AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 - RT 2 Questions |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
2. Describe the term 'basic tracks'.
3. Describe the term overdubs.
4. Describe the term 'guide vocal'.
5. Describe the term 'foldback'.
6. Explain how foldback set up?
7. Indicate the significance of 'spill'.
8. What is a 'track sheet' used for?
9. Comment on some recording techniques used for basic tracks?
10. How might you prepare and record a kick drum?
11. What type(s) of microphones might you use?
12. How would you prepare and record a snare drum?
13. Comment on the internal dampers found in some drums.
14. Describe how a snare drum can be recorded using two or more microphones.
15. Describe the tuning of drums, and toms in particular.
16. Comment on single-headed and double-headed toms.
17. Comment on the importance of good cymbals.
18. What type of microphone(s) could you use?
19. Comment on mic positioning for the hihat.
20. Comment on the positioning and phasing of drum mics.
21. How would you approach mixing drums?
22. What time of day is best for recording vocals?
23. How important is it for the engineer and producer to feel at ease with the singer?
24. Comment on microphone selection for vocals.
25. What is a 'pop shield'?
26. Describe the rehearsal process for recording a vocal.
27. Comment on the importance of foldback.
28. What can be done to ensure good foldback for the singer?
29. Describe the 'comping' technique of recording vocals.
30. What is a 'spin in'?
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
32. What are the possible remedies for out of tune singing?
33. How can a 'thin' voice be fattened up?
34. Describe some possible microphone positions for a piano.
35. Describe some possible microphone positions for an acoustic guitar.
36. Describe some possible microphone positions for an electric guitar.
37. What is DI?
38. Describe passive and active DI, and how a DI box is connected to the console.
39. How is a record player connected to a mixing console?
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
41. How are the mix signals separated to go to two consoles?
42. Where would the recording equipment and recording engineer be situated during the concert?
43. Onto what multitrack format would a live recording be made?
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
51. Describe the Decca tree system of miking
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Mon Sep 20, 2004 12:09 pm |
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Rico1210
Joined: 03 Aug 2004
Posts: 39
Location: Newcastle, UK |
| Week 3 RT 2 answers |
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Hi
Here are my answers to week 3 questions, only just finished them today
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
A typical studio layout for a rock band would comprise of a main room for recording the basic tracks including drums, bass and guitar. A seperate room/booth for recording vocals and a control room to house the engineer and mixing equipment. Keyboards would be recorded in the control room as they do not require miking.
2. Describe the term 'basic tracks'.
The term 'basic tracks' is used in multitrack recording to describe the components that make up the basic framework of the track. These are generally recorded first ie. Drums, Bass, Rhythm guitar.
3. Describe the term overdubs.
The term 'overdub' is also used in multitrack recording. It is when a track(or tracks) that have already been recorded are played back whilst recording of new material is taking place. The outcome is one track recording containing both the new material and the old material.
4. Describe the term 'guide vocal'.
A 'guide vocal' is fairly self explanatory. It is a basic vocal track recorded as a reference to musicians and vocalists to be listened to in final recording.
5. Describe the term 'foldback'.
Foldback is a monitoring system by which a performer can hear their own performance through headphones. This is also known as 'cue'
6. Explain how foldback set up?
7. Indicate the significance of 'spill'.
Spill can be described as unwanted sound recorded from a microphone on top of the desired sound. If instruments are placed too close together, their sound can spill over into each others microphone.
8. What is a 'track sheet' used for?
A 'track sheet' is a sheet of paper used to record which instrument has been recorded on each track. Also known as a track log or track assignment sheet.
9. Comment on some recording techniques used for basic tracks?
First of all a 'reference track' is recorded, which is the complete song played in full by the band with minimal leads and vocals. This is to get the timing right of the song and create a reference for the musicians when recording starts.
Usually Drums are recorded first with different tracks used for the different components of the drums ie. Kick, Snare, Hihat, Cymbals. This allows for individual levels to be altered later. The drummer would be wearing headphones with the reference track playing as a timing guide.
Next the Bass will be recorded usually on one track in mono, although high and low bass can sometimes be recorded onto different tracks. The Bass player would be wearing headphones with either the reference track or the drum tracks as a guide.
Finally any additional rhythm sections would be recorded ie. Keyboard, Rhythm guitar. The Rhythm players will hear either the reference track or the drum tracks and bass tracks mixed together as a timing guide. Sometimes the vocalist will sing his/her part as an additional guide.
10. How might you prepare and record a kick drum?
A kick drum would usually be recorded from a microphone inside the drum itself. This gives greater definition and isolation. The microphone should be placed half way inside the drum and pointed to one side of the beater. A pillow or blanket may be placed inside the drum to 'deaden' the sound. Alternatively, this could be achieved with internal dampers.
