Without further ado, the winners are…

Grand Prize Winners Taylor Bray, Jeff Braun & Grant Hartford (L to R) of Middle Tennessee State University with Shure associate Ryan Smith. Faculty advisors Michael Fleming & Bill Crabtree not pictured.

GRAND PRIZE WINNER: Middle Tennessee State University
Student team members: Taylor Bray, Jeff Braun, and Grant Hartford
Faculty Advisors: Michael Fleming and Bill Crabtree
Song Title: “Falliday”
Composer: Rebecca Roubion
View the Project Log (PDF)

RUNNER UP: New York University Clive Davis Institute of Recorded Music
Student team members: Jacob Blumberg, Spencer Doren, Phoebe Ryan, Vaughn Sulit, and Damian Wiseman
Faculty Advisor: Jim Anderson
Song Title: “You Won’t Be Alone”
Composer: Phoebe Holiday Ryan
View the Project Log (PDF)

HONORABLE MENTION: Delta State University
Student team members: Laeitta Wade, Travis Calvin, Mathew Coleman, Horace Willis, and Curtis Nunnery
Faculty Advisor: Mike Iacopelli
Song Title: “Now What Do We Do”
Composer: Tricia Walker
View the Project Log (PDF)

We were so lucky to have the following recording industry veterans serve as judges of this year’s competition:

• Ken Caillat
• Leslie Ann Jones
• Dave O’Donnell
• Keith Olsen
• John Paterno

A huge thanks to them! Thanks also to the seven other competing schools, who submitted admirable work:

• Clemson University
• DePaul University
• University of the Pacific
• New England School of Communications
• Tribeca Flashpoint Media Arts Academy
• University of Miami Frost School of Music
• William Paterson University

Visit shure.com next fall to learn more about the annual competition, which challenges college students in audio education programs to make the best recording they can using only Shure gear.

Pete has the band dialed in nicely. The drums sounded thunderous with a Beta 98AMP on the high tom and 2 SM27′s on the low toms.  On the guitar amp, Pete’s using the SM27/SM57 combination that cuts through and is in your face.  Sitting on top of it all is Luke’s Chrome plated SM58 wireless.

The crowd was ready for Luke and he gave them all that energy right back.  He didn’t stand still the entire show, working every inch of that stage for his hour long set.  He’s got several hits out and the crowd knew every word.

I can see Luke headlining later this year or early next year.  He connects well with his audience and he writes songs that speak to them. Keep up the great work Luke!

Ryan

January 19-22, 2012
Anaheim, CA – Anaheim Convention Center

From our new products, awesome booth and even more awesome Shure staff, we had an amazing 4 days.  We even brought in some of the most recognized names in the music industry to sign autographs and perform in our booth.

The very first day, Thursday, we had producer/engineer Ken Caillat in for an Q & A about his experiences with Shure products and more.  Directly after that, his daughter Colbie Caillat jumped onstage to sing and then signed autographs for fans.

Following Colbie was a new group from the southern California called The Makepeace Brothers who sang a few short songs for a host of attendees. They had great 4 part harmonies and have performed with endorser Jason Mraz in the past.

After the show closed for the day, a few of us made our way over to the Hilton for the 3rd Annual Worship Night which Shure has been a part of since the beginning.  Israel Houghton & New Breed opened the show and endorser Lincoln Brewster closed it out.  It’s always great to see this event well attended.

Friday’s lineup was pretty stellar!  It kicked off with Heavy Metal group Meshuggah who were followed by Lincoln Brewster.  After that, Alice Cooper showed up and were immediately followed by Korn.  Two humongous lines encircled the booth for both acts…it was quite a site to see.  Jonathan Davis, “Fieldy”, and “Munky” all came to greet fans.

Following the close of Friday in the booth, I was invited by my contact at Meyer Sound to be a guest at their table for the TEC Awards where Shure won for 2 new products – The Beta 181 side address condenser microphone as well as the PGXD  Digital wireless systems. Meyer also won an award for their new MINA sound systems.  Congrats to all the TEC award winner!

Saturday, the one and only Rob Halford or Judas Priest, a longtime Shure user came in to sign and stayed past his allotted time for fans.  Following Rob was a new group called Dawes who sang a couple of songs and then signed.

Many other artists stopped in to say hello including Sheila E., Sinbad, Herbie Hancock, drummer Steve Smith, Richard Patrick of Filter, drummer Kenny Aronoff, and many more.

It is so awesome to have so many great new products to show everyone this year !  We have such a knowledgeable and engaging staff that love taking people through our products.  Keep visiting this blog as well as our main website for more details as the year goes on.

Enjoy the pix!

Ryan

Joe and lzzy from Halestorm

Artist Schedule 2012

Colbie and Ken Cailet

Colbie Cailet Sings

Korn at the Shure Booth

Lincoln Brewster Performs at Worship Night

The Makepeace Brothers

Lincoln Brewster Signs at Shure Booth

The Line for Rob Halford

Paul Jackson Jr.

