This is part two of a 2-part series contrasting recording to tape versus digital recording. In this episode, I look at the strengths and weaknesses in digital recording. And then I summarize both episodes with a comparison of the two approaches, in a number of categories like sound, ease of use, maintenance, and cost. For each comparison, I share my conclusion about which is better.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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A tape machine was the only way music was recorded for about 40 years. Then, in the 1990s, computer technology made digital audio recording possible. There was a period when both technologies were in use, but the advantages of digital were overwhelming. The cost of a digital recording system, using commodity computers, was less than a tenth the cost of a multitrack tape machine. This vastly expanded professional-quality recording availability.

Digital recording has many advantages. But recording to magnetic tape has never disappeared entirely. In this first part of a two-part series, I talk about the practical aspects of tape recording.

In part 2, I will contrast the two technologies, and offer my opinion on the advantages and disadvantages of tape and digital.

I will return to the last episode of Basic Electronics for Recording Engineers after this short series.

Thanks for listening, commenting, and subscribing. I can always be reached at dwfearn@dwfearn.com. I enjoy reading  your reactions, suggestions for future episodes, and hearing your personal stories.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In electronic equipment, a schematic diagram is used as a map to show how all the various components are interconnected. This is useful for troubleshooting and repair. And following the signal path through a circuit gives us a deeper understanding of how the equipment does its job.

Schematics in the past were beautifully drawn and easy to interpret. But today, most electronic equipment is not repairable at the component level, so manufacturers have mostly stop including schematic diagrams. And those that do usually describe circuitry built on printed circuit boards. The software used to design those boards do not care about the readability of the schematics, so the diagrams are difficult to interpret.

In this episode, I describe the various symbols used to represent the most common parts found in audio equipment. I hope it will be helpful should you ever need to see how a circuit works, for repair or just education. And you can learn to draw your own schematics, even if only to show how your studio is wired.

Since this an audio podcast, I cannot show how the symbols actually look. This link leads to a good reference of schematic symbols, including many variations you might encounter:

https://en.wikipedia.org/wiki/Electronic_symbol

email: dwfearn@dwfearn.com
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The design of professional recording gear requires knowledge of how to best distribute the necessary gain through multiple internal gain stages. In this episode, I explain how that is done, and how you can use the same principles to achieve the best gain-staging of all your equipment. Proper gain-staging optimizes the signal chain for lowest noise, and the least distortion.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

This is the third installment in a series on Basic Electronics for Recording Engineers. This episode focuses on equalizers and amplifiers. Why do we call them equalizers? And amplifiers are at the heart of every piece of audio gear, even if we don’t usually recognize them as such.

I discuss different approaches to designing an equalizer. And cover the concepts of amplification from the original vacuum tube circuits, through transistors, and then to opamps. Opamps make large format consoles possible, and they are at the heart of almost every audio device in your studio.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In this second episode of a multi-part series on Basic Electronics for Recording Engineers, I continue with the fundamental principles of electrical and electronic devices, with an emphasis on practical implications. The explanations are simple, and therefore, incomplete. But I hope it will give you some insight on what goes on inside your equipment – and in the electrical world in general.

This episode focuses on the relationship between electricity and magnetism and how that is used in our studios. I explain why our equipment requires DC to operate, but electrical power is distributed in AC form. That leads to an explanation of transformers, for power distribution, and to convert the incoming voltage to what we need. I also explain a bit about audio transformers.

Our equipment needs DC internally to operate, and I talk about how AC is converted to DC. That introduces capacitors, and their many applications in our studios. I end with resonant circuits, which form the basis of equalizers, as well as how all musical instruments work.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

The chain of equipment between the recording artist and the listener is long and complex. Every piece of gear, from the microphone to the listener’s speaker or headphones, has the potential to be the weakest link in this chain.

In this episode, I go through every major link in the chain and describe why it could be the weakest link in any recording situation. Are there types of equipment or facilities that have an outsized effect on the ultimate quality of a recording? What can we do about that?

By the way, I decided to try a new microphone for this podcast episode. It is a Sennheiser MKH8030, which is a bi-directional small-diaphragm RF condenser mic. I like RF condenser microphones because they have a lower level of distortion than traditional condenser mics. I like the sound of MKH8030, and I am sure it will get a lot of use on my sessions. But for my voice, I still prefer the AEA R44C that I normally use. What do you think?

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Music relies on technology, and music recording is entirely dependent on electronics technology. You don’t need to be electronics engineer to record, but some basic knowledge of electricity and electronics can be useful to any recording engineer.

When something doesn’t work as expected, or a piece of studio gear fails, some insight into what might be the cause can save time and money – even if you pay someone else to make the repair. Giving them useful information ahead of time means that the tech will probably spend less time troubleshooting, and that will save on repair costs.

And in any profession, extended knowledge beyond the minimum to do the job gives you an advantage.

And who doesn’t want to have an advantage? And who doesn’t want to have a deeper understanding of the technology that we depend on?

This is the part one of a series on basic electronics. I am keeping the content as simple as possible, which means it is often incomplete. So don’t take this as an electronics course. It’s just information that might be helpful when doing your job.

I will intersperse these basic electronics episodes with the typical content you are used to hearing in this podcast. Tell me if you find this useful.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Back in the 1960s and 70s, it was common to slightly change the speed of a tape machine when recording vocals, and sometimes other instruments. When the tape was played back at normal speed, the singer sounded younger and the performance was more exciting -- an important consideration back then. The tape speed was only changed a small amount, around 2% was typical. But the effect could be amazing.

There were other applications for tape speed changes. For example, if a piano needed to be overdubbed on a song that had been recorded with the instruments tuned a bit off from standard tuning, the tape speed could be adjusted to bring the song to the tuning of the piano. And instruments could be recorded at speeds even farther off standard than you could get away with with vocals, creating an entirely new sound.

Digital recording does not lend itself to variable speed recording, although some DAWs are capable of changing speed. But not too many engineers know about this classic effect.

In this episode, I describe how it was done in the past, and how you can achieve the same thing in the digital world.

You might notice that it has been a while since the last episode of this podcast. My voice was even worse than it usually is for a couple of months after getting a severe cold. I blame it on my 18-month old grandson, but he is worth the price I had to pay from catching his colds!

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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What makes a good engineer? There are many skills required, both technical and interpersonal. In this short episode I talk about some of those skills and how they apply to a recording session.

email: dwfearn@dwfearn.com
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Creating software plugin versions of actual hardware is challenging. Acustica did a superb job of creating a plugin version of the D.W. Fearn VT-5 Stereo Equalizer several years ago, called Ruby. And now MixWave has done the same for the VT-7 Compressor.

In this episode, I speak with Taylor Larson, founder of MixWave, about creating the VT-7 plugin. Taylor explains the process for the VT-7, and other plugins that MixWave has developed. Learn more about MixWave and their products at https://mixwave.com/

Our conversation covered a lot more than that, however. We discuss the engineering and producing aspects of music, vintage gear, and how our careers in audio evolved over the years.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Recording sessions can be technologically complex. There are mics to set up, cables to run, headphones to deploy, maybe patching in the control room, and software and hardware to configure. It is a lot for one person to handle.

The job of assistant engineer has existed as long as recording. It not only spreads the work around, but it is also potentially a stepping-stone to becoming a fully-fledged engineer.

In this episode, I talk about the role of assistant engineer. What are their tasks? How do you teach them? I use an example of how I work with assistants in my studio, which may not be typical of most recording sessions, but it explains what my assistants do. I also discuss the same aspects from when I had a commercial studio.

You, as engineer on a session, have certain obligations as a mentor to your up-and-coming engineers. And the assistants have skills to master, plus learning about the human factors when interacting with creative people.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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Since the advent of multitrack recording, the goal of most engineers has been to keep the sound of every instrument totally isolated from all the others. That makes our job much easier, since we can adjust the mix of every track as needed, and apply effects like equalization and compression to each sound individually as needed.

But does that make the best recording? For some types of music, the answer is yes. But having all the players in the same room where they can see and hear each other often results in synergy from the musicians working together that can create exceptional music.

Without baffles, isolation booths, or overdubbing, the music can be better. But this can create problems for the mix engineer, since there can be at least some of the other instruments bleeding into the mic of an instrument you want to manipulate.

In this episode, I talk about this approach to recording, which can be very challenging. It requires a studio setup that works to help maintain the desired balance of the instruments. In essence, you are recording and mixing at the same time, although there will likely be overdubs added to the basic tracks.

This isn’t an approach for everyone. But it might be a good technique to have in your repertoire when the situation is right. It will definitely stress your skills as an engineer or a producer.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

I live and work in the woods, surrounded by wildlife. There are many species of birds and in the spring their songs are pretty amazing. Over the years, I have thought about recording those birds, but the background noise level was a problem. Although very quiet by most people’s standards, there is still a lot of man-made noise -- too much noise to make recording the birds feasible.

But an opportunity arose in May of 2020 during the Covid pandemic when there was very little travel. I took advantage of that short window to capture the spring birds in the early morning.

This episode is the story of how that recording was made. I explain the challenges I faced and the technical decisions I made to effectively make a recording that I find quite compelling.

It is recorded in DSD digital, and it is available on Outer Marker Records through our international download distributor, Native DSD. You can listen to a CD-quality version of the album for free, and purchase it in several high-resolution formats, including DSD256, which is an exact bit-for-bit file of the original master.

It’s also available on all streaming services, under my name, Doug Fearn.

I hope you find this story interesting.

https://www.nativedsd.com/product/om04100h-spring-birds-an-audiophile-recording-experience-from-doug-fearn/

https://www.outermarkerrecords.com/

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Virtually all digital recording uses a format called PCM. But there is another digital format that works in an entirely different way. It’s called DSD, for Direct Stream Digital, and you might find that it sounds better than PCM.

In this episode, I explain what DSD is, mostly from a practical, user, viewpoint.

If it sounds better, why don’t we use it? Well, DSD comes with some serious limitations. I explain those limitations and the techniques used to get around them in the world of contemporary recording.

Most people will find the shortcomings of DSD to be enough of a problem that they have no interest in it. But for those of us who are on a quest for the best sounding audio we can achieve, DSD is worth it despite its challenges.

Here is a link to Native DSD, a digital distributor that has specialized in DSD digital downloads:

https://www.nativedsd.com/

… and a link to Outer Marker Records, the label the Hazelrigg Brothers and I founded a few years go. All the releases on Outer Marker were recorded in DSD:

https://www.nativedsd.com/label/outer-marker-records/

We think DSD is the most musical recording format there is.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Does audio quality really matter?

Our society in general has seen a major loss in quality of goods and services. Music recording has not escaped this trend.

In this short episode, I give some examples, some possible explanations, and a bit of guidance on how recordists can do a better job. It benefits the listener, even if they can’t even describe the difference between a good recording and a mediocre one.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Most recording occurs in a studio, and the design of that facility has a major effect on the quality of the recordings made there.

In this episode, I discuss some of the things that I think are most important for a successful studio. I don’t get into room design, soundproofing and sound conditioning, or even much of the infrastructure of studios and control rooms. I’ve covered a lot of that in previous episodes. Instead, I focus on the real-world, practical, aspects of what it takes – and what it costs – to make a professional studio.

I also talk about the viability of a studio as a commercial venture, and offer some thoughts on what it takes to run and studio that makes money and stays in business.

If you are happy with the results you get from recording at home, much of this will not apply to you. However, I believe everyone who records always wants an expanded and improved facility. These thoughts might inspire you to strive for something better.

Of course, building a studio is expensive – much more expensive than residential or standard commercial construction. Even renovating an existing building is expensive. I hope anyone with aspirations for building a truly professional-sounding studio will find insights here.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Monitor speakers are a necessity for most of our recording. But I have always had a problem with the sound of speakers, and I explain why in this episode.

Speakers always exist in a space with  boundaries, even outside. Our control rooms tend to be small, and making a small room sound good for performing or listening is a challenge. The monitor speakers and the control room form a system. The acoustics of the room have a big impact on the sound.

I also compare the sound of headphones or earbuds with speakers, and provide some advantages and disadvantages of each.

And I talk about immersive formats, like Dolby Atmos and the increased requirements for the speakers and the room.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Vinyl record sales have been increasing every year for a while now. Today, vinyl outsells CDs. Fans like vinyl for its unique sound, and the large format of the jacket.

Record pressing plants are busy! Most are backlogged for months.

The process of converting your digital mix to a vinyl record is complicated. The entire system of phonograph records is plagued by many deficiencies, which makes cutting the master lacquer disc a challenging art.

How we record and mix has impact on how good the vinyl record will sound. In this episode, I explain some of the fundamentals of the master disc-cutting process and provide some insight on how that process will change the sound of your recording.

