#fiitm

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AEA Fix It In The Mic - Hanan Rubinstein

AEA Fix It In The Mic - Hanan Rubinstein

We're back with another episode of Fix It In The Mic and a very special interview with guitarist, producer, engineer, and songwriter Hanan Rubinstein, who currently plays guitars for superstar Alicia Keys. Hanan shares how the AEA N22 ribbon mic is the secret to his live guitar sound and how other AEA ribbons like the R44 have led to a tidal shift in his production and studio work.

For more information visit: http://www.ribbonmics.com http://www.hananonline.com http://www.premierstudiosny.com [email protected] Find out more about the AEA N22 ribbon mic here: http://www.ribbonmics.com/microphone/... Follow AEA on Facebook and gain access to exclusive bonus footage: http://www.facebook.com/ribbonmics Featuring the song "The Luckiest Man You Know" written and recorded by Hanan Rubinstein. 

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AEA Fix It In The Mic - Sear Sound NYC

AEA Fix It In The Mic - Sear Sound NYC

Find out more and hear the isolated tracks at: http://bit.ly/searsound

00:00 Intro and Overview 00:19 Microphone Locker 01:48 Interview with Chris Allen 06:18 Grand Piano Tutorial

This very special episode of AEA's Fix It In The Mic video series features a rare inside look at one of New York City's most legendary studios: Sear Sound. Chris Allen, the studio's chief engineer, invited us for a tour around the studio, talk some shop, and learn about his recording techniques in full detail.

Founded by Walter Sear in 1963, Sear Sound has been at the forefront of sound recording for decades. A collection of over 280 microphones including many rare and precious tube and ribbon mics, as well as a wide range of custom and modified sound equipment like the studio's 60-channel Sear-Avalon with Flying Faders is just the tip of the iceberg of the stunning technical facilities in Manhattan's Hell's Kitchen neighborhood.

Chris Allen learned the art and the craft of sound recording from Walter Sear until his passing in 2010 and continues his legacy and his philosophy to engineering. The primary goal is to capture that spark that occurs in live performance and to transfer this to the recording medium. The ambience, the 'feel' of the studio is the most critical element. It isn't equipment but it is the feeling that is imparted by Sear Sound's staff, and Chris embodies that to the fullest. In our video, he shares some of his best-kept secrets for drums and bass recording, in addition to talking about some of his most favorite mics in the extensive locker.

As a very special treat, Roberta Findlay, the studio's manager, joins us for a lovely piano performance while Chris explains his go-to grand piano recording setup consisting of an AKG C24 and an AEA R88 stereo ribbon. We also get to hear a mono AEA NUVO N22 ribbon mic as an additional center channel in the recording.  

Thanks to Sear Sound and their incredible staff for hosting us and making this a very memorable visit!

For more information visit: http://www.ribbonmics.com http://www.searsound.com

Featuring: Roberta Findlay, studio manager Chris Allen, chief engineer Teddy Tuthill, engineer

Music: Filou - "Impressions" Mixed by Philip Lütz http://www.facebook.com/filouband

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AEA Fix It In The Mic - Ben's Studio The Stories, The Secrets, The Sound

This episode of Fix It In The Mic - Nashville features a visit to Ben's Studio, the former RCA Studio A in Nashville, now owned by singer-songwriter and producer Ben Folds. Leslie Richter and Joe Costa, two seasoned freelance engineers who regularly work out of Ben's Studio, talk to us about their creative work in this legendary studio and share their thoughts on microphone techniques, studio gear, and the special qualities of ribbon mics. Join us for this rare glimpse at one of Nashville's largest and most historic recording studios. Original built in 1964, Ben's Studio was built by Chet Atkins and was known as historic RCA Victor Nashville Sound Studios. The studios client list, past and present reads as a whos who of music history. Some of the studio's clients are The Monkees, Joe Cocker, Leon Russell, Waylon, Dolly Parton, Tony Bennett, George Strait, The Beach Boys, Amanda Palmer, William Shatner and includes the studio's owner Ben Folds. After almost a decade of dedicated private use, Ben's Studio recently re-opened to the recording community for commercial sessions. With a plethora of exquisite recording equipment and instruments in an incredible space, it's hard to not become enthusiastic when entering this studio. AEA R84, R92, and R88 ribbon microphones as well as the TRP preamp find regularly use on sessions by Ben Folds or other artists at Ben's Studio. Common applications are drum overheads, strings, drum room, horns, percussion. A particular strength of the AEA preamp is their clean, low-noise performance, which prevents the build-up of noise when stacking string tracks for example. AEA's Fix it in the Mic video series is aimed at sharing the microphone secrets and tricks of industry professionals in a time when mentoring and real knowledge is hard to come by. AEA's mission is to help engineers get the sound they envision right from the start instead of "fixing it in the mix"- a craft and art that often gets lost in the midst of the hype about the latest new toy. Thus, the name Fix It In The Mic was born. AEA encourages viewers to comment, ask questions, or send suggestions for future episodes. We encourage you to comment, ask questions, and to send us suggestions for future episodes of "Fix It In The Mic" to [email protected]! For more information visit: http://www.ribbonmics.com http://www.bensstudio.com

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Recording Electric Guitar with aVid*

AEA engineer Julian David produced and recorded the German band aVid* at their own studio Schau & Horch, and the band has been so kind to provide a couple of guitar tracks of this session. Guitarist Stephan Marten played a Telecaster guitar through a vintage Fender Twin Reverb amp courtesy of Thomas Hannes. AEA would also like to thank Digital Audio Service in Hamburg, Germany for kindly providing the BAE 1028 preamp. Several different guitar tracks were recorded for the song "Deep Breath", which can be heard in this list of sound samples. The first set of samples is a clean funky guitar lick, the second one an overdriven rhythm guitar. The Fender combo amp was recorded with an AEA R92 ribbon microphone and a Shure SM57 at the same time. The R92 was positioned about 1-2 inches away from the grill of the amp, while the SM57 was a little further back to line up its capsule to the ribbon of the R92. It is important to pay attention to the phase relationship between the two microphone to avoid comb filtering when blending them together.

While using a low-impedance preamp may yield useful sonic results in some situations, AEA generally recommends using a high-impedance preamp (>10 kOhm) to hear passive ribbon microphones as desired by the manufacturer. A high input impedance will results in the best signal-to-noise ratio and the highest bandwidth for all passive ribbon microphones. Those are the reasons why AEA's family of preamps was designed with ultra-high input impedances up to 35 kOhm. Go to the AEA Listening Room and look for the "Electric Guitar with aVid*" project folder for more information and to access the session files! More Links: http://www.ribbonmics.com http://www.fixitinthemic.com http://www.youtube.com/avidmusic http://www.avid-music.com http://www.juliandavid.org http://www.schauundhorch.de