Hannah Ford and Nik West

Ryan Smith with J. Devil

Now that I hit my stride, I was ready to emcee again at the Wildhorse Saloon for the Nashville Regional Finals.  I was pleased to see an enthusiastic crowd show up to support these artists.  First up was The Specktators from East Lansing, MI.  Quite a drive for them!  Taking the middle slot, from Atlanta, GA was Nick Edelstein.  Finishing out the evening was local artist Ingrid Salas and Black Shadow.  The Nashville Regional winner was Nick Edelstein.  Congrats to all the bands for getting this far!

Our Special Thanks go out to the crew at all of the venues who were extremely helpful!  We love working with all of you!

Ryan Smith

After a very successful NAMM show in Anaheim, I traveled north to hanging out in LA for a few days, awaiting the kick off of the Shure Give It Voice tour.  The first show would take place at The Roxy Theatre.  I had a blast being the emcee for the evening and working up the crowd.   The first band to win a performance slot for the evening was The Internet.  They were followed by Daniel Durrett, who travelled over 6 hours from Northern California to compete and finally, Captions.  It was a very close vote, but in the end, it was Captions who advanced to the final round of voting.  New Shure Endorsers Domenica was in the crowd as well as a quick visit by endorsing drummer John “JR” Robinson.

Ryan Smith

Billy Ward: Touring and Recording Drummer’s Drummer

Multi-Pattern Mics and More
He’s worked with everyone from Yoko Ono, Robbie Robertson and Joan Osborne to jazz artists like Bill Evans Supergroup, Living Time Orchestra and Leni Stern while finding time to produce Big Time, an instructional DVD, his way cool Two Hands Clapping CD, and Inside Out, a compilation of his “Concepts” articles from Modern Drummer magazine.

According to one reviewer, “Billy Ward must munch on a steady diet of hipness pills. Everything he plays just sounds so cool.”

So, here it is. Ten minutes with the master.

Recording or Live Performance?
Recording, mostly

Gig
Drummer/producer

Years in the Business
30 lives

Where
New York City

Miking Application
Drums

What I Learned
There are many ways to skin a cat. Everybody has their secret ways to mic a drum kit, but in the end, there are no “across the board” rules because there are so many factors in achieving a successful drum sound on tape.

The room is the biggest factor, which is usually overlooked by inexperienced engineers. Then, of course, there’s the tuning of the drums and the drummer’s touch. Geoffrey Daking once pointed out to me in an article for Modern Drummer Magazine: “You can take six drummers in the same room with the same drums and mics and you will have six different drum sounds.”

Personally, I always encourage younger, budding engineers to get mics that have different patterns available (such as the KSM44 and KSM141 series mics). A figure-8 pattern (like in the KSM44) is tighter – like two hypercardioid patterns. If you are doing a multi-tom setup, placing the KSM44 for two toms is a great solution. Everybody knows that more mics are bad – they create a phase party! So that’s one solution for live or studio application.

For studio, when the room is sonically accurate or safe, omnis are so underrated! The KSM44s in omni are a wonderful snapshot of the drums.

As is the case with any drum miking, it’s best that the mics are at equal distance from the snare drum (and the bass drum too, if possible). The KSM series is understated – it’s non-hyped in the top end. Very mixable. The sounds sit within any setting because there is nothing false in the top end.

An experienced engineer will appreciate the choices that are available and the novice can learn from the huge differences in sound and EQ that come from a different pickup pattern.

Knowledge is truly power and the KSM series enables the user to have multiple patterns at a reasonable cost. Switchable patterns R U L E!

Shure Notes readers can keep up with Billy, check out his music, sharpen percussion skills with his book and DVDs and even – yes –join the BWSS (Billy Ward Stalking Society) by purchasing licensed gear that includes everything from coffee mugs to thong underwear at www.billyward.com

Raz-Man Jeff Rasmussen: Michael McDonald’s Main (FOH) Man

Jeffrey “Raz” Rasmussen ought to know a little something about mixing sound. He’s been at it for a good two decades now and has been the man behind the controls for about as diverse a group of artists as you can imagine: Rick James, LL Cool J, Oingo Boingo, Prince, Leann Rimes, Brian Setzer Orchestra, Tony Toni Tone and more recently, Michael McDonald. You get the idea. He’s a pro.

We asked Raz to weigh in with a problem and a solution.

Recording or Live Performance?
Live and Studio

Present Gig
Currently FOH engineer for Michael McDonald

Years in the Business
20

Lives In
Hollywood, CA

Challenge
Miking McDonald’s vocals was a problem since Michael’s wedges can reach up to 118db, which tends to really color the FOH sound.

Solution
Shure’s KSM9 has incredible rejection of background noise. The KSM9 really isolates Michael’s voice and allows me to get a natural tone. I tried a lot of different large diaphragm condenser mics. The KSM9 was the only one to offer this performance.

The Path That Took You There
Ryan Smith of Shure told me about the KSM9. He asked me to try it. I loved it right away.

