My Take on Music Recording with Doug Fearn

Send us a textDoes audio quality really matter?Our society in general has seen a major loss in quality of goods and services. Music recording has not escaped this trend.In this short episode, I give some examples, some possible explanations, and a bit of guidance on how recordists can do a better job. It benefits the listener, even if they can't even describe the difference between a good recording and a mediocre one.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textMost recording occurs in a studio, and the design of that facility has a major effect on the quality of the recordings made there.In this episode, I discuss some of the things that I think are most important for a successful studio. I don't get into room design, soundproofing and sound conditioning, or even much of the infrastructure of studios and control rooms. I've covered a lot of that in previous episodes. Instead, I focus on the real-world, practical, aspects of what it takes – and what it costs – to make a professional studio.I also talk about the viability of a studio as a commercial venture, and offer some thoughts on what it takes to run and studio that makes money and stays in business.If you are happy with the results you get from recording at home, much of this will not apply to you. However, I believe everyone who records always wants an expanded and improved facility. These thoughts might inspire you to strive for something better.Of course, building a studio is expensive – much more expensive than residential or standard commercial construction. Even renovating an existing building is expensive. I hope anyone with aspirations for building a truly professional-sounding studio will find insights here.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textMonitor speakers are a necessity for most of our recording. But I have always had a problem with the sound of speakers, and I explain why in this episode.Speakers always exist in a space with  boundaries, even outside. Our control rooms tend to be small, and making a small room sound good for performing or listening is a challenge. The monitor speakers and the control room form a system. The acoustics of the room have a big impact on the sound.I also compare the sound of headphones or earbuds with speakers, and provide some advantages and disadvantages of each.And I talk about immersive formats, like Dolby Atmos and the increased requirements for the speakers and the room.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textVinyl record sales have been increasing every year for a while now. Today, vinyl outsells CDs. Fans like vinyl for its unique sound, and the large format of the jacket.Record pressing plants are busy! Most are backlogged for months.The process of converting your digital mix to a vinyl record is complicated. The entire system of phonograph records is plagued by many deficiencies, which makes cutting the master lacquer disc a challenging art.How we record and mix has impact on how good the vinyl record will sound. In this episode, I explain some of the fundamentals of the master disc-cutting process and provide some insight on how that process will change the sound of your recording.I explain some factors in recording and mixing that will result in better-sounding vinyl records. These procedures are not complicated, but understanding these techniques will help you and your clients get the most out of the vinyl medium.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textIf you are working as a recording engineer, how did you learn your craft? A formal recording program? As an intern with an accomplished engineer? Or maybe you figured it out on your own.All are valid ways to get started. Many successful engineers used more than one approach.In this episode, I look at the various approaches, their pros and cons, and suggest ways that you might further your own education.Learning the art of recording requires time and effort -- and some innate talent. The key is to find the ways to develop your talent and keep on learning and growing.By the way, this is the 100th episode of My Take On Music Recording. It has taken over four-and-a-half years to reach that mark, but it seems like I just started. Each episode has been a lot of work, but I have enjoyed creating every one of them. Thanks for helping me to achieve this milestone.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textUsing a single microphone, or one stereo mic, to record a musical performance all at once without any overdubbing can result in a recording that is very compelling to the listener. When everyone is performing in the same space at the same time, usually without headphones, there is a musical interaction that occurs that we often lose in the typical session using lots of mics, extreme isolation, and many overdubs.It's not for every song or composition. Some music benefits from the usual recording approach. But with a group of players who can play in perfect balance, the result can be amazing, both musically and sonically.It's an approach that pushes your engineering talents to their limit. You are doing all the tracking and mixing at the same time, with no ability to change things later.It is also very demanding of the performers, because if anyone makes a mistake, the take is ruined. But I think the results are worth it, for those situations where it makes sense.In this episode, I describe several approaches to single-point pickup recording, including a hybrid method that combine single-point with traditional techniques. Some examples can be heard in the releases on the Outer Marker Records label. Here is the link where you can listen to examples:https://www.nativedsd.com/label/outer-marker-records/And here is the link to a video that compares both a single-point pickup plus the traditional multi-mic, multi-track method, recorded simultaneously:https://www.youtube.com/watch?v=7eLP1G4LnM0 email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textWhen you are just staring out in recording music, you are likely to need microphones. And if you have been recording for a while, you may feel the need to add to you microphone collection.But how do you make those choices? In this episode, I look at the criteria that I think are important in picking mics to add to your studio. Simply choosing a mic that is what other people use, or was on a hit record, is not always the best way to go about this.I provide a logical approach to adding to your mic collection, with some real-world examples.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textJoseph Arnold is a talented violinist that has played on a variety of projects I have produced. He is also an excellent writer, who just published his first book, titled, “Soul Force: How to discover your artistic purpose, create more freely, and make art that matters.”In this conversation, Joseph talks about his career path, his pursuit of art, and how his concepts of Soul Force guided him in his journey. We discuss his book, and its value to anyone who wants to create, well, anything.Joseph also demonstrates on violin a few short examples of the many musical genres he enjoys playing.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textIn this last of three episodes on the art of producing, I talk about my process for mixing. It is all part of the concept of a song from the beginning. Mixing is where everything comes together to create the version of the song that the artist and I have had.As an over-simplification, my approach is to turn up the things I like and turn down, or mute, the things I don't like. But the details are much more complex than that and I explain what I do and why.I combine the mastering process with mixing. The result is ready for distribution, whether it is in a digital format or for a vinyl record.The album used in this example is “Time To Be Brave,” by Corrie Lynn Green. You can listen for free to an mp3 version of all the songs at Native DSD, and purchase a download of the album in a variety of digital formats.https://www.nativedsd.com/label/outer-marker-records/And learn more about our record label, Outer Marker, at:https://www.outermarkerrecords.com/email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a textThis is the second of three episodes on the Art of Producing. In this one, I talk about the mics and equipment I use in my studio, and the reasons why.The example used for this series features an album project for singer-songwriter Corrie Lynn Green. It is an acoustic-based project, although there are some electric guitars and bass on some songs. I explain why I make certain decisions for this project, and how a recording with a different artist or genre would require a different approach.Corrie's album, “Time To Be Brave,” will be released on Outer Marker Records on September 6, 2024, and distributed by Native DSD as a download purchase only. But you can listen to all the songs for free (in mp3) on the Native DSD web site.  https://www.nativedsd.com/label/outer-marker-records/The third and final episode of this series on producing will look at mixing and mastering.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a Text Message.The art of producing a record requires knowledge of music, mastering the technical aspects of the recording process, and an ability to work with people.This is the first of a three-part series about producing. In this episode, I talk about the role of the producer, using a typical album project for Corrie Lynn Green as an example. Not all productions will follow this example, since there are many different styles of music, different artists and musicians, that you may encounter.My approach to producing and recording is not typical in many ways. I point this out in the episode, and encourage people to find what works best for them.By the way, "My Take On Music Recording" is now carried by YouTube Podcasts. Just like any podcast provider, this is audio only. You can find it on YouTube by searching for "Fearn" under "Podcasts." All 94 episodes to date are available, and each new one will be added.The dozens of other podcast providers will continue, of course.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a Text Message.Our perception of frequency balance varies with loudness, a fact documented by Harvey Fletcher and Wilden A. Munson, two scientists at Bell Laboratories. In 1933, they published a paper called, “Loudness, its definition, measurement and calculation.” It was groundbreaking science in the field of human hearing, and has implications today for how we perceive music. This is especially important when we are mixing.In this episode, I explain the basics of the Fletcher-Munson Curves and how we can use that knowledge to make better recordings.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Send us a Text Message.Almost all pop music features someone singing. Getting the best vocal performance is crucial, since most listeners respond to the words of a song and need to be able to hear them.In this episode, I first discuss the human factors involved in getting a great performance from singers, mostly from a producer's viewpoint.And then I focus on the technical requirements of capturing that performance using microphones, mic preamps, processing, effects, and mixing. Often there are problems to be fixed in a vocal track, and I review some of the techniques from salvaging a performance that is less than perfect.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

