82a Sunday Session 31st July 2016

http://wp.me/p38vMA-H4o

Them what was here: Cameron Zachreson sax, Bogdan Meunier guitar keyboard, Carl Addamo bass, Paul Styman drums, Fergus Leahy guitar R, Benni Seidel guitar CL

Cameron Zachreson sax, Bogdan Meunier keyboard, Carl Addamo bass, Paul Styman drums, Fergus Leahy guitar R, Benni Seidel guitar CL

Didn’t record everything, haven’t published everything recorded. No pics, no video

———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 24th July 2016

http://wp.me/p38vMA-H4j

Them what was here: Philip Cleary voice dialogue, Greg Clift piano bass vocal, Craig Forbes drums, Nabil Daoud guitar, Fergus Leahy guitar, Benni Seidel guitar CR drums

Philip Cleary dialogue voice, Greg Clift keyboard, Craig Forbes drums, Nabil Daoud guitar, Benni Seidel bass

Greg Clift Keyboard, Craig Forbes drums, Fergus Leahy guitar R, Benni Seidel bass

Craig Forbes drums, Fergus Leahy guitar, Benni Seidel composition keyboard

Didn’t record everything, haven’t published everything recorded. No video, no pics
————–
———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 17th July 2016

http://wp.me/p38vMA-H3P

Them what was here: Nabil Daoud guitar R, Carl Addamo bass, Hang Peng acoustic guitar, Craig Forbes drums, Benni Seidel guitar L keyboard

Didn’t record everything, haven’t published everything recorded. No pics, no video

Nabil Daoud guitar R, Carl Addamo bass, Craig Forbes drums, Benni Seidel guitar L keyboard

Carl Addamo bass, Hang Peng acoustic guitar, Nabil Daoud guitar R, Craig Forbes drums, Benni Seidel piano

———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 10th July 2016

http://wp.me/p38vMA-H3D

Them what was here: Cameron Zachreson sax drums, Greg Clift guitar bass, Paul Marcels percussion & annoyophone, Benni Seidel piano guitar bass drums

Didn’t record everything, haven’t published everything recorded.

Greg Clift Keyboard, Arron Manfield flute, Benni Seidel © lyrics vocal

Greg Clift bass, Cameron Zachreson drums, Arron Manfield sax, Paul Marcels congas, Benni Seidel piano

Cameron Zachreson drums, Nabil Daoud guitar, Paul Marcels annoyophone, Benni Seidel piano

———————
———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 3rd July 2016

http://wp.me/p38vMA-H3s

Them what was here: Michael Buckley lyrics vocal acoustic guitar, Greg Clift guitar CR bass piano lyrics vocal, Fergus Leahy guitar R keyboard, Cameron Zachreson sax drums, Paul Rowley flute, Paul Marcels percussion, Benni Seidel guitar CR keyboard drums vocal

Didn’t record everything, haven’t published everything recorded. No Pics, no video

Michael Buckley lyrics vocal acoustic guitar, Greg Clift keyboard, Paul Rowley flute

Alternative recording of Bucket List by Michael Buckley @ https://soundcloud.com/michael-w-buckley/bucket-list

Greg Clift bass vocal lyrics, Fergus Leahy guitar R, Cameron Zachreson drums, Paul Marcels percussion, Paul Rowley flute, Benni Seidel piano organ

————–
———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 26th June 2016

http://wp.me/p38vMA-H38

Them what was here: Greg Clift bass guitar piano vocal, Craig Forbes drums, Fergus Leahy guitar keyboard, Arron Manfield flute sax percussion, Cameron Zachreson sax, Francesco Catuogno bass, Benni Seidel guitar keyboard drums audio post production

Fergus Leahy keyboard, Cameron Zachreson Sax L, Arron Manfield sax R, Francesco Catuogno bass, Craig Forbes drums, Benni Seidel guitar CR

Greg Clift guitar CR, Charlie Frost keyboard, Fergus Leahy guitar R, Arron Manfield sax R tambourine, Cameron Zachreson Sax L, Francesco Catuogno bass, Craig Forbes drums, Benni Seidel guitar L

Arron Manfield flute, Greg Clift piano. Recorded with 2 x Vintage STC 4021’s as room mics.

Charlie Frost guitar R, Arron Manfield tambourine, Cameron Zachreson sax, Francesco Catuogno bass, Craig Forbes drums

Didn’t record everything, haven’t published everything recorded. No pics or video

———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 12th June 2016

http://wp.me/p38vMA-H2R

Them what was here: Charlie Frost piano, Greg Clift guitar CR, Fergus Leahy guitar L, Peter Walker guitar R, Francesco Catuogno bass, Craig Forbes drums, Philip Cleary, Paul Marcels percussion, Benni Seidel tambourine percussion audio post production
Click on pics to enlarge
05 29 2016 Han Peng 05 29 2016 Greg Cameron Arron 05 29 2016 Francesco Arron Cameron

Didn’t record everything, haven’t published everything recorded

Charlie Frost piano, Greg Clift guitar CR, Fergus Leahy guitar L, Peter Walker guitar R, Francesco Catuogno bass, Craig Forbes drums, Benni Seidel tambourine percussion

———-
—–

Want to be involved?
Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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About/Aims/Conditions

ShortLink http://wp.me/p38vMA-1K

The 82A Sunday Sessions
Every Sunday
@ NEW TIME
3:00pm – 7:00pm

Video Walk thru of the entire space

To receive the full address, contacts etc, please register

The sessions are:

