Peak Recording, Bozeman, MT (2025)

03/15/2025

Update on the audio book production.

This is my view a few days ago; sitting on top of the Neve is the “yet-to-be-done” pile on the left and the “done” pile on the right as I’m in the editing phase of the project. So significantly more than half-way through. Yay!

There’s a ratio of the time spent recording an audio book and the time spent editing it, and it’s variable depending upon, mainly, how good the reader is. How many mistakes (and then retakes are needed) the reader makes, how many mistakes we (the reader, me, and the director, if we have one) miss, and then have to do pickups at a later date. How many noises the reader makes that require a re-take or that we miss and I have to spend time taking care of, or that can’t easily be fixed and then get marked for a pickup. Does the reader have some weird pacing problem that we want to smooth out? Things like that.

Anyway, ideally the ratio of editing to recording is usually around 4 or 5 to 1, and could easily be higher than that given the possible problems listed above. The editing phase, even in the best cases, takes a lot longer than the recording.

So when I get to the point in the editing where the “done” pile is bigger than the “yet-to-be-done” pile, I always relax a little. It’s like, “you got this”.

03/03/2025

Lynne Spriggs O’Connor was in a few weeks ago recording the audio version of her book, “Elk Love: A Montana Memoir”. The book mostly takes place in Montana, and I’d call it a love story.

While I’ve recorded quite a few audio books here at Peak, usually when I’m working for a major publisher, like Penguin Random House, I’ll record the book here, send all the files to them, and then, other than recording the inevitable pick-ups (more on that later), I’m done.

On Lynne’s project, I’m handling the editing and completion of the book as well, which is a lot more work.

When I’ve mentioned to a few people that I’m working on an audio book and that it takes a lot of time, they ask why that is. “Don’t they just read it and you record it? How can that take so long?”

To start with, reading a whole book out loud takes a while. Like hours. In Lynne’s case, she read her book in only three days, which is a little faster than usual.

If you’ve ever read much (out loud), you’ll know that it’s almost impossible to get very far without making a mistake, and having to re-start a sentence or paragraph. You’ll mispronounce words, add or omit things, or make a noise, etc. You may “swallow” a word, like just barely saying a “the”, “that”, or “a” (these are the most common swallowed words). In normal conversation, these things aren’t problems, but when you’re recording for publication, they are.

So step one is to record the book. As we go along, we try to make sure that if there are any mistakes or un-fixable noises made that we also record the material that we need to fix those things.

Step two is the initial editing. This is where I work through the recording and edit out the mistakes and noises and replace them with the correct stuff that we’ve recorded as we went along. Unfortunately, as I edit, I find mistakes that both the reader and I (and sometimes a director, maybe in New York or L.A., that the publisher has hired) have missed. This is normal and not unexpected. It’s easier than you think to miss a mistake, or to hear something a little suspect and decide on the spot that it’s OK, and then find in editing that it’s not OK. Which leads to...
..step three. Pick-ups. This is where the reader comes back to record all the things that couldn’t be fixed in editing, or to re-do the mistakes that we didn’t catch. Then it’s on to step four.

Step four is the final edit. It’s where the pick-ups are edited in. It’s also the time that any audio processing is done to enhance the sound and make sure it conforms to industry norms, and to create the final files which are what you hear when you listen to an audio book.

An audio book, like most things in life, represents the end-stage of the thought, energy, and work that goes into it’s creation. All so you can listen and (hopefully) enjoy it!

01/17/2025

Seth Palmer (right) was in recently recording vocals for an upcoming release. Kaiden Simpson (left), who did the tracks/beats for the songs, came in with Seth. Kaiden will also be mixing the project.

We had some really weird sample rate issues with more than half of the 13 tracks they brought in, but once we got all that sorted out, we were able to get Seth in the studio to lay down his parts. He did great and didn’t take very long to get the takes he was going for (practice pays off!).

We’ll need at least one more session to finish up Seth’s vocals, and then he and Kaiden can go to town mixing the vocals with the tracks.

I used my tube U47 clone, a Peluso 2247 LE, going into a Vintech X-73i preamp and then into the compressor section of a UA LA-610 for Seth’s vocals.