I explain some factors in recording and mixing that will result in better-sounding vinyl records. These procedures are not complicated, but understanding these techniques will help you and your clients get the most out of the vinyl medium.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

If you are working as a recording engineer, how did you learn your craft? A formal recording program? As an intern with an accomplished engineer? Or maybe you figured it out on your own.

All are valid ways to get started. Many successful engineers used more than one approach.

In this episode, I look at the various approaches, their pros and cons, and suggest ways that you might further your own education.

Learning the art of recording requires time and effort -- and some innate talent. The key is to find the ways to develop your talent and keep on learning and growing.

By the way, this is the 100th episode of My Take On Music Recording. It has taken over four-and-a-half years to reach that mark, but it seems like I just started. Each episode has been a lot of work, but I have enjoyed creating every one of them. Thanks for helping me to achieve this milestone.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Using a single microphone, or one stereo mic, to record a musical performance all at once without any overdubbing can result in a recording that is very compelling to the listener. When everyone is performing in the same space at the same time, usually without headphones, there is a musical interaction that occurs that we often lose in the typical session using lots of mics, extreme isolation, and many overdubs.

It’s not for every song or composition. Some music benefits from the usual recording approach. But with a group of players who can play in perfect balance, the result can be amazing, both musically and sonically.

It’s an approach that pushes your engineering talents to their limit. You are doing all the tracking and mixing at the same time, with no ability to change things later.

It is also very demanding of the performers, because if anyone makes a mistake, the take is ruined. But I think the results are worth it, for those situations where it makes sense.

In this episode, I describe several approaches to single-point pickup recording, including a hybrid method that combine single-point with traditional techniques. Some examples can be heard in the releases on the Outer Marker Records label. Here is the link where you can listen to examples:

https://www.nativedsd.com/label/outer-marker-records/

And here is the link to a video that compares both a single-point pickup plus the traditional multi-mic, multi-track method, recorded simultaneously:

https://www.youtube.com/watch?v=7eLP1G4LnM0

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

When you are just starting out in recording music, you are likely to need microphones. And if you have been recording for a while, you may feel the need to add to you microphone collection.

But how do you make those choices? In this episode, I look at the criteria that I think are important in picking mics to add to your studio. Simply choosing a mic that is what other people use, or was on a hit record, is not always the best way to go about this.

I provide a logical approach to adding to your mic collection, with some real-world examples.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Joseph Arnold is a talented violinist that has played on a variety of projects I have produced. He is also an excellent writer, who just published his first book, titled, “Soul Force: How to discover your artistic purpose, create more freely, and make art that matters.”

In this conversation, Joseph talks about his career path, his pursuit of art, and how his concepts of Soul Force guided him in his journey. We discuss his book, and its value to anyone who wants to create, well, anything.

Joseph also demonstrates on violin a few short examples of the many musical genres he enjoys playing.

For another great interview with Joseph, watch this conversation with Dennis Tardan:  https://www.youtube.com/watch?v=iHB3yIG2C78

And here is a link to purchase Soulforce:  https://tinyurl.com/d2a283xr

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In this last of three episodes on the art of producing, I talk about my process for mixing. It is all part of the concept of a song from the beginning. Mixing is where everything comes together to create the version of the song that the artist and I have had.

As an over-simplification, my approach is to turn up the things I like and turn down, or mute, the things I don’t like. But the details are much more complex than that and I explain what I do and why.

I combine the mastering process with mixing. The result is ready for distribution, whether it is in a digital format or for a vinyl record.

The album used in this example is “Time To Be Brave,” by Corrie Lynn Green. You can listen for free to an mp3 version of all the songs at Native DSD, and purchase a download of the album in a variety of digital formats.

https://www.nativedsd.com/label/outer-marker-records/

And learn more about our record label, Outer Marker, at:

https://www.outermarkerrecords.com/

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

This is the second of three episodes on the Art of Producing. In this one, I talk about the mics and equipment I use in my studio, and the reasons why.

The example used for this series features an album project for singer-songwriter Corrie Lynn Green. It is an acoustic-based project, although there are some electric guitars and bass on some songs. I explain why I make certain decisions for this project, and how a recording with a different artist or genre would require a different approach.

Corrie’s album, “Time To Be Brave,” will be released on Outer Marker Records on September 6, 2024, and distributed by Native DSD as a download purchase only. But you can listen to all the songs for free (in mp3) on the Native DSD web site.  https://www.nativedsd.com/label/outer-marker-records/

The third and final episode of this series on producing will look at mixing and mastering.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

The art of producing a record requires knowledge of music, mastering the technical aspects of the recording process, and an ability to work with people.

This is the first of a three-part series about producing. In this episode, I talk about the role of the producer, using a typical album project for Corrie Lynn Green as an example. Not all productions will follow this example, since there are many different styles of music, different artists and musicians, that you may encounter.

My approach to producing and recording is not typical in many ways. I point this out in the episode, and encourage people to find what works best for them.

By the way, "My Take On Music Recording" is now carried by YouTube Podcasts. Just like any podcast provider, this is audio only. You can find it on YouTube by searching for "Fearn" under "Podcasts." All 94 episodes to date are available, and each new one will be added.

The dozens of other podcast providers will continue, of course.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Our perception of frequency balance varies with loudness, a fact documented by Harvey Fletcher and Wilden A. Munson, two scientists at Bell Laboratories. In 1933, they published a paper called, “Loudness, its definition, measurement and calculation.” It was groundbreaking science in the field of human hearing, and has implications today for how we perceive music. This is especially important when we are mixing.

In this episode, I explain the basics of the Fletcher-Munson Curves and how we can use that knowledge to make better recordings.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Almost all pop music features someone singing. Getting the best vocal performance is crucial, since most listeners respond to the words of a song and need to be able to hear them.

In this episode, I first discuss the human factors involved in getting a great performance from singers, mostly from a producer’s viewpoint.

And then I focus on the technical requirements of capturing that performance using microphones, mic preamps, processing, effects, and mixing. Often there are problems to be fixed in a vocal track, and I review some of the techniques from salvaging a performance that is less than perfect.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

There are many things that are important to create the proper studio environment for creative success. Most of these things are pretty mundane, but they do make a difference.

Examples I cover in this episode include microphone stands and accessories, music stands and instrument stands, chairs, headphones, studio lighting and climate control, and mic and other cables.

It’s not the most exciting equipment we deal with, but it is still important to get it right. After 50+ years of doing sessions, I have some solid ideas about what works for me. I hope you will find these ideas and suggestions helpful.

And here are the links for the Spring Birds recording I mentioned at the start of this episode:

https://www.outermarkerrecords.com/

https://www.nativedsd.com/label/outer-marker-records/

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Ever since its announcement, I have been interested in learning more about Dolby Atmos. I was skeptical at first, primarily because of my experience with “Quad” back in the 1970s. That 4-channel concept never gain any popularity with either the listening public nor in the recording community. I presumed that Atmos would be similar, just more speakers. The early demo sessions I attended left me convinced that this was going to be another dead end, like Quad. The early mixes I heard were gimmicky and did not serve the musical intent of the artist well.

But as I was exposed to mixers who really understood how to use the expanded format, my interest increased. And for the public? I never thought there would be much market acceptance of a system that required many speakers. But Dolby was smart about their implementation. The system knows how many speakers you have and creates a version that fits your hardware.

There’s more to Atmos, however, because of certain psychoacoustic processing that goes on, the resulting mix, in any format down to plain stereo, sounds better, with more detail and separation of sounds. I hear more things in an Atmos mix, even in headphones, than I did in the stereo mix.

Shawn Dealey is the chief engineer at Sweetwater Studios in Indiana. I have been involved with several mixing projects with Shawn over the past couple of years, and I think he has an effective approach to interpreting the producer/artist/engineer’s intent, and making it into an improved version.

In this episode, I talk with Shawn about his evolution as he explores the new format. I learned a lot from Shawn, and I think you will, too.

This episode was recorded at Sweetwater Studio B, the main Atmos mixing room. We used AEA 44 mics, a VT-2 mic preamp, and a VT-7 compressor, the same chain I use for recording most episodes.

Thanks for listening. If you have any questions, comments, or suggestions, please pass them along to me at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Compression and limiting are tools we use to modify the dynamic range of the music we record. In this episode, I present a brief history of where this technique came from, how it evolved over the years since the 1930s. I discuss the various ways that compression circuits work, from the variable-mu vacuum tube, to the optical compressor, the FET, the VCA, the PWM, and the digital limiters. I explain how these different approaches affect the sound in different ways.

There are often a lot of adjustments on a compressor, and I go through the most common controls you are likely to encounter and what they do to the sound.

Compressor and limiter effects on the music are subjective, so I try to give general guidance for getting the sound you want from your hardware and software devices.

Your ideas for future episodes are always welcomed. And your comments are useful to me. You can reach me at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

This is part 2 of the Audiophiles Guide to Music Recording. You can listen to part 1 at
https://www.buzzsprout.com/942952/14335456
Or you can access part 1 wherever you listen to podcasts.

My Take on Music Recording is primarily aimed at people in the professional recording world, but there are a significant number of listeners who are music lovers and audiophiles. This episode provides an overview of the recording process for them. However, I think even people in our profession might enjoy how I attempt to explain the recording studio process in layman’s terms.

This reflects my experience and how I work as a producer and engineer. I tend to carry over the tools and techniques that I have learned over the last five decades. They work best for me and my style of recording. I know that there are other approaches, and I try to acknowledge and explain those, too. But my focus is on what I do, which isn’t always mainstream.

Your feedback on these episodes is especially interesting to me. Tell me what you think.

As always, thanks for listening, commenting, and subscribing. I can always be reached at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

My Take on Music Recording is primarily aimed at people in the professional recording world, but there are a significant number of listeners who are music lovers and audiophiles. This episode provides an overview of the recording process for them. However, I think even people in our profession might enjoy how I attempt to explain the recording studio process in layman’s terms.

This reflects my experience and how I work as a producer and engineer. I tend to carry over the tools and techniques that I have learned over the last five decades. They work best for me and my style of recording. I know that there are other approaches, and I try to acknowledge and explain those, too. But my focus is on what I do, which isn’t always mainstream.

There is a lot to cover, so this topic is split into two episodes. I will publish the second half next week.

Your feedback on these episodes is especially interesting to me. Tell me what you think.

As always, thanks for listening, commenting, and subscribing. I can always be reached at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Music is meant to be heard in an appropriate acoustical environment. But many times, we have to record in a space that does not have the right sound to it. Artificial reverb is often the solution.

In this episode, I talk about good room sound in a studio, and the earliest methods of creating a reverberation sound. That started with spring reverb, then acoustic echo chambers, tape delay, plate reverbs, and finally the digital reverbs that are used today on most recordings.

I discuss the origins of those techniques for creating reverb, and the strengths and weaknesses of each, along with my impression of how each of them sounds.

I also provide my own insights into using reverb. What kind? How can we modify the basic sound? And how much reverb is appropriate. And maybe no reverb at all is best.

Thanks for listening, subscribing, and commenting. I am always looking for your questions and suggestions for future topics.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In this episode, I talk about software plug-ins vs hardware. It is a question that I get frequently from listeners. It is relatively short.

Can a plug-in perfectly emulate a hardware device? What are the tradeoffs a plug-in designer needs to consider? What about a plug-in that has no hardware antecedent, but it something out of the mind of the designer? These are some of the topics considered.

Thanks for listening, subscribing, and commenting. You can reach me with your questions for a future podcast, or suggest a topic you would like to know more about. Send me email at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Every recording is made is some sort of space. It might be a room, and studio, a church, a concert hall, or even outside.

The space where the music is performed, and where the microphones pick up the music always influences the sound of the recording.

You might think that close-mic’ing in a dead room eliminates the contribution of the room, but it is still there, for better or worse. The room influences our perception of the performance. Our brain draws conclusions about the space. A listener may form a mental image of the musicians and the room, based on what they hear. Usually, most listeners are unaware of the space, unless it is very obvious. But it does influence their response to your recording.

Learn some of the basics of acoustics that can help you make your studios and control rooms sound better.

email: dwfearn@dwfearn.com
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How do we make our recordings better? I have thought about this for over 50 years and in this episode, I have tried to distill what I learned into a dozen general rules.

The best way to make great recordings is to start with great performers. But even if you aren’t recording the best talent in the world, there are still ways to improve what you get.

email: dwfearn@dwfearn.com
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https://dwfearn.com/

What if you were suddenly confronted with recording an instrument you had never had in the studio before? Or one you never heard before? Or one you never knew existed?

How do you figure out how to capture its sound? Where do you place a microphone? What microphone will you use?

In this episode I suggest various ways to evaluate an unfamiliar instrument or sound, using some examples from my own experience, and a few rules of thumb to get started.

This topic was suggested by a listener. If you have ideas for a episode, let me know. dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
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After three and a half years of producing the “My Take on Music Recording” podcast, I thought it would be useful to review the 80+ episodes and point out some of the interesting topics you might have overlooked.

