House Recording Studios & DJ Entertainment | Music Production Studio in Long Island, New York http://recordingstudiosnewyork.com Professional Music Recording and DJ Services Mon, 19 Jun 2017 00:57:12 +0000 en-US hourly 1 https://wordpress.org/?v=4.8.2 Broadcast Host http://recordingstudiosnewyork.com/2014/04/26/broadcast-host/ http://recordingstudiosnewyork.com/2014/04/26/broadcast-host/#respond Sat, 26 Apr 2014 19:39:59 +0000 http://recordingstudiosnewyork.com/?p=849 The JK Audio Broadcast Host is a device used to send and receive audio signals over analogue telephone lines. We use it for a variety of applications including recording

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Recording Services http://recordingstudiosnewyork.com/2013/04/30/recording-services/ http://recordingstudiosnewyork.com/2013/04/30/recording-services/#respond Tue, 30 Apr 2013 16:46:26 +0000 http://www.recordingstudiosnewyork.com/?p=692 At House Recording Studios, we offer a wide range of audio recording services geared not only towards musicians, but to advertising agencies, radio stations & movie production houses. Here are some of the services we offer and a description of each service:

Digital multi-track recording, editing and mixing

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are a college student looking to record an audition piece or a major label recording artist, we are equipped to satisfy all of your studio needs. When working with us, you’re not only getting an engineer on the session (someone to get you great sound), but you’re also getting a producer on the session as well (someone to make sure that the energy, the timing, the emotion and the pitch of the performance are all top-notch). We have a large array of microphones and outboard equipment to choose from to give our clients a variety of tonal options. Everything is recorded through high-end Lynx AD/DA converters and onto an Avid Pro Tools HD system to ensure excellent stability and superb sound quality during the session. We record everything from vocals to acoustic/electric guitars to drums/percussion to small orchestral ensembles.

After the tracks have been recorded and properly edited, the mixing phase entails blending and balancing all of the levels, adding proper dynamic & tone shaping tools, inserting effects like reverb/delay/chorus to add some depth and extra magic to the recordings, etc. We use a 16 channel analog summing mixer to give our mixes some extra warmth and clarity. Mixing is a true science and art form and it is a critical part of the recording process.

Songwriting and production services

Whether you sing us a melody over the phone or provide us with sheet music and a rough draft recording, we have the ability to transform your idea into a fully produced, radio-ready song. Our team of skilled arrangers, engineers and producers will help develop the sound you are seeking. We have access to some of the finest studio musicians in the New York area and we can provide live instrumentation if the song calls for it. If the client has lyrics, but no written melody, that is fine. We’ll have a pre-production meeting prior to getting started with the arrangement/recording to solidify the melodic chord structure.

MIDI programming and sequencing –

In addition to songwriting and production services, we also offer MIDI programming and sequencing. If the song

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doesn’t call for live instrumentation, we can program any of the instrumentation electronically through our various synthesizers and sequencers. We have access to several amazing sound libraries, containing great audio samples in every genre of music from hip-hop to rock, electronic dance music, pop, country, etc.

Remixing

We have the ability to edit or layer/blend songs in a unique fashion so they sound different from the original. We can easily manipulate the tempo or the pitch/key of

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a song. One great example of a remixing service includes creating a mashup of many songs into a short 2 or 3 minute format. We do this type of work regularly for several cheerleading squads. Another example includes adding instrumentation to a song that isn’t already there. Perhaps one wants to add a punchy drum beat to a song that doesn’t have any drums or percussion. We also have access to a large library of raw vocal tracks (a cappellas) and we can match any vocal to any instrumental, creating a different song altogether.

