Archive for July, 2008

Analog to Digital Transfers - John Hartford, Del McCoury Band, and John Anderson…

• Monday, July 28th, 2008
Analog to Digital Transfers - John Hartford, Del McCoury Band, and John Anderson...

July has been a busy month for transferring old recordings to Pro Tools.  The sooner the better with these old tapes… if you wait too long they have to be baked due to excessive oxide shedding.  Creative Caffeine is one of the few studios setup to transfer 24 track analog tapes straight into Pro Tools HD with pristine Apogee converters.

Early this month John Mills transferred a number of 24 track tapes to Pro Tools for the highly respected John Anderson.  Chief engineer Collin Peterson has been working with Dave Shipley to transfer recordings for the Del McCoury Band, some of which may be featured on an upcoming release,  as well has some early recordings from John Hartford,  some of which featuring the Aereoplane band with Tut Taylor, Norman Blake, and Randy Scruggs!  Most of the McCoury tapes were 16 track 2″ recorded at Ricky Skaggs’ studio in Hendersonville. We were able to rent a 16 track head for our JH-24 and make that option available to clients at an extra charge.

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Noise Addicts » Blog Archive » The sound that shouldn’t be

• Tuesday, July 22nd, 2008

Mari Kimura is a New York composer and virtuoso violinist whose music includes haunting low notes on the violin called “subharmonics.”  …Problem is, these sounds aren’t supposed to be possible.Full Article:

Noise Addicts » Blog Archive » The sound that shouldn’t be

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Kandace Springs Jazz Trio - John Brandt “Previs” Wood Microphone Demonstration

• Monday, July 21st, 2008
Kandace Springs Jazz Trio - John Brandt

After finishing up a 2 day experimental demonstration session showcasing the new Brandt “Previs” microphones we have much to talk about.  Vince from Brandt Audio Devices made the trip down from Michigan and arrived at 5:30am the day of tracking… YIKES!!! I don’t know how he stayed awake.

We started off with a jazz trio led by the incredibly talented pianist/vocalist/songwriter Kandace Springs.  Using only the previs mics, we were able to capture a very open, natural sound that lent itself very well to her style.

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Let’s start with Kandace… we set her up on our Yamaha C-7 and placed 2 microphones on the piano, approx. 18-24 inches away, one on the highs and one towards the lower end.  This yielded a very open sound, but wasn’t quite giving us what we were looking for.  Vince (Brandt Audio Devices) insisted we move the primary pair closer and add an additional pair further out in the room.  While this ended up sounding OK for this session, I did not personally see any need for extra microphones and feel we could have adjusted the 2 mics for optimum sound.  While open and natural was the intent of this particular session, the sound of these mics on the piano is going to be a little too open if mixed with a heavier style rock or country track.   I personally love our Telefunken U47 and AKG 452 on our piano… but who wouldn’t?

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Vocals too?  Yes.  We placed one of the Previs mics with the custom pop filter in front of Kandace and her voice sounded amazing!  Very clean and smooth.  She was probably about 6 inches from the mic during her performance.  There were no issues with boominess since it is an omni mic and there is no proximity effect.  Most people would shy away from using these for vocals… simply based on misconceptions.  Use them… you just may fall in love with the sound you get.  I was very impressed with the dynamics of her voice without using a compressor… lack of proximity effect and the omni pattern no doubt playing a significant role.

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Drums… Oh yes!!!  The drums are where we’ve seen these mics really start to shine.  For more intimate sessions, use these on the entire kit.  The clarity heard from the drums when using these mics is very special.  We used 4 mics… a kick, snare, and 2 overhead/tom mics.  The sound was perfect for the laid back style of Kandace’s songs.

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Although this technique would not be appropriate for louder rock or country styles, I have been using a pair of the Previs mics as overheads on such sessions and have been extremely impressed with the results, as pictured above for Jerry Beecher of the Eric Heatherly Band.  The clarity of the cymbals with minimal eq is remarkable.  We generally have a matched pair of Vintage Neumann U87s on overheads, just to give you an idea.  The Previs mics allow us to use those expensive mics elsewhere on our sessions without sacrificing the quality of our drum tones.  The Previs sounded great inside the kick drum, although I struggled to keep the gain low enough even with the 20db console pad engaged.  The kick was very full and present with great attack.

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For the electric bass guitar, we placed a mic right in front of the bass amp and had no issues with distortion or spl handling.  Admittedly, the bass was my least favorite part of this recording.  It came across a little “weird” for my tastes.  The low and high frequencies are definitely there and the sound is very clear, but to me it just didn’t sound right.  I prefer recording bass with a DI generally.