There are many things that are important to create the proper studio environment for creative success. Most of these things are pretty mundane, but they do make a difference.Examples I cover in this episode include microphone stands and accessories, music stands and instrument stands, chairs, headphones, studio lighting and climate control, and mic and other cables.It's not the most exciting equipment we deal with, but it is still important to get it right. After 50+ years of doing sessions, I have some solid ideas about what works for me. I hope you will find these ideas and suggestions helpful.And here are the links for the Spring Birds recording I mentioned at the start of this episode:https://www.outermarkerrecords.com/https://www.nativedsd.com/label/outer-marker-records/email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Ever since its announcement, I have been interested in learning more about Dolby Atmos. I was skeptical at first, primarily because of my experience with “Quad” back in the 1970s. That 4-channel concept never gain any popularity with either the listening public nor in the recording community. I presumed that Atmos would be similar, just more speakers. The early demo sessions I attended left me convinced that this was going to be another dead end, like Quad. The early mixes I heard were gimmicky and did not serve the musical intent of the artist well.But as I was exposed to mixers who really understood how to use the expanded format, my interest increased. And for the public? I never thought there would be much market acceptance of a system that required many speakers. But Dolby was smart about their implementation. The system knows how many speakers you have and creates a version that fits your hardware.There's more to Atmos, however, because of certain psychoacoustic processing that goes on, the resulting mix, in any format down to plain stereo, sounds better, with more detail and separation of sounds. I hear more things in an Atmos mix, even in headphones, than I did in the stereo mix.Shawn Dealey is the chief engineer at Sweetwater Studios in Indiana. I have been involved with several mixing projects with Shawn over the past couple of years, and I think he has an effective approach to interpreting the producer/artist/engineer's intent, and making it into an improved version.In this episode, I talk with Shawn about his evolution as he explores the new format. I learned a lot from Shawn, and I think you will, too.This episode was recorded at Sweetwater Studio B, the main Atmos mixing room. We used AEA 44 mics, a VT-2 mic preamp, and a VT-7 compressor, the same chain I use for recording most episodes.Thanks for listening. If you have any questions, comments, or suggestions, please pass them along to me at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Compression and limiting are tools we use to modify the dynamic range of the music we record. In this episode, I present a brief history of where this technique came from, how it evolved over the years since the 1930s. I discuss the various ways that compression circuits work, from the variable-mu vacuum tube, to the optical compressor, the FET, the VCA, the PWM, and the digital limiters. I explain how these different approaches affect the sound in different ways.There are often a lot of adjustments on a compressor, and I go through the most common controls you are likely to encounter and what they do to the sound.Compressor and limiter effects on the music are subjective, so I try to give general guidance for getting the sound you want from your hardware and software devices.Your ideas for future episodes are always welcomed. And your comments are useful to me. You can reach me at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