Sound for TV and radio advertising

We do a significant amount of sound for TV and radio advertising, including voice-overs and sound design. Some of our clients include the A&E Network, Twizzlers, The New York Islanders, 1-800-Flowers, Spike TV, among others. In today’s rapidly changing and competitive marketing environment, it is important for businesses to get their name out to the public in any way they can. Television and radio are two great avenues to do so. Our facility has a phone patch which facilitates a person (perhaps an outside producer) listening in to the session from a remote location to provide our engineers or the voice-over talent with direction. We’ve also conducted numerous radio shows at the studio where the client/host will accept caller testimonials to provide feedback on a given product or service.

Post-production, sound design, voiceover narration and ADR –
Whether you are a movie production company working on a major feature or a student putting together an independent film, we are equipped to accommodate all of your audio post-production needs. We have the ability to create soundscapes, be it a jungle scene in Africa, a hospital scene in the ER or a wild sporting event at Madison Square Garden. We do this by formatting and sequencing audio samples and sound effects to create a story. We have an abundance of skilled voice-over artists who are available upon request. ADR, or dubbing, is the process of re-recording and synching dialogue for a particular scene

after the video footage has been recorded. We can import the video file into our audio software and have the actor or voice talent view the video footage on a screen and re-record the dialogue accordingly.

Audio Books

We’ve worked with many authors who have recorded the text/dialogue of their book on to an audio format. For those who don’t enjoy reading or don’t have the time to do so, an audio book facilitates appreciating the content of the book. It’s certainly easier to carry around an audio file on one’s smart phone or audio playback device than it is to carry around a hard copy book. One can also listen to the audio book while driving and it won’t take their visual concentration off the road. Voice-over artists can be provided upon request to fulfill any of the characters that may be part of the story. In addition to voice recording, we also have access to several royalty-free music and sound effects libraries which can be used to enhance the audio book.

Audio restoration and audio transfer (from record/cassette to CD or other media)

We have the ability to restore audio that may have been improperly recorded. Perhaps there is some nasty background noise or ticks and pops in the audio. Our tools can remove this unwanted noise. We also have the ability to transfer audio from one medium (cassette tape or vinyl) to another medium (digital audio, CD, etc.). In addition to transferring the audio, we will also master it as well. This is the process of making the audio sound warmer and sweeter, giving it more clarity and depth. We do this by running the signal through various dynamic and tone shaping processors.

Overdubbing

Once the foundation tracks have been recorded, we can overdub additional instrumentation, be it vocal harmonies, percussion, catchy guitar licks, etc. Overdubbing helps make the recording process more convenient. For example, if the lead guitar player is temporarily unavailable, the recording (drums, bass, etc.) can still be made and the guitar tracks added later. Similarly, if only one guitar player is available, but the song calls for multiple guitar parts, the guitar player can record each part separately, where it would have been impossible to play the lead part, the rhythm part and the solo simultaneously. We have an enormous track count capability at our studio and this helps to promote creativity and experimentation. It’s always best to record all ideas for a project so when it comes

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Location recording

We have the ability to create a professional recording outside of the studio (an example being a concert/lecture hall). One of the key benefits of a remote/location recording is that the performers will respond to the audience and won’t be as distracted by the recording/production process. Another reason for this type of recording is to capture an artist in a different acoustic space such as a church, ballroom or meeting hall. The recorded tracks will then be brought to our studio for mixing and mastering to give them that clean, polished sound.

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We have access to some amazing royalty free music and

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sound effects libraries, which can be used for audio books, music production, voice-over demos, etc. Whether you are a hypnotist recording a meditation CD with ambient, spacey music in the background or a voice-over artist who is delivering a sales pitch for a certain product that requires an upbeat, catchy tune in the background, we can provide this type of service to enhance your project.

Studio musicians available upon request

We have access to some of the finest musicians in the New York area. No matter what your style or genre is, we can provide any type of player for any application. The studio musicians will come to the session prepared and will execute near perfect takes within one or two passes, wasting no time and maximizing efficiency. We’re happy to connect our clients with the studio musician prior to the session so that all important information pertaining to the session is discussed.

