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The following is an article was published February 17, 2010 on The Deli Magazine SF by Nicole Leigh. It is copyright 2010 by The Deli Magazine and may not be reproduced without permission. We love the Deli – you can check it out, along with other great articles on SF music at http://sf.thedelimagazine.com.

This Thursday! The Deli SF and Studio SQ present: Le VICE!

Thursday, March 11th, El Rio

Start your weekend early and come dance your pants off with The Deli SF and Studio SQ as we present Le VICE live at El Rio, Thursday, March 11th! Le VICE is one part electro funk, one part rootsy hip hop with some sprinklings of pop and R&B. They’re the perfect solution to your next dance party and a breath of fresh air.

Le VICE took third place in our annual Best Emerging Artist of 2009 Reader’s Poll and will be celebrating the release of their self titled debut along with Bay Area folks F*ck, I’m a Ghost and Red Blue Yellow.

Come out and dance with us!

Thursday, March 11th
El Rio – 9pm
Le VICE, F*uck, I’m a Ghost, Red Blue Yellow
$5

- Nicole Leigh

Here at Studio SQ we take our consoles very seriously, and if there is one thing that I can say for certain is that when the console is unhappy we all get pretty bummed.

Until recently our studio was the proud home of a much cared for and upgraded Trident Series 65. Last month we proudly passed it on to Tones on Tail Studios here in the Bay Area. One of the nice features of this desk is that it is simple in both its signal flow and in its circuit. When the console came under my care I realized that this feature made it a prime candidate for upgrade. In this blog post I discuss a variety of the upgrades we made on the Trident, however the concepts apply to many consoles in general.

I find that the best way to attack a project is from the power supply forward. For something like a recording console this is definitely the case. The power supply is almost always going to be the most expensive part of the build of any project. For this reason, it is not all that uncommon for companies to use power supplies that are very close to the current rating required for the project. (Think of voltage as the type of fuel and the current as the consumption at any given moment). In the case of the Trident Series 65 the end user is not afforded an excess of current by any stretch of the imagination. This is coupled with the fact that the design uses the lowest current opamps that are available.

After the upgrades described here you are going to need about a 3 amp audio voltage. Since this cannot be gotten from stock supply, my recommendation would be to just scrap the power supply that comes with the console and start over. To this end the trident series 65 needs +- 18v at say 3 amps, +5v at 5amps, and +48v at .5 amps or something similar. The +- 18v is for the audio op amps, the +5 runs the led’s and the +48 is for the phantom power.

When I rebuilt the power supply I forwent the +48 because the phantom power is switched on or off on the back of the console which is inconvenient, and because of our patch bay setup (and the number of ribbon mics we have in the locker) I just took that feature out and bought some external phantom power supplies.

In my case I found a linear bench supply that worked perfectly for the power requirements that I needed and met my price requirements, however it is simple to get the required supplies from Condor or a similar supplier on Mouser or Digi-Key. Once you have the new supply just take the female receiver off the old power supply and attach it to the new supply of choice and you should be on your way. I made a little interchange box that took in the cable from the new supply and terminated in the female connector from the old supply. Once this is all done test the new supply WITHOUT THE CONSOLE PLUGGED INTO IT and see what you have. If everything went to plan and the voltages look good, go put the power supply away, and move on to the next part.

After you have a good and stable power platform to work on the next thing that I would tackle would be the internal wiring. Our trident was from the beginning of the production run and, that being so, the wire had gotten old and brittle. It was not uncommon for the wires to break off of the Molex connectors and we would loose a feature in a channel, the master section seemed particularly fond of this activity.

In addition to the wire harness itself the Molex connectors in our console had gotten loose and corroded with age. We decided the best thing to do was just to replace them. It is pretty simple to redo Molex connectors, however it can suck as you have to take out many channels.

When we were inside the console we took the time to also clean off the connectors that are attached to an interface board at the bottom of the chassis. Since corrosion, even an invisible amount, can cause heat and excess current draw it is best to just clean all the pins. When you are redoing the wire harness in a console make very certain that everything is labeled and there is some way of you knowing where everything attaches, or you are going to end up with a huge headache later. If you don’t want to redo the wire harness throughout the console, it is a good idea to at least do the master section as it seems prone to wire issues.

