A little trip down memory lane of some of the recording equipment I have used and people I have worked with over the years…
Arion Metal Master Guitar PedalAvalon 737sp preamp and compressor plus Universal Audio 1176U87 microphone and Avalon 737 preamp in the booth at Jonathan Slatter Music StudioMackie D8B Digital Mixing DeskMackie D8B Digital Mixing DeskHHB Professional Portadat PDR-1000 Portable DAT …Jonathan Slatter in the control room early 2000s with Mackie D8B1993 and we go digital with SADiE£7k+ for a 2 in 4 out DAW in 1993!1JS in studio in Devizes circa 1995, TSR8 8 track to the right, editing the Akai S1000 samplerMy studio in parents’ house 1989 with the amazing Korg M1, Yamaha Cassette 4 track and Tascam 32 1/4″Pic for local paper around 1990 with Tascam 32 and TSR8 8 track on the piano in front of meVoice artist Kate Parker recording voiceover in the boothKorg O1W Expansion Sound CardsPanasonic UVW1800 Betacam SP Player RecorderSADiE 24/96 8in8out Digital Audio Workstation with Exabyte tape backup and CD-WriterTascam DA38 8 track digital multitrackerTascam DA88Tascam 848 Remote Control for DA38/DA88Tascam 32 1/4″ tape recorderVoiceover booth with Neumann U87 and Avalon 737spNatalie editing with SADiE in Devizes top floor studio circa 1996The Lomo 19A19 Microphone from RussiaSoundcraft Folio Mixer for routing ISDNBeyer 201 DynamicThe DT100 Headphones by BeyerHuey Morgan in the studioLaura working on radio ads circa 2006 with a Mackie analogue mixer, Yamaha NS10Ms and the Prima 120 ISDN Codec & Remote dialler which did about 25 years service. Her Talkback mic is an AKG451. Oh and a fax machine…
Making Sound Effects
Aside from music and radio production I’ve always really enjoyed recording sound effects, especially nature sounds – and even more especially the sound of the sea. This was in many ways because in the early days, when I was working from my parents’ house, I had no money, so when making radio adverts, if I needed sound effects I would go out and record them myself rather than buy them. In those days I recorded with my one and only microphone – the amazing Beyer 201 dynamic and a Tascam 32 1/4″ tape machine. So where I could to record was really restricted to the length of the microphone cable…
Beyer 201 Dynamic Microphone
In 1994 I purchased a Sony stereo mic and a Teac Portable Dat Recorder, the DA-P20, which I took to the US to record the ‘Sounds of New York City’ in September of that year.
How to tighten the timing of audio in the Reaper DAW. Using stretch markers to improve the playing and timing of a recorded piano piece.
Recorded on a 1930s Berlin built Steck upright piano to a click track. By adding Reaper stretch markers to the main transients you can move parts of the recorded audio to tighten up the timing to the grid or beat.
To manually add a stretch marker place the cursor where you want it to go on the wave form within an item – usually just before transient (highest / loudest part of the waveform) and click while holding down option/alt and cmd/ control. To remove a stretch marker – option or alt click it.
Chapters: 0:00 Introduction 0:47 Adding stretch markers manually 3:33 Snapping stretch markers to the grid (remember to set the grid up as you need) 4:12 Using Dynamic Split (D) to create stretch markers on transients automatically 7:16 Fixing the warble and artifacts 7:58 Changing the algorithm used by Reaper for time stretching https://www.yopo.co.uk
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