01/01/2025

#5 Specialty mics

Measurement mics are made to measure sound, not to record or amplify sounds for your enjoyment. They’re generally omni-directional condensers, and the makers of these mics often mount the mic element or capsule at the end of the narrowest tube possible, to minimize any acoustic effect of the mic body itself. They’re also made to have a very flat frequency response, both on- and off-axis.

These mics come in really handy to measure the output of loudspeakers and how the room that they’re in, like a studio control room, affects that sound. Of course, they’re used for many other things, like measuring noise levels or in loudspeaker design, but it’s that first one that recording engineers are most interested in. It’s why I’ve got a few of these mics, and I used them when I did the last acoustic remodel of my control room a few years back, both to help me figure out what I needed to do, and to gauge the effectiveness of what I’d done.

There’s nothing saying you can’t use a measurement mic to record a guitar or an oboe, though. And while I’ve never used a measurement mic to record music (yet), some do.

Hydrophones are microphones made for recording sound underwater. I’ve never actually seen one, or had any reason to use one, as it’s just not something I do, but there are people who use them. If you’re recording whale songs, you’re using a hydrophone to do it. Water is much denser than air, so sound travels very well in it. That whale might be a long way away!

I imagine some of the most sensitive hydrophones are used on navy submarines. There aren’t many (or any) windows on a military sub, so listening to your surroundings with a sensitive hydrophone is very important so you might know when someone is sneaking up on you.

Contact microphones. As the name implies, these things are designed to be placed directly on whatever you’re trying to pick up. In a very simple form, they are piezo-electric discs which produce a signal when they are vibrated. Years ago, before digital reverbs, I had a plate reverb, which used contact mics to pick up the “reverbed” signal from the plate. The ones that came with it quit working after a few years so I replaced them with some home-made contact mics I’d put together, which looked pretty much just like the one in the photo. Other than them falling off the plate when the double-sided tape I used to attach them failed, they sounded fine. Commercial contact mics are prettier, of course.

You can get contact mics that are optimized for particular instruments, and just like regular microphones, proper placement is important. Some of these contact mics sound really good, and they can be a real asset when playing live, as they’re much less prone to feedback than a conventional mic.

The last mic I’ll mention is the noise-canceling mic. A noise-canceling mic is really just an extreme uni-directional mic. They’re used by people in noisy environments, like airplane cockpits. They’re engineered so the ambient noise, which is all around the mic, is drastically reduced, while sound coming from just one direction, like from the pilot’s mouth, is picked up. It’s hard to make a mic like this “sound good”, but luckily, that’s not the point. Intelligibility is.

It’s entirely possible I’ve left out some obscure kind of microphone, but the ones I’ve talked about in this series are the main ones people use on a day-to-day basis (except maybe the hydrophones). It can be fun and /or frustrating in the studio to find the right mic for a particular sound source, and then spend the time to place it in just the right position to get the sound that you’re hearing in your head, but when it all comes together, it can be very rewarding.

12/17/2024

Lisa Carman brought the girls in her Recording Intensive Workshop into the studio recently to record five of their original songs.

Lisa is super-cool and a great teacher. She teaches various instruments, voice, and songwriting. She also passes on her considerable knowledge of how the music business works.

While Lisa does have recording capabilities at her place, she brought her students into Peak so they could all record together, which they can’t do at Lisa’s.

This was a fun project and I got to hear some great songs and heartfelt performances; I was very impressed with these young women! Bonus, I was able to show the girls some modern recording techniques that I’m sure will come in handy for them in the future.

Pictured are: Caylin Poole, Lilah Karro, Francie LaFoley, Lisa, and Lucy Davidson.

11/29/2024

Mark Logan was in recently recording some of his original works for classical guitar. Mark’s a great player and it’s a lot of fun working with him and hearing these pieces for the first time.

While Mark also plays electric guitar and, I imagine, steel-string acoustic guitar, I’ve only ever recorded him playing the classical guitar, which is different from the others in the way it’s played and the usual repertoire that’s preformed.

I’m no expert on classical guitar compositions, but I really like Mark’s original pieces, and being in on the production side of things, I can also really appreciate the difficulty in what he’s doing.

I recorded Mark’s guitar using a pair of Neumann KM 84’s in an ORTF stereo configuration, about 8 inches or so in front of the guitar. I did try the same set-up about 2 feet in front, but in the “not-super-live” studio it sounded very similar to the closer position. We both agreed that we preferred the stereo effect, more pronounced (but not overly so) in close.