This is part 2 of the Audiophiles Guide to Music Recording. You can listen to part 1 athttps://www.buzzsprout.com/942952/14335456Or you can access part 1 wherever you listen to podcasts.My Take on Music Recording is primarily aimed at people in the professional recording world, but there are a significant number of listeners who are music lovers and audiophiles. This episode provides an overview of the recording process for them. However, I think even people in our profession might enjoy how I attempt to explain the recording studio process in layman's terms.This reflects my experience and how I work as a producer and engineer. I tend to carry over the tools and techniques that I have learned over the last five decades. They work best for me and my style of recording. I know that there are other approaches, and I try to acknowledge and explain those, too. But my focus is on what I do, which isn't always mainstream.Your feedback on these episodes is especially interesting to me. Tell me what you think.As always, thanks for listening, commenting, and subscribing. I can always be reached at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

My Take on Music Recording is primarily aimed at people in the professional recording world, but there are a significant number of listeners who are music lovers and audiophiles. This episode provides an overview of the recording process for them. However, I think even people in our profession might enjoy how I attempt to explain the recording studio process in layman's terms.This reflects my experience and how I work as a producer and engineer. I tend to carry over the tools and techniques that I have learned over the last five decades. They work best for me and my style of recording. I know that there are other approaches, and I try to acknowledge and explain those, too. But my focus is on what I do, which isn't always mainstream.There is a lot to cover, so this topic is split into two episodes. I will publish the second half next week.Your feedback on these episodes is especially interesting to me. Tell me what you think.As always, thanks for listening, commenting, and subscribing. I can always be reached at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Music is meant to be heard in an appropriate acoustical environment. But many times, we have to record in a space that does not have the right sound to it. Artificial reverb is often the solution.In this episode, I talk about good room sound in a studio, and the earliest methods of creating a reverberation sound. That started with spring reverb, then acoustic echo chambers, tape delay, plate reverbs, and finally the digital reverbs that are used today on most recordings.I discuss the origins of those techniques for creating reverb, and the strengths and weaknesses of each, along with my impression of how each of them sounds.I also provide my own insights into using reverb. What kind? How can we modify the basic sound? And how much reverb is appropriate. And maybe no reverb at all is best.Thanks for listening, subscribing, and commenting. I am always looking for your questions and suggestions for future topics.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

In this episode, I talk about software plug-ins vs hardware. It is a question that I get frequently from listeners. It is relatively short.Can a plug-in perfectly emulate a hardware device? What are the tradeoffs a plug-in designer needs to consider? What about a plug-in that has no hardware antecedent, but it something out of the mind of the designer? These are some of the topics considered.Thanks for listening, subscribing, and commenting. You can reach me with your questions for a future podcast, or suggest a topic you would like to know more about. Send me email at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Every recording is made is some sort of space. It might be a room, and studio, a church, a concert hall, or even outside.The space where the music is performed, and where the microphones pick up the music always influences the sound of the recording.You might think that close-mic'ing in a dead room eliminates the contribution of the room, but it is still there, for better or worse. The room influences our perception of the performance. Our brain draws conclusions about the space. A listener may form a mental image of the musicians and the room, based on what they hear. Usually, most listeners are unaware of the space, unless it is very obvious. But it does influence their response to your recording.Learn some of the basics of acoustics that can help you make your studios and control rooms sound better.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

How do we make our recordings better? I have thought about this for over 50 years and in this episode, I have tried to distill what I learned into a dozen general rules.The best way to make great recordings is to start with great performers. But even if you aren't recording the best talent in the world, there are still ways to improve what you get.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

