The Music Engineering & Technology Alliance (METAlliance), a choose group of famous recording engineers/ producers who advise and seek the advice of on all issues audio, held a two-day weekend recording program at Blackbird Studios, Nashville, in late January.
Each day included two four-hour classes in a number of studios, every hosted by a unique engineer, with attendees in teams of not more than 10 individuals per session.
Sylvia Massy and Niko Bolas, Studio A
Day 1 began in Studio A with Sylvia Massy and Niko Bolas monitoring recording artist Sonia Leigh. Studio A’s completely restored Neve 8078 console simply dealt with the fully completely different approaches that the 2 engineer/producers took. Each described their mic selections and exact positioning: Bolas was meticulous out within the studio, “dialing-in” every mic, whereas Massy proved that she is a continuing experimenter, with each quirky mic selections and non-standard placement and processing.
Frank Filipetti and George Massenburg, Studio C
Studio C is a singular mixing room with fully diffusive ceiling and wall surfaces, designed again in 2004 by George Massenburg. He and Filipetti mentioned the variations between Dolby Atmos, Sony RA360 and Auro-3D as Studio C has calibrated monitoring for all three immersive codecs. Massenburg performed a few of his current work with Alicia Keys and Earth, Wind & Fire, whereas Filipetti performed immersive mixes from Korn and George Michael. This was an unbelievable expertise.
Chuck Ainlay and Elliot Scheiner, Studio D
Day 2 began in Studio D with Chuck Ainlay and Elliot Scheiner monitoring a few of Nashville’s best session gamers with producer Jon Randall, sitting at an 80-channel API console. Using the Nashville quantity system, they went by way of the delivery of a track, from demo to refining its association to vocal manufacturing to making a tough combine. Using parallel entrance ends, every engineer arrange his personal mics, so it was attainable to check two completely different drum equipment sounds, in addition to the variations in piano, acoustic guitar and electrical guitar.
Jimmy Douglass, Studio F
Jimmy Douglass confirmed his full Atmos mixing course of for Justin Timberlake’s The 20/20 Experience. He offered a one-of-a-kind peek inside his workflow, and talked about his discovery of sure limitations of Atmos and his early struggles with the format. He should have figured it out, because the Atmos combine was implausible!