  • Open and free to *experienced* musicians/performers/artists who’re interested in originality, improvisation, expanding their boundaries, collaborating, jamming, sometimes jumping off the deep end, meeting new and like minded people, critical & constructive dialogue
  • If a cover song or tune doesn’t have a unique arrangement or interesting angle, the Sunday Sessions are not the place. There are plenty of other avenues for simply doing covers and standards

The sessions are held:

  • In a relaxed private studio/rehearsal/theatre/space in Alexandria Sydney Australia away from the hype of the music, entertainment and theatre scene/s, where interesting stuff can happen. It is not a money making venture and not open to a public audience.
  • Performers can present and have their work appraised. Have fun doing it without the burden of logistics or having to hire a studio or gear.
  • Full list of the facilities and equipment available

Aims/Method:

  • Although it might eventuate, there is no specific aim to form a regular group or ensemble or to play outside of the sessions
  • There’s no guarantee who’ll be at each session or their level of expertise and the content of the sessions are entirely dependent on the participants
  • What you see and hear when you first arrive is not indicative of the whole session, your input can change the direction
  • If there’s something specific you’d like to try, please consider how you can present it. There’s access into the PA for IPod, IPhone, IPad, laptop, CD, a dedicated laptop, projector, large screen, ‘Band in Box’. It takes only a minute to photograph a chart and project it onto the screen so everyone can be on the same page (best in landscape)

Documentation/Recordings/Video/Photography of the Sunday Sessions:

  • Sometimes the record button is pressed … sometimes not.
  • Recordings/photos/videos are published so people can get an idea of what has and can happen and as a platform to demonstrate people’s abilities
  • Permission to record and publish is by participation. If you do not want to be published please inform the facilitator on the day
  • Mix down/editing photos/video and publication on the 82A Sunday Sessions blog, A Minor detour blog, YouTube, Sound Cloud, website and/or any other publicly available media or medium, is at the facilitator’s discretion and is only meant to be representative, not finished product. Please see 82a Sunday Sessions Copyright

The Sunday Sessions are not:

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Profits from Concerts/Showcases and/or monies from the disposal/sale of Donated Equipment, equipment bought from donations or any excess funds raised for maintaining the SoundCloud archive will go to
IBMA is a non-profit association dedicated to assisting disadvantaged youth who wish to follow a career in theatre
The Ian Bowie Memorial Association

a non-profit association dedicated to assisting disadvantaged youth who wish to follow a career in theatre/entertainment.

—————–

The 82a Sunday sessions recommend and have received support from
We recommend, use and are given material support by Cases cases Stretch Mk1 Logo
earth audio 2      logo-Jan21-170px

Posted in About / Aims / Conditions | Tagged , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

C©pyright applies. Do the right thing!

Shortlink http://wp.me/p38vMA-1jL
The recordings of the Sunday Sessions are free for you to listen to and download.

Great isn’t it?

However, they are copyrighted under Australian copyright law, remain the exclusive property of 82a Sunday Sessions and the individual artists involved.

If you upload or copy any of the 82a Sunday Sessions recordings to your own blog, SoundCloud, YouTube or any other publicly available website or medium, acknowledgement must be made to:
82a Sunday Sessions, the individuals who played on them and persons who contributed to their production

All the details are on each track like this Sound Cloud examplethx

Please see: Recording arrangements for specific groups/ensembles

Posted in About / Aims / Conditions, Contact/Register, Copyright | Leave a comment

IT’S LIVE! Recording the Sunday Sessions

http://wp.me/p38vMA-Gg5

A few people have asked how the Sunday Sessions are recorded.
What mics, how many takes, software etc

The ‘Studio’:
Is basically a large room used for theatre/dance/music in the middle of an artists warehouse/residence

It’s not sound proofed, there are no baffles, no partitions, no booths. There’s no separate/isolated control room

It has a sloped corrugated iron roof partially covered with what’s left of the original ceiling material, some kind of compressed wood fibre that’s slowly deteriorating. It has a few large mirrors on some of the walls and full length drapes here and there or anywhere we like

If it rains, it’s great for … well, it’s great for recording rain on a corrugated iron roof!

Despite the mirrors and the roof or perhaps because of it and the various drapes, props and materials around, the room has a nice acoustic quality to it
Not hard, not too live, not dead, no echo and an almost imperceptible reverberation

The primary purpose of the sessions isn’t recording. It’s a pressure free environment away from any industry hype or pretense, where people can jam, play around with ideas, meet new/like minded people, push the envelope, give and accept critical dialogue. It can accommodate and there have been up to 15 players, more at a pinch

There’s no order/list of players or predetermined pieces on the day unless someone brings along something they’d like to try. No audience as such, though occasionally there are listeners

Instruments are set up across one side of the room in a wide semi-circle as they would be for a band on a stage, leaving room for dancers/other activities in front. The FOH PA enclosures are angled inwards towards the players. Everyone can see and hear each other without the use of head sets.

Because recording isn’t the primary aim, not everything is recorded and not everything recorded is published. Try to present the best of each session. Sometimes for a variety of reasons nothing makes the grade …

All recording at the sessions is one take: Often there’s no discussion about what’s going to happen. Players will sometimes start while a large file is being saved or before record is pressed and because it’s entirely improvised, it’s not the kind of thing one can say “OK guys, start again!”. The end result is sometimes beginnings are either faded in or a reasonable starting point is found and suitably edited. Likewise with endings. Some improvisations have extended to an hour!