What if you were suddenly confronted with recording an instrument you had never had in the studio before? Or one you never heard before? Or one you never knew existed?How do you figure out how to capture its sound? Where do you place a microphone? What microphone will you use?In this episode I suggest various ways to evaluate an unfamiliar instrument or sound, using some examples from my own experience, and a few rules of thumb to get started.This topic was suggested by a listener. If you have ideas for a episode, let me know. dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

After three and a half years of producing the “My Take on Music Recording” podcast, I thought it would be useful to review the 80+ episodes and point out some of the interesting topics you might have overlooked.You might have missed some of the earlier episodes, or skipped over them because they did not interest you at the time.The most popular episode of all is the very first one, from March 2020, called “Your Hearing is Amazing.” Everything we do depends on our hearing and in this episode, I give a simplified overview or how our hearing works, and what makes it amazing. It is our most complex sense, in terms of resolution, dynamic range and frequency response. It is subject to all sorts of strange defects, like our varying sensitivity to many frequencies, depending on the loudness.That's one example of many that I hope help you to be better at what we do.In this short episode, I point out some of the most popular topics, and several of the episodes that never received a lot of downloads. Perhaps my explanation of the contents will suggest that there are some topics you might now found more interesting and helpful.Thanks for listening, subscribing, and commenting. And your suggestions for future topics are always appreciated.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

My conversation with musician, producer, mixer, and mastering engineer Justin Gray continues, in this second of two parts. In this episode, Justin discusses how to provide optimum tracks for an immersive mix. He also talks about the minimum immersive monitoring system needed and why it will improve your tracks for remix into Atmos or another format.We explore loudness and how it affects an immersive mix.You can learn more about Justin Gray at his web sites:  www.SynthesisSound.comAnd  www.ImmersiveMastering.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Justin Gray is a musician, producer, mixer, and mastering engineer based in Toronto. His credits include many major artists.He was fascinated by immersive formats long before they became mainstream.In this first part of a two-part series, we talk about the various immersive formats, of which Dolby Atmos is best known. Justin explains how they differ and what they have in common.He talks about how immersive audio can enhance the listener experience, and provide the artist with an improved palate to present his or her work.Justin discusses the challenges and rewards of re-creating a classic song in the new format.You can learn more about Justin Gray at his web sites:  www.SynthesisSound.comAnd  www.ImmersiveMastering.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Most people have time conflicts between what they do for a living and the rest of their lives. That includes time for family and friends, hobbies, obligations, and exploring new directions.Musicians also must confront these same issues. It is often more difficult for a creative person because music and any art not generally lucrative, especially for those starting out.In this episode, I talk with singer-songwriter Corrie Lynn Green about how she manages her obligations with her family life, including a teenage daughter, her day job, which is her own business, her extended family and network of friends, while pursuing her musical career.She also talks about other challenges for the independent artist, including managing social media, choosing the right gigs to accept, travel, and keeping in touch with her fans.At the end of our conversation, one of Corrie's songs is included.This episode was entirely spontaneous, recorded one night after two very long days of sessions.Thanks for subscribing, commenting, and helping others find My Take On Music Recording. I can be reached at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Studios are complex technological environments and it is common for problems to arise. But a problem in the equipment might be a minor inconvenience if you have the skills to quicky determine where the trouble lies and understand how to fix it. Most problems in a studio are human errors.There are often ways to work around the problem. That keeps the session going and you may be able to solve or bypass a problem without anyone else even knowing. There is already enough pressure in most recording sessions, and no one needs to have the mood of the session disrupted by a problem.In this episode, I talk about the most common causes of problems and offer tips for determining the cause. I give several typical session problems and ways to address them.This isn't the most exciting part of recording for most people, but troubleshooting is a skill you can develop and utilize when necessary.Thanks for listening, commenting, and subscribing. I can be reached at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Most of you in the professional audio world have learned that Dave Hill, founder of Crane Song, died in February.Dave and I were friends for over 30 years. In this episode I tell some stories about our interactions over the decades. Not only was Dave an amazing engineer and designer, but he was also a wonderful human being.There is a terrific documentary about Dave, made by French filmmaker Alain Le Kim. It is now available on YouTube. Here is the link:https://www.youtube.com/watch?v=68VPMNeIlVsYour comments are always appreciated. You can reach me at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

