CreComm Hamper Drive Begins

To borrow a quote from the Christmas Cheer Board Website: "We would like to invite you to an exciting and personal approach to Christmas giving."

If you are a Creative Communications student at Red River College (whatever year) and you want to help feed a family at Christmas, here is your chance.

This year, not unlike previous years, CreComm students are sponsoring a family through the Winnipeg Christmas Cheer Board's hamper program.

We need your help!

We've got a box setup at the CreComm office (W302 Princess Street campus) where you can drop off non-perishable food items that are needed to fill the hamper.

There will be a list of items that are required located at the item drop spot, and we have provided a list on a Facebook group (below).

Both lists will be updated regularly as the hamper fills up.

We are going to kick start the effort by pledging our commitment to taking care of all the required perishable foods for the hamper (we doubt that the instructors and administrators want to work in an office with rotting milk, eggs and turkey and chicken carcasses).

Please pass this along to all of your CreComm friends. We only have until mid December to fill up the hamper.

Here is the list:

http://www.facebook.com/home.php?#/group.php?v=info&gid=199263257632

Whether or not to use in-line compression or EQ

I can't count the number of times I've heard from music geeks that you should never use in-line compression when you are recording. There is a good argument to back up this suggestion; specifically, you can always compress audio after the fact, but if you record the compressed tones, you're stuck with them. Here are few reasons why I still use in-line compression.

First of all, the audio interface that I use is the Focusrite Octopre Platinum (which I use in conjunction with a Digidesign DIGI003). It has 8 discrete mic preamps, and on each Pre there is a soft-knee/hard-knee compressor. One of the main reasons I chose this particular interface was because it had in-line compression and "limiting" capabilities. (The compressor can be turned off if you choose not to use it.)


When I'm recording, I do like to use the compressors on the Focusrite unit because the compression adds character to tone of the audio. I don't even have to add much, and I start to hear differences in the overall character of the tones.

Another reason I like in-line compression is for the "head room" factor. When I'm recording something very dynamic, like a rock singer, it's nice to have the compressor on just a bit, so it gives me just a bit more head room in cases where the singer is belting it. The threshold of the compressor is what adds that extra bit of head room.

And if the singer does clip the channel, the limiter kicks in on the Focusrite unit and usually prevents the audio from clipping when it's recorded in Pro Tools.

I don't think there's enough compression on the track that I risk altering it to a point where I'm limited in mix down. Yet, during mix-down, I have to be mindful that the track has been compressed once already, so it's not over compressed if I add plug-ins later.

I would also use compression, to the full extent however, if I was renting high-end gear, like an Avalon 737SP. I usually only have the gear available for the tracking process, because renting high-end gear is expensive, so I typically take advantage of the compression on the Avalon while the audio is being tracked. In this case, I use the compressor very gently, just to gain some added head room and character.

I don’t use in-line EQ when I’m tracking; I don’t see the advantages. I think that proper choice of microphone and mic placement can help you get around EQ’ing in-line.

A Christmas Hamper from CreComm Students

I know it's a little early to be thinking about Christmas, but it's not too early to start planning.

For a long time, Christmas made me pretty frustrated. The part of Christmas that frustrated me most was the frivolous spending on useless junk. It felt kind of like the biggest eff-you to people who are less fortunate.

Two years ago I participated in a Christmas Cheer Board hamper program. We sponsored a family that had just moved to Winnipeg. The family consisted of mom, dad, two young girls and a baby boy. They had just moved here from Syria and had no family here at all. The dad was in school full time to learn English; he worked as an engineer in Syria. The mom was taking care of the kids.

The family was super appreciative, and the whole experience was totally uplifting.
I participated again last year and had a very different experience; but it was still totally worthwhile.

I didn't want to miss the opportunity to take part in the program this year, so I'm hoping to get the support of CreComm students so we can fill a hamper.
We're going to create a Facebook group that will allow people to check which items still need to be purchased, as the hamper fills up. Students will be able to drop off donations to a designated spot in the lobby of the CreComm office. The hamper will be setup some time in early November.