]]> http://recordingstudiosnewyork.com/2013/04/30/recording-services/feed/ 0 The Long Islander http://recordingstudiosnewyork.com/2013/03/01/the-long-islander/ http://recordingstudiosnewyork.com/2013/03/01/the-long-islander/#respond Fri, 01 Mar 2013 17:48:50 +0000 http://www.recordingstudiosnewyork.com/?p=646 Check out our recent feature in the Long Islander Newspaper! They interviewed

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House Interview with Long Islander

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House Goes 2Q http://recordingstudiosnewyork.com/2013/02/04/house-goes-2q/ http://recordingstudiosnewyork.com/2013/02/04/house-goes-2q/#respond Tue, 05 Feb 2013 03:30:06 +0000 http://www.recordingstudiosnewyork.com/?p=602 Special thanks to Mike D, studio technician and audio product innovator, for hooking us up with a 2Q remote control talkback system! Now when a producer or vocal coach is sitting in on a recording session, they no longer have to reach across the main control desk to press the talkback button to communicate with the artist in the live

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have enough to focus on during a recording session and guessing when the producer, band member or vocal coach wants to communicate with the artist should not be one of them.

This is a wonderful talkback solution and we thank Mike D and the team at Techshop NY for this great product. To find out more about 2Q, visit twocue.com.

2Q Remotes

2Q Remotes

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The Electronic Nation http://recordingstudiosnewyork.com/2011/12/22/the-electronic-nation-interview/ http://recordingstudiosnewyork.com/2011/12/22/the-electronic-nation-interview/#respond Thu, 22 Dec 2011 17:23:10 +0000 http://www.recordingstudiosnewyork.com/?p=550 The Electronic Nation (T.E.N.), founded by Nicholas Cooper, is an online magazine company pertaining to the electronic/dance/house genres within the music industry. Their goal is to

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create a centralized hub for musicians and producers to congregate and discuss topics such as technology and equipment, news within the industry, shows and festivals, studio tips and tricks, etc. T.E.N. was nice enough to ask Marc Bauman, owner, engineer and producer at House Recording Studios, to take part in an interview, which will be publicized in their upcoming January 2012 edition of their magazine. The interview questions were a lot of fun to answer, as they allowed us to get introspective with our roots in the recording and music industry. Here is the interview:

1. What made you become a producer?
Answer:

“The road to becoming a recording engineer and

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a music producer started as a musician. I was very active as a drummer in my high school’s marching, symphonic and jazz band. In addition to that, I played in numerous creative side projects including musical genres such as rock, hip-hop, reggae, funk, punk, jazz and blues. After developing an ear, a taste and an aesthetic for music I became fascinated with the creative and technical end of the process. I attended Five Towns College where I majored in business management and audio recording. During that time I was building a name for myself in my home studio, working with all styles of music and honing my skills. It wasn’t long before I outgrew the home studio and started up this incredible business venture and my dream studio…House Recording Studios. Typically during a session I where the hat of an engineer (where I take control of the technical aspects such as running Pro Tools, getting a great tone, placing microphones, using outboard processors properly, etc.) and

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I also where the hat of a producer (where I give the artist creative guidance by suggesting a cool vocal harmony, or writing a catchy melody for the song or recommending

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a phenomenal studio musician to lay down a tasty lic, etc.). To sum it up, I became a recording engineer and music producer because I love being part of the creative musical process and there is nothing more gratifying for me than seeing a vision evolve into a fully produced, cohesive song.”

2.Who was your biggest influence when starting in the music industry?
Answer:

“Growing up I listened to a lot of Beatles, Yes, Led Zeppelin, Pink Floyd among other great rock bands. During the peak of my drumming days, I listened to Dream Theater quite heavily…who could deny the chops of Mike Portnoy! I also love Notorious BIG. These days I am heavily inspired by 311, Sublime, Bob Marley, Incubus, etc. I also love listening to Frank Sinatra and various pop artists such as Usher, Chris Brown, Lady Gaga, Pit Bull, etc. I think it is very important, especially as a full time engineer/producer, to be open to and appreciate as many styles of music as possible. It makes you a better, more well-rounded person not only musically, but in life.”

