'<a href=\"[[~370]]\">Recording Secrets For The Small Studio</a>\'. You can navigate the different pages using the links above. The resources are all free to use for educational purposes, and include:</p>\n\n<ul>\n\n<li><strong>Extensive Audio Examples:</strong> More than 300 audio demonstrations to illustrate important points in each chapter of the text. Files are available not only in 192kbps MP3 format for quick auditioning (with in-line play button), but also in 16-bit WAV format, allowing critical comparison of more subtle effects within your own DAW system.<br><br></li>\n\n<li><strong><a href=\"[[~362]]\">The \'Recording Secrets\' Library Of Microphone Positions</a>:</strong> A growing database of instrument recordings, extensively multimiked with identical microphones so as to provide an unrivalled insight into the art of microphone placement. Compare dozens of different mic positions and combinations around the same instrument quickly and easily, so you can fast-track your own productions and make the best use of limited studio time. So far the library features [[$numberOfLMPFiles]] audio files covering [[$numberOfLMPInstruments]] instruments, including [[$listOfLMPInstrumentsLinked]] -- and that line-up will continue to expand within the coming months...<br><br></li>\n\n<li><strong><a href=\"[[~417]]\">Free Backing-track Downloads For Overdubbing Practice</a>:</strong> More than a dozen of the most popular projects in the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> specifically formatted for overdubbing practice -- so you don\'t have to produce whole projects from scratch until you feel ready to! Each download comprises 4-6 basic mix stems in 24-bit/44.1kHz WAV format for you to import into your DAW, whereupon you can either leave their track faders flat to create a respectable full backing mix, or rebalance/mute them to help with the process of adding your own new recorded parts. A cue sheet is also included in each case, indicating the musical structure, key, and tempo, and there\'s a comp sheet too, complete with lyrics -- so there\'s no need to create any of that paperwork for yourself when you\'d rather be moving mics around!<br><br></li>\n\n<li><strong>Affordable Hardware &amp; Recommendations:</strong> Mike\'s personal tips for affordable small-studio gear, complete with links to the appropriate manufacturers -- check out the \'Links\' section on each chapter page.<br><br></li>\n\n<li><strong>Bonus PDF Documents:</strong> Expanding on subjects mentioned in the book, these include a <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/StereoProtractor.pdf`]]\">printable stereo protractor</a>, <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/StereoOrigami.pdf`]]\">instructions for folding mutual-angle templates from A4 paper</a>, suggested implementations of <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch3/SmallStudioCommsExamples.pdf`]]\">real-world small-studio communications systems</a> and <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch8/LFShufflingExamples.pdf`]]\">low-frequency shuffling for coincident stereo recordings</a>.<br><br></li>\n\n<li><strong>Information For Newbies:</strong> An <a href=\"[[~25]]\">Overview Of Music Studios & The Recording Process</a> for those new to the subject, a couple of good <a href=\"[[~25]]#glossaries\">Jargon-busting Glossaries</a>, and some <a href=\"[[~25]]#systems\">Suggestions For Entry-level Recording Systems</a>.<br><br></li>\n\n<li><strong>Further Reading:</strong> Additional on-line reading material relating to the subjects covered in the book -- check out the \'Further Reading\' section on each chapter page.<br><br></li>\n\n</ul>',1,6,6,1,1,1,1432968888,1,1445949192,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-intro.htm',0,0,1,NULL),(422,'document','text/html','MSFTSS_Ch00ms-mtk-newbiesStatic','The \'<a href=\"[[~29]]\">Mixing Secrets</a>\' Free Multitrack Download Library:<br>Suggestions For Mixing Newbies!','','ms-mtk-newbies','',1,0,0,23,0,'','StaticResources/ms-mtk_Newbies.htm',1,15,7,1,1,1,1435390879,1,1458395353,0,0,0,1433143200,1,'',0,0,0,0,0,'modStaticResource','web',1,'ms-mtk-newbies.htm',0,0,1,NULL),(370,'document','text/html','RSFTSS_BookMain','Recording Secrets For The Small Studio','','RecordingSecrets','',1,0,0,24,0,'<p><strong>Veteran <a href=\"http://www.soundonsound.com\"><i>Sound On Sound</i></a> magazine contributor <a href=\"[[~376]]\">Mike Senior</a> shows you how to achieve commercial-grade recordings even in the smallest studios, by applying power-user techniques from the world\'s most successful producers.</strong></p>\r\n\r\n<p><strong>Recording Secrets For The Small Studio</strong> is an intensive training course specifically designed for small-studio enthusiasts who want a fast track to release-quality results. Based on the backroom strategies of more than 200 famous names, this thorough and down-to-earth guide leads you through a <a href=\"[[~371]]\">logical sequence of practical tasks to build your live-room skills progressively from the ground up</a>. On the way, you\'ll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations. User-friendly explanations introduce technical concepts on a strictly need-to-know basis, while chapter summaries, assignments, and <a href=\"[[~369]]\">extensive online resources</a> are perfect for school and college use.</p>','<ul>\r\n\r\n<li>Learn the fundamental principles of mic technique that you can apply in any recording scenario -- and how to avoid those rookie mistakes that all too often compromise the sonics of lower-budget productions.<br><br></li>\r\n\r\n<li>Explore advanced techniques which help industry insiders maintain their competitive edge even under the most adverse conditions: creative phase manipulation, improvised acoustics tweaks, inventive monitoring workarounds, subtle psychological tricks...<br><br></li>\r\n\r\n<li>Find out where you don\'t need to spend money, as well as how to make a limited budget really count.<br><br></li>\r\n\r\n<li>Make the best use of limited equipment and session time, especially in situations where you\'re engineering and producing single-handed.<br><br></li>\r\n\r\n<li>Pick up tricks and tips from celebrated engineers and producers across the stylistic spectrum, including <a href=\"http://en.wikipedia.org/wiki/Steve_Albini\">Steve Albini</a>, <a href=\"http://en.wikipedia.org/wiki/Roy_Thomas_Baker\">Roy Thomas Baker</a>, <a href=\"http://en.wikipedia.org/wiki/Joe_Barresi\">Joe Barresi</a>, <a href=\"http://en.wikipedia.org/wiki/Tchad_Blake\">Tchad Blake</a>, <a href=\"http://en.wikipedia.org/wiki/Bruce_Botnick\">Bruce Botnick</a>, <a href=\"http://en.wikipedia.org/wiki/Joe_Chiccarelli\">Joe Chiccarelli</a>, <a href=\"http://en.wikipedia.org/wiki/Neil_Dorfsman\">Neil Dorfsman</a>, <a href=\"http://en.wikipedia.org/wiki/Jack_Douglas_%28record_producer%29\">Jack Douglas</a>, <a href=\"http://en.wikipedia.org/wiki/Geoff_Emerick\">Geoff Emerick</a>, <a href=\"http://en.wikipedia.org/wiki/Paul_epworth\">Paul Epworth</a>, <a href=\"http://en.wikipedia.org/wiki/Humberto_gatica\">Humberto Gatica</a>, <a href=\"http://en.wikipedia.org/wiki/Nigel_Godrich\">Nigel Godrich</a>, <a href=\"http://en.wikipedia.org/wiki/Andy_Johns\">Andy Johns</a>, <a href=\"http://en.wikipedia.org/wiki/Eddie_Kramer\">Eddie Kramer</a>, <a href=\"http://en.wikipedia.org/wiki/Kevin_Killen\">Kevin Killen</a>, <a href=\"http://en.wikipedia.org/wiki/George_Massenburg\">George Massenburg</a>, <a href=\"http://en.wikipedia.org/wiki/Hugh_Padgham\">Hugh Padgham</a>, <a href=\"http://en.wikipedia.org/wiki/Alan_Parsons\">Alan Parsons</a>, <a href=\"http://en.wikipedia.org/wiki/Jack_Joseph_Puig\">Jack Joseph Puig</a>, <a href=\"http://en.wikipedia.org/wiki/Phil_Ramone\">Phil Ramone</a>, <a href=\"http://en.wikipedia.org/wiki/Bob_Rock\">Bob Rock</a>, <a href=\"http://en.wikipedia.org/wiki/Elliott_Scheiner\">Elliott Scheiner</a>, <a href=\"http://en.wikipedia.org/wiki/Al_Schmitt\">Al Schmitt</a>, <a href=\"http://en.wikipedia.org/wiki/Bruce_Swedien\">Bruce Swedien</a>, <a href=\"http://en.wikipedia.org/wiki/Butch_Vig\">Butch Vig</a>, <a href=\"http://en.wikipedia.org/wiki/Tony_Visconti\">Tony Visconti</a>, and many, many more...<br><br></li>\r\n\r\n</ul>\r\n\r\n<div class=\"divYoutubeEmbedCentre\">\r\n<iframe class =\"iframeVideoTrailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4-rM69bm31Y?rel=0\" allowfullscreen></iframe>\r\n</div>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a href=\"[[~423]]\">Read reviews...</a></h3>\r\n\r\n\r\n<dl>\r\n\r\n<dt><a href=\"http://www.soundonsound.com/sos/may15/articles/recording-secrets-small-studio.htm\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoSOSSmall.gif\" alt=\"Visit Sound On Sound\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>\"Perfectly targeted... A book I\'d be happy to recommend unreservedly to enthusiasts, students, and experienced practitioners alike.\"</strong></dt>\r\n\r\n<dt><a href=\"[[$sitePrefixCMT]]RecordingSecretsReviews.htm\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoAmazonUSSmall.jpg\" alt=\"Read Reviews\"></a><img alt=\"\" src=\"[[$sitePrefixCMT]]SitePix/Spacer21px.jpg\"><strong>Amazon reader reviews:</strong></dt>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Stellar... a ton of great ideas.\"</strong></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Another winner! Should be required reading for anyone trying to get better results from their home studio.\"</strong></dd>\r\n\r\n<dd><img height=\"21\" alt=\"Amazon Five-star Review\" src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><strong>\"Loved the book... it will save you much time and frustration, not to mention money.\"</strong></dd>\r\n\r\n</dl>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a href=\"[[~369]]\">Free On-line Resources!</a><br>Demonstration Files, Backing Stems, Studio Best-buys...</h3>\r\n\r\n<p>The book\'s extensive accompanying <a href=\"[[~369]]\">on-line resource pages</a> provide hundreds of in-depth audio demonstration files, the <a href=\"[[~362]]\">\'Recording Secrets\' Library Of Mic Positions</a>, detailed budget-friendly hardware/software recommendations, and lots of links to further reading.<br><br></p>\r\n\r\n\r\n<p><strong>About The Author:</strong><br>\r\n\r\n<a href=\"[[~376]]\">Mike Senior</a> is a professional engineer who has worked with Wet Wet Wet, The Charlatans, Reef, Therapy, and Nigel Kennedy. He specialises in adapting the techniques of top producers for those working on a budget. Since 2007 he has been a regular writer for <a href=\"http://www.soundonsound.com\"><i>Sound On Sound</i></a> magazine\'s popular \'<a href=\"[[~376]]#SessionNotes\">Session Notes</a>\', \'<a href=\"[[~376]]#MixRescue\">Mix Rescue</a>\', \'<a href=\"[[~376]]#MixReview\">The Mix Review</a>\' column, proving time and again that you can achieve commercial-grade results with affordable gear -- once you know how!</p>\r\n\r\n    </td>\r\n  </tr>\r\n</table>\r\n\r\n[[$RSFTSSPressAndSalesInfo]]\r\n',1,6,0,1,1,1,1433008952,1,1458395493,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'RecordingSecrets.htm',0,0,1,NULL),(371,'document','text/html','RSFTSS_BookContents','<a href=\"[[~370]]\">Recording Secrets For The Small Studio</a></h3><h3 class=\"h3ResourceSubtitle\"><strong>A Step-By-Step Recording Primer</strong>','','RecordingSecretsContents','',1,0,0,24,0,'<p>This book aims to give the reader a thorough foundation of recording skills by leading them through a series of structured recording tasks of increasing complexity. First you\'ll discover how to record sources which don\'t require microphones, and once this groundwork has been completed, the remaining chapters logically introduce the different aspects of live-room technique, working from the simplest single-mic overdubbing techniques all the way to the most complicated multimic ensemble-recording methods.. </p>\r\n','<h3 class=\"h3ResourceTitle\"><a name=\"contents\">Table Of Contents</a></h3>\r\n\r\n\r\n\r\n<dl>\r\n\r\n<dt><big>Introduction & Acknowledgements</big><br><br></dt>\r\n\r\n<dt><big>Part 1: One Source, No Mics</big>\r\n\r\n<dd>Chapter 1: Recording A Machine</dd>\r\n\r\n<dd>Chapter 2: The Human Element</dd>\r\n\r\n<dd>Chapter 3: Instruments With Pickups<br><br></dd>\r\n\r\n<dt><big>Part 2: One Source, One Mic</big></dt>\r\n\r\n<dd>Chapter 4: Basic Vocal Recording</dd>\r\n\r\n<dd>Chapter 5: Beyond Vanilla Vocals</dd>\r\n\r\n<dd>Chapter 6: Single-mic Instrument Recording<br><br></dd>\r\n\r\n<dt><big>Part 3: One Source, Multiple Mics</big></dt>\r\n\r\n<dd>Chapter 7: Multimiking In Mono<br></dd>\r\n\r\n<dd>Chapter 8: Multimiking In Stereo<br><br></dd>\r\n\r\n<dt><big>Part 4: Multiple Sources, Multiple Mics</big></dt>\r\n\r\n<dd>Chapter 9: Ensemble Recording With A Dominant Array</dd>\r\n\r\n<dd>Chapter 10: Ensemble Recording With Peer Arrays</dd>\r\n\r\n<dd>Chapter 11: Going Freestyle<br><br></dd>\r\n\r\n<dt><big>Conclusion & Appendices</big><br><br></dt>\r\n\r\n</dl>\r\n\r\n\r\n[[$RSFTSSPressAndSalesInfo]]',1,6,1,1,1,1,1433011469,1,1458395502,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'RecordingSecretsContents.htm',0,0,1,NULL),(421,'document','text/html','MSFTSS_BookReviews','<a href=\"[[~29]]\">Mixing Secrets For The Small Studio</a>','','MixingSecretsReviews','',1,0,0,23,0,'<h3 class=\"h3ResourceXhead\"><strong>Reviews & Testimonials</strong></h3>\r\n\r\n<p>Read what people are saying about <i><a href=\"[[~29]]\">Mixing Secrets For The Small Studio</a></i> by following the links below. If you\'ve read it yourself and have any feedback about the book (or its <a href=\"[[~22]]\">on-line resources</a>), then do please <a href=\"[[~420]]\">get in touch</a>!</p>','<a href=\"http://www.soundonsound.com/sos/jun11/articles/mixing-secrets.htm\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoSOSLarge.gif\" alt=\"Visit Sound On Sound\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"A definite must-read for everyone involved in music production.\"</big> Hugh Robjohns, <i>Sound On Sound</i></dt>\r\n<dd><font face=\"arial, times\">\"Many books have been published about mixing, but in all honesty I’d say Mixing Secrets is easily the most practical, complete and ultimately satisfying that I’ve read so far. [...] Novices and grandmasters alike will find plenty of interest here... and everything is described in such as way as to make it easily transferable across any DAW platform or even to a traditional console-based mix environment [...] Although the content is wonderfully disciplined and technically rigorous, the explanations are never intimidating to a beginner, yet remain stimulating to the more experienced reader. The icing on the cake, and liberally covered in cherries, is the dedicated web site, which provides a phenomenal resource of useful material and information. This is a definite must-read for everyone involved in music production at any level.\" <a href=\"http://www.soundonsound.com/sos/jun11/articles/mixing-secrets.htm\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.tapeop.com/reviews/91/mixing-secrets-for-the-small-studio-book\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoTapeOpLarge.jpg\" alt=\"Visit Tape Op\" border=\"0\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"This book is gold... may bump your work forward by months or years.\"</big> Scott Evans, <i>Tape Op</i></dt>\r\n\r\n<dd><font face=\"arial, times\">\"This 300+ page book aims to provide a comprehensive start-to-finish mixing how-to. That\'s ambitious, but for the right reader, the book succeeds with flying colors. [...] If you\'ve never spent time working with seasoned engineers, or you haven\'t been mixing for long, this book is gold. [...] In the good old days, new engineers learned to mix by interning or assisting; that\'s less and less the case these days. Think of this book as a textbook alternative to a year of assisting. If you\'ve been figuring out everything yourself or piecing together your workflow based on Internet forum posts, this book may bump your work forward by months or years.\" <a href=\"http://www.tapeop.com/reviews/91/mixing-secrets-for-the-small-studio-book\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.musicconnection.com\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoMusicConnectionMedium.jpg\" alt=\"Visit Music Connection\" border=\"0\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"A huge \'must have\'... I cannot recommend it more.\"</big> Barry Rudolph, <i>Music Connection</i></dt>\r\n<dd><font face=\"arial, times\">\"Mixing Secrets For The Small Studio is the most useful, up-to-date, and comprehensive book I\'ve read on the labyrinthine subject of music mixing. Although the book focuses on obtaining professional and competitive mixes in small personal studios, the information applies to mixing in any space, from multi-million-dollar pro studios to makeshift home setups. [...] Senior \'makes real\' the ideas, concepts, and processes discussed by including quotes from a long list of successful engineer/producers who represent the pantheon of current music makers of our time. [...] Many good examples of current and popular CDs are given throughout this book to \'reference\' each step of the mixing process. Mixing Secrets For The Small Studio is a huge \'must have\'... I cannot recommend it more.\" <a href=\"http://www.barryrudolph.com/newtoys/toys8/focalmixingsecrets.html\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.guitarworld.com\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoGuitarWorldMedium.jpg\" alt=\"Visit Guitar World\" border=\"0\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"Highly recommended.. the book is filled with so much great stuff.\"</big> Joe Matera, <i>Guitar World</i></dt>\r\n<dd><font face=\"arial, times\">\"At more than 300 pages, it’s quite a read, but a highly recommended one. In fact the book is filled with so much great stuff, it’s a book that one can read again and again and that can be used as a handy manual during any mixing project. And though there’s plenty of information to soak up, Mike has made it very easy to navigate your way through the book and to find the relevant information you need quickly and easily. For example, after each chapter, Mike briefly sums up the main points discussed, which is very handy. Topics covered in the book are wide and varied and all relevant to the art of mixing. These cover everything from monitors, preparing the mix, effects and processing and track arranging and much more. One of my favorite sections in the book is on reverb plug-ins. Mike offers a practical method of auditioning the different types of reverb plug-ins to discover its own unique character, thus helping to make a better decision on what reverb is better suited to your own mixing project. There are more of these types of gems within the book\'s pages, and these alone are worth the price of admission. I’ve read many books on the subject, but I have to say that none have come as close to providing real practical knowledge and real working examples as Mike’s book.\" <a href=\"http://www.guitarworld.com/book-review-mixing-secrets-small-studio-plus-tips-author\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/product-reviews/0240815807/ref=cm_cr_pr_viewopt_srt?ie=UTF8&showViewpoints=1&sortBy=helpful&reviewerType=all_reviews&formatType=all_formats&filterByStar=all_stars&pageNumber=1\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoAmazonUS.jpg\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"Fantastic book on audio mixing.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/AmazonTop500.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"This is easily one of the best books on audio I have ever read. From the moment I began reading about monitor choices, I was hooked. This guy really knows his stuff and communicates it clearly and in no uncertain terms. [...] I have several of the best-selling home recording books in my library, as well as some major professional standard texts on video/audio studio design and use (the Benson and Whittaker books). This is the first book I have read which really addresses these issues from a hardcore professional stance for the small studio. [...] The author\'s discussion of speaker choices and placement, room acoustics, listening methods, hearing care, and so on, are first rate, and geared to small studio budgets and use, which I think is especially needed, given the explosion of computer based recording these days. The book is worth it for this section alone. [...] Most of the book deals with using computers/software for the entire recording and mixing process, but much of the material is still valid for those retro types like me who still use dedicated outboard gear. [...] The discussions of EQ, compression, filtering, and other types of processing, as well as the recording process as a whole, are simply very, very good. You cannot go wrong in getting this book regardless of what and how you record. There is a tremendous amount of high-quality information and advice here, much of it gleaned from seasoned pros with decades of experience. It is solid, practical advice you can use without having to have a multi-million dollar studio. If this book does not improve your mixing capabilities and the quality of your work and experience in the process, then it is entirely your own fault. This is a great book. If you record and mix audio, get this book, period.\" <a href=\"http://www.amazon.com/review/RXZ3ZRDCBALEI/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Outstanding... this book is dynamite.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/AmazonTop500.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I must say this book is dynamite. Everything is covered in a lot of detail. This is no mickey-mouse treatise on how to record in your dorm room. [...] This is a highly recommended book if you are planning on recording anywhere, from the pro studio to your bedroom. All in all a great read.\" <a href=\"http://www.amazon.com/review/R38R03VGFF6OEZ/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"The Bible for small recording studios.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/AmazonTop1000.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"If you\'re going to build a small studio, then this book should be your bible. Yes, this book will teach you how to mix music, and if that\'s what you do (or are planning to do) for a living then this is a book you must own. But before you can mix a tune, you need a studio, and unless you\'re working for someone else, in their studio, then you need your own. This book will show you how to build one without breaking the bank, and it\'ll show you how to do it right.\" <a href=\"http://www.amazon.com/review/R2D8X79L33ZVE8/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Best resource on mixing, hands down.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I\'ve been mixing my own music for nearly 30 years now [...] I\'ve read so many books and manuals on recording, mixing, mastering, etc. I\'ve subscribed to Sound On Sound, Tape Op, etc. for several years. I have been posting on Gearslutz (music production forum) for a decade now... I feel like this one book could replace all that. Serious. [...] I highly recommend this book to anyone who mixes professionally or casually.\" <a href=\"http://www.amazon.com/review/RSXVFHDMNJI7N/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"The mixing education I\'ve been searching for.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"This is one of those rare breeds -- a book that delivers on its promise. If you\'ve tried to get your mixes sounding like the professionals\' (and, let\'s face it, if you\'re reading this, you have) but couldn\'t pull it off -- read this book! All mixing engineers have a process to mixing. It\'s just, no one ever wrote about it. This is the answer to any aspiring mixing engineer who wished they could intern or work as an assistant engineer in a commercial studio. Thank you Mike Senior - for giving me the mixing education I\'ve been searching for. I love this book.\" <a href=\"http://www.amazon.com/review/R26KXB9F40V7C9/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Brilliant and creative.