Tag Archives for " Dennis Moody "
Today is the 3rd anniversary of my Inner Circle Podcast and I’d like to thank you for being a loyal listener. I never envisioned getting to 150 episodes, but it’s all been made possible by followers like you!
Episode #151 brings back engineer Dennis Moody. Dennis was my first guest, and he’s celebrated every podcast anniversary with me since. As always, we look at the many trends that are happening in both the studio and live sound business. If you’re not familiar with Dennis, he’s the engineer to drumming gods like Steve Gadd and Dave Weckl, and also mixes live sound in arenas to clubs, so he has quite a history.
In the intro I’ll take a look at Spotify’s current A/B tests of its new Hifi tier, and at some killer vintage recording consoles with big histories that are now for sale.
One of the things that frequently happens when building your own studio in your basement or garage is that you construct it to get as much isolation as possible, then realize that the temperature inside always hovers around tropic-level heat, even while the weather is below zero outside. That’s because the last thing that most home builders consider is ventilation and air exchange, or they think they don’t have enough money to get the air conditioning job done properly.
Here’s a quick excerpt from my Studio Builder’s Handbook (written with Dennis Moody) that covers what might be the best way to make those studio temperatures comfortable without spending a lot of cash.
“HVAC (heating, ventilation, air conditioning) is a bigger part of any studio than you might realize, so it has to be taken into consideration right in the beginning. Don’t even think of using a window air conditioner since they’re way too noisy and will defeat any isolation you might’ve built. For real studio HVAC you really only have two options; forced-air or a mini-split.
Forced-air is certainly the way to go but gets very expensive very quickly, since the ductwork has to use a lot of right angle bends and diffusors to lower the air speed so it doesn’t make any noise (air noise is a vocal killer). It also requires a concrete slab to mount it on the ground outside. Finally comes the installation labor, which must be done by a pro.
A much more viable solution is known as a “mini-split”. This is a system that’s very popular in Europe and Asia were the compressor is located outside the building and the air handling unit inside. All that’s required is a 1″ hole that’s cut through the wall to allow access for a hose to go from the compressor unit outside to a cooling head mounted on the wall inside the studio, and a small drainage hose. The cooling head is mounted on a wall and is very quite. Depending upon how large your space is, a unit that puts out between 9,000 and 12,000 BTU unit may be enough. A big plus for the mini-split is that not only is it inexpensive, it’s very quiet as well. They are also available with an optional “heat pumps” for those cold winter days that everyone experiences (even in warm climates).
While you can install a mini-split yourself, your might want to get a pro HVAC technician to do the complete job. It should only take a few hours to install, so it won’t be outrageously expensive, but because these units need freon gas to function, you’ll have to have a professional technician do the freon work and they charge a lot for handling this gas. Even with the extra expense of a professional tech, at least you’ll be sure that it’s done right. Make sure that you have the unit serviced every year, and keep the filter clean as that helps to keep the unit from getting noisy.
If you do decide to install a forced-air system, it’s important to know where your feeds and returns are going to be. For instance, you don’t want to place an air conditioning feed directly over the mixing position of your console, or directly over were your drums are going to be set up. As practical as this might sound, you’ll find this kind of direct placement will mean that it will become uncomfortably cold when the air blows directly on you. Make sure you put the feed in a place where it will be defused and quiet.”
You can read more from The Studio Builder’s Handbook and my other books on the excerpt section of bobbyowsinski.com.
One of the most important and overlooked aspects of drum miking is making sure that the mics are all in-phase. This is really important because with only one out-of-phase mic, the whole kit will never sound as big as it should, and if not corrected before all the drums are mixed together, might not be able to be fixed later. Here’s an excerpt from The Drum Recording Handbook 2nd edition (written with Dennis Moody) that looks at an important part of this issue.
“So just what is phase anyway? Without getting into a heavy explanation, it just means that all the microphones are pushing and pulling together. If one mic is pushing while another is pulling, they cancel each other out at certain frequencies.
There are two types of phasing problems that can happen – electronic and acoustic. An acoustic phasing problem occurs when two mics are close together and pick up the same signal at the same time, only one is picking it up a little later than the first because it’s a little farther away. That said, electronic phasing of the mics is just as important.
Why would there be an electronic phase problem? Most of the time it’s because a mic cable was mis-wired (either repaired incorrectly or originally wired incorrectly from the factory), or the microphone itself is sending a signal that’s out-of-phase from the other mics that your using. In other words, one mic is outputting a positive voltage on pin 2 of the XLR connector when the other mics are outputing negative on pin 2. This is something that was more prevalent in the days before XLR connections were standardized, so it’s not much of a problem now unless you’re using an old vintage mic.
Regardless of how it happens, there are two ways to check the electronic phase.
Checking Phase The Easy Way
There’s a very easy way to check mic phase. After you get a mix balance of the kit together, flip the phase selector (this is more accurately a “polarity” switch) on each mic channel one at a time either on your console or in the DAW. Leave it on the position that delivers the most low end. Do this on every mic in the kit (select the overhead and room mics in a pair, but check the left mic against the right as well).
Checking Phase The Slightly More Difficult Way
This method takes a bit more work, but you’ll know for sure if you have a mic cable that’s wired backwards. Also, you really have to have another person with you to make this work. It’s a two-man operation.
First you have to pick a mic and make it your “reference.” Any mic on the kit will do, but it’s easier to pick a mic that can easily come off the stand.
Now take your reference mic and put it next to another mic on the kit, say the kick drum mic, as in the graphic on the left. Make sure that each mic is at the exact same volume level (this is important!). Now have someone talk into the mic while you switch the phase selector on either the console or DAW. Again, choose the selection that sounds the fullest.
Do this to each microphone. Any channel that has it’s phase selector different from all the others has a mis-wired cable. Make sure you mark it so you don’t have the same problem again!”
You can read more from The Mixing Engineer’s Handbook and my other books on the excerpt section of bobbyowsinski.com.