How do you decide what microphone to use for any instrument or voice you will be recording? All microphones sound different from one another, which is a wonderful tool at our disposal. Making the right choice will improve your recording, eliminate many problems at the mixing stage, and minimize the amount of processing you need.In this episode, I talk about why I chose the mics I did on two very different projects. One was a punk session and the other an acoustic singer-songwriter project. I explain why I decided to use a particular microphone, and sometimes suggest alternatives.Of course, this reflects my style of recording. I don't expect my choices to be your choices, but perhaps this explanation will help you when it comes time to make your decisions.In this episode, I talk about microphones from AEA, BeyerDynamic, Flea, Neumann, Royer, and Shure. To be clear, I have no connection with these companies except that I love the mics they make. And I have friends at some of the companies. There are mics from many other manufacturers in my collection, but in these examples, those were the mics I used.email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

The typical music consumer these days is listening on earbuds or headphones. Or maybe on the tiny speakers in their smartphone. Few are listening on speakers, at least none of any reasonable quality.It makes sense for us to take this into consideration when we mix a song.Engineers have always had to make adjustments and compromises in order for their mixes to translate well for the public. Since most of your work will be heard on some sort of personal listening device, it is often good to either mix using headphones, or at least check the mix that way.In this episode, I talk about my personal preference for headphones for mixing and listening, which goes back decades. Sure, I use the studio monitor speakers as another reference, but when it comes to details, I just hear more with the headphones. This is especially true when editing.Everyone has to develop their own approach to this, and I expect many people prefer monitoring and mixing through their expensive monitor speakers. And there are times when speakers are the way to go, such as when more than one person has to listen, or when you want to get that visceral experience of feeling the bass. Many people in the world of recording were saddened to hear of the death of Joe Tarsia, founder of Sigma Sound Studios in Philadelphia. Joe was a pioneer, always on the forefront of new technology. Many successful engineers came up under Joe's mentorship. I know I will miss the interesting conversations I had with Joe, going back to the late 1960s.You can listen to my conversation with Joe Tarsia from 2020 in episode 26. Here is the link:https://www.buzzsprout.com/942952/5418067There is also a YouTube video of the same conversation, with some extra content, including a series of photos from Joe's career:https://www.youtube.com/watch?v=FMwTQ8XhY9cemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

Recording is a technological endeavor, but it also invariably involves people. The psychology of recording sessions has always fascinated me, so when a listener suggested that I have Terri Bright on an episode, I was intrigued by Terri's dual career as a singer-songwriter, as well as a someone with a PhD in Applied Behavior.In this interview, we discuss how behavioral science can be applied to a recording situation, from Terri's unique perspective as an expert in both worlds.Thanks for listening, commenting, subscribing, and sharing this podcast. I can be reached at dwfearn@dwfearn.comemail: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

What makes one piece of studio electronic gear sound different from another, similar piece?When it comes to the physical gear we need to record, there are only a few basic categories. You probably use microphones, mic preamps, equalizers, compressors, converters, reverb devices, delays, monitor amps and speakers.And for each of those categories, there could be dozens of manufacturers, and hundreds of choices. How do you choose one over the other?And why would they sound different from each other, anyway? They are fulfilling the same function, so you might suppose that the sound of each would be the same.But they are not the same.In this episode, I delve into this and explore why things sound different going through different boxes.Technical Note: This episode was recorded with an AEA KU5A cardioid ribbon mic, through a D.W. Fearn VT-2 mic preamp and VT-7 Compressor. No eq was used. My KU5A is a passive version (the KU5A is normally an active mic). I use a lot of AEA mics in my recording, but except for being friends with founder Wes Dooley, I have no affiliation with the company. email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

If you have listened to this podcast for any length of time, you probably know that I am a big fan of ribbon microphones.In this episode, I talk about my introduction to ribbon mics while I was in high school, and how over the years I tried to make them work for me. Eventually, ribbon mics became my favorite, and now I often do sessions that use only ribbon mics.I explain the characteristics of ribbon mics, good and bad, and suggest ways to get the most from this type of microphone. I compare the sound and pickup pattern characteristics with condenser mics, and suggest techniques for several common recording situations.I mention a video showing how we mic a grand piano with a stereo ribbon mic. Here is the link to that video:  https://www.youtube.com/watch?v=4mzVne64ItQAs always, thanks for listening, commenting, and subscribing. Your feedback is valuable to me, so let me know what you think of this episode or any other. I can be reached by email at dwfearn@dwfearn.comAnd please help this podcast grow by suggesting it to your friends and sharing it on social media. Thanks.

For this 70th podcast episode, things are reversed and I am interviewed by singer-songwriter Corrie Lynn Green. Corrie was curious about how I got into recording, and later into studio equipment manufacturing. We also talk about my views on what makes a successful recording, and what I look for in a recording artist.You may recall Corrie from the 3-part series we did earlier this year called, "Studio Technology for Musicians."Thanks for your support. Please share this and any other episode with anyone you think would find it useful. "My Take on Music Recording" is carried by all podcast providers. And you can reach me directly via email: dwfearn@dwfearn.com

You may remember Chuck Anderson from a 2-part episode we did in 2021, where Chuck and I had a wide-ranging discussion on many musical topics.  You can listen to those discussions here:https://www.buzzsprout.com/942952/9161095https://www.buzzsprout.com/942952/9247297Chuck is a jazz guitarist, composer, and studio musician who has played with many prominent people during his long career. He is also a life-long teacher and lecturer.Today we talk about how the various musical genres evolved and interconnected to form pop music over the past 100 years. Chuck starts by explaining where music came from in the first place. Chuck will be back at a future time to discuss another aspect of music.Thanks for listening, and please share this podcast with anyone you think would be interested.I can always be reached at dwfearn@dwfearn.com for your comments and suggestions for future episodes.

