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PRS Guitars Brings Back a Classic with Its New CE24 Bolt-On April 2, 2016

Posted by markallanwolfe in branding, Cool Stuff, markallanwolfe.com, music video, personal, Recording Helps, silly things, Uncategorized.
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Since the dawn of rock and roll, the snap and response that comes from a bolt-on neck guitar has been an essential part of the mix. PRS Guitars’ original bolt-on CE was introduced in 1988 and after nearly a decade of being out of the lineup, PRS has brought the CE 24 bolt-on platform back with some significant updates in 2016. “After 30 years of guitar making, we’ve learned a lot, and we have used all that knowledge to update our original CE bolt-on model,” says PRS founder Paul Reed Smith.

Source: PRS Guitars Brings Back a Classic with Its New CE24 Bolt-On

The JHS Colour Box February 25, 2016

Posted by markallanwolfe in Cool Stuff, markallanwolfe.com, music video, personal, Recording Helps, Uncategorized.
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JHS Colour Box

Hey Guys@ I thought this was a great little example of what a cool little pedal can do and I loved the tone and all the optional tones you could find. I am all about sharing the tone my brothers and sisters. So take a moment to learn and educate yourself and check out the jamming to. I do not own one of these but I think I may have to get one. Let me know what you think?

JHS Pedals Colour Box

In 1961 a British engineer would start a company from a spare room in his England home that would permanently change the history of the Pro Audio industry. This company set a trajectory for musical tones that spanned across genres and impacted every generation that followed. We are talking about the infamous piece of gear known as the Neve* recording console. From “Love Me Do” by The Beatles to the famous sounds of Led Zeppelin, U2, Spoon, Pink Floyd, Motown, Quincy Jones, Nirvana, Steely Dan, Neil Young, Tears For Fears, and Tom Petty (the list is endless), The Colour Box is our tribute to the legend and application of how a piece of gear can change music.

Have you ever heard songs like the Beatles “Revolution”, or Motown classics like Jackson 5, Marvin Gaye, or even the modern Radiohead’s “Bodysnatchers” and thought, “How are they getting that guitar sound?” Well, the answer is sort of clothed in obscurity, but it’s actually created by the simplest practical application……plugging a guitar directly into a vintage studio console and recording “direct in.” The JHS Pedals Colour Box is designed and created to allow you to recreate these infamous guitar tones with your live rig, or in a studio environment by using 100% analog circuitry true to the design and schematic of vintage Neve* circuitry. The Colour Box is completely free from any digital modeling. Never before have “direct in” tones been available from your guitar amp in the way that the Colour Box delivers them. Aside from creating these “direct in” tones, the Colour Box covers all the ground that you would expect a high quality studio preamp to cover. From your microphone, bass, keyboard, or even your acoustic guitar, it does it all.

Whats Inside?
We have gone to great lengths to bring the color and character of a real vintage console to your feet or desktop. We started with two gain stages in series that produce beautiful clean tones but that can also destroy any signal into a beautiful fuzzy mess, full of rich harmonics and body with over 39db of gain on tap. The local feedback of each gain stage makes for a very unique type of distortion. We used the same topology and discrete gain stage found in the Neve* 1073, but we have two gain stages in series instead of one. We use a high quality Lundahl transformer that adds weight, heft, and a 3D quality just like preamps that you will find costing much more. The transformer fattens the lows, adds harmonic complexity and richness to the midrange (kinda like stirring flour into your drippings to give you gravy) as well as smoothing and rounding of the high frequencies. It also blocks all DC voltages, adds electrical isolation, and blocks RF frequencies ensuring super quiet operation and noise floor.

The Controls and Jacks?
Think of the controls as three separate sections:

1. Gain (RED)
The gain structure is made up of three parts:
–The Pre Volume (labeled “Pre-Vol”) can be used the same as you would a Drive knob on an overdrive pedal. In this circuit, the Pre Volume is between the two gain stages, and the setting of the Pre Volume determines how much signal continues to the second stage.
–The Master Gain (labeled “Master”) is what would typically be considered as a Volume control. Other terms are “master volume” or the “output trim.”
–The Step Gain (labeled “Step”) changes the gain of each preamp stage in five stages. Rotating the “Step” knob from left-to-right will increase the gain by the following:
1 is X 18 db
2 is X 23 db
3 is X 28 db
4 is X 33 db
5 is X 39 db

2. Equalizer / Tone Control (BLUE)
The tone control section is a highly modified Baxandall type that is tuned for less control interaction and more boost/cut capability. The center frequencies are Treble 10kHz, Middle 1kHz, and Bass 120Hz, with +/- 17dB of control.

3. Highpass Filter (YELLOW)
The Highpass spans from 60Hz to 800Hz with a 6dB per octave slope. This control allows you to only let high frequencies pass. In return you will find a vast palet of tones that sit perfect and inspire textures that you have never heard from your rig. The toggle switch will turn the Highpass on or off.