You might have missed some of the earlier episodes, or skipped over them because they did not interest you at the time.

The most popular episode of all is the very first one, from March 2020, called “Your Hearing is Amazing.” Everything we do depends on our hearing and in this episode, I give a simplified overview or how our hearing works, and what makes it amazing. It is our most complex sense, in terms of resolution, dynamic range and frequency response. It is subject to all sorts of strange defects, like our varying sensitivity to many frequencies, depending on the loudness.

That’s one example of many that I hope help you to be better at what we do.

In this short episode, I point out some of the most popular topics, and several of the episodes that never received a lot of downloads. Perhaps my explanation of the contents will suggest that there are some topics you might now found more interesting and helpful.

Thanks for listening, subscribing, and commenting. And your suggestions for future topics are always appreciated.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

My conversation with musician, producer, mixer, and mastering engineer Justin Gray continues, in this second of two parts. In this episode, Justin discusses how to provide optimum tracks for an immersive mix. He also talks about the minimum immersive monitoring system needed and why it will improve your tracks for remix into Atmos or another format.

We explore loudness and how it affects an immersive mix.

You can learn more about Justin Gray at his web sites:  www.SynthesisSound.com

And  www.ImmersiveMastering.com

email: dwfearn@dwfearn.com
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https://dwfearn.com/

Justin Gray is a musician, producer, mixer, and mastering engineer based in Toronto. His credits include many major artists.

He was fascinated by immersive formats long before they became mainstream.

In this first part of a two-part series, we talk about the various immersive formats, of which Dolby Atmos is best known. Justin explains how they differ and what they have in common.

He talks about how immersive audio can enhance the listener experience, and provide the artist with an improved palate to present his or her work.

Justin discusses the challenges and rewards of re-creating a classic song in the new format.

You can learn more about Justin Gray at his web sites:  www.SynthesisSound.com

And  www.ImmersiveMastering.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Most people have time conflicts between what they do for a living and the rest of their lives. That includes time for family and friends, hobbies, obligations, and exploring new directions.

Musicians also must confront these same issues. It is often more difficult for a creative person because music and any art not generally lucrative, especially for those starting out.

In this episode, I talk with singer-songwriter Corrie Lynn Green about how she manages her obligations with her family life, including a teenage daughter, her day job, which is her own business, her extended family and network of friends, while pursuing her musical career.

She also talks about other challenges for the independent artist, including managing social media, choosing the right gigs to accept, travel, and keeping in touch with her fans.

At the end of our conversation, one of Corrie’s songs is included.

This episode was entirely spontaneous, recorded one night after two very long days of sessions.

Thanks for subscribing, commenting, and helping others find My Take On Music Recording. I can be reached at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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Studios are complex technological environments and it is common for problems to arise. But a problem in the equipment might be a minor inconvenience if you have the skills to quicky determine where the trouble lies and understand how to fix it. Most problems in a studio are human errors.

There are often ways to work around the problem. That keeps the session going and you may be able to solve or bypass a problem without anyone else even knowing. There is already enough pressure in most recording sessions, and no one needs to have the mood of the session disrupted by a problem.

In this episode, I talk about the most common causes of problems and offer tips for determining the cause. I give several typical session problems and ways to address them.

This isn’t the most exciting part of recording for most people, but troubleshooting is a skill you can develop and utilize when necessary.

Thanks for listening, commenting, and subscribing. I can be reached at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Most of you in the professional audio world have learned that Dave Hill, founder of Crane Song, died in February.
Dave and I were friends for over 30 years. In this episode I tell some stories about our interactions over the decades. Not only was Dave an amazing engineer and designer, but he was also a wonderful human being.

There is a terrific documentary about Dave, made by French filmmaker Alain Le Kim. It is now available on YouTube. Here is the link:

https://www.youtube.com/watch?v=68VPMNeIlVs

Your comments are always appreciated. You can reach me at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
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https://dwfearn.com/

How do you decide what microphone to use for any instrument or voice you will be recording? All microphones sound different from one another, which is a wonderful tool at our disposal. Making the right choice will improve your recording, eliminate many problems at the mixing stage, and minimize the amount of processing you need.

In this episode, I talk about why I chose the mics I did on two very different projects. One was a punk session and the other an acoustic singer-songwriter project. I explain why I decided to use a particular microphone, and sometimes suggest alternatives.

Of course, this reflects my style of recording. I don’t expect my choices to be your choices, but perhaps this explanation will help you when it comes time to make your decisions.

In this episode, I talk about microphones from AEA, BeyerDynamic, Flea, Neumann, Royer, and Shure. To be clear, I have no connection with these companies except that I love the mics they make. And I have friends at some of the companies. There are mics from many other manufacturers in my collection, but in these examples, those were the mics I used.

email: dwfearn@dwfearn.com
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The typical music consumer these days is listening on earbuds or headphones. Or maybe on the tiny speakers in their smartphone. Few are listening on speakers, at least none of any reasonable quality.

It makes sense for us to take this into consideration when we mix a song.

Engineers have always had to make adjustments and compromises in order for their mixes to translate well for the public. Since most of your work will be heard on some sort of personal listening device, it is often good to either mix using headphones, or at least check the mix that way.

In this episode, I talk about my personal preference for headphones for mixing and listening, which goes back decades. Sure, I use the studio monitor speakers as another reference, but when it comes to details, I just hear more with the headphones. This is especially true when editing.

Everyone has to develop their own approach to this, and I expect many people prefer monitoring and mixing through their expensive monitor speakers. And there are times when speakers are the way to go, such as when more than one person has to listen, or when you want to get that visceral experience of feeling the bass.

Many people in the world of recording were saddened to hear of the death of Joe Tarsia, founder of Sigma Sound Studios in Philadelphia. Joe was a pioneer, always on the forefront of new technology. Many successful engineers came up under Joe’s mentorship. I know I will miss the interesting conversations I had with Joe, going back to the late 1960s.

You can listen to my conversation with Joe Tarsia from 2020 in episode 26. Here is the link:

https://www.buzzsprout.com/942952/5418067

There is also a YouTube video of the same conversation, with some extra content, including a series of photos from Joe’s career:

https://www.youtube.com/watch?v=FMwTQ8XhY9c

email: dwfearn@dwfearn.com
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https://dwfearn.com/

Recording is a technological endeavor, but it also invariably involves people. The psychology of recording sessions has always fascinated me, so when a listener suggested that I have Terri Bright on an episode, I was intrigued by Terri’s dual career as a singer-songwriter, as well as a someone with a PhD in Applied Behavior.

In this interview, we discuss how behavioral science can be applied to a recording situation, from Terri’s unique perspective as an expert in both worlds.

Thanks for listening, commenting, subscribing, and sharing this podcast. I can be reached at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

What makes one piece of studio electronic gear sound different from another, similar piece?

When it comes to the physical gear we need to record, there are only a few basic categories. You probably use microphones, mic preamps, equalizers, compressors, converters, reverb devices, delays, monitor amps and speakers.

And for each of those categories, there could be dozens of manufacturers, and hundreds of choices. How do you choose one over the other?

And why would they sound different from each other, anyway? They are fulfilling the same function, so you might suppose that the sound of each would be the same.

But they are not the same.

In this episode, I delve into this and explore why things sound different going through different boxes.

Technical Note: This episode was recorded with an AEA KU5A cardioid ribbon mic, through a D.W. Fearn VT-2 mic preamp and VT-7 Compressor. No eq was used. My KU5A is a passive version (the KU5A is normally an active mic). I use a lot of AEA mics in my recording, but except for being friends with founder Wes Dooley, I have no affiliation with the company. 

email: dwfearn@dwfearn.com
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If you have listened to this podcast for any length of time, you probably know that I am a big fan of ribbon microphones.

In this episode, I talk about my introduction to ribbon mics while I was in high school, and how over the years I tried to make them work for me. Eventually, ribbon mics became my favorite, and now I often do sessions that use only ribbon mics.

I explain the characteristics of ribbon mics, good and bad, and suggest ways to get the most from this type of microphone. I compare the sound and pickup pattern characteristics with condenser mics, and suggest techniques for several common recording situations.

I mention a video showing how we mic a grand piano with a stereo ribbon mic. Here is the link to that video:  https://www.youtube.com/watch?v=4mzVne64ItQ

As always, thanks for listening, commenting, and subscribing. Your feedback is valuable to me, so let me know what you think of this episode or any other. I can be reached by email at dwfearn@dwfearn.com

And please help this podcast grow by suggesting it to your friends and sharing it on social media. Thanks.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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For this 70th podcast episode, things are reversed and I am interviewed by singer-songwriter Corrie Lynn Green. Corrie was curious about how I got into recording, and later into studio equipment manufacturing. We also talk about my views on what makes a successful recording, and what I look for in a recording artist.

You may recall Corrie from the 3-part series we did earlier this year called, "Studio Technology for Musicians."

Thanks for your support. Please share this and any other episode with anyone you think would find it useful. "My Take on Music Recording" is carried by all podcast providers. And you can reach me directly via email: dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
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You may remember Chuck Anderson from a 2-part episode we did in 2021, where Chuck and I had a wide-ranging discussion on many musical topics.  You can listen to those discussions here:
https://www.buzzsprout.com/942952/9161095
https://www.buzzsprout.com/942952/9247297

Chuck is a jazz guitarist, composer, and studio musician who has played with many prominent people during his long career. He is also a life-long teacher and lecturer.

Today we talk about how the various musical genres evolved and interconnected to form pop music over the past 100 years. Chuck starts by explaining where music came from in the first place.

Chuck will be back at a future time to discuss another aspect of music.

Thanks for listening, and please share this podcast with anyone you think would be interested.

I can always be reached at dwfearn@dwfearn.com for your comments and suggestions for future episodes.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

For anyone working in music recording, hearing is vital. But so also is our ability to listen.

In this episode, I talk about the two ways of listening, and why both are important. Can you improve, even enhance, your listening ability? I offer some ideas on how you might do that.

I also discuss how easily your hearing is damaged, and what you can do to preserve it.

This episode does not go into details of how your hearing works, and how some strange anomalies in our hearing affect how we perceive sound. That is covered in the first episode of this podcast, called “Your Hearing Is Amazing.” I suggest listening to that one, if you have not done so. Here is the link:

https://www.buzzsprout.com/942952/3057232

You can access any of the episodes in this series at:

https://www.buzzsprout.com/942952

Thank you for listening, subscribing, commenting, and rating this podcast. It is carried by all major podcast providers. You can reach me directly at dwfearn@dwfearn.com 

Your comments, suggestions, and ideas for future episodes are always welcome and appreciated.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

If everyone recorded music the same way, everything we did would sound the same. But we don’t record the same way, and those differences are part of what makes up our recording style.

In this relatively short episode, I talk about how I developed my recording style, and outline some of the things we might do to help us each come up with our own style.

I would like to hear from you how you developed your style. Has it changed over the years? Do you have a different style for different types of music? What was helpful in your quest for your style?

You can email me at dwfearn@dwfearn.com about this or any other topic.

And thanks for sharing and subscribing to “My Take On Music Recording.” Your support is appreciated.

email: dwfearn@dwfearn.com
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In this third and final part of my conversation with Corrie Lynn Green, we deviate somewhat from the technology of the studio and discuss the role of the producer.

 There are plenty of additional topics that Corrie and I could discuss, and if there is sufficient interest, we can do more the next time Corrie is here for recording.

 Let me know if you found this episode helpful, and feel free to suggest topics for this or any other area of recording that you would like to hear about.

You can reach me at dwfearn@dwfearn.com

I am sure you know people who could benefit from this information. Please direct them to this podcast and share on your social media. Thanks.

Here is contact info for Corrie Lynn Green's music:

https://corrielynngreenmusic.com/

https://www.facebook.com/corrie.l.green

https://www.youtube.com/channel/UCZZtpg20Zjm9GjUbi6YYY_A

https://www.instagram.com/corriestringgeek/

https://open.spotify.com/artist/6QbOG55WrAVCTqgpipz69k

https://music.apple.com/us/artist/corrie-lynn-green/1610339851

email: dwfearn@dwfearn.com
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In the previous episode, I had a conversation with singer-songwriter Corrie Lynn Green explaining some aspects of studio technology and how it applies to musicians.

 In this second installment, we talk about headphones and how they can affect a performance; what happens to the microphone signal after it leaves the studio and gets to the control room; consoles, mic preamps, and digital recorders; mixing and sound manipulation; loudness and what it means; and reduced file size formats like MP3 and how best to use those files.

 You can learn more about Corrie Lynn Green on her Facebook page:
https://www.facebook.com/corrie.l.green 

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

For many musicians, recording in a professional studio can be an overwhelming experience at first. There is a lot going on, it’s all very technical and mostly incomprehensible. Jargon is thrown around. Things often move fast. 

