We didn’t choose the name “StudioLive” arbitrarily. The whole point is that the idea of mutual exclusivity between “studio” and “live” environs is becoming something of an anacronism. This is a paradigm shift which we endorse wholeheartedly.
Case, meet point. This is CRUSH, performing “Faithfully,” recorded live in a modest practice space. But it doesn’t sound live, it sounds like a studio sesh. Get it? We’re impressed, and you think you will be too.
Note that any similarity between “Faithfully” and the music linked below is likely unintended—but pretty hilarious.
“In live concerts, there are improvisational aspects that cannot be captured in studio recordings. We had a chance to speak with Nobumasa Yamada, known for his works with Love Psychedelico, about his passion in recording these live concerts and his techniques using PreSonus mobile recording gear. Mr. Yamada shared how he built his system, the actual set-up and some techniques, based on the recording of Kemono held in Ogikubo Velvet Sun.”
Read the full article here.
PART 4: Reverb!
Now, the most difficult and most-discussed theme on orchestral composition forums is applying reverbs. This is the most important part of the orchestral mixing process as far as I’m concerned. I’ve watched and listened to loads of tutorials and lectures on reverbs for orchestra—which one is better? Why?. There is a lot of controversy on impulse response reverbs vs. algorythmic reverbs. Whatever you pick, the most important thing is that it sounds good to you. My main reverb is Altiverb and sometimes I use Lexicon PCM Native. Here’s how I apply them to my orchestra sections:
Every section has its own reverb that processes it. I like to use Altiverb’s IRs of stages like Todd-AO or FOX Scoring Stage. I like the fact that it has three different mic positions that were used to capture the impulse responses, so I can use them on individual close-miked sections of the orchestra. There are three IR patches of wide mic setups that I use. The closest one is for strings, the middle one is for brass and woodwinds, and the farthest one is for percussion and choir. I apply very little reverb on close mic sections just to give them air, and I apply more of it to stage mic sections to give them room.
Here’s an example of proper reverb settings using Lexicon PCM Native:
I use two instances of Lexicon. The first one is for close mic setup with a very small pre-delay and short reverb time. I use only 50% of the mix.
The second instance emulates stage and far-miked setups, which requires a sizeable pre-delay and long reverb time. Its mix is set to 100%.
If I have a solo vocalist in my session, I usually use any vocal plate preset for it.
This covers the reverb for the orchestra. Next up we’ll look at using the Studio One Video Player for scoring.
[Update! For your convenience, here’s the rest of the blogs in this series:
Check it out, I got some shots from the team at InfoComm 2012 in Las Vegas. From the looks of things Kevin, Brad, Rick, Paul, Justin, John, and more are all setting things up during the work day—and tearin’ things up at night.
But hey, it’s Vegas, right? And in this day and age, what happens in Vegas stays in ̶V̶e̶g̶a̶s̶ on blogs, Facebook, and perhaps worst of all, YouTube.
More coming soon, including a full day of Webcasts live from the show. That’s tomorrow, in fact.
JJazz.Net is an all-free high-quality audio internet music station. It is based on the keyword JAZZ and 12 concepts deriving from it. Engineer and musician Nobumasa Yamada recorded the release show for JiLL-Decoy association’s “Lovely Cafe Lounge” held in JZ Brat on April 14 using PreSonus mobile recording system. Here is an exclusive interview with JJazz.Net’s Chief Director Mr. Higuchi and JiLL-Decoy who rapidly is going up the iTunes Jazz charts.
JJazz.Net is an internet radio station that started streaming in 2000, but most people didn’t have enough bandwidth to support streaming back then and we obviously started a little early. However, in these past 5 or 6 years, the foundation of internet has evolved quite a bit and thus internet radio has become very popular. Our focus has always been on high quality audio, but we couldn’t go anything above 16Bit 44.1kHz when the only available source was the CD.
By trying to achieve better audio quality than CD, we naturally came to the idea of live recordings. That’s how we started doing our very own 24Bit 96kHz recordings. We knew we wouldn’t be able to stream in 24Bit 96kHz, but we thought something that is compressed from high quality audio must also sound pretty good. Our other aim was to introduce tracks that are recorded onto a CD but in a live environment, because we feel that sometimes, live performances can say so much more than a studio recording…
Read the full story here.
Baton Rouge, Louisiana, June, 2012…
PreSonus™ is shipping AudioBox 1.2, a free update that significantly enhances the performance and versatility of their AudioBox 1818VSL interface and also provides a number of new features for its AudioBox™ USB, AudioBox 22VSL and AudioBox 44VSL audio/MIDI interfaces.
One of the biggest enhancements for the AudioBox 1818VSL is that support has been added for AB1818VSL Remote for iPad®. With this free app, you can control virtually every parameter in Virtual StudioLive forAudioBox 1818VSL from an iPad, including volume, pan, aux sends, FX buses, and Fat Channel parameters.
As a result, users can use an AudioBox 1818VSL and USB-connected laptop as a full-featured mixer/recorder for small gigs, rehearsal spaces, and mobile churches, with the iPad serving as a touchscreen mixing surface. In the studio, manage the monitor mixes from your iPad while dedicating your computer screen to a DAW.
With the AudioBox 1.2 update, all AudioBox-series interfaces become compatible with USB 3.0-a rarity among audio interfaces.
This update also provides enhancements for specific AudioBox-series models:
This free update is recommended for all AudioBox-series users. AudioBox 1.2 can be downloaded from the Technical Support section of the PreSonus Web site.
AB1818VSL Remote is a free download from the Apple App Store.
Las Vegas, NV, June 2012… Join PreSonus for a very special live webcast, direct from the InfoComm Show in Las Vegas.
Tune in for Connecting Your Customers with StudioLive, a 30-minute presentation that will cover the broad range of advanced control and connectivity between PreSonus StudioLiveTM consoles and laptop computers, iPads®, iPhones®, and iPod touches®.
From iPad-based wireless mixer control with StudioLive-Remote and iPhone/iPod touch monitor control via QMixTM, to multitrack recording and production with CaptureTM and Studio OneTM Artist, PreSonus is the only compact digital mixer that offers such a wide range of software integration – for free!
The presentation will also take a look into the ever-expanding integration between PreSonus products and Rational Acoustics’ acclaimed SmaartTM audio-analysis technologies. Optimizing system EQ has never been this fast and easy.
Four 30-minute presentations will be broadcast live from the PreSonus Demo Room (N105) at InfoComm on Thursday, June 14, at 9:00 AM, 11:00 AM, 1:00 PM, and 3:00 PM. (All times are Pacific Daylight Time) A live Q&A from attendees will follow each session.
A special bonus for those attending the show in person: PreSonus will give away a free seven-port USB hub and free 2GB USB drive to attendees at the end of each presentation.
So join us online at http://livestream.com/
To schedule an email reminder, visit us at http://presonus.com/community/