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"What he has to offer is huge! And his writing is great fun to read. I so appreciate Senior\'s amusing and picturesque way of expressing himself without being too glib. He starts right out telling the reader what concepts to review in order to best understand his advice, and where to find that information. He dives into advice on equipment, assuming the reader is without deep pockets and dealing with the inevitable low-end problems. He goes over compensations that might be needed on the raw tracks, then into balance, compression, equalization, sweetening with effects and so very much more. I can\'t possibly relate how much information is in this book, nor how very thoroughly and thoughtfully the author presents it. [...] Above all, Mike Senior\'s approach to both his craft and what he imparts to his reader is totally Zen. This book is so beyond just \'how to tweak this and that\'; it shows that the author has both technical expertise and great creativity and can impart these enthusiasms in writing. I can\'t imagine that there is anyone in the studio recording field who would not profit from reading this book.\" <a href=\"http://www.amazon.com/review/RB6M2CJ7YJ73T/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"The most practical book on mixing that you will ever buy.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Having read most of Mike Seniors Mix Rescue articles in Sound on Sound magazine, I kind of knew what to expect with this book -- it is absolutely packed with top tips for audio probelm solving, getting the most from your environment and equipment, and general advice on various areas that all small studio owners will be familiar with. Its extremely well written, very approachable, and Mike has a way of putting across his point that has you thinking \'Oh yeah, I never thought of that\". [...] I think that this book, along with Bob Katz \'Mastering Audio\' and David Miles Huber \'Modern Recording Techniques\', is going to become a go-to book for students, semi-pros, and pros in the future. An excellent book!\" <a href=\"http://www.amazon.com/review/R17FOELBKZQHI/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Must-have!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Worth every penny. I have \'Mixing Audio: Concepts, Practices and Tools\' by Roey Izhaki as well as \'The Mixing Engineer\'s Handbook\', Second Edition. If you are mixing at home with a computer, Senior\'s book is all you need. [...] If you\'re serious about mixing, buy \'Mixing Secrets\'.\" <a href=\"http://www.amazon.com/review/RJEEQ80Y3BWQK/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Brilliant!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I\'ve read a lot of books on the subject, but none this good. [...] This is not a \'mixing tips\' book, per se -- it\'s something much better than that, a mixing strategy book. The book is also very methodical in its approach. The author walks you through the process from beginning to end, explaining what is important and what is less so. [...] Mike Senior clearly takes the art and science of mixing seriously, and he encourages his readers to do the same. He doesn\'t pull punches in telling us the scale of effort required. [...] The book is straightforward in the sense that Mr. Senior seems to be free of faddish biases or particular hardware/software fetishes. He\'s not selling anything other than better mixes. He is simply devoted to telling his readers what works. And, as an extra added bonus, he does so with humor. [...] Here\'s the bottom line: if much improved mixing is your aspiration, and if you\'re serious about it, buy this book pronto.\" <a href=\"http://www.amazon.com/review/RTD6BBBCRS13L/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"THE home studio mixing book.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Mike Senior\'s book, pretty much Talmudic in its completeness, has everything in one place, from from the basics of sound waves all the way through to the last few tweaks before printing the final mix to a stereo WAV file. Furthermore, there are a zillion references for further reading, both in the printed book itself, and in the on-line reference section (which has sound files, audio and video clips, and the like, in addition to fascinating links). And Mr. Senior presents all this information in a common-sense, low-key (at times humorous!), and completely non-dogmatic approach -- always explaining alternative methods of attacking any given problem, and explaining why he might recommend one approach over another. As a result, the \'learning per page\' ratio seems much higher than other books of a similar vein I have read. [...] Mr. Senior\'s book is already helping me to get better by leaps and bounds faster than I was before. Highly recommended for the beginner to intermediate home studio mixer (though I suspect even \'experts\' will find more than a few tidbits to improve their mixes as well...)\" <a href=\"http://www.amazon.com/review/RS2Y256D2GEJV/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"One of the best project studio books ever!!!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"What a great book. This is filled with some very good information on how the small (home) studio owner can get the best out of their, often, less than perfect situation. [...] A clear, concise and often very humorous book. Well done that man!\" <a href=\"http://www.amazon.de/review/R31DTC5XR08TOL/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"A step-by-step guide to great mixes.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Thorough, well organized, and full of great tips. [...] The section and method he suggests for referencing commercial mixes is worth the price of the book. Nothing will teach you faster than good referencing [...] This isn\'t a \'quick-fix, get your mix done in an hour\' method, but it\'s how professional mixers get the quality you hear on those releases. Mike has done home recordists and professionals alike a great service with this book. Buy it. Buy it now.\" <a href=\"http://www.amazon.com/review/R1C1TXNMR9E0E7/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Amazing practical book, worth every penny!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I\'m not even halfway through the book yet and I can already hear improvements to the sound quality of my studio and mixes. [...] Throughout his book, Mike Senior gives a lot of ideas to experiment with, songs to listen to as well as useful tips. This is complemented by audio files and additional information on his website. Reading this book is therefore like sitting in a private course/workshop with Mike Senior! I therefore highly recommend it.\" <a href=\"http://www.amazon.co.uk/review/R3A9XKS9OVIKJJ/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"If I was going to sum up the book in one word, it would be this - Brilliant!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"If I was going to sum up the book in one word, it would be this - Brilliant! [...] The next question you ask is, how is his writing style? Is this a dry book that is hard to follow? The answer is no. [...] Is there anything I did not like in the book? No not really. [...] If you buy this book and Bob Katz \'Mastering Audio\' 2nd edition, you pretty much have everything covered.\" <a href=\"http://www.amazon.com/review/R2KV8PJK4UPGOT/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"A must-buy.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Excellent reference book. [...] I know my mixes have improved, even after 20+ years. I also know that this book refines my developing approach. Thanks to Mike Senior.\" <a href=\"http://www.amazon.com/review/R2UVOP3PZAUIQ7/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Senior\'s book is easily the most comprehensive and thorough.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"It\'s extremely rare to come upon a book on audio mixing, or some aspect of audio production or processing, that\'s this well thought out and engaging. [...] Senior explains the vital (and all too frequently breezed past) WHY of each action, gives a logical context and a set of criteria that helps you make sense not only of the myriad tasks involved in mixing, but of the flood of information one finds on the internet. [...] I\'ve read most, if not all, of the major books on the topic of mixing -- there aren\'t, after all, that many -- and while the better ones have many good things to offer and should not be missed, Senior\'s book is easily the most comprehensive and thorough. The additional resources he provides on the web are a course of study in themselves, and seem obviously created and assembled, as was the book, with great care. [...] This book helps you makes sense of what\'s out there, and helps clarify what you already know. It\'s a bit of a Rosetta stone, actually.\" <a href=\"http://www.amazon.com/review/R3ECJRUYTF8MTZ/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"A MUST for the home studio owner\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Mike immediately gives you the impression that he is not only good at what he does, but he seems to be able to do it with the most basic tools and he can write to boot. [...] The book\'s focus is to give a \'foundation up\' approach to the recording process, and demystifies a lot of the things that I think trouble many home recordists today. [...] I felt that there were many occasions where I felt like that fly on the wall, looking in on what a pro would do in a given scenario. To be specific, there is a section on multitracked/multimiked drums -- here Mike gives you a sneak-peek of exactly what he would do to each track (about three pages worth), spending a lot of time showing you why the mute/solo and phase buttons are so critical to address before any processing such as compression or reverb enters the picture. I would have happily paid the price I did for the book for this insight alone! There is much much more that I can comment on. The book is jam packed with so many excellent quotes and references from big names in the biz -JJP, the Lord-Alge brothers, Alan Parsons, Phil Ramone, it goes on and on. All in all, I found it to be an easy read, and at times even quite funny. It has definitely changed my perspective on recording, and the proof is in the pudding....my mixes have improved dramatically as a result. It will stay by my side at my desk for many many years. THANK YOU MIKE!\" <a href=\"http://www.amazon.com/review/R9WV4EUTF1D4V\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"An excellent book.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I highly recommend this book to anyone trying to learn mixing techniques or just review their work methods. It explains in detail, the use of EQ, reverb, compression (among others) and shows you different ways to get varied results using these techniques. It shows you how some of the pros are using these methods, most of all, with clear and concise examples. [...] Great read!\" <a href=\"http://www.amazon.com/review/R13NVM4PC0PA9M/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"A great long-term investment.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I\'m a rank amateur when it comes to recording and I\'m just beginning to build a home studio so I probably jumped into the deep end of the proverbial pool by picking up this book because there is far more information than I need right now. On the other hand, this is a book I can work with and grow with as I gain more experience and I can see myself using this book until the pages crumble into pieces from years of use. [...] I would recommend it to anyone interested in learning more about small or home studio recording.\" <a href=\"http://www.amazon.com/review/R13VBVG55UY6S/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Extremely clear, helpful.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"\r\nI\'ve been mixing for about 10yrs. Our band is working on our 4th album and before the mixing stage I thought I\'d take in this book for some inspiration. The clarity and practicality of Mike\'s tips are surprising and refreshing. It just felt so much more systematic and \'doable\' than so much of what I\'ve read in the past. Very approachable. I also very much enjoyed going through Mike\'s online supplemental resources. I made a couple of key changes in the way I approach a mixing project as a result of this book, and it\'s making a noticeable difference in the quality of my mixes, and in my enjoyment of the craft. Thanks Mike!\" <a href=\"http://www.amazon.com/review/R1C5WBOYM6KD0/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Mixing Secrets Revealed! A+++++\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"A must read for anyone who wants to venture into the world of home recording and mixing or for anyone already on their journey that needs a helping hand and a better understanding of the tools at their disposal as well as their proper use. The opening section of this book is the worth the price of admission itself and is something I wish I would\'ve read before investing into my own home studio gear. [...] Beyond the core skills and tools mentioned above are insider tips and industry tricks of the trade to achieve certain sounds or styles as well as specific song and album references. [...] This book is excellent as both a first read for beginners as well as a good reference manual or \"continuing education\" approach to the novice and experienced alike. I found the book straightforward and written in plain English as much as is possible when discussing some fairly complicated matters of acoustic science and technological subject matter. I found the end of chapter summaries of key points helpful and I would recommend this book to anyone who doesn\'t consider themselves an expert on the subject matter.\" <a href=\"http://www.amazon.com/review/R20LSOCDIOEYF9/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Hands down the best instruction manual for the home studio engineer.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I have purchased a lot of books on mixing and tracking over the years, but this is hands down the best instruction manual for the home studio engineer. Combine the book with all the tools Mike gives you on his web site and it\'s just a no brainer that if your serious about making the best commercial worthy tracks you can, you need to get the book. I have already recommended it to three friends of mine in the home studio business. Thanks Mike for sharing your knowledge and insight in such an easy to read yet very technical manual. Well done!\" <a href=\"http://www.amazon.com/review/R2IR9QLBWZ8VWB/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"I didn\'t know that!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Just about every page of this relatively (300 pages of text) modest tome demanded that I stop reading, go into my studio, and find out just what the heck this guy is talking about. (\"So that\'s what a gate\'s for. I didn\'t know that!\") And this is WAY before you get to the incredible -- and usually unique -- solutions detailed in every Mix Rescue on his Sound On Sound magazine page. (A massive archive that stands on its own, I might add.) [...] The material presented here is informative, as well as informed by Mike\'s not-so-dry British wit (my favorite: \"Now, as everybody knows, the best processing for slap bass is that button labelled \'Mute\'\"...). I have lived a long and happy life filled with sex, drugs, and rock and roll. But before I started reading Mike Senior\'s book, it had never contained so many consecutive 4 a.m. bedtimes. Excuse me, I have to stop writing now. I have to check something in my studio....\" <a href=\"http://www.amazon.com/review/R1J7L91N0SUASO/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n\r\n<dt><big>\"Excellent book. Highly recommended.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"For beginners and pros alike, this book contains just about everything you need to know to make your songs sound fantastic. I echo what the other reviews have said, so no need to repeat here. Buy this book.\" <a href=\"http://www.amazon.com/review/RXTBO6UG3Y8XP/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n\r\n\r\n<dt><big>\"Down-to-earth and realistic approach.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"[Mike Senior] never fails to anticipate where his reader is at and is so often spot on in guiding him or her to a complete understanding of what is often difficult subject matter. These readers are most likely people like me, for whom some initial dabbling in home recording has turned into a full-blown obsession over the years, and who, like me, are sometimes stumped by a lack of technical training. Mixing Secrets for the Small Studio successfully addresses these gaps in knowledge and experience, and the author does this with clarity, and a level of detail, depth and organisation with which online forums, though valuable, cannot compete. [...] I have found Mike Senior to be friendly, helpful, funny and communicative, both in his writing as well as his online presence -- an excellent website containing recommended products, plugins and multitrack WAV files, all directly relevant to the text. He is open to constructive feedback and where possible takes time to answer questions. Additionally, the author\'s down-to-earth and realistic approach will help you squeeze the most out of your budget, whatever it may be. There are a lot of `professional hobbyists\' out there, and I am sure that after reading this book they would have to agree that it is one of a handful of truly excellent resources out there.\" <a href=\"http://www.amazon.com/review/R2OZIDXFN385HI\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"This book is \'top drawer\' -- a must have.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"In reading only the first chapter, I re-thought my studio set up and was instantly rewarded with better sounding mixes! I was enlightened to a different way of thinking about how things work for me and against me, sound-wise, and how to take control of the best of it. This book is \'top drawer\' -- a must have.\" <a href=\"http://www.amazon.com/review/R181SQQKUKG0VO/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"The Best Book For Small Studios\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"This book is great for anyone wanting to learn about the mix process. It\'s pretty involved and quite technical, buy yet doable at the same time. You do need some discipline to get through it, but it\'s worth every minute. I highly recommend \"Mixing Secrets for the Small Studio\" and I hope you enjoy it as much as I have! \" <a href=\"http://www.amazon.com/review/R25BWUCUFL06UN/ref=cm_cr_pr_perm?ie=UTF8&ASIN=0240815807&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"The best mixing book I have read!!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I have been home recording for around 5 years and this is actually the best mixing book I have read. It has a lot of information on a lot of topics... and it gives you a step by step guide on mixing and a lot of techniques using online examples. A+++++++++\" <a href=\"http://www.amazon.com/review/RZ25859IUCDLE/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B004NNUZ5K&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Incredible asset to mixing\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I am a singer/songwriter and producer and this filled in \r\nall the gaps in mixing I needed. Coming from an analogue to a digital world this made the transition seamless. Great writing, helpful outline of how things work and what to watch for.\" <a href=\"http://www.amazon.com/review/R2LSR20NK1D7TC\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Straight to the point!\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"I\'ve gotten a ton of incredibly practical and straightforward mixing tips from this book. I highly recommend it!!\" <a href=\"http://www.amazon.com/review/R1ZHBXJFB7YVCF/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B004NNUZ5K&nodeID=&tag=&linkCode=\">Read more...</a></font><br><br></dd>\r\n\r\n<dt><big>\"Just buy it.\"</big><img src=\"[[$sitePrefixCMT]]SitePix/Amazon5Stars.jpg\"></dt>\r\n<dd><font face=\"arial, times\">\"Don\'t think about it -- just buy it. If you thought other books were good or useful, you\'re in for a nice surprise -- this one\'s better.\" <a href=\"http://www.amazon.co.uk/review/R1V8WKJAQI0AMX/ref=cm_cr_rdp_perm\">Read more...</a></font><br><br></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.dnbbeats.com/mixing-secrets-for-the-small-studio-review\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoDnBBeatsMedium.jpg\" alt=\"Visit DnBBeats.com\" border=\"0\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"A new favourite of mine... Do yourself a favour and pick up this book.\"</big> DJ Dauntless, <i>DNBBEATS.COM</i></dt>\r\n<dd><font face=\"arial, times\">\"Mixing Secrets is a new favourite of mine. [...] Written by Mike Senior who is part of the SOS Magazine team and has bucket loads of experience when it comes to mixing and audio production. This book is a testament of his knowledge and passion for teaching and educating people in all things audio. [...] It\'s a real easy read and only took me a few hours. [...] \'Part 1 – Hearing and Listening\' is absolutely mandatory reading for all levels of music production. I wish I had bought this book before buying my new nearfields… ouch! [...] The chapters on  buss compression and stereo enhancements are awesome and full of great tips and insights. The chapters on mixing with reverb and delays can really help give your tracks that professional edge and help gel your track together. [...] Do yourself a favour and pick up this book.\" <a href=\"http://www.dnbbeats.com/mixing-secrets-for-the-small-studio-review\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n<a href=\"http://www.dinosaurrockguitar.com/new/node/863\"><img src=\"[[$sitePrefixCMT]]SitePix/LogoDinosaurRockGuitarMedium.jpg\" alt=\"Visit Dinosaur Rock Guitar\" border=\"0\" class=\"imgReviewSource\"></a>\r\n\r\n<dl>\r\n\r\n<dt><big>\"There is more hands-on advice here than in most books.\"</big> David B, <i>Dinosaur Rock Guitar</i></dt>\r\n<dd><font face=\"arial, times\">\"This book is very well written and organized. Content presentation is no obstacle here.  While most books on mixing are loath to discuss process (the last book I read stated: Mixing cannot be taught, it can only be learned), this book actually provides a semblance of a suggested, basic, mixing process sequence (gasp!), and provides the reasoning for doing things in the suggested order. That alone should make the book of some value to beginners who often feel like they’re running in the dark with scissors.  Unlike other books on mixing that only deal in maddening generalities and CYA caveats, this book actually contains hands-on tips, tricks, and suggested settings to try, as well as tangible product recommendations. [...] There is plenty of good, practical advice in here for those who have come to grips with the beginner basics and are interested in learning more. There is more hands-on advice here than in most books on mixing/producing music. [...] If you’ve been recording and mixing music for a few years, and you’re looking to get better at it, this is a great resource that will become more useful the more you grow as a mixer/producer.\"\r\n <a href=\"http://www.dinosaurrockguitar.com/new/node/863\">Read more...</a></font></dd>\r\n\r\n</dl>\r\n\r\n[[$MSFTSSPressAndSalesInfo]]',1,6,2,1,1,1,1435389315,1,1458395264,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'MixingSecretsReviews.htm',0,0,1,NULL),(417,'document','text/html','RSFTSS_BackingStems','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Free Backing Stems Download Library','','rs-bkg','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p>Below is a selection of backing-stem packages, based on some of the more popular multitracks from the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>, which can be freely downloaded for the purposes of recording practice. All these files are presented as ZIP archives containing uncompressed WAV files (24-bit resolution and 44.1kHz sample rate) -- when importing them, just make sure all the track files start at exactly the same moment in time within your DAW project. (<a href=\"[[~396]]\">Download problems?