How To Make Recording Studio – Focusrite technology helps music mixer Kenny Kaiser go from live sound to Dolby Atmos in the studio

Kenny Kaiser, who mixes front of house for The Killers and Sammy Hagar, took advantage of the COVID-19-induced time away from the road to create a new business in the form of a Dolby Atmos®-enabled Recording Studio, which operates in the same Uses Focusrite technology. He has long been trusted for his touring work.

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Working Title Recording Studios is a new music production facility in San Mateo, CA. One of the few Dolby Atmos® certified studios in the Bay Area, it was founded by Kaiser and his partner Forrest Lawrence, a renowned mixer and systems technician.

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Kaiser says mixing in the immersive, three-dimensional Atmos environment is the next step for music. “Since the pandemic lockdown, everyone is looking for new experiences,” he says. “This is here to stay for a long time.”

Along with his acclaimed mixing duties, Kaiser also brings a few other things to the company, including key components of its Focusrite RED and REDNET product catalog, such as the RED 16 line of 64-in/64-out Thunderbolt 3 and Pro Tools | HD compatible audio interface, RedNet MP8R eight-channel microphone A/D converter and RedNet R1 interface system.

He also brought an unusual but effective studio monitoring option: a full Atmos 7.1.4 array featuring installation-type CDD speakers and Martin Audio’s T-40, the same brand whose MLA line array he prefers on tour.

While Kaiser continues to work on Hagar’s current project, Circle, Kaiser and Lawrence have turned their attention to music production, commercial and corporate work at Working Title Recording, and the Focusrite team is instrumental in making it successful and efficient. “I was talking to Forrest and I said we could run a mic line over Mogami XLR cabling for $180, or we could get 128 channels on a thousand feet of Cat-5 cable for a fraction of that,” He adds how La Dante® networking and Focusrite products completely cover the facility’s two control rooms and four monitoring/recording locations. “And we don’t have to drill as many holes in the walls. Between the cost savings and ease of connection, going with the Focusrite interface makes total sense.”

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Kaiser says the Red 16 Line units have become the preferred converters in the studio and act as I/O between mic preamps and Pro Tools systems in the studio and the SSL Sigma console in the recording room. Key Controls The MP8R is moved around the facility on its own rack as needed. “We have it as a floating mic pre for four recording rooms: two regular live rooms, a load room that we also use for tracking, and a front room that we use for guitars or if We have someone who has a small upcoming project,” he explains. RedNet R1 is used as part of the Mobile Remote Production Suite.

From Kaiser’s perspective, Focusrite technology provides working title recording studios with a flexible and reliable digital ecosystem that allows those in the studio to focus on creativity. “For example, I’m able to paste what I want to paste and it’s all on one screen,” he says. “And the Focusrite Mic Press sounds great. I’m a big fan of it. Combine that with what Atmos can do with music: we’ve done about 15 demos with artists and labels and we’ve seen two people cry When they hear this, and it literally gives you goosebumps. It’s amazing. And Focusrite allows us to do that. Putting the infrastructure in place with the analog or traditional way of thinking about it is three times more Would have been expensive. The fact is being able to get these units and not have to worry about conversions, just plug in a Cat-5 cable and get to work, saves a lot of money and time.”

Coupled with Martin Audio speakers, which Kaiser says are suitable for Dolby Atmos SPL and EQ curve specifications, Working Title has what it takes to be competitive in a recording studio, and the holes in the wall are very small.

3D Audio Sound 3D Abbey Road Allen & Heath Alley Paley Analog V Digital Audible Berlin ISM Countryfest Develop Digital Audio Denmark Digital Edition Dubbing Ed Sheeran Hackney Harman Headphones James Ford JBL Professional John-Delph Masterclass Mics Exeter MusikMesse Plug-In Plymouth University Presonus Professional Audio Projection PSEurope Rental Rivage Royalties Sadie Se Institute SDVO Sound Technology Spatial Audio Home Steinberg Studio The Upper Deck Update Weil Associates Vertigo Sound View Audiotechnica Well, I’m back with the second installment of Building a Recording Studio. If you missed Part 1, don’t worry, you can find it here

How To Make Music

I hope you find this post as beneficial, if not more, than Part 1. Please feel free to leave comments, suggestions, and/or concerns. So, without any further ado, let’s start from where we left off.

You need a good workstation (desk) to organize your tools. Now, as much as I love ordering online, I go to the store (Guitar Center) and set up all the gear I have (or something close to it) on the desk, just to see how it fits, What does it look like and if it will work for me.

I know, this may sound extreme and upset some people, but who cares? It’s your future, it’s your investment… make sure the equipment you plan to invest in works for you!

I have always liked the workstations made by “Studio RTA” and “Studio Trends”. You can find many of their desktop sets at your local music store.

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When choosing a MIDI controller, you want to make sure that the controller feels good to the touch. Some people find the MIDI controller to feel like a real piano and some people do not. Personally, I like the synth action and semi-weighted controller more than the fully weighted keys.

The MIDI controller I’m using right now is an AKAI MPK49. I have heard several people claiming that this controller has a key malfunction (one of the C keys breaks easily). I’ve had an Akai MPK49 since 2008 and it works as good as it did the first day I bought it (flawlessly).

In addition to the MIDI controller feeling good (while playing), it should also have these features: at least 49 keys, pitch wheel, mod wheel and it should be velocity sensitive – velocity sensitivity is a must!

Now I want to say that a MIDI controller shouldn’t have 49 keys, (get the one you can afford) but if you plan on playing a lot of chords then that’s what I recommend, versus having 25 keys. There is more flexibility. controller

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There are more, but again, I’m only listing what I’ve personally used. I limited this selection keeping the budget in mind. I wouldn’t mind controllers that have a lot of bells and whistles, but if you have the money and think it will benefit you, then by all means go for it.

I remember I was in a studio session with a client (bassist). We had 2 hours to record and 3 hours to deliver the project (this is not a good space).

During the recording session, an audio cable was shorted. It’s no big deal, it happens from time to time, but the problem was I didn’t have any other cables. I got scared, looked around… no luck. I told the session player that I would have to run to RadioShack and get another cable.

She reached into her bag and pulled out something and said, “Always have a backup.” It sounds trivial, but it saved me a lot of what would have been a 45-minute round trip from the nearest hole-in-the-wall radio shack (and that’s in decent traffic!).

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I wouldn’t recommend spending any ridiculous amount of money on cables. I’ve seen people spend $200-$400 on simple cables, and honestly, I can’t tell them apart from the standard Monster cables.

Another problem I faced was the absence of connectors, which are useful for connecting and rooting external devices. It’s always good to have RCA, 1/4, XLR connections/converters, you never know what trouble you might run into.

I can never emphasize this need enough. I don’t care how long you’ve been recording or how solid you think your computer is, you’ll never be immune to hard drive failure.

This is the number one thing that will make any songwriter/artist or studio owner cry. There’s no excuse for not having work backed up on multiple devices. 1TB drives cost between $70 and $100, flash drives are much cheaper, and CDs are much cheaper. Follow my advice and make sure you have a backup of your work on at least 3 different devices.

How To Choose A Recording Studio

If you are charging people for study time and you lose their job, they will be sued and they will win. Its loss is not good.

I would have mentioned this next to “mic selection”, but I decided to go with the more modern/wider selection of features/value for money (audio interface).

I like dedicated mic preamps (channels) because

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