Euphonic Studio Additional Recording Gear

Mixing and Monitoring

Here is some of the hardware that I like to use.  I've noticed that this page is getting quite a few hits, so over time I am going to try to add some more specific information about how this equipment works for me.  I'll stop short of calling it a "review", but some of my visitors may find it useful if you are building your own studio.  I've always found it to be very frustrating to pick up a piece of equipment and then discover that it really doesn't do what I needed or expected it to do.

Allen and Heath CMC24

Click HERE for a colorful brochure...

The Allen and Heath CMC24 was originally designed to interface with an 16 track reel-to-reel tape deck such as models built by Ampex, Tascam, Fostex, and others in the mid/late 80s.  It has a rich set of features for a mixer in this class, including inserts, 6 effects busses, 3 band parametric eq, and many others.  According to the A&H website the original list price of this piece was 4643 pounds sterling, or about $8000.  That's not chump change.

This mixer was one of the early attempts at automating the mix process.  It has a "CARS" feature (Computer Aided Routing System) that allows you to set up routing, mutes, etc,  and recall them from a bank of buttons or SMPTE time code.  It also supports an interface to a Commodore computer!

March 09 Update.... I have added an M-Audio Delta 1010 to my studio and since this device has no preamps it makes perfect sense to me that I should use the CMC24 to interface with it.  So I have started working with the CARS function to see exactly how it might work (with a possible eye to adding another 1010 for 16 track recording capability).  I have been working with the manual and tech support to try to understand why I can switch to channel mode from patch mode but I can't switch back without powering the mixer down.  I just had a phone conversation with a gent named Klaus who spoke with people at the A&H factory in the UK.  They were kind enough to upload manuals, but could only wish me luck on solving the issue.  One of these days I'm going to flip it over, pop the back off of it, and have a look at the logic board in the CARS section.  I'll update as progress presents itself.

This is old technology, but the mixer is deathly quiet, clean, and it works well for what I'm using it for, which is primarily for handling monitoring interface to my digital sound cards.  Allen and Heath still builds great mixers, and I was able to get both a users manual and a service manual for the CMC24.  Update:  you can get .pdf files of manuals and specs at this link:

http://www.allen-heath.co.uk/veterans/cmc.htm

JBL 4410 studio reference monitors

When I started my personal studio back in the late 70s, money was a critical factor (OK, so when is money NOT a critical factor?)  At first I was using headphones to do all the mic setup and mixing.  A big step up for me then was moving from the $9.95 Radio Shack headphones to the $40 pair.  Then I acquired a pair of home-designed speakers that were based on a pair of JBL LE14Cs with crossovers in a ported bass reflex box.  The LE14C is a 14 inch speaker with a coaxial tweater.  After reading some of the reviews I recently found on Google, I understand why they sounded the way they did.  They guy I bought them from was a bass player, and he liked to jam along with records of Weather Report.  In those homespun cabinets the LE14Cs were totally, hopelessly colored, horribly skewed and muddy.

It stands to reason that setting up a mic based on what you hear in a pair of cheap headphones or monitors is probably not going to yield a professional-quality recording.  The unfortunate fallout from this was a passle of recordings that are out of whack and need a lot of work to make them mildly listenable.

I was fortunate to acquire this pair of industry-standard JBL 4410 reference monitors in the late 80s.  They are wonderfully transparent, just what you need for setup and mixing.

The JBL 4410 is flat and does not color the sound.  This is what you want for one pair of your monitors.  It's also useful to have a pair of something you'd find more typical in somebody's car or living room so you can test your mix for "home use".  I have been in major studios where they had a pair of raw 6x9 car speakers nailed to the wall next to their JBL 4410 speakers for this purpose.  I use a pair of Realistic 2 way bookshelf speakers for home reference and also check the mix through a pair of Walkman headphones.

Microphone selection and usage

This list is always changing. I'm considering which high end tube mic to add to my recording collection.  As you probably know, it's pretty easy to get several thousands of dollars into a single microphone. There are three key microphone qualities (besides cost) that I consider when buying or selecting a mic. 

First, the pickup pattern, or the shape of the area that a microphone works aim it at a sound source.  The two extremes are hypercardiod (extremely focused on a small area) and omnidirectional.