</a>) I\'ve included a preview full mix for easy auditioning while browsing through the list.</p>\r\n\r\n<p>The backing stems have deliberately been generated using a minimum of mix processing, and often with a reduced track-count, to more accurately simulate a typical mid-project tracking session and to leave more room for creative additions while overdubbing. However, if you\'d like more of the original multitrack parts in your own backing project, or you\'d like more mixing control while tracking, follow the link to the respective multitrack-library listing. In addition to the audio stem files, I\'ve also generated PDF documentation relating to each project, so you don\'t have to create your own from scratch.</p>\r\n\r\n<p>Many thanks to the artists and engineers who have kindly agreed to provide these files -- please follow the links and check out their latest music! <strong>All downloads from this site are provided free of charge for educational purposes only, and the material contained in them should not be used for any commercial purpose without the express permission of the copyright holders.</strong><br></p>\r\n\r\n<ul>\r\n\r\n<li><strong>Actions: \'Devil\'s Words\'</strong>\r\n<br><small>Style: Power Pop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Actions_DevilsWords_BackingStems.zip`]]\">137MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/DevilsWords_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/DevilsWords_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Actions_DevilsWords_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Actions_DevilsWords_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;27 tracks: 290MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#Actions\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.facebook.com/actionsuk\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Angels In Amplifiers: \'I\'m Alright\'</strong>\r\n<br><small>Style: Smooth Acoustic Rock</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/AngelsInAmplifiers_ImAlright_BackingStems.zip`]]\">115MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/ImAlright_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/ImAlright_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/AngelsInAmplifiers_ImAlright_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/AngelsInAmplifiers_ImAlright_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;13 tracks: 285MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#AngelsInAmplifiers\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"https://twitter.com/studios_mikro\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>ANiMAL: \'Easy Tiger\'</strong>\r\n<br><small>Style: UK Hip-Hop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Animal_EasyTiger_BackingStems.zip`]]\">153MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/EasyTiger_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/EasyTiger_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Animal_EasyTiger_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Animal_EasyTiger_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;41 tracks: 379MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#ANiMAL\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.facebook.com/animalmusicuk\">here</a> and <a href=\"http://www.soundcloud.com/animalmusicuk\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Arise: \'Run Run Run\'</strong>\r\n<br><small>Style: Roots Reggae</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>6 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Arise_RunRunRun_BackingStems.zip`]]\">163MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/1111_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/1111_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Arise_RunRunRun_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Arise_RunRunRun_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;22 tracks: 452MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#Arise\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.arisereggae.com\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Cristina Vane: \'So Easy\'</strong>\r\n<br><small>Style: Acoustic Singer-Songwriter</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/CristinaVane_SoEasy_BackingStems.zip`]]\">134MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/1305_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/1305_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/CristinaVane_SoEasy_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/CristinaVane_SoEasy_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;37 tracks: 649MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#CristinaVane\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport her by clicking <a href=\"https://soundcloud.com/cristinavane\">here</a> and <a href=\"https://www.facebook.com/cristina.vane.music\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>The Doppler Shift: \'Atrophy\'</strong>\r\n<br><small>Style: Epic Indie Rock</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/DopplerShift_Atrophy_BackingStems.zip`]]\">273MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/Atrophy_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/Atrophy_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/DopplerShift_Atrophy_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/DopplerShift_Atrophy_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;22 tracks: 903MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#TheDopplerShift\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.thedopplershift.co.uk\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Georgia Wonder: \'Sirens\'</strong>\r\n<br><small>Style: Pop Disco/Rock</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>6 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/GeorgiaWonder_Siren_BackingStems.zip`]]\">400MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/Siren_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/Siren_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/GeorgiaWonder_Siren_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/GeorgiaWonder_Siren_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;59 tracks: 1030MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#GeorgiaWonder\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.georgiawonder.com\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Hollow Ground: \'Ill Fate\'</strong>\r\n<br><small>Style: Death Metal</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/HollowGround_IllFate_BackingStems.zip`]]\">91MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/IllFate_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/IllFate_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/HollowGround_IllFate_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/HollowGround_IllFate_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;21 tracks: 295MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#HollowGround\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.myspace.com/blackmail204\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>James May: \'All Souls Moon\'</strong>\r\n<br><small>Style: Acoustic Singer-Songwriter</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/JamesMay_AllSoulsMoon_BackingStems.zip`]]\">102MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/AllSoulsMoon_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/AllSoulsMoon_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JamesMay_AllSoulsMoon_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JamesMay_AllSoulsMoon_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;16 tracks: 267MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#JamesMay2\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport him by clicking <a href=\"http://www.thatjamesmay.com\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Jay Menon: \'Through My Eyes\'</strong>\r\n<br><small>Style: Intimate Pop Ballad</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>6 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/JayMenon_ThroughMyEyes_BackingStems.zip`]]\">225MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/1001_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/1001_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JayMenon_ThroughMyEyes_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JayMenon_ThroughMyEyes_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;23 tracks: 357MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#JayMenon\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport him by clicking <a href=\"http://www.jaymenon.co.uk\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Johnny Lokke: \'Promises &amp; Lies\'</strong>\r\n<br><small>Style: Classic Heavy Rock</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/JohnnyLokke_PromisesAndLies_BackingStems.zip`]]\">188MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/1101_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/1101_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JohnnyLokke_PromisesAndLies_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/JohnnyLokke_PromisesAndLies_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;23 tracks: 554MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#JohnnyLokke\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport him by clicking <a href=\"http://www.johnnylokkeband.com/\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Leaf: \'Come Around\'</strong>\r\n<br><small>Style: Atmospheric Indie Pop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Leaf_ComeAround_BackingStems.zip`]]\">130MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/0702_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/0702_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Leaf_ComeAround_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Leaf_ComeAround_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;27 tracks: 155MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#Leaf\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.myspace.com/leafbelgium\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Little Chicago\'s Finest: \'My Own\'</strong>\r\n<br><small>Style: Hip-Hop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/LittleChicagosFinest_MyOwn_BackingStems.zip`]]\">216MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/MyOwn_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/MyOwn_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/LittleChicagosFinest_MyOwn_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/LittleChicagosFinest_MyOwn_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;24 tracks: 377MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#LittleChicagosFinest\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.reverbnation.com/jspurgeon\">here</a> and <a href=\"http://www.reverbnation.com/kspurgeon\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Secretariat: \'Over The Top\'</strong>\r\n<br><small>Style: Americana</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Secretariat_OverTheTop_BackingStems.zip`]]\">134MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/OverTheTop_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/OverTheTop_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Secretariat_OverTheTop_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/Secretariat_OverTheTop_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;11 tracks: 225MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#Secretariat\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.midside.com/music/acremaker\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Speak Softly: \'Broken Man\'</strong>\r\n<br><small>Style: Atmospheric Electronic Pop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/SpeakSoftly_BrokenMan_BackingStems.zip`]]\">143MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/BrokenMan_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/BrokenMan_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/SpeakSoftly_BrokenMan_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/SpeakSoftly_BrokenMan_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;17 tracks: 223MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#SpeakSoftly\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://speaksoftly.bandcamp.com\">here</a>, <a href=\"http://www.alexvdbroek.co.nz\">here</a>, and <a href=\"http://www.naomijoy.co.nz\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Triviul feat. The Fiend: \'Widow\'</strong>\r\n<br><small>Style: Urban R&amp;B/Pop</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>6 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/TriviulFeatTheFiend_Widow_BackingStems.zip`]]\">121MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/Widow_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/Widow_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/TriviulFeatTheFiend_Widow_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/TriviulFeatTheFiend_Widow_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;36 tracks: 313MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#TriviulFeatTheFiend\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport them by clicking <a href=\"http://www.triviul.com\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>We Fell From The Sky: \'Not You\'</strong>\r\n<br><small>Style: High-Energy Heavy Rock</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>4 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/WeFellFromTheSky_NotYou_BackingStems.zip`]]\">126MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/1105_Remix.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/1105_Remix`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/WeFellFromTheSky_NotYou_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/WeFellFromTheSky_NotYou_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;39 tracks: 530MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#WeFellFromTheSky\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport the band by clicking <a href=\"http://www.myspace.com/wefellfromthesky\">here</a>.\r\n<br><br></li>\r\n\r\n<li><strong>Wesley Morgan: \'Backroom In Tulsa\'</strong>\r\n<br><small>Style: Dark Blues/Americana</small><br>\r\n<ul>\r\n<li><small><strong><span class=\"spanBKGBackingStemsFont\">Backing Stems:</span>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>5 stems: <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/WesleyMorgan_BackroomInTulsa_BackingStems.zip`]]\">182MB ZIP</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong>preview <a href=\"http://www.previews.cambridge-mt.com/BackroomInTulsa_Full_Preview.mp3\">MP3</a>&nbsp;[[playerButtonOnly? &exampleFile=`MSFTSS/MP3Previews/BackroomInTulsa_Full_Preview`]]</small></li>\r\n<li><small><strong><span class=\"spanBKGDocumentationFont\">Documentation:</span>&nbsp;&nbsp;&bull;</strong>&nbsp;&nbsp;<a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/WesleyMorgan_BackroomInTulsa_CueSheet.pdf`]]\">Cue Sheet</a><strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/BackingStems/Documentation/WesleyMorgan_BackroomInTulsa_CompSheet.pdf`]]\">Comp Sheet</a></small></li>\r\n<li><small><strong><span class=\"spanBKGFullMultitrackFont\">Full Multitrack:</span></strong> &nbsp;&nbsp;<strong>&bull;</strong>&nbsp;&nbsp;21 tracks: 595MB ZIP<strong>&nbsp;&nbsp;&bull;&nbsp;&nbsp;</strong><a href=\"[[~373]]#WesleyMorgan\">&rarr;\'Mixing Secrets\' Multitrack Library</a></small></li>\r\n</ul>\r\nSupport him by clicking <a href=\"http://www.thewesleymorgan.com\">here</a>.\r\n<br><br></li>\r\n\r\n</ul>',1,6,20,1,1,1,1435306773,1,1437719527,0,0,0,1427268540,1,'',0,0,0,0,0,'modDocument','web',1,'rs-bkg.htm',0,0,1,NULL),(373,'document','text/html','MSFTSS_Ch00ms-MTKLib','The \'<a href=\"[[~29]]\">Mixing Secrets</a>\' Free Multitrack Download Library','','ms-mtk','',1,0,0,23,0,'','StaticResources/ms-mtk.htm',1,11,5,1,1,1,1433083616,1,1494862685,0,0,0,1433143200,1,'',0,0,0,0,0,'modStaticResource','web',1,'ms-mtk.htm',0,0,1,NULL),(374,'document','text/html','Family','','','urls','',0,0,0,0,1,'','StaticResources/ms-chinset.htm',1,1,10,1,1,1,1433141034,1,1483086093,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'urls/',0,0,1,NULL),(424,'document','text/html','Placeholder','','','url-stillwellaudio-schope','',0,0,0,23,0,'','http://www.stillwellaudio.com/plugins/schope',1,1,26,1,1,1,1435644658,1,1435862937,1,1435776147,1,0,0,'',0,0,0,0,0,'modWebLink','web',1,'url-stillwellaudio-schope.htm',0,0,1,'{\"core\":{\"responseCode\":\"HTTP\\/1.1 301 Moved Permanently\"}}'),(375,'document','text/html','MTKDAWProjectPageGenerator','','','msftss-ch00multitracklibrary','',0,0,0,623,1,'','',1,6,5,1,1,1,1433141333,1,1461067681,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'msftss-ch00multitracklibrary/',0,0,1,NULL),(397,'document','text/html','Blue Lit Moon: \'Dad\'s Glad\'','','','ms-mtk-projectmr1106','',1,0,0,375,0,'','[[MTKProjectPageGenerator]]\r\n[[$MTKProjectTemplate]]',1,6,0,1,1,1,1433828572,1,1435302638,0,0,0,1433829540,1,'',0,0,0,0,0,'modDocument','web',1,'ms-mtk-projectmr1106.htm',0,0,1,NULL),(376,'document','text/html','MikeSeniorBio','About Mike Senior','','MikeSenior','',1,0,0,626,0,'[[$MikeSeniorBio_Introtext]]','<table>\r\n  <tr>\r\n    <td class=\"tdBioMagCovers\">\r\n[[$MikeSeniorBio_CoverPics]]\r\n    </td>\r\n\r\n    <td class=\"tdBioMainText\">\r\n\r\n  <p><strong>Workshop features:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_Workshops]]\r\n      </ul>\r\n\r\n<a id=\"MixRescue\"></a>\r\n[[mixRescueAggregatorEngine? &issueCount=`10`]]\r\n\r\n<a id=\"SessionNotes\"></a>\r\n[[sessionNotesAggregatorEngine? &issueCount=`10`]]\r\n\r\n<a id=\"MixReview\"></a>\r\n[[mixReviewAggregatorEngine? &issueCount=`3`]]\r\n\r\n      <p><strong>Interviews:</strong></p>\r\n      <ul>\r\n\r\n[[$MikeSeniorBio_Interviews]]\r\n\r\n      </ul>\r\n\r\n      <p><strong>Product Reviews:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_Reviews]]\r\n      </ul>\r\n\r\n</td>\r\n</tr>\r\n</table>\r\n',1,12,0,1,1,1,1433226303,1,1461263028,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'MikeSenior.htm',0,0,1,NULL),(537,'document','text/html','May 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1605juanjose1967','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this third episode of the Patrons Podcast, I provide a range of general-purpose mixing tips for the Sunshine Garcia Band\'s \'For I Am The Moon\' multitrack, as well as an in-depth critique of one of that same production\'s Discussion Zone mixes. Plus there\'s my unvarnished review of the NHT SuperOne 2.1 monitors, and an explanation of why on-line pictures of my studio show my Avantone MixCube perched on top of my left-hand nearfield monitor...</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1605juanjose1967.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1605juanjose1967.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1605juanjose1967_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>01:42 -- <strong>This Month\'s Featured Multitrack: The Sunshine Garcia Band\'s \'<a href=\"[[~373]]#TheSunshineGarciaBand\">For I Am The Moon</a>\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">03:35 - 04:01 -- [[$podcastDemo]] raw scratch-vocal recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:33 - 05:44 -- [[$podcastDemo]] raw bass-guitar recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:43 - 07:06 -- [[$podcastDemo]] raw ELAM251 ukelele recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">08:38 - 08:46 -- [[$podcastDemo]] three-mic djembe mix without polarity and time-delay adjustment (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">08:50 - 08:58 -- [[$podcastDemo]] three-mic djembe mix with polarity and time-delay adjustment (my rough mix)</span><br><br></li>\n  </ul>\n  <li>09:27 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=1828\">juanjose1967</a>\'s mix of \'For I Am The Moon\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">09:44 - 14:38 -- [[$podcastDemo]] juanjose1967\'s full mix</span><br><br></li>\n    <li>14:31 -- Critique Point #1: vocal balances</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">16:19 - 16:30 -- [[$podcastDemo]] backing vocal midrange emphasis: mix snippet (juanjose1967\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">16:40 - 16:52 -- [[$podcastDemo]] backing vocal midrange emphasis: mix snippet with global 650Hz EQ cut (juanjose1967\'s mix)</span><br><br></li>\n    </ul>\n\n    <li>17:03 -- Critique Point #2: ukelele stereo placement</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">18:28 - 18:43 -- [[$podcastDemo]] juanjose1967\'s ukelele stereo placement (juanjose1967\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">19:08 - 19:23 -- [[$podcastDemo]] ukelele stereo-ising tactic: \'before\' mix -- ie. no effect (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">19:38 - 19:52 -- [[$podcastDemo]] ukelele stereo-ising tactic: \'after\' mix -- ie. stereo-ising effect added (my rough mix)</span><br><br></li>\n    </ul>\n\n    <li>20:10 -- Critique Point #3: ukelele frequency balance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">20:35 - 20:45 -- [[$podcastDemo]] mix snippet in mono (juanjose1967\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">21:03 - 21:12 -- [[$podcastDemo]] mix snippet in mono with global 1.7kHz EQ cut (juanjose1967\'s mix)</span><br><br></li>\n    </ul>\n\n\n    <li>21:20 -- Critique Point #4: bass guitar &amp; djembe low-frequency balance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">21:53 - 22:00 -- [[$podcastDemo]] mix snippet (juanjose1967\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">22:00 - 22:08 -- [[$podcastDemo]] commercial reference</span></li>\n      <li><span class=\"spanPodcastMiniText\">22:29 - 22:37 -- [[$podcastDemo]] multitrack library preview mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">23:08 - 23:14 -- [[$podcastDemo]] three-mic djembe mix (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">23:25 - 23:31 -- [[$podcastDemo]] three-mic djembe mix with 57Hz narrow-band EQ cut (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">23:46 - 23:55 -- [[$podcastDemo]] rebalanced bass &amp; djembe mix (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">23:55 - 24:03 -- [[$podcastDemo]] commercial reference</span><br><br></li>\n    </ul>\n  </ul>\n  <li>24:31 -- <strong>Unvarnished Review: <a href=\"http://www.nhthifi.com/products?categories=nht-super-series\">NHT SuperOne 2.1 affordable unported monitors</a></strong><br><br></li>\n  <li>30:44 -- <strong>Q&A: Why is my Auratone substitute on the left-hand side of my listening position?</strong><br><br></li>\n  <li>32:45 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 34:08)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1605juanjose1967_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for The Sunshine Garcia Band\'s \'For I Am The Moon\' can be downloaded directly from <a href=\"[[~373]]#TheSunshineGarciaBand\">The \'Mixing Secrets\' Free Multitrack Download Library</a>. And make sure you check out <a href=\"http://www.telefunken-elektroakustik.com/\">Telefunken\'s website</a> too, as it\'s their microphones you\'re hearing here!<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=13955\">here in the Discussion Zone</a>.<br><br></li>\n\n<li><strong>Stereo-ising Effect Screenshots:</strong> I demonstrated a stereo-isation effect in the podcast, created using a chain of two plug-ins: Cableguys [[$software_Cableguys_PanShaper]] and Christian Knufinke\'s [[$software_ChristianKnufinke_SIR2]]. If you\'d like to see the exact settings I applied, here\'s a <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1605juanjose1967_Screens.zip\">ZIP archive containing the relevant screenshots</a>.<br><br></li>\n\n</ul>',1,6,11,1,1,1,1463067565,1,1477776500,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1605juanjose1967.htm',0,0,1,NULL),(538,'document','text/html','PatronPost_2016_05_CompressorTimes','Compressor Attack/Release Myth?','','PatronPost-2016-05CompressorTimes','',1,0,0,506,0,'<p>I recently had a question from a Patron asking me about whether I agreed with the views in this article: <a href=\"https://www.attackmagazine.com/features/columns/gregory-scott-demolishing-the-myths-of-compression/\">Demolishing The Myths Of Compression</a>. Basically, the gist of the article is that a lot of people think the attack-time and release-time settings of a compressor measure how long a compressor <em>waits</em> before applying/resetting its gain reduction, whereas these parameters actually measure the <em>speed</em> at which a compressor applies/resets gain reduction. So, in answer to the Patron\'s question, my answer is: yes, I agree with this.