# Sound Guy

Denis Tougas

Juno AWARD winner...



Email to/from Mr. M.

. YOU ARE MOST welcome sir, and thank you for the  Excellent - TIPS. I'll share with my students

. I don't teach the audio course, but do have a wee bit of audio in all my courses...
    I'm learning audio....

My good mic (although <$200) is from HEIL, PR 20


Be glad to have a coffee sometime, if you wish,

Maybe you could do some freelance work for my company sometime,
  it might be great fun.

This is the guy that has been helping me with the basics of audio,
  and done work for my company...


Take care, good luck...


Rob McCormack, P. Eng.  ☏ (807) 475-6180
ⓘ https://signaturr.com/-robmcc

On 2013-10-08, at 2:05 PM, Denis Tougas wrote:

Hey Rob,

Wow that's so kind of you, thank you.
It was a pleasure meeting you as well. It's nice to see others excited about audio recording the way I do.

As for BASIC vocal recording, there's a few steps to consider.
As most of us as engineers have learned through the years is that the source (your vocalist) is the most important part of the sound. The better the singer is, the better you sound.
Now I've seen engineers with little experience distort and ruin a perfectly good vocal even when the source was very good.

Step one : a tight (acoustic) sounding room. If you're in a large room be sure to place baffles in a semi circle to absorb reflections from the room. Otherwise the room spills into the mic. Try not to record in a tiny booth - there's usually a build up of unpleasant frequencies if the booth is not tuned properly. A little "air" in the room is best.

Step two: a good large diaphragm condenser microphone (Neumann, AKG, etc). Spend a little extra for a good mic (better frequency response) It'll save you in the end.
Try placing 2-3 mics up for the singer to try. Everyone's voice is different and sometimes a dynamic Shure SM7b (approx. $700) may sound better for that person's voice than a large diaphragm condenser Neumann M149 tube mic priced at $5,500.

Step three : Good mic pre and compressor. I'm a little spoiled with NEVE, API etc for mic pres but there are plenty of choices out there. I'm not a fan of built in mic pres from AVID (protools) or other DAW's but they get the job done.
I often tell new engineers with a tight budget to start with a Universal Audio 6176 mic pre/compressor channel strip (or something equivalent). It works like a charm.

If you follow those three steps and the voice doesn't sound great, then it's safe to say it has nothing to do with you. NEVER tell the singer that ;)

I hope that helps Rob!


Noise In The Attic Inc
Recording / Mix Engineer
SSL, Neve, Pro Tools
416-910-6482 (NITA)

On Tue, Oct 8, 2013 at 12:23 PM, mccormac (Rob Mccormack) <Rob.Mccormack@confederationc.on.ca> wrote:


It was a pleasure to meet you.

I'm gonna show your website to all my classes. EXTREMELY impressive...

If you have time, what would be the TOP three BASIC tips, for recording
a vocal, in a studio.

The challenge in our program is learning the basics,
to be proficient at a basic level.

I'm just learning about audio... but find it a lot of fun.



# Sound Guy



= = = = = = = =

Question on High Pass (low cut) Filter while recording




-------- Original Message --------
Subject: Re: LOW CUT / High Pass -- Filter -- Quick Question
Date: Tue, 14 Jan 2014 12:03:17 -0800 (PST)
From: Denis
To: Rob McCormack

Hey again,
Consoles, microphones, the room you're in, etc all have their own characteristics - whether it's the frequency response of a microphone, reflections/acoustics (echo) in the room, the electronics used to make the console - there are many variables to think about. 
Your question about whether or not to record with or without a low cut filter, and how much to use really depends on what your ears are telling you. 
I try and stay away from EQing at the record stage. I generally record flat for the most part. My microphone choices and the room I'm recording in decide how I like my source (example: your footsteps) to sound. Mixing the final product is where I like to do almost all my EQing. 
The reason is that you never really know how your final product is going to sound until you have all the elements in place. If you go too drastic with equalizers/compressors, you might regret it later. 
Trust your ears the most. Trial and error exercises that part of your brain and you tune it to your taste. 
I often get asked my opinion of the recording and mixing process, and later challenged by that person who decides to google it. Nothing wrong with a bit of research, but do it with caution. 
I certainly hope that helps Rob!
Noise In The Attic Inc
Recording / Mix Engineer
SSL, Neve, Pro Tools
416-910-6482 (NITA)

On Mon, Jan 13, 2014 at 3:21 PM, Rob McCormack <rob.a.mccormack@gmail.com> wrote:


A quick Question if I may ?

I've known for a while now,to take out
low frequencies in my audio recordings in POST (equalizer)
(Scott Koue helped me - the Titanic Sound engineer)
and I've showed my students.  I do the same for higher frequencies too.

BUT, I  never used to turn on the LOW CUT switch
on my portable recorders (they ALL have this switch),

but when I play with the Mackie Mixer,
and when I read the manual, I think I should be
doing this at the time I record, all the time.

  What is your opinion?

I have been playing with recording,
and I think the recording sounds better
(maybe not as "full", but better)

When I record me walking around my house,
I notice some very low frequencies caused by my steps
on the floor, which LOW CUT seems to get rid of.

From Mackie manual
Ref: from page 9 of manual

Note: I'm learning a lot from just this manual.

LOW CUT (Channels 1–6)
Each LOW CUT switch, often referred to as a High
Pass Filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but LOW CUT can help reduce the
possibility of feedback in live situations and it helps to
conserve the amplifier power.

Another way to consider LOW CUT’s function is that it
actually adds flexibility during live performances. With
the addition of LOW CUT, you can safely use LOW equal
ization on vocals. Many times, bass shelving EQ can
really benefit voices. Trouble is, adding LOW EQ also
boosts stage rumble, mic handling clunks and breath
pops. LOW CUT
removes all those problems so you can
add low EQ without losing a woofer.
Here’s what the combination of LOW EQ and LOW
CUT looks like in terms of
frequency curves:
SEE attache image for switch



Rob McCormack,
ⓘ https://signaturr.com/-robmcc
<Screen shot 2014-01-13 at 3.10.35 PM.png>



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