For a while, I have been thinking about doing an episode that explains, in the simple terms, the recording process for musicians.

To help me, I asked singer-songwriter Corrie Lynn Green to join me in a conversation. Corrie is relatively new to recording, and I thought her questions would be a useful way to cover these topics. 

Some musicians are very technically adept, probably because they have learned to do their own recording at home. But some may have misconceptions, or otherwise might benefit from a better understanding of the technology.

 Others don’t really want to know. They want to focus all their energy on their music and performance in the studio, and leave all the dull, technical stuff to others.

 But I suspect that most musicians would like to know more about what is going on around them. This episode is for them, although I suspect that even seasoned studio players might find some useful tidbits.

 For most people, the more you understand, the better you can use the technology of the studio. That makes better recorded music.

You can learn more about Corrie Lynn Green on her Facebook page:
https://www.facebook.com/corrie.l.green

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In the late 1800s, researchers were seeking a way to amplify an analog signal. The vacuum tube was invented in the early 1900s, but scientists were also investigating the properties of semiconductor materials. A very crude version of a transistor was developed even before the vacuum tube, but the technology of the day was better suited for tubes than transistors, and once the tube was widely available, research into the transistor was largely abandoned for the next 40 years. Tubes became the amplifying device that made radio broadcasting possible – and also ushered in the age of electrical recording.

A practical transistor was invented by Bell Labs in the late 1940s, but it took another 20 years before it eclipsed the tube as the preferred technology for analog amplification. Further development of the vacuum tube came to a halt in the early 1970s, and by 1980, transistors had taken over all of electronics except for a few special purpose applications. In the world of music recording, many engineers, producers, and musicians still prefer the sound of tubes for audio.

But what if the vacuum tube had continued to be refined? We might have much smaller tubes that might have amazing capabilities. We will never know, of course, because the demand is much too small to justify the investment in improved tubes.

In this episode, I look at the history of tubes and transistors, and speculate on what might have been. I also explore the viability of the industry that continues to make high-quality tubes, and the impact on all the current and vintage tube gear we use.

Thanks for your continued interest in My Take On Music Recording. Please share it with your friends and on social media. The audience is constantly growing, thanks to your support.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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Music recording is a technological process, but it also involves people. The technology exists to serve musicians, and the process of recording must consider the personalities of the people involved.

This episode looks at how those human interactions work, from the perspective of the recording engineer.

How do you deal with difficult people? Or insecure people? What does it take to provide a comfortable working environment so that musicians can be at their best? How does an engineer facilitate the recording process to keep every happy, creative, and relaxed?

This episode looks into those things and provides some practical advice, based on my 50+ years of studio recording.

Thanks to everyone for their comments, suggestions, and ideas for future episodes. You can help extend the reach of this podcast by subscribing to it on any of the 30+ podcast providers that carry it. Your reviews help others find “My Take On Music Recording.” And if you find it useful, share the link with others on your social media. Thanks.

email: dwfearn@dwfearn.com
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There are many different uses for recorded music, and we explore a somewhat unusual application in this episode. My guest is Karttikeya. He only uses one name. He is the engineer and often a musician for Music Together Worldwide, which produces music for early childhood education. Music Together’s goal is to instill a love of music in kids from infants, up to 5 years old. There are similar programs for older kids.

You can learn more about Music Together at their web site,  https://www.musictogether.com/

And more about Karttikeya and Turiya at   https://turiyamusic.com/

Your questions, comments, and suggestions are always welcome. Email me at dwfearn@dwfearn.com

And your reviews and ratings are helpful for others to find this podcast on any of the 30-plus podcast providers that carry it. Thanks!

email: dwfearn@dwfearn.com
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The instruments on a recording should all be in tune with each other, right? In this short episode, I discuss how instruments are tuned, and why even with today’s remarkable tuning devices, there’s more to tuning an instrument than looking at a colorful display on the head of a guitar.

Thanks for listening, commenting, and subscribing on any of the dozens of podcast providers that carry My Take On Music Recording. You can reach me directly at dwfearn@dwfearn.com   I am always interested to hear which episodes you enjoy and which ones you find less interesting. And I am always open to your suggestions for topics.

email: dwfearn@dwfearn.com
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I take a behind-the-scenes look at a recent recording project I am working on as producer and engineer, explaining the technical details of the session, along with the pre-production planning. This episode has samples from the individual tracks, plus earlier versions and a close-to-finished version. The artist and songwriter is Corrie Green, and this is one song from a 12-song project we are working on.
I welcome your comments. You can reach me at dwfearn@dwfearn.com
If this proves to be useful to you, please let me know and I will do more like this in the future.
Also, be sure to subscribe, rate, and comment with any of the 30+ podcast providers who carry My Take on Music Recording. Thanks.

email: dwfearn@dwfearn.com
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In the previous episode, I asked listeners to send me their recordings for my critique. In this episode, I play five of the songs submitted and offer my comments.

I try to limit my remarks to things that the engineer has some control over, like the mic’ing, amount of room sound, any eq or compression, the mix, the use of processing and effects, loudness and levels, and how the engineer might interact with the musicians to help them get the best recording.

Of course, my comments reflect my experience and my taste, so they are not the last word on the work submitted.

The songs are embedded in the podcast, but since podcasting uses a low bit-rate MP3, the audio quality is quite poor, especially for music. If you want to hear the full resolution versions of this music, go to my podcast web site, https:\\DougFearn.com. Look under “Extras” and then click on “Critique Audio.” Here is the direct link to the high-res versions: https://www.dougfearn.com/Extras/CritiqueAudio/critiqueaudio.html

I look forward to hearing from listeners to determine whether this is a useful endeavor or not. If the response is positive, I will do more critiques as an occasional feature. You can send your full resolution audio file to dwfearn@dwfearn.com, using whatever large file transfer service you prefer. Please do not send MP3s or equivalent.

This podcast is carried by over 30 podcast providers. Your support is much appreciated.

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Recently several people have suggested that I do a series of episodes featuring listener-submitted recordings for my critique.

At first, I was not particularly enthusiastic about this idea. Sure, I can make lots of comments on someone’s recording technique. But where do you draw the line between technical issues and more abstract creative decisions? I’ve thought about this quite a bit and I’m not sure there is definitive line between the two.

After all, we each bring our own aesthetic to our recordings. If we all did things the same way, all our recordings would sound the same. There would be no progress in the art of recording.

Despite my misgivings, I decided to go ahead with this and see what happens. This episode introduces the idea, and includes instructions on how to submit your recordings.

I don’t know if this will work or not, but I am always willing to experiment!

If you would like to submit your recording, use dwfearn@dwfearn.com for your download link. Please send high-resolution files if you can. Avoid mp3s or other bit-reduced formats. Thanks!

email: dwfearn@dwfearn.com
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Stereo has added new dimensions to our recordings, an effect that is difficult or impossible to achieve in monaural recordings. New immersive formats, such as Dolby Atmos, add even more dimensionality to music.

You can achieve a kind of stereo by panning mono recordings of various instruments into the stereo field, but that is not what this episode is about. I talk about how to use a pair of microphones to pick up sound.

I provide a very brief history of stereo to get started, and some simple concepts of microphone pickup patterns and why they are important in stereo recording. Then I delve into some of the more popular approaches to stereo recording, including spaced-omni mics, X-Y and its variants, M-S, Blumlein, and binaural recording using an artificial head.

Mono compatibility is less of an issue than in the past, but still should be considered. I compare the various techniques and what happens when the two channels are combined in mono.

Some other techniques I have used over the years include mis-matched mics in stereo, and what I call “incidental stereo,” which could be from bleed between various instruments and mics, or just recording an unused nearby mic in the studio for possible combination with a main pickup.

I conclude with my impression of each technique, which, of course is entirely subjective and will undoubtedly be different than what you find.

This topic was suggested by listener Bill Sallak. If you have any suggestions for topics, I’d like to hear them!

Thanks for your comments and suggestions. And thanks for listening, rating, and subscribing to this podcast. It is available on over 30 podcasting platforms.

email: dwfearn@dwfearn.com
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My conversation with jazz guitarist, composer, writer, and teacher, Chuck Anderson continues in this episode. We talk about recording his early albums, his trio, solo guitar compositions, and practical advice to aspiring musicians.

We discuss the value of silence, why we both rarely listen to music, and details about the recording of his latest album, “Spontaneity.”

You can learn much more about Chuck Anderson at his web site, https://chuckandersonjazzguitar.com/?v=757e5b5109ed

where you can also find links to all his social media outlets.

Thanks for listening, and please subscribe to this podcast, using any of the many podcast providers that carry it. Your subscription helps others find my podcast.

email: dwfearn@dwfearn.com
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Chuck Anderson is an amazing musician. Not only is his technique on guitar remarkable, he is also a solid businessman who has made his living from music since he was a teenager. Over his long career, Chuck has worked with the top singers in the music business.

But his steady passion is teaching. Since he was 16, he has taught thousands of students. He instructs them not only on the technique of the guitar, but also how to pursue their musical dreams, whether it is becoming a rock star, a studio musician, or just playing for a lifetime of enjoyment.

In addition, Chuck has written 26 books, the first when he was 21 years old.

I first met Chuck in 1974 when we recorded his first jazz trio album. That was my introduction to the serious jazz idiom. Since then, we recorded a couple of other albums, and recently we did a session where Chuck recorded an entire album of wonderfully improvised compositions in two hours. It’s called “Spontaneity” and it will be available soon after you hear this.

You can hear a sample from the album (24-bit/96kHz) on my podcast web site, www.dougfearn.com   Look under "Extras"   https://dougfearn.com/Extras/extras.html

In July 2021, Chuck called me to ask if I had any photos from the first project we worked on, a jazz trio album called “Mirror Within a Mirror,” recorded at my studio in 1974. I didn’t, but after talking for a bit, we came up with the idea of recording a new album of solo guitar, entirely improvised in the studio.

Chuck came in late one Saturday afternoon in August, after a full day of teaching, and we produced the entire album in about two hours. Setup took minutes, and we were ready to record almost immediately. Chuck played the Gibson L-5 guitar he has used all his life. I used an AEA R88 stereo ribbon microphone on the studio Vox AC-30 amp, with a pair of Coles 4038 ribbon mics out farther in the room. It sounded great right from the first note, so I never changed anything.

There were no retakes, no punches, and no overdubs.

 The recording was done 24-bit, 96kHz sample rate, using D.W. Fearn VT-2 and VT-24 mic preamps into a pair of VT-4 equalizers on the main pickup, with a bit of bass roll-off to compensate for the close mic’ing of the guitar amp. No other eq or other processing was used.

The session was recorded with a Merging Technologies Hapi converter, using Pyramix software. During the mix, a bit of Bricasti M7 digital reverb was added.

A week later, we recorded this interview, using a pair of AEA R44 mics. For Covid safety reasons, we were well separated in the studio.

In this wide-ranging conversation, Chuck talks about his career, his philosophy, and why he still works 12 hours a day, 7 days a week, teaching, composing, and exploring the world of music.

 Our conversation will continue in the next episode, where discuss his early albums, the beauty of silence, and some practical advice for people who want to make a living in music.

You can learn more about Chuck Anderson at his web site, https://chuckandersonjazzguitar.com/?v=757e5b5109ed

 There you will find interesting information, samples of his music, and links to his social media.

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John O’Reilly Jr. is a studio drummer who spends most of his time recording drum tracks for clients in his studio. He talks about his experiences leading up to his business, “Boom Crash Drum Tracks.”

Our conversation covers much more than that. We talk about his philosophy of drumming and music, the challenges and rewards of providing drum overdub tracks, and his commitment to teaching. We discuss the state of current music, and music of the past.

https://www.boomcrashdrumtracks.com/

We started off talking about John’s long-time collaboration as a member of the Hazelrigg Brothers Trio.

Thanks for listening, and please tell others about this podcast if you think they would find it useful.

You can subscribe at any of over 30 podcast providers who carry My Take On Music Recording, including Apple Podcasts. Your comments and suggestions are always welcome. Send me email at dwfearn@dwfearn.com

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Direct Stream Digital (DSD) is a different way to record music in a digital format. The concept goes back to the 1930s, and it has been used to record music for at least 20 years. But DSD has not been widely accepted in music recording because it has some serious limitations, which require changes in our normal workflow habits.
This conversation with George and Geoff Hazelrigg is a continuation from the previous episode on audio quality. We do not get into the technical details of how DSD works, which will be the subject for a future episode.
Your comments, questions, and suggestions are always interesting and helpful to me. You can contact me at dwfearn@dwfearn.com
If you enjoy this podcast, please subscribe through any of the 30-plus podcast providers that carry it. Leave a review if you like. Reviews help new listeners find podcasts they like. Thanks.