In and Out Jacks
You will notice that in addition to the normal 1/4″ instrument input/output found on a guitar pedal, we added an XLR input and output so that The Colour Box can be used as a vocal, bass, acoustic, or keyboard preamp live or in the studio. The 1/4″ mono output and the XLR output are independent and allow you to run parallel outputs to two destinations. For example, run the 1/4″ mono out into your guitar amplifier and at the same time run the XLR output to your front-of-house mixing board. Another example of using parallel outputs would be to track amp tones and the “direct in” sound of your performance onto two separate tracks. We achieved the parallel output by way of a discrete shunt-feedback circuit.

Parallel Compression Tips for Drum Mixes February 9, 2016

Posted by markallanwolfe in Cool Stuff, markallanwolfe.com, personal, Recording Helps, Uncategorized.
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Watch this video to learn a clever mixing trick that will give your drum mixes extra drive and impact – parallel drum compression using the SSL plugins.

Balancing Act a New music video September 21, 2014

Posted by markallanwolfe in markallanwolfe.com, music business, Music Law & Copyright, music licensing, music video, personal, Recording Helps, Spirituality, Uncategorized.
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Balancing Act

This is a video exploring another side of the music of Mark Allan Wolfe. Noted for Rock, Indie, and New Age music, here is a cinematic piece. The song opens with soft piano, that is haunting and is joined by guitar and cello and culminates in a balancing act of a variety of musical instruments. The swelling of cymbals, orchestral elements, and traditional island percussion. For more music and licensing information please visit markallanwolfe.com
If you are interested in licensing music immediately you can start by visiting the online music licensing store located at
http://markallanwolfe.com/License Music.html

Microphone recording tips August 19, 2014

Posted by markallanwolfe in markallanwolfe.com, music video, personal, Recording Helps, Uncategorized.
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I found this cool website the other day while looking for some info and wanted to share this and a few other things with you all. I hope you take some time to look thru this to help you make a few better recordings. This info was written by someone over at recordinghacks.com .

RecordingHacks is an online magazine about recording gear and techniques and the world’s best microphone database and search engine. Please feel free to share any of your thoughts or ideas that have helped you thru the years!!

If you are a singer, voice actor, producer or, recording engineer, here are ten items worth considering for an effective voice recording session.

  • Tart Green Apple
    This is a common remedy for sticky, clicky mouth noise. The tartness gets the mouth wet. You don’t have to eat the whole thing, just a little bite as needed during the session. There are many other remedies (that don’t go bad as quickly). So, bring a tart apple or find something else that tames the mouth noise.
  • Comfortable Headphones
    I really hate listening on headphones for long periods of time. I sympathize with performers who may be working in them for hours. Make sure the cans are comfy. Otherwise they will become a distraction, fatiguing wearers instead of helping the session run smoothly.
  • Dress In Layers
    Studios try so hard to get air comfortable and quiet. But even the best built system can be too warm or cold for someone. Worse, the temp may rise and fall uncomfortably. Wear a few thin layers — nothing starched, because it’s noisy — to get comfortable again quickly.
  • Popper Stopper
    These don’t stop plosives completely, but can keep them tame.
  • Low Rolloff
    It shocked me when I finally discovered that this is the secret to minimizing 90% of p-pops. Roll off the bottom at around 100Hz (18dB/octave slope) before the compressor, and have the aforementioned popper stopper. Then, only the most plosive blowhards will p-pop. Well, mic position matters a little too.
  • Analog Compressor
    I don’t believe analog tape sounds inherently better. But I do think that people who know how to record to it also condition their signal before they hit the tape. I think that if you present an AD [analog-to-digital] converter with a great signal, you give it a better chance of translating the audio. Almost all voice recording benefits from compression, so I like to put a touch on before the AD converter just like professionals did in ye olden times.
  • Analog Fader
    Most people drop their volume at the end of a phrase or sentence. It’s a natural thing to do before a pause, especially as air gets used up. It’s not difficult to anticipate the end of a sentence, providing the opportunity to raise the volume a little at those quieter moments. And if someone is performing more than one take in a row, patterns develop, providing additional opportunities to reach for the quiet moments and pull back on the loud stuff. Sure, you can do that after the AD, but I think you give the converter a better signal if you do some of that up front.
  • Two Great Microphones
    Most if not all of the voice recording will be the first mic, probably closer to the performer. But if you put a second mic a bit behind the first one and record it 12dB or lower than the first one, you just bought yourself some distortion insurance. Now don’t use them both at the same time, but back and forth as necessary. If things go well, you will never need the second mic. Like the fire department.
  • Packing Blankets
    If there are unwanted reflections in the mic, something is rattling, or it’s deathly cold, nothing is as handy as a packing blanket. They’re especially useful for location recording, acoustically untreated spaces and multi-use rooms.
  • Fully Accessorized Music/Script Stand
    I prefer to use two stand lights for better coverage. A piece of carpet covering the stand helps reduce reflections back into the mic, and reduce vibrations. Always have writing utensils (pencils erase!).

    music sheet on stand with clip

    music sheet on stand with clip

    Many people tend to drop their head away from the mic as they read down the page. A large paper clamp at the top of the stand helps keep eyes looking up, which can raise the head overall and even be used to hold a folded piece of paper after you’re done with the top portion.

Here is a cool video I also found helpful which you might too!! On microphone placement in recording from ROYER microphones.

 

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