</p>','<p>However, I also share that other author\'s opinion that many people do explain this element of a compressor\'s action inaccurately in tutoritals -- and I even felt the need to check back over some of my own writing to reassure myself that I hadn\'t inadvertently propagated this myth personally! Fundamentally, though, I don\'t think it really matters in most cases which technical explanation you have in your mind, because either way in practice you\'d set up the compressor in precisely the same manner, I reckon.</p>',1,6,1,1,1,1,1463320797,1,1463846554,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-05CompressorTimes.htm',0,0,1,NULL),(539,'document','text/html','PatronPost_2016_05_SonEQPro','Plug-in Recommendation: Sonimus [[$software_Sonimus_SonEQPro]].','','PatronPost-2016-05-SonEQPro','',1,0,0,506,0,'<p>As you may already know, I\'ve long been a fan of Sonimus\'s freeware equaliser [[$software_Sonimus_SonEQ]]. However, I\'ve recently been trying out the rest of their plug-in range, and have discovered something about SonEQ\'s bigger brother, [[$software_Sonimus_SonEQPro]], that\'s quickly turning it into one of my go-to plug-ins. Let me explain...</p>\r\n\r\n<img class=\"imgPatreonPost\" src=[[$sitePrefixCMT]]/SitePix/2016_05_PatronPost_SonEQ.jpg>','<p>In most commercial-style mixes I end up adding high-end on my master mix buss -- fundamentally, modern mixes are brighter than reality, and I\'d rather add this high end with a single high-quality EQ on the master buss than with loads of CPU-light per-channel HF boosts. For a long time my favourite EQ for doing this master-buss processing was the Pultec emulation in URS Console Strip Pro, because of its uncanny ability to add a sense of air and brightness without making things sound harsh. Unfortunately, URS have yet to upgrade Console Strip Pro to 64-bit, so since moving to a 64-bit DAW I\'ve been hopping between various different plug-ins looking for something that\'ll do a similar job at a reasonable price. I\'ve had some success with Variety Of Sound\'s freeware Baxter EQ (but that\'s PC-only), and various rather more expensive plug-ins from people like Universal Audio and Softube, but now I\'ve discovered that the high band of SonEQ Pro works brilliantly for this, and for only $59. I don\'t often recommend specific payware plug-ins, but I really think this is something special, so I figured some of you might want to know about it.</p>',1,6,2,1,1,1,1463322340,1,1469856740,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronPost-2016-05-SonEQPro.htm',0,0,1,NULL),(473,'document','text/html','AES139_PSE2015Resources','Project Studio Expo 2015 (AES 139th Convention)<br>Supporting Resources For Download!','','aes139','',1,0,0,433,0,'<p>This page contains various additional resources to support my Project Studio Expo seminars at the 139th AES convention in New York in October 2015. This site also hosts a huge range of free <a href=\"[[~22]]\">mixing</a> and <a href=\"[[~369]]\">recording</a> resources relating to my books, including the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a> and the <a href=\"[[~362]]\">\'Recording Secrets\' Library Of Microphone Positions</a>. To stay up to date with the latest uploads to this site, sign up for my monthly \'<a href=\"[[~372]]\">Small Studio Secrets News</a>\' mail-out -- and if you have any follow-up questions about the seminar or these resources, don\'t hesitate to <a href=\"[[~420]]\">drop me a line</a>!</p>\r\n\r\n<table class=\"tableBookPressPack\">\r\n  <tr>\r\n    <td><a href=\"http://www.soundonsound.com/sos/sep12/articles/mixing-bass.htm\"><img alt=\"AES 139th Convention -- Project Studio Expo\" src=\"[[$sitePrefixCMT]]SitePix/AES139_Thumbnail.jpg\"></a><br>\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#RecordingMistakes\">SEMINAR 1 -- \'THE FIVE MOST COMMON PROJECT-STUDIO RECORDING MISTAKES\'</a><br><br><a href=\"#MixingEnsembles\">SEMINAR 2 -- \'MIXING ENSEMBLES\'</a></h5>\r\n    </td>\r\n  </tr>\r\n</table>','<h3 class=\"h3ResourceTitle\"><u><a name=\"RecordingMistakes\">Seminar 1 -- \'The Five Most Common Project-studio Recording Mistakes\'</a></u><br>(Friday 30th October 2015)</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio1\">AUDIO FILES</a> -- <a href=\"#links1\">LINKS</a> -- <a href=\"#reading1\">FURTHER READING</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio1\">AUDIO FILES</a> <span class=\"spanExampleFile\"></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Demonstration Audio Files:</strong> If you want to listen to any of the audio demonstrations I used during the seminar, download this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/AES139/AES2015_PSERecordingMistakes_AudioExamples.zip`]]\">ZIP archive</a>, which contains the full Cockos [[£software_Cockos_Reaper]] DAW project I used. The evaluation version of Reaper is both cross-platform and uncrippled, you should be able to play it back without problems on either Mac or PC. (I also only used Reaper\'s bundled plug-ins, so there shouldn\'t be any incompatibility there either.)<br><br></li>\r\n\r\n<li><strong>Raw Multitracks:</strong> A couple of the recording sessions showcased in the seminar are available as full-length raw multitrack downloads from the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>. To save you hunting through [[$numberOfMultitracks]] projects listed there, though, here are the direct URLs:\r\n\r\n<ul>\r\n<li>Flags: \'<a href=\"[[~373]]#Flags\">54</a>\'</li>\r\n<li>How To Kill A Conversation: \'<a href=\"[[~373]]#HowToKillAConversation\">Mute</a>\'</li>\r\n<li>Spektakulatius: \'<a href=\"[[~373]]#Spektakulatius\">Is You Is Or Is You Ain\'t</a>\'</li>\r\n</ul>\r\n\r\n</li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links1\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Demonstration Slideshow</a>:</strong> You can download a PDF of the slideshow I used during my seminar <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/AES139/AES2015_PSERecordingMistakes_Slideshow.pdf`]]\">here</a>.<br><br></li>\r\n\r\n<li><strong><a href=\"[[~362]]\">The \'Recording Secrets\' Library Of Microphone Positions</a>:</strong> As mentioned in the seminar, I\'ve set up a growing database of instrument recordings, extensively multimiked with identical microphones so as to provide an unrivalled insight into the art of microphone placement. Compare dozens of different mic positions and combinations around the same instrument quickly and easily, so you can fast-track your own productions and make the best use of limited studio time. So far the library features [[$numberOfLMPFiles]] audio files covering [[$numberOfLMPInstruments]] instruments, including [[$listOfLMPInstrumentsLinked]] -- and that line-up will continue to expand within the coming months...<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading1\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong><i>Sound On Sound</i> \'Mix Rescue\' & \'Session Notes\' articles:</strong> A number of the recording sessions I mentioned in the seminar have also been featured in \'<a href=\"http://www.soundonsound.com\">Sound On Sound</a>\' magazine\'s regular \'Mix Rescue\' and \'Session Notes\' columns. Follow the links below to read more -- most of these articles are now free to view in the SOS archives:\r\n<ul>\r\n<li><a href=\"http://www.soundonsound.com/sos/mar11/articles/mix-rescue-0311.htm\">\'Mix Rescue\' March 2011</a>: See the lengths I had to go to in salvaging the problematic snare-drum and acoustic-guitar recordings I demonstrated in the seminar!</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/jan14/articles/session-notes-0114.htm\">\'Session Notes\' January 2014</a>: This article focuses on recording a singing acoustic guitarist, and features many more audio examples than the one I used to show the deep rejection null of figure-eight polar patterns. If you often find yourself recording singing guitarists, then <a href=\"http://www.soundonsound.com/sos/jul12/articles/rsg.htm\">this more general-purpose article</a> may also be of interest, and it has numerous illustrative audio files with it too.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/jan15/articles/session-notes-0115.htm\">\'Session Notes\' January 2015</a>: Find out how I managed to keep spill to manageable levels in a one-room rock-band recording setup, even though the guitar cabs were within two feet of the kick drum.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">\'Session Notes\' June 2015</a>: In this article (and its follow-up <a href=\"http://www.soundonsound.com/sos/jul15/articles/mix-rescue-0715.htm\">mixing</a> and <a href=\"http://www.soundonsound.com/sos/aug15/articles/mix-rescue-0815.htm\">mastering</a> pieces) I demonstrate how you can get great results in super-quick time if you use spill between instruments to your advantage.</li>\r\n\r\n</ul>\r\n\r\n</ul><br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceTitle\"><u><a name=\"MixingEnsembles\">Seminar 2 -- \'Mixing Ensembles\'</a></u><br>(Saturday 31st October 2015)</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#audio2\">AUDIO FILES</a> -- <a href=\"#links2\">LINKS</a> -- <a href=\"#reading2\">FURTHER READING</a></h5>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"audio2\">AUDIO FILES</a> <span class=\"spanExampleFile\"></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Demonstration Audio Files:</strong> If you want to listen to any of the audio demonstrations I used during the seminar, download this <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/AES139/AES2015_PSEMixingEnsembles_AudioExamples.zip`]]\">ZIP archive</a>, which contains the full Cockos [[£software_Cockos_Reaper]] DAW project I used. The evaluation version of Reaper is both cross-platform and uncrippled, you should be able to play it back without problems on either Mac or PC. (I also only used Reaper\'s bundled plug-ins, so there shouldn\'t be any incompatibility there either.)<br><br></li>\r\n\r\n<li><strong>Raw Multitracks:</strong> A number of the recording sessions showcased in the seminar are available as full-length raw multitrack downloads from the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>. To save you hunting through [[$numberOfMultitracks]] projects listed there, though, here are the direct URLs:\r\n\r\n<ul>\r\n<li>Selwyn Jazz: Bill Ashton\'s :\'<a href=\"[[~373]]#SelwynJazz\">Much Too Much</a>\'</li>\r\n<li>Bruks: \'<a href=\"[[~373]]#Bruks\">Kak Tvoi Dela, Vova?</a>\'</li>\r\n<li>Spektakulatius: \'<a href=\"[[~373]]#Spektakulatius\">Is You Is Or Is You Ain\'t</a>\'</li>\r\n<li>Dunning Kruger: \'<a href=\"[[~373]]#DunningKruger\">Endance</a>\'</li>\r\n<li>Spektakulatius: \'<a href=\"[[~373]]#Spektakulatius_ChristmasBlues\">Christmas Blues</a>\'</li>\r\n</ul>\r\n\r\n</li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"links2\">LINKS</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong>Demonstration Slideshow</a>:</strong> You can download a PDF of the slideshow I used during my seminar <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/AES139/AES2015_PSEMixingEnsembles_Slideshow.pdf`]]\">here</a>.<br><br></li>\r\n\r\n<li><strong>Polarity/phase Manipulation Hardware &amp; Software:</strong> For hardware recommendations, check out <a href=\"[[~357]]#links\">this page</a> in my \'Recording Secrets\' resources. For software recommendations, check out <a href=\"[[~10]]#links\">this page</a> in my \'Mixing Secrets\' resources. <br><br></li>\r\n\r\n<li><strong><a href=\"https://youtu.be/VHdlQLXb76w?list=PLydfMKFCvG1vQfO8WtkEIyUWOZ0l3iZpy\">Ensemble-mixing Videos</a>:</strong> Watch me mix an ensemble recording from scratch in this <a href=\"https://youtu.be/VHdlQLXb76w?list=PLydfMKFCvG1vQfO8WtkEIyUWOZ0l3iZpy\">three-part video series</a> -- complete with a project file in which you can examine all my settings, and raw downloadable multitracks so you can have a go at mixing the project for yourself.<br><br></li>\r\n\r\n</ul>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading2\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li><strong><i>Sound On Sound</i> \'Mix Rescue\' & \'Session Notes\' articles:</strong> A number of the recording sessions I mentioned in the seminar have also been featured in \'<a href=\"http://www.soundonsound.com\">Sound On Sound</a>\' magazine\'s regular \'Mix Rescue\' and \'Session Notes\' columns. Follow the links below to read more -- most of these articles are now free to view in the SOS archives:\r\n<ul>\r\n<li><a href=\"http://www.soundonsound.com/sos/dec12/articles/session-notes-1212.htm\">\'Session Notes\' December 2012</a>: This article details the process of recording big-band jazz on location. Although I didn\'t do this recording myself, you can find out how I mixed it in <a href=\"http://www.soundonsound.com/sos/jan13/articles/session-notes-0113.htm\">this follow-up article</a>.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/jan15/articles/session-notes-0115.htm\">\'Session Notes\' January 2015</a>: Find out how I managed to keep spill to manageable levels in a one-room rock-band recording setup, even though the guitar cabs were within two feet of the kick drum.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/may15/articles/mix_rescue_0515.htm\">\'Mix Rescue\' May 2015</a>: In this article I describe a band recording I did in Moscow with engineer Haydn Bendall, and how I subsequently mixed it -- first on location, and then in my own studio.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/jun15/articles/session-notes-0615.htm\">\'Session Notes\' June 2015</a>: In this article (and its follow-up <a href=\"http://www.soundonsound.com/sos/jul15/articles/mix-rescue-0715.htm\">mixing</a> and <a href=\"http://www.soundonsound.com/sos/aug15/articles/mix-rescue-0815.htm\">mastering</a> pieces) I demonstrate how you can get great results in super-quick time if you use spill between instruments to your advantage.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/oct12/articles/session-notes-1012.htm\">\'Session Notes\' October 2012</a>: Recording an indie rock band on location, with drums, bass, and two guitars all in the same room.</li>\r\n<li><a href=\"http://www.soundonsound.com/sos/aug14/articles/session-notes-0814.htm\">\'Session Notes\' August 2014</a>: Here I talk about how I recorded to different classical duos (voice+organ and recorder+cembalo) on a budget, and without a separate monitoring environment.</li>\r\n</ul>\r\n\r\n<br><br></li>\r\n\r\n<li><strong>More Information On Phase &amp; Polarity</a>:</strong> If you want to know more about how polarity and phase affect different recording and mixing situations, check out this article: <a href=\"http://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm\">Phase Demystified</a>.<br><br></li>\r\n\r\n</ul>',1,6,0,1,1,1,1445781471,1,1458395672,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'aes139.htm',0,0,1,NULL),(557,'document','text/html','Metal Drums','Cambridge-MT Patrons Video Preview','','CMTPatrons-MetalDrums','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Recording Drums For Metal: A Peer-array Case-study</h4>\n\n<p>In this short video series I explain how I recorded drums for a progressive metal band using project-studio mics averaging about $200 apiece. The aim was to create a commercially competitive mixed sound using the minimum of mixdown processing and without recourse to sample-triggering.</p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contentsPart1\">TABLE OF CONTENTS: PART 1</a> -- <a href=\"#contentsPart2\">TABLE OF CONTENTS: PART 2</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<p>\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_MetalDrumsEp1Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_MetalDrumsEp1.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Recording Drums For Metal: A Peer-array Case-study -- Part 1: Mic Setup\"}]\'></div><br><br>\n</p>\n\n<p>\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_MetalDrumsEp2Header.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_MetalDrumsEp2.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Recording Drums For Metal: A Peer-array Case-study -- Part 2: Mixdown\"}]\'></div><br><br>\n</p>\n\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contentsPart1\">TABLE OF CONTENTS -- Part 1: Mic Setup</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>00:33 -- <strong>The Two Basic Recording Approaches</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">00:36 -- method 1: dominant array plus spot mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">01:05 -- method 2: peer arrays</span></li>\n    <li><span class=\"spanPodcastMiniText\">01:59 -- peer-array case-study: miking diagram</span><br><br></li>\n  </ul>\n\n  <li>02:28 -- <strong>Mic Choices &amp; Setup</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">02:29 -- cymbal close mics (overheads)</span></li>\n    <li><span class=\"spanPodcastMiniText\">04:07 -- hi-hat close mic (drummer\'s left)</span></li>\n    <li><span class=\"spanPodcastMiniText\">04:14 -- tom close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">04:56 -- over-snare close mic</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:04 -- hi-hat close mic (drummer\'s right)</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:16 -- kick-drum close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:14 -- side-snare and under-snare close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:58 -- room mics</span><br><br></li>\n  </ul>\n\n  <li>08:18 -- <strong>So How Do Those Mics Sound?</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">08:29 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> cymbal close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">09:22 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> over-snare close mic</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:13 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> under-snare close mic</span></li>\n    <li><span class=\"spanPodcastMiniText\">11:02 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> balancing over-snare and under-snare close mics with the cymbal close mics (overheads)</span></li>\n    <li><span class=\"spanPodcastMiniText\">11:39 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> over-snare close mic\'s unwanted pitched resonance</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> hi-hat close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">12:56 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> balancing hi-hat close mics with the cymbal close mics (overheads)</span></li>\n    <li><span class=\"spanPodcastMiniText\">13:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> tom close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:10 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> kick-drum close mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">15:08 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> room mics</span></li>\n    <li><span class=\"spanPodcastMiniText\">15:59 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> unprocessed drums balance (raw mic signals only)</span></li>\n    <li><span class=\"spanPodcastMiniText\">16:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> drum-mic signals in context (processed full-band mixdown)</span><br><br></li>\n  </ul>\n\n  <li>16:54 -- Credits <span class=\"spanPodcastMiniText\">(Total Running Time 18:13)</span></li>\n</ul>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contentsPart2\">TABLE OF CONTENTS -- Part 2: Mixdown</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>00:45 -- <strong>Overall Mix Contouring</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">00:51 -- Averaged frequency response plots of five different commercial metal mixes</span></li>\n    <li><span class=\"spanPodcastMiniText\">01:21 -- The band\'s reference tracks</span></li>\n    <li><span class=\"spanPodcastMiniText\">01:36 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Fab Filter <i>Pro-Q</i> master-buss EQ</span><br><br></li>\n  </ul>\n\n  <li>02:28 -- <strong>Kick-drum Processing</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">02:44 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> raw kick-drum recording</span></li>\n    <li><span class=\"spanPodcastMiniText\">03:18 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Cockos <i>ReaEQ</i> corrective EQ: low-frequency shelving boost</span></li>\n    <li><span class=\"spanPodcastMiniText\">04:04 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Cockos <i>ReaEQ</i> corrective EQ: high-frequency shelving cut</span></li>\n    <li><span class=\"spanPodcastMiniText\">04:51 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Sonalksis <i>MaxLimit</i> limiter</span><br><br></li>\n  </ul>\n\n  <li>05:53 -- <strong>Snare-drum Processing</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">05:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Cockos <i>ReaEQ</i> corrective EQ: resonance reduction</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:36 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Stillwell Audio <i>Transient Monster</i> sustain enhancement</span></li>\n    <li><span class=\"spanPodcastMiniText\">07:16 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Sonalksis <i>MaxLimit</i> limiter</span><br><br></li>\n  </ul>\n\n  <li>07:47 -- <strong>Toms Processing</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">07:55 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Stillwell Audio <i>Transient Monster</i> sustain enhancement</span><br><br></li>\n  </ul>\n\n  <li>08:31 -- <strong>Cymbals Processing</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">08:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Cockos <i>ReaEQ</i> EQ high-frequency shelving boost</span><br><br></li>\n  </ul>\n\n  <li>09:16 -- <strong>Drum-buss Processing</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">09:30 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> Cytomic <i>The Glue</i> slow-attack, fast-release buss compression</span><br><br></li>\n  </ul>\n\n  <li>10:24 -- <strong>Snare &amp; Toms Fader Automation</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">10:35 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> drums mix with fader automation</span><br><br></li>\n  </ul>\n\n    <li>11:32 -- Credits <span class=\"spanPodcastMiniText\">(Total Running Time 11:49)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Mix These Raw Mic Signals For Yourself:</strong> Here\'s a <a href=\"[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteVideo/CMTPatrons_MetalDrumsEp1_RawMicSignals.zip`]]\">ZIP archive</a> containing the raw drum mic signals, along with bass and guitar stems for mix context. If you load these files into your own DAW system and line them all up, you can experiment with mixing the signals for yourself. Although I checked the polarity of the mics during the recording process, don\'t forget to try out different polarity settings on your own system to see how this affects the combined sound.<br><br></li>\n\n<li><strong>Demonstration Mixdown Plug-ins:</strong> The plug-ins I used for my mixdown in Part 2 aren\'t anything esoteric: Cockos [[$software_Cockos_ReaEQ]] is freeware, Stillwell Audio [[$software_StillwellAudio_TransientMonster]] is $49, Sonalksis [[$software_Sonalksis_MaxLimit]] is €80, Cytomic [[$software_Cytomic_TheGlue]] is $99, and FabFilter [[$software_FabFilter_ProQ2]] is $149. All told the total processing on this drums mix amounted to seven bands of EQ, two limiters, two transient processors, and one buss compressor.<br><br></li>\n\n<li><strong>More About Peer-array Miking Techniques:</strong> For a more in-depth and wide-ranging explanation of the peer-array recording approach, check out chapter 10 of my latest Focal Press book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.