#c414

[every-sanji]

[paulbernardmusic]

Vi leker ikke musikk, bortsett fra at vi leker musikk #lekestue Mange prosjekter på gang. @silverendchris @docdeem . . #paulbernard #lero #drdeem #piano #pianist #musicproducer #musikkprodusent #artist #askøy #bergen #flygel #popmusic #popmusikk #musikk #music #recording #akg #c414 #ableton #abletonlive #musiker #musician #pianoman (ved Bergen, Norway) https://www.instagram.com/p/Cp0lW1MMha-/?igshid=NGJjMDIxMWI=

[tankraum]

C414 - lovely vocal mic #mix #mixing #liverecording #tomschenk #tankraum #protools #studer #akgmicrophones #c414 https://www.instagram.com/p/CpPvD7ms0o7/?igshid=NGJjMDIxMWI=

[turtleriffic]

Acquired one of my holy grail mics 😎

[ewyband]

EWY BIG Q&A

hi!! recently i did a q&a on instagram about SLAD. unfortunately (or fortunately?) there were too many questions to answer purely on instagram stories without spamming. here's the ones i couldn't answer on instagram, answered here!

MERLOT, both in terms of my favourite composition and performance

my partner and i were on a break whilst they were studying abroad ("we're only on month 1 of 4"). I just kinda word vomited my feelings. I was feeling pretty depressed at the time I wont lie.

yes i DID!!! this EP was MADE for fun. i wrote the songs specifically to make fun songs to play live. (aside from HOLLOW DRUG)

"And I could be displaced from my home And it could be seen on all your phones Is it real? Or is it fake? Look close, do my arms look like legs?"

probs the most lyrically dense I've been?? i'm not sure.

first of all, thank you so much!! second, some songs i write it all in one day but others can take a week or so before i'm fully happy with how its sounding. that being said, i always end up changing something before recording (usually around a month after writing, but in the case of MERLOT, that was recorded only a week after writing).

if i had to just name one, it'd be Nirvana. I wrote a 3000 word essay on In Utero for uni and that genuinely inspired me to make these songs. I really loved how Nirvana performed and I thought 'man, if only I had songs like that where I'd have an excuse to go crazy' other influences would include Jeff Rosenstock (my #1 fav artist) and PUP (greatest live show I've ever been to) btw, thank u sm!!

yes,,, very much

unfortunately i havent learnt proper scream technique so all of my screams were done at the very very end of my recording sessions. i think it worked out because that meant i had a lot of pent up frustration

i will start by saying my uni lets me hire out all of these microphones for free (if you don't count the student loan) vocals: SM7b & RE20 (only on sociopathic leech) guitar: AKG C414 matched pair (acoustic and electric) bass: my takes were originally done with an RE20, pretty sure fern just DI'd drums: Audix DP7 + SM57 (for hi-hat) + C414 for room mic's

i'll try get this done tomorrow!

i was in a guitar lesson at uni and we were talking about chromatics in the blues scale. my guitar teacher suggested i try to make a riff using the blues scale and particularly the chromatic part. that riff ended up being the middle 8 section of RIGHTS TO MY WRONGS. the rest of the song basically acted as a vessel to transport this breakdown middle 8 section. hopefully it doesn't come across that way !!!!!! but that was the main idea.

it felt very natural. i'll probably continue to go this direction in my future releases.

its mainly a reference to SOCIOPATHIC LEECH! 'i could beat you with a bat'. i just wanted something that felt visceral and angry and i feel like izzie really captured that.

yes and no! brett romnes is a super nice guy and very fun to work with. i obviously had my own mixes so he could see what i preferred and essentially made it better. i think there ended up being 4 drafts before we reached a final master.

these were my original mixing notes! i think the only thing that really got lost in translation was i added some really subtle vocal distortion at the end of HOLLOW DRUG in my original mix. in the end, i feel empowered by brett because he made it sound like what i felt it should sound like in my head (DOES THIS SENTENCE MAKE SENSE!?)