Everything is close miked: (to prevent live leakage) or DI’d. In a room of this size it’s not necessary to have drums, electric bass, electric keyboard and guitar amps thru the PA. As a consequence, the recorded sound is not the same as the live sound

What goes in: No overdubs, no samples. Everything is recorded fairly flat, with a boost to the tops on ribbon mics and some roll off on the subs to eliminate rumble. There are Triton FetHeads on ribbon mics, which combined with the Pro Channel ‘tube’ plug in gives a close proximity to the warmth of a tube preamp. Phantom power required for a FetHead can’t pass through to the microphone. MORE @ Tech Tips

What comes out in the Mix Down: Some compression on some individual channels, EQ tweek, ProChannel ‘tube’ on ribbons, reverb on vocals etc. Compression on drums, reverb for spacial positioning

The tracks are edited then mixed down and mastered, with a touch of 4 band compression, EQ tweek and final reverb. Since October 2015 the ‘sound’ of the room has been captured using two (2 x STC 4021s)

Editing & mix down Choices: If a track isn’t adding to what’s going on, necessary to the sound or for whatever reason isn’t up to scratch it’s archived as a reference for anyone who asks “Why aren’t I in there?”. If no one asks it’s eventually deleted, as are monumentally boring bits and blatantly obvious mistakes. Clicks, pops, hum etc are of course edited or EQ’d out

The final product has a lot less than what we started with!

All mics and DI’s first go thru: a PreSonus StudioLive 24.4.2 – 24 channel digital mixer and firewire to the recording computer

Fujitsu Lifebook SH761: Processor – Intel(R) Core(TM) J7-2620M. CPU – 2.70 GHz. RAM – 8.00 GB. Operating System – 64-bit / Windows 7
At the moment recording 24 tracks @ 48,000 Hz Record Bit Depth 24

Recording Software/Daw: Sonar X2 Producer 64-Bit. The 64-Bit takes advantage of extra memory capabilities for recording as a consequence is less prone than 32-Bit to drop outs.
The mix down: is done in Sonar X2 Producer 32-Bit to take advantage of a wider range of plugins. Sonar X2 32-bit has a 64 bit engine, so there is no loss of the recorded quality/depth
Extra Processing 32-Bit & 64-Bit Plugins: The Sonar 32 & 64 bit range, Sound Forge 10, iZotope Ozone 5 and Variety of Sound (Warm, free and extremely nice)

From the Presonus: there’s a stereo send to a 1970 Jands JM10 12 Channel Analogue mixer to the PA FOH with a touch of reverb added via a Digitec DSP128 processor. Talkback and other non-recorded signals go thru this desk to the PA and Fold Back.

The PA/FOH: 2 x 15″ JBL reflex enclosures & 2 x JBL 2425J HF compression drivers, powered by a Behringer iNUKE NU3000 – Stereo 880 Watts per side, so they say. In such a small space the FOH with a touch of reverb also acts as a foldback for vocals and acoustic instruments. No guitar amps, bass, keyboards or drums. This is quite adequate for the players and an audience.

Fold Back System: 1 x dBTechnologies Opera Biamped 15″ wedge for brass and vocals. 1 x ElectroVoice FM-12C wedge for the drummer. 2 x 12″ x 2 way enclosures powered by an Amcron Micro-Tech 1200 – Stereo 480 Watts per side. The two 12″ speakers are set either side and to the rear of the players at head height

Fold back carries a raw signal from the Presonus, no reverb or effects. Mono vocals & acoustic instruments and a slight touch of keyboards & guitar amps to their opposite sides of the band setup so everyone can hear each other. The monitor for the drummer carries vocals, acoustic instruments and a touch of the other amplified instruments. (if the drummer can’t hear themselves, they’re playing too ^&%$#@ loud! :-)

Gain for FOH & Fold Back is set: just below feedback, then taken down a notch. It’s fat and hot, even if I do say so myself. Quite often have to show mic shy ‘singers’ how to ‘make love’ to a mic, it is after all an intricate part of their ‘instrument’. (More about mic technique and muscle memory exercises for singers/players/performers in a later article)

Drum Kit: The house kit is on a 10″ mobile drum riser, permanently close miked (great minds think alike :-).
Cymbals 2 x (Matched Pair) Rode NT55 positioned overhead by about 1/3 of a mtr.
Kick drum 1 x Sennheiser e602-II.
Main snare is a 1930’s Premiere double snare 2 x SM57 one on top, one underneath close to the snare). There is also 1 x Dixon Piccolo Snare and 1 x Drouyn 12″ Double Snare
Tom Toms 3 x SM57.
HiHat 1 x SM57.
The drums are not damped. So we get a full range of tonality which can be EQ’d out and compressed in the mix. Tonality can’t be put in in the mix because if it ain’t there, it simply ain’t there! However it’s easy to make drums sound like cardboard boxes. I have a special preset.