I don't think I will ever get use to the dumb spending on useless junk that inevitably comes with Christmas, but I can at least take solace in knowing that one more family will be able to enjoy the holiday.

In order to tie this post in to the music geek theme, I've come up with a metaphor...
If I was a rock star, I would put on a cheesy turtle neck sweater, and ask my other rock star friends to put on some cheesy turtle neck sweaters, and get them record a cheesy Christmas song with me. We would then give the royalties from the song to charity.

Getting Inside the Head of a Local Music Industry Giant

I recently sat down with Glen Willows to chat about his life; here is what I took away from our interesting conversation...

Working 12 hour days, six days a week isn’t for everybody; but Glen Willows, owner of artist management company Burning Circus Management, does it because he loves his job. “I take every Sunday off; it’s not a religious holiday, it’s just that day I tell bands that I’m not gonna phone you and I’m not going to do anything to do with music and I don’t always succeed, but I try to take that one full day off.”

Willows has been immersed in the music industry as a musician, talent developer and talent manager for over 30 years. Leaning back in his chair with his hands crossed behind his head, with hair long enough to touch his shoulders, a half-smile materializes on his face as he muses over the days he played guitar for iconic Canadian rock outfit, Harlequin. “In the instance of that band, we gave our publishing away to the record label, which we shouldn’t have… a lot of what I do as a manager is correct the mistakes I made myself, over the course of my own career.”

Chatting with me over coffee at Carnegie's diner, Willows speaks modestly of his experiences playing with Harlequin. His tone becomes more animated when the conversation shifts to a band on his roster. As a co-writer of songs for his former band, he is proudest of the substantial radio air-play they receive; but the satisfaction is bittersweet. “As a musician turned manager I wear two hats, so when I’m wearing my manager hat, I wish they would stop playing this old music, it’ll give more space for my bands.”

Doug Darling, bass player with the hard rock band The Civil Disobedients, has noticed the influence that Willows wields. “I think he’s putting Winnipeg (music scene) on the map. He has kind of a Midas touch, as we’ve all seen with Inward Eye and getting them national recognition,” says Darling. “If he can do that for that band, then people think he can do it for them too.”

Bands that aspire to become successful aren’t the only ones that have noticed Willows’ influence. “Glen is a respected guy in terms of discovering talent and he has a lot of connections with the really big labels and management companies,” says Grant Paley, agent with Paquin Entertainment Group, one of Canada’s premiere entertainment agencies. “Just look at The Waking Eyes, Ash Koley, or Inward Eye, just look at his success rate, I’d say it’s like 60/40, which in this business is amazing,” Paley says, “and that makes him a lot of money.”

It is an unusually warm fall day in Winnipeg, and the staff at Carnegie’s are struggling to maintain a comfortable room temperature for their patrons. Willows unzips his beige hoodie, shifts in his chair, and leans closer to respond to a question about the financial side of his business. “If I can help somebody achieve some success, then obviously as a business, it’s going to help me, and that’s why it’s certainly not social work, because I obviously want to make a living at it. Having said that, it’s not lucrative.”

Willows puts his forearms on the table, fully engaged. “I know that some people look at managers and go, this guy just wants me to be on the cover of Rolling Stone so he can be rich…my definition of success is like, I want to try to help the artist become as successful as they want to be, on their terms, without losing their soul.” With a slight chuckle, he confesses, “I consider it my manager habit, cause you know, it takes up all your time and it’s a lot of work, and you have to love doing it, just like anything else.”

CTV Winnipeg Consumerwatch, we’ve got a story for you.

A group of Cre-Comm students and I recently completed a small research project on compact fluorescent light bulbs. As boring as that might seem, it was actually quite interesting.

The purpose of the research project was to attempt to uncover an unknown (or lesser known) aspect about a product; something that consumers ought to know. The vast majority of the information we gathered came from the internet. It reminded me that no matter what subject you are researching on the internet, the research process quickly becomes a game that we all know as, “okay, who wrote this and how credible is it?”