<br><br></li>\n</ul>\n\n[[$RSFTSSPicAndBlurb]]',1,6,2,1,1,1,1465287828,1,1481536173,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-MetalDrums.htm',0,0,1,NULL),(377,'document','text/html','June 2015: Spektakulatius','','High-Speed Band Recording','june-2015-spektakulatius','',1,0,0,110,0,'','',1,10,7,1,1,1,1433231101,1,1435733443,0,0,0,1426145100,1,'',0,0,0,0,0,'modDocument','web',1,'june-2015-spektakulatius.htm',0,0,1,NULL),(378,'document','text/html','May 2015: Bruks','','','may-2015-bruks','',1,0,0,103,0,'','',1,9,4,1,1,1,1433231282,1,1435733359,0,0,0,1426149840,1,'',0,0,0,0,0,'modDocument','web',1,'may-2015-bruks.htm',0,0,1,NULL),(379,'document','text/html','April 2015','','','april-2015','',1,0,0,31,1,'','',1,7,24,1,1,1,1433231910,1,1433232115,0,0,0,1433232115,1,'',0,0,0,0,0,'modDocument','web',1,'april-2015/',0,0,1,NULL),(380,'document','text/html','Love In Venice','','','love-in-venice','',1,0,0,379,0,'','',1,8,0,1,1,1,1433231910,1,1433232090,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'love-in-venice.htm',0,0,1,NULL),(381,'document','text/html','Apparently','','','apparently','',1,0,0,379,0,'','',1,8,1,1,1,1,1433231910,1,1433232162,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'apparently.htm',0,0,1,NULL),(382,'document','text/html','Do They Know It\'s 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2015','','','may-2015','',1,0,0,31,1,'','',1,7,23,1,1,1,1433232372,1,1433232425,0,0,0,1433232425,1,'',0,0,0,0,0,'modDocument','web',1,'may-2015/',0,0,1,NULL),(387,'document','text/html','EvE','','','eve','',1,0,0,385,0,'','',1,8,1,1,1,1,1433232372,1,1433232498,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'eve.htm',0,0,1,NULL),(388,'document','text/html','Ain\'t It Fun','','','aint-it-fun','',1,0,0,385,0,'','',1,8,2,1,1,1,1433232372,1,1433232524,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'aint-it-fun.htm',0,0,1,NULL),(389,'document','text/html','I Heard It Through The Grapevine','','','i-heard-it-through-the-grapevine','',1,0,0,385,0,'','',1,8,3,1,1,1,1433232372,1,1433232562,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'i-heard-it-through-the-grapevine.htm',0,0,1,NULL),(390,'document','text/html','June 2015','','','june-2015','',1,0,0,31,1,'','',1,7,22,1,1,1,1433232592,1,1433232623,0,0,0,1433232623,1,'',0,0,0,0,0,'modDocument','web',1,'june-2015/',0,0,1,NULL),(391,'document','text/html','I','','','i','',1,0,0,390,0,'','',1,8,0,1,1,1,1433232592,1,1433232683,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'i.htm',0,0,1,NULL),(392,'document','text/html','A Feather\'s Not A Bird','','','a-feathers-not-a-bird','',1,0,0,390,0,'','',1,8,1,1,1,1,1433232592,1,1433232707,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'a-feathers-not-a-bird.htm',0,0,1,NULL),(393,'document','text/html','FourFiveSeconds','','','fourfiveseconds','',1,0,0,390,0,'','',1,8,2,1,1,1,1433232592,1,1433232739,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'fourfiveseconds.htm',0,0,1,NULL),(394,'document','text/html','Fingerprints','','','fingerprints','',1,0,0,390,0,'','',1,8,3,1,1,1,1433232592,1,1433232760,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'fingerprints.htm',0,0,1,NULL),(395,'document','text/html','So What','','','so-what','',1,0,0,390,0,'','',1,8,4,1,1,1,1433232782,1,1433233913,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'so-what.htm',0,0,1,NULL),(611,'document','text/html','ToDrumCompressionVideoResources','','','drumcompression','',1,0,0,610,0,'','[[~614]]',1,1,1,1,1,1,1481454218,1,1482675338,0,0,0,1481453940,1,'',0,0,0,0,0,'modWebLink','web',1,'drumcompression.htm',0,0,1,'{\"core\":{\"responseCode\":\"HTTP\\/1.1 301 Moved Permanently\"}}'),(610,'document','text/html','Redirects','','','Redirects','',0,0,0,0,1,'','StaticResources/ms-chinset.htm',1,1,7,1,1,1,1481454099,1,1481454141,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'Redirects/',0,0,1,NULL),(427,'document','text/html','July 2015: Spektakulatius','','','july-2015-spektakulatius','',1,0,0,103,0,'','',1,9,3,1,1,1,1435733162,1,1437578869,0,0,0,1426149840,1,'',0,0,0,0,0,'modDocument','web',1,'july-2015-spektakulatius.htm',0,0,1,NULL),(428,'document','text/html','MikeSeniorBioFull','About Mike Senior','','MikeSeniorFull','',1,0,0,626,0,'[[$MikeSeniorBio_Introtext]]','<table>\r\n  <tr>\r\n    <td class=\"tdBioMagCovers\">\r\n[[$MikeSeniorBio_CoverPics]]\r\n    </td>\r\n\r\n    <td class=\"tdBioMainText\">\r\n\r\n  <p><strong>Workshop features:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_Workshops]]\r\n      </ul>\r\n\r\n<a id=\"MixRescue\"></a>\r\n[[mixRescueAggregatorEngine]]\r\n\r\n<a id=\"SessionNotes\"></a>\r\n[[sessionNotesAggregatorEngine]]\r\n\r\n<a id=\"MixReview\"></a>\r\n[[mixReviewAggregatorEngine]]\r\n\r\n      <p><strong>Interviews:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_Interviews]]\r\n      </ul>\r\n\r\n\r\n      <p><strong>Cockos <i>Reaper</i> tutorials:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_ReaperTutorials]]\r\n        </ul>\r\n\r\n\r\n      <p><strong>Product Reviews:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_Reviews]]\r\n      </ul>\r\n\r\n      <p><strong>Sound Library Reviews:</strong></p>\r\n      <ul>\r\n[[$MikeSeniorBio_SoundLibraryReviews]]\r\n      </ul>\r\n</td>\r\n</tr>\r\n</table>\r\n',1,12,1,1,1,1,1435734823,1,1461262845,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'MikeSeniorFull.htm',0,0,1,NULL),(540,'document','text/html','June 2016: Progressive Metal','','Achieving A Modern Drum Sound Without Sample-triggering','June-2016','',1,0,0,110,0,'','',1,10,3,1,1,1,1463666246,1,1469488717,0,0,0,1463666940,1,'',0,0,0,0,0,'modDocument','web',1,'June-2016.htm',0,0,1,NULL),(541,'document','text/html','June 2016','','','June-2016','',1,0,0,31,1,'','',1,7,10,1,1,1,1463667058,1,1463667379,0,0,0,1463667379,1,'',0,0,0,0,0,'modDocument','web',1,'June-2016/',0,0,1,NULL),(542,'document','text/html','Really Love','','','Really-Love','',1,0,0,541,0,'','',1,8,0,1,1,1,1463667058,1,1463667165,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Really-Love.htm',0,0,1,NULL),(543,'document','text/html','\'Main Title\' from <i>Star Wars</i>','','','Main-Title-from-Star-Wars','',1,0,0,541,0,'','',1,8,4,1,1,1,1463667058,1,1463667350,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Main-Title-from-Star-Wars.htm',0,0,1,NULL),(544,'document','text/html','See That My Grave Is Kept Clean','','','See-That-My-Grave-Is-Kept-Clean','',1,0,0,541,0,'','',1,8,3,1,1,1,1463667058,1,1463667278,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'See-That-My-Grave-Is-Kept-Clean.htm',0,0,1,NULL),(545,'document','text/html','7 Years','','','7-Years','',1,0,0,541,0,'','',1,8,2,1,1,1,1463667059,1,1463667243,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'7-Years.htm',0,0,1,NULL),(546,'document','text/html','Lush Life','','','Lush-Life','',1,0,0,541,0,'','',1,8,1,1,1,1,1463667059,1,1463667192,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Lush-Life.htm',0,0,1,NULL),(547,'document','text/html','Banner_WessMeetsWest_Logo','','http://www.wessmeetswest.com/','Banner-WessMeetsWest-Logo','',0,0,0,556,0,'Check out Wess Meets West\'s official web site!','[[$sitePrefixCMT]]/SitePix/Ads/WessMeetsWestAdJPEG.jpg',1,0,20,1,1,1,1463740321,1,1476465091,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-WessMeetsWest-Logo.htm',0,0,1,NULL),(548,'document','text/html','Banner_LeadInc_TacomaNarrows2','','http://leadinc.jimdo.com/','Banner-LeadInc-TacomaNarrows2','',0,0,0,556,0,'New Lead Inc. EP: <i>Tacoma Narrows</i>\r\n','[[$sitePrefixCMT]]/SitePix/Ads/LeadIncAdJPEG.jpg',1,0,11,1,1,1,1463741028,1,1465190884,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-LeadInc-TacomaNarrows2.htm',0,0,1,NULL),(560,'document','text/html','Mixing & Production Services','Mixing &amp; Production Services -- Info Page','','MixingServices','',1,0,0,521,0,'<p>This document contains information regarding Cambridge-MT’s mixing and production services, carried out by me, Mike Senior. </p>','<h3 class=\"h3ResourceTitle\">Delivering Multitracks -- Guidelines</h3>\r\n\r\n<p>All of the production’s individual tracks should be supplied as audio files in WAV or AIFF format at a minimum resolution of 24-bit/44.1kHz. (Data-compressed files such as MP3/AAC aren’t suitable for mixing purposes.) All the WAV/AIFF files should start at the same time so that they line up correctly when imported. Any combination of stereo and mono files is fine, as long as it\'s clear what each track is (especially if any mono tracks are the two sides of a split stereo pair). It saves time if you can indicate the exact tempo of the project as well, or supply a MIDI tempo map if tempo variations are used. The audio files should be free from digital clipping and any effects or processing. However, if there are any tracks where an effect is very much part of the character of the raw sound itself (such as an amp simulation on a guitar/bass part, or a resonant filter on a synth), you can provide a version of the track with this effect in place, but an unprocessed/DI track may also be useful too, so please also include that if you have it. If you\'ve used any pitch-correction processing, especially on lead vocals, then please supply separate files with/without the correction if at all possible.</p>\r\n\r\n<p>If any parts are running live from external sound modules or virtual instruments, they\'ll need to be bounced down to audio. For programmed drum parts, please try to separate out the different drum samples onto different tracks as much as you can -- it leaves a lot more room for manoeuvre in terms of getting the sound you\'re after. It\'s also handy in this case if you can include the MIDI trigger files you used as well, in case there’s a need to synchronise any layers/effects with your programming. In addition to the multitrack files, please provide a stereo WAV/AIFF file of your own most recent mix, as well as an indication of any specific commercial tracks which would be good benchmarks for the kind of sound you\'re after. Mix sonics can vary a lot even between songs apparently in the same musical genre, so without any input from you it’s only possible to make an educated guess at the exact sound you\'re aiming for.</p>\r\n\r\n<p>It is advisable to submit your multitrack files at least a week in advance of the mixing date, so that Mike has time to check them over for any obvious problems which might waste session time. [[$Training_FilesDelivery]]</p>\r\n\r\n<h3 class=\"h3ResourceTitle\">Pricing</h3>\r\n\r\n<p>The pricing for mixing services is &#163;[[$DayRate_Pounds]] (plus [[$VATRate_DE]]&#37; VAT) for a nominal 10-hour day. For longer sessions a discounted rate of &#163;[[$DayRateBulk_Pounds]]/day is available. As a rough guide, most self-produced multitrack productions take at least 2-3 days to mix to a professional standard on my own system. [[$Training_WorkingHours]] You are welcome to attend the session if you wish, at no extra charge, but this is by no means necessary, because Mike is used to working remotely. In addition to the finished mix files, Mike can also provide his Reaper project file for each mix if you wish to examine his settings and/or follow up the mixing with further training sessions.</p>\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceTitle\">Travel &amp; Accommodation</h3>\r\n\r\n<p>My studio is located in Feldkirchen (postcode: 85622), an Eastern suburb of Munich. You can reach this by S-Bahn train from any of Munich’s main stations (Hauptbahnhof, Ostbahnhof, Marienplatz): the S2 train (usually destined for Erding or Markt Schwaben) stops directly at Feldkirchen station. The studio is a seven-minute walk from the S-Bahn station. For overnight stay, there are a number of affordable hotels (under €100/night) located in Feldkirchen:</p>\r\n\r\n<ul>\r\n<li> a <a href=\"http://www.mcdreamshotels.de/munich.html\">McDreams Hotel</a> about 15 minutes walk from the studio.</li>\r\n<li> a <a href=\"http://www.ibishotel.com/de/hotel-3292-ibis-muenchen-messe/index.shtml\">Hotel Ibis</a> and a <a href=\"http://www.hiexpress.com/hotels/de/de/munich/mucmm/hoteldetail\">Holiday Inn Express</a> about 25 minutes walk from the studio.</li>\r\n</ul>\r\n\r\n<p>All these hotels have restaurant facilities, but there are also restaurants, cafes, and supermarkets within walking distance of the studio.</p>\r\n\r\n<br><br>\r\n\r\n<h5 class=\"h5TrainingGTCs\"><strong>Terms & Conditions</strong></h5>\r\n\r\n<p class=\"pTrainingGTCs\"><p class=\"pTrainingGTCs\">Final mix/master files, stems, and/or project files will not be delivered until full payment has been received. In the case of per-project quotes, payment will be 30&#37; in advance and the price includes two revisions per mix/master -- subsequent revisions will be charged by the hour. Draft mixes will be supplied in MP3 format (normally at 192kbps resolution unless otherwise requested) until a final version has been agreed upon. Mixes/masters must be approved as \'complete\' by you in writing (email is fine) before any final deliverables can be generated. As standard CMT supplies the following alternate versions of all final mixes where relevant: lead vocal(s) up; lead vocal(s) down; lead vocal(s) out (TV or PA mix); and instrumental (no vocals). Creation and delivery of any further mix versions, stems, and/or project files will be charged hourly. All final audio files will be provided in 24-bit/44.1kHz WAV format, with the exception of individual mastered files at 16-bit/44.1kHz resolution. Mastered projects for CD duplication will be provided in DDPi format.</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$ProductionGTCs_WorkForHire]]</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$ProductionGTCs_Damage]]</p>\r\n\r\n<p class=\"pTrainingGTCs\">[[$ProductionGTCs_ConductComplaintsJurisdiction]]</p>',1,6,3,1,1,1,1465842230,1,1485243935,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'MixingServices.htm',0,0,1,NULL),(561,'document','text/html','Banner_Patron_Galias_Maxisound','','http://galiasmusic.com','Banner-Galias-Maxisound','',0,0,0,556,0,'Check out the new Galias single, <i>Maxisound</i>!','[[$sitePrefixCMT]]/SitePix/Ads/GaliasMaxisoundAdJPEG.jpeg',1,0,5,1,1,1,1466751070,1,1488229381,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Galias-Maxisound.htm',0,0,1,NULL),(562,'document','text/html','Banner_Galias_Maxisound2','','http://galiasmusic.com','Banner-Galias-Maxisound2','',0,0,0,556,0,'Check out the new Galias single, <i>Maxisound</i>!','[[$sitePrefixCMT]]/SitePix/Ads/GaliasMaxisoundAdJPEG.jpeg',1,0,6,1,1,1,1466751456,1,1474717157,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Galias-Maxisound2.htm',0,0,1,NULL),(563,'document','text/html','Banner_Galias_Maxisound3','','http://galiasmusic.com','Banner-Galias-Maxisound3','',0,0,0,556,0,'Check out the new Galias single, <i>Maxisound</i>!','[[$sitePrefixCMT]]/SitePix/Ads/GaliasMaxisoundAdJPEG.jpeg',1,0,7,1,1,1,1466751482,1,1472549382,0,0,0,0,0,'',0,0,0,0,0,'modStaticResource','web',1,'Banner-Galias-Maxisound3.htm',0,0,1,NULL),(564,'document','text/html','August 2016: Don Camillo Chor','','Faking A Church Choir Sound In A Rehearsal Room','August-2016-Recording-A-Choir','',1,0,0,110,0,'','',1,10,2,1,1,1,1469488858,1,1469489600,0,0,0,1469489600,1,'',0,0,0,0,0,'modDocument','web',1,'August-2016-Recording-A-Choir.htm',0,0,1,NULL),(565,'document','text/html','August 2016','','','August-2016','',1,0,0,31,1,'','',1,7,9,1,1,1,1469489684,1,1469490441,0,0,0,1469490441,1,'',0,0,0,0,0,'modDocument','web',1,'August-2016/',0,0,1,NULL),(566,'document','text/html','One Dance','','','One-Dance','',1,0,0,565,0,'','',1,8,0,1,1,1,1469489684,1,1469490018,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'One-Dance.htm',0,0,1,NULL),(567,'document','text/html','Hangin\' Around','','','Hangin-Around','',1,0,0,565,0,'','',1,8,1,1,1,1,1469489684,1,1469490111,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Hangin-Around.htm',0,0,1,NULL),(568,'document','text/html','Stitches','','','Stitches','',1,0,0,541,0,'','',1,8,5,1,1,1,1469489684,1,1469490333,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Stitches.htm',0,0,1,NULL),(569,'document','text/html','Sexy MF','','','Sexy-MF','',1,0,0,565,0,'','',1,8,3,1,1,1,1469489684,1,1469490174,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Sexy-MF.htm',0,0,1,NULL),(570,'document','text/html','Work From Home','','','Work-From-Home','',1,0,0,565,0,'','',1,8,2,1,1,1,1469489684,1,1469490134,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Work-From-Home.htm',0,0,1,NULL),(571,'document','text/html','July 2016','Cambridge-MT Patrons Podcast','','PatronsPodcast1607loweche6','',1,0,0,493,0,'<h4 class=\"h4IntroTextSubtitle\">[[*pagetitle]] Episode</h4>\n\n<p>In this episode of the Patrons Podcast, I provide general-purpose mixing tips for Lead Inc\'s \'The Dice\' multitrack and critique one of that same production\'s Discussion Zone mixes in-depth -- as well as revealing another of my ninja mix tricks! In the Unvarnished Review spot, I follow up my coverage of the ABACUS Electronics sat+sub system (discussed last episode) with a further opinion on how the diminutive C-Box 3 nearfields perform on their own for mixing purposes.</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1607loweche6.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1607loweche6.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1607loweche6_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>02:02 -- <strong>This Month\'s Featured Multitrack: Lead Inc\'s \'<a href=\"[[~373]]#LeadInc\">The Dice</a>\'</strong><br><br></li>\n\n<a href=\"http://leadinc.jimdo.com/\"><img alt=\"Lead Inc EP: <i>Tacoma Narrows</i>\" src=\"http://www.root.cambridge-mt.com//SitePix/Ads/LeadIncAdJPEG.jpg\" class=\"imgBannerAd\"></a><br>\n\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">05:14 - 05:21 -- [[$podcastDemo]] raw over-snare close mic recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">05:38 - 05:44 -- [[$podcastDemo]] raw drum overheads recording (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">06:01 - 06:07 -- [[$podcastDemo]] raw drum room-mics recording (unprocessed tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">08:22 - 08:30 -- [[$podcastDemo]] raw bass DI recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">09:56 - 10:12 -- [[$podcastDemo]] electric guitar multi-miking setup: raw Shure SM57 close-mic recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:12 - 10:27 -- [[$podcastDemo]] electric guitar multi-miking setup: raw Sennheiser e906 close-mic recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">10:28 - 10:43 -- [[$podcastDemo]] electric guitar multi-miking setup: equal balance of Shure SM57 and Sennheiser e906 close-mic recordings (unprocessed raw tracks)</span></li>\n    <li><span class=\"spanPodcastMiniText\">13:37 - 13:50 -- [[$podcastDemo]] harsh vocal resonances: raw lead vocal recording (unprocessed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">13:51 - 14:04 -- [[$podcastDemo]] harsh vocal resonances: lead vocal recording with resonance-reduction processing (processed track)</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:34 - 14:54 -- [[$podcastDemo]] harsh vocal resonances: mixed lead vocal recording without resonance-reduction processing (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">14:55 - 15:11 -- [[$podcastDemo]] harsh vocal resonances: mixed lead vocal recording with resonance-reduction processing (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">16:47 - 16:55 -- [[$podcastDemo]] mixed drums buss without buss compression (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">17:12 - 17:20 -- [[$podcastDemo]] mixed drums buss with fast, heavy insert compression (my rough mix)</span></li>\n    <li><span class=\"spanPodcastMiniText\">17:21 - 17:29 -- [[$podcastDemo]] mixed drums buss with fast, heavy parallel compression (my rough mix)</span><br><br></li>\n  </ul>\n  <li>12:17 -- <strong>Mix Critique: <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=2830\">loweche6</a>\'s mix of \'The Dice\'</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">18:37 - 24:38 -- [[$podcastDemo]] loweche6\'s full mix (version 3)</span><br><br></li>\n    <li>25:05 -- Critique Point #1: overall mix tonality</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">25:45 - 25:57 -- [[$podcastDemo]] snippet of loweche6\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">25:58 - 26:11 -- [[$podcastDemo]] snippet of band\'s own mix (library preview mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">26:35 - 26:47 -- [[$podcastDemo]] snippet of loweche6\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">26:48 - 27:00 -- [[$podcastDemo]] snippet of reference mix #1 (commercial mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">27:01 - 27:13 -- [[$podcastDemo]] snippet of reference mix #2 (commercial mix)</span><br><br></li>\n    </ul>\n    <li>27:29 -- Critique Point #2: kick-drum click<br><br></li>\n    <li>27:59 -- Critique Point #3: drum-kit coherence</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">25:47 - 25:57 -- [[$podcastDemo]] snippet of loweche6\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">25:58 - 26:08 -- [[$podcastDemo]] snippet of loweche6\'s mix with additional artificial room sound on the snare</span><br><br></li>\n    </ul>\n    <li>29:24 -- Critique Point #4: guitar filtering<br><br></li>\n    <li>30:02 -- Critique Point #5: vocal resonances &amp; depth effects</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">31:30 - 31:57 -- [[$podcastDemo]] snippet of loweche6\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">31:58 - 32:25 -- [[$podcastDemo]] snippet of loweche6\'s mix with additional vocal delay spin</span><br><br></li>\n    </ul>\n    <li>32:35 -- Critique Point #6: backing-vocal balance</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">32:53 - 33:04 -- [[$podcastDemo]] snippet of loweche6\'s mix</span></li>\n      <li><span class=\"spanPodcastMiniText\">33:08 - 33:19 -- [[$podcastDemo]] snippet of my rough mix</span><br><br></li>\n    </ul>\n    <li>32:35 -- Critique Point #7: ninja rock-mixing trick -- subliminal synth pads</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">33:58 - 34:14 -- [[$podcastDemo]] subliminal synth pad in isolation (from my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">34:31 - 34:47 -- [[$podcastDemo]] snippet of my rough mix without subliminal synth pad (my rough mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">34:48 - 35:04 -- [[$podcastDemo]] snippet of my rough mix with subliminal synth pad (my rough mix)</span><br><br></li>\n    </ul>\n  </ul>\n  <li>35:37 -- <strong>Unvarnished Review: <a href=\"http://www.abacus-electronics.de/\">ABACUS Electronics</a> affordable unported <a href=\"http://www.abacus-electronics.de/122-0-C-Box.html\">C-Box 3</a> active nearfield mini-monitors</strong><br><br></li>\n  <li>40:50 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 41:24)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. If you\'d prefer to hear uncompressed PCM audio, <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1607loweche6_HiRes.zip\">this ZIP archive</a> contains the podcast in 24-bit/44.1kHz WAV format.<br><br></li>\n\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> The raw multitracks for Lead Inc\'s \'The Dice\' can be downloaded directly from <a href=\"[[~373]]#LeadInc\">The \'Mixing Secrets\' Free Multitrack Download Library</a>. And make sure you check out <a href=\"http://leadinc.jimdo.com/\">the band\'s website</a> too, and support their music!<br><br></li>\n\n<li><strong>Have Your Say About This Mix:</strong> The original thread featuring this month\'s critiqued mix can be found <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=14457\">here in the Discussion Zone</a>, and the mix version I critiqued was <a href=\"http://discussion.cambridge-mt.com/showthread.php?tid=14457&pid=44681#pid44681\">version 3</a>.<br><br></li>\n\n<li><strong>Sknote <i>Sound Brigade</i>:</strong> The resonance-reduction I showcased in this podcast is Sknote\'s [[$software_Sknote_SoundBrigade]], which is rapidly becoming my go-to troubleshooter for this particular mixing task.