Congas/percussion 1 x Sennheiser 421
Usually have to tell people not to play Tambourine, Cow Bell, Triangle, Afuche/Cabasa, Claves etc into the mic. A) They have unique sounds so they’ll be heard anyway and; B) they’re ‘hard surfaces’ that overload the mic signal

Bass: Via a DI after the musicians effects if they insist. For a normal recording situation I’d also mic the bass rig with the Shure 330 Uni-Ron Ribbon or a 1940s Electro-Voice V-1 Ribbon @ about 1/2 mtr from the cabinet, sometimes with a chunk of acoustic foam clipped to the reverse side. I prefer to play and record bass without any effects unless they’re an essential part of the live sound. With a nice clear fully tonal recording you can do anything with it. You can’t delete effects from a recorded sound and you can’t add ‘tonality’ or ‘string and finger sound’ with EQ if it wasn’t recorded in the first place. All you can do is + or – bass & treble.

For recording double bass, use their bug if they have one into one channel and another channel with an ElectroVoice V-1 about 12″ from the instrument directly in front about 6″ above the bridge, with a chunk of acoustic foam clipped to the back. Best if the instrument is far away from the kick drum, or side on at worst.

Digital Keyboard: Via a DI, again after the musicians effects if they insist.

Guitar cabinets: Vox AC30 – 1 x Fostex M88RP Flat Coil Printed Ribbon (with a chunk of acoustic foam clipped to the reverse side), Roland JC120 – 1 x 1952 Riem 230 Mignon Ribbon (same, chunk of acoustic foam), Fender Princeton DSP65 – 1 x 1960s Shure 330 Uni-Ron Ribbon

1960s Shure 330 Uni-Ron ribbon & guitar cab

In a normal recording situation, I’d double mic guitar cabinets with Shure SM57s or an SM58 with the grill taken off, basically the same as an SM57 about a foot away and slightly to one side of the speaker. There’s usually not enough channels or mics available on the Sunday Sessions to double mic :-(

Sax/Brass: 1 x SM57 sans transformer + FetHead

In a normal recording situation for more than one brass instrument an SM315 ribbon, doubled with an Rode NT55 above the SM315 and just above head height. Players proximity to the mic is important. One step back for trumpet/flugelhorn, one and a half steps back for trombone. One step forward for flute. OR place flute and sax/es to the front or back, with trumpet/flugelhorn and trombone playing slightly to the ‘sides’ of the SM315. Do test runs to find the optimal positioning

Vocals: In this live situation 2 x Beyerdynamic M500 Ribbons (matched pair) thru Triton FetHead pre-amps, 1 x Sennheiser e835, 3 x Shure SM58’s. If recording vocals separately I’d use ribbons as a first choice

Again, in this live situation, all vocal mics have foam covers which cuts down on ‘popping’ ‘p’s, ‘b’s and the whoof of the ‘when/what/why’ and fullsome f‘s. Also makes for easy cleaning after each use. Otherwise I’d use ribbon mics with pop screens. Other tips for reducing popping

Finally & a recent addition
The Room Mics
11 08 2015 STC 4021
2 x STC 4021 Apple and Biscuit
Suspended midway between floor and ceiling, about 1/3rd of the room apart
Slight boost to tops and bottom end and slight compression, no other effects.
Mixed in as a ‘dry’ stereo track to the mastered track to give it a unique, actual ‘room’ or ’82a signature’ sound.

NB: Whatever you send SoundCloud:, they first convert it to a WAV file, then render to a 128kb/s MP3 for listening. This results in low quality MP3 artifacts. They recommend up loading a WAV file which uses up copious amounts of bandwidth for upload and download.>

I export an MP3 via Lame at the highest quality Lame preset called ‘insane’
Lame first produces a WAV file, then converts to MP3, my setting in Lame for that WAV file is 44,100 x 24 bit

For best listening to the 82a Sunday Sessions from SoundCloud: Download the file. You’ll get the original MP3 file @ 320kb/s (on the earlier recordings 156kb/s vbr – gradually being replaced with the 320kb/s MP3’s ) More on MP3’s – Free Lame Encoder & Sonar

full list of Microphones, bugs and Di’s

VA@82A (Virtually Acoustic):
The last hour is usually an acoustic period. Absolutely essential amplification only!

Captured at the 82a Sunday Session on the 31st May 2015
Craig Collinge electric piano, Arron Manfield sax, Benni Seidel audio edit mix,
Mono raw, recorded flat (no EQ)

After mastering

This slideshow requires JavaScript.


Thanks to Frank Sinko for caring for this mic before I bought it
————————————————————
******************************************************

Captured at the 82a Sunday Session on the 15th March 2015
Melanie Eden vocal, Peter Busboom guitar L, Arron Manfield flute, Benni Seidel bass. When players listen anything is possible

Recorded with Vocals and flute thru PA (recorded with 2 room mics, amps close miked – FedHead preamps)

Left Room
RCA Varacoustic MI-6203-D 1945
1945 RCA Varacoustic MI-6203-D ribbon
Right Room
1952 Riem 230 Mignon 01
1952 Riem 230 Mignon ribbon
Guitar amp mic
1960s Shure 330 Uni-Ron ribbon SN530
1960’s Shure 330 Uni-Ron ribbon
Bass amp mic
1940s Electro-Voice V-1 01
1940’s Electro-Voice V-1 ribbon

Mixing process: Because the room is live and there’s spill, a lot is EQ’d out, leaving only what’s required to define the character of each instrument or voice. The tracks are then grouped, edited, cut down, getting rid of glaring mistakes and really boring bits before position/panning & reverb/effects on each channel if necessary and a mix down. The mixed track is kept in the one DAW file as separate tracks. A copy of the raw mix is exported as a high quality .wav file, so if the DAW file is lost or corrupted there’s still a copy of the semi finished track.