Second is the mic's transparency.  This refers to the coloration of the mic, or its signature of sound modification that it imposes on what you're trying to record.  A completely transparent mic would reproduce the sound exactly as it is heard (but by who's ears?) This is a complicated topic that involves the frequency response of the mike, its pickup pattern, proximity effects of the sound source, and the physiology of hearing. 

Third is self-noise which is sometimes expressed as signal-to-noise ratio or equivalent noise. This is also related to sensitivity due to the amount of gain you need to get a recordable level.  What this refers to is the amount of noise generated by the electronic components inside the microphone itself.  This is an important factor when you are recording sound sources that are medium to low level.

These three components (and cost in $$$, of course) affect the choice of microphone for a specific task.  The engineer's job is to choose the most appropriate mic available, place it to pick up the best sound possible, and capture it on the recorder. 

There are two factors (at least) that trump microphones as the most important links in the recording chain.  They are 1) the tone quality of the instrument or sound source, and 2) the performance.  No microphone can fix a crummy instrument sound or incompetent performance.  It doesn't matter how well you record it if it's not worth hearing.  The flip side of this... in my record collection, I have many virtuoso performances on world class instruments that were recorded 50 or more years ago.  Some of them are even recorded in monophonic. These are quite enjoyable to hear and are historic milestones.  So... if you want to make an artistic statement, you have to do the work (practice, practice, practice).  In this case, the medium is not the message.  HOWEVER, having said that, you should try to develop your craftsmanship as a sound recordist so that you don't have to apologize for bad recordings.  Some of that craftsmanship is using whatever resources at your disposal to acquire and use the best equipment you can.

Tip:  no matter what instrument or microphone combination you are working with, you will never capture the best possible recording without trying out a number of different microphone locations.   This is where you get to do your research and critical listening.  Here's what I do.... I record the same passage using whatever microphone setups I want to compare, making careful notes or even taking pictures of how the gear is set up so I can remember later.  Then I evaluate my recordings against each other AND a commercial recording.  If you have a good pair of ears, you can hear what sounds best and what sounds the most like what you hear on the record or CD that you paid $$ for.  You'd like to sell your recordings for $$ someday, I assume?

Another tip:  take a break!  Your ears will fatigue and your concentration will fade as the day goes on.  Do your recordings and come back for the critical listening session the next day.  You will be AMAZED at how much better you hear!

Microphone locker

Nady SP-9:  pair of dynamic ball mics.  I actually got these for free with the purchase of some other equipment.  They do a fantastic job of recording the horns on my Leslie 251.  Can't beat the price!  If you're on a budget, you should always look for deals like this.  Even if you can't use them, you can give them away to your neighborhood garage band.

Shure PE54SD:   pair of 54SD cardiod dynamics.  These are part of Shure's PE line (Professional Entertainer) and have been around for decades... at least 4 of them that I can remember.  These are nearly identical to the SM57s which are nearly identical to the SM58s.  In fact, when I put a wind screen on these you can't tell the difference.

Shure SM-57:  These SM-57 cardiod dynamic very similar to the 54SDs above.  I consider these 3 mics to be interchangable for all practical purposes.  These are commonly used for micing instrument amplifiers and individual drums on stage and in studio.   The ball mic version of this (SM-58) has become somewhat of a standard for live vocal performance.

Sony:  pair of "Realistic" 33-1080 mics that Sony built under the Radio Shack and Teac brands in the mid 1970s.  These are back-electret small diaphragm condenser mics that work great for close micing acoustic instruments.  I bought this pair new in about '77 and they have become one of my favorite microphones.  They don't operate on phantom power; instead you can put in one AA battery (1.5 volts) or two PX28 camera batteries (12 volts).  Tip:  If you run a 33-1080 with two batteries at 12 volts instead of 1.5 volts, you extend the dynamic range and improve the signal to noise ratio.

The 33-1080 is a "medium impedence" microphone.  It comes with a cable that has an XLR on the microphone end and a 1/4" unbalanced phone plug on the other end.  However, you can use it with a standard Lo-Z XLR cable, which makes it very versatile.  In fact, since I originally posted this piece, I've bought a 3rd 33-1080 for a spare.  You can find these on eBay occasionally for around $50.  I've never used one on stage but I'll bet they'd be great for that with a proper windscreen.  