<br><br></li>\n</ul>',1,6,9,1,1,1,1469867480,1,1477776473,0,0,0,1426490400,1,'',0,0,0,0,0,'modDocument','web',1,'PatronsPodcast1607loweche6.htm',0,0,1,NULL),(429,'document','text/html','July 2015 (skipped)','','','july-2015-(skipped)','',0,0,0,31,0,'','',1,7,21,1,1,1,1435738044,1,1435738113,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'july-2015-(skipped).htm',0,0,1,NULL),(430,'document','text/html','Ensemble Recording Methods','Cambridge-MT Patrons Video Preview','','CMTPatrons-EnsembleRecordingMethods','',1,0,0,431,0,'<h4 class=\"h4IntroTextSubtitle\">Ensemble Recording: Two Fundamental Miking Methods Compared</h4>\r\n\r\n<p>There are two fundamental methods of miking an ensemble in a room, and in this video I explain how each works in practice, demonstrating the differences with real-world audio examples from an acoustic session where I recorded both techniques simultaneously.</p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\r\n\r\n<p>\r\n<div data-wimpyplayer data-coverArt=\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_EnsembleRecordingMethodsHeader.jpg\" data-skin=\"/wimpy7/PatronsVideo640x360_001.tsv\" data-media=\'[{\"file\":\"[[$sitePrefixCMT]]SiteVideo/CMTPatrons_EnsembleRecordingMethods.mp4\",\"kind\":\"mp4\",\"title\":\"Cambridge Music Technology: Cambridge-MT Patrons Video Preview: Comparing Two Fundamental Ensemble-recording Techniques\"}]\'></div><br><br>\r\n</p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\r\n<ul>\r\n  <li>00:00 -- Intro<br><br></li>\r\n  <li>00:35 -- <strong>The Two Fundamental Methods Of Ensemble Recording</strong><br><br></li>\r\n\r\n  <li>00:42 -- <strong>Method 1: Dominant Array &amp; Spot Mics</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">01:30 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> dominant array</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">02:14 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> bass spot mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:00 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> dominant array &amp; bass spot mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">03:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> sax spot mic</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">04:15 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> dominant array &amp; both spot mics</span><br><br></li>\r\n  </ul>\r\n  <li>04:50 -- <strong>Method 2: Peer Arrays</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">05:33 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> bass peer array</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">05:47 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> sax peer array</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">06:10 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> bass &amp; sax peer arrays combined</span><br><br></li>\r\n  </ul>\r\n  <li>06:32 -- <strong>Method 1 Versus Method 2</strong></li>\r\n  <ul>\r\n    <li><span class=\"spanPodcastMiniText\">06:40 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of dominant-array and peer-array dry mixes</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">08:26 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> room mics</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">08:47 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> peer arrays & room mics</span></li>\r\n    <li><span class=\"spanPodcastMiniText\">09:46 -- <span class=\"spanPodcastMiniTextAudio\">demonstration:</span> comparison of dominant-array and peer-array wet mixes</span><br><br></li>\r\n  </ul>\r\n  <li>10:40 -- Credits <span class=\"spanPodcastMiniText\">(Total Running Time 11:12)</span></li>\r\n</ul>\r\n \r\n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\r\n\r\n<ul>\r\n<li><strong>Mix The Same Raw Multitracks Yourself:</strong> My raw multitracks for the music performed in this video (Zwiepack\'s \'Air\') can be downloaded directly from <a href=\"[[~373]]#Zwiepack\">The \'Mixing Secrets\' Free Multitrack Download Library</a>.<br><br></li>\r\n\r\n<li><strong>More About Dominant-array &amp; Peer-array Recording Techniques:</strong> For a more in-depth and wide-ranging explanation of dominant-array and peer-array recording approaches, check out chapters 9 and 10 of my latest Focal Press book <a href=\"[[~370]]\"><i>Recording Secrets For The Small Studio</i></a>.<br><br></li>\r\n</ul>\r\n\r\n[[$RSFTSSPicAndBlurb]]\r\n\r\n',1,6,0,1,1,1,1435738044,1,1458382172,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'CMTPatrons-EnsembleRecordingMethods.htm',0,0,1,NULL),(431,'document','text/html','PatronVideos','','','PatronVideos','',0,0,0,625,1,'','',1,6,2,1,1,1,1435738044,1,1458382153,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'PatronVideos/',0,0,1,NULL),(432,'document','text/html','BannerAds_MtkLib','','','BannerAds-MtkLib','',0,0,0,624,1,'','',1,0,1,1,1,1,1435738044,1,1458453127,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'BannerAds-MtkLib/',0,0,1,NULL),(433,'document','text/html','Resources_Misc','','','miscresourcepages','',0,0,0,0,1,'','',1,6,5,1,1,1,1435738044,1,1483086552,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'miscresourcepages/',0,0,1,NULL),(436,'document','text/html','RSFTSS_LMP_Kick01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Kick Drum','','rs-lmp-kick01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<p>The following audio examples were recorded with drummer Ant Fox in the Colin Hill Recital Room at Cambridge\'s <a href=\"[[$URL_HRSFC]]\">Hills Road Sixth Form College</a>. The instrument was captured with <a href=\"http://www.akg.com/pro\">AKG</a> D112 cardioid dynamic mics and Neumann U47 large-diaphragm supercardioid condenser mics (kindly loaned by UK equipment rental company <a href=\"http://www.fxgroup.net\">FX Rentals</a>) which were preamplified via the mic preamps of a Tascam DM3200 digital mixer and recorded digitally without any signal processing. Many thanks to the college\'s Director of Music, Jonathan Sanders, for the use of the recital room and its adjoining control room, and also to <a href=\"[[$URL_GeoffSmith]]\">Geoff Smith</a>, <a href=\"[[$URL_DanJeffries]]\">Dan Jeffries</a> and <a href=\"[[$URL_TomAdams]]\">Tom Adams</a> for their assistance with the sessions.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#Setup1\">MULTIMIC SETUP 1 (INSIDE THE DRUM)</a> -- <a href=\"#Setup1\">MULTIMIC SETUP 2 (OUTSIDE THE DRUM)</a><br>\r\n<a href=\"#Setup3\">MULTIMIC SETUP 3 (MIKING-DISTANCE &amp; ACOUSTIC-BAFFLING COMPARISONS)</a><br>\r\n<a href=\"#reading\">FURTHER READING</a></h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1\">MULTIMIC SETUP 1</a></h3>\r\n\r\n<p>This microphone setup used five AKG D112 microphones to capture 15 different mic positions within the kick drum. Four other microphones were also recorded alongside to provide more real-world context: a pair of Shure KSM141 small-diaphragm condenser microphones set up as overheads, so that you can hear how the close-mic signals relate to the sound of the whole kit in the room; and two Neumann U47 FET large-diaphragm supercardioid condenser microphones outside the drum, so that you can evaluate how each of the D112 signals works in commonly used \'inside+outside\' multimiking scenarios.</p>\r\n\r\n<ul>\r\n\r\n<li><strong>Inside The Drum:</strong> These audio examples feature six separate recording passes in total. First the instrument\'s resonant head was removed, and three passes were carried out with the horizontal row of D112s at different distances from the batter head. Then a resonant head (with five-inch-diameter mic-access hole) was fitted to the drum and the five D112s were recorded again from the same three miking distances.</li>\r\n\r\n</ul> \r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"3\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" rowspan=\"3\">Mic<br>Model</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"6\">Distance From Batter Head (D112)</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"3\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">2cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">20cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">35cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">2cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">20cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">35cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"3\">Resonant Head Off</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"3\">Resonant Head On</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"5\">AKG&nbsp;D112</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOff2cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOff20cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOff35cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOn2cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOn20cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1A_HeadOn35cm_D112LCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">6cm to the left of the beater-contact point, aiming straight at the batter head</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOff2cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOff20cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOff35cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOn2cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOn20cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1B_HeadOn35cm_D112CCC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Directly over the beater-contact point, aiming straight at the batter head</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOff2cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOff20cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOff35cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOn2cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOn20cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1C_HeadOn35cm_D112CCR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">6cm to the right of the beater-contact point, aiming straight at the batter head</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOff2cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOff20cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOff35cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOn2cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOn20cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1D_HeadOn35cm_D112CRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">12cm to the right of the beater-contact point, aiming straight at the batter head</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOff2cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOff20cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOff35cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOn2cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOn20cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1E_HeadOn35cm_D112RRR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">18cm to the right of the beater-contact point, aiming straight at the batter head</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">O</td>\r\n <td class=\"tdLMPFilesDescription\">Shure&nbsp;KSM141</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOff2cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOff20cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOff35cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOn2cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOn20cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1O_HeadOn35cm_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 cardioid condenser mics,<br>1.8m above the centre of the kit pointing downwards towards the snare\r\n</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">X</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Neumann<br>U47&nbsp;FET</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOff2cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOff20cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOff35cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOn2cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOn20cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1X_HeadOn35cm_U47FETOutside30cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">Y</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOff2cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOff20cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOff35cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOn2cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOn20cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_1Y_HeadOn35cm_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2\">MULTIMIC SETUP 2</a></h3>\r\n\r\n<p>This microphone setup used five AKG D112 close microphones on a drum with a full resonant head fitted. As in <a href=\"#Setup1\">Multimic Setup 1</a>, four additional microphones were recorded alongside for context: a pair of Shure KSM141 small-diaphragm condenser microphones set up as overheads (as shown in the Multimic Setup 1 diagram), and two Neumann U47 FET large-diaphragm supercardioid condenser microphones further away from the drum. In addition, I\'ve also included signals from a Sennheiser MD421 cardioid dynamic mic and a Neumann KM84 small-diaphragm cardioid condenser mic which were set up on the drum\'s batter-head side, so that you can evaluate the sound of each D112 signal within commonly used \'front+back\' multimiking scenarios.</p>\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Outside The Drum: </strong>For these audio examples the five D112s were all pointing directly at the drum\'s resonant head from a distance of 10cm.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01bHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Mic<br>Model</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"5\">AKG&nbsp;D112</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2A_HeadOn10cmOutide_D112LL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">12cm horizontally left of centre, 25cm from the top edge of the drum</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2B_HeadOn10cmOutide_D112LC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">6cm horizontally left of centre, 22cm from the top edge of the drum</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2C_HeadOn10cmOutide_D112CC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">horizontally central, 20cm from the top edge of the drum</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2D_HeadOn10cmOutide_D112CR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">6cm horizontally right of centre, 22cm from the top edge of the drum</td>\r\n  </tr>\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2E_HeadOn10cmOutide_D112RR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">12cm horizontally right of the centre, 25cm from the top edge of the drum</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">M</td>\r\n <td class=\"tdLMPFilesDescription\">Sennheiser&nbsp;MD421</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2M_HeadOn10cmOutside_MD421BatterHead`]]</td>\r\n  <td class=\"tdLMPFilesDescription\">30cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">N</td>\r\n <td class=\"tdLMPFilesDescription\">Neumann&nbsp;KM84</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2N_HeadOn10cmOutside_KM84BatterHead`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">O</td>\r\n <td class=\"tdLMPFilesDescription\">Shure&nbsp;KSM141</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2O_HeadOn10cmOutide_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 cardioid condenser mics,<br>1.8m above the centre of the kit pointing downwards towards the snare (See <a href=\"#Setup1\">Multimic Setup 1</a> diagram)\r\n</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">X</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"2\">Neumann<br>U47&nbsp;FET</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2X_HeadOn10cmOutide_U47FETOutside30cm`]]</td>\r\n  <td class=\"tdLMPFilesDescription\">30cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">Y</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_2Y_HeadOn10cmOutide_U47FETOutside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90cm outside the front of the drum, pointing towards the beater</td>\r\n  </tr>\r\n\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup3\">MULTIMIC SETUP 3</a></h3>\r\n\r\n<p>This microphone setup used five AKG D112 microphones on a kick drum fitted with a resonant head (featuring a five-inch-diameter mic-access hole). An additional stereo pair of Shure KSM141 small-diaphragm condenser microphones were also set up as overheads (as shown in the Multimic Setup 1 diagram) and recorded alongside the D112s for context. Three separate recording passes were recorded: one pass without any acoustic baffling of the D112s; a second pass with the D112s shielded from spill by a \'tunnel\' built out of four kick-drum shells gaffer-taped together (left picture below); and a third pass with the D112s shielded from spill by a thick layer of drapes, duvets, foam sheets, and carpets, all supported on an improvised frame constructed from four spare mic stands gaffer-taped together.\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01cVarsHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01cVars.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01cVarsHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Miking-distance & Acoustic-baffling Comparisons: </strong>These files demonstrate how frontal miking distance affects the sound of a kick-drum mic, and how two well-known acoustic-baffling techniques affect both the spill pickup and the sound of the kick drum itself.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01cHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01c.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01cHiRes.jpg\">here</a>. Photo courtesy of Chris Korff at <i>Sound On Sound</i> magazine.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Mic<br>Model</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n\r\n <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesDescription\" rowspan=\"5\">AKG&nbsp;D112</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3A_Distance_D112Inside`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Inside the drum, 30cm from the batter head, in line with the resonant head\'s mic-access hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3B_Distance_D112InHole`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Just outside the resonant head\'s mic-access hole</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3C_Distance_D112Outside25cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Outside the drum, pointing at the resonant head\'s mic-access hole from 25cm away</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3D_Distance_D112Outside45cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Outside the drum, pointing at the resonant head\'s mic-access hole from 45cm away</td>\r\n  </tr>\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3E_Distance_D112Outside90cm`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Outside the drum, pointing at the resonant head\'s mic-access hole from 90cm away</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">O</td>\r\n <td class=\"tdLMPFilesDescription\">Shure&nbsp;KSM141</td>\r\n <td class=\"tdLMPFilesDescription\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Kick01_3O_Distance_OH`]]</td>\r\n <td class=\"tdLMPFilesDescription\">XY stereo pair (mutual angle 100 degrees) of Shure KSM141 cardioid condenser mics,<br>1.8m above the centre of the kit pointing downwards towards the snare (See <a href=\"#Setup1\">Multimic Setup 1</a> diagram)\r\n</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"reading\">FURTHER READING</a></h3>\r\n\r\n<ul>\r\n\r\n<li>To read more about recording kick drum, check out this <a href=\"http://www.soundonsound.com/sos/jun08/articles/kickandsnare.htm\"><i>Sound On Sound</i> magazine article</a>, to which the above audio examples directly relate. You can also hear the additional microphones shown in some of the pictures above, as well as a shootout of a number of famous kick-drum recording microphones.<br><br></li>\r\n\r\n</ul>',1,6,5,1,1,1,1436852163,1,1465191503,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-kick01.htm',0,0,1,NULL),(437,'document','text/html','RSFTSS_LibraryMicPositions_Tester','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions','','rs-lmpTester','',1,0,0,24,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n<a href=\"#AcGtr01\">ACOUSTIC&nbsp;GUITAR</a> -- <a href=\"#ElecGtr01\">ELECTRIC&nbsp;GUITAR</a> -- <a href=\"#AcPno01\">GRAND&nbsp;PIANO</a> -- <a href=\"#AcPno02\">UPRIGHT&nbsp;PIANO</a><br>\r\n<a href=\"#Snare01\">SNARE&nbsp;DRUM</a> -- <a href=\"#Kick01\">KICK&nbsp;DRUM</a> -- <a href=\"#Cymb01\">CYMBALS</a> -- <a href=\"#AcBass01\">UPRIGHT BASS</a><br>\r\n<a href=\"#Sax01\">SAXOPHONES</a> -- <a href=\"#Clar01\">CLARINETS</a> -- <a href=\"#Flute01\">FLUTE</a>\r\n</h5>\r\n\r\n\r\n<p>The audio comparison files in this library are specifically designed to demonstrate the effects of microphone positioning as clearly as possible. To this end, each set of comparison files is made up of performances which have been multimiked using microphones of the same model, thereby minimising differences between the files on account of performance variation and microphone design. Because of this, you can import each family of files into your DAW and mix them together if you wish, perhaps to experiment with multimic combinations or phase interactions. All files are presented both in MP3 format (with an in-browser preview button) and in uncompressed 16-bit/44.1kHz WAV format.</p>\r\n\r\n\r\n\r\n<p>Below you can find links to the instrument-recordings available so far. Like the <a href=\"[[~373]]\">\'Mixing Secrets\' Free Multitrack Download Library</a>, this will be a continually expanding resource, so if you want to keep track of the latest uploads please subscribe to my monthly spam-free \'<a href=\"[[~372]]\">Small-studio Secrets News<a>\' mailing list. I usually post to this list towards the end of the month, and it also includes information about the latest additions to my <a href=\"[[~22]]\"><i>Mixing Secrets For The Small Studio</i> resources</a>. If you have any suitable multimic recordings that you\'d be willing to contribute to the library, then do <a href=\"[[~420]]\">get in touch</a>.</p>\r\n\r\n\r\n\r\n<p>Many musicians, engineers, and companies have generously helped with the recording sessions that generated these audio comparison files, and I\'ve credited them individually on the specific instrument pages. If you find these pages useful, then please follow the links and show your appreciation in any way you can. <strong>All downloads from this site are provided free of charge for educational purposes only, and the material contained in them should not be used for any commercial purpose without the express permission of the copyright holders.</strong></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcGtr01\"><a href=\"[[~364]]\">ACOUSTIC GUITAR</a>: <span class=\"spanExampleFile\">(96 files)</span></h3>\r\n\r\n<ul>\r\n<li>Three guitars, two multimic setups, and 22 mic positions, as well as demonstrations of absorption/reflection measures and some stereo mic combinations.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~364]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcGtr01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"ElecGtr01\"><a href=\"[[~366]]\">ELECTRIC GUITAR</a>: <span class=\"spanExampleFile\">(11 files)</span></h3>\r\n\r\n<ul>\r\n<li>A Fender Telecaster was played through a rather natty snakeskin-finish Fender Twin Reverb amplifier, and recorded using four different multimic rigs.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~366]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_ElecGtr01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcPno01\"><a href=\"[[~363]]\">GRAND PIANO</a>: <span class=\"spanExampleFile\">(73 files)</span></h3>\r\n\r\n<ul>\r\n<li>A seven-foot Yamaha grand piano recorded in a medium-sized rectangular recital hall. A total of nine multimic setups were recorded, both inside and outside the piano, and with variations for half-open, closed, and removed lid. A variety of different stereo configurations are also demonstrated.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~363]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcPno02\"><a href=\"[[~435]]\">UPRIGHT PIANO</a>: <span class=\"spanExampleFile\">(18 files)</span></h3>\r\n\r\n<ul>\r\n<li>A Yamaha upright piano recorded in stereo in a medium-sized rectangular recital hall. Different multimic setups were recorded with the instrument\'s panels on and off, and variations were also done for three different miking distances.