Mastering: Usually left for a few days before mastering with Sound Forge 10 & iZotope Ozone 5. I do this in Sonar X2 so the mastered tracks stay in the same DAW file as separate tracks. The mastered tracks are also exported as high quality .wav files in case the DAW file is lost or corrupted.

Monitoring: 2 x Behringer Truth B2031As – 2 x Bowers & Wilkins DM12s and a Hyundai SW-HY-1010 for Subs powered by a SonyTA-1120A. (The B&W’s, Hyundai sub and Sony were found discarded in a Sydney back lane) Five different head sets … incl Sennheiser HD 595’s and AKG 701’s

Distribution: MP3 by Lame via the Sonar DAW
Lame Code for Sonar )

Posted in Q&A, Recording the sessions | Tagged , , , , , , , , , , , , , | Leave a comment

Studio facilities and equipment

http://wp.me/p38vMA-D

sound system microphones instruments recording lighting video

Performance Space Facilities:
Video Tour
We use and recommend
earth audio 2
cannon sound and light
Supported by

Stretch Mk1 Logo

sound system microphones instruments recording lighting video

BASICS
7 mtr x 7 mtr Sprung Dance Floor

Mirrors, Blacks

Professional Sound System

45mm diameter Chrome Dance Pole (spinning or static)
45mm diameter Chrome Dance Pole (spinning or static)

Tumbling Mats

5mtr x 4 mtr Black Non-Skid Tarkett

Mats/rugs/carpets/cushions

A variety of props/chairs etc

Vintage/period microphones

Stunt/Jerk Harness
by
Climber Sutra (US)
Climber Sutra (US) Stunt Jerk Harness
100 mtr Abseiling rope
Figure 8 Descenders
Carbines
&
Associated Rigging

3 Suspension Points
@ 4.5 mtrs
(you must have a qualified rigger)

Projection Screen
5mtr x 3mtr

Projector

sound system microphones instruments recording lighting video
Click on images to enlarge
01 25 2015 studio floor pan s
G0050016 G0040014 G0030012 G0020010

Is the space for hire at other times? Yessiree ma’am!
However, 82A is a studio in a private residence, it is not a public space, business or a commercial money making venture. You must have public liability or a waiver from the participants in your activity
INQUIRE

– – – – – –
instruments recording lighting video

AUDIO/SOUND EQUIPMENT
microphones
PA SYSTEM
PArack01
FOH:
2 x 15″ JBL 2 way
Behringer iNUKE NU3000 – Stereo 880 Watts per side
Mixers:
1 x PreSonus StudioLive 24.4.2 24 Channel digital mixer
1 x 12 Channel Jands JM10 analogue mixer
EQ & Effects:
1 x ULTRAGRAPH FBQ-PRO FBQ3102 31-Band Stereo Graphic Equalizer
1 x Digitech DSP128 Effects
Fold Back:
2 x 12″ Eminence 2 way to the side and back of the band
Powered by an Amcron Micro-Tech 1200 – Stereo 480 Watts per side
1 x ElectroVoice FM-12C wedge on the drum riser
1 x dBTechnologies Opera Biamped 15″ wedge at the vocal, acoustic instruments and brass mics
Other:
CD Player and access for computer/Ipod/Mp3 players etc

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pa system instruments recording lighting video
MICROPHONES
vintage & ribbon mics harp & crystal mics bugs di’s & preamps

1 x Shure 75th Anniversary 5575LE
ShureUnidyne 5575LE
Peek inside
1 x Shure 55 Unidyne FatBoy
Shure 55 FatBoy
1940’s Original Element
Original Sound!
2 x Shure 55SH
1 x Shure 55SH classic
1 x 2013
1 x 1960’s
Both have 55SH Upgrade Kits
3 x Shure SM58 Vocal Microphones
3 x Shure SM58
Tip
sm57
9 x SM57
sm57 no transformer
1 x SM57
Bypassed transformer Tip
Shure VP64
Shure VP64
1 x Sennheiser e835
1 x Sennheiser e835
Sennheiser e602-II
1 x Sennheiser e602-II
Sennheiser MD 421-II
1 x Sennheiser MD 421-U

1 x Electro-Voice 635A/B (circa 1965)
1 x Electro-Voice 635A/B
(circa 1965)
2 x (Matched Pair) Rode NT55 Microphones
2 x (Matched Pair) Rode NT55 Microphones
1 x Behringer Dual Diaphram Condenser B-2 Pro
1 x Behringer Dual Diaphram Condenser B-2 Pro
2 x (Matched Pair) Behringer C-2
2 x (Matched Pair) Behringer C-2

Nothing worse than watching with your heart in your mouth as someone who hasn’t a clue, suddenly grabs the nearest mic, which happens to be an expensive ribbon and immediately starts DOOFFF DOOFFF DOOFFFIN’ into it. Then when it immediately starts crackling and I’m immediately seein’ RED, they blow into it and try to fix it by bashing it into the palm of their hand with a stupid annoyed look on their face!
On Gray Read’s recommendation
Audix FireBall – V
Audix FireBall V
enlarge

Specifications
Specific to harmonica, BeatBoxing
OK for vocals, percussion, sax, trumpet, trombone
DOOFFF DOOFFF AWAY !!!
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modern dynamic mics harp & crystal mics bugs di’s & preamps
VINTAGE & RIBBON MICS

