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Last year at this time I got to attend the ‘Potluck Audio Conference’
Part of the fun was the music happening in the suites.
This is where I first heard of (and heard) Miles Mosley!
Miles Mosley Trio recorded by Ross Hogarth at Potluck 2014
The Miles Mosley channel on YouTube
You’re welcome 😉
Advanced Audio DM20
The DM20 is a super cardioid dynamic microphone, based on the original RE20. The DM20 produces a vocal presence peak which can enhance the voice. It also has an internal windscreen and does not require a shock mount. It features two bass roll off switches and a high frequency filter.
via Advanced Audio Microphones DM20. Dynamic microphone based on the RE-20 | Advanced Audio Microphones.
This mic is sweet! Gorgeous sound. For my voice? all filters off, but I sort of like it with the left-switch filter active (-3dB at 120, -5dB at 50)
Mmmmmmm.
Now NightBus, a dance-pop band with members split between Los Angeles and London, has what it says is a novel take on stereo. Its single, “When the Night Time Comes,” to be released on Tuesday by S-Curve Records, is produced in what it calls “three-way stereo,” an audio innovation for the earbud age.
via Dance Band Experiments With ‘Three-Way Stereo’ – NYTimes.com.
Actually it is 4 different tracks – left, right, stereo, and mono. If you put the recording in to mono you get a separate (and different) mix than either left or right alone.
I got to thinking about the many changes that came about in the recording business during the 2000s the other day – some of it good, some of it bad, most of it significant. Here are what I consider to be the 12 major changes in recording that took place during the 2000s, in no particular order.
via Bobby Owsinskis Big Picture Production Blog: The 12 Major Changes To Recording In The 2000s.
In the studio or your home recording acoustic guitar, these mic placement techniques will all yield different results
via Home Recording Tips – 10 Acoustic Guitar Mic Techniques -Disc Makers.
Very well executed examples of mic placement. I agree with the writer about the dual vertical placement, but the mid/side arrangement had some possibilities as well.
Audiophiles – addicted to epic trailer music, adore Soundtracks for movies, shows and video games. Looking for talented yet undiscovered composers.
via Why Hans Zimmer Got The Job You Wanted And You Didnt.
I have to admit, I am kind of addicted to epic trailer music. That’s one of the reasons I go to see *big* films in *big* sound in *big* theaters. Hans Zimmer soundtrack? It’s probably on my list of go see, see again, get some soundtracks.
There’s a great video at the bottom of this article that shows a recording session with 12 players/percussionists. Kind of reminds me of how Berlioz scored for loud, louder, loudest.
A 31 band spectrum analyzer makes a great visualizer 😉 Let’s you see the subsonics wanting to happen (.lt. 40Hz)
In the last few years it’s become apparent the music business, which was once dominated by six large and powerful music conglomerates, MTV, Clear Channel and a handful of other companies, is now dominated by a smaller set of larger even more powerful tech conglomerates. And their hold on the business seems to be getting stronger.
via Meet The New Boss, Worse Than The Old Boss? -Full Post | The Trichordist.
Very long, but if you are interested in “publishing” music worth the read. I wonder how much different the book publishing game might be?
Here are three ways you can capture vinyl into a computer:
via Recording Vinyl Records into a Computer | BH inDepth.
Pictures of the connections and everything…
They’ve fallen for all sorts of tricks: the silly notion that freezing or applying green sharpie to a CD can improve its sound.
via Audio Subjectivists vs Audio Objectivists: A False Dichotomy.
One of the most hotly – and perhaps unnecessarily – debated topics in the world of audio is the one that surrounds digital sample rates.
…
Namely, that there are perfectly good reasons for sticking with the current professional and consumer standards of 44.1 and 48 kHz for recording and playback – and some valid arguments for moving up to slightly higher sample rates, such as 60, 88.2 or even as high as 96 kHz. What seems to have less informed support is the push to ultra-high sample rates like 192kHz.
We’ll explore the arguments on both sides of the major questions around sample rates and try to find out where each faction has got it right – and where they may be missing some crucial information.
via The Science of Sample Rates (When Higher Is Better — And When It Isn’t).
MindNOX.2 
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