Editors:
Mary (Tone Mistress) Mazurek
and
Kathy (Splice Girl) Dunaj

Volume 17 Number 9
September, 2002

EARS Meets at Rax Trax

3126 N. Greenview, Chicago, IL
773-871-6566
Tuesday September 24th 7:30pm

Come out to fellow EARS member Rick Barnes' Rax Trax Recording to hear his brand new Pro Tools HD System! Steve Ponte from Sweetwater Sound and Chris Hammond from Digidesign will be there to answer questions and explore "The HD System In the Working Environment." For those of us who have already upgraded, this will be a fun filled evening with some interesting tips and techniques. Maybe the HD System will strike your fancy enough to upgrade for yourself, so don't miss this one! Snacks will be served. Call Rax Trax for directions, or check out www.raxtrax.com for a map.

September also brings nominations for President, so if you or someone you know is up for the abuse (oops! I mean challenge) nominations will be accepted. Also, we are tenatively planning an October meeting at Mike Castronovo's Studio B in Rockford. The topic to be discussed is "The Business of Recording" A poll will be taken at the September meeting to determine member interest in a Rockford meeting. Contact David Moss if you're unable to attend the Sept. meeting but would like to attend the October meeting.
-KD-

Appreciation File/Recaps:

EARS members were treated to a howling good time at Metro Mobile on a sweltering July evening. Thanks to Timothy Powell for keeping us cool and supplyin' the brew and sandwiches. The evening kicked off with Prez. David Moss recapping the agenda for EARS he set in January (see March 2002 archive). I will just highlight some of the issues discussed, as the Steering Committee will meet soon for further discussion. The members voted yes to $25/year for dues. We agreed to have a sign in sheet at the meeting that specifies if you are a member or guest...this way you'll feel real cheap if you come to a few meetings and are always a guest! The due date is still TBA even though the by-laws read they're due October meeting, we'll stick to this for now. The SC may still revise that one. We'll keep you posted.

Some suggestions offered by members are to have EARS laminated id tags, (hey maybe we'll get gear deals!), have awards for nicest and dumbest thing someone did, take up a collection at the meeting to help offset the cost of all the beer and food we consume, print up an EARS calendar, phone directory, just a general way for members to find each other...possibly on our website, and design an EARS T-shirt. Timothy proceeded to read the EARS By- Laws, which was written by our SC and may be accessed on our website in this Eardrum, www.ears-chicago.com.

If you have any questions or would like to volunteer to help out with any of the agendas discussed contact David Moss or come to the next meeting.

Next we turned our focus to a fascinating discussion by Mike Konopka of ThunderTone Audio who discussed tape restoration.

If you were not lucky enough to hear Mike "live", check out the full written article by Mike at his website:

http://www.mikekonopka.com/page3.html. His articles give all the details about his exciting restoration project for The Kinks and also specs. Contact Mike at his website, or call 847-520-1029 if you need any tape restoration work done, he's the man!

We were then treated to a tour of Timothy's two!! remote trucks, filled with an insane amount of gear. There's nothing those trucks or crew can't handle. Thanks to Timothy and Mike for sharing the evening with EARS, giving us members an insightful look at remote recording and tape restoration. For more information about Metro Mobile call 847-998-6420 or check out www.mobilerecording.com.

Thanks to partners Brad Kopplin, Doug Hardy, Ryan Locke, and Trey Fratt of Dam Recording for hosting our annual barbeque. At the last minute they agreed to open their patio for us to grill and drink and mingle on a warm August evening in beautiful downtown Chicago. Our very own Minister of Entertainment Harry Brotman, dutifully shopped for food and beverages, lugged it to the bbq and helped set up the spread. Newlyweds Greg Groeper and his wife Cathy pitched in by bringing more food, the grills and charcoal, and then Greg grilled for us all nite. What a chef! I think we all agreed that the food was delicious. Part of your dues went to financing the food for the bbq, and the beer was donated by David Moss and Greg Groeper. Thanks guys for volunteering your time and paying for the drinks!

For more information on Dam Recording call 312-559-2990 or checkout www.damrecording.com.
-KD-

News and Special Thanks:

This just in from CRC...Hank Neuberger, after literally decades at CRC, first as an assistant, then mixer, then Operations Manager, then General Manager, and finally Executive VP, is retaining only that latter title as he moves up to corporate business responsibilities for CRC and it's related companies. Hank is currently focused on CRC's sister facility Glenwood Place Studios in Burbank, CA, built on the property that formerly was Kendun Recorders (www.glenwoodstudios.com). Glenwood features 3 studios so far, and a fourth in the near future.

A vintage Neve 8068/8058 with flying faders is being installed this week in one tracking room. The second tracking room features an SSL 9000J; and the third suite is a 5.1 surround mix and mix-to-pic room centered on a Euphonix System 5 digital desk. All rooms have ProTools HD facilities.

Hank continues to market music studio and DVD authoring services for CRC, but day-to-day music room scheduling will be handled by longtime CRC veteran and ProTools wiz Chris Shepard. Hank remains reachable through CRC (312 822-9333) or at hank@chicagorecording.com.
-CRC-

Congratulations go out to WAVNet's Greg Groeper for the tying the knot in July, we wish you and your new bride Cathy many years of happiness. Cathy, you've got a swell guy!