With the chassis more or less under control it is time to start looking at channels. Whenever there is a amplification stage, interface, or fader within a channel strip there is an opamp behind it. The type of opamps used will have a large effect over the sound of the console as a whole. One of the problems with the stock Trident is that it uses TL071 opamps which have low current draw but, to me sound very sandy and indistinct.

The Trident does however have some nice features in the design that aid in upgrades. One is that it uses all the same single op amp throughout the console, and all the opamps are socketed. This means that you get a bulk discount on new opamps and no soldering is required, at least for now. In looking for new op amps I was in the market for something that I could get relatively cheaply, that would sound good and be fast acting. For my purposes I found the Texas Instruments Burr Brown OPA134.

There is definitely a spirited debate about what is the best audio opamp but I really liked what the 134 did for the sound of the Trident. I went ahead and replaced all the op amps in the entire console testing every few channels as we went along. After we finished and powered up the console we were all pretty amazed by what we heard. The console became clearer and much more open sounding while still retaining the punchy vibe that it had before. The eq also sounded much more clear and useable. The other very notable difference was that the headroom of the console vastly improved (one could run the console with the master meter pegged and no audible breakup).

After the opamp upgrade the console was drawing right around 2 amps from the audio supply with no audio passing through it. This was well within my 3 amp supply rail so time to move on.

Besides the opamps, the capacitors also have a large impact on the overall sonic imprint of a piece of gear. The capacitors are used to filter power, provide a backup of current for high draw events, separate dc from ac and filter unwanted low frequencies out of the signal. The Trident uses either 100uf 25v or 22uf 25v in almost all positions on the console, once again the bulk discount. There are many nice capacitors that can be used and they all come in at a different price point. It is up to you and your budget to figure out what you want to use. Check out http://tech.juaneda.com/en/articles/electrolyticcapacitors.html for thoughts on different capacitor brands. As long as you are going through the trouble of replacing the caps you might as well double the value of all of them. It will give you either more bass or more filtering, depending on which cap we are talking about, but either way why not.

You can de-solder the caps in a variety of ways but I found that a good solder wick works very well on the trident circuit board, as does a plunger style solder sucker. This is a step where it really pays to be careful. The trident circuit board was very thin and fragile to begin with and in my experience time has not done it any favors. My only other note on this would be to be extra sure to check the polarity of the caps when you put them in, you don’t want to blow anything up. When we replaced the caps we found that it was almost like re-opamping all over again. The image improved, the clarity increased, it got even more punchy and just generally sweet sounding. I was surprised that the console had so much more tone to give, but there it was.

All these things took us about a year to complete and all I can say is it was a year well spent. I don’t know how many days we actually spent on the console, but lots of the time was spent learning the hard way. I would think that if you didn’t have clients you could get it done in a couple of weeks. No matter what console you end up with you are going to end up needing to do at least some of this stuff. We just got an Otari Status from 1994 and I have already put in a new power supply and am working on a re-cap. Consoles just need care and if you are going to maintain, why not go for the upgrade. I hope that this can get you pointed in the right direction for your own console. Just remember to be careful go slowly and you can end up with a really great sounding and unique piece of gear.

- Jeremy

I recently bought a new microphone for the studio and when I got it I decided to set it up against a couple of our other mics to check out its particular vibe. I thought that the results were pretty interesting and so I decided to post this blog.

The new mic is a Peluso Vintage Tube Bottle (VTB) so I wanted to test it with two other tube mics for comparison. I decided to go with the Peluso P12 and the Neumann U67 as they are two of my favorite tube mics. In addition, I included a fourth mic (SM57) as a control since it is a familiar mic and serves as a good point of reference.