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Geoff and George Hazelrigg are not only my business partners, but also superb musicians with decades of studio experience.

We seem to always agree on what makes a compelling recording. In this informal conversation, we talk about how artifacts of any kind will detract from the listener’s enjoyment. We share what we have discovered to be the best combination of gear and technique to make recordings we are pleased with.

The second part of this conversation, where we discuss DSD high-resolution recording, will become an upcoming episode.

Your comments, questions, and suggestions are always interesting and helpful to me. You can contact me at dwfearn@dwfearn.com

You can find extra material for many podcasts, as well as links to every episode, at my podcast web site, www.dougfearn.com

If you enjoy this podcast, please subscribe through any of the 30-plus podcast providers that carry it. Leave a review if you like. Reviews help new listeners find podcasts they like. Thanks.

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Major record labels and other music providers are committed to adopting Dolby Atmos and other immersive audio technologies. There is a huge amount of work available to re-mix a label’s entire catalog in the new formats.

Dale Becker, of Becker Mastering in Los Angeles, has become an expert on the practical aspects of Dolby Atmos. You may remember Dale from Episode 16 last year. Dale is a sought-after mastering engineer with decades of experience. He masters many of the most important recordings of our time.

In this new episode, Dale explains Dolby Atmos, the advantages to the music listener, his experiences in starting from zero and learning all he could about the format, and he explains how the new immersive audio formats are changing our job. Dale explains the basics of Atmos, and the challenges and rewards of setting up a control room for the format. He also gives us insight on how we might change our recording habits with Atmos in mind.

I started by asking Dale to explain in practical terms what Atmos is and how it benefits the listener.

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Robin Eaton is a songwriter, musician, vocalist, and studio owner based in Nashville. I’ve known Robin for over 40 years, since he lived in nearby Wilmington, Delaware. He came into my studio around 1980 to record demos for several songs and I was blown away by the quality of his compositions.

In this informal and wide-ranging conversation, Robin talks about his early influences, such as writing poetry when he was five years old, his adventures in the music business in the U.S. and Europe, and how he eventually settled in Nashville and now owns two very successful studios.

We talk about some of Robin’s songs.

As a songwriter, Robin as has a long-time collaboration with Jill Sobule, and many others.

Thank you for your continued support of this podcast. My aim is to pass along my experience in the world of audio, music, and recording. If you find this interview useful, please share it on your social media and tell your friends who might be interested. Thanks.

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In the days before tape recording, records had to be made “live,” with the performance going directly to a master lacquer disc. In the 1950s, when recording to tape became possible, the mastering step could be detached from recording, but the performance was still captured live.

When multitrack tape became universal in studios in the 1960, the concept of mixing after recording emerged.

In the decades that followed, many engineers chose to specialize in one of the three steps made possible by the technology. Some were tracking engineers, who captured the performance. Mixers specialized in creatively combining the tracks, and a mastering engineer did the transfer from the master mix tape to lacquer disc master.

This specialization has only increased in the digital age. And, for the most part, it is beneficial for our profession. It works because some of us love to capture the music, but have no interest in mixing it. Others find working with artists, which can sometimes be very stressful, unappealing and prefer to work on their own, just mixing.

And with the rise of digital formats for the consumer, what need was there for a mastering engineer? Well, the mastering engineers re-invented their craft and used their talents to enhance the recording.

The mixing and mastering steps also became opportunities to fix imperfections that should have been addressed in the original recording.

In this episode, I suggest that perhaps some of us should consider returning to the original concept of making a record with one engineer doing all three steps. This is likely to be a small segment of our engineering community, but “mastering” all aspects of recording might make better recordings. 

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In this short episode, I describe the process I went through on a recent recording project. We were recording a harpsichord, an instrument I had some experience recording, but never before as a solo instrument in the studio.

Here is a link to a video made during the recording session.

https://youtu.be/Kkg3m6Whydo 

We were recording a Bach Fantasy and Fugue piece, played by George Hazelrigg. George has been playing harpsichord all his life, although the piano is his main instrument these days.

It took us about ten hours of experimenting to get the sound we wanted. I describe the process.

Although you may never have occasion to record a harpsichord like this, you might still find the process I went through useful.

In the podcast, I mention a video we did that describes our technique for recording grand piano. Here is the link to that video:

 https://youtu.be/116AkuXWNAw 

https://www.facebook.com/DWFearnProfessionalAudioProducts/posts/2837669519662094

Thanks for subscribing to this podcast. And if you have any comments, suggestions, or ideas for topics, please let me know. You can reach me at dwfearn@dwfearn.com

And please share this podcast with anyone you think would be interested.

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Most of us record in studios of various types. But sometimes it is necessary, or advantageous, to record on location.

I’ve had a studio most of my career, but in the early days, I recorded entirely on location. More recently, before I built my present studio, I did quite a few location recordings, in many types of venues. Some were concert halls, theaters, or sports arenas, but many were in churches, community spaces, outside, or even in people’s homes.

Those location recordings taught me a lot about acoustics, mic placement, and dealing with unforeseen obstacles.

Although location recording will most likely be of a performance, sometimes it is desirable to record in a area that has more room, or better acoustics for a particular piece of music. Or maybe you just need a larger/better space to record horns, strings, or a choral background vocal.

In this episode, I share some of my experiences of recording outside the studio.

If you have any suggestions for future podcast topics, please let me know. I am sometimes surprised by the response to a particular episode. Predicting what you like is a bit of a challenge. So please let me know what interests you.

And any comments or suggestions are always welcomed. Please subscribe to this podcast on any of the 30 providers that carry it. Thanks.

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Ever wonder how do vacuum tubes actually work? Tubes are one electronic device that you can actually see how they operate. I explain vacuum tube fundamentals in this conversation with Matthew Glosson.

Matthew has been working for D.W. Fearn for the past year, mostly with Geoff Hazelrigg on the manufacturing side of the business. Recently he constructed some prototype circuits for me, as part of my new product development.

Matthew recently graduated from the University of the Arts in Philadelphia with a degree in music technology, among other things. He just completed a prototype that was part of an investigation into a possible new product concept, and he was curious about the circuit and why I did certain things.

As he was on his way in for us to discuss that, it occurred to me that our conversation might be of interest to you.

This is a recording of our impromptu lesson on how tubes work. I really didn’t have anything planned, so this is quite informal. And I would probably explain things a bit better if I had prepared more. But I still think it’s useful.

The recording is less professional than I would have liked, but we were on opposite sides of a ribbon mic, far enough apart to be properly social-distanced. You can hear the HVAC and other extraneous noise, including my dogs.

A few drawings are available for this episode, under “Extras” at the top of the page on my podcast web site, DougFearn.com

As always, thanks for listening, and thanks for your comments. I can be reached at dwfearn@dwfearn.com

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There is a story from the early days of television. A reporter asked a young boy if he preferred to watch a baseball game on TV, or listen to it on the radio.

His answer was immediate. “On the radio. The pictures are so much better!”

We work with sound, and except for music videos and live performances, the sound recording is all that people have to experience the work of a songwriter and artist. Part of our job as recordists, I believe, is to provide a rendition of the music that evokes the desired images in the listener’s imagination.

In this episode, I talk about that, plus creating sound effects, and musical sounds that we need to help get the message across. Most of us have wonderful audio tools for making all kinds of interesting sounds we can record, either for a musical piece or for a special purpose. It is a chance for us to get creative, and perhaps come up with something that paints a memorable picture in the listener’s imagination.

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We tend to think that electronic signals travel instantaneously, but they do not. They are merely very fast. And the time delay can be perceived by humans under some circumstances. 

In this episode, I tell the story of hearing my Morse code Amateur Radio signal coming back after circling the Earth, and how there was significant delay in the time it took for broadcast radio network signals to travel through thousands of miles of dedicated telephone lines.

Our digital audio world is full of delays of a different type: latency, which is the result of the time it takes for a computer to do its work. This latency can have a profound effect on a musical performance in the studio. Is there a way around this problem?

Sound delays are part of our world, and reverberation is an example of a “good” kind of delay, as is short repeats of a vocal or other musical sound.

Latency (almost always bad) and delay (which can be good) are two terms that describe much the same thing. Knowing how to use this displacement in time can make your recordings better – or worse.

Thanks to all of you for subscribing to this podcast, now carried on over 30 podcast providers.

And your comments, questions, and suggestions are always welcome. dwfearn@dwfearn.com

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This is the second half of the conversation I had with engineer/producer/mixer/musician/songwriter Obie O’Brien. Obie is best known for his long-time work with Jon Bon Jovi, but as you will hear, he has done many things in his career.

In this final part of our conversation, we talk about re-mixing Motown hits, digitizing a thousand reels of 2-inch tape from the Bon Jovi tours, and his latest venture, a vinyl pressing plant. But we started off talking about his own studio in Pennsylvania.

I don’t think I know anyone who is more enthusiastic about the art of making and recording music than Obie.

Thanks to all of you who have subscribed to this podcast on the various podcasting apps. You can reach me at dwfearn@dwfearn.com with your comments and suggestions.

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Talk about a life in music! Obie O’Brien has done many things in his musical career, starting with playing drums when he was 12, to building a basement studio in the 1960s, to owning a sophisticated studio in Philadelphia. And for over 30 years, working with Jon Bon Jovi in many capacities.

I first met Obie in the early 1970s, at my studio. We hit it off right away with our similar approach to music and recording. But we lost touch for a couple of decades. Now Obie lives not too far from me and has built a wonderful studio for his own projects, where he works with up-and-coming artists.

For the last year, Obie has been at home during the pandemic. Previously, he was touring with Bon Jovi almost all the time. This has given us much more time to hang out, listen to what each of us is working on, and for Obie to tell me about the amazing work he is doing, like re-mixing many songs by Motown artists from the 60s.

This is the first of two parts of our long conversation, in which we talk about those topics and a whole lot more.

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As my podcast approaches its one-year anniversary, I look back on what new skills I have had to learn, and share the podcast creation process with you. It’s not a how-to on podcasting, but it might give you some insight. My approach is not for everyone, or maybe not for anyone else but me. My process evolved to satisfy myself and overcome my deficiencies in this area.

Early in life, I found that people often asked me to explain things to them. I’ve been doing that ever since. Knowledge is something you can give away, but keep for yourself.

Teaching, usually informally, has always been a part of my life. And around 2010 I decided to make some videos for YouTube that explained my products. I always wanted to provide additional background information for the viewer, beyond promoting my products. After I made videos for all the products, I branched out into other areas of recording that I thought might be useful to viewers.

But the videos took a lot of time to make, and I realized that for many topics, most of the information was in the narration. After some false starts, I decided in March 2020 that the pandemic restrictions made it the perfect time to launch the “My Take On Music Recording” podcast.

I had a lot to learn, and I thought back on influential people in my life who were excellent at sharing knowledge.

In this episode, I also go into technical details on the equipment I use and the process that has evolved over the past year to make the podcast as good as I can make. I hope you find it useful, especially if you want to start your own podcast, or listen to it just as an interesting adventure.

Thanks for sharing the podcast with others. That is important for building my audience. You can always reach me at dwfearn@dwfearn.com with your comments, suggested topics, or questions.

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Manufacturing pro audio equipment was never really part of my plan, but it has become one of the most gratifying aspects of my career in music recording.

It wasn’t until around 2011 when a documentary video about me was made that I realized how all the pieces came together, resulting in my career in recording, and in designing products for the studio. In retrospect, it seems totally logical.

In this episode, I talk about some of those influences, including my early experience as a teenage business owner. I explain how my desire to improve the quality of my recordings led me to the design of the VT-1, the single-channel vacuum tube mic preamp that became the first D.W. Fearn product.

I talk about how I made the transition from the pre-internet days of mailing lists and magazine ads to my first company web site. I had to learn the details of manufacturing, shipping internationally, and setting up dealers to sell my products.

And, of course there were the details of design, beyond the circuit and into the esthetics of gear and user ergonomics.

I hope you will enjoy hearing about my journey. And if you are thinking about starting a company, perhaps my story will be helpful to you.

Your email is valuable to me, so keep it coming.

And as I approach a full year of doing this podcast, I want to ask your help in building the audience. Frankly, I’m happy to do this even if only a few people benefit from it. But producing this podcast takes up about half my working hours, so for me to feel motivated to keep going, I’d like to find more subscribers. If you would share your enthusiasm for this podcast with your social media contacts, or your real-world colleagues, I would appreciate it. Thanks.

Technical details for this episode: I wanted to get a  better understanding of the RF condenser microphone sound, so I used a newly-acquired Sennheiser MKH8050 Hypercardiod mic. That went into a D.W. Fearn VT-2 mic preamp, VT-4 Equalizer, and VT-7 Compressor. The mic is about 24 inches away, and off axis, since it is easily popped. No pop filter was used. The eq was set for 4dB of shelving roll-off at 40Hz, and 2dB of shelving high-cut at 10kHz. I found that I needed the high cut to reduce the high-end boost inherent in condenser microphones. The low cut compensates for the proximity effect of most directional miscs. The audio went through a Merging Technologies Hapi converter and was recorded using Pyramix DAW at 24-bit, 96kHz sample rate. Of course, the podcast format is a 96kb/s MP3, but the higher resolution capture results in a better translation to the MP3 format.