11. What type(s) of microphones might you use?
Microphones to be used on a kick drum include: AKG-D112, Sennheiser 421, ElectroVoice RE20
12. How would you prepare and record a snare drum?
When recording a snare drum, a microphone is place on top of the drum two to three inches from the head and pointed in from the side.
13. Comment on the internal dampers found in some drums.
Internal dampers apply pressure to the skin which affects the tuning of the drum.
14. Describe how a snare drum can be recorded using two or more microphones.
A snare drum could be recorded using two microphones, with an extra microphone on the underside of the drum aswell as the usual top positioned microphone. The two microphones are then mixed together to create one sound. The effect of this is added snap.
15. Describe the tuning of drums, and toms in particular.
The tuning of drums is down to the tension placed on the skin. The tiniest of movements on the tuning lug make huge differences in pitch and resonance. The diameter determines the drum note, whereas the depth determines the pitch and resonance.
When tuning toms, the top head will affect the attack and the inital pitch. The bottom head will affect the overall pitch and sustain of the drum.
16. Comment on single-headed and double-headed toms.
Toms can be single-headed or double-headed. Double-headed toms are not much harder to tune than single-headed toms. It just takes a bit more time. Some drummers say to tune the bottom head slightly different from the top. This will deaden the drum's overall sound while, at the same time, broadening its tone.
17. Comment on the importance of good cymbals.
Good cymbals are important as any dents will cause the sound produced to be different.
18. What type of microphone(s) could you use?
A Shure Beta 98 mini condensor microphone could be used to record a cymbal.
19. Comment on mic positioning for the hihat.
A hihat microphone would be positioned one or two inches above the open position with care taken to avoid spill from the snare. This could be achieved by placing the microphone with the hihat between it and the snare, ensuring the hihat is not too low in comparison with the snare.
20. Comment on the positioning and phasing of drum mics.
The positioning of drum microphones is very important. If they are not placed correctly, they could be obstructive to the drummer or cause spill. Phasing can cause problems when the same sound source is picked up from different microphones placed at slightly different distances. Soundwaves interfere with each other and the resulting interference creates a phasing effect.
21. How would you approach mixing drums?
Drum mixing seems to be down to individual choice, but the general idea would be to add any minor effects to individual tracks if desired. Then start with the kick, then add the snare, toms and hihat individually. The kick and the snare should be centered and possibly the hihat also, with the toms being panned from left to right to mimic the layout of the drum kit. Any EQ or effects are then added to the overall sound.
22. What time of day is best for recording vocals?
The time of day for recording vocals would be that which the singer is most comfortable with, as long as a proper warm up is done. Although late at night would not be advised as the voice would tend to be tired.
23. How important is it for the engineer and producer to feel at ease with the singer?
It is very important for the engineer and producer to feel at ease with the singer as they will be in constant communication with each other. Also, if the singer is not at ease with the producer or engineer it could affect their performance.
24. Comment on microphone selection for vocals.
Vocals should be recorded on a condensor microphone. An engineer may choose a particular type of microphone if it compliments the singers voice.
25. What is a 'pop shield'?
A 'pop shield' or 'pop filter' is a screen that is placed over a microphone to prevent wind being recorded.
26. Describe the rehearsal process for recording a vocal.
The rehearsal process for recording vocals would consist of a vocal warm up for the singer. Usually a singer has their own routine for a vocal warm up. The voice should not be over-stretched though, you want them to be in peak condition when recording begins. Once the singer has completed their warm up, you can then move on to rehearsal. During rehearsal the producer should be listening to the phrasing of the vocals and the depth/weight given to each word/note and any problem notes. Guidance should be given to the singer on how it can be improved.
27. Comment on the importance of foldback.
Foldback is extremely important for vocalists as it enables them to stay in time with the track and hear how their voice sounds.
28. What can be done to ensure good foldback for the singer?
Good foldback can be achieved using good headphones and input from the singer. Each singer may like to hear foldback differently, therefore it should be discussed with them.
29. Describe the 'comping' technique of recording vocals.
The 'comping' technique is when several takes make the desired result when added together. Verses or lines from different takes are cut together to make one complete recording of the vocals.
30. What is a 'spin in'?
A 'spin in' is when a track is cut and copied to another track, then recorded back to the original track at a different point.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
For a difficult song that the vocalist doesn't know well, the rehearse/record technique could be used. Where the vocal is split into sections for recording purposes.
32. What are the possible remedies for out of tune singing?
Out of tune singing can be corrected in the studio with a 'Harmonizer' or time and pitch correction software.
33. How can a 'thin' voice be fattened up?
A 'thin' voice could be fattened up with effects or could be recorded onto another track, then mixed together with the original track to make the voice seem 'fatter'.