after i wrote SOCIOPATHIC LEECH and RIGHTS TO MY WRONGS, i was like 'okay, this is the style we're going for, lets do some sort of project in this particular style' i was pretty dead set on an EP since i'd just done an album. so to answer your question, yes and no!

i wish i could put something significant here. im sure theres some psychologist out there who could tell me that the song represents something about me. i was feeling alienated at the time, hopefully this helps? "confess your sins to the crowd, no-one can hear you when you're talking so loud" is definitely about my frustrations with song meanings though

hi mikey!

this person was the GM for a cyberpunk TTRPG game i played in. i wanted to write a cyberpunk themed album at one point but i guess that one merlot line is the closest we'll get.

i have semi answered this question but I WANTED TO WRITE SONGS THAT WERE FUN TO PLAY LIVE !!!!! and i think it worked out in the end

THANK YOU EVERYONE WHO WROTE IN !!! MY ASKBOX IS ALWAYS OPEN!!!

[passumbapper]

nothing to do at the stu today so did a real sloppy field medic cover with like $11,000 in microphones. as a treat.

guitar (epiphone hummingbird I think?) recorded M/S with Schoeps CMC6 MK4 (mid) and vintage AKG C414 with modded C12 capsule (side)

vocals with an AEA KU4 ribbon + Cloudlifter gain booster

all three preamped and processed through a Langevin DVC rack unit

mixed and mastered at home with Cubase

[jedidiah24497]

Week 5: SAF Band NDP recording, 26-31 May, Dragon Hall (Nee Soon Camp)

Surround Recording with a large amount of channels

Due to this project being in a military base, I could not get any photos of my own. However, any photos I attach are from SAF Band's Facebook.

For this project, we would be miking every single wind player. Additionally, we had setup a surround stereo 'tree', with 5 DPA 4041s capturing Centre, Left, Ls, Right and Rs.

We would then place the clarinets and flutes 'in front' of the Ls and Rs mics respectively.

We used a wide range of mics, such as DPA 4060s for clarinets and saxes, DPA 4011 for flutes, MD421/DPA 2011 for low winds, Austrian Audio OC18 for trumpets/trombones, CC8 for percussion and tubas, and even a U87 on euphonium. Additionally, we had a pair of C414s for a trumpet section sound, a pair of DPA 4015 on the trombone section, and the Beyerdynamic MC840 on the clarinet section.

The musicians and conductor would be wearing IEMs for the click track. However, as the conductor would also need to listen to a band mix, his IEM would be supplied differently. For the musicians, we used an RF system where one transmitter would supply the signal to 60 receivers. However, the conductor had an instant ethernet-based Aviom receiver so that we could play back the audio capture into his IEM. Hence, we had to manually calibrate the latency between the Aviom and RF systems.

Learning Points:

I learned abit more in recording in Surround, having never used any other format than basic stereo. I also learned about the wide range of mics that my company used to record the band, again readjusting my views on mics that I thought were out of place as being 'too coloured' like the U87 or the MD421. Finally, the unique IEM system was another interesting thing, although hopefully I do not encounter such a strange setup again, due to how tedious it was to implement.

[audiobay]

The Best Audio Equipment for Music Producers: A Comprehensive Guide

If you're a music producer looking to elevate your production quality, investing in the right audio equipment is crucial. Just as important as selecting the right gear is having access to high-quality music, which is why the best place to buy royalty-free songs is a critical resource. These tracks, often created by award-winning artists, can instantly enhance your projects, from YouTube videos to advertisements, offering instant licenses for personal or commercial use.

Let’s dive into the essential audio equipment every music producer needs and explore the best options available, whether you're a beginner or a seasoned pro.