The mics go through a stereo Grace pre-amp on their way to being recorded. When I eventually do the mixes, I’ll add a little nice reverb, and other than the mastering we’ll be done.

11/21/2024

#4 Large-diaphragm condenser mics

Generally, mics with a diaphragm greater than 1” are considered “large-diaphragm mics”, but there are some with a diameter a little less than a full inch that are still put in this category.

The bigger diameter diaphragm brings greater sensitivity, all other things being equal. Often it also brings a hard-to-describe “depth” or “certain something” to the sound, too. The classic vocal microphones we recording nerds lust after are almost always large-diaphragm condensers, such as the AKG C-12, the Neumann U-47 or 67, or the Telefunken ELAM 251.

Large-diaphragm condenser mics usually have a large body as well. This contains the capsule (the diaphragm and it’s mounting) and the mic amp, which boosts the signal up to where the average preamp can function well. The older vintage mics will generally have a tube mic amp onboard, as do their modern recreations. My Peluso 2247 LE is a good example. It’s a modern “clone” of the Neumann U47, and it has a real Telefunken tube in it. Any tube mic, since high-voltage is needed to operate tubes, will also have an external power supply to power it.

Many large-diaphragm condenser mics are constructed with two capsules back-to-back under the grill. This allows them to have multiple patterns. In this case, you’ll find, at the very least, the mic is capable of cardioid, omni, and figure-8 patterns. The tube mics that utilize an external power supply will usually have up to nine polar patterns, selectable at the power supply.

Large-diaphragm condensers are more often used in the studio than on the stage, and they can be used to record anything of course, vocals being a favorite, but I’ll use them for acoustic guitars and kick drums on occasion, too. A possible limitation can be the size of the mic, they can be too big to get in where you’d like to place them.

Most large-diaphragm mics don’t have a flat frequency response off-axis. The truth is, many small-diaphragm mics don’t either, but with careful design and engineering, it’s easier to get a small-diaphragm mic to have a flat off-axis response than a large-diaphragm one. The Neumann KM 84 is a great example of this. A friend recently bought a brand-new pair of small-diaphragm mics for $40! Any guesses on whether these mics are flat off-axis? Or will stand up to the rigors of studio use? A point of comparison, Neumann doesn’t make the ‘84 anymore, and used ones go for around $800-1200 last time I checked. Great engineering, like Neumann typifies, isn’t cheap.

I should have talked about large-diaphragm dynamics in my earlier “Dynamic Mics” post, but I didn’t. They exist, and they can be very handy, not to mention great sounding. My favorite at this time is the Electro-Voice RE20. The Shure SM 7 and the Sennheiser MD-421 are great mics, too. I like to use one of these for a singer who plays the acoustic guitar or piano, as they sound good on vocals and when used properly, don’t pick up much bleed from the instrument.

Next time I’ll finish up this series with a short post about specialty mics. Stay tuned!

11/12/2024

Most of my time in the recording studio is spent recording, mixing, or editing music, or doing the same with voice talent. Sometimes I serve as a remote studio, recording someone here as a guest on someone's radio show or podcast, but every now and then a project comes in that is like nothing I've ever done before, like this.

Phil Botsko, on the left, booked the session to record Jake Heinecke (right) doing a variety of elk calls. Jake's a guide and (I think) an outfitter, and has been out in the woods hunting and doing elk calls for a long time.

The calls are for an app Phil is developing for people who want to learn how to call elk. As Phil described it to me, a user will be able to hear Jake's call, then record his own call into the app. The app will then compare the two and give the user feedback on how to more closely match the standard (Jake's) call. Pretty cool!

I wound up recording the elk calls in stereo (mono probably would have sufficed) using a pair of Neumann KM 84s in an ORTF configuration through a clean Grace preamp. We added some reverb to simulate what you'd hear out in the woods, and we were done.

10/05/2024

#3 Small-diaphragm condenser mics

Some of my favorite and most versatile mics are small-diaphragm condensers.