Much thanks to my computer genius brother Jim Mazurek for helping update the web site.
-MM-

Stereo Miking 101, Part I
By: Mary Mazurek

It's amazing the accuracy that can be obtained with just two microphones in the right configuration. Stereo techniques convey much information for instance: accurate balance, positional information, ambience etc. Being an engineer that does a significant amount of classical recording (about 1000+ sessions to date, I lost count), I use these techniques on a regular basis. Even if you are not planning to record a string quartet or a piano trio anytime soon, stereo techniques have their place both studio and live contexts.

Why would you want to use stereo techniques anyway? Can't I just put a mike on every instrument and pan it the way I want it? First of all let me say that a lone stereo pair works fabulously for classical music or any ensemble that is self balancing. For every thing else you might want to use stereo miking in combination with close miking. Stereo techniques capture the performance and the room as a holistic entity. In addition, they produce an accurate stereo spread (left to right), a realistic sense of depth (front to back), and a true sense of the acoustical environment. Close miking is not able to do this. Close miking can also make instruments sound too bright and edgy, and you definitely lose depth and ambience. You can only try to simulate reality by use of artificial panning and outboard gear. Even if you're not planning on recording classical music anytime soon, these techniques are still very useful. One example is if you have a large instrument, say a piano. It's very difficult to capture the complete sound with just one microphone. With a stereo technique, you will capture piano more accurately, and the recording will work better when the image is collapsed. I'm assuming that you won't be panning the piano hard left and right in a rock or pop track.

Some other uses are: drum overheads, string sections, horn sections, and groups of singers. Now remember the self balancing aspect. If the group is indeed self balancing, I feel that the result is more desirable than individually miking every singer or every horn. O.K., if you're a control freak and you have the tracks, do a combination of both and decide the blend later in the mix. Some other great uses outside the studio are: recording sound effects, audience reaction, theater sound, stereo background ambience for film/video, etc. The possibilities are endless.

So let's get down to it! There are many techniques to choose from. Do I pick O.R.T.F., Blumlein, or what? To make it much simpler, most of the specific stereo techniques fit within one of three basic techniques: coincident pair, spaced pair, or near-coincident pair. There's also baffled omni's. It was really popular in the 70's but lost favor for a while. It's now showing up again in some interesting ways. I'll explain what these techniques along with some of their advantages and disadvantages. Read on!

COINCIDENT PAIR

The coincident pair consists of two identical, directional microphones that are mounted so that they occupy the same point in space (or at least as much as physically possible without touching) and angled some degree. I say not quite touching because vibrations can make the microphones rub together, and that doesn't sound too pretty. (Learned that the hard way in my college days.) The greater the angle, the wider the stereo spread, meaning the image takes up more room from left to right. Increasing the angle does make the image wider, but you'll find that the image still tends to be narrower than the other techniques to be discussed later. Since there is no space between microphones, sound arrives at both mikes at the same time, therefore this technique is mono compatible. If you collapse the image to mono, the frequency response will remain the same. The angle of the mikes allows you to localize sound across the stereo field. Think line of sight. An off center instrument will be more on axis with one mike than the other thus louder in that channel.

The coincident pair also imparts a brightness or a presence to the overall sound. It's useful in the studio if you want the group or instrument to cut through more. The mono compatibility aspect is great for broadcast applications. My mom still has a mono TV and radio.

SPACED PAIR

The spaced pair uses two identical microphones spaced several feet apart and aimed straight at the ensemble. You can choose any microphone polar pattern you wish, but omni is usually preferred because of their low frequency response. The further apart, the wider the stereo image. Careful not to place them too far apart or you will perceive a "hole" in the center of the image. If you're recording a large ensemble, you could place a center mic to fill in the "hole". The output of the of each mic is virtually identical, so you would localize an off center image due to the timing differences between mikes.

This technique provides a nice sense of ambience and good width. Because localization is due to timing differences, this technique is not mono compatible. Note that major components of your recording shouldn't be disappearing when you collapse the image, but you will notice less "air". Note: because of timing differences, this technique can be problematic when preparing vinyl phonograph records.
-MM-

End of Part I. Part II will be printed in the next newsletter.

EARS DUES ARE DUE

Kudos go out to Timothy Powell, not only did he host July's meeting, but at the end of the nite he gave us a nice big donation. What a guy! Thanks Timothy for your eternal support of EARS. TCOM 46 Limited and David Fornalsky also donated a nice big check to help out the cause. Thanks a bunch! A big EARS cheer goes out to Christopher Wright, Michael Moats, Mike Czaszwicz, Mark Rubel, John McCortney, and Brent Jessee who also paid their dues and gave even a bit more.

The elections are coming up. Are your dues up to date? You will need to be a current EARS dues paying member to cast your vote and make your voice heard this November. During this current Presidential term, minimum suggested dues have been increased to $25.00, but many of you have generously donated more. For that we sincerely thank you. Remember, all are welcome at EARS, but you'll need to be current to vote. We will also be pruning the mailing list in the near future.