Essential Audio Equipment for Music Producers

To create professional-sounding tracks, you need the right tools in your studio. Here are the essentials:

Audio Interfaces

An audio interface is the hub of your music production setup, allowing you to connect instruments, microphones, and speakers to your computer. High-quality interfaces ensure clear sound with low latency.

Focusrite Scarlett 2i2: Great for beginners due to its affordability and ease of use.

Universal Audio Apollo Twin: A favorite among professionals for its superior sound and onboard effects processing.

Studio Monitors

Unlike regular speakers, studio monitors provide a flat frequency response, letting you hear every detail of your mix without colorization. The right pair of studio monitors will make mixing and mastering far more accurate.

Yamaha HS8: Known for their clarity and precision.

KRK Rokit 5: A more budget-friendly option with strong bass response.

Digital Audio Workstations (DAWs)

A DAW is the software where all your production magic happens. From recording to mixing, it's the digital canvas for your music.

Logic Pro X: Ideal for Mac users and professionals.

Ableton Live: Popular for electronic music production.

FL Studio: Great for beginners and beatmakers.

MIDI Controllers

MIDI controllers help you compose and control your DAW with ease, from playing virtual instruments to automating effects.

Akai MPK Mini: Compact and affordable, perfect for small setups.

Novation Launchkey: Works seamlessly with Ableton Live and is great for live performances.

Headphones

Studio-grade headphones allow you to work on your music in more detail, especially when you're mixing late at night.

Audio-Technica ATH-M50x: A great all-rounder with balanced sound.

Beyerdynamic DT 990 Pro: Known for their comfort and detailed audio reproduction.

Premium Audio Gear for Advanced Producers

If you're serious about taking your production quality to the next level, these advanced tools are worth the investment.

High-End Microphones

A premium microphone can make a noticeable difference in vocal and instrument recordings. These mics capture every nuance with pristine clarity.

Neumann U87: A studio staple for professional-grade vocals.

AKG C414: Versatile and ideal for capturing a range of sounds, from vocals to guitars.

Outboard Gear

While digital plugins are convenient, outboard analog gear can add warmth and character to your recordings. Compressors, preamps, and equalizers are common pieces of outboard gear.

Universal Audio 1176: A legendary compressor used by top studios worldwide.

SSL G-Comp: A high-end analog compressor perfect for adding punch to your mixes.

Budget-Friendly Audio Equipment

Not every producer can afford premium gear, but that doesn’t mean you have to compromise on quality. Here’s a look at some affordable options that still deliver impressive results.

Budget Audio Interfaces

If you're starting out, these budget audio interfaces will give you solid sound quality without draining your bank account.

Behringer UMC22: A simple yet reliable interface for beginners.

Presonus AudioBox USB 96: Compact, durable, and cost-effective.

Affordable Studio Monitors

Great studio monitors don’t have to cost a fortune. These options provide accurate sound on a budget.

JBL 305P MkII: A highly-regarded option for under $150 per monitor.

Mackie CR3-X: Small but powerful monitors for home studios.

Room Acoustics and Soundproofing

Having the best equipment won’t mean much if your room’s acoustics aren’t treated properly. Room treatment is essential for achieving a true, balanced sound.

Acoustic Panels

Acoustic panels reduce unwanted reverb and echo, helping you hear your music more clearly.

Auralex Acoustics Studiofoam: Affordable and easy to install.

ATS Acoustic Panels: High-quality and customizable to match your studio aesthetic.

Bass Traps and Diffusers

Bass traps are crucial for controlling low frequencies, while diffusers help scatter sound evenly, reducing harsh reflections.

GIK Acoustics Bass Traps: Efficient at reducing low-frequency buildup.

Primeacoustic Scatter Blocks: Excellent diffusion and sound control for professional studios.

Conclusion

Whether you’re just starting out or looking to upgrade your studio, investing in the right audio equipment is key to producing high-quality music. From premium audio interfaces to budget-friendly monitors, each piece of gear plays an important role in shaping your sound. Don’t forget, beyond just the equipment, having access to top-notch, premium royalty-free music from the best place to buy royalty-free songs will also elevate your projects, ensuring your tracks sound polished and professional for any platform.