For anyone working in music recording, hearing is vital. But so also is our ability to listen.In this episode, I talk about the two ways of listening, and why both are important. Can you improve, even enhance, your listening ability? I offer some ideas on how you might do that.I also discuss how easily your hearing is damaged, and what you can do to preserve it.This episode does not go into details of how your hearing works, and how some strange anomalies in our hearing affect how we perceive sound. That is covered in the first episode of this podcast, called “Your Hearing Is Amazing.” I suggest listening to that one, if you have not done so. Here is the link:https://www.buzzsprout.com/942952/3057232You can access any of the episodes in this series at:https://www.buzzsprout.com/942952Thank you for listening, subscribing, commenting, and rating this podcast. It is carried by all major podcast providers. You can reach me directly at dwfearn@dwfearn.com Your comments, suggestions, and ideas for future episodes are always welcome and appreciated.

If everyone recorded music the same way, everything we did would sound the same. But we don't record the same way, and those differences are part of what makes up our recording style.In this relatively short episode, I talk about how I developed my recording style, and outline some of the things we might do to help us each come up with our own style.I would like to hear from you how you developed your style. Has it changed over the years? Do you have a different style for different types of music? What was helpful in your quest for your style?You can email me at dwfearn@dwfearn.com about this or any other topic.And thanks for sharing and subscribing to “My Take On Music Recording.” Your support is appreciated.

In this third and final part of my conversation with Corrie Lynn Green, we deviate somewhat from the technology of the studio and discuss the role of the producer. There are plenty of additional topics that Corrie and I could discuss, and if there is sufficient interest, we can do more the next time Corrie is here for recording. Let me know if you found this episode helpful, and feel free to suggest topics for this or any other area of recording that you would like to hear about.You can reach me at dwfearn@dwfearn.comI am sure you know people who could benefit from this information. Please direct them to this podcast and share on your social media. Thanks.Here is contact info for Corrie Lynn Green's music:https://corrielynngreenmusic.com/https://www.facebook.com/corrie.l.greenhttps://www.youtube.com/channel/UCZZtpg20Zjm9GjUbi6YYY_Ahttps://www.instagram.com/corriestringgeek/https://open.spotify.com/artist/6QbOG55WrAVCTqgpipz69khttps://music.apple.com/us/artist/corrie-lynn-green/1610339851

In the previous episode, I had a conversation with singer-songwriter Corrie Lynn Green explaining some aspects of studio technology and how it applies to musicians. In this second installment, we talk about headphones and how they can affect a performance; what happens to the microphone signal after it leaves the studio and gets to the control room; consoles, mic preamps, and digital recorders; mixing and sound manipulation; loudness and what it means; and reduced file size formats like MP3 and how best to use those files.

For many musicians, recording in a professional studio can be an overwhelming experience at first. There is a lot going on, it's all very technical and mostly incomprehensible. Jargon is thrown around. Things often move fast. For a while, I have been thinking about doing an episode that explains, in the simple terms, the recording process for musicians.To help me, I asked singer-songwriter Corrie Lynn Green to join me in a conversation. Corrie is relatively new to recording, and I thought her questions would be a useful way to cover these topics. Some musicians are very technically adept, probably because they have learned to do their own recording at home. But some may have misconceptions, or otherwise might benefit from a better understanding of the technology. Others don't really want to know. They want to focus all their energy on their music and performance in the studio, and leave all the dull, technical stuff to others. But I suspect that most musicians would like to know more about what is going on around them. This episode is for them, although I suspect that even seasoned studio players might find some useful tidbits. For most people, the more you understand, the better you can use the technology of the studio. That makes better recorded music.