34. Describe some possible microphone positions for a piano.
Possible microphone positions for a piano include:
Two microphones spaced 20-30cm apart pointing directly at the strings between the music stand and the stick. This will give the sound of a classic popular music piano.
Placing the microphones about 50cm from the end of the piano pointing horizontally at the pianist will achieve a much heavier and fuller sound.
A microphone could be placed under the piano pointing upwards at the sound board.
35. Describe some possible microphone positions for an acoustic guitar.
Possible microphone positions for an acoustic guitar include:
One microphone pointing at the sound hole from an angle or pointing where the fretboard meets the soundhole.
Set up to record in stereo with two microphones. A coincident crossed pair will give a sound that is nearly always better than a single mic in mono.
36. Describe some possible microphone positions for an electric guitar.
An electric guitar itself would not be miked. Instead the cabinet would be miked with a microphone placed between the center and the edge of the cone.
37. What is DI?
DI is an abbreviation of Direct Input or Direct Injection. It is the process of connecting an instrument or sound source to a mixer without the use of a microphone.
38. Describe passive and active DI, and how a DI box is connected to the console.
An active DI box boosts the signal to line level, increases the current drive capability and balances the signal to avoid interference being picked up in the cable from the DI box to the console.
A passive DI box contains only a transformer and is connected to a mic input. The voltage of the signal is reduced by the transformer, at the same time reducing the output impedance and increasing the current capability.
39. How is a record player connected to a mixing console?
Usually a record player is connected to a mixing console via a pre-amp to boost the signal for recording.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Two mixing consoles are necessary to make a live recording, one front of house console(FOH) and one recording console.
41. How are the mix signals separated to go to two consoles?
The signals are seperated using a splitter box.
42. Where would the recording equipment and recording engineer be situated during the concert?
The recording equipment and engineer would be situated in an outside broadcast vehicle.
43. Onto what multitrack format would a live recording be made?
A live recording would be recorded onto either hard disk, tape or Digital Audio Tape(DAT).
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Saxaphone, trombone and trumpet are three types of instrument most likely to be found in a brass section in pop music.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
The minimum number of microphones needed to record in stereo would be two.
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
The violin could be miked seperately from the brass section and later mixed together. Alternatively the five-piece brass section could be seperately miked and later mixed together along with the violin track
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
The advantages of hiring a brass section as opposed to individual musicians are that the section will already have a rapport with each other as they will have played together for a long time.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
The center will give a clean sound, whereas the edge will give a more distorted sound.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
A DI signal sounds different to a microphone signal as the DI sends an electrical signal of the sound directly into the mixer, whereas a microphone picks up the sound characteristics generated from the amp, and then turns it into an electrical signal before sending it to the mixer.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
A capacitor microphone does not pick up electrical interference.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
A bass guitar cabinet would not be able to accurately reproduce the frequencies of the lowest notes. This is not a problem however as these notes are often too low for the human ear.
51. Describe the Decca tree system of miking
The Decca tree system of miking is a technique of recording that grew out of Decca's research and development into stereo which started in 1954. In classical recording, it comprises of a triangular system of 3 microphones placed ten to twelve feet above stage level, just behind the conductor. There are usually two additional flanking microphones used as well, anywhere from either edge of the orchestra, to about one third of the way in.
Useful websites:
lp2cd.com
www.barrettworks.com |
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Sun Sep 26, 2004 9:52 am |
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seanm
Joined: 06 Sep 2004
Posts: 20
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thanks for helping me out today here's my answers for last week
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
Drums in a “Live Area”, Separated from rest by acoustic screens. Electric Guitar, Bass and Keyboards shielded from each other by acoustic screens. Any Lead Guitar if not DI’d in an isolation booth.
2. Describe the term 'basic tracks'.
Basic Tracks refers to a relatively simple version of the piece usually the drums, bass, guitars and keyboards and often including an early vocal take. This is effectively the foundation of the piece to be recorded. These are then used as the template for the rest of the recording.
3. Describe the term overdubs.
Overdubbing refers to the adding of more instruments and vocals after the basic tracks have been recorded.
4. Describe the term 'guide vocal'.
A guide vocal is usually an early take of the vocal often recorded during the recording of the basic tracks. It is there as a guide for the other musicians during recording of overdubs. It also acts as a guide for the vocalist and any backing singers. It can also alert the producer to any passages or parts the vocalist might require some guidance on and thereby inform the manner in which the final vocals are recorded.
5. Describe the term 'foldback'.
Foldback refers to the mix, which can be heard by the musicians through their headphones during the recording process.
6. Explain how foldback set up?
Foldback is set up through headphones for each musician. Each musician will have their own preferences for what they want to hear and how they want to hear it. Some might want the drums louder than others, some might want their own part louder or quieter.