[evelyu65fr]

How to Download Ample Metal Hellrazer

Discover the power of heavy metal with the Ample Metal Hellrazer, a virtual instrument designed to bring the intense sound of a Schecter Hellraiser nine-string guitar directly into your studio. Perfect for genres like Metalcore, Progressive Metal, and Djent, this plugin delivers unparalleled sound quality and performance features. Here’s a comprehensive guide on how to download and get started with Ample Metal Hellrazer.

Step-by-Step Guide to Download Ample Metal Hellrazer

System Requirements

Before diving into the download process, ensure your system meets the necessary requirements:

Windows: Windows 7/8/10, 64-bit only

Mac: OS 10.9 or higher

Supported Formats: VST2, VST3, AU, AAX, and Standalone

Hardware: 10 GB Hard Disk, Intel i5 or higher

Download and Installation

Visit the Official Website: Navigate to the Ample Metal Hellrazer download page.

Select Your Platform: Choose the appropriate version for your operating system (Windows or Mac).

Download the Installer: Click on the download link to start the process.

Run the Installer: Once downloaded, run the installer file and follow the on-screen instructions.

Activate Your Software: After installation, open the plugin in your DAW or as a standalone application and enter your activation code if required.

Key Features of Ample Metal Hellrazer

Sampling and Articulations

Size: 5.8 GB of bridge pickup sample libraries

Modes: Stereo and Mono

Articulations: Sustain, Hammer On & Pull Off, Legato Slide, Palm Mute, and more

With 9 different articulations and legato at random lengths and pitches, Ample Metal Hellrazer offers an authentic playing experience.

Advanced Technology

AI Generator for Metal Riffs: Create complex riffs with ease using the new AI generator.

Preset Manager: Easily organize and access your favorite sounds.

CPC (Customized Parameters Control): Control any parameter via MIDI CC or automation.

Poly Legato and Slide Smoother: Achieve fluid transitions between notes.

AMP Simulator

Experience the built-in AMP system, featuring 6 classic models including:

Metal Double (Mesa Boogie Dual)

Metal Treble (Mesa Boogie Triple)

Lead 800 (Marshall JCM800)

Each cabinet offers 8 mic options for precise sound customization, including U87, C414, and SM57.

Riffer

The Riffer tool allows you to:

String Roll Editor: Detailed display of fingering, articulation, and more.

Dice - Random Riff Generator: Generate new riffs with a single click.

MIDI Tools: Includes features like fixed velocity and length legato.

FX Section

8-Band EQ: Intuitive control and real-time visualization.

2-Line Compressor: Visualize input/output signals with RMS & Peak detection modes.

6-Tap Echo: Adjust parameters of 6 echo points individually.

IR Reverb: Choose from Room, Studio, Hall, and Larger Hall types.

Tab Reader

Load and play various guitar tablature file formats directly within your DAW. Export tabs as audio files for easy integration into your projects.

Final Thoughts

Ample Metal Hellrazer is a must-have for metal enthusiasts and producers looking to incorporate authentic Schecter Hellraiser sounds into their music. With its extensive feature set and high-quality samples, this plugin is poised to elevate your production game.

For more details and to download Ample Metal Hellrazer, visit kalaplugins.com. Start creating epic metal tracks today!

[ujjinatd]

La Armada contrata sistemas de armas submarinas Advanced Acoustic Concepts LLC*, Hap... https://ujjina.com/la-armada-contrata-sistemas-de-armas-submarinas/?feed_id=511033&_unique_id=65b88e6209755

[podcastatthedisco]

Week 7 - Practice - Recording stereo techniques

We recorded our stereo techniques in the same session as we did the single microphone, so everything was already set up - in this way, we could build off of what we had already done for the single microphone recordings.

