Usher caught up chords pro#

I know in studios that the pressure is on and time is very tight. In this digital age with hyper-accurate clocks etc this is not rocket science. If the instruments are miked individually and engineers feel that adjustments to what was recorded by the stereo array must be made then they should pay proper RESPECT to the PHASE differences between the array and the individual mics. If a recording of an acoustic performance is made then the backbone of the recording should be from a simple stereo microphone array.

Usher caught up chords pro#

Hmm, interestng yes, but it seems like one of the PRO tools is Hugo 2? And judging from the 'pics', it is apparently used in huge mixing desk situations so common in the synthetic electronic POP and Rock genres.Ĭlick to expand.I don't even know where to start on this. But I am far for convinced Chord Electronics are always on 'the same page 'as he is. Robs´s first Blumlein recording was VERY promising indeed,from a tech point of view, as far as he is concerned. Such recording situations have little resemblance to how acoustic music sounds live. and into at least one mic per instrument. IMO when recording unamplified acoustic music performed in a real acoustic venue.Īnd not the typical POP Studios where it is not unusual to see the 'Band' playing each in their own little 'acoustic bubble' while wearing headphones. Rob´s own Blumlein test was a VERY welcome exception to recordings made to sound impressive on any boombox system through cheating.īut yes I do hope Rob will his Davina ready soon for situations where it will actually matter. Just 'honest' three mics in good positions in a real venue, to capture how the conductor balanced the orchestra without any edits, thus warts and all.īut quite realistic and in some ways especially balance-wise ,and both regarding soundstage depth and size and instrument positions on stage closer to how an orchestra generally sounds from a good seat in the hall, than many multimic´d modern digital recordings released today. Today for the first time in months I actually played some LPs and in spite of its limitations mainly dynamic range related ones and the fact that distortion rises with amplitude, and really deep bass in the middle it was actually quite nice to hear some of my Sheffield Labs DIRECT TO DISC LPs without any limiting or post -processing involved whatsoever. Unfortunately it has also already long ago spilled over to other genres. In the popular genres the more knobs to fiddle with the happier they seem be these days. I mostly do not not see such monstrous mixing desks like the one pictured on their new page at the Classical Music recording sessions or Classical mastering studios I have been to.

Click to expand.Hmm, interestng yes, but it seems like one of the PRO tools is Hugo 2? And judging from the 'pics', it is apparently used in huge mixing desk situations so common in the synthetic electronic POP and Rock genres.