7. Indicate the significance of 'spill'.
If a microphone set up to record one instrument picks up a portion of the signal(s) intended for another microphone(s) this is known as spill. The resulting spill can cause many problems. It can be so intrusive as to render the intended track useless. Spill might also cause problems when “punching in” to re-record some sections of a track, making the newer section sound too different from the original. Particular frequencies and their characteristic wavelengths can cause phasing problems on the intended track. In most cases engineers will take action to either eliminate spill or minimise it as much as possible, which can impact on decisions regarding chosen microphone types and their placement. It can add “something” to the ambience of the recorded track, which is actually desirable, but very often it will present difficulties.
8. What is a 'track sheet' used for?
A track sheet is used to keep a written record for each track recorded. The date, the song title, what instrument is on the track, how it was recorded, any EQ, compression used.
9. Comment on some recording techniques used for basic tracks?
The drums, bass, rhythm guitar, lead guitar playing together in a studio. The drums recorded with close mics separated by acoustic screens. The rhythm guitar DI’d and recorded from the front of it’s speaker cabinet, shielded by acoustic screens. The bass DI’d only. Lead guitar speaker cabinet miked up and DI’d, again shielded by acoustic screens. Guide vocals recorded from an isolation booth or in the control room.
Drums miked with a combination of close and ambient mics, bass DI’d, rhythm guitar DI’d, vocals in an isolation booth. Once drums and bass or just drums are successfully recorded. Re-record bass DI’d and with speaker miked up. Re-record rhythm guitar with speaker miked close and ambiently.
10. How might you prepare and record a kick drum?
Some recommend removal of the front head. Others suggest this can damage the shell and suggest a hole if not already present should be cut in the front head.
Tune the head to the desired pitch and to produce an even tone.
Remove the damping mechanism as it might cause rattling.
Place a blanket or other damping material inside the drum, this can be positioned to achieve the desired level of damping.
Check for unwanted “ringing” in the tone of the head and apply tape or other damping material to eliminate this.
Check for any other unwanted noises caused when the drum is hit including pedals that require oiling.
The Bass Drum should be recorded as part of the whole kit played together.
11. What type(s) of microphones might you use?
A single large-diaphragm dynamic mic (cardioid) which can handle the low frequencies and high sound pressure levels of a bass drum. This could be placed inside the drums shell directly facing the beater also minimising spill.
A Condenser mic with a high SPL Spec and extended low frequency response.
A good quality mic with a good bass response.
It is possible to use a coincident stereo pair positioned over the whole kit. This obviously will record the bass drum along with the rest of the kit, but is unlikely to give the latitude desired for many musical styles e.g. a driving rock kit.
12. How would you prepare and record a snare drum?
Tune the heads to the desired pitch and to produce a constant tension and pitch all around the head.
Remove the damping mechanism as it might cause rattling.
Check for unwanted “ringing” in the tone of the head and apply tape or other damping material to eliminate this.
Check the snare for unwanted rattles.
Check for any other unwanted noises caused when the drum is hit.
Often a single cardioid dynamic mic is used positioned about 1 inch above the head just inside the top rim. It should be angled for the best possible separation from other drums and cymbals. It’s rejection angle angled toward the hi-hat or toms (depending on spill/leakage problems).
13. Comment on the internal dampers found in some drums.
For studio recording purposes these are considered undesirable because they apply tension to one spot on the head which unbalances the tension of the head and they can be a source of unwanted noise (rattling) as they vibrate when the head is struck.
14. Describe how a snare drum can be recorded using two or more microphones.
A snare drum can be recorded with two mics to produce a brighter snare sound. This is achieved by placing one at the top head and one underneath facing the bottom head. However the bottom head is 180 degrees out of phase with the top head it’s generally considered a good idea to reverse the bottom mic’s phase polarity.
15. Describe the tuning of drums, and toms in particular.
Bass drum, toms, floor toms and snare drums are all tuned by turning the “lugs” (or tensioners) which are situated all around the drums head (top and bottom on snares toms and floor toms, front and back on bass drums). By turning the lugs the play heads are tightened (raising the pitch) or loosened (lowering the pitch) according to preference and/or circumstances (live or studio) or musical style. The relative pitch and tuning of the kit is very much the drummer’s preference.
Each head is tuned by slightly adjusting one lug (tensioner) then the one opposite slowly working your way around the drum. Avoid over tightening the heads as this makes the tone hard and lacking in depth. If too slack the sound will lose its power and resonance. Ensure the head tension is even all the way round. All drum shells have a resonant frequency if the heads are evenly tensioned the resulting tone should be in “sympathy” with the shell (some shells come with the resonant pitch stamped on them). The object is to find those pitches where the shell and head will work together within a range. There should be more than one (maybe even three or four), depending on the quality of the shell.