3.How long does it take you to make a record?
Answer:

“This really depends on the client, the deadline, the budget, the level of seriousness and dedication to the project, etc. I’ve cut albums, fully recorded, edited and mixed, spread across two, 10 hour sessions, and I’ve cut albums spread over periods of 6 months or more, consisting of many sessions and many hours. Sometimes it’s tough to put a project to rest…Even after it sounds phenomenal, it seems that it could always somehow, someway sound better. The creative process never ends and I’m always learning something new and cool about audio everyday.”

4.What is the most enjoyable part about being in the industry?
Answer:

The most enjoyable part about being in the music industry is experiencing a new musical project on a daily basis. One day I’ll be working with a high school a cappella group, the next day I’ll be working with a heavy rock band, the day after I’ll have a hip-hop artist at the studio, the next day I’ll be recording a voice over spot for a television network, etc. It’s just a treat to be working with such great, diverse projects. It is also incredible being my own boss, making my own schedule, working for myself and reaping all of the benefits of my dedication and passion for this field.”

5.What’s the feeling you get when you create a new record?
Answer:

“Creating a record is an incredibly exciting process that I get emotionally attached to. How can you not when you live and breathe a certain project for an extended period of time, working so closely with the client and your colleagues, embracing a plethora of creative ideas, etc. There is nothing more gratifying than seeing an album project come together, fully tracked, edited, mixed, produced, mastered and duplicated…it’s an involved process, but the feeling I get upon completion is indescribable.”

6.What does music mean to you?
Answer:

“Music is my religion. One of the first questions I ask people upon meeting them is “What kind of music do you like?” I feel that you can tell so much about a person by how they respond to that question. I find it mind boggling the small percentage of people who answer that question with “I don’t really listen to music.” Those people are lacking something spiritually, creatively and emotionally. Music is a universal language and the best form of self-expression.”

7.When did you start to make music?
Answer:

“I started to seriously make/produce music during my education at Five Towns College at the age of 19 or so. I was a drummer my entire life and I knew that I wanted to do music full time, but I wanted to make a career in the recording industry and not so much as a performing/studio musician. Being a musician prior to becoming a recording engineer and music producer was a critical component in helping me to better understand music in addition to much of the concepts I implement on a daily basis at the studio.”

8.Do you think “age” is a factor in creating music?
Answer:

“I do not think age is a factor at all in creating music. Some of the most talented people that I work with are the youngest and the oldest clients I have. Music moves people, no matter what the age.”

9.How hard is it to make it in the business?
Answer:

“The recording industry is certainly competitive, but I feel that any one can say that about their industry in today’s economy. You definitely must have a certain drive, ambition and passion to succeed. You can’t be deterred by closed doors. Networking is absolutely critical. I have made so many new acquaintances and clients simply by putting myself out there and meeting the right people. Thinking outside of the box about innovative and creative ways to promote is essential. Taking advantage of online marketing and social media is also extremely important these days.”

10.What’s the hardest part about creating a record?
Answer:

“The hardest part about creating a record is sculpting so many different perspectives and opinions into one, cohesive, unanimous vision. I’ve been in many situations where band members have tried to kill each other over differing views about the arrangement of a song or a vocal melody or the production, etc., and while everyone is looking out for the best interest of the song, it is important to find a nice common ground so that everyone is happy.”

11.What types of music do you most enjoy?
Answer:

“I enjoy every style and genre of music that is out there. I find that when I ask people what kind of music they enjoy, they often say “Everything, except for country.” I’m not sure what it is about country that people don’t like, but if something has a nice melody, or a nice message, or was engineered/produced well, it totally speaks to me and I get some creative fulfillment out of it. I love rock, reggae and hip-hop and when I come across a band or an artist that combines these three styles, as do 311 and The Movement, I’m in a blissful state. I also love punk, jazz, blues, and house/electronic music. I feel that every genre of music offers something unique and it’s important to be open to as many styles as possible.”