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~435]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcPno02Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Snare01\"><a href=\"[[~365]]\">SNARE DRUM</a>: <span class=\"spanExampleFile\">(17 files)</span></h3>\r\n\r\n<ul>\r\n<li>A snare drum was captured through a multimic array of five mics as part of a full-drumkit performance. In addition, three different snare drums were recorded with the same above/below mic close-mic pair. All files are provided with overhead-mic recordings alongside for context.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~365]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Snare01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Kick01\"><a href=\"[[~436]]\">KICK DRUM</a>: <span class=\"spanExampleFile\">(76 files)</span></h3>\r\n\r\n<ul>\r\n<li>A single kick drum was captured through a multimic array of five mics as part of a full-drumkit performance. Several additional mics were also recorded alongside to allow evaluation of the mic positions within the context of common \'inside+outside\' and \'front+back\' multimiking configurations. Two well-known spill-reduction  methods are showcased too.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~436]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Kick01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Cymb01\"><a href=\"[[~445]]\">CYMBALS</a>: <span class=\"spanExampleFile\">(40 files)</span></h3>\r\n\r\n<ul>\r\n<li>Four different cymbals (two crashes, a ride, and a china) were captured through two different five-mic arrays.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~445]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"AcBass01\"><a href=\"[[~460]]\">UPRIGHT BASS</a>: <span class=\"spanExampleFile\">(90 files)</span></h3>\r\n\r\n<ul>\r\n<li>A range of both plucked and bowed acoustic-bass performance techniques were captured through two different eight-mic arrays, each made up of five identical small-diaphragm condenser mics and three identical ribbon mics. A DI signal was also taken from the instrument\'s bridge pickup so you can experiment with combining that with the mic positions.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~460]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Sax01\"><a href=\"[[~461]]\">SAXOPHONES</a>: <span class=\"spanExampleFile\">(40 files)</span></h3>\r\n\r\n<ul>\r\n<li>Four different saxophones (soprano, alto, tenor, and baritone) were captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~461]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01Header.jpg\"></a><br><br></p>\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Clar01\"><a href=\"[[~462]]\">CLARINETS</a>: <span class=\"spanExampleFile\">(20 files)</span></h3>\r\n\r\n<ul>\r\n<li>Two different clarinets (a Bb clarinet and a bass clarinet) were captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~462]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01Header.jpg\"></a><br><br></p>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Flute01\"><a href=\"[[~463]]\">FLUTE</a>: <span class=\"spanExampleFile\">(10 files)</span></h3>\r\n\r\n<ul>\r\n<li>A western flute was captured through two different five-mic arrays within a typical home-studio overdubbing environment.</li>\r\n</ul>\r\n\r\n<p align=\"center\"><a href=\"[[~463]]\"><img border=\"0\" src=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01Header.jpg\"></a><br><br></p>',1,6,4,1,1,1,1437111349,1,1445377347,0,0,0,1427268540,1,'',0,0,0,0,0,'modDocument','web',1,'rs-lmpTester.htm',0,0,1,NULL),(438,'document','text/html','August 2015','','','August-2015','',1,0,0,31,1,'','',1,7,20,1,1,1,1437578308,1,1437578635,0,0,0,1437578635,1,'',0,0,0,0,0,'modDocument','web',1,'August-2015/',0,0,1,NULL),(439,'document','text/html','I Got You (I Feel Good)','','','I-Got-You-(I-Feel-Good)','',1,0,0,438,0,'','',1,8,4,1,1,1,1437578308,1,1437578607,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'I-Got-You-(I-Feel-Good).htm',0,0,1,NULL),(440,'document','text/html','The Book Thief','','','The-Book-Thief','',1,0,0,438,0,'','',1,8,2,1,1,1,1437578308,1,1437578506,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'The-Book-Thief.htm',0,0,1,NULL),(441,'document','text/html','Heart Is A Drum','','','Heart-Is-A-Drum','',1,0,0,438,0,'','',1,8,1,1,1,1,1437578308,1,1437578477,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Heart-Is-A-Drum.htm',0,0,1,NULL),(442,'document','text/html','Love Me Like You Do','','','Love-Me-Like-You-Do','',1,0,0,438,0,'','',1,8,0,1,1,1,1437578308,1,1437578445,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Love-Me-Like-You-Do.htm',0,0,1,NULL),(443,'document','text/html','Hold My Hand','','','Hold-My-Hand','',1,0,0,438,0,'','',1,8,3,1,1,1,1437578543,1,1437578557,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Hold-My-Hand.htm',0,0,1,NULL),(444,'document','text/html','August 2015: Spektakulatius','','','August-2015','',1,0,0,103,0,'','',1,9,2,1,1,1,1437578718,1,1437578889,0,0,0,1437578889,1,'',0,0,0,0,0,'modDocument','web',1,'August-2015.htm',0,0,1,NULL),(445,'document','text/html','RSFTSS_LMP_Cymb01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Cymbals','','rs-lmp-cymb01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with drummer Peter Zimre in a large, high-ceilinged converted loft space. The microphones used were <a href=\"http://www.avantonepro.com\">Avantone</a> CK1 small-diaphragm condenser mics, preamplified via an <a href=\"https://www.audient.com\">Audient</a> ASP008 multi-channel microphone preamp and recorded digitally without any signal processing.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (ANGLES IN THE VERTICAL PLANE)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (POSITIONS ABOVE THE CYMBAL)</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microophones with their cardioid capsules to record the angular dispersion of four different cymbals: a nineteen-inch Sabian AAX X-Plosion Crash (\'Crash 1\', shown below); an eighteen-inch Sabian AA Medium Thin Crash (\'Crash 2\'); a twenty-inch Zildjian K Custom Ride (\'Ride\'); and a nineteen-inch AAX X-Treme Chinese (\'China\').</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>ANGLES IN THE VERTICAL PLANE:</strong> With the cymbal set up on a stand about 1.3m from the floor, the mics were placed on the vertical plane of the player at five different angles to the cymbal: directly above the cymbal; 30 degrees from vertical; 60 degrees from vertical; on the horizontal plane of the cymbal; and 30 degrees below the horizontal plane of the cymbal. All mics were approximately 60cm from the cymbal\'s bell in each case.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Cymba01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"4\">Cymbal</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Crash 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Crash 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Ride</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">China</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1A_Crash1_Vertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1A_Crash2_Vertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1A_Ride_Vertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1A_China_Vertical`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Above the cymbal</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1B_Crash1_30DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1B_Crash2_30DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1B_Ride_30DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1B_China_30DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30 degrees from vertical</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1C_Crash1_60DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1C_Crash2_60DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1C_Ride_60DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1C_China_60DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesDescription\">60 degrees from vertical</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1D_Crash1_90DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1D_Crash2_90DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1D_Ride_90DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1D_China_90DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On the horizontal plane of the cymbal</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1E_Crash1_120DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1E_Crash2_120DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1E_Ride_120DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_1E_China_120DegreesFromVertical`]]</td>\r\n <td class=\"tdLMPFilesDescription\">30 degrees below the horizontal plane of the cymbal</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microophones with their cardioid capsules to record different above-cymbal placements for the same four different cymbals: a nineteen-inch Sabian AAX X-Plosion Crash (\'Crash 1\'); an eighteen-inch Sabian AA Medium Thin Crash (\'Crash 2\'); a twenty-inch Zildjian K Custom Ride (\'Ride\', shown below); and a nineteen-inch AAX X-Treme Chinese (\'China\').</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Positions Above The Cymbal:</strong> With the cymbal set up on a stand about 1.3m from the floor, the mics were placed on the horizontal line roughly 45cm above the cymbal surface pointing downwards at five different locations on the cymbal: the player\'s edge; midway between the player\'s edge and the bell; directly on the bell; midway between the bell and the far far edge; and the far edge.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Cymb01bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"4\">Cymbal</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Crash 1</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Crash 2</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Ride</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">China</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2A_Crash1_CloseEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2A_Crash2_CloseEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2A_Ride_CloseEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2A_China_CloseEdge`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing at the player\'s edge</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2B_Crash1_CloseMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2B_Crash2_CloseMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2B_Ride_CloseMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2B_China_CloseMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing midway between the player\'s edge and the bell</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2C_Crash1_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2C_Crash2_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2C_Ride_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2C_China_Bell`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing directly at the bell</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2D_Crash1_FarMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2D_Crash2_FarMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2D_Ride_FarMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2D_China_FarMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing midway between the far edge and the bell</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2E_Crash1_FarEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2E_Crash2_FarEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2E_Ride_FarEdge`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Cymb01_2E_China_FarEdge`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing at the far edge</td>\r\n  </tr>\r\n\r\n</table>',1,6,6,1,1,1,1443465137,1,1465191515,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-cymb01.htm',0,0,1,NULL),(446,'document','text/html','September 2015','','','September-2015','',1,0,0,31,1,'','',1,7,19,1,1,1,1443555623,1,1443555993,0,0,0,1443555993,1,'',0,0,0,0,0,'modDocument','web',1,'September-2015/',0,0,1,NULL),(447,'document','text/html','Hold Back The River','','','Hold-Back-The-River','',1,0,0,446,0,'','',1,8,3,1,1,1,1443555623,1,1443555901,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Hold-Back-The-River.htm',0,0,1,NULL),(448,'document','text/html','See You Again','','','See-You-Again','',1,0,0,446,0,'','',1,8,2,1,1,1,1443555623,1,1443555856,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'See-You-Again.htm',0,0,1,NULL),(449,'document','text/html','Cheerleader (Felix Jaehn Remix)','','','Cheerleader-(Fred-Jaehn-Remix)','',1,0,0,446,0,'','',1,8,1,1,1,1,1443555623,1,1443555788,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Cheerleader-(Fred-Jaehn-Remix).htm',0,0,1,NULL),(450,'document','text/html','Wish You Were Mine','','','Wish-You-Were-Mine','',1,0,0,446,0,'','',1,8,0,1,1,1,1443555623,1,1443555729,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Wish-You-Were-Mine.htm',0,0,1,NULL),(451,'document','text/html','Elastic Heart','','','sakjhs','',1,0,0,446,0,'','',1,8,4,1,1,1,1443555804,1,1443555942,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sakjhs.htm',0,0,1,NULL),(452,'document','text/html','You\'re Still The One','','','asdfdas','',1,0,0,446,0,'','',1,8,5,1,1,1,1443555877,1,1443555977,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'asdfdas.htm',0,0,1,NULL),(453,'document','text/html','October 2015','','','October-2015','',1,0,0,31,1,'','',1,7,18,1,1,1,1443556080,1,1443556405,0,0,0,1443556320,1,'',0,0,0,0,0,'modDocument','web',1,'October-2015/',0,0,1,NULL),(454,'document','text/html','Trap Queen','','','Trap-Queen','',1,0,0,453,0,'','',1,8,3,1,1,1,1443556080,1,1443556269,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Trap-Queen.htm',0,0,1,NULL),(455,'document','text/html','Runaway (U &amp; I)','','','Runaway-(U-and-I)','',1,0,0,453,0,'','',1,8,2,1,1,1,1443556080,1,1443556245,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Runaway-(U-and-I).htm',0,0,1,NULL),(456,'document','text/html','Let It Be','','','Let-It-Be','',1,0,0,453,0,'','',1,8,1,1,1,1,1443556080,1,1443556203,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Let-It-Be.htm',0,0,1,NULL),(457,'document','text/html','Lean On','','','Lean-On','',1,0,0,453,0,'','',1,8,4,1,1,1,1443556080,1,1443556313,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Lean-On.htm',0,0,1,NULL),(458,'document','text/html','King','','','sdfds','',1,0,0,453,0,'','',1,8,0,1,1,1,1443556117,1,1443556157,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sdfds.htm',0,0,1,NULL),(459,'document','text/html','Ironic','','','sadfdsa','',1,0,0,453,0,'','',1,8,5,1,1,1,1443556124,1,1443556342,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sadfdsa.htm',0,0,1,NULL),(460,'document','text/html','RSFTSS_LMP_AcBass01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Acoustic Upright Bass','','rs-lmp-acbass01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with session bass player Markus Braun in a spacious, wooded-floored performance space with a generous (and pleasant-sounding) room reverb. The microphones used were <a href=\"http://www.avantonepro.com\">Avantone</a> CK1 small-diaphragm condensers and <a href=\"http://www.superlux.us\">Superlux</a> R102 ribbons, preamplified via an <a href=\"https://www.audient.com\">Audient</a> ASP008 multi-channel microphone preamp and recorded digitally without any signal processing. A <a href=\"http://www.radialeng.com\">Radial Engineering</a> Pro 48 DI box was also fed from the instrument\'s bridge pickup system and recorded alongside the microphone recordings, so you can experiment with how it combines in practice.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (VERTICAL DISPERSION AT DIFFERENT ANGLES/DISTANCES)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (HORIZONTAL &amp; VERTICAL DISPERSION)</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) and three Superlux R102 ribbon microphones (with figure-eight pickup by nature) to record the vertical dispersion of an acoustic bass, for both plucked and bowed performance techniques. A DI signal was also captured simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Vertical Dispersion At Different Angles/Distances:</strong> For the first set of audio examples, the vertical array of eight mics (five condensers and three ribbons) were set up around 25cm away from the front of the instrument, directly on-axis to its centre line (ie. the tailpiece, bridge, and fingerboard), as shown in the picture. Then, with the bass spike remaining in the same position, the instrument was rotated about 30 degrees off-axis to the array in both directions to generate a further two sets of audio files. Finally, the on-axis instrument position was repeated, but at a distance of around 50cm, generating the fourth set of files.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"4\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"8\">Distance/Angle</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" rowspan=\"4\">Mic Type</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"4\">Position</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"6\">25cm</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"2\">50cm</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"2\">Mics On-axis</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"2\">30&#176;&nbsp;To&nbsp;Player\'s&nbsp;Left</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"2\">30&#176;&nbsp;To&nbsp;Player\'s&nbsp;Right</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"2\">Mics On-axis</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Plucked</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bowed</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Plucked</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bowed</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Plucked</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bowed</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Plucked</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bowed</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmC_Plucked_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmC_Bowed_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmL_Plucked_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmL_Bowed_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmR_Plucked_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_25cmR_Bowed_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_50cmC_Plucked_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1A_50cmC_Bowed_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the fingerboard at a level midway up the instrument\'s neck</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmC_Plucked_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmC_Bowed_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmL_Plucked_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmL_Bowed_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmR_Plucked_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_25cmR_Bowed_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_50cmC_Plucked_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1B_50cmC_Bowed_CK1_HighMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the fingerboard at the level of the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmC_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmC_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmL_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmL_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmR_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_25cmR_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_50cmC_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1C_50cmC_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the fingerboard, at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmC_Plucked_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmC_Bowed_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmL_Plucked_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmL_Bowed_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmR_Plucked_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_25cmR_Bowed_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_50cmC_Plucked_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1D_50cmC_Bowed_CK1_LowMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing directly at the bridge</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmC_Plucked_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmC_Bowed_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmL_Plucked_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmL_Bowed_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmR_Plucked_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_25cmR_Bowed_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_50cmC_Plucked_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1E_50cmC_Bowed_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the tailpiece at a level midway between the bridge and the floor</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmC_Plucked_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmC_Bowed_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmL_Plucked_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmL_Bowed_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmR_Plucked_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_25cmR_Bowed_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_50cmC_Plucked_R102_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1F_50cmC_Bowed_R102_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the fingerboard at the level of the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">G</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmC_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmC_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmL_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmL_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmR_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_25cmR_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_50cmC_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1G_50cmC_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing slightly downwards at the bridge</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">H</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmC_Plucked_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmC_Bowed_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmL_Plucked_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmL_Bowed_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmR_Plucked_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_25cmR_Bowed_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_50cmC_Plucked_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1H_50cmC_Bowed_R102_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing towards the tailpiece at a level midway between the bridge and the floor</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGrey\">(DI)</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmC_Plucked_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmC_Bowed_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmL_Plucked_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmL_Bowed_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmR_Plucked_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_25cmR_Bowed_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_50cmC_Plucked_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_1X_50cmC_Bowed_DI`]]</td>\r\n <td class=\"tdLMPFilesDescription\">(Active DI box)</td>\r\n <td class=\"tdLMPFilesDescription\">DI signal from instrument\'s bridge pickup system</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used three Avantone CK1 microphones (with their cardioid capsules) and three Superlux R102 ribbon microphones (with figure-eight pickup by nature) to record the horizontal dispersion of an acoustic bass, for both plucked and bowed performance techniques. In addition, a further two CK1s were set up in lower and higher positions to relate the audio examples better to those in <a href=\"#Setup1Diagram\">Multimic Setup 1</a>. Again, a DI signal was also captured simultaneously.