With Snares the bottom (snare head) is often tuned slightly lower than the top (batter) head. The kit should be tuned to itself with the bass drum lowest in pitch followed by the floor tom(s) tom(s) and snare. Some drummers tune their drums particularly their toms in musical intervals (often thirds or fourths apart).
Toms can be used with the bottom heads removed or not. If not both heads need to be tuned.
16. Comment on single-headed and double-headed toms.
With a single head tune as above. With a double headed there are a number of options producing different effects.
Tuning the two heads to the same pitch should produce a warm, round tone with lots of sustain and no variation in pitch as the sound decays.
Tuning the bottom head lower than the top head produces a deeper tone, a rounder sound and a shorter sustain and decay.
Tuning the bottom head higher than the top head is similar in sustain and overall tone to tuning the bottom head lower, but the pitch will drop through the decay.
Generally to record a deep driving tone (and minimize spill) the bottom head can be removed to facilitate mic placement within the shell
17. Comment on the importance of good cymbals.
The nature of the sound produced by cymbals is very complex and it is known that only certain metal alloys produce this complex sound. Unlike the rest of the drum kit the cymbals are rigid objects subject to the physics of solid objects, with all manner of vibrations developing within the body of the metal itself. This means that the sound produced is not static. There is no one way to describe the sound produced as the sound can vary depending on where it is struck and how it is struck. At the high amplitudes present in most popular music research suggests that the sound becomes chaotic and is almost noise. Cymbals made of materials other than the best alloys will not produce the range required of all cymbals.
18. What type of microphone(s) could you use?
Due wide harmonic and dynamic range which good quality cymbals produce a good condenser with a good high end response (cardioid) could be used for the crash and ride cymbals. With a small diaphragm condenser (cardioid) for the hihats.
19. Comment on mic positioning for the hihat.
Where you require good control of levels during mixing small diaphragm condenser mics (cardioid) placed 2-4 inches above half way between the centre and the edge (dynamics can also work). Depending on the character of sound you wish to capture it might be necessary to try different angles and different parts of the hats. It is also advisable to angle the mic away from the snare and toms to minimise spill.
20. Comment on the positioning and phasing of drum mics.
When recording drums with a stereo pair (i.e. two mics resulting in a coherent stereo image), the spaced pair (two mics of the same type, manufacturer and model) can be suspended above the drum kit (left and right) equally distributed so as to pick up their respective cymbals and overall drum components in a balanced fashion This technique uses time and amplitude cues in order to create a stereo image. This can result in phase discrepancies between the two channels due to the sounds’ arrival time at one mic relative to the other. When mixed to mono, these discrepancies can result in variations in frequency response and even partial cancellation of sound components in the pick up field.
When recording drums using the XY coincident pair technique or (two directional mics of the same type, manufacturer and model) relies only on the cue of amplitude to discriminate direction. The two mics are arranged facing each other at an angle between 90 and 135 degrees, with the midpoint between the mics being pointed down over between the crash and ride cymbals. This is considered to produce a good overhead stereo image and to minimise phase cancellation.
When miking a drum kit with individual mics phase problems can occur as a result of excessive spill due to careless placing of mics and poor choice.
21. How would you approach mixing drums?
If the drums have been recorded with an overhead stereo pair giving a good stereo image of the whole kit and a sense of the drums in the space in which they have been recorded. Then effectively the drums have been mixed, there then remains little which can be done except mixing with the rest of the track.
If the drums have been recorded with an overhead stereo pair and individual mics on the rest of the kit then the engineer should balance the signals from the individual mics and mix in the signal from the overhead pair enough to give the drums some life. This technique being particularly suited to the traditional rock drum sound.
For a more contemporary sound the overhead mix might be used to provide the main drum mix with the close mic signals being used to balance the different drums in the kit and to boost any signals necessary.
22. What time of day is best for recording vocals?
There isn’t one. The vocalist is the best judge of what the best time of day is for them.
23. How important is it for the engineer and producer to feel at ease with the singer?
Lead vocals often play a very important role in popular music. Singers can feel very exposed, they are the instrument. Nervous singers rarely deliver their best performance. Therefore its very important that they all feel at ease with each other. The singer needs to be able to trust the producer and engineer to help them achieve the best performance possible. The producer and engineer need to feel at ease with the singer in order to give the singer constructive feedback and if necessary coax the best performance from the singer.
24. Comment on microphone selection for vocals.
Experienced Singers will often have their own preferred mic and might even bring one with them. Otherwise selection of mic can depend on the characteristics of the singer. For instance a singer with a bright almost sibilant voice (sibilance is caused by air moving over the singers teeth and is characterised by excessive “f”, “s” and sh sounds) might be better with a warm sounding dynamic mic. Alternatively a singer with a nasal sounding voice might be better served with a capacitor.