VINTAGE DYNAMIC
ribbon mics crystal mics
click on th’ pics to enlarge
4 x STC 4021 (1st manufactured circa 1935)
Currently the 82A studio ‘Room Mics’
2 x STC 4021 J and M
I think (needs checking); the letter after the model number – 4021A designates the year of manufacture 1935, followed successively 4021B(1936) etc
As luck would have it these two mics have identical frequency responses and gain
They could be taken as a matched pair
STC 4021 (circa 1935) STC 4021 (circa 1935) STC 4021 (circa 1935)
stc-bb-4021-04 stc-bb-4021-05
Made a new cable with XLR. Re-tapped the thread at the bottom of the mount to take a 3/8″ Whitworth microphone adapter. A truly amazing microphone! Equal pick up all the way round, top sides even 45 degrees from the back, with no noticeable roll off.
Specifications (PDF)
Thanks to Frank Sinko for caring for this mic

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1 x STC 4035D (circa 1950)
STC 4035 STC 4035 STC 4035 STC 4035
Great for capturing a gutsy guitar cab sound
Specifications (PDF)
—————————

1 x 1967 Shure Model 545-S Unidyne III
1967 Shure Model 545-S Unidyne III
Non functional at present
(Donated by Andy Tims)
1 x 1940’s Shure Sonodyne 51s
Shure 51s
Non functional at present

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modern dynamic mics vintage dynamic mics crystal mics
RIBBON MICS

1 x RCA Varacoustic MI-6203-D (circa 1945)
RCA Varacoustic MI-6203-D 1945 RCA Varacoustic MI-6203-D 1945 RCA Varacoustic MI-6203-D 1945
Replaced cable with an XLR. Has a slack ribbon at the moment, which results in some weird harmonics on some notes but still sounds amazing.
——-
2 x Film Industries M8 (circa 1960’s)
film industries M8s
Replaced cables with XLR
re-soldered loose connection in one
re-glued the motor assembly in both (a rather cheap methodology they’ve used for what is otherwise a great mic)
Guitar cabs, vocals, sax
——-
1 x Steanes Torpedo Ribbon Microphone
In pristine condition. Hi-Z
Steanes torpedo ribbon
It’s last home was in Deloraine, Tasmania, Australia. According to the last owner it was rescued from a bulldozer. Refurbished by Fraser Deeth
———————
3 x Steanes (Australia) 1946 Ellipsoid Ribbon Microphones
I have three of these beasties. Why? I dunno, maybe a sense of Australian pride http://www.powerhousemuseum.com/collection/database/?irn=134285
steanes 1946 elipsoid ribbon steanes 1946 elipsoid ribbon
This one bought from a local musician Redfern Sydney. Hand delivered, which was a rather nice touch!
Had the foamies bad, wiring busted, ribbon sagging slightly but otherwise in very good condition Mods and Repairs
——-
2 x Beyerdynamic M500 Ribbons
Beyerdynamic M500 Ribbons
Although they have different manufacture dates, they seem to be a matched pair with the exact same frequency responses. Great for vocals, brass, didge especially. The tiny screws make ’em hard to clean. I use foam pop filters for vocals. With a Triton FetHead, they’re quite amazing!
Tip: if you don’t like the look of bulky pop filters, you can cut a pop filter in half and slip inside over the top of the element. Remember to remove wash and dry it, they can go moldy and the moisture they collect can cause corrosion
Beyerdynamic M500 inside 01 Beyerdynamic M500 inside 03 Beyerdynamic M500 inside 02

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2 x 1960’s Reslo RBT/L Ribbon
One functioning. Replaced the connectors with XLRs machined by a local boffin, as recommended by Stewart Tavener from
xaudia

Great for recording vocals, voice overs, guitar cabs. They pick up the speaker cabinet from the front and a touch of room ambience from the back.
Reslo Ribbon Microphone RBT/L 30-50 ohm

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1 x 1960s Reslo Beeb
by
xaudia
1960s Reslo Beeb by Xaudia 1960s Reslo Beeb by Xaudia 02 1960s Reslo Beeb by Xaudia 03 1960s Reslo Beeb by Xaudia 04
Great for recording really warm vocals, voice overs and again guitar cabs

——-

1 x 1940s Electro-Voice V-1 Ribbon
1940s Electro-Voice V-1 04 1940s Electro-Voice V-1 03 1940s Electro-Voice V-1 01 1940s Electro-Voice V-1 02
Gave it a new cable and XLR. Whatever other folk’s experience I’ve found this particular mic great for recording warm vocals, absolutely fabulous on double bass & electric bass, brass sections. Not great for live PA work.

——-
1 x 1960s Shure 330 Uni-Ron Ribbon SN#530
1960s Shure 330 Uni-Ron ribbon SN530 01
Guitar cabs, vocals, sax.