Condenser mics (“condenser” is an old word for “capacitor”) work by having their diaphragm function as one plate of a capacitor, and as the diaphragm itself is very lightweight and it doesn’t have to move anything else (like a dynamic mic’s voice coil), condenser mics are very sensitive. As the diaphragm moves back-and-forth in response to sound, the capacitance changes and the audio signal is derived from that. It’s a very small signal, so an on-board preamp is required to boost the signal to a usable level. In order to power the preamp and to “charge” the capacitor itself, all condensers need to be supplied with power, either the phantom power (+48 volts) that most preamps can supply, or with a dedicated stand-alone power supply. The exceptions are electret condensers, which use permanently-polarized capsules and use a battery in the mic to power the preamp. Electrets can be had pretty inexpensively but are not widely used in pro recording; they’re not inherently bad mics, just not quite as good as a “real” condenser.

Small-diaphragm mics are generally considered to be those with a diaphragm diameter of roughly ½” or less. Small-diaphragm condensers are generally more accurate (flatter frequency response) than large-diaphragm condensers, and can be made to have a more even polar response, as well. The Neumann KM 84i is a good example. You can refer back to my last post to see the frequency and polar response chart of the KM 84i. Some measurement microphones, designed to be very accurate and used for checking sound systems, have very small diaphragms.

Condenser mics are known for having an extended high-end frequency response. I use my small-diaphragm condensers on acoustic guitars, drum overheads, snare drum, hand percussion, you name it.
If I had to pick just one “desert island” mic, it would be the KM 84i. Sure, it wouldn’t ordinarily be a first choice for vocals or some instruments, but if you could only have one mic to use for anything and everything, you could get by very easily with just the KM 84i.

If you’re just starting out in recording, a pair of the best small-diaphragm condensers you can afford would be a smart purchase. They’d be very versatile using them separately, and you could use them as a stereo pair to record choirs, orchestras, small acoustic combos, etc. There are many different ways to configure a stereo pair, and each set-up has it’s own pluses and minuses. Some of them are coincident, which means you place them so their diaphragms are as close together as possible, such as the X/Y or M/S configuration. Some are near-coincident, like one of my favorites, ORTF, and there are other configurations like spaced-pair and others that can have the microphones much farther apart.

Whether used as a stereo pair or individually, small-diaphragm condensers are work horses in the studio.

09/05/2024

#2 Ribbon mics

“Dynamic” in mic terminology refers to the mic converting mechanical energy (sound waves in the air) to electrical energy by a specific process: moving an electrical conductor through a magnetic field.

A conventional dynamic mic does this by moving a coil of wire which is attached to the mic diaphragm through a magnetic field. A ribbon mic is different in that the ribbon itself, which is the part of the mic that moves in reaction to incoming sound waves, moves within the magnetic field; the transducer and the “diaphragm” are one and the same.

The ribbon in a ribbon mic is a narrow, pleated strip of metal, usually aluminum, and is very thin. How thin? A human hair is maybe 50 or more times thicker. If you’ve ever been taught never to blow into a mic, the reason is that if it’s a ribbon mic, you’re likely to destroy the ribbon. Yes, it’s that thin. Most modern ribbons are actually somewhat tougher than the older ones, but still, don’t blow into the mic!

Ribbon mics have a very low output, and for most sound sources they require a preamp with a lot of gain. To get around this, some ribbon mics are active; that is, they have a small preamp onboard to boost the output of the mic to a more normal mic level, so you have a much wider choice of mic preamps.

Ribbon mics are known for their natural and “warm” sound, which is due, in part at least, to their typical high frequency rolloff.

Historically, ribbon mics were widely used in the U.S. in the early days of broadcasting, recording, and film making (once talkies came in). RCA, which built much of the radio equipment back then, also made microphones, and was known for their ribbon mics, the BK-5b, the 44b, and the 77DX, among others.

Ribbons gradually fell out of favor in the late 40s and 50s, but experienced a resurgence in the late 90s when Royer introduced their R-121. Since then, there have been many new ribbon mics put on the market.

One of the coolest things about ribbon mics is their pick-up pattern, or polar response, which is a direct result of the ribbon itself. Almost all ribbon mics exhibit a “figure-8” or bi-directional polar pattern. Sound that comes at the ribbon from directly in front of or behind the ribbon is picked up as it “hits” the flat part of the ribbon, while sound that hits the ribbon at an angle of 90 degrees, since it’s affecting both sides of the ribbon equally, is not picked up. It’s this deep null of the figure-8 pattern that can be very useful.