It might be necessary to try out a number of mics (both dynamic and capacitor) with a singer to find one that best suits their vocal characteristics.
25. What is a 'pop shield'?
A pop shield is a simple device placed in front of the mic. It is a simple mesh screen designed to prevent “popping” (the plosive sounds produced by P’s and B’s particularly). The mesh simply dispersing the blasts of air caused by “plosives”.
26. Describe the rehearsal process for recording a vocal.
The engineer should have a copy of the lyrics (to help keep track of where they are in the song and to ease discussions with the singer). Some singers require that only those directly involved in the recording of the vocals should be present. Others like the direct response and feedback from other members of the band, check what they want and try to accommodate their wishes wherever possible.
Once the singer is comfortable with their monitor mix, mic and physical position and any treatment on their voice (reverb, compression for recording purposes only). Play the track through for them to warm up, (record this you never know!). The Engineer should listen carefully to this warm up, checking if the singer wants any alterations in their headphone mix or treatment levels. Check if there are any particular parts of the track the singer wishes to rehearse more than others.
27. Comment on the importance of foldback.
The singer needs to be able to hear enough of the backing track and themselves to get a feel for how their voice sits in the mix. Ideally the foldback should provide the singer with a reasonable representation of the song’s dynamics so they can gauge their performance.
28. What can be done to ensure good foldback for the singer?
Discuss with the singer what they want to hear and how they want to hear it. Alter the mix to suit the singer adding any reverb they might require for recording purposes. Also use good quality headphones.
29. Describe the 'comping' technique of recording vocals.
Comping or compiling involves constructing a good version of the vocals from all the takes which have been recorded. The techniques vary depending on the equipment used.
30. What is a 'spin in'?
A technique used when recording to tape. For instance when overdubbing a vocal track you might wish to use the same vocal take for every chorus. First bounce the chosen track to another tape machine. Cue the main vocal track to the correct point in the song press record and hit play on the bounced track at the appropriate point to record the new version into the correct point in the song.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
The song could be broken down, enabling the singer to concentrate on one part at a time. Rather than recording the vocals in one take, this approach involves breaking the song down into sections (verse, chorus etc.) and recording each section separately. Once you have good versions of one section move on to the next.
If necessary the song could be broken down further line by line, or phrase by phrase. It might even be necessary to sometimes record single words but this should be done only if really necessary as the vocals must flow naturally.
32. What are the possible remedies for out of tune singing?
There are many pitch correction and shifting tools available particularly within digital systems, including graphical pitch editors where pitch envelopes can be drawn in. The major breakthrough in recent years is the development of formant pitch shifting. Where vocal pitch can be shifted without affecting formants. The human voice contains formants, frequencies due to such things as chest resonance and vocal tract dimensions which remain quite constant, regardless of what note is being sung. These formants are an important part of the timbre of an individual’s voice
Where such tools are not available minor alterations are possible, for instance if the singer is flat it is possible to slow the track down, allowing the singer to sing in tune. This can only be done subtly as when the track and the vocals are returned to the correct pitch the vocals’ timbre (the general tone) will have altered.
33. How can a 'thin' voice be fattened up?
There are number of ways to fatten up a thin vocal.
Double tracking the vocal can help fatten up a thin vocal.
Use a different microphone.
Record the singer closer to the mic. cardioid mics are sensitive to the “proximity effect” whereby the closer the sound source the more lower frequencies are exaggerated.
Compressing the vocal with the appropriate settings can thicken them up.
34. Describe some possible microphone positions for a piano.
Grand Piano
The grand piano is a complex instrument, with the overall sound considered to be a combination of the strings, soundboard and hammers. Due to it’s large surface area the tonal balance is only fully developed some distance (4 to 6 feet) away from the instrument. Therefore to capture this would require ideally a stereo pair. As usual the placement of such a stereo pair is a matter of personal choice, the environment in which it is being recorded and the desired sound.
There are however positions which are considered to produce good results. The first involves a coincident pair facing the player 4 to 6 feet away. The second again involves a coincident stereo pair placed side on to the piano with the lid fully open between 4 and 6 feet away. This is sometimes augmented with a mono spaced pair, one placed adjacent to the piano (within 12 inches) at the played end nearest the highest sounding strings and one further down the side of the body of the piano similarly placed.
If it is not possible to uses such distance based positions there are a number of close miking options.
A contact or boundary mic can be attached to the open or partially open lid, using it as a reflector.
A mono mic or a stereo pair positioned can be placed just over the hammers (4 to 8 inches). This should produce a driving/rock sound.
35. Describe some possible microphone positions for an acoustic guitar.
An acoustic steel guitar produces a bright sound containing rich overtones. Again placement is a matter of personal choice, the environment in which it is being recorded and the desired sound. But there are tried and tested placement techniques considered to produce good results. Although as individual instruments vary some experimentation within these techniques is desirable in order to find a sweet spot.