In the late 1800s, researchers were seeking a way to amplify an analog signal. The vacuum tube was invented in the early 1900s, but scientists were also investigating the properties of semiconductor materials. A very crude version of a transistor was developed even before the vacuum tube, but the technology of the day was better suited for tubes than transistors, and once the tube was widely available, research into the transistor was largely abandoned for the next 40 years. Tubes became the amplifying device that made radio broadcasting possible – and also ushered in the age of electrical recording.A practical transistor was invented by Bell Labs in the late 1940s, but it took another 20 years before it eclipsed the tube as the preferred technology for analog amplification. Further development of the vacuum tube came to a halt in the early 1970s, and by 1980, transistors had taken over all of electronics except for a few special purpose applications. In the world of music recording, many engineers, producers, and musicians still prefer the sound of tubes for audio.But what if the vacuum tube had continued to be refined? We might have much smaller tubes that might have amazing capabilities. We will never know, of course, because the demand is much too small to justify the investment in improved tubes.In this episode, I look at the history of tubes and transistors, and speculate on what might have been. I also explore the viability of the industry that continues to make high-quality tubes, and the impact on all the current and vintage tube gear we use.Thanks for your continued interest in My Take On Music Recording. Please share it with your friends and on social media. The audience is constantly growing, thanks to your support.

Music recording is a technological process, but it also involves people. The technology exists to serve musicians, and the process of recording must consider the personalities of the people involved.This episode looks at how those human interactions work, from the perspective of the recording engineer.How do you deal with difficult people? Or insecure people? What does it take to provide a comfortable working environment so that musicians can be at their best? How does an engineer facilitate the recording process to keep every happy, creative, and relaxed?This episode looks into those things and provides some practical advice, based on my 50+ years of studio recording.Thanks to everyone for their comments, suggestions, and ideas for future episodes. You can help extend the reach of this podcast by subscribing to it on any of the 30+ podcast providers that carry it. Your reviews help others find “My Take On Music Recording.” And if you find it useful, share the link with others on your social media. Thanks.

There are many different uses for recorded music, and we explore a somewhat unusual application in this episode. My guest is Karttikeya. He only uses one name. He is the engineer and often a musician for Music Together Worldwide, which produces music for early childhood education. Music Together's goal is to instill a love of music in kids from infants, up to 5 years old. There are similar programs for older kids.You can learn more about Music Together at their web site, https://www.musictogether.com/And more about Karttikeya and Turiya at https://turiyamusic.com/ Your questions, comments, and suggestions are always welcome. Email me at dwfearn@dwfearn.comAnd your reviews and ratings are helpful for others to find this podcast on any of the 30-plus podcast providers that carry it. Thanks!

The instruments on a recording should all be in tune with each other, right? In this short episode, I discuss how instruments are tuned, and why even with today's remarkable tuning devices, there's more to tuning an instrument than looking at a colorful display on the head of a guitar.Thanks for listening, commenting, and subscribing on any of the dozens of podcast providers that carry My Take On Music Recording. You can reach me directly at dwfearn@dwfearn.com   I am always interested to hear which episodes you enjoy and which ones you find less interesting. And I am always open to your suggestions for topics.

I take a behind-the-scenes look at a recent recording project I am working on as producer and engineer, explaining the technical details of the session, along with the pre-production planning. This episode has samples from the individual tracks, plus earlier versions and a close-to-finished version. The artist and songwriter is Corrie Green, and this is one song from a 12-song project we are working on.I welcome your comments. You can reach me at dwfearn@dwfearn.comIf this proves to be useful to you, please let me know and I will do more like this in the future.Also, be sure to subscribe, rate, and comment with any of the 30+ podcast providers who carry My Take on Music Recording. Thanks.

In the previous episode, I asked listeners to send me their recordings for my critique. In this episode, I play five of the songs submitted and offer my comments.I try to limit my remarks to things that the engineer has some control over, like the mic'ing, amount of room sound, any eq or compression, the mix, the use of processing and effects, loudness and levels, and how the engineer might interact with the musicians to help them get the best recording.Of course, my comments reflect my experience and my taste, so they are not the last word on the work submitted.The songs are embedded in the podcast, but since podcasting uses a low bit-rate MP3, the audio quality is quite poor, especially for music. If you want to hear the full resolution versions of this music, go to my podcast web site, https:\DougFearn.com. Look under “Extras” and then click on “Critique Audio.” Here is the direct link to the high-res versions: https://www.dougfearn.com/Extras/CritiqueAudio/critiqueaudio.htmlI look forward to hearing from listeners to determine whether this is a useful endeavor or not. If the response is positive, I will do more critiques as an occasional feature. You can send your full resolution audio file to dwfearn@dwfearn.com, using whatever large file transfer service you prefer. Please do not send MP3s or equivalent.This podcast is carried by over 30 podcast providers. Your support is much appreciated.

Recently several people have suggested that I do a series of episodes featuring listener-submitted recordings for my critique.At first, I was not particularly enthusiastic about this idea. Sure, I can make lots of comments on someone's recording technique. But where do you draw the line between technical issues and more abstract creative decisions? I've thought about this quite a bit and I'm not sure there is definitive line between the two.After all, we each bring our own aesthetic to our recordings. If we all did things the same way, all our recordings would sound the same. There would be no progress in the art of recording.Despite my misgivings, I decided to go ahead with this and see what happens. This episode introduces the idea, and includes instructions on how to submit your recordings.I don't know if this will work or not, but I am always willing to experiment!If you would like to submit your recording, use dwfearn@dwfearn.com for your download link. Please send high-resolution files if you can. Avoid mp3s or other bit-reduced formats. Thanks!

