http://www.doghouseNYC.com Music Production and Recording en-us http://www.doghousenyc.com/favicon.ico http://www.doghouseNYC.com 16 16 http://www.doghouseNYC.com/reel/index.php Our Commercial Reel is now online for you to view including works for clients such as Western Union, Volkswagen and more. http://www.doghouseNYC.com/articles/pianosample.php Get ready for the Doghouse NYC's new piano instrument for EXS. Eighty-eight keys times eighteen velocity layers times three dynamic layers times two interns, a piano tuner, temperamental DAWs, the change of seasons, and one broken keyshaft on our Mason and Hamlin piano equals a whole lot of convolution - all the more satisfying when our brand new software instrument sounds its inaugural tones. http://www.doghouseNYC.com/work/cymbal.php Sometimes all you need is a single sound to really get you going. Read how in a recent demo for a DTC Diamond ad campaign we created a dreamy ambient pad using a bowed cymbal and some sonic trickery for a sleepy but eerie holiday drone. http://www.doghouseNYC.com/events.php Nathan Rosenberg will be the Spotlight Guest Speaker at the Apple Store on Tuesday, November 22nd for the meeting of the New York Chapter of the Logic User Group. Come meet some fellow musicians, producers and engineers, shake hands and learn about Apple's excellent Logic software. http://www.doghouseNYC.com/events.php In a new interview featured on recordproduction.com, Nathan Rosenberg discusses the studio, the industry, and even a few tips and tricks! See the What's New section of www.doghouseNYC.com for more. http://www.doghouseNYC.com/feedback/feedback.php In addition to our Question and Answer section where we respond to music, production, and engineering questions, you may now post a mix for review by the Doghouse NYC as well as the community. http://www.doghouseNYC.com/articles/piano1.php I started recording pianos before recording anything else, probably because I am a pianist. It is a notoriously difficult instrument to record, so when the editors of Recording asked me to write about miking acoustic pianos, I began by asking myself "What if I had known then what I know now?" http://www.doghouseNYC.com/training.php Hands-on learning –There is no substitute for learning in a working music production environment. Through our internship program and chartered workshops, we provide a much needed resource for up and coming producers and engineers. http://www.doghouseNYC.com/work/live2.php In the first article of this series, Pajama Sam and the Case of the Live Drums, we discussed how live musicians lowered our cost, improved our product, and sped up production. It is one of the few examples of an instance where the saying "Good, fast, and cheap; you can have any two, but not three", doesn't hold up. In this article, we will introduce a variation of this technique. One in which a crew of live musicians help us deliver exceptional quality in massive quantities. http://www.doghouseNYC.com/articles/piano_tuning.php New York piano technician, Mickey Finn joins us to offer up some suggestions on caring for, maintaining, and even touching up the tuning on studio instruments. http://www.doghouseNYC.com/work/live1.php "Good. Fast. Cheap. You can pick any two, but you can't have all three." Have you ever heard this axiom? Producers must often substitute samples for live instruments to save time and overhead. Surprisingly, there are some methods whereby live instruments actually lower costs and speed up production. This short series demonstrates a few techniques that may allow you to have your cake and eat it too. http://www.doghouseNYC.com/work/etude.php Sometimes everybody gets stuck. Read how a deadline and a little enginuity can provide an interesting new way to approach songwriting. http://www.doghouseNYC.com/ipix/ipix.php Tour the studio in detail with our series of Ipix photos which allow you to turn the camera 360 degrees! http://www.doghouseNYC.com/articles/vsl.php Creating orchestral scores using samplers has always boiled down to one basic concept. A composer must balance the integrity of his or her work with the limits of synthetic sounds. But with recent advances in the art of sampling, there have been big changes in the way composers work. Today's libraries, such as the Vienna Symphonic Library (or VSL), allow us to be more creative, expressive, and authentic than ever before. http://www.doghouseNYC.com/work.php Jill Cunniff's angular rhythmic sensibility and agile voice made Luscious Jackson a household name in the nineties with smash hits like Naked Eye. For her upcoming solo work, an equally infectious pop album with a more mature, introspective edge, we created a special vocal sound for the song Eye Candy. http://www.doghouseNYC.com/work/bass.php On its own, the upright bass is no more challenging an instrument to record than any other. But its tone is delicate and it is not a loud instrument. When forced to compete with other instruments, clarity is the first thing to go, followed by the low end. Because the bass is relatively quiet, bass mics also pick up other instruments. This phenomenon, known as "bleed" not only effects the quality of the bass, but the overall quality of the instruments that bleed into the bass mics.