A coincident stereo pair (condenser)can be placed slightly off axis(not quite facing directly on) above or below the soundhole at a distance of about 1 to 6 inches.
Another technique places a coincident stereo pair about seven inches above the 12th fret. This is thought to de-emphasise the midrange frequencies, as one mic is pointing toward the sound hole where the bass end is more pronounced and other is pointing toward the nut an area of rich frequencies.
For a Nylon string acoustic which has a warmer, mellower sound a single mic close to the centre of the bridge (about 1 to 6 inches away) is often used.
36. Describe some possible microphone positions for an electric guitar.
Possible microphone positions for the speaker of an electric guitar’s amplifier are again a matter or personal taste etc.
A single mono dynamic cardioid mic can be used placed about 1 to 4 inches in front of the centre of the speaker (through the grill). This is considered to produce a bright sound.
Sometimes a combination of speakers might be used with mics placed in different positions on each speaker. For instance one placed off centre (1 to 4 inches) in front of one speaker and one placed around the back of the other speaker (at a similar distance).
37. What is DI?
DI is short for direct inject where a signal is plugged directly into an audio chain without the use of a microphone. This might be a signal directly from an instrument or a pre amplifier or a power amplifier.
DI boxes perform a number of functions;
Reduce an instruments line-level output to mic level for direct insertion into the mixing desk.
Change an instruments unbalanced, high source impedance line to a balanced, low source impedance signal suitable for a mixing desks input stage.
Electrically isolate audio signal paths and by so doing reduce the potential for ground loop hum.
38. Describe passive and active DI, and how a DI box is connected to the console.
Passive transformer DI boxes require no power. They connected directly into any line input using an XLR cable.
Active DI Boxes need either phantom power or batteries to operate. If using batteries they can be connected to any line input again using an XLR cable, those requiring phantom power must be connected via the mic line inputs which provide phantom power.
39. How is a record player connected to a mixing console?
Either through a DJ sub mixing desk with RIAA or via a pre-amp with RIAA. Either connect to the mixing desk through two line inputs.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
At least two for full multitrack mixing and processing capabilities. Or one in simpler circumstances where it is possible to simple take connect a recorder to the stereo outs of the desk.
41. How are the mix signals separated to go to two consoles?
Using multitrack microphone splitters.
42. Where would the recording equipment and recording engineer be situated during the concert?
Could be anywhere, outside in a swanky lorry or in another relatively quiet part of the building.
43. Onto what multitrack format would a live recording be made?
Any of the standard multitrack formats, e.g. Hard Disk or ADAT.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Trumpet Trombone and Sax
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two (a stereo pair)
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
Place an acoustic screen between the violinist and the brass section. Also close mic the violin and if possible the brass section and gate all of them.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
A brass section that know each other and regularly work together will know how to balance themselves as a brass section. They should operate much more as a unit and work together much more quickly and efficiently.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
This should produce more distortion as the edge of the cone moves more than the centre.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
The DI signal from the loudspeaker contains non of the sound produced by the amplifier.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
If the dynamic mic isn’t connected via a balanced lead/cable it might actually create this hum.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
No, the lowest note of the electric bass tuned normally is about 41htz. Most bass amp speaker cabinets can’t reproduce these low frequencies. At best few bass speakers can produce frequencies below 80htz with any appreciable volume.
51. Describe the Decca tree system of miking
The decca tree is a three microphone recording placement technique developed by Decca in the 1950’s for recording orchestras. It was developed out of the desire to find a compromise between the use of a stereo pair and the multi mike technique. A triangle of microphones is placed roughly 10 to 12 feet above stage level just behind the conductor and despite its name it usually included two further “flanking” microphones, one placed anywhere from each edge of the orchestra a third of the hall’s width in.
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Mon Sep 27, 2004 1:07 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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Well done so far guys, there are some very good answers here indeed!
Impressed.
Come on the rest of you!
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Mon Sep 27, 2004 2:17 pm |
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aik
Joined: 03 Jun 2004
Posts: 10
Location: Glasgow |
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At least... sorry.
Angelica
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
There would be a control room containing all the recording equipment, a life room for the guitar, the bass and the keyboard and a separate booth for the drums. Alternatively you could record the guitar, the bass and the keyboards in the control room as they can be set up with DI and don’t necessarily need to be miked.
2. Describe the term 'basic tracks'.
Basic tracks are the tracks that are recorded first in a multi track recording. This would generally be the rhythm tracks like guitar, bass, drums…
3. Describe the term overdubs.
Overdubs are tracks recorded in addition to existing tracks, like basic tracks. The musicians would hear the basic tracks over headphone and the new tracks would be recorded together with the old one onto a third track.
