Commentary

Microphones are a key component for any music producer, and using the right ones at the right times is crucial to creating an unforgettable recording. One of the more portable and durable ones that has been gaining prominence is that of the Earthworks QTC 50 Omnidirectional microphone, given its compatibility in various places. The durable and feature-rich microphone allows for clear and deep sounds, whether you are on the road and recording on the phone, or comfortably in the studio.

Key Takeaways:

• Rich Tozzoli, who blogs for Ask.Audio, considers the Earthworks QTC50 omnidirectional mic his everyday, go-to mic, because it gathers sound with no coloration.
• The QTC50 has no proximity effect; translation you can place it right next to your sound source while using no artificial bass boost.
• Tozzoli has actually used the mic inches from clanging cymbals, specifically to deliver that seepage of coloration and overtone, which this mic can do extremely well.

“The QTC50 is an omnidirectional mic with some pretty impressive specs, which it certainly delivers on. The reported frequency response is 3Hz – 50kHz (odd that it reports up to 50 KHz since human hearing cuts off at 20 KHz though) flat, and it handles up to 138dB SPL without distortion.”

Read more: https://ask.audio/articles/review-earthworks-qtc-50-omnidirectional-microphone

Every good music producer knows that one of the most important pieces of equipment in their studio is the microphone. Without a proper mic (more important to match the mic to the vocalist than to have an “expensive mic”), it is impossible to create high quality vocal recordings. According to MusicTech, the best microphone that emerged in 2017 was that of the Aston Starlight, because of the fact that it provides three voice options, as well as offers a laser-targeting system unlike any other microphone currently on the market.

Key Takeaways:

• MusicTech.net’s Gear of the Year, 2017 winner in the microphone category, is the Starlight, made by Aston.
• This small-diaphragm condenser microphone has three distinct, very useful voicings, which specifically are modern, vintage, and hybrid.
• The mic incorporates a laser targeting system, which allows the engineer to ensure both mics are aimed at the precisely required spot, when used in a pairing situation.

“Aston has made some incredible microphones in a relatively short period of time and last year, it’s fair to say it probably would have won Microphone Of The Year had it not had two entries and split the voting public.”

Read more: http://www.musictech.net/2017/12/gear-of-the-year-2017-the-best-microphone/

MixerFace 4 will be about the same size as a smartphone. Available in May for about $299, or with built in audio recorder at $349, it has the following features: rechargeable battery that lasts up to 8 hours, combo input jacks with power for Mic, line, instrument of guitar recording, balanced or unbalanced output for monitoring options within the home, a low cut filter, AUX input, and Zero latency monitor blend control for use on the road or at home. An X/Y stereo mic is available as well for an additional $49.

Key Takeaways:

• MusicTech.net reviews a new entry into the mobile recording market, CEntrance’s MixeFace R4.
• The MixerFace is slated to be about the size of an Android phone, yet bursting with features.
• R4 designers created a versatile tool, that should prove to be both invaluable while on the move, yet seriously useful as a home studio interface.

“We expect certain restrictions when recording on the move, but CEntrance’s MixerFace R4 could be the end of that”

Read more: http://www.musictech.net/2018/01/namm-2018-centrance-mixerface-r4/

Although the music production game has become increasingly digital and allowed individuals to feel that mixing and mastering is an easy concept, some people believe it’s actually harder than ever to properly mix and master. I’m not one of those – I think computers have totally changed the game to make it MUCH easier. But it CAN be overwhelming now with so many options.

Anyway, it’s still true that understanding the roles that each instrument or sound plays in a song, and creating space between these sounds to amplify their existence, is one of the most crucial components in ensuring the song you produce is going to take off.

Key Takeaways:

• Typically, instruments and vocals have classic roles that can lead to engineering assumptions that may prove detrimental to a recording.
• While it’s normal for vocals to serve as the overriding centerpiece, it might be a good idea to try burying the song in order to elevate the mood of the recording.
• This ‘outside the box’ thinking led one engineer to pan the drums to one side, in a particular mix, balancing it with a lone and heavily strummed acoustic guitar.

“If you’ve tried to understand the feeling of the song you’re mixing, you may realize that the instruments before you would best support that song if they were doing different things than usual.”

Read more: https://www.prosoundweb.com/channels/recording/in_the_studio_instrument_roles_creating_space_differentiation/

Key Takeaways:

• iZotope has led the way to super fast automated processing, with intelligent software that gives suggestions regarding mixing, such as equalization tips.
• While this may be a boon to creatively blocked engineers and newbies, one wonders whether a pathway to dehumanized music has opened up.
• Virtual reality and augmented reality are here to stay and will have more and more to do with the process of audio enginerering.

“The tools we use to produce music are getting insanely good. If I look back on what was available to me when I really began studying and practicing digital audio (with my humble Cool Edit Pro setup and no 3rd party plugins), the current state-of-the-art seems even more astounding.”

Read more: https://theproaudiofiles.com/digital-audio-workstation-trends/