Overall the song turned out very well… especially since we used only one kind of microphone for the entire session, which is basically unheard of in any professional environment.  Any home or professional studio will benefit from a pair of these… at $1000 a pair I don’t see how they can be passed up.  I’ve also put these on acoustic guitar and mandolin with great results and will continue finding new and interesting ways of using these great mics.   The omni pattern lets you get much closer to acoustic instruments without the boomy proximity effect of cardiod mics… all while sounding much more natural and realistic.

- Collin Peterson - Studio Manager / Chief Engineer - Creative Caffeine Studio

Specs from BrandtAudioDevices.com:
• Omni-directional
• Ultra fast “impulse response” for clearly defined transients.
• Flat 10hz - 20khz+ frequency response.
• Pure class A head amplifier ultra low noise high output design.
• SPL tested beyond 134db RMS.
• +48 volt phantom powered.
• Hand finished Bolivian Rosewood body.
• Clean look with Rosewood pressure fit mic holder (also fits common mic clips).
• Fitted metal pop-screen for the purest vocal recordings.
• Supplied 6″ ultra-flex gooseneck arm for critical placement
• Latched hand finished wooden storage box.
• Sold in consecutively serial numbered matched pairs.
• 3 year replacement warranty.

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Syd Barrett Dies (6 January 1946 – 7 July 2006) - RIP

• Tuesday, July 8th, 2008

LONDON, England (CNN) — Syd Barrett, the eccentric guitarist who founded Pink Floyd but later left the music business to live quietly and somewhat reclusively, has died at the age of 60, according to a spokeswoman for the band.

A spokeswoman for Pink Floyd told the Press Association: “He died very peacefully a couple of days ago. There will be a private family funeral.”

“Syd was the guiding light of the early band lineup and leaves a legacy which continues to inspire,” the surviving members of Pink Floyd — Roger Waters, David Gilmour, Nick Mason and Richard Wright — said in a statement.

They were “very upset and sad to learn of Syd Barrett’s death.”

The singer and guitarist, born Roger Keith Barrett on January 6, 1946, founded the band in 1965 with Waters, Mason and Wright. (Its name was derived from two American bluesmen, Pink Anderson and Floyd Council.)

He wrote many of the early hits for the avant-garde rock band, including the 1967 album “The Piper at the Gates of Dawn” and the band’s first hit singles, “Arnold Layne” and “See Emily Play.”

His songs were odd and charming combinations of childlike lyrics and swirling melodies, often augmented with strange arrangements. The titles alluded to space, the occult and sometimes nonsense: “Astronomy Domine,” “Lucifer Sam,” “Chapter 24.”

Consider some lyrics of “Bike,” from “Piper”: “I know a mouse, and he hasn’t got a house / I don’t know why, I call him Gerald / He’s getting rather old, but he’s a good mouse.”

Pink Floyd, taken under the wing of Beatles engineer Norman Smith, had early success, but Barrett, suffering from mental problems and heavy drug use, started demonstrating erratic behavior, including catatonia during concerts. He left the band in 1968. He was replaced by David Gilmour, who had joined the band as its fifth member earlier that year.

Barrett put out two noted solo albums, “The Madcap Laughs” and “Barrett,” both in 1970.

In 1975, during the recording of Pink Floyd’s “Wish You Were Here” album, Barrett showed up unannounced at the studio — ironically, during the recording of “Shine On You Crazy Diamond,” a song about him. He had become overweight and shaved his eyebrows; the other members didn’t recognize him at first.

“Wish You Were Here” was dedicated to Barrett.

Much of British psychedelic music was influenced by Barrett, and a number of musicians have credited him, according to Allmusic.com.

In a statement, David Bowie said that Barrett had been a “major inspiration.”

“His impact on my thinking was enormous,” Bowie wrote on his Web site. “A major regret is that I never got to know him. A diamond indeed.”

Barrett had since lived in anonymity in the eastern English city of Cambridge. According to The Associated Press, he suffered from diabetes.

The spokeswoman said a low-key, private funeral would be held. She did not disclose the cause of death.

Original Article:
http://www.cnn.com/2006/SHOWBIZ/Music/07/11/britain.floyd/index.html?iref=newssearch

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Life at Creative Caffeine…

• Monday, July 7th, 2008
Life at Creative Caffeine…

Here are just a few of cool living things found at the songwriters retreat behind Creative Caffeine Studio.

(more…)

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Drip by drip, Starbucks lost what made it shine

• Monday, July 7th, 2008

I still remember my first Starbucks moment. It was in 1988 at a new mini-size coffee bar in Illinois Center. I recall being mystified by the strange name, not catching the connection to a character in ” Moby Dick.” Oh, the aroma and rich taste carried me back to past cappuccinos and espressos enjoyed in Italy and in 1960s Greenwich Village coffeehouses.

