Tag Archives: telefunken

Podcast Audio Compression—How and Why with ‘Eric Krasno Plus One’

Eric Krasno, a studio-savvy professional musician, talks shop with artists and producers like Don Was, Dave Matthews and John Mayer on his music podcast.
Eric Krasno, GRAMMY-winning producer/songwriter and member of funk/jazz trio Soulive, talks shop with artists and producers like Don Was, Dave Matthews and John Mayer on his music podcast.

When producer Matt Dwyer sits down to mix and master an episode of the podcast Eric Krasno Plus One (Osiris Media), his ears are searching for the sweet, compressed sounds he heard on the airwaves in the 1980s.

“I grew up in the era of great FM radio,” he says, “so I have in my head these amazing-sounding FM radio voices from the Eighties, really smooth-talking people without much variation [that] come through loud and clear wherever you are.”

Achieving that aesthetic can be a challenge, he says, especially considering the variety of input sources he encounters on the podcast. Krasno, a GRAMMY-winning producer/songwriter who talks shop with artists and producers like Don Was, Dave Matthews and John Mayer on his music podcast, tracks with a Telefunken AK-47 mic and a Universal Audio LA-610 preamp. But his guests’ audio can be a wild card.

“Primarily, we’re doing [interviews] over FaceTime,” says Dwyer, “and then he’ll feed the audio back into Ableton. We’re trying to get guests to record themselves locally and then send the track to us, [but] we try to make do with the remote audio the best we can.”

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Passing the files over the internet adds some initial compression, but Dwyer doubles down to tighten them up before sending the tracks through a limiter and boosting the gain. “It’s a lot different than producing music, because you want a really steady sound from the voice with very, very little dynamics,” he says. “People are listening to these things in their car, in the gym, and you want to serve the conversation rather than focus on an audiophile experience.”

Dwyer has a reliable formula for equalizing the tracks, and there’s a night-and-day difference between how he handles the audio sources. The audio files he gets from Krasno and his guests are often adjusted in opposite directions.

“Eric has a nice, deep voice, so I’m doing a lot of rolling off of the low end, maybe around 200 Hz, to take a little bit off the low end so it’s not so boomy,” he says. “To the contrary, if I’m looking at a FaceTime recording or something like that, I’m probably boosting a little bit more in the mid-range, maybe like the 400-800 Hz range, because you don’t get as much of that coming into those recordings.”

"You want serve the conversation rather than focus on an audiophile experience,” says producer Matt Dwyer.
“You want to serve the conversation rather than focus on an audiophile experience,” says producer Matt Dwyer.

Dwyer doesn’t impose a heavy hand in the mastering stage, he says. His primary concern is to bring out an overall frequency shape if he didn’t get it in the mix, and to work on loudness.

“When you’re talking about podcasts, especially when you’re going to get into a platform that serves up dynamic ads, you’ve got to be very conscious about your loudness measurement. For example, with the platform we’re on, all the ads are served up at -16 LUFS. I try to master for an average of -16 LUFS, and do kind of a QA inspection of the overall file.”

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As a confessed music fanatic, Dwyer can be hyper-critical of albums that come out with “squashed and poor dynamic range,” he says. Podcasts, he recognizes, are a different beast.

“The unfortunate nature of the podcast space,” he says, “is that the end result is going to be a 128 Kb MP3 that people are going to get served up. You have to keep that in mind, particularly in the mastering stage, and make sure that it’s going to sound varied to somebody streaming it to their phone coming through their earbuds. It’s a lot about problematic frequencies and making sure that the loudness is intact and where we want it to be.”

Eric Krasno Plus Onehttps://www.osirispod.com/podcasts/eric-krasno-plus-one

Original Resource is ProSoundNetwork.com

Telefunken Launches TF11 Microphone

Telefunken TF11 Microphone
Telefunken TF11 Microphone NICHOLAS SONSINI

South Windsor, CT (September 23, 2020)—Telefunken Elektroakustik has added to its ongoing Alchemy Series of microphones with the introduction of its new TF11, the company’s first large diaphragm phantom-powered condenser microphone.

The TF11 microphone’s sound reportedly draws inspiration from a number of notable mics in the past, with mic designers aiming to provide a voicing similar to an AKG C12 mixed with modern FET performance. According to the company, the TF11 provides quick, accurate transient response, high SPL handling, and low self-noise.

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Drawing from circuit elements employed in other Telefunken models, the CK12-style edge-terminated capsule is a single membrane version of the capsule featured in the TF51. Meanwhile, the amplifier is a proprietary take on the FET mic amplifier similar to the M60, coupled with a custom large format nickel-iron core transformer by OEP/Carnhill made in the UK. The mic’s through-hole components include UK-made polystyrene film capacitors, Nichicon Fine Gold electrolytic capacitors, and a high-performance, ultra-low-noise JFET amplifier.