It would be really nice to know for sure how many people actually just throw CFL bulbs in the trash. If I had a ton of money to throw around, aside from renting huge billboards around the city that would be designed simply to confuse people, I would hire a public opinion firm to get my damn answers (something the internet could not do).

I would also like to know if a CFL bulb can actually last 10 years, as some companies claim. I’m pretty sure the research and development people behind CFL bulbs figured out that people don't keep track of details that far back. Unless of course you are that person, that has “the list” of dates and details…

I have to admit, I’ve thrown away CFL bulbs, and I’ve even had one break. Years ago I installed a CFL bulb in a light socket at the end of the stair well that leads to my basement, which was dubbing as a rehearsal spot for the band I was in. The bulb was longer than an incandescent bulb, so it protruded from the opening by about 2 inches. We were returning our gear to the jam spot after a gig one very early morning (perfectly sober and eager to be lifting super heavy equipment), and Jonathon’s stupid heavy guitar cabinet, while being lifted so eloquently, smashed the bulb.

I think we used a vacuum to clean it up, which is exactly what you’re not supposed to do when cleaning up trace amounts of mercury-exposed powder. I simply didn’t know about the risk factors associated with CFL bulbs. I think a lot of people are unaware of the risk factors. And for that reason, I think CTV Winnipeg’s Consumer Watch should produce a feature on CFL bulbs. Inform people of the risks and tell them how they can properly dispose of them.

Drum Mic’ing; trials and tribulations

Getting good drum tones is one of the biggest challenges for recording engineers. There are so many factors that come into play: the sound of the drum set, the sound of the room, the style of the player and the type of gear you use, just to mention a few.

I really enjoy experimenting with different microphones and mixing techniques for getting good drum tones. Here is a picture of how I currently have the drum kit mic’d (sorry for the poor quality photo):

One of the main themes for this mic’ing technique is to eliminate the natural reverberation of the room as much as possible. I don’t hate the sound of the drum room I have, but I don’t love it either. It’s easier for me to eliminate the sound of the room, and then add some ambience later on with a reverb. If I had an acoustically treated room with vaulted ceilings, I would definitely take advantage of the character elements that the room sound has to offer.

Before I get any further, here is a quick run down of the mics that are currently setup on the kit.

Kick: There’s a Shure PZM (or pressure zone microphone) on a folded up towel inside the kick drum. This mic is absolutely perfect for capturing the wet sound of the mallet smacking the kick drum skin. It’s also extremely convenient to use considering it comes with a long proprietary cable that connects to a standard XLR cable, and it doesn’t require a mic stand.

I also have a Shure PG kick drum mic setup near the hole in the front skin. This is the right type of microphone for kick drums, but it’s not a studio quality microphone. “PG” stands for performance gear, which is exactly what this mic was designed for. It’s still good for capturing the “woof” of the kick drum, but not ideal.

Snare: There is a Shure Beta 57 just to the right of the first rack tom, and a KELS HM1 right beside that. The Beta 57 is a dynamic microphone that is great for capturing the attack of the snare drum and is tuned to enhance some crucial high-end frequencies. The KELS HM 1 is a medium diaphragm condenser mic and is tuned for low frequencies (it doesn’t embellish high frequencies at all). Not only does the HM1 reduce the amount of audio bleeding from the hi-hats, but it provides me with a contrast sound to the Shure Beta 57. It’s nice to have options during the mixing process; sometimes I might want to choose only 1 of the mic sounds, and sometimes I might decide to blend the two together.

Rack Toms: I’m using Shure 57 mics on the rack toms. The Shure 57 is arguably the most widely used microphone for studio and performance applications in North America (maybe the world). I don’t always use it on toms, but decided to in the instance.

Floor Tom: On the floor tom I’m using a Sennheiser MD 421 dynamic microphone. This mic differs from other dynamic microphones in a few ways, but for me the big difference is that it contains a hum bucker coil. That coil adds character to the mic, and character is a very good thing for drum tones. It also represents the low frequency spectrum more tastefully than the Shure 57 does, which is why it is frequently used for mic’ing kick drums, guitar amps and bass amps.

