Q: "Why is the signal from my microphone low in level and noisy?"
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The new battlefield in the loudness war?
"There is background noise in my studio. Should I use a noise-reduction plug-in?"
Even the best sound engineers in the world can't be trusted - apparently
Fixing a problem note with Auto-Tune
Recording acoustic guitar in stereo - should you use spaced or coincident mics?
Recording a cymbal from different mic positions (with audio)
7 important microphone types that you should know and the benefits of each
The professional way to make sure your mics are connected correctly
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About Aldo Caballero
I got my Bachelor in Music with a minor in audio technology in the USA, so musicians know this might be a better option than going with the tech whose day job is a construction company. This is all I do, and it's doing wonderfully. When you come to the studio, you know that you're renting quality stuff, and plus you get a decent engineer (myself) who loves music, and studied almost every aspect of what you're trying to make: music.
I currently own (recording-wise) a Digidesign 003 rack, a Neve 1073 DPA dual microphone preamplifier, a pair of pre-API Melcor GME 20 EQ's, an old Aphex Aural Exciter and a ton of plug-ins (the gear you saw on the picture was borrowed just for the pic). This approach hasn't let me down so far, although I'm planning on modding the 003 into a Black Lion Audio Signature 003, and getting an extra pair of Neves and an Avalon tube preamp this year. I chose this equipment after thorough research, personal use when running for different studios, and the flexibility and modular use I can put these things thru.
Studio Bolo control room
I only use a few mics which give me all the colors I've come to like: Shure SM57, AKG D112, ElectroVoice RE20, Neumann KM184s, Neumann TLM103 and a vintage Neumann U67. I'm planning on getting a really good ribbon later on, although very rarely do I work with brass instruments. When looking for mics, I tried to get different flavors which could be mixed together and form a broader palette to work with. It's funny when you're about to track a lead singer and you first try every mic in order to hear what's the most appropriate for the task, and it totally blows your mind checking how different a voice can sound thru each microphone.
I've been a minimalist since I started my recording journey, and with this equipment I rarely have to pass on a prospective client when planning the recording process. I chose this set up because I wasn't gonna waste thousands of dollars on controllers, which are to my opinion, nothing more than giant mice, and add nothing to the sound. I'd rather buy one really good preamp than go for a dozen of cheap ones. And the outboard EQ's I use are for tracking with them, saving me some time when mixing a song.
Studio Bolo's work
I like flexibility and the opportunity of being able to learn for various points of view. This is why I'm open to all genres and projects that I can accommodate in the studio (been thinking of renting the local theater if faced with an opportunity to record something much larger like an orchestra or a really big choir).
In the studio we've had Heavy Metal, Pop, Rock, World, Blues, Folk, etc. But most of our clients are Christian artists, and voice over and radio advertising projects.
When people come into the studio they can hear recordings of all types made here, and they know that, albeit the studio has been around for less than a year, we take pride in our responsibility, versatility, and quality.
The studio business in Mexico
The studio business in Mexico is flooded with lot of crappy home studios, with cocky engineers and no creative freedom; most of which produce but expensive stressful lo-fi demos. My studio is not the largest around, but I've focused in my niche (good quality, above-average price), and little by little the word of mouth is spreading.
Studio Bolo's vocal booth
We used 4" thick sound absorbent foam so that we could record loud amps and singers, without having to worry about most reflections (when using a lo-cut filter). The singer can be 2 inches or 2 meters away from the mic, and you don't get harmful reflections (yes, it's a beauty recording vocals or audio books in here).
The live room is also fairly dead, with a very large window to mock the "early reflection" game when having a bare floor (there's carpet in the live room floor). Since very rarely do we record jazz or classical music, and we were constrained with the size of the room, we chose to kill most reflections, and add great quality reverb later on (it's not the perfect approach, but has worked surprisingly well).
I've been experiencing with little changes in every session I have, and mixing with different approaches every time, and I've found this is a fun and fulfilling career that I wouldn't change in my whole life.
Bolo music production studios (TM)
Mexico cellular: (686) 945 9292
USA mobile: (213) 259 5309
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