Twenty years ago, it was love at first sip. Like every prisoner of love, I went from downing one cup a day to three or more. How, I wondered, had I gone more than 40 years without a midafternoon break or even a “for no reason” indulgence?

Today those memories are like bitter, stale grounds. These days the breaks aren’t fewer but are often enjoyed somewhere else. That early Starbucks mojo is no more. My disillusionment set in about three years ago, but the company’s ballyhooed “Starbucks experience” died even earlier, killed by a growing bureaucratic culture.

Starbucks’ recently returned chief executive officer, Howard Schultz, finally stopped denying that fact last week with the announcement that the company was applying the brakes on the Starbucks express growth strategy and closing 600 of its 16,000 stores worldwide.

When did the romance sour? As in any relationship, the first clue is usually minor but the start of a string of slights. The shops ditched their $1 bagels and baguettes in favor of $2, high-calorie lemon loaves, muffins and brownies.

Then came the luncheon sandwiches and salads, which were attractively packaged but sold for $1 to $2 more than my sense of fair value. The reasonable $2.95 pretzel ham & cheese made a brief appearance but probably was killed by some chief financial officer unimpressed by its meager profit margin.

I’ve pondered why my dissatisfaction is now shared by so many other once intensely loyal customers. For the first dozen years, Starbucks was a destination stop. It had enormous cachet and street cred. It became the new place for business meetings and the preferred rendezvous for match.com date auditions. Today, Starbucks and hip live on different planets.

Starbucks is now my default option. I find that old thrill in smaller, owner-operated cafes such as Intelligentsia on West Jackson Boulevard, Sip in West Town, Pause on Berwyn, Wicker Park’s Filter (R.I.P.) and my Istria Cafe in Hyde Park.

Starbucks once defined the coffee market but has lost control of its brand. Its ubiquity has killed the joy of discovering a new hangout.

Starbucks is now found in hospitals, nearly every airport and countless corporate cafeterias. These outlets and an army of small restaurants serve Starbucks coffee simply to bask in its reflected glory.

I’ve had their brew in all these sites, but it’s never as good as in the cafes, reading the paper or catching up on work. The quality can’t be controlled in such settings. The result: a watered-down version of what the company touts as the “Starbucks experience.”

There have been other disturbing signs over the past five years. Staff turnover seems epidemic; I seldom see the same faces on repeat visits. I read about poor staff morale.

And staff seem less knowledgeable about the coffees and each blend’s character. Today it is less a “calling” than a job interchangeable with one at McDonald’s or Macy’s.

Baristas, I’ve learned, no longer draw the espressos. Some efficiency expert must have realized that it slows down the line. Barista culture remains very much alive at places such as Intelligentsia.

I’ve grown tired of Starbucks’ superior attitude that allows them to charge more and offer no customer rewards such as free cups or unlimited Wi-Fi. I’ve found those simple perks at places such as Panera Bread (my new choice for bagels) or Caffe Baci. ING cafe gives me a free fifth cup after every four purchases. Starbucks has rolled out a rewards program recently but is merely playing catch-up.

The breakup moment came earlier this year. Schultz had taken back the leadership reins and was promising a return to coffee greatness. In his now-famous letter to investors and business partners (not customers, mind you), he promised visible changes for the better.

The new design look of its store at Jackson and Wabash and the one across from Fourth Presbyterian Church on Chestnut Street are a change for the worse. Gone are the comfy, oversize chairs and distinctive wooden tables.

In their place are stainless steel tables and chairs that look as though they came from Office Liquidators. They send a harsh message to customers: Get in, get out, don’t linger. And customers seem to be doing just that. Clusters of coffee drinkers in conversation are no more.

Starbucks seems to be in a period of identity crisis, caught between two cultures, needing to change but unsure of what new path to pursue. One Saturday afternoon last April, I sat in a cafe on West Division Street (the old, comfy kind). I spoke with a longtime customer like myself about Schultz’s new marching orders and the good old 1990s.

He looked up from his cup and said, “It’s a tragedy that the young kids won’t know the difference, and will never know how good it once was.”

Maybe Schultz needs to read “Moby Dick” again. He joined Starbucks in 1982 as the idealistic Starbuck. But in his relentless drive to pursue the White Whale of coffee supremacy and please his Wall Street masters, he now seems more like the character with the ivory peg leg and harpoon.

Tom Mullaney is a freelance arts and business reporter.

wordsmith.trm@gmail.com

Original Article:  Drip by drip, Starbucks lost what made it shine — chicagotribune.com

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