For those not familiar, Peluso makes mics that are copies or interpretations of classic models, as well as some originals. The VTB is very similar to Sony C800 bottle mic and the P12 is a part for part clone of an AKG C12. Both Peluso mics have been upgraded with WIMA capacitors so they are not exactly stock, but close (more on this upgrade in a later blog). The U67 is a classis example of German tube engineering, and is in general one of my favorite mics.

I tried to keep the test itself as simple as possible to make comparison easy. For this setup I placed placed all 4 mics equidistant from a source and ran them through the same Universal Audio 4110 four channel discreet transistor mic pre. The 4110 was set to use a discreet input balancing structure and a transformer output with 2k input impedance.

Fredo, our awesome and talented intern, played guitar and drums in these tests. The guitar for the strumming sample is a 1956 Gibson Country Western; and for the finger picking samples we switched out to our1948 Gibson LG-1 in order to capture some different frequencies and tones. The drums are a Gretch Renown 9 ply rosewood kit with the array set up for room mics. All mics were set to cardiod polar pattern.

I found these tests interesting and a helpful exercise in trying to become ever more familiar with the tools that us audio professionals use on an everyday basis. Some of the results of this test really surprised me and helped me understand the gear we own and operate. Check out our samples, see what you think, maybe try it with your mics too.

- Jeremy

P.S. The audio in this shootout are .wav files (non compressed). Your built in computer speakers will most likely NOT serve as an good monitoring platform. Hopefully you have access to a professional grade or decent consumer grade audio setup (or at least descent headphones).

—-

DRUM SHOOTOUT

Peluso VTB on Drums

U67 on Drums

Peluso P12 on Drums

57 on Drums

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ACOUSTIC GUITAR (STRUMMING) SHOOTOUT

Peluso VTB Acoustic Strumming

U67 Acoustic Strumming

Peluso P12 Acoustic Strumming

57 Acoustic Strumming

—-

ACOUSTIC GUITAR (FINGER PICKING) SHOOTOUT

Peluso VTB Acoustic Finger Picking

U67 Acoustic Finger Picking

Peluso P12 Acoustic Finger Picking

57 Acoustic Finger Picking

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The following is a track off next months full length release by artists Fuck I’m A Ghost:

“Drop Of A Hat”

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The following is an article titled “In the studio with Chloe Makes Music” which was published February 17, 2010 by The Deli Magazine SF. The article is copyright 2010 by The Deli Magazine and may not be reproduced without permission of the owner. You can read it and other great articles on SF music at http://sf.thedelimagazine.com.

In the studio with Chloe Makes Music

Chloe Makes Music

For some artists, their time in the studio can be a working environment that is rather personal and closed off, not for the public. For those of us on the outside of the event, it can seem like a mysterious and secret process that piques the curiosity of those that appreciate a persons ability to communicate through song. That’s why when Chloe Roth of Chloe Makes Music contacted The Deli to see if we’d like to sit in on a recording session at Studio SQ we jumped at the chance. Who wouldn’t want to observe and listen like a fly on the wall in the moment that an artist puts their creative expressions into a fixed medium?

Twice a month, the readers of The Deli SF vote for their favorite nominated artist of the month. These artists not only rewarded with a banner on the site but also with free studio time from the poll’s sponsor Studio SQ. As a musician trying to make it in the second most expensive city in the US, free studio time is a very good thing. Back in the second half of October 2009, Chloe Makes Music was chosen by the Deli readers as the Artist of The Month and this was the first time that anyone at the Deli was able to see the poll process come full circle.

We visited Chloe in the studio on day 5 of a 6 day recording marathon as she laid tracks with producer Chris Chu [vocalist for The Morning Benders] for her upcoming debut LP. Studio SQ has a nice warm welcoming feel. You’re greeted by a friendly brindle boxer the door who naps on the couch when shes not monitoring the activity around and the studio itself is large and open and filled with a lot of wood which gives it that comfortable, home-y feel. It’s almost hard to believe that such an intimate place can exist in what is a primarily industrial part of the city.