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Using as few mics as possible on a recording session often leads to better sound for the project. In this episode, I describe how I went from one mic, to many mics, and back to one mic, over the course of my career.

Some examples are truly one stereo mic for an entire song recording, while others use two or three mics, depending on the circumstances.

There are high-res audio clips on my podcast web site, https://dougfearn.com/  where you can listen to some of the recordings discussed, plus links to videos that show the actual sessions.

In one example, a song with multiple instruments was recorded live in the studio, but with a single stereo mic, and with a typical multi-mic approach. Both have their place, and you can decide which you prefer. Both recordings are from the same take, so they are directly comparable.

This approach to recording is not for everyone, nor for every project, but understanding the principles may give you a useful tool.

Single-mic recording eliminates the phase differences that can hurt the sound of a recording. And  another benefit is that you might just get a more interesting performance from the musicians, since everyone is playing together at once, in the same room. No headphones needed.

Sometimes a hybrid approach works, too, combining the minimalist mic’ing with standard mic’ing techniques.

You can find the tracks, and links to the companion videos, under “Extras” on my web site.

Got an idea that would make a good podcast episode? Or a question that I might be able to answer? Please send your thoughts to dwfearn@dwfearn.com

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I’ve had the privilege to work in some iconic studios, but the one that made the biggest impression on me was Abbey Road in London.

I spent three days doing sessions there, but since I was working with very competent studio people, there was significant opportunity to explore the facility and ask questions of the EMI engineers. This was in 2008.

Abbey Road’s three studios opened in 1931. The largest room, Studio 1, was the largest purpose-built studio in the world – and it still is, 90 years later.

Studio 2 is smaller, but still quite large compared to most studios. This is where the Beatles and so many other successful groups and artists recorded their historic records. And it’s where the project I was working on took place.

In this episode, I describe the facilities, the neighborhood, and what mics and equipment we used. I cover some of the history of the studio complex. And I provide my personal impressions of working there.

On my podcast web site, dougfearn.com, I have posted some of the photos that I took while there. Find them on the "Extras" page.

As always, thanks for your comments, questions, and suggestions. I appreciate every one of them. You can reach me at dwfearn@dwfearn.com

Please tell your friends and colleagues about this podcast. The subscriber list grows daily, and your ratings and reviews help me to reach as many people as possible in my quest to help improve the sound of all of our recordings.

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We all need cables and connectors to tie all our mics and other equipment together. There are many places where problems can be introduced into your recording, caused by improper wiring. Even when everything appears to be working properly, poor wiring and connector practices can cause subtle problems that make your recordings less than they could be.

In this episode, I talk about how we came to use the balanced audio lines in our studios, and why we have the connectors we use. I explain why it is vital that we make or buy quality cables and connectors, and why esoteric, very expensive cables are unlikely to sound any better.

There are some hints on how to troubleshoot cable and wiring problems, based on the problem you hear. And some practical suggestions to keep your cables in good condition, and how to run them around your studio.

Thanks for all your comments, questions, and suggestions. They are appreciated.

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Even if you don’t recognize the name Colin Hay, I guarantee that you have heard him. Colin is best known for his band, “Men At Work,” the Australian group that had #1 hits such as “Down Under” and “Who Can It Be Now” in the 1980s. Men at Work sold over 30 million albums during their existence.

Since then, the singer-songwriter has worked as a solo artist, touring the world, sometimes truly solo and other times with a band.

He has been a “Star” on several tours with the Ringo and the All-Stars ensemble, starting in 2003.

Colin has also had an acting career, performing his own songs in movies and TV shows, and even an experience in a Shakespeare touring company.

By the way, Colin is originally from Scotland, as you will quickly notice from his accent.

This interview is not about his career, although we talk about that a bit, but instead focuses on his recording experience. Colin has had his own sophisticated home studio for decades and uses his space to record his songs.

We also talk about the art of songwriting and, well, a life in music.

Here are links to a a few of Colin's songs:

“Down Under” Men At Work https://www.youtube.com/watch?v=hfmxO-HQ5rU

“Who Can It Be Now?” Men At Work https://www.youtube.com/watch?v=XuFC6ud1cAQ

“Maggie” Colin Hay  https://www.youtube.com/watch?v=iDuvFz0WQ-g

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Since the earliest days of sound recording, noise has been a major limitation in audio quality. In early part of my career, tape hiss was usually the biggest challenge. But today’s digital recorders are virtually noise-free in most situations.

We still have to battle with noise, but the sources of the noise have changed. Today’s engineer has to deal with noise generated by the switched-mode power supplies that are in our LED bulbs, computer equipment, and even appliances. These sources of noise can get into electric guitars and create quite a racket. But the noise can also raise the noise floor in subtle ways, and we might not immediately recognize the source. Light dimmers, cell phones, and solar panels are other sources of noise.

In this episode, I talk about the various causes of noise, and provide some tips on how to identify the source, and advice on how to eliminate, or at least minimize, the noise on your recording.

For more in-depth, practical suggestions on how to avoid and mitigate electrical noise, my friend Jim Brown has a wonderful set of tutorials and presentations. Jim is an expert on this topic and has served on AES Committees for decades. Go to his web site, http://www.k9yc.com/publish.htm and scroll down to the section titled, “Hum, Buzz, and RF Interference -- Written for Audio Professionals.” You will find several excellent resources there.

There is a transcript for this episode. If you want a written version, you can download a PDF version from dougfearn.com

And please keep the suggestions and comments coming. Your feedback helps me determine what I should talk about.

If there is sufficient interest, I am considering having an occasional question and answer episode. If you have something you would like me to answer, record it in your studio with your best equipment. In keeping with the high audio quality goal of my podcast, you can record your questions at 24-bit, 96kHz sample rate and send the file to dwfearn@dwfearn.com

Simple questions I can answer in an episode dedicated to answering them. Some other topics may suggest an entire episode dedicated to the topic.

Please tell your friends and colleagues about this podcast. And leave your ratings and reviews with the podcast app you use. Thanks.

This episode was recorded with a Sennheiser MKH8050 condenser microphone instead of my usual AEA R44 ribbon mic. The MKH8050 is an amazingly clean-sounding mic, although it is probably not the best choice for vocals or voice recording. The preamp is a D.W. Fearn VT-2 and the converters are by Merging Technologies. The audio was processed through a D.W. Fearn VT-4 equalizer and a VT-7 Compressor. The original recording is 24-bit, 96kHz.

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Distortion is present in all electronic audio equipment and on all recordings. Sometimes it is part of the sound, such as in an electric guitar.

But distortion is usually something we try to avoid.

In this episode, I go through the most common types of distortion, their impact on the listener, where the distortion comes from, and what we can do to minimize it.

This is somewhat technical, but I try to keep the explanations simple. Learning how to identify the sources of distortion, and how to mitigate them, should help you make better recordings.

I’ve recently added a new feature to the dougfearn.com web site. You can now read transcripts of many of the podcast episodes online, and download them is you like. Not all episodes have transcripts, just those that are scripted. Let me know if you find the transcripts useful.

Thank you to all of you who have subscribed to My Take On Music Recording, left reviews and ratings. The podcast is available on dozens of different podcast platforms. And thanks to those who have written to me via email. I will try to answer all of them. You can send email to dwfearn@dwfearn.com

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I never did any disc mastering, but I did cut thousands of lacquer discs. I explained how I learned this art, and describe the process of cutting a disc. The medium imposes a lot of restrictions, not only in the disc-cutting process, but also going back to the recording and mixing.

In addition, I include some thoughts on the vinyl record medium. I definitely have a love-hate relationship with records.

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This is a continuation of the story of my recording career, starting where Part 1 (Episode 30) ends in 1973 and covers the following years, up to 2020. During that time, my studio went from 8- to 16- to 24-track, more sophisticated equipment was added, and I moved to a much larger building. After my studio-ownership days, I continued recording, on location or in other studios. In 1993 I introduced the first studio product I designed, the VT-1 single-channel vacuum tube mic preamp.

Since 2007 I have been recording in a studio carved out of the D.W. Fearn parts storage space, which has been continually revised, upgraded, and refined.

Throughout this two-part series, I describe not only the equipment and facilities, but also the recording techniques I used, which reflected the type of music I was recording, and the evolving technology.

Many elements of this story could be expanded into an episode of its own. If you would like to hear more about an aspect, please let me know.

Thank you for all your great comments and feedback. This episode was the result of listener feedback. If you have comments, questions, or suggestions for future episodes, please contact me at dwfearn@dwfearn.com

This podcast was recorded with an AEA R44CXE microphone into a D.W. Fearn VT-2 mic preamp, into a VT-4 Equalizer and VT-7 Compressor. The converter is a Merging Technologies Hapi and the software is Pyramix. The original recording was made at 96kHz sample rate, 24-bit PCM.

You can subscribe to this podcast through Apple Podcasts, Stitcher, Spotify, and many other podcast providers.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

My Recording Career, Part 1: Early influences and first studio

This two-part episode tells the story of my life in recording. It starts out with the musical and electronic experiences that shaped my career and then describes the process of learning about recording and the many disciplines required. I explain how my first studio was constructed and the challenges I faced and mostly overcame. I trace the steady increase in track count -- this was in the days of tape, of course -- and the transition from analog to digital.

Throughout, I describe the experiences that changed my approach to recording.

Part 1 ends in 1973, when my studio was 8-track.

Many elements of this story could be expanded into an episode of its own. If you would like to hear more about an aspect, please let me know.

Thank you for all your great comments and feedback. This episode was the result of listener feedback. If you have comments, questions, or suggestions for future episodes, please contact me at dwfearn@dwfearn.com

This podcast was recorded with an AEA R44CXE microphone into a D.W. Fearn VT-2 mic preamp, into a VT-4 Equalizer and VT-7 Compressor. The converter is a Merging Technologies Hapi and the software is Pyramix. The original recording was made at 96kHz sample rate, 24-bit PCM.

You can subscribe to this podcast through Apple Podcasts, Stitcher, Spotify, and many other podcast providers.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

The VT-7 Compressor has an interesting backstory, including a Nashville dinner with my friend, Cranesong’s Dave Hill back in 2003.

In this episode, I tell the story of how the VT-7 came about, and explain how a pulse-width modulator (PWM) compressor works and why it is an excellent way to create a versatile compressor/limiter. I also go through the history of the compressor and the various methods used over the years.

The operation of the controls on the VT-7 are described, with some ideas on how best to set them for a given compression task.

The VT-7 has become an indispensable tool for many of the world’s top recordists, mixers, and mastering engineers. It is often used in conjunction with the VT-5 Equalizer, on the mix bus, or in the mastering chain.

If you have questions, comments, or suggestions, I always appreciate hearing from you. Send me email at dwfearn@dwfearn.com

And if you have friends who would find this podcast interesting, please pass along the link to them.

Don’t forget that you can use a podcast app, like Apple Podcasts and many others, to automatically notify you when a new episode is available, and/or automatically download each episode.

email: dwfearn@dwfearn.com
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This conversation with mixing engineer Tony Maserati is a little different from most of the other interviews I have done on the podcast. It is mostly just Tony and me having a very informal chat about the things that are important to us, both in our professional lives, but also in life in general.

If you want to see the impressive list of artists that Tony has worked with in his career, go to tonymaserati.com

You will see artists ranging from James Brown to David Bowie, Queen Latifa to Beyonce to Lady Gaga, that Tony has recorded, produced, or mixed.

He is best known as a go-to mixer at the highest levels in the music business. Tony is also noted for his appearances on Mix With the Masters.

Our conversation is unstructured, and a bit longer than most of the podcast episodes, so you might want to check out specific sections, like:

03:17  Moving back to Upstate NY from LA and living in the country

22:46   Recording today with remote musicians adding parts

26:43   Recording and mixing are two different skills

39:47   What problems Tony finds in the tracks he is sent to mix

43:40   Advice for people who want to get into the recording/mixing business

58:24   Tony’s approach to mixing

Your comments, questions, and suggestions are always welcome. You can email me at dwfearn@dwfearn.com

Thank you for all the comments you have sent me. I appreciate them all. And thanks for passing along info about this podcast to your friends and colleagues who you think would find it useful.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In this episode, I describe how the D.W. Fearn VT-4 and VT-5 Equalizers came about. I start with some history of equalization, and then my experiences with various eqs and how that influenced the design of the VT-5.