Stereo has added new dimensions to our recordings, an effect that is difficult or impossible to achieve in monaural recordings. New immersive formats, such as Dolby Atmos, add even more dimensionality to music.You can achieve a kind of stereo by panning mono recordings of various instruments into the stereo field, but that is not what this episode is about. I talk about how to use a pair of microphones to pick up sound.I provide a very brief history of stereo to get started, and some simple concepts of microphone pickup patterns and why they are important in stereo recording. Then I delve into some of the more popular approaches to stereo recording, including spaced-omni mics, X-Y and its variants, M-S, Blumlein, and binaural recording using an artificial head.Mono compatibility is less of an issue than in the past, but still should be considered. I compare the various techniques and what happens when the two channels are combined in mono.Some other techniques I have used over the years include mis-matched mics in stereo, and what I call “incidental stereo,” which could be from bleed between various instruments and mics, or just recording an unused nearby mic in the studio for possible combination with a main pickup.I conclude with my impression of each technique, which, of course is entirely subjective and will undoubtedly be different than what you find.This topic was suggested by listener Bill Sallak. If you have any suggestions for topics, I'd like to hear them!Thanks for your comments and suggestions. And thanks for listening, rating, and subscribing to this podcast. It is available on over 30 podcasting platforms.

My conversation with jazz guitarist, composer, writer, and teacher, Chuck Anderson continues in this episode. We talk about recording his early albums, his trio, solo guitar compositions, and practical advice to aspiring musicians.We discuss the value of silence, why we both rarely listen to music, and details about the recording of his latest album, “Spontaneity.”You can learn much more about Chuck Anderson at his web site, https://chuckandersonjazzguitar.com/?v=757e5b5109edwhere you can also find links to all his social media outlets.Thanks for listening, and please subscribe to this podcast, using any of the many podcast providers that carry it. Your subscription helps others find my podcast.

Chuck Anderson is an amazing musician. Not only is his technique on guitar remarkable, he is also a solid businessman who has made his living from music since he was a teenager. Over his long career, Chuck has worked with the top singers in the music business.But his steady passion is teaching. Since he was 16, he has taught thousands of students. He instructs them not only on the technique of the guitar, but also how to pursue their musical dreams, whether it is becoming a rock star, a studio musician, or just playing for a lifetime of enjoyment.In addition, Chuck has written 26 books, the first when he was 21 years old.I first met Chuck in 1974 when we recorded his first jazz trio album. That was my introduction to the serious jazz idiom. Since then, we recorded a couple of other albums, and recently we did a session where Chuck recorded an entire album of wonderfully improvised compositions in two hours. It's called “Spontaneity” and it will be available soon after you hear this.You can hear a sample from the album (24-bit/96kHz) on my podcast web site, www.dougfearn.com   Look under "Extras"   https://dougfearn.com/Extras/extras.htmlIn July 2021, Chuck called me to ask if I had any photos from the first project we worked on, a jazz trio album called “Mirror Within a Mirror,” recorded at my studio in 1974. I didn't, but after talking for a bit, we came up with the idea of recording a new album of solo guitar, entirely improvised in the studio.Chuck came in late one Saturday afternoon in August, after a full day of teaching, and we produced the entire album in about two hours. Setup took minutes, and we were ready to record almost immediately. Chuck played the Gibson L-5 guitar he has used all his life. I used an AEA R88 stereo ribbon microphone on the studio Vox AC-30 amp, with a pair of Coles 4038 ribbon mics out farther in the room. It sounded great right from the first note, so I never changed anything.There were no retakes, no punches, and no overdubs. The recording was done 24-bit, 96kHz sample rate, using D.W. Fearn VT-2 and VT-24 mic preamps into a pair of VT-4 equalizers on the main pickup, with a bit of bass roll-off to compensate for the close mic'ing of the guitar amp. No other eq or other processing was used.The session was recorded with a Merging Technologies Hapi converter, using Pyramix software. During the mix, a bit of Bricasti M7 digital reverb was added.A week later, we recorded this interview, using a pair of AEA R44 mics. For Covid safety reasons, we were well separated in the studio.In this wide-ranging conversation, Chuck talks about his career, his philosophy, and why he still works 12 hours a day, 7 days a week, teaching, composing, and exploring the world of music. Our conversation will continue in the next episode, where discuss his early albums, the beauty of silence, and some practical advice for people who want to make a living in music.You can learn more about Chuck Anderson at his web site, https://chuckandersonjazzguitar.com/?v=757e5b5109ed There you will find interesting information, samples of his music, and links to his social media.