Overheads: For overhead mic’ing, I’ve chosen an X/Y technique using a matched pair of Rode NT5 microphones. The NT5 mics are small diaphragm, pencil condenser microphones. I like these mics because of their true representation of the tones of the drum kit. A lot of other overhead mics are tuned to emphasize the high frequencies associated with cymbals. This can be beneficial in a lot of applications, but it can also limit the ways you can use the tones during mix down. I like both kinds of mics, and use each according to their strengths.

Hi-Hats: The reason I left hi-hats for last is that it is the one that has caused me the most grief (hence the “tribulations” in the title). Prior to landing on the one in this photo, I tried the Apex 185 (cheap!), and the AKG C1000. The C1000 simply rubbed me the wrong way on hi-hats. They are very versatile though, and I like having them around for acoustic guitar and congas.

The mic that is currently on the hats is the SE Electronics’ SE3 small diaphragm condenser mic. I bought this mic because I wanted a character mic that isn’t widely used in North America. In fact, at the time I bought this mic, there wasn’t a single company in Winnipeg that sold SE Electronics products.

Similar to the C1000, the SE3 sounds great on acoustic instruments like guitar, and percussion. It doesn’t make the hi-hats sound bad; it just doesn’t make the hi-hats sing. By far my favorite sounding mic on these hi-hats is the AKG C451B. One of my engineer friends has the C451B, and so luckily I get to borrow it for important recording projects. I am constantly swapping gear with friends. It’s really the most economical way to learn about and encorporating gear options for your recording projects.

There isn’t one “right way” to record drums, but there are a lot of wrong ways. The wrong ways usually involve phasing issues, which can happen pretty easily when you have a bazillion microphones on a single source (in this case, the single source is the drum kit in its entirety).

One of the best ways of fleshing out a source’s best tone (whether acoustic or not), is to sweep the microphone over the source. The sweeping technique is a time consuming and tedious process, but is really the best way to find out how the mic responds to the different placements over the source. And here again, there is no best way to mic a source, you are really just trying to get the sound that suits the project.

Fat tones aren’t always the be-all end-all of drum tones. A friend of mine was involved in a project where he was working with a female funk singer, comparable to Remy Shand. They ended up putting a towel over the snare drum to get a dampened effect that was meant to emulate a snare drum from the 70’s. The technique really worked for the project; it wasn’t necessary to have a snare tone that could peel the chrome off of a truck hitch. It just sounded right.

One thousand words later and I’ve only really begun to scratch the surface of drum mic’ing. I guess I’ll have to save pre-amps and in-line compression and EQ for another post.

I bet you can’t wait!

The sum of all your drives

This blog post might just blow your mind. Consider yourself forewarned.

While I was waiting for the 10 Provencher in front of the MTS center on Tuesday, I began wondering how many gigs of hard drive space I have. So when I got home, I decided to figure it out.

My studio computer has two hard drives, totaling a terabyte worth of storage space (that’s a 1000 gigs).

My old studio computer, (which has been downgraded to an office computer) has three hard drives totaling 200 gigs.

My laptop has a single 80gb drive, and the computer that my fiancé used before we moved in together (which has been sitting unused for months now) has a single 40gb drive in it.

I have two external hard drives that I use to backup studio work; one is 100gigs and the other is 250.

I also have to consider that my MP3 player has a 4gb memory stick in it, and my portable recorder has an 8gb compact flash card.

I have three thumb drives (don’t ask me why), totaling 13 gigs.

So, the sum of all my drives is 1695 gigs of possible storage.

Let me put that in context… the average MP3 file is around 5 megabytes. There are exactly 1024 megabytes in a gigabyte. Hypothetically speaking, if I was to fill all of the potential storage space in my house with Mp3 files, I could store 345, 780 songs.

Here’s where your mind might blow up, so please lay down a mat or something so it’s easier for your loved ones to clean up the mess.

According to a statistic I found on WikiAnswers, they estimate that 365 million people have computers worldwide. Think about how much data in total resides on all of those computers.

That’s pretty staggering when you consider that only a decade ago, Bill Gates was quoted as saying, “'640K is more memory than anyone will ever need”.