12.Do you have any advice to give for someone looking to create a career in the music industry?
Answer:

“Work hard. Make positive connections. Always be networking. Be passionate and enthusiastic about what you do. Believe in yourself, and others will believe in you.”

13.What program do you use to create music? (i.e. Logic; Abelton; ext) Why?
Answer:

“I use Pro Tools HD for all of my music production, recording, editing and mixing

needs. It’s the program that most audio school’s (including Five Towns) ingrain in their students and it’s the program that one will most likely come across in any major, commercial recording studio. I have used most of the major DAW’s out there, including Cubase and Logic, and I find that Pro Tools best suits my needs in any recording or mixing application.”

14.Where do you see yourself in the future?
Answer:

“I see the studio and I being quite successful in the future. I’ve been involved in so many incredible sessions with so many talented players in the two years I’ve been running a commercial recording studio. I can only imagine how awesome things will be 10, 20, 30 years from now, when I have that much more experience and connections under my belt. It is not as important for me to be involved with anyone famous or a big label gig (of course that would be great), as much as it is important for me to remain busy with diverse sessions and keep the House name and reputation prosperous.” Right now I am doing everything myself at the studio, from all the marketing, to the engineering, to the sales, etc. One day I’d like to potentially take on some employees to help me run some of the daily operations.”

15.How many years did it take to get noticed?
Answer:

“Despite being quite busy at House Studios over the last two years, we are still very much in the process of “getting noticed.” It is essential to be networking and meeting people at all times. I always have business cards in my pocket ready to go. I also do some heavy online marketing with my website and I get most of my leads that way. Word of mouth is huge and when you do one good job for someone, they tell their friends and it leads to the next job.”

16.How often do you work on your music?
Answer:

“Unfortunately, I don’t work on my own musical productions as often as I’d like to. The reason is because I am kept so busy working on my client’s projects. When I first started learning about audio, and I didn’t have many clients, I would only work on my own music and I had so much fun recording some of my original song ideas. It was also a phenomenal way to get acquainted with some of the audio concepts and terminology that I now use regularly. From time to time, when I have the opportunity in between client’s projects, I enjoy putting together a remix with cool a cappella’s and stems I come across, or programming a high energy dance track or catchy hip-hop track, etc.”

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Bethpage High School A Cappella http://recordingstudiosnewyork.com/2011/08/28/bethpage-high-school-a-cappella/ http://recordingstudiosnewyork.com/2011/08/28/bethpage-high-school-a-cappella/#comments Sun, 28 Aug 2011 17:06:08 +0000 http://www.recordingstudiosnewyork.com/?p=391 House Studios recently had the pleasure of working with the Bethpage High School show choir, an a cappella (all-vocal) group comprised of 15 talented, young musicians. We were approached by Marc Silverberg (the groups head musical director and vocal percussionist) with the intent to have three cover songs fully recorded, produced and mixed at House Studios. The songs were “Shark in the Water” by VV Brown (www.vvbrownus.com), “King of Anything” by Sara Bareilles (www.sarabmusic.com/us/home) and “Boondocks” by Little Big Town (http://littlebigtown.com), which were all dissected and meticulously rearranged by Marc. It is a tricky task to ensure that each element that is embodied in an original composition (guitar, drums, bass, etc.) be

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To go about recording the a cappella group, we started with the rhythm section (drums and bass) to get the basic structure in place and then we proceeded to overdub the rest of the vocal parts (tenor, alto, soprano). The vocal percussion was recorded alongside a metronome and a MIDI file was provided which contained a basic piano arrangement of the various sections. Each recording session consisted of one vocal section being present at the studio at one time (just the bass section,