DBX:

RTA-M.  This mic is one of those that you will rarely use but when you need it, you need it.  It's a special purpose mic designed for sound system calibration.

(Sorry about the photo, my camera is acting up.  I'll get a better photo soon.)

The RTA-M is an omnidirectional FLAT condenser reference microphone that's designed for use with DBX's rack Real Time Analyzer system.  The whole system is an automated analyzer that would be handy for a PA in a live venue, as it can save you the drudgery work of having to contour your graphic EQ manually.  I didn't buy the automated system, but I'm only dealing with one room, my studio, so that's OK with me.

There is precious little information or documentation on this piece of gear.  You get no manual with it, there's nothing on the website except a blurb telling your that it works great and don't worry about it.  I have read somewhere (perhaps DBX's site) that this can double for an acoustic guitar mic but I haven't tried that yet so I can't comment about how well it works for that.

Just a word on EQing a live venue.  When you do this, nobody is going to want to be in the room due to the loud and annoying noise you create.  Yet when you actually PLAY the gig, the room is going to be full of sound-absorbing people who could change the room characteristics dramatically.  I'm not suggesting you run out and buy several hundred crash dummies, but it's something to think about, especially if you're in a very hard space that holds a lot of people.  Just some food for thought for those who like their PA to have some intellegibility.

Audio-Technica:

The ATM87R boundary mic is another special purpose mic that has found a home at Euphonic.  These are directional, relatively flat to about 15kHz, and withstand a very high SPL.  They can be found in front of kick drums, one of their favorite applications.

Where I like to use mine is under the Mason and Hamlin on the ceramic tile floor.  While the pair of Rode NT1-A mics I use up top in X-Y does a great job, I also record a track with this guy and mix it in to the center at a very low level.  This provides a hint of warmth and rounds out the sound.  If you listen to any of the M&H recordings on this site done by Chase Garrett, you'll hear it.  I REALLY like this mic in this application and would recommend that anyone working with a grand piano in a studio should give it a try.

Samson:  pair of C01s.  These are a low cost medium diaphragm condenser, excellent for the money.  If you need 1 microphone within a $100 budget, Samson is your answer.  These are not bad.  There is some slight coloration and noise, but really, they're not too bad for the bucks.  The microphone comes with a stand mount; the shock mounts as pictured below are about $35.  You will want one of those, and a wind screen if you are planning to record vocals.

UPDATE:  I can't recommend these for any serious use due to noise.  If you are going to buy a condenser mic and you have budgetary problems, hang onto your money and wait until you can afford a Rode NT1-A.  You'll be glad you did.  The C01s are OK for scratch tracks and non-critical use, but if noise will be a problem on the track, don't use it!

Rode NT1-A:  Euphonic Studio has a pair of NT1-As.  These are arguably the best condenser mic at their price point.  These have an incredible 5 db of self noise, which translates as "inaudible".  These are my best microphones at the moment and they do a great job micing my Mason and Hamlin piano.  They also are a wonderful vocal microphone.  Tip: Always remember to use a windscreen when recording vocals with a condenser microphone!  

The NT1-A is the anniversary edition of Rode's NT1.  It's a bargain that you can find on eBay for $150-$200 used, in case you're wondering. 

Instrument Amplifiers

1970 Fender Twin Reverb

I bought this amp new in 1970 and it's never let me down.  It has thousands of hours on it and I've never had a major repair problem with it.  I have replaced tubes and I think both JBL D-120 speakers have been reconed.  Also, the original cabinet was literally roaded to death.  I bought the present cabinet in Corpus Christi in the mid 90s. 

There are only two things wrong with this amp;  it's too heavy and too loud.  I will sometimes use an ART TubePAC with it to get some tube distortion since it won't do that on its own without driving you out of the room.

1977 Crate IIR

This is the second one of these I've bought.  The first one got fried in a tragic mis-wiring accident.  It has a parametric midrange control and a master volume control.  They shipped, I've read, with an Eminance 12" speaker.  I had an extra speaker so I put it into my OEM Leslie.

Here's the Crate plugged into my 3 speed passive speaker Leslie... the only word that seems appropriate is "wicked"! 