The following members are up to date: Gordon Rinda, David Vido, George P. Low, Cathie Alford, Greg Groeper, Rodney Gipson, Charles Kim, Jerry Hymen, Matthew A. Sohn, Mike Rizzo, Danny Leake, Fran Allen-Leake, Gary Khan, Mary Mazurek, Eli Kelly, Evan Smith, Michael J. Tanko, Barbara Paulsen, Mike Castronovo, Mike Szromba, Kevin Robbins, Eric Perina, Jon Schnickedanz, Sunshine Voelker, Doug McBride, Mike Konopka, Tim Swan, Jeff Jaskowiak, Michelle Moncada, Tom Swan, Don Morris, Mike Iwinski, John McCortney, Timothy Powell, Michael Moats, Mike Czaszwicz, TCOM 46 Limited, David Fornalsky, Christopher Wright, Brent Jesse, Mark Rubel, Kathy Dunaj, Janice Pantazelos, Bill Zouganelis, Robert Toliatti, Vladimir Prljic, and Theo Thompson.

For those of you not on this list, you can bring your dues to the next meeting or mail a check made out to E.A.R.S. by the end of October to Treasurer Gary Khan at Pegasus Recording, P.O. Box 578903, Chicago, IL 60657. As always, thanks for your support.
-K.D. & M.M.-

NARAS Event

The National Academy of Recording Arts and Sciences have asked us to pass this information along about an exciting upcoming event. They are also offering EARS members the $10 Academy member price. If you are interested in attending the event, please contact the Chicago Chapter, as noted below.

Painting the Sonic Picture: Producer & Artist

Tuesday, October 1, 2002

7:00 p.m. - 9:00 p.m. (doors at 6:30 p.m.)

Metro - 3730 N. Clark

Featuring:

Disturbed with producer Johnny K and Do or Die with producer

The Legendary Traxster

$10 - Academy members

$15 - Non-members

For more information, please contact the Chicago Chapter at 312.786.1121 or chicago@grammy.com.

The EARS Mission Statement

EARS (the Engineering And Recording Society of Chicago) is an independent non-profit group dedicated to the advancement of excellence in audio production. Recording engineers, studio owners, musicians, students, and pro-audio representatives meet monthly to discuss techniques and issues facing the recording industry.

Many years ago, a handful of Chicago engineers gathered at an AES show in New York realizing that they met more away from town than they did back at home. The concept of EARS was born: a monthly social get-together where competitors could meet in an atmosphere of fun and friendship, to talk about gear, business, and music. Everyone is encouraged to attend the meetings with an inquisitive attitude and a thirst for adventure in audio! EARS meetings are held on the last Tuesday of every month at various studios around the Chicagoland area.

EARS Bylaws

1. EARS membership



1. Everyone is welcome at EARS meetings. EARS membership is not a prerequisite for attendance.
2. EARS dues are $15.00 per year (Now $25/yr as of 7/30/02), due by the last Tuesday in October.


2. EARS Election



1. Only dues-paying EARS members can vote in EARS elections and referenda.
2. Only dues-paying EARS members can nominate or be nominated for EARS President & Vice President.
3. Nominations for the EARS election will be held at the EARS meeting on the last Tuesday of September. Candidates must be present to be nominated.
4. The ballots will be sent out with the October EARDRUM. They can be mailed back or brought to the October or November meeting. All ballots must be received by the start of the November meeting. The final count will occur at the November meeting.
5. Nominees will be given the opportunity to address the EARS membership at the October meeting.
6. The election will be won by a simple majority vote. In case of a tie, a coin toss will determine the winner.
7. The President will pick his or her Vice-President. The Vice-President will fill in for the President to lead meetings and other EARS duties.


3. The EARDRUM



1. The analog version of the EARDRUM will be available only for dues-paying EARS members & the media.
2. An digital version of The EARDRUM will be e-mailed free to everyone. EARS members with e-mail addresses are encouraged to save EARS postage costs by accepting the e-mail version.
3. The EARS mailing list will not be sold or used for any purpose other than EARS related business.


4. EARS Meetings



1. The EARS President & Vice President will coordinate the meeting site & agenda with EARS members & studios.
2. Each month's meeting site and agenda will be announced during the previous month's meeting. The EARS membership will be advised of any last minute changes as soon as possible before the meeting date.


5. EARS Steering Committee



1. The EARS Steering Committee consists of



• Current & former EARS Presidents
• EARS Corporate officers
• The EARDRUM editor
• "The Founders": Marty Feldman, Michael Freeman, and the Spirit of the late Mike Rasfeld


2. An EARS Steering Committee meeting will be convened from time to time with proper advance notice to the Steering Committee members. For a Steering Committee meeting to be official, at least five Steering Committee members must be present, including at least three corporate officers.

Who have you been working with lately? We want to know! If you have any ideas for stories, wish to contribute an article, want to include any upcoming events, or have a tech tip, please contact:

Mary at pegasusrecording@ameritech.net. Or write to:
Peagasus Recording P.O Box 578903, Chicago, IL 60657.

Kathy can be reached at SVI, or
kathy@soundvideoimpressions.com.