To start, Daren got an additional SM-57 and I plugged it in alongside the AKG C414. He then placed this on a mic stand, and with the help of the technicians we set it up in a mid-side pair. As previously, we recorded multiple takes to ensure that we would have a usable one for the podcast.

Here are the two raw recordings from the middle and side microphones:

To produce the following output, I copied the output from the side mic and reversed its phase, panning each one to the left and right.

Daren then got another AKG C414, both of which were set to the figure of eight polar pattern, and configured it for a Blumlein pair. This was slightly difficult to configure due to how close the microphones had to be, and it felt very precarious to have such an expensive microphone hanging so freely, but once it was in place it was relatively easy to record.

Below are the respective bottom and top recordings, as well as the combined version.

As you can hear this technique produces a good stereo image, however due to the difficulty in setting up this would not necessarily be my preferred choice.

The last stereo technique we recorded was the X-Y pair. This involved setting up another SM-57m and arranging them on top of each other at a 90 degree angle. With the second mic stand already in place, this was relatively simple, and due to the 90 degree angle it was easy to check that it was correct.

Overall, I feel that this was a good studio session - we worked efficiently, and recorded some of the key elements for our podcast. I feel a lot more confident in applying some of these recording techniques myself. If I were to redo this session, I wouldn't change much, but I would have been more precise with the types of microphone used when naming our tracks, as I'm not yet confident enough with them to remember which we used for what recording.

[musicianstechhub]

The AKG C414 is a microphone that differs from others like it because of its sound quality for not just instruments but lead vocals as well.

[shannon2keen]

Day 2 - Constructing a song.

Following on from the first session, we also added in syncopated notes to the drum beat that we had created this was to keep the flow entertaining and interesting. However, from listening to different RnB songs we realised most of the time the beat is of a simple drum pattern so we didn't want to overdo it. Then the next thing to adjust was the beat and tempo just to make sure everything fit in smoothly. We went for an unusual chord progression as E was the root key for the bass and sub bass but we did add in side chained compression for the chords used. At this point we also considered using a sharp 7 key from the harmonic minor scale. In the end this was an Eb minor scale with leading notes. From doing extra research for the next stage we discovered this scale is commonly used for love and relationships with a touch of soul for the vocals. This was how we got our inspiration for starting the process on writing lyrics. From the next session we started to use vocals for the main chorus that was created. To do this we used an AKG C414 microphone at 60cm distance. This section was just temporary to see how everything fit and flowed together but would be adjusted for the post production part. Stay tuned for updates on the next session.

04/11/2023 11:52am - Shannon Keen - Signed off

[waiqigoestowork]

Steinway and Sons Singapore - Piano Recording with David Nuss

31st May 2023

A little context / backstory:

I had previously done a recording with Steinway back in 2022 in their production studio, along with pianist Tiffany Leu and soprano Moira Loh. It was done as part of a commercial for the Property Lim Brothers. I was also Moira's intern back in my 3rd year of Diploma when she was also working as a marketing manager in Steinway.

Fast Forward to May 2023:

Steinway's current marketing specialist, Amanda, contacted me via Email about an opportunity for another recording. I did not expect them to voluntarily contact me now that Moira has left the position, but I guess that they were satisfied with my past performance and kept my contact.

The Project:

The description of the project through Email was a little strange, so I scheduled a phone call with Amanda to clarify things. Essentially there was a problem with the audio recording from the first session (which was done by the video team), and the client was not satisfied with the end result, so they needed a specialized recording engineer to be there for the re-take. I also asked for a sample of the botched recording.

I was very wary at first. I thought that the client was being picky and difficult, because how bad can the quality of a piano recording get?

TLDR; it was very bad.

It's very likely that the recording had noise because the studio was located in an industrial building. They probably engaged a noise gate and denoiser and had it printed onto the audio recording, which made it sound gurgly and have significantly degraded (unacceptable) quality.