I talk about the design process, including the reasoning behind the choices I made in the frequencies and the curves, and the design of the amplifiers in the VT-5. Then I explain how I use the VT-5 on the sessions I do, which is not meant to be a tutorial on equalizing, since everyone has a different style, but as an illustration of one approach to using the equalizer.

In 2020, we made some internal changes to the VT-5, which does not change the sound of it at all, but did allow us to eliminate the small, low-speed cooling fan.

A plug-in version of the VT-5 is available from Acustica Audio, and I explain the design process behind it.

The VT-5 has become an indispensable tool for many engineers, mixers, and mastering facilities. I originally designed it to fill I need I had, and it has been very gratifying to see the acceptance it has gained in the music recording world.

email: dwfearn@dwfearn.com
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Sigma Sound Studios in Philadelphia was responsible for a huge number of hit records, starting in the 1960s and continuing into the 21st century. Eventually Sigma had two studios in Philadelphia and three in New York.

Joe Tarsia founded Sigma in 1968 but his career as an engineer goes back to the 1950s at Cameo Parkway Records. He started in a mono studio, using very few microphones, hardly any outboard gear, and recording to tape. He has lived through the evolution to stereo and multitrack tape and from mono vinyl records through the CD and into the digital age.

I sat down with Joe in January of 2019 at his home and recorded our conversation using a Flea M49 in the bidirectional position, to a Tascam DR-100 portable recorder.
A slightly longer version of this interview is available on my YouTube channel at https://www.youtube.com/watch?v=FMwTQ8XhY9c

The video includes many still photos taken at Sigma, thanks to former Sigma engineer Arthur Stoppe.

This is an important part of our recording heritage, and I urge any of you who have access to pioneers like Joe Tarsia to take the time to capture their history.

Thank you for listening to this and the previous 25 episodes.

Your comments and suggestions are always appreciated. Email me at dwfearn@dwfearn.com
And if you find this podcast useful, please share it with others that you think would enjoy listening. Thanks.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
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During the Covid pandemic, most of us have had to shift to the virtual world for our conversations, presentations, classes, and committee meetings.

One thing that I notice is that almost everyone has bad audio. Not just low fidelity (that’s intrinsic in the on-line medium), but audio with poor intelligibility due to bad mics, bad mic technique, poor-sounding rooms, and extraneous noise.

I compiled a few suggestions on how you can improve your virtual audio and made it into this short podcast episode. I also talk a bit about improving the video component.

None of these suggestions cost a lot of money. Some actually cost nothing.

It looks like we will be interacting with each other through Zoom and Skype (and others) for the foreseeable future, so it pays to put a little effort into making the best of this technology.

And I suspect that we will be doing a lot more of this virtual communication even after the pandemic is under control, so it is worth sharpening your skills in the realm.

Thanks for your comments and suggestions. You can always reach me at dwfearn@dwfearn.com

About half of the listeners use Apple Podcasts to listen to this podcast, and adding in the listeners who use Stitcher, Spotify, Google Podcasts, and others bring that method of consuming the podcast up to about 80%. One advantage of Apple and other podcast providers is that you can subscribe to my podcast and receive notification of new episodes, and even automatically download each episode if you wish.

For those of you who prefer to be on my email list, just send me email with a request and I’ll add you to the list. I send out one email for each new episode, with a link.

I am gratified by the large number of listeners, but I suspect you know others who would like My Take On Music Recording. Please send them a link. And any mention you make on social media is also helpful.

Thanks.

email: dwfearn@dwfearn.com
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At first glance, you would think that flying an airplane and recording music would have very little in common. And it’s true that there is not a whole lot that directly translates from one to the other.

But there are many aspects of learning to fly, and constantly working to perfect and extend your flying skills, that have a parallel in recording.

In this episode, I explain some of the fundamentals of flying, how my recording career helped me in mastering those skills, and how my  audio background helped me in the airplane. Dealing with airplanes also taught me things that were helpful in designing and manufacturing professional audio equipment.

Thanks for your comments and suggestions. You can contact me at dwfearn@dwfearn.com or through my podcast web site dougfearn.com

email: dwfearn@dwfearn.com
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I’ve known Jason Miles for over 20 years and I learn new things from him every time we talk. Jason is a keyboard player, synthesizer programmer from the earliest days of the Moog synthesizer, and a Grammy-winning producer.

He has worked with artists such as Miles, Davis, Luther Vandross, Whitney Houston, Michael Jackson, Sting, Chaka Chan, Suzy Boggess, David Sanborn, and many others.

In this interview, Jason talks about how he got started playing music and how that lead into his pioneering work with creative synthesizer programming, and playing on many albums. He has performed along with many major artists in places like Carnegie Hall, the Hollywood Bowl, and the Capetown South Africa Jazz Festival. He has a new record out, the proceeds of which will help support people in the music business who have limited income during the Covid pandemic. Jason also has a one-man music and storytelling show.

Listen to Jason tell the stories about how he broke into the highest levels of the record business, and how he re-invented himself through the decades. He is always learning and embracing new music and new technology. It’s a fascinating story.

http://www.jasonmilesmusic.com/

Thank you for your comments and suggestions. I appreciate them. You can reach me at dwfearn@dwfearn.com, or through my podcast web site, https://dougfearn.com/

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Microphone preamplifiers are essential for almost all recording. In this episode, I look at the requirements for a quality preamp, and how preamps are designed and used.

Although this focuses on the D.W. Fearn VT-1, VT-2, and VT-24 mic preamps, the principles are applicable to any preamp.

We look at the extreme range of levels a preamp has to deal with, and the techniques used to accommodate this range. Why is there a 20dB pad on most preamps, and how best to use it (or not)? Many modern mics have a transformerless out, and a non-standard output impedance. How do we deal with that?

Do mic preamps introduce distortion? What kinds? And which add to the sound and which distortions are annoying?

How does phase shift through the mic preamp affect the sound? What can be done in the design process to minimize phase shift?

How do we use the "Phase" (polarity) switch on a mic input, and where is it most useful?

What exactly is “phantom power?” How did that come about? What are the advantages, disadvantages, and potential problems?

Using a mic preamp on a mix buss is also covered, along with the special requirements for that application.

How about installation of your outboard preamp? What do you need to consider in cooling, wiring, and AC power in order to get the maximum audio quality?

How can mic patch panels create potential serious problems, not only for the audio quality but also for the safety of your expensive microphones?

I take you through the history of the design of the VT-1 preamp, which is the basis for all the D.W. Fearn mic preamps and also influences the sound of our equalizers and compressor.

Understanding some of the technical details will help you to use your preamps better. I avoid a lot of technical jargon and theory, and just focus on the aspects that will be helpful for most recording engineers.

Thanks to everyone who has contacted me with your comments and suggestions. I have already added some topics for future episodes, based on listener feedback. You can contact me at dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Mike Miller is a great example of the latest generation of recording mixers. Mike started as a musician, playing piano at age 4, later switched to guitar and as a teenager he began touring with bands whose members were much older. Recording with those bands introduced Mike to the studio and he was instantly captivated and knew that was what he wanted to do.

His early success as a producer doing most of the tasks involved in making records eventually led him to specialize in mixing. Mike started out in his home town of Rochester, NY, not noted as a recording center, but he was able to capture success there. Eventually, however, he needed to move to cities where the business was, including, New York and Los Angeles. He has moved to LA and developed relationships with many people in the music business who were impressed by his talent and ambition. They offered him advice and guidance, and Mike feels that it is important to pass that knowledge along to those who are just starting out.

Mike recorded his side of the conversation in his studio in Los Angeles using a Flea 47 microphone into a Hazelrigg Industries VLC mic preamp, and recorded to Pro Tools. My side was recorded in my studio in Pennsylvania using a Flea 49 mic into a D.W. Fearn VT-2 mic preamp, Merging Technologies converter and recorded in Pyramix. The final 24-bit, 96kHz PCM recording was processed through individual VT-4 equalizers and and VT-7 Compressor.

Thanks to all of you who have dropped me notes about this podcast. Those has been very valuable to me. You can reach me at dwfearn@dwfearn.com, or through my podcast web site, https://www.dougfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

My recording career started with vacuum tube gear, and it’s a sound I still prefer. In this episode, I tell the story of my early experience with a homemade mixer using tube mic preamps, and my reluctant transition to solid-state audio equipment and my eventual return to tubes.

There may be many reasons why tubes sound different than transistors (solid-state), and I explore some of those differences. The biggest reason may be the distortion products that exist in all amplifiers, whether they are tube or solid-state, and why our ears prefer the even-order harmonic distortion of tubes.

But tubes are not the best choice for everything, and I explain why solid-state integrated circuit op amps are a good choice in some applications.

And tubes are not appropriate for digital electronics, even though the first digital computers used vacuum tubes. I tell the story of going inside a Univac tube computer while it was operating.
Recorded with an AEA R44CXE microphone through a D.W. Fearn VT-2 vacuum tube microphone preamplifer, a Merging Technologies Hapi converter, and recorded at 24 bit/96kHz PCM. The audio was processed through a D.W. Fearn VT-5 Equalizer and VT-7 Compressor.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Tad Rollow is a research engineer who has worked at companies like Eventide, Avid-DigiDesign, and Sennheiser. You probably own hardware or software whose design Tad has been part of.

Tad has a wide range of interests and experiences, including hardware, software, and chip design. He’s been recording music since high school and continues to do that. He has a degree in electrical engineering and a PhD in acoustics.

Tad understands the intersection between engineering and art, and knows that a product not only has to have great specifications but it also must sound good.

Our conversation was recorded at 24-bit/ 96kHz PCM. Tad was recording in his home studio in San Francisco, using a Sennheiser MKH8050 mic into a D.W. Fearn VT-2 microphone preamplifier, and recording to ProTools. I am using an AEA R44 microphone, a VT-2 preamp, and a Merging Technologies converter, recorded to Pyramix.

The mix was processed through a D.W. Fearn VT-5 Equalizer and a VT-7 Compressor.

Your comments, questions, and suggestions are always welcomed. You can send email to dwfearn@dwfearn.com. The link is also available at https://www.dougfearn.com

This podcast is available on Apple Podcasts, Stitcher, Spotify, Google Podcast, and many others.

Their apps allows you to listen at any time, automatically download new episodes, and even receive a notification when a new episode is published. And you can rate the podcast and leave a review.

email: dwfearn@dwfearn.com
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Dom Morley is a Grammy-award winning British engineer, producer, and mixer who has worked with artists such as Amy Winehouse, Adele, Sting, Nick Cave, and many others. He has worked as a staff engineer in several top studios in London and now has his own studio in Oxfordshire. Educating aspiring engineers and producers is important to Dom, and he is in demand as a teacher and lecturer. He often conducts workshops at the NAMM Show.

An educational service he offers is the Mix Consultancy, where anyone can submit their mix for Dom’s personal evaluation and suggestions. https://www.themixconsultancy.com/

I recently spoke with Dom about his early influences, breaking into the business, working with artists and producers, and helping those coming up with solid advice on developing their craft.

For this conversation, Dom was using a vintage RCA 77 microphone into a Wunder Audio PA-Four mic preamp and D.W. Fearn VT-7 Compressor.

I am using my usual AEA R44 mic into a D.W. Fearn VT-2 mic preamp. Both mics were sent through individual D.W. Fearn VT-4 Equalizers, and the mix goes through a  VT-7 Compressor. The conversation was via Skype, so there is an occasional delay of my voice audible in Dom’s mic when we overlap. The recording is 24 bit, 96kHz PCM digital before the podcast conversion to MP3.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

My first job, and really the only time I have ever worked for someone else, was in radio broadcasting. While in high school, I started working as an engineer, on weekends, at WPEN, an AM/FM station in Philadelphia. The station was founded in 1926 and the studios where I worked were built by RCA in 1947. Little had changed by the time I started there in 1966. The AM transmitter site was several miles to the west of the city. It was one of the first directional AM stations in the country, and that site was built in 1936.

Back then, radio stations were operated by engineers, who were the de facto producers of the radio program. The “air talent” did not have any equipment in the studio except a microphone. The engineer made the program flow by operating the microphone, turntables, tape machines, and radio network sources. At least that was how radio worked in major cities.

Back then, radio stations and recording studios were very similar, both in equipment and facilities, and in the creative dynamic. I was fortunate that WPEN was still practicing “old-time radio” when I was there. The station had 13 engineers, 11 studios and control rooms, and carried two national radio networks. The largest studio occupied the entire first floor of the building and was set up for a live audience. About ten years before I started working there, that studio was where the predecessor of American Bandstand originated, before it moved to TV. Now it was the home to a live-audience talk show at night, which featured top names in politics and entertainment.

During the broadcast day, programming originated from five different studios, plus there were several well-equipped production studios/control rooms used for recording commercials and other program elements. One production studio had a disc-cutting lathe, which is where I first learned how to cut lacquer discs.