3 speed Leslie speaker (OEM for Kimball organ).  Can be plugged into any guitar amp.  See it sitting under the Crate IIR above.

These type of speakers use a rotating foam baffle in front of the speaker to disperse the sound as it spins around and around.  This is similar in some respects to the bottom speaker of a Leslie powered organ cabinet that you may have seen used with a B3 or A-100.  (See my Hammond page for a description of my Hammond A-100 and Leslie 251).  The primary difference is that most of the Leslie models used with Hammonds also had rotating high frequency horns in the top section. 

This works pretty well with a guitar amp, although I probably wouldn't want to drag it to a gig unless I had roadies.  Of course, if you have roadies, you'll want to drag a Leslie 122 or 251 instead.  ;-)

2002 (?) Fender Princeton Plus

I bought this for a practice amp with the possible benefit of having one of the grandkids taking an interest in guitar.  Well, that didn't materialize so I've got another amp.

I don't exactly know what it is with Fender and their loud amps.  This tiny solid state amp with a single 12" speaker is plenty loud enough to use on stage.  It has a "distortion" channel that seems too buzzy to  my ears.

I have been using this amp now for a year or 2 and I can offer a critical comment about a design flaw.  The input jack is a surface mount type that bolts onto the front panel AND is soldered onto the main input board with all the other controls and jacks on the front panel.  This is a HORRIBLE design.  If the capture nut that holds the plastic barrel (UGH!) of the main input jack gets loose, you will be moving the actual solder connections of the input jack and they will eventually break and maybe even degrade the foil traces on the circuit board.  (I will insert some pictures next time I take this apart).

Old Fender amps like my 1970 Twin use point-to-point wiring so this problem can never happen.  I have "fixed" this twice on my Princeton Plus and also the same exact issue on a student's Champ amp. 

Fender, please live up to your reputation and stop putting out junky designs.  The amp is passable except for this, and I may end up fixing it by replacing the jack entirely with an old point-to-point one.

Studio Rack

Signal processors

I have trimmed my collection of these due to the comprehensive software signal processors available in Sonar 5.  But some of these are still quite useful.

ART TubePAC  

I use a pair of these as pre-amps when recording my piano.  They are somewhat controversial pieces of gear, if you go by what you read on the 'net.  I go by my ears.  They do a very nice job by my taste, which is what counts to me.

Alesis MicroVerb III

I'm not sure exactly why I like this unit, but I do.  It's reasonably clean and a good thing to have around for a "spare" unit.

Behringer Headphone Distribution Amp

If you're going to record multiple musicians live, you'll probably need something like this.  I really like this unit a lot and it was relatively cheap.  It has 4 channels, and you can send each one its own mix if you have that capability in an external mixer.  Each channel has its own tone controls and stereo/mono switch, both handy features. 

Behringer Virtualizer

This is an interesting piece.  It's not that clean, but it's OK and it really models a lot of rooms very nicely.  There are some other effects including a rotating speaker effect and a Vocorder that I've never really used.

Behringer Compressor

This is a 4 channel piece that can be used either in either the input or output chain (or both).  I'm using it in the output chain to keep from overloading the input on the integrated amp.  I could probably live without this but it's handy to have around and not too expensive.

Sony DAT

I'm not really using the DAT much these days.  I keep it around in case anyone wants to master to DAT instead of CD.  They were cutting edge when introduced, a great mastering deck that put digital recording in your hands for a mere $10k.  By the time I bought mine they were going for 10% of that, and now they're more of a curiosity.  Almost everything is recorded to CD these days, but you'll still find DAT decks in radio stations here and there.

RACK UPDATE:   The DAT has been removed from my rack to make way for a 1/3 octave stereo equalizer... a M-Audio Delta 1010 may be going in soon, possibly a second one as well (see above).  I may finally have to unhinge my last tape deck, the Sansui cassette (sniff). 

Call Bill at (319) 895-8002 to arrange a tour and demonstration

Euphonic Studio Digital Recording Services

Mount Vernon, Iowa

Mount Vernon, Iowa serving Cedar Rapids, Marion, Solon, Mechanicsville, Ely, Springville, Anamosa, Iowa City and surrounding area