——-
1 x 1952 Shure 315s Ribbon
1952 Shure 315S Ribbon
Nice for recording vocals, brass. Not so much for live PA work.
——-
1 x 1952 Riem 230 Mignon Ribbon
1952 Riem 230 Mignon 01 1952 Riem 230 Mignon 02 1952 Riem 230 Mignon
In pristine condition. It came in the original leather pouch. Very nicely engineered. I noticed a familiar smell to it, the transformer is buried in bees wax.
The connector is a very strange size and thread. Not Switchcraft or Amphenol. The cable was missing so I’ve had a matching sized connector machined by a local boffin who engineers stuff for cameras. Gave it a new cable & XLR.
Great for guitar cabinets, for recording vocals, double bass, brass, anything, fabulous! A real gem.
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1 x Fostex M88RP Flat Coil Printed Ribbon Dynamic (SN# 107069 1984?)
1 x Fostex M88RP Flat Coil Printed Ribbon Dynamic (SN# 107069 1984?) Fostex M88RP Ribbon 02 Fostex M88RP Ribbon 03 Fostex M88RP Ribbon Mic
Bought from Pete’s Musicians Market Newtown Sydney 1994 for about Au$40.00 — Price now :-)
Great for guitar cabinets, brass, vocals, double bass. With a Triton FetHead PreAmp it’s simply delicious! Again, the Phantom power for the FetHead doesn’t get through to the mic.
Full description HERE

To be honest ribbon mics blow me away!
——-
1 x Altec 670B (circa 1950’s)
Currently out of service, my bad! Magnets sucked a screw onto the ribbon.
Altec 670B 1950's Altec 670B 1950's
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Crystal Mics
modern dynamic mics vintage dynamic mics ribbon mics bugs di’s & preamps
1 x Turner Model 22X circa 1940’s Serial No# 33750
Turner 22X 1940s SN 33750 Turner 22X 1940s SN 33750 02
New cable and XLR. Genuine Shure 99C86 Controlled Magnetic Transducer
( Modification here )
——-
1 x Tecnico Model 80 (SN#1319)
Made in Australia Marrickville NSW circa 1952
Tecnico Model 80 Marrickville NSW SN#1319 01 Tecnico Model 80 Marrickville NSW SN#1319 02 Tecnico Model 80 Marrickville NSW SN#1319 04 Tecnico Model 80 Marrickville NSW SN#1319 05 Tecnico Model 80 Marrickville NSW SN#1319 04
Gave it a clean, new cable and XLR
——-
modern dynamic mics vintage & ribbon mics crystal mics
BUGS DI’s PREAMPS:

Belcat Egt 220 Transducers for acoustic instruments
Belcat Egt 220 Transducers for acoustic instruments
1 x Behringer TUBE ULTRAGAIN MIC200 Preamp
1 x Behringer TUBE ULTRAGAIN MIC200 Preamp

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1 x Triton FetHead Piezo PreAmp
Triton FetHead Piezo PreAmp
Has a 1/4″ Jack plug entry
8 x Triton FetHead
FetHead PreAmp
Triton FetHeads in combination with a Tube Emulator (plugin) are great on any mic including ribbons.
Although they’re a phantom powered pre-amp, the phantom power doesn’t reach the microphone, so ribbons are safe.
MORE on Phantom Power & mic damage

——-

5 x ULTRA-DI DI20
5 x ULTRA-DI DI20
1 x Legacy DI 1 Active DI
1 x Legacy DI 1 Active DI
1 x Leem direct-box NDR-40
1 x Leem direct-box NDR-40

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Drums:
pa system keyboards bass guitars recording lighting video

drumkit01
Basic kit: Ashton
22″ Kick
10″ Tom
12″ Tom
1 x 14″ Floor tom
1 x 22″ Tuneable Bass tom (converted kick drum)

Snares:

Premiere 1930's Dominion series (battle scarred)
1 x Vintage Premiere 1930’s
Dominion series (UK)

Snares Top & Bottom
Solid brass cast rims
(battle scarred)

Drouyn (Australia) Naval Issue Marching Drum
Drouyn deep marching double snare.
(12″ deep) Snares Top & Bottom
Shell Australian Rose Alder

1 x Dixon Piccolo Snare
Dixon Piccolo Snare Bronze Shell
Bronze Shell

1 x small Afuche/Cabasa
Afuche/Cabasa

drumkit02

Cymbals:
1 x Paiste 404 14″ Hi Hat
1 x Meinl 22″ Heavy Ride
1 x Meinl 20″ Jazz Ride
1 x Zildjian 20″ China
1 x Paiste 18″ crash
1 x Sabian 17″ crash
Some trashy cymbals

Percussion:
Synergy by Toca
Congas
I mentioned the Sunday Sessions in passing conversation with a young couple in Allans Music. They thought the sessions were a good idea and out of the blue donated the deposit for the layby on the congas I’d been looking at acquiring by hook or by crook. I am continually overwhelmed by people’s generosity!
Thanks to all!
(All donated equipment and equipment purchased by donation, will eventually be sold and the proceeds will go towards the Ian Bowie Memorial Association who provide small grants for courses and mentoring for under privileged youth who wish to pursue a career in the theatre and entertainment industries)
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1 set x (2) Pearl Timbales
Found at a bus stop
in the rain

3 x Tamborines (Heavy, Medium, Light)
Shakers, gourds, cowbells, junk

The Moorimba
THE Marimba
Home made. ‘C’ Scale. Sounds smooth!
Found & donated by Craig Forbes
—————————–

pa system microphones recording lighting video
Musical Instruments
drums bass guitars
Keyboards:

Technics SX-PC15 Digital Piano
Technics SX-PC15 Digital Piano
(The Midi interface is kaput at the moment)

Clive Little 01
Clive Little and an anonymous donor have generously provided an 88 key Technics SX-PC15 Digital Piano/Keyboard