Chris Chu

Chloe is recording backing vocals for the current track that they’re working on, “The Puppeteer,” and Chris is preparing to sit at the piano for the next segment of the recording. Chloe explains, “I want it to sound like there are puppets singing” – an appropriate request for a song about a person that manipulates marionettes. Chloe was concerned that I might be bored but I wasn’t, not even the slightest bit. Boring is watching me sit in my small studio apartment trying to create sentences to describe what had taken place. Mostly, I was intrigued by what sounded to be an almost complete track with some lovely haunting harmonies.

As the afternoon begins to wind down, Chloe and Chris discuss which elements are left to record and begin to coordinate their final day in the studio. I decide to take this as my cue to slip out and allow the creative flow to be uninterrupted. I say a quick goodbye and quietly leave. Outside, the sun is almost gone and I realize that there is a catchy melody of puppets still singing in my head.

The Deli SF would like to thank both Chloe Makes Music and Studio SQ for allowing this unique opportunity and we look forward to hearing the finished product!

-Nicole Leigh

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The following is a track off The Dead Westerns recent self titled release:

“Thunder Road”

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The following are a few tracks from Le Vice’s debut self titled release (due out March 2, 2010). This record was tracked, mixed, and produced at Studio SQ:

“Shy Guy”

“Why Fight”

“Uh Huh”

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The following is a track from artist Red Blue Yellow:

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So you’ve finished tracking and mixing your record and are now ready for mastering. The following is an article supplied by Mike Wells on preparing your content (i.e., final mixes) for mastering. While some of it may seem like common sense, it serves as a good check list and will help ensure that your mastering experience goes smoothly. You can find this article, as well as other great articles on mastering at Mike Wells website: www.mikewellsmastering.com.

- John

GENERAL NOTES:

Delivering Media:

You may deliver your digital files (.WAV, .AIF, etc…) via FTP transfer. Upon confirmation of booking your session, you will be provided with login/password information.

If you are mailing your media (any media type) and using the US Postal Service, you are strongly encouraged you to purchase Delivery Confirmation. The additional $0.50 is worth $500.00 in headaches when you don’t know where your package is and the USPS isn’t helping. Other carriers (UPS, FedEX, etc..) have tracking numbers by default. Please email the carrier type used and tracking number when you submit materials via the mail to avoid delivery problems.

Digital Processing:

In general, there are a number of tools available to you in your DAW that you should avoid using on your audio prior to mastering. Therefore, please do NOT use the following on your tracks after you have mixed them:

• Limiting / Maximization / Compression
• Normalization
• Fade-Ins or Fade-Outs
• Equalization

Track Sequencing:

You don’t need to have your tracks in the proper sequence prior to mastering. The proper track sequence will be created in the mastering workstation at the time of your session. It is, however, a very good idea to have an idea of what order you want the tracks in or a few versions of track order.

If you would like cross-fades to occur between any adjoining tracks in the sequence, I recommend creating an example of the crossfades, track sequence, and track ID’s as you would like them as an Audio CD. This will greatly aid in the sequence step of the mastering process.

Labeling:

“The More The Merrier” is the thing to remember here. The more specific your documentation is, the smoother your session will go. If you are submitting multiple mixes of the same track, please note the differences on your media. For example: Track 3 “A New Day” (Vocal +1dB).

ANALOG TAPES:
If you are providing your mixes to mastering on analog tape, please follow these guidelines:

• Print alignment tones on your tape for 30 seconds/per tone at 0dBu (1kHz, 10kHz, 15kHz, and 100Hz) at the beginning of each reel.
• Keep tapes tail-out to prevent print-through.
• Include the following information on each tape box label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on reel
— Times per song
— Tape Speed
— Record level for 0dBu in nw/M
— Record eq (CCIR or NAB)
— Stereo or Mono
— Any notes you would like to add about the tapes

DAT MEDIA:
Follow these guidelines when submitting DAT tapes for mastering:

• Always send in a Digital Copy of your original DAT, and keep your original
Create a track ID marker at the beginning of each track on your source DAT
• If you haven’t mixed yet, it’s a good idea to start recording after the first 2-3 minutes on the DAT, to avoid any bad tape at the head of the cartridge.
• Print a 1kHz tone at 0dBu as it reads on your mixing desk. You will notice a difference in value on your DAT machine (depending on the make/model).
• If you will be mixing to DAT, I recommend using (or renting) a high-quality A/D converter to interface with the DAT machine, rather than using the converters built with the machine.
• Include the following information on each DAT tape label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on cartridge
— Start times of each track
— Approximate length of each track
— Sample Rate (44.1 or 48)
— Bit Depth (16 or 24)

CD-R /DVD-R /DVD+R MEDIA:
Follow these guidelines when submitting removable disc media for mastering:

• ISO 9660, Hybrid, or Joliet formats are required. If you are on a PC one of these will come by default (most likely Joliet). If you are on a MAC, you will need to find the option in your CD Burning software to specify ISO 9660 or Hybrid (Mac & PC compatible). In software such as Toast this setting is in the Options dialog.
• Put your media in a case, avoid paper sleeves or no case/sleeve at all.
• Include the following information on each J-Card label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on the media
— Sample Rate (16 – 192)
— Bit Depth (16 – 32)
— File Format used (.WAV, .AIF, .BWF, .SD2, etc…)
— Stereo or Dual-Mono

CD AUDIO:
CD Audio is the least-attractive option for submitting your mixes to mastering. For example, if you have been working in a 24-bit format (ProTools, etc..), then creating an Audio CD to submit to mastering is incurring a bit reduction that can be avoided.

ALESIS MASTERLINK:
If you are mixing to an Alesis Masterlink, please use or rent a high-quality A/D converter to use in front of the Masterlink, rather than its internal converters. Once you have your mixes in the masterlink, please name the tracks as specifically as you can using 8 characters and create a CD24 disc of your mixes. Why 8 characters? The CD 24 format is basically the ISO 9660 format, and this format will only create a filename with 8 characters. Therefore, if your track is called “A New Day” and it is the Vocal +1dB version, an example would be “NEWVOX_1″, etc…

OTHER DIGITAL/OPTICAL FORMATS:
If you would like to send in a hard-disc, or media from another external digital recorder, please follow these guidelines:

• Create a backup of your original media, and send the BACKUP
• Please advice in advance what format/media you are sending in. You will be advised if a rental is necessary.
• If the device supports export to a 2-track digital format like .WAV, etc… that may be a preferable route for you, simply provide the .WAV files/etc… on a CD-R or DVD+/-R.

This document is Copyright 2010, Mike Wells Mastering except where otherwise noted. It has been reproduced with permission from Mike Wells and may not otherwise be reproduced in any manner without the permission of the copyright owner.

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This month we finished up principle tracking on a new record by Frances England, a truly gifted artist in the world of childrens music. We first worked with Frances back in 2008 on her second album “Family Tree” which received the Gold Award in the 2008 Parent’s Choice Award. After playing at Lollapalooza last summer, she teamed up with 2010 Grammy nominated producer Tor Hyams for this third record.

Working with Frances really is a treat. Those of us in the music business can sometimes get caught up in the everyday “hype machine” which naturally follows many genres of music. But I have to say, working with Frances is such a refreshing change of pace. Her music comes from a place of love and purity and NOT record sales (ironically, she is extremely successful and has consistently high sales). I know it sounds cliche, but her music really can be enjoyed by everyone – children and adults alike.

Since we had such a great time working on this new record, we thought we share some pictures taken by both Frances and her husband John (also a member of the band) during their 6 days of tracking. Stay tuned as I will share samples of the music once we finish the mix phase!

- John

Frances in the overdub booth

Frances singing away

Jeff Koch on drums

playback

Tim Thurman on electric guitar

Jeff and bassist John Funke having fun on the Wurly

Teamates! SQ house engineer Justin Sachs with producer Tor Hyams

Justin and Tor in action

This is how the magic happens

Sean Sullivan on acoustic

Remember, this is for the kids!

Justin, John, Frances and Tor in the control room

First photo of the new Otari console

Frances doing her thing