He came to a rehearsal where both of us listened to McD’s voice soloed up in the headphones. Neither one of us could believe how much isolation the KSM9 was providing with such high monitor level. Not to mention that the tone was fabulous, too. Bravo, for the Mylar diaphragm! I also use KSM32s for overheads, but I place them equidistant from the drum kit and make sure that they are in the same phase plane. This eliminates any swishy, phase shifting sound when the cymbals are struck.

Drums

Snare: KSM27, SM57

Kick: SM91 (Editor’s Note: This product is discontinued. See Beta 91 or Beta 52 for other kick drum miking recommendations.)

Hi-hat: KSM137

Toms: Beta 98

Wood Block: Beta 98

Overheads: KSM32

Guitar: KSM27

Vocals: KSM9, SM58

Choir: KSM9, KSM32

Flute: KSM9, KSM32

Leslie
(Low): KSM27
(High): SM57

Shure Notes thanks Raz for stepping away from the mixing board long enough to participate in this issue.

Tree House: Dave Catching & Rancho de la Luna

Whether you call the genre acid rock, space rock or stoner rock, you are likely to know Dave Catching, a Memphis-born, former New Orleans resident, who, along with the late Fred Drake, founded Rancho de la Luna. An accomplished guitar-player with a long list of credentials, Dave has worked with Queens of the Stone Age, Mondo Generator, co-founded earthlings? and is presently touring with Eagles of Death Metal.

Our Shure Notes mission was to plug into some handy tips for creative miking. What began as that discussion quickly became an exploration of the elements sometimes required for musical creativity. It’s what some call the “Place Concept”. For Dave and a legion of other West Coast players, that place is Rancho de la Luna in Joshua Tree, California.

Recording or Live Performance?
I do both actually, and I do a lot of both.

Let’s talk about the studio, Rancho de la Luna.
It was founded by Fred Drake in 1993 (who died in 2002). He found the house and contacted me about starting the studio. A friend of ours was selling a bunch of studio equipment and we bought the gear from the guy. Within a week we had a board and a 24-track one-inch machine and a 16-track half-inch machine.

Then, Mark Howard who engineers for Daniel Lanois, stopped in a few days after our gear had been delivered to ask if it was cool to move his studio into the house for about six months. He didn’t expect to be recording here for more than two or three weeks – so we had the gear for sessions, or for our own stuff the rest of the time. Strangely enough, Daniel was Fred’s favorite producer so it worked out pretty well.

Rancho de la Luna, of course, is where The Desert Sessions are recorded.

Let’s talk about what makes this place so unique.
This is a little house in the middle of the desert. It’s not big and it’s not fancy. But it’s got a very good vibe. We don’t have state-of-the art equipment (except for microphones, of course) and it’s really kind of low-tech.

We do “The Desert Sessions” just about every year with an amazing group of musicians who have never met. It’s run by Josh Homme, a good friend of mine (from Queens of the Stone Age) and we all collaborate.

Since this issue is about creativity, let’s talk about the process or maybe, more appropriately, the magic there.
We have a ton of really strange instruments that we either get at swap meets or someone gives us. We collaborate in strange ways – maybe over dinner where someone has an idea and someone else adds something to it. We’ve been doing it once a year or maybe twice a year since 1997, but now that everyone’s been busy playing, we do it on a less regular schedule.

The place itself really influences the recordings. In the Desert Sessions, we’ve had everyone from Josh to PJ Harvey to the guys from Soundgarden. In L.A., people would be saying “you know, there’s a party” or “my girlfriend’s stopping by …” but out here, there’s none of that. People are more focused, the skies are wide open and you don’t sit in a windowless room all day. There are mountains outside and cactus to look at. Instead of being in the control room or the tracking room, you can sit by the fire pit and if you have an idea, we’ll run a mic out there where you can hear wood crackling in the background. We lay it down immediately. People get inspired by that.

Sounds like an experience that will free some and paralyze others.
If the equipment malfunctions, maybe it sounds different and cool. That encourages people to approach things differently. earthlings? was spawned partly by us having crappy gear. Our albums are kind of weird sounding because we discovered that ‘Hey. Maybe the keyboard’s broken, but it sounds really cool. Let’s throw it on tape.’ I thin k that might’ve had something to do with Josh doing Desert Sessions because he liked the way Fred and I worked. Nothing stopped us.

This is a great place to create and write. The best place I’ve ever been. There’s just something about the vibe and it’s reflected in what’s been recorded here.

We know you use unorthodox instruments and kind of sketchy gear to capture that musical moment. What about microphones, though?
We have lots of Shure microphones. It started with my next-door neighbor who does sound for Queens of the Stone Age, then with Eagles of Death Metal, then the studio.

The (SM)57 is the greatest microphone that’s even been manufactured and I mean that. Right now, it’s on a guitar amp, it’s on the snare on top and bottom, and it’s on the bass amp. I have lots of other microphones but it sound great on guitar and drums, always. And it’s sexy – Robert Plant holding a SM57 – it doesn’t get much sexier than that, does it?