Studio Speak.

Hello and welcome to Studio Speak. Every few weeks I'll cover a new topic and share insights into the world of studio and remote recording that I find most interesting. Sometimes the focus will be on hardware or software products and at times I'll explore  techniques to address specific recording challenges. Hopefully you'll find Studio Speak informative and useful in your next recording project.

07/04/09 Recording acoustic piano

I am often asked to record solo acoustic piano. If it is specifically a recording project and not a concert , I might suggest the use of a virtual acoustic piano. Don't get me wrong, there's nothing quite that like playing a well maintained 9 foot Steinway, Bechstein, Yamaha, Bosendorfer etc...unless of course you're recording. Recording an acoustic piano is problematic. Some of the typical issues encountered are: tuning, regulation, squeaks from pedals or bench, room noises from air conditioning, heating systems, fans, fluorescent lighting, or outdoor noises from traffic, other machinery and weather conditions like rain on the roof, thunder, hail etc.... These problems can make recording an acoustic piano less that ideal.

Welcome to the Virtual Instrument World. There are two types of virtual pianos prominent today-sampled and modeled. Sampled pianos use actual recordings of acoustic pianos. Sometimes these samples are built into the pianos -manufacturers like Yamaha, Roland, Casio, Korg all offer this type of sampled piano instrument. the samples in these self contained instruments is very small and not really capable of producing realistic recordings of a solo acoustic piano. In recent years, a few companies like Native Instruments (Akoustik Piano) and  SoundsOnLine (Quantum Leap Pianos) have produced computer hosted virtual pianos which utilize the power and storage of computer systems to allow massive samples which go way beyond the capabilities of the self contained sampled piano instruments noted above. Rather than limiting the samples to a few hundred megabytes per the self contained keyboards noted above, these computer hosted virtual pianos can use samples as large as the host system will allow -well in excess of 10GB and typically approaching 100 GB. This has allowed these companies the luxury of  recording much more of the detail, quality and character of the acoustic piano with all the articulation characteristics in very high quality studio environments with the most advantageous recording equipment . These sampled pianos require large, very powerful workstation systems to run without performance limitation. If you have such a host system though, they can produce breathtaking piano performances - check them out here at my web site under studio virtual instruments or at their manufacturer's web sites at:

http://www.soundsonline.com/EastWest-Quantum-Leap-Pianos-Virtual-Instrument-pr-EW-171.html 

or  

http://www.native-instruments.com/#/en/products/producer/akoustik-piano/

Modeled pianos utilize a completely different approach to providing the sound of an acoustic piano. Rather that recording samples of the real thing, mathematical models are generated to represent all the physical and sonic characteristics of an acoustic piano. These virtual pianos are extremely flexible with options to v ary the  piano size, tuning method, and many other characteristics of the piano since the sound is created in software. Two examples of this technology are Roland V-Piano and Modart Pianoteq. Roland V-Piano is a self contained keyboard running modeling software whereas Pianoteq is software and requires a host computer system. Check then out at here on my web site under studio virtual instruments or at their manufacturer's web sites at:

http://www.pianoteq.com/

or

http://www.roland.com/V-Piano/

Unless you have a superb performance hall available and an acoustic piano in excellent condition, you're often much better off with a high end sampled piano from Quantum Leap Pianos or a modeled piano from Modart Pianoteq. Many independent reviewers agree.

There are other significant advantages of these virtual instruments as well. They all allow the performer the luxury of selecting a completely different piano after the performance is recorded -record on Bechstein, playback on a Steinway for example. Additionally the performance can be easily manipulated/edited to make changes in tempo, key signature, dynamics, correct an errant note  etc...

In summary, today's virtual pianos hosted on computer workstation systems have powerful advantages in the recording environment.

Until next time when I'll write about studio monitors, go make some music!

08/12/10 Monitoring systems

The truth, that's we want in the studio. Good mix/master decisions are based on what you hear. You might think that an accurate monitor environment would be easy to achieve, but as it turns out,  it's very difficult. As you'll see, it's more than just having accurate monitors.

I have three monitor systems in my studio -two in the control room and one in the rhythm room. My main control room monitor system consists of  EX66 line arrays monitors from M-Audio. The EX66 line array has a wide sweet spot for accurate stereo positional mixing and an internal Digital Signal Processing (DSP) system to compliment the speaker/cabinet/amp design.  Near field monitors like the EX66 minimize the affects of room acoustics due to the fact that the listening position in close proximity to the monitor system, typically 3 to 5 ft. The problem with near field monitors is that they fall short jn reproducing the lowest frequencies in music mixes. A subwoofer system compliments a near field monitor system to ensure that this low end is accurately reproduced. I use an  SBX10 active sub-woofer from M-Audio. It provides solid bass response all the way down to 20Hz - the very low end of the audio spectrum.

All three rooms in my studio have acoustic treatment to the walls, floors and ceilings. Floating walls, corner bass traps, acoustic dispersion panels, mid range and bass absorbers provide the basic treatment.

I useRTA Level 4 from True Audio -a real time spectrum analyzer to identify and correct acoustic issues in my studio. It provides detailed information about the monitor system and helps with monitor environment decisions for each room.

I also use ARC from I-K Multimedia. -a room correction software suite to identifying and adjust for any remaining issues not addressed by the monitors, subwoofers, or specific room acoustic treatments and the RTA system. ARC analyzes each room and provides correction. Think of it as fine tuning the entire system. 

Of course your ear is the final and most important link in the mixing/mastering system. Experience and expertise in the mix/master stage is critical. Mix and master with confidence knowing that your final product will be optimized and translate well to other systems.