A few words (ok, more than a few) about mic pick-up patterns. There are three main patterns: omni-directional, cardioid or uni-directional, and figure-eight or bi-directional.

Omni mics pick up sound from all directions. Cardioid (heart-shaped) mics pick up sound mainly from the front, and figure-8 mics pick up primarily from the front and the back.

Two charts can tell you a lot about how a mic sounds and functions. A frequency response chart is a graph with frequency on the horizontal scale and level (in db) on the vertical scale that measures a mic’s frequency response on axis, or directly in front. The frequency is usually noted as 20 to 20,000 Hz. If the plotted response of a mic is say, +10 db at 100 Hz falling off to -10 db at 10,000 Hz, you can expect that mic to sound pretty dark, without a lot of high-end. Not a good mic for cymbals.

The polar response chart consists of several concentric rings (representing level in db) with radial lines indicating 0 degrees through 180 degrees and back to 0. 0 degrees is the front of the mic, and 180 degrees is the back side. A cardioid mic will have a graphed response showing it picks up sound better (with more level) from the front than from the side or back. But wait! It gets better! Most polar response charts are drawn with different lines (solid, dashed, dotted, etc) representing different frequencies. Some mics have a pretty flat response from the front, but when you look at the polar chart, you may see that from the back or sides, the mic’s frequency response isn’t flat at all from that angle. On a practical level, this means that the “bleed” into the mic, from nearby instruments or sound sources hitting the mic from any angle other than the front, can sound unnatural. Maybe that works for your application, and maybe it doesn’t. The Neumann KM 84 is a cardioid mic that has a very flat on-axis response and a pretty darn good off-axis response as well, so sounds entering the mic from directions other than right in front still sound fairly accurate, just quieter. As you might expect, that kind of engineering comes with a cost. But that’s Neumann, great engineering but expensive.

Ribbon mics aren’t the only mics that have a figure-8 pattern, many large-diaphragm condensers (and a few small-diaphragm ones) can be used in omni, cardioid, and figure-8 modes. They can do this because they have two mic capsules (the actual working part of a mic) back-to-back inside the grill. For cardioid, they just use one capsule, for omni and figure-8, they combine the output of both capsules in different ways to produce the desired pattern.

Anyway, back to the deep null at 90 degrees that a figure-8 mic exhibits. I’ve recorded acoustic guitar player/singers with a figure-8 mic on the guitar, and another for the vocal. If you carefully aim each mic so the front of the mic is pointed at what you want and the null is pointed at what you don’t want, it’s amazing that the two mics can be so close to one another, and each mic is pretty close to both sound sources (voice and guitar), and yet the guitar mic picks up lots of guitar and very little vocal, while the vocal mic picks up plenty of vocal and hardly any guitar.

Now, I would rarely use a ribbon mic on either an acoustic guitar or a vocal, but I have used a ribbon mic on an electric guitar amp many times, and that null can come in very handy. Many electric guitar players use stomp boxes or foot switches. Sometimes, they’re quiet and sometimes they’re not, plus the players themselves, being actual humans, may make noises that you don’t want to pick up. So what you do is set up your ribbon mic on the amp to get the sound you want, and then put the player 90 degrees off to the side of the mic, in the null. They can hear their amp just fine, and the mic won’t “hear” much of any switching or other noise they may make.

Besides guitar amps, I like to use ribbons on violins (and fiddles!) and horns, sometimes on percussion.

Next time: small-diaphragm condensers.

08/30/2024

Reuben Sinnema was here in May and recorded four mostly "home" or "Bozeman" themed songs. I really liked the songs and the recordings turned out really good, too. Simple, just acoustic guitar and vocal, but very well done on Reuben's part.

He's releasing the songs today, and you can find them on all the streaming platforms, or if you see him in person, he'll fix you up personally.

08/26/2024

Microphones

Microphones are some of the coolest tools I get to use in my job as a recording engineer. Oh sure, I love the editing possibilities that the computer offers, but mics are real and tactile, somehow a more “artistic” tool. With mics, the sonic possibilities are almost endless. Where you place the mic in relation to what you’re recording, the room you’re in, and the particular player can all affect the sound you get.