So I took up the job and promised that I could deliver the "clean and professional" level of audio they asked for. It was also very apparent that Amanda was not in any way familiar with the tech side of things, because other than forwarding me a copy of their company tech rider she was unable to advise beyond that.

Thoughts Before the Job

At this point, I knew I was on my own in determining the quality that I would provide. I was scared because I had not done a project without any guidance from a senior or supervisor, let alone something professional. Even though I accepted the job, I doubted my abilities in and out and lost all confidence I had about myself. I was afraid of judgment and expected my performance to be perfect. I also assumed that everyone knew better than me and would be extremely hard to work with.

Day of the Recording

I used a stereo pair of small condenser microphones to mic up the piano. I placed it rather far from the piano (not close miked), based on the measurements suggested in their tech rider for the distance stereo pair.

I wasn't sure why I was so rigid and followed the "rules" instead of using my brain and experience to deduce the best position for the mics. I suppose because it was my first time doing a professional gig, and following the tech rider was the only structure I could cling to and feel safe. Now that I think about it, I was also partially trying to avoid blame and accountability by sticking to their template.

The client brought his own pair of microphones too because he was disappointed by the first recording session and wanted to have a backup for his own keepsake. I honestly felt a little offended by the whole situation, because I thought that if the client had his own mics why would they even need me?

He taped down two AKG C414s onto the soundboard of the piano. From then onwards I knew that gear does not equal expertise. Although his method would allow him to record clear audio, the stereo image would be pretty unsalvageable and would not be pleasant to listen to. So it kind of made me feel a little better about my presence there.

The recording was pretty straightforward, I followed the cues from the camera team and labelled each take accordingly. For good measure, I let the client listen to the raw files before he left for him to give the green light. I also mentioned to him that there is not much that can be done to the occasional disruption of warehouse noise, and that I would do my best to dampen it without affecting the quality. He was pretty understanding about it and we wrapped it up.

Post-Production + Reflection:

The whole recording was that of the client's young daughter. It may seem trivial, but it did not occur to me at that point of time that the skill (or age) of the pianist would affect the way it needs to be recorded.

Normally for classical professional classical recitals, a distanced A-B stereo pair would be sufficient to capture the sound and energy of a grand piano.

In this case, because the pianist was young and still a beginner, her note projection was not as strong, and my miking technique was actually not ideal. I did not realise that my gain was turned up slightly too hot, and ended up picking up a lot of floor noise. It was not an ideal environment to be monitoring either, because the sound from the acoustic piano was loud enough to still be heard over headphones.

Either way, I did the best I can to polish the files up, and handed it over to Amanda, and she was happy with it. I did not hear the client's feedback nor comments, but payment was made nonetheless, even though it took quite a while. David, the client, was a close friend to the chairman of Steinway, so I already assumed that he can and will take his time to confirm and make payment, therefore I did pester Amanda quite a bit to make sure that I get my fee within an acceptable timeframe.

Biggest Takeaways:

I am now in control of my own work, and will need to have increased discipline and self conduct.

Stop doubting myself, I am the specialist that they hired and I have the knowledge and skill to execute what I am supposed to.

Do not get ahead of myself. Honesty and integrity goes a long way, do not say yes to things that I know I am not able to do.

People are more understanding than you think they are.

Do not feel bad about asking for payment. (duh)

My own expectations will most likely be higher than the client's, because I know what to listen to and am most aware of my flaws.

[malishka13113]

AKG C414 XLII – Musikhaus Thomann

[naveed-512]

10 Best Large Diaphragm Condenser Microphone

Rode NT1-A

Audio-Technica AT2020

AKG Pro Audio C414 XLII

Sennheiser e 965

Neumann TLM 102 MT

Shure SM27

Neumann KM 184

Lewitt LCT 840

MXL V67G

Focusrite Scarlett 2i2