{"href":"http://player.captivate.fm/services/oembed?url=http%3A%2F%2Fplayer.captivate.fm%2Fepisode%2Fa9fa560f-c238-4091-a811-e6bd61352027","version":"1.0","provider_name":"Captivate.FM","provider_url":"https://www.captivate.fm","width":600,"height":200,"type":"rich","html":"","title":"Ulrike Schwarz: Taking an Ambience-First Approach to Recording","description":"A broadly acclaimed engineer and producer, Ulrike Schwarz is a trailblazing audio innovator with more than two decades of experience across the film, television, radio, and recording industries. Born and raised in Germany, Schwarz discovered she had perfect pitch at an early age, and as a teenager, she became one of only three students to be accepted into the exclusive Tonmeister program at the Hochschule der K\u00fcnste Berlin. After earning her degree, Schwarz worked with German public radio and spent more than ten years serving as the senior sound engineer for large orchestral and jazz productions at the famed Bayerischer Rundfunk in Munich, where she broke the mold as a woman in a male-dominated field and garnered numerous honors for her recordings and broadcasts, including multiple Echo Klassik, Diamant D\u2019Opera, Preis der Deutschen Schallplattenindustrie, and Diapason d\u2019Or awards. \nIn 2015, Schwarz moved to New York full time to team up with her now-husband and production partner Jim Anderson, with whom she\u2019s created a groundbreaking body of work in the field of immersive audio.\nAs creative technically as she is artistically, Schwarz designed and built her own custom portable recording setup from scratch, and in just the last few years alone, she\u2019s garnered multiple Grammy nominations for her work with artists as diverse as American jazz stalwart Patricia Barber, contemporary Norwegian composer Gisle Kverndokk, and soprano saxophonist Jane Ira Bloom. \nIn 2022, Schwarz was named Vice President of the Verband Deutscher Tonmeister (The Association of German Sound Professionals) and received a prestigious grant from the Women\u2019s Fund of the New York Foundation of the Arts for her work on Jane Ira Bloom\u2019s Grammy nominated album (2023) Picturing The Invisible \u2013 Focus 1.\nIN THIS EPISODE, YOU\u2019LL LEARN ABOUT:\nGetting into the world of orchestral recording\nWhy it\u2019s a good idea to join audio associations such as the AES\nMic positions for orchestral recordings\nTaking an ambience-first approach to recording\nPreparing a game-plan for your sessions\nBeing selective of the microphones you use to avoid \u201ccoloration\u201d\nHow the German vs American orchestral seating can impact the balance of your mixes\nRecording strings to work in a rock music context\nWorking with reverbs to avoid muddy mixes\nWhy you shouldn\u2019t have to use EQ or compression in a mix\nHow sample rates impact the clarity of your recordings\nHow something as small as a power cable can drastically alter the quality of your recordings\nMixing for stereo vs immersive audio\nTo learn more about Ulrike Schwarz, visit: http://andersonaudiony.com/\nTo learn more tips on how to improve your mixes, visit https://masteryourmix.com/\nDownload your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/\nGet your copy of the #1 Amazon bestselling book, The Mixing Mindset \u2013 The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/\nJoin the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community\nTo make sure that you don\u2019t miss an episode, make sure to subscribe to the podcast on iTunes or on Android.\nHave your questions answered on the show. Send them to questions@masteryourmix.com\nThanks for listening! Please leave a rating and review on iTunes!","thumbnail_width":300,"thumbnail_height":300,"thumbnail_url":"https://artwork.captivate.fm/b7c37057-014b-46f3-ae2f-b60dd2725b8c/podcast-logo-yellow-4mucm3.png"}