Microphones are at one of the two electro-mechanical boundaries of sound recording or reinforcement; they convert one form of energy to another (speakers are the other one). That’s almost like magic!

There is no one “best mic”. A mic that sounds great on one instrument may not do justice to a different instrument. Sometimes the $3500 mic just doesn’t sound right, and maybe the $200 mic is perfect. How the musician is actually playing the instrument can make a difference, too. Finger-picked acoustic guitar might sound best with one mic while a strummed part may be best served by a different mic. Like most sound-related things, an educated ear is your best bet in selecting the right mic for a particular job. If it sounds right, it is right.

The sound a mic records is not always the only consideration when choosing a mic. Sometimes, your selection of a mic is heavily influenced by what it doesn’t pick up, whether that’s an overtone of the instrument you want to deemphasize, or a nearby instrument that you’d like to keep to a minimum in your track.

Mics are like an artist’s paintbrushes in that when you use the right brush (mic) for the job the results can be something special.

This is the first in a short series on microphones. I’ll write about how they work, what they might be used for, and maybe a little history. I’ll cover dynamic mics, ribbon mics, both small- and large-diaphragm condenser mics, and maybe a few “specialty” mic types. I’ll also talk a little about the primary characteristics of mics, frequency response and polar pattern. Hopefully, you’ll find it interesting!

#1 Dynamic mics

Dynamic mics fall into two categories: moving coil types and ribbon mics. Ribbon mics, technically dynamics, are usually placed in their own category, as they’re different enough from the moving coil type to warrant that. We’ll cover them next time.

Dynamic mics, like all mics, work by transforming vibrations in the air (sound) to an electrical signal. They do this by moving a coil of wire, which is attached to the diaphragm of the mic (the diaphragm is the moving part that reacts to sound waves), in a magnetic field, which produces a small electrical current, which is then amplified to a usable level. Incidentally, the whole “moving a wire through a magnetic field” thing is the basis of a great deal of what we do with electricity. Michael Faraday was the first to discover this principle in 1831.

A loud speaker works the same way as a dynamic mic, except in reverse. A speaker is fed an electrical (audio) signal which causes the speaker cone (which is attached to a coil of wire called a “voice coil”) to move and thus produce sound. In fact, you can wire a speaker to use as a microphone, and you can even buy a mic which is pretty much just that. Some engineers use a “speaker/mic”, home-made or not, in the studio, usually to record bass drum. I’m sure someone is wondering if you can use a dynamic mic as a speaker, and technically, the answer is yes. By the time you heard much sound coming from the mic, though, you’d almost certainly damage or destroy it, so it’s not a good idea.

Dynamic mics are generally inexpensive, as mics go. You can get a Shure SM-57 or 58 for less than $100. Really good dynamics, like the Shure SM7 or the Electro-Voice RE20, will set you back around $400-450, which is still a good value.

Dynamic mics are also recognized as being pretty sturdy and reliable. Electro-Voice salesmen used to demo some of their dynamics by using one as a hammer. They’d pound on a nail, and then plug it in to show that it still worked and sounded good.

Dynamic mics generally don’t have the “reach” of a condenser mic; they require a lot of gain and need to be pretty close to the sound source to function well. Sometimes this can be a disadvantage, but it can be very advantageous in the right situation. I like to use the RE20 as a vocal mic for a singer/acoustic guitarist, and if placed correctly, it picks up plenty of vocal and very little guitar, which does wonders for the sound quality and control you have during the mix.

Dynamics as a class of mic aren’t really known for pristine sound quality either, but a good dynamic, like the RE20, is an exception to that. And to be honest, we aren’t always going for “pristine”; sometimes we’re opting for a mic that will give us a certain something or vibe, and that may not be hi-fidelity at all. I usually use a high-end small diaphragm condenser for snare drum, but sometimes a cheap SM-57 is just the ticket.

Dynamics are commonly used on instrument amps, percussion, and mainly for live use, vocals. Their insensitivity really comes in handy in a live situation as a pricey, high-quality condenser mic will usually be much more prone to feedback than a cheap dynamic when used properly.

The photo shows, clock-wise from the top: Shure Beta 56, Shure SM 7, Shure SM 57, Electro-Voice RE20, and AKG D-112.

Next time: ribbon mics: dynamics with a difference, and mic characteristics.

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