</p>\r\n\r\n\r\n\r\n<ul>\r\n<li><strong>Horizontal &amp; Vertical Dispersion:</strong> For this set of audio examples, the condenser microphones were set up in a cross-shaped formation, with all mics pointing inwards towards the instrument from a distance of around 60cm. The three ribbon microphones were set up alongside each of the horizontal trio of condensers. Mics B, D, E, and G were all directly on-axis to the instrument\'s centre line (ie. the tailpiece, bridge, and fingerboard); Mics A and F were around 40 degrees off-axis to the player\'s left; and Mics C and H were around 40 degrees off-axis to the player\'s right.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_AcBass01bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Plucked</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bowed</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Mic Type</td>\r\n    <td class=\"tdLMPFilesDescriptionHeader\">Distance</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Angle</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2A_60cmL_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2A_60cmL_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s left, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2B_60cmC_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2B_60cmC_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2C_60cmR_Plucked_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2C_60cmR_Bowed_CK1_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s right, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2D_60cmC_Plucked_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2D_60cmC_Bowed_CK1_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing a little downwards towards the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2E_60cmC_Plucked_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2E_60cmC_Bowed_CK1_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Small&#8209;diaphragm cardioid&nbsp;condenser</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing towards the tailpiece at a level midway between the bridge and the floor</td>\r\n  </tr>\r\n\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">F</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2F_60cmL_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2F_60cmL_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s left, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">G</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2G_60cmC_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2G_60cmC_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterYellow\">H</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2H_60cmR_Plucked_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2H_60cmR_Bowed_R102_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Figure&#8209;eight ribbon microphone</td>\r\n <td class=\"tdLMPFilesDescription\">60cm</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s right, pointing towards the fingerboard at a level midway between the bridge and the neck/body joint</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGrey\">(DI)</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2X_60cm_Plucked_DI`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_AcBass01_2X_60cm_Bowed_DI`]]</td>\r\n <td class=\"tdLMPFilesDescription\">(Active DI box)</td>\r\n <td class=\"tdLMPFilesDescription\"></td>\r\n <td class=\"tdLMPFilesDescription\">DI signal from instrument\'s bridge pickup system</td>\r\n  </tr>\r\n\r\n</table>',1,6,7,1,1,1,1444944993,1,1465191528,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-acbass01.htm',0,0,1,NULL),(461,'document','text/html','RSFTSS_LMP_Sax01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Soprano, Alto, Tenor &amp; Baritone Saxophones','','rs-lmp-sax01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with talented composer and multi-instrumentalist <a href=\"http://christianbolz.de\">Christian Bolz</a> in his home studio, a carpeted 4x5m room with wood-panelled walls and ceiling. The microphones used were <a href=\"http://www.avantonepro.com\">Avantone</a> CK1 small-diaphragm condensers.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (VERTICAL DISPERSION ON AXIS)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (HORIZONTAL &amp; VERTICAL DISPERSION)</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the vertical dispersion characteristics of four different saxophones: soprano, alto, tenor, and baritone.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Vertical Dispersion On Axis:</strong> For these audio examples, all the mics were set up around 20cm from the instrument at different heights. For each instrument, one the microphones was deliberately aimed directly into the bell of the instrument, as indicated in the table below.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"4\">Saxophone Type</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Soprano</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Alto</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Tenor</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bass</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At eye level pointing downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At chin level pointing slightly downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At chest height pointing slightly downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_1D_20cm_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_1D_20cm_LowMid_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_1D_20cm_LowMid_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_1D_20cm_LowMid_Bell`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At waist height pointing towards the instrument (and aimed directly into the instrument\'s bell in the case of alto, tenor, and baritone saxes)</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_1E_20cm_Low_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_1E_20cm_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_1E_20cm_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_1E_20cm_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing upwards towards the instrument from below (and aimed directly into the instrument\'s bell in the case of soprano sax)</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the horizontal and vertical dispersion characteristics of the same four saxophones as in <a href=\"#Setup1Diagram\">Multimic Setup 1</a>.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Horizontal &amp; Vertical Dispersion:</strong> For this set of audio examples, the microphones were set up in a cross-shaped formation, with all mics pointing inwards towards the instrument from a distance of around 50cm. Mics B, D, and E were on-axis to the instrument; Mic A was around 40 degrees off-axis to the player\'s left; and Mic A was around 40 degrees off-axis to the player\'s right.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Sax01bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\" rowspan=\"2\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\" colspan=\"4\">Saxophone Type</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\" rowspan=\"2\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Soprano</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Alto</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Tenor</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bass</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s left, pointing towards the instrument at elbow height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing towards it at elbow height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s right, pointing towards the instrument at elbow height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing downwards at the instrument from head height; all saxes miked on axis except baritone (10 degrees off-axis to the player\'s right)</tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Soprano_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Alto_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Tenor_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Sax01_Baritone_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing upwards towards it from below</td>\r\n  </tr>\r\n\r\n</table>',1,6,8,1,1,1,1445363519,1,1465191540,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-sax01.htm',0,0,1,NULL),(462,'document','text/html','RSFTSS_LMP_Clar01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Bb Clarinet &amp; Bass Clarinet','','rs-lmp-clar01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with talented composer and multi-instrumentalist <a href=\"http://christianbolz.de\">Christian Bolz</a> in his home studio, a carpeted 4x5m room with wood-panelled walls and ceiling. The microphones used were <a href=\"http://www.avantonepro.com\">Avantone</a> CK1 small-diaphragm condensers.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (VERTICAL DISPERSION ON AXIS)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (HORIZONTAL &amp; VERTICAL DISPERSION)</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the vertical dispersion characteristics of a Bb Clarinet and a Bass Clarinet.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Vertical Dispersion On Axis:</strong> For these audio examples, all the mics were set up around 20cm from the instrument at different heights.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bb&nbsp;Clarinet</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bass&nbsp;Clarinet</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_1A_20cm_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At eye level pointing downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_1B_20cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately chin level pointing slightly downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_1C_20cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately chest height pointing slightly downwards towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_1D_20cm_LowMid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_1D_20cm_LowMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately waist height pointing towards the instrument.</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_1E_20cm_Low_Bell`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_1E_20cm_Low_Bell`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing directly into the instrument\'s bell</td>\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the horizontal and vertical dispersion characteristics of the same two clarinets as in <a href=\"#Setup1Diagram\">Multimic Setup 1</a>.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Horizontal &amp; Vertical Dispersion:</strong> For this set of audio examples, the microphones were set up in a cross-shaped formation, with all mics pointing inwards towards the instrument from a distance of around 50cm. Mics B, D, and E were on-axis to the instrument; Mic A was around 40 degrees off-axis to the player\'s left; and Mic A was around 40 degrees off-axis to the player\'s right.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Clar01bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bb&nbsp;Clarinet</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\">Bass&nbsp;Clarinet</td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_2A_50cmL_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s left, pointing towards the instrument at waist height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_2B_50cmC_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing towards it at waist height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_2C_50cmR_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">40 degrees to the player\'s right, pointing towards the instrument at waist height</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_2D_50cmC_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing downwards at it from head height</tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bb_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Clar01_Bass_2E_50cmC_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">On axis to the instrument, pointing upwards at it from below</td>\r\n  </tr>\r\n\r\n</table>',1,6,9,1,1,1,1445367115,1,1465191553,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-clar01.htm',0,0,1,NULL),(463,'document','text/html','RSFTSS_LMP_Flute01','The \'<a href=\"[[~370]]\">Recording Secrets</a>\' Library Of Microphone Positions:<br>Flute','','rs-lmp-flute01','',1,0,0,368,0,'','<h3 class=\"h3ResourceTitle\">[[*longtitle]]</h3>\r\n\r\n\r\n<p>The following audio examples were recorded with talented composer and multi-instrumentalist <a href=\"http://christianbolz.de\">Christian Bolz</a> in his home studio, a carpeted 4x5m room with wood-panelled walls and ceiling. The microphones used were <a href=\"http://www.avantonepro.com\">Avantone</a> CK1 small-diaphragm condensers.</p>\r\n\r\n[[+shuffledBanner0]][[+shuffledBanner1]][[+shuffledBanner2]]\r\n\r\n<h5 class=\"h5ResourceCategoryLinks\">\r\n\r\n<a href=\"#Setup1Diagram\">MULTIMIC SETUP 1 (VERTICAL DISPERSION)</a> -- \r\n\r\n<a href=\"#Setup2Diagram\">MULTIMIC SETUP 2 (HORIZONTAL DISPERSION)</a><br>\r\n\r\n</h5>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup1Diagram\">MULTIMIC SETUP 1</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the vertical dispersion characteristics of a flute.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Vertical Dispersion:</strong> For these audio examples, all the mics were set up around 40cm from the instrument at different heights.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01aHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01a.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01aHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_1A_40cm_High`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Just above head height pointing towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_1B_40cm_HighMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately eye level pointing towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_1C_40cm_Mid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately chin level pointing towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_1D_40cm_LowMid`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately chest height pointing towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_1E_40cm_Low`]]</td>\r\n <td class=\"tdLMPFilesDescription\">At approximately waist height pointing towards the instrument.</td>\r\n\r\n  </tr>\r\n\r\n</table>\r\n\r\n<br><br>\r\n\r\n\r\n<h3 class=\"h3ResourceCategory\"><a name=\"Setup2Diagram\">MULTIMIC SETUP 2</a></h3>\r\n\r\n\r\n\r\n<p>This microphone setup used five Avantone CK1 microphones (with their cardioid capsules) to record the horizontal dispersion characteristics of the same flute as in <a href=\"#Setup1Diagram\">Multimic Setup 1</a>.\r\n\r\n\r\n\r\n<ul>\r\n\r\n<li><strong>Horizontal Dispersion:</strong> For this set of audio examples, the microphones were set up in a line slightly tilted from the horizontal plane (to match the natural slant of the instrument during use) with all mics approximately 20cm above the level of the instrument, pointing downwards towards it.</li>\r\n\r\n</ul>\r\n\r\n\r\n\r\n<p class=\"pLMPPics\"><a href=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01bHiRes.jpg\"><img src=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01b.jpg\"></a><br>(For a higher-resolution image, click <a href=\"[[$sitePrefixCMT]]SitePix/LMP_Flute01bHiRes.jpg\">here</a>.)<br><br></p>\r\n\r\n\r\n<table class=\"tableLMPFiles\">\r\n\r\n  <tr>\r\n    <td class=\"tdLMPFilesMicLetterHeader\">Mic</td>\r\n    <td class=\"tdLMPFilesHeaderCompact\"></td>\r\n    <td class=\"tdLMPFilesDescriptionHeaderStretch\">Position</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterBlue\">A</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_2A_30cmR`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90 degrees to the player\'s right, pointing towards the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterPink\">B</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_2B_30cmRC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the tail of the instrument, pointing slightly inwards</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterGreen\">C</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_2C_30cmC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">Pointing at the centre of the instrument</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterOrange\">D</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_2D_30cmLC`]]</td>\r\n <td class=\"tdLMPFilesDescription\">In front of the mouthpiece of the instrument, pointing slightly inwards</td>\r\n  </tr>\r\n\r\n  <tr>\r\n <td class=\"tdLMPFilesMicLetterRed\">E</td>\r\n <td class=\"tdLMPFilesCompact\">[[playerWavMp3Button? &compact=`1` &exampleFile=`LMP/RS_LMP_Flute01_2E_30cmL`]]</td>\r\n <td class=\"tdLMPFilesDescription\">90 degrees to the player\'s left, pointing towards the instrument</td>\r\n\r\n  </tr>\r\n\r\n</table>',1,6,10,1,1,1,1445368710,1,1467376400,0,0,0,0,0,'',0,0,0,0,0,'modDocument','web',1,'rs-lmp-flute01.htm',0,0,1,NULL),(464,'document','text/html','September 2015: Malenky Slovos','','','September-2015-Malenky-Slovos','',1,0,0,103,0,'','',1,9,1,1,1,1,1445512827,1,1445513113,0,0,0,1445513113,1,'',0,0,0,0,0,'modDocument','web',1,'September-2015-Malenky-Slovos.htm',0,0,1,NULL),(465,'document','text/html','November 2015','','','askjdgas','',1,0,0,31,1,'','',1,7,17,1,1,1,1445513196,1,1445513736,0,0,0,1445513736,1,'',0,0,0,0,0,'modDocument','web',1,'askjdgas/',0,0,1,NULL),(466,'document','text/html','Dead Inside','','','Dead-Inside','',1,0,0,465,0,'','',1,8,4,1,1,1,1445513196,1,1445513554,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Dead-Inside.htm',0,0,1,NULL),(467,'document','text/html','Not Letting Go','','','Not-Letting-Go','',1,0,0,465,0,'','',1,8,3,1,1,1,1445513196,1,1445513536,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Not-Letting-Go.htm',0,0,1,NULL),(468,'document','text/html','Where Are You Now','','','Where-Are-You-Now','',1,0,0,465,0,'','',1,8,2,1,1,1,1445513196,1,1445513510,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Where-Are-You-Now.htm',0,0,1,NULL),(469,'document','text/html','Want To Want Me','','','Want-To-Want-Me','',1,0,0,465,0,'','',1,8,1,1,1,1,1445513196,1,1445513409,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Want-To-Want-Me.htm',0,0,1,NULL),(470,'document','text/html','TemplateTrack5','','','TemplateTrack6','',1,0,0,43,0,'','',1,8,4,1,1,1,1445513295,1,1445513303,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'TemplateTrack6.htm',0,0,1,NULL),(471,'document','text/html','Shut Up And Dance','','','asdfadsfd','',1,0,0,465,0,'','',1,8,0,1,1,1,1445513324,1,1445513382,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'asdfadsfd.htm',0,0,1,NULL),(472,'document','text/html','The Goldberg Variations','','','sdfsd','',1,0,0,465,0,'','',1,8,5,1,1,1,1445513329,1,1445513727,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'sdfsd.htm',0,0,1,NULL),(474,'document','text/html','January 2016: BolzKnecht','','Minimalist Guitar Duo Recording','January-2016-BolzKnecht','',1,0,0,110,0,'','',1,10,6,1,1,1,1451406970,1,1461046669,0,0,0,1451407140,1,'',0,0,0,0,0,'modDocument','web',1,'January-2016-BolzKnecht.htm',0,0,1,NULL),(475,'document','text/html','January 2016','','','January-2016','',1,0,0,31,1,'','',1,7,15,1,1,1,1451407266,1,1451407662,0,0,0,1451407662,1,'',0,0,0,0,0,'modDocument','web',1,'January-2016/',0,0,1,NULL),(476,'document','text/html','Coming To','','','Coming-To','',1,0,0,475,0,'','',1,8,0,1,1,1,1451407266,1,1451407499,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Coming-To.htm',0,0,1,NULL),(477,'document','text/html','Hotline Bling','','','Hotline-Bling','',1,0,0,475,0,'','',1,8,1,1,1,1,1451407266,1,1451407464,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Hotline-Bling.htm',0,0,1,NULL),(478,'document','text/html','Hello','','','Hello','',1,0,0,475,0,'','',1,8,2,1,1,1,1451407266,1,1451407557,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Hello.htm',0,0,1,NULL),(479,'document','text/html','Fight Song','','','Fight-Song','',1,0,0,475,0,'','',1,8,3,1,1,1,1451407266,1,1451407597,0,0,0,1426063080,1,'',0,0,0,0,0,'modDocument','web',1,'Fight-Song.htm',0,0,1,NULL),(480,'document','text/html','You Really Got 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In addition, you can hear my unvarnished verdict on the new Auratone 5C Super Sound Cube reissue, which I\'ve compared against some 1980-vintage Auratones, the Avantone Mix Cube, and several other single-driver midrange speakers.</p>\n<p>\n<div data-wimpyplayer data-inline=\"1\" data-skin=\"wimpy7/PodcastPlayer002.tsv\" data-media=\'http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1603thedon.mp3\'></div>\n</p>\n<br>\n<p><span class=\"spanPodcastMiniText\">320kbps MP3 playback quality (downloadable versions: <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1603thedon.mp3\">320kbps MP3</a>; <a href=\"http://www.patronpodcasts.cambridge-mt.com/CambridgeMT_PatronsPodcast1603thedon_HiRes.zip\">24-bit/44.1kHz WAV</a>)</a></span></p>','<h5 class=\"h5ResourceCategoryLinks\"><a href=\"#contents\">TABLE OF CONTENTS</a> -- <a href=\"#resources\">RELATED RESOURCES</a></h5>\n\n<h3 class=\"h3ResourceCategory\"><a name=\"contents\">TABLE OF CONTENTS</a></h3>\n<ul>\n  <li>00:00 -- Intro<br><br></li>\n  <li>02:45 -- <strong>Mix Critique: Justin Myles\'s \'Alone With You\': mix version 3 by <a href=\"http://discussion.cambridge-mt.com/member.php?action=profile&uid=1785\">thedon</a></strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">03:25 - 09:30 -- [[$podcastDemo]] thedon\'s full mix</span><br><br></li>\n    <li>10:21 -- Critique Point #1: more punch for kick and snare</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">11:41 -- [[$podcastDemo]] instrumental section (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">12:14 -- [[$podcastDemo]] instrumental section (added kick and snare punch)</span><br><br></li>\n    </ul>\n    <li>12:30 -- Critique Point #2: shifting vocal timbre</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">13:19 -- [[$podcastDemo]] vocal sound #1 (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">13:42 -- [[$podcastDemo]] vocal sound #2 (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">13:59 -- [[$podcastDemo]] vocal sound #3 (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">14:36 -- [[$podcastDemo]] vocal sound #2 (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">15:03 -- [[$podcastDemo]] vocal sound #2 (added dynamic EQ)</span><br><br></li>\n    </ul>\n    <li>16:04 -- Critique Point #3: more expansive delay effects</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">16:29 -- [[$podcastDemo]] guitar solo (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">17:03 -- [[$podcastDemo]] guitar solo (added delay)</span></li>\n      <li><span class=\"spanPodcastMiniText\">17:46 -- [[$podcastDemo]] vocal outro (thedon\'s mix)</span></li>\n      <li><span class=\"spanPodcastMiniText\">18:30 -- [[$podcastDemo]] vocal outro (added delay)</span><br><br></li>\n    </ul>\n    <li>16:04 -- Critique Point #4: intro arrangement</li>\n    <ul>\n      <li><span class=\"spanPodcastMiniText\">19:26 -- [[$podcastDemo]] song intro (thedon\'s mix)</span><br><br></li>\n    </ul>\n  </ul>\n  <li>20:41 -- <strong>Q&A: Spaced or coincident drum overheads?</strong></li>\n  <ul>\n    <li><span class=\"spanPodcastMiniText\">21:01 -- spaced-pair advantages</span></li>\n    <li><span class=\"spanPodcastMiniText\">22:37 -- spaced-pair disadvantages</span></li>\n    <li><span class=\"spanPodcastMiniText\">25:08 -- coincident-pair advantages</span></li>\n    <li><span class=\"spanPodcastMiniText\">26:16 -- coincident-pair disadvantages</span><br><br></li>\n  </ul>\n  <li>27:41 -- <strong>Unvarnished Review: <a href=\"[[$URL_Auratone]]\">The New Auratone 5C Super Sound Cube</a></strong><br><br></li>\n  <li>29:45 -- Outro <span class=\"spanPodcastMiniText\">(Total Running Time 30:35)</span></li>\n</ul>\n \n<h3 class=\"h3ResourceCategory\"><a name=\"resources\">RELATED RESOURCES</a></h3>\n\n<ul>\n<li><strong>Uncompressed Audio Version:</strong> The player on this page uses 320kbps MP3 quality. 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