Roland ED Midi SoundCanvas SC-8850
Roland ED Midi SoundCanvas SC-8850
(No Midi control at the moment)
Peavey KB100 Keyboard Amplifier
Peavey KB100 Keyboard Amplifier
KAWAI KC20 Keyboard 61 keys
KAWAI KC20 Keyboard
User’s Manual


————

pa system microphones keyboards drums guitars recording lighting video
BASSES & AMPs:
Gallien Krueger 400RB Samson S-com Stereo compressor ART 351 31-Band Graphic Equalizer Digitech DSP128 15 inch JBL & Piezo horn
Gallien Krueger 400RB

Samson S-com Stereo compressor
ART 351 31-Band Graphic Equalizer
Digitech DSP128
15 inch JBL & Piezo horn

Roland BN-100 – 15 inch JBL E140
Roland BN-100 bass amp
User Manual

Basses
If you have an instrument bring it.
If you don’t have an electric bass there are these
Please donate to the string fund!

Hohner B2 Steinberger copy
Hohner B2 Steinberger copy
Good tone & sustain over the entire fretboard

Samick Jazz Bass – Now fretless with a ‘D’tuner (‘C’ even)
Samick Jazz Bass
Good tone & sustain over the entire fingerboard
Found in a Sydney Laneway!

Ibanez AEB8E Acoustic Electric Bass Guitar – with ‘D’tuner
Ibanez AEB8E Acoustic Electric Bass Guitar


——————–

pa system microphones keyboards drums bass recording lighting video
Guitars:

If you have an instrument bring it.
If you don’t have an electric guitar there are these
Please donate to the string fund!

Hohner G3T Steinberger copy (Purchased S/H in 1988)
Hohner G3T BK Steinberger copy

Ibanez Stage Star ’97 – Strat Copy
Ibanez stagestar - found in a laneway in Sydney
Found in a Sydney laneway
S/N H9705628 Terada, Japan 1997)

Guitar Amplifiers:
1 x Fender Princeton 65 DSP
65 watt Solid State
Fender Princeton 65 DSP

1 x Vox AC30C2
Vox AC30C2
Valve – 30 watt

Vox AC30C2
What can I say?
IT’S NICE!!!

1 x Roland JC-120
Roland JC-120
120 Watts of clean sound
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RECORDING FACILITIES
pa system microphones instruments lighting video

MAIN DESK/AUDIO INTERFACE
1 x 24 Track PreSonus StudioLive 24.4.2
24 Track PreSonus StudioLive 24.4.2

Software/Daw:
Sonar X2 Producer
Sound Forge 10
iZotope Ozone 5
Variety of Sound

Laptop: Fujitsu Lifebook SH761 laptop
Processor: Intel(R) Core(TM) J7-2620M CPU @ 2.70GHz 2.70 GHz
Installed memory (RAM): 8.00 GB
System type: 64-bit Operating System
With nothing else running (clean boot), it handles 24 tracks @ 48,000 Hz 16 bit

Microphones: ▲ as above ▲

Monitoring:
SonyTA-1120A
SonyTA-1120A
(found in a laneway)

Audio Reflex (out of service)

Behringer Truth B2031A - Bowers & Wilkins DM12
Bowers & Wilkins DM12
(found in a laneway)
Behringer Truth B2031A
Sub woofer – A weird but gutsy Hyundai SW-HY-1010
(found in a laneway)

Headsets

AKG Q701 Quincy Jones Reference
AKG Q701 Quincy Jones Reference
Sennheiser HD 595’s
Sennheiser HD 595

3 x generic headsets
————————–

LIGHTING
pa system microphones instruments recording video

Chauvet Par64 led RBG 01
8 x Par64 RBG Led Lights
Chauvet Par64 led slim RBGA
4 x Par64 RBGA SlimLine Led Lights
Chauvet Obey70 DBX control 01
1 x Chauvet Obey70 12 Channel Control
Rave Fog Machine 01
1 x 1500w Smoke machine
Strand Patt23 01
4 x Strand Patt23 650watt Profile Spots
UV Tube, traffic lights, chandelier
other stuff


VIDEO/PHOTOGRAPHY
pa system microphones instruments recording lighting
1 x Nikon D7100 / 18-105mm lens / Battery Grip / 16 & 64 Gig memory cards
Nikon D7100
1 x Heavy Tripod with a fluid head
1 x Heavy Dolly
SteadyCam device

1 x Go Pro HERO3 Black
GoPro Hero3 Black

Green Screen
6mtr x 3.2mtr
Sky Blue screen
6mtr x 2.5mtr

Software:
Adobe Premiere Pro CS5.5
Veedub64 etc etc etc
———————
240v-100v 1500va step down transformer – suit 100 – 110 volt AC
240 -100v 15amp stepdown transformer 240 -100v 15amp stepdown transformer 240 -100v 15amp stepdown transformer
FOR HIRE
Inquire


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sound system microphones instruments recording lighting video

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82a Sunday Session 21st July 2013

http://wp.me/p38vMA-H2c

Them what was here: Martelle Hammer vocal, Clive Little bass, Peter Busboom guitar, Benni Seidel drums audio post production.
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Click on pic to enlarge
09 01 2013 martelle hammer

Digging thru the 2013 archives in May 2016
Mixed and published on 28th May 2016

Martelle Hammer vocal, Clive Little bass, Peter Busboom guitar, Benni Seidel drums audio post production

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Every Sunday
3:00pm – 7:00pm

To get the details/address and to guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)
Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

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