There were people working there that went back to the station’s inception in 1926, and I tried to learn as much as I could from these people who invented broadcasting.

I learned about working with talented people, both on staff and as guests, and how to make an audio experience flow naturally to provide the best experience for the listener. I also learned about equipment maintenance, and how to construct reliable equipment in-house.

This job also provided me with the income necessary to start my own recording studio, which had always been my primary goal. But working in radio back then was exciting, too. In this episode, I talk about what I learned at WPEN, and how that experience helped me learn the craft of recording.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Dale Becker is a mastering engineer in Los Angeles. He is known for his work with artists such as Khalid, Chloe X Halle, Lauv, Macklemore, Rufus Du Sol, JoJo, Kesha, Tiesto, Meghan Trainor, Jeremy Zucker, Beast Coast, Fletcher, Gallant, Louis the Child & Bryce Vine

He works at Becker Mastering, along with his father, Bernie.

We talked about the art of mastering in the digital age, along with some discussion of mastering for vinyl, Dale’s experience as a recording engineer and producer, the new immersive formats like Dolby Atmos, loudness, and his philosophy of music. He offers some suggestions for preparing your mixes for mastering, and how he faces the challenge of creating a master that pleases all parties involved, and works for all distribution outlets. Learn more at https://www.beckermastering.com/

Your comments, questions, and suggestions are always welcomed: dwfearn@dwfearn.com

email: dwfearn@dwfearn.com
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We all use microphones all the time, but how much do we know about how they work? Is that knowledge useful?

In this episode, I discuss the three main types of studio microphones, dynamic, ribbon, and condenser, and the three main pickup patterns, omni-, bi-, and uni-directional, and why understanding some of the basic principles can help you get the most from your microphones.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Chris Tabron is a very successful Brooklyn-based producer, engineer, mixer who has worked with artists such as Beyonce, The Strokes, Robert Glasper, Battles, Lower Dens, The Voidz, and Charlotte Day Wilson.

I spoke with Chris about how he got into music recording and production, and about his approach to working with artists – and the art of recording and the skills needed to be a producer.

Our conversation went on for about two-and-a-half hours, of which this is the first hour. The second portion was less formal – really just the two of us chatting about things. Chris had some questions for me, too. I’ll post that part of our conversation in a future episode.

Chris recorded in his studio in Brooklyn, using a Shure SM7 mic into a Neve 1073 module. I was using my usual AEA 44 mic into a VT-2 mic preamp.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Sometimes we have to record in less-than-ideal locations, such as at home, or perhaps on location. Understanding the challenges of adapting space for recording will help you get the best possible sound out of your improvised studio.

In this episode, I give a quick overview of some of the acoustical principles that will affect how your recording sounds. Some are obvious, like sound-proofing, sound absorbing, and controlling echoes. Others may not be immediately obvious, such as the room proportions. A deeper understanding of these factors will help.

I also touch on some other challenges to recording in improvised spaces, such as lighting and heating/air conditioning.

Even if you record in a real studio, insight into these principles may help you get the most out of the room.

This episode is based on a series of YouTube videos I did some years ago. The images and video in that series help illustrate the points. See https://www.youtube.com/watch?v=3FD5SlKYQiA for the first part. All my videos can be accessed from www.youtube.com/c/DWFearn

This was also the topic for a talk I recently gave to the Conservatory of Recording Arts & Sciences (CRAS). https://cras.edu/

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Jon Castelli is an up-and-coming mix engineer in LA who has had great success in recent years, working on projects like Khalid's Grammy-nominated for Record-of-the-Year, "Talk," Platinum record for Summer Walker and Drake's "Girls Need Love," and a Gold record for Harry Styles "Lights Up"

Jon offers lots of good, practical information about how to refine your craft, and what it takes to work with top-level artists and producers.

We talk about many things, including how he sets up for a mix, recording and mixing vocals, the software and hardware tools that are intrinsic to his process, the roles an engineer/producer/mixer plays during the recording process, fixing problems, microphone choices, the use of saturation and distortion, developing your own sound, and loudness goals. I started by asking Jon about how he got into music and recording.

This conversation with Jon was recorded about a year ago, with me in my studio in West Chester, PA and Jon at his studio, The Giftshop, in Los Angeles. An editing version of our interview recently appeared in Tape Op magazine.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

This topic may seem like a stretch in a podcast about music recording, but using Morse code on Amateur Radio taught me quite a bit about hearing acuity. And my experience building devices for my hobby taught me a lot about electronics, circuit design, and construction.

From my first exposure to Morse code from interference from a RCA Coastal Marine station in New Jersey as a kid, to learning the code and using it for over 50 years, the code has been part of my life. Although I do not have much time to use it these days, it is a skill I try to utilize when I can.

I also taught myself the original Morse code, as developed by Samuel Morse and Alfred Vail in the 1830s, which is quite different from the modern code.

This episode has actual code segments to illustrate my points, including a recreation of the cacophonous jumble of code signals I had to deal with before I could afford more advanced equipment.

Interacting with people from all over the country and all over the world via Morse code also taught me things about communicating with different cultures and backgrounds.

Special thanks to Ian Alexander, voiceover artist, former radio broadcaster, and second engineer on most of the recording projects I have done over the past 35 years.

As an illustration of one of the points I make in this podcast, I purposely recorded this episode without any written material or notes. Previous episodes have been either completely scripted (usually based on something I had written for another outlet), or at least outlined. Each approach has its advantages and disadvantages, but I think for most episodes I will stick with scripting them in detail.

As you might imagine, this episode has a lot of edits, some of which are not as smooth as I would like.

Technical details: I used an AEA KU4 directional ribbon microphone for this episode, instead of the usual AEA R44 I have used on most of the previous shows. The KU4 goes into a D.W. Fearn VT-2 Vacuum Tube Microphone Preamplifier, a Merging Technologies Hapi converter, and was recorded in Pyramix. A D.W. Fearn VT-7 Compressor was used on the mix buss, but there is no equalization at all.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

In this second part of my conversation with Wes Dooley of Audio Engineering Associates, I ask Wes about why ribbon microphones sound different from condenser (or dynamic) microphones. Wes also explains more about his recording background and how that led into ribbon mic design and manufacturing.
(Technical info: Wes used an AEA KU5 mic into a D.W. Fearn VT-2 mic preamp and recorded into Pro Tools at the AEA Studio in Pasadena, CA. Doug used an AEA R44CX into a VT-2 and recorded to Pyramix, at the D.W. Fearn Studio in West Chester, PA.)

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Jim Hamilton is an interesting guy. His career includes drums and percussion, often with well-known artists.

But also Jim is a tap dancer who performs around the world. And he owns Rittenhouse Soundworks, an amazing recording studio in Philadelphia. He has also been a life-long student of music and recording.

Our conversation covers the relationship of tap dancing to modern drumming, the evolution of the snare drum. We explore how technology affects the recording process and the interface between the performer and the listener. We talk about the high-resolution audio as it is recorded verses the relatively low-fidelity music that most listeners experience.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Tape Recording in the Studio: A practical Guide

This is the final of the three parts in this series on recording to magnetic tape. I explain some of the differences in workflow between recording to digital and recording to tape. This is more “hands-on” than the first two installments.

The limitations of the medium affect the way you will record. That’s part of the “tape sound.”

I discuss the battle with tape noise, setting levels, routine calibration tones, punching in, bouncing tracks (which is a different concept than what many DAWs call bouncing), practical aspects of figuring out where you are in a song, variable speed recording, editing and splicing, preparing tape for mastering, manufacturing problems with the tape itself, storing tape, and retrieving music from old tapes.

As always, your comments and suggestions are welcomed. You can send email to dwfearn@dwfearn.com

And for access to all the episodes of My Take on Music Recording, you can go to www.dougfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Tape Machine Alignment & Maintenance

In this second of three parts on recording to magnetic tape, we look at why proper machine setup is critically important for good, consistent results. This episode is rather arcane because we are talking about an obsolete technology. It includes details on how and why adjustment is necessary, and a rough outline of how it is done.

Tape machines from different eras and from different manufacturers have variations on these generic procedures, so if you want to learn how to do this, you will have to acquire the manual for your tape machine and follow the alignment instructions the manufacturer recommends.

But this episode will give you a good sense of what is involved and what you have to look forward to if you want to record to tape. I don’t want to discourage anyone from doing this, but I think it is important to learn some of the basics before investing in tape technology.

Some of the topics covered are: reference alignment tapes, setting head azimuth, adjusting record and playback level and equalization, setting tape bias for best performance (with a couple of different methods), mechanical wear and adjustment, parts replacement, and why all these things are necessary.

As always, your comments and suggestions are welcomed. You can send email to dwfearn@dwfearn.com

And for access to all the episodes of My Take on Music Recording, you can go to www.dougfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

Introduction to Recording to Tape

I spent about half of my career recording to magnetic tape, and although everything I record now is done digitally, I understand the allure of sound of tape, and the fascination with the machines that record it.

This is the first of three episodes on tape recording, which I am publishing all on the same day for those who are interested in the topic. This first installment is an introduction to magnetic tape recording, with some basic principles and an explanation of the mechanical parts of a tape machine. I talk about some of the inherent deficiencies of the tape-recording process, and the technological advances that helped mitigate them. And I explain how you may have to change the way you record in order to get good results with tape.

Part 2 is on machine alignment and maintenance. Not particularly exciting stuff, but vital if you want good performance.

And Part 3 discusses the practical aspects of recording to tape in the studio.

As always, your comments and suggestions are welcomed. You can send email to dwfearn@dwfearn.com

And for access to all the episodes of My Take on Music Recording, you can go to www.dougfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

I’ve had the privilege of knowing some amazing people in the world of pro audio, and one of them is Wes Dooley. I’ve known Wes for decades, and I am still learning new things from him every time we talk.

Wes is best known as the founder of Audio Engineering Associates, which manufactures some of the best microphones in the world. I wanted to know more about how Wes got started in music recording, and equipment design and manufacturing.

There is more to our conversation, and I will post the second part in an upcoming show.

We recorded this conversation while the country was mostly in stay-at-home mode, with Wes at AEA in Pasadena, CA, and I was at D.W. Fearn in West Chester, PA. We talked on the phone, with each of us recording our side of the conversation in our studios. Wes is using an AEA KU5 ribbon mic, and I’m using an AEA R44CX. Both mics are going through D.W. Fearn VT-2 Microphone Preamplifiers and recorded on a Digital Audio Workstation, Wes with ProTools and me with Pyramix. I then combined the two audio files to create the interview.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

4 The Room Where Music is Recorded

Music is recorded in an acoustic space, which could be a professional recording studio, a home studio, a concert hall, or even outside. The characteristics of the room not only affect how the recording is going to sound, but also how the musicians perform.

In this episode, we look at the acoustical characteristics of the recording space: the room proportions, sound absorption, diffusion, and a brief look at sound isolation (“soundproofing”).

Your comments and suggestions are always welcomed. dwfearn@dwfearn.com

I have set up a web site to make finding episodes easier, plus links to other resources you might find useful. www.dougfearn.com

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

This is a short introduction to the overall concepts of recording music. It starts with a story of my earliest attempts to record music, why I was not pleased with the results, and how I have spent the 50+ years since then trying to make it sound better. Some of the influences that formed my notion of how music should sound are also covered.

It also gives you a preview of some of the topics that will be covered in more depth in future episodes.

For those of you in the recording world, this may seem a bit oversimplified, but even those of us who have been doing this for a long time can sometimes get a better perspective when we explain something to the layman.

This episode, like several others in this series, is based on a column that I write for DSD-Guide.com, an on-line newsletter published by Blue Coast Music. https://dsd-guide.com/blog/dwfearn

There is also a YouTube video of this episode, which is slightly different, on the D.W. Fearn YouTube channel. http://www.youtube.com/c/DWFearn  

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

I have always been fascinated with the history of recording, and I find it useful in understanding where we are today. In this show, I talk about this history, from the Edison phonograph to modern digital recording. But it's not just facts and dates. I'm more interested in how the advances in technology changed the concept of recorded music, and how the requirements of the music drove the technological advances.
I am posting this episode on March 25 because I think many of us are currently stuck at home and this is a good opportunity for me to record the show and I suspect many of you are running out of interesting things to do. However, I cannot promise to release shows on a weekly basis indefinitely.
Please share this podcast if you find it useful. Thanks for your great response to the first show. And stay safe.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

If we could not hear, there would be no music, and no music recording. This episode explores the characteristics of our hearing, it's limitations and idiosyncrasies, and how to preserve your hearing. We look at the range of frequencies we can hear, and look at the quietest thing we can hear -- and the loudest noise we can tolerate. We can damage our hearing while we are doing surprisingly mundane tasks. If you prevent this damage, you can appreciate the full impact of music your entire life. I cover how to protect yourself from hearing damage. Includes sample sounds.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/