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or just the soprano section, etc.), and the vocalists were recorded in groups of two. We knew that we wanted to achieve maximum isolation of not only each section, but of each voice that comprised Marc’s complex arrangement (each voice on its own track yielding maximum manipulation of every element in the mix). Each vocalist stood behind his/her own microphone in the live room. Despite them singing simultaneously in the same room (standing several feet apart), there was minimal leakage or “bleed” into the adjacent vocalists microphone. To save time, we instructed the musicians to only sing the verse or the chorus once (as opposed to singing the song all the way through), in which we were able to quickly copy and paste into a later part of the song. Two microphones were used during the making of this entire project. The first was our Telefunken AR-51 Tube and the second was our Bock U195 Fet microphone. The Telefunken ran through an A-Designs P1 mic preamp and the Bock ran through an Avedis MA5 mic preamp. Compression was used during tracking (through our Distressors) and the signal chain ended into a track in Pro Tools HD recorded at a 96k sample rate. Once the vocal percussion and the four

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main sections were set in place, the last element to be recorded was the lead vocalist.

Everyone in the a cappella show choir was ecstatic and proud of what they had accomplished at House Recording Studios. The students were enthusiastic and eager to obtain as much knowledge and creative inspiration from this endeavor as possible. For most of the musicians in the group, this was their first experience in the recording studio and we made sure that everyone had a fun, exciting experience working with us. We achieved our goal by creating a great sounding product that had a perfect balance of being moderately produced mixed with an

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authentic, live performance feel. Upon listening, one can truly make out each section that went into Marc’s arrangement. We can’t wait to work with the Bathpage High School show choir again in the future. Check out “Shark in the Water,” arranged my Marc Silverberg, performed by Erin Fowler and recorded, mixed and produced by Marc Bauman at House Recording Studios. Enjoy!

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Mike Bossy VO Session http://recordingstudiosnewyork.com/2011/02/25/mike-bossy-vo-session/ http://recordingstudiosnewyork.com/2011/02/25/mike-bossy-vo-session/#comments Fri, 25 Feb 2011 17:52:24 +0000 http://www.recordingstudiosnewyork.com/?p=364 We recently had the pleasure of working with NHL Hall-of-Famer, Mike Bossy, who came to House Studios to speak on behalf of the Lymphatic Research Foundation, a non-for-profit organization whose mission is to find a cure for lymphatic diseases, lymphedema, and related disorders. Mike played for the New York Islanders for his entire career and was part of their four-year reign as Stanley Cup champions in the early 1980s. Known for his powerful shot, he holds the best goal-per-game ratio in NHL history. Bossy is among very few NHL players who have scored 50 or more goals per season for

nine consecutive seasons.

Mike was to read three, 30 second scripts to raise awareness for this great cause. To go about capturing the sound of Mike’s vocal I used one of the best microphones we have in our arsenal, the Telefunken AR-51 Tube. I ran the signal through an Avedis MA5 mic preamp (Neve’ish type sound with its own unique coloration) with the 28k switch engaged to give the vocal nice air and presence. After the signal left the Avedis, it went straight into our Lynx

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Aurora converters/Pro Tools HD. No compression, or any signal processing for that matter, was used on the vocal whatsoever. The sound going in was warm, crisp, articulate and hi-fi.

It was a pleasure working with Mike Bossy on this project. In addition to his voice having a naturally pleasing timbre and tone, his professionalism, work ethic and willingness to be a part of this worthwhile cause was admirable. We look forward to contributing our services here at House Studios to future research foundations committed to finding cures and remedies for potentially life threatening diseases and illnesses.

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Vocal Session Rachel Margolin http://recordingstudiosnewyork.com/2011/01/18/vocal-session-rachel-margolin/ http://recordingstudiosnewyork.com/2011/01/18/vocal-session-rachel-margolin/#respond Tue, 18 Jan 2011 18:25:59 +0000 http://www.recordingstudiosnewyork.com/?p=328 At

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House Recording Studios, we have the privilege of working with a plethora of diverse, talented artists. We do not specialize in one particular genre of music and we enjoy working on any project that comes through the

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door; Be it hip hop or heavy rock or pop or jazz.

