Marcel van Limbeek
Marcel has more than 25 years of experience in the pro audio industry and works in both live and studio sound. Marcel has been the Studio and Monitor Engineer for the artist Tori Amos since 1994 and during this period has recorded, mixed and mastered 15 albums / DVD releases- 4 of which were Grammy nominated. The 2011 album 'Night of Hunters' received a prestigious German Echo classical music award.
As Tori's Monitor Engineer, he has been on 14 world tours. In 1999 he was awarded the Monitor Engineer of the Year Award by the readers of Live! Magazine.
In 1997 Marcel did the acoustic design for Martian Engineering- Tori's recording studio in Cornwall, England. He is also Tori's live Broadcast Engineer, having done live broadcast sound on many TV and radio shows across the globe. Through his association with Tori he has worked with some of the world's best musicians in many of the world's best studios. Because of Tori's wide musical scope he is experienced with many different styles of music production.
Marcel has also worked on various other artist's recordings and shows. He has his own studio space in London which houses an extensive collection of high quality analogue audio equipment.
Marcel is an extremely popular freelance Audio Lecturer and was also an important part of the development of the Alchemea Live Sound Diploma. His deep theoretical understanding of sound engineering combined with his expert ability to pass this knowledge to others has made him very popular with all the students that have passed through his lectures over the years.
See Marcel van Limbeek In Action
Marcel shares his brilliant multi-microphone drum recording technique, all based on getting the phase relationships right.
A brilliant, very deep discussion about microphone choice, positioning and phase when recording a drum kit.
We hear with two ears, so imitating stereo location clues with the overhead mics helps our brains to perceive the recording as realistic.
Positioning your kick drum within the live room makes all the difference in getting the best out of the low end. Phase comes into play yet again.
EQ for free! Marcel uses four in-phase microphones to achieve a certain amount of tone control without reaching for the EQ knobs.
With four mics on top and two on the bottom, Marcel explain how to get all six in phase for a great snare sound.
Marcel shows us how he decides on a position for the hi-hat mic, and how to avoid wind noise.
Showing how an accidental setting on a HPF filter can damage the recording, Marcel chooses the best position for the Rack Tom mics.
Marcel chooses a position for the Floor Tom mic by listening carefully while he scans the surface of the drum.
Marcel delves deeply into phase aligning the whole drum kit. This is a must-see!
Creating a realistic stereo image by panning the hi-hat and toms to match the stereo image from the overheads.
We compare the sounds of the AKG 414s and the DPA 4011s and decide which to use.
Marcel demonstrates the Glyn John method - a means of setting up overheads so that the kick and snare end up in the centre of the stereo image.
Under discussion is Jonathan Espinosa's "Blender" method of using multiple compressors on a single sound source and other vocal compression techniques.
Marcel van Limbeek answers your questions about audio engineering.
Are compressed audio files acceptable? Marcel’s answer is clear. “If you love music, then compressed files are no good. That is the end of it.”
How can I make live drum recordings sound more vintage and aged?. This simple question has a simple answer: Use vintage equipment and recording techniques. Easy? Of course not. "
What is the most challenging thing when sound engineering for Tori Amos?
What is your favourite creative effect to use in production besides EQ and compression?
When recording vocals, what is your suggested position for the mic, how far would the singer be from it and how might that vary?