Intended for use in the studio or in a live-sound setting, the TF11 is hand-assembled and tested in the U.S., and is available as a single mic (MSRP $895.00), or in matched stereo sets.

Telefunken Elektroakustik • www.telefunken-elektroakustik.com

Original Resource is ProSoundNetwork.com

Peek at All-Star Damian Lillard’s Mini-Studio Inside the NBA Bubble

Five-time NBA All-Star, Portland Trailblazers point guard Damian Lillard has a second career as rapper Dame D.O.L.L.A.
Portland Trailblazers point guard Damian Lillard has a second career as rapper Dame D.O.L.L.A. Frenchieinportland/Creative Commons

The NBA is back in action despite the COVID-19 pandemic, with 22 teams living and playing within ‘The Bubble’ of Disney’s Wide World of Sports Complex as they complete their season. Living in lockdown has left some with little to do other than play, but five-time NBA all-star Damian Lillard has been putting his downtime to good use, recording in his hotel. Waxing lyrical is not a new passion for the Portland Trailblazers point guard, who has recorded as rapper Dame D.O.L.L.A. for some time.

Now, having posted a photo of his mobile recording set up on Instagram, we can take a look at what he’s using to capture those tracks inside The Bubble.

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Live from the Bub… #JustTurned30

A post shared by Damian Lillard (@damianlillard) on

Capturing Lillard’s flow is a Telefunken-Elektroakustik ELA M 251E large-diaphragm tube condenser mic—not an impulse purchase at $9,495 list price, but given that he’s expected to make just shy of $30 million this year, he can probably afford it. That mic is perched atop a Gator FrameWorks GFW-MIC-0821 compact base bass drum and amp mic stand.

Next stop is the Universal Audio Apollo x4 Thunderbolt 3 audio interface, which in turn is sending everything to Avid Pro Tools on an Apple MacBook Pro. Keeping that laptop connected to something via a Cat 5 cable—let’s guess it’s hotel internet—is a J5Create JCD383 USB-C multi adapter.

Last and realistically least, the hard-to-see headphones leaning against the Apollo x4 aren’t high-end cans but rather a Sony PlayStation platinum wireless headset—which means Lillard is probably games for fun when he’s not, you know, playing games for a living. On the other hand, it’s always a good idea to hear your tracks the same way the eventual listener is going to, so having a set of down-to-earth consumer ‘phones around isn’t a bad idea actually.

Those headphones are crucial, however, as he pointed out to the Associated Press, noting, “I saw people saying that there would be complaints of him recording music, but I don’t have any speakers. Everything is in the headphone speakers. I’m rapping out loud, but not screaming to the top of my lungs. Nobody is going to hear me rapping.”

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Damian Lillard's latest singlePerhaps neighbors won’t hear him rapping in his hotel, but more and more people are hearing him in the outside world. Hip-hop is more than just a hobby for Lillard, who aspires to have dual careers in basketball and music, much as actor Donald Glover has a separate occupation as Grammy-winning rapper Childish Gambino. June saw Lillard drop two tracks—“Goat Spirit” with Raphael Saadiq, and “Blacklist”—while July found him releasing “Home Team.” He’s also worked with the likes of 2 Chainz and Lil Wayne in the past, the latter of whom he performed with during this year’s NBA All-Star weekend. With NBA players not allowed outside The Bubble until their season ends, who knows how many tracks Dame D.O.L.L.A. may leave Disney with?

Original Resource is ProSoundNetwork.com

Doshi Audio EVO Series Tape Head Preamplifier | Review

I had a fantastic time putting the most excellent Doshi Audio Tape Head Preamplifier through its paces. This latest version, labeled the EVO series, has some improvements over the previous Tape Head Preamplifier 3.0 series, but permit me to reminisce a bit first… A Long Time Ago In A Recording Studio Far, Far Away Sitting behind an enormous API console as I peered through the glass to watch the musicians in the tracking room, I heard the last bit of decay from the final chord and cymbal crash fade to silence. I hit stop, then the rewind button on the MCI JH-110 2” 24 track machine. I mashed the talkback button and asked the band to come in and hear the take. When all were gathered in the control room, I hit play. It was a big sonic letdown. In different situations, the disappointment was sometimes extreme, sometimes minimal and on a few very special occasions, I felt the playback actually had an enhanced quality. But it was NEVER the same as the input. Sure, the music and performances were many times excellent and captivating, but why wouldn’t the tape deck serve up all that goodness that I heard going to the [...]

Original Resource is Part-Time Audiophile