We also record college auditions for those who are applying to a serious music program at a university. We do voice over spots for major television networks and we also provide songwriting and production services in addition to our engineering skills.

One of our clients, Rachel Margolin, who is a young, ambitious and highly passionate pop vocalist/songwriter is recording an album with us at House Recording Studios. She writes deep, meaningful lyrics that are

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sung to an incredibly catchy melody. She decided to work with us because she needed a musical composition to embody her original lyrics/melodies. What I had Rachel do was practice her songs to a metronome so we could determine a comfortable tempo for the song. I also asked her to determine the key/scale information (D Minor for example). When Rachel was completely comfortable with her vocals, we scheduled a pre-production/vocal recording session, in which she sang a cappella alongside to the metronome. I now had this great vocal track in which I could create musical backing elements to surround and accompany the vocal. Some of this will be done electronically with various synthesizers/soft synths and much of it will be done by bringing in studio musicians (acoustic guitar player, background vocalists, etc.) to give her songs that live, authentic feel. We have had much success creating songs this way. It is imperative that the vocalist is comfortable singing to a constant tempo that a metronome puts forth. We will most likely have Rachel come back to re-record her vocals once the song is complete. The purpose of her preliminary vocal recording was to act as a guideline and blueprint for the full production which will be created. Here are two video clips from the pre-production recording session with Rachel. You will notice that we pride ourselves in making our clients feel extremely comfortable, as the recording process can be rather intimidating for some.

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We ensure that everyone who walks in the door has fun 🙂

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Rode NTK Microphone http://recordingstudiosnewyork.com/2010/12/02/rode-ntk-microphone/ http://recordingstudiosnewyork.com/2010/12/02/rode-ntk-microphone/#respond Fri, 03 Dec 2010 04:01:20 +0000 http://www.recordingstudiosnewyork.com/?p=319 The Rode NTK Tube microphone was the first condenser microphone I bought for my collection when I first started engineering and now, several years later, after

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the price of the NTK. One can obtain that articulate, warm, vintage, tube sound at an incredible price. The Rode has that vibe! Add an NTK to your mic arsenal and you will love it!

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DerrEsser http://recordingstudiosnewyork.com/2010/11/01/derresser/ http://recordingstudiosnewyork.com/2010/11/01/derresser/#respond Mon, 01 Nov 2010 17:59:57 +0000 http://www.recordingstudiosnewyork.com/?p=282 Empirical Labs Inc. is

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Another product from Empirical Labs that has gained popularity among audio engineers is the DerrEsser, a multi function dynamic filtering device in an API 500 series module

format. By using a Voltage Controlled Amp (VCA) to turn down comparatively high or harsh frequencies, one would use the DerrEsser to tame the sibilance in a vocal recording or soften the pick and squeaky noises on an acoustic guitar track or attenuate some of the brightness on a crash cymbal or a drum overhead track. It does so in a highly musical manner, instantly making the signal sound more analogue while inducing warmth. The DerrEsser can also be used as a filtering device, either as a LPF (rolling off the top end) or a HPF (cutting out the low frequencies). This can be a useful tool to remove certain frequencies from a signal, allowing other instrumentation to breathe more in a mix. The Empirical Labs DerrEsser is an extremely versatile tool in which any engineer could benefit from. It is also found in many mastering facilities, used as a device to soften certain frequencies in a final mix.

Check out the video we created, providing a tutorial and demonstration on the Empirical Labs DerrEsser at House Recording Studios, explaining its various functions and applications and how it has proved to be a successful tool in our audio arsenal. (http://www.youtube.com/watch?v=5kV67xR-GJ8)

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