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Other advanced degrees include an MS in computer science, an MFA/MA in music, BM in music and a BA in art.Īs an engineer and producer, Mark has worked on projects for the Rolling Stones, 311, Tool, KISS, Blink 182, Blues Traveler, Britney Spears, the San Francisco Symphony, The Dover Quartet, Willie Nelson, Paul Williams, The Allman Brothers, Bad Company and many more.ĭr. Mark received the first doctorate in music composition from UCLA in 1986 for a "binaural" electronic music composition. He learned electronics as a teenager from his HAM radio father while learning to play the guitar.
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AIX, has been producing and engineering music for over 40 years. The productions norms of yesteryear are rapidly fading away. So not only can audio engineers emulate the sound of any room that want, they can also open up and utilize the “virtual” microphone closets of the best studios in the world. Re-Mic mode is by nature “fully wet,” and can be used to entirely replace your original room and microphone sounds with the fabled sound of Ocean Way.” Ocean Way Studios offers two modes of operation: Reverb mode, using send/return paths to mix wet and dry signals or Re-Mic mode, to fully immerse the original source audio within Ocean Way’s rooms. Click-and-drag the microphones to position them in the room, then EQ and filter their sound as desired - complete with mic bleed and proximity effects. Up to three vintage microphones pairs (Near, Mid, Far) are available in each setup, allowing for creative sonic blending.
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The setups capture the ideal microphone selections and placements for each room and source type - exactly as used to record some of the biggest acts of all time. “With virtual access to $250,000 of hand-picked, vintage microphones, Ocean Way’s microphone setups and Distance controls are the centerpiece of the plug-in. I consider my 50 or so cherished mikes to be quite more than adequate for my purposes but I haven’t got the quantity and diversity that he does. Of course, we’ll want to do this at a variety of amplitudes and distances to make sure that we establish the boundary conditions for the microphones under review, but it is possible.Īllen Sides’ Ocean Way Studios have a very impressive collection of microphones. Everything about the frequencies, amplitudes, timbral characteristics etc is contained in that signal.Īll we have to do is compare the original acoustic signal to the output and that the “color” of the microphone. The circuits inside the mike amplify or filter the current flowing through the components and pass the signal to the output connector. The output of a microphone capsule is a stream of electrons in a ware that mirrors the acoustic energy that was hitting the diaphragm.
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It does make sense if you stop and think about it.
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Professional and amateur recording engineers now have access to hundreds of thousands of dollars worth of very special microphones.
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So can a digital plugin change the sound of an inexpensive mike into the sound of a classic tube Telefunken 250 or rare Neumann U-47? As impossible as this sounds, those talented coders working at Universal Audio and other companies have cracked this nut. Microphones can be compared to the lenses that a cinematographer uses in capturing images or a movie…and the good ones are rare and very expensive. Without microphones we could not capture the sound of a Stradivarius violin or a gold top 1957 Les Paul played through a Marshall Stack. We all know that microphones are transducers (devices that change on type of energy to another type…in this case acoustic sound to electrical current). But today I’m going to focus on the very first piece of technology that a recording engineer uses in the production of a recording…the microphones. It is actually possible to have marginal musical skills and talent and still be able to release professional sounding music tracks. The distance between musicians and recording engineers has narrow significantly in the past 20 years. And I’m including the sounds of the instruments themselves.
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Sophisticated digital signal processors and careful implementations of modeling software can convincingly reproduce the sound of any piece of gear in the production of a music recording.