4. Describe the term 'guide vocal'.
Guide vocal is the leading vocal, recorded roughly at first and used as a guide for recording the basic tracks.
5. Describe the term 'foldback'.
Foldback is feeding mix to the musician’s headphones (in a studio) or to stage monitors (live), to enable them to hear each other and e.g. the basic tracks while recording new material
6. Explain how foldback set up?
Foldback is set up via a pre-fade auxiliary send
7. Indicate the significance of 'spill'.
Spill, also called leakage is all the unwanted sound picked up from a microphone. You have to set up carefully to avoid spill to make the recorded track usable for further mix as you can’t do anything about it when first on the track. Especially in quiet passages spill could be a huge problem
8. What is a 'track sheet' used for?
The track sheet is used to log all the tracks recorded, what instrument, where on the tape, what effects are added, what track is used and comments on the quality.
9. Comment on some recording techniques used for basic tracks?
As the basic tracks are the basis for all the overdubs they need to be recorded in best quality. So you need to take time for that as there would be no point in going on without the basic tracks exactly as you want them. Everything would be miked up to record on separate tracks, you would record a guide vocal and would possibly provide a click metronome. You would spend time on setting the perfect foldback levels and let the musicians play a few times so the get comfortable in the environment.
10. How might you prepare and record a kick drum?
A kick drum has to be tuned and damped with a cushion or a blanket. You have to make sure nothing rattles. Depending on if the drum has a front skin, a front skin with a hole or no front skin at all there would be different options to place one or two mics.
If the front skin is on you would place two mics. One over the beater close to the edge, of the drum and the other one close to the front skin at the height of the beater. This mic would need to be phase reversed.
If the front skin has a hole or is missing completely one mic is enough. It would be placed inside the shell, avoiding any contact with the shell, about 8’’ from the beater head.
You have to make sure that the phases are corresponding with the ambience mics.
11. What type(s) of microphones might you use?
As the kick drum creates a very high Sound Pressure Level so you would choose a microphone that is robust enough to handle that. That would typically be a dynamic mic with low frequency response. Now a days you would find microphones especially designed for kick drums.
12. How would you prepare and record a snare drum?
A snare drum has to be tuned and you have to make sure, nothing rattles. You can use one or two mics for the snare drum. One sitting near the edge of the head, as far away from the drummer as possible and pointing away from the hi-hat. You can place a second mic under the snare, near to the snare wires to give it a fuller sound. This mic has to be phase reversed.
You have to adjust the relative phase according to the ambience mic and the kick drum.
13. Comment on the internal dampers found in some drums.
Internal dampers are limiting the flexibility of damping as they are tensioning the head at only one particular point and they can have a tendency to rattle, as they add more mechanic to the drum.
14. Describe how a snare drum can be recorded using two or more microphones.
I would say this is covered in 12.
15. Describe the tuning of drums, and toms in particular.
Tuning is an art in itself and a personal thing, depending on what sound you want to achieve. Technically it is the tension of the skin that gives the drum the tune. You start by loosening all tensioner keys and would then tighten them in opposite pairs until you have found the sound you like. Once you have finished the bottom head, you repeat the same for the top head. You have to make sure that the tension is even all around the head that would give a constant pitch.
16. Comment on single-headed and double-headed toms.
Single-headed toms only have a top head whereas double-headed toms have a top and a bottom head.
17. Comment on the importance of good cymbals.
Cymbals can’t be tuned. They do have the sound they have. They are also quite prominent in the overall sound so a good quality of cymbals would be preferable.
18. What type of microphone(s) could you use?
Either large or small diaphragm condensor mics as they have a high frequency response which is required for cymbals.
19. Comment on mic positioning for the hihat.
The mic for the hi-hat should be placed slightly above the point where it closes to avoid hearing the air cluff, produced when the hi-hat closes.
20. Comment on the positioning and phasing of drum mics.
If you use more then one mic you might get the problem that certain frequencies will be out of phase. This problem occurs especially when miking drum kits, as the microphones are close together.
Using the 3:1 role, by placing a mic three times farther from another mic then from the source will reduce that problem. If you use a mic on either side of the drum you have to phase reverse one of them, as their diaphragm would move in opposite direction as the drummer hits the drum.
21. How would you approach mixing drums?
Starting with the ambience as a basic I would bring the kick drum, the snare drum and the hi-hat up, as these are the essentials of the drum kit. There after I would bring up the toms and whatever else the drum kit contains to achieve the best balance. To get an overall stereo sound I would pan the kick drum and the snare drum in centre, the hi hat half right, the toms left -
Centre - right and the cymbals left and right.
22. What time of day is best for recording vocals?
It is surely various, depending on the singer, but late morning till early afternoon might be preferred by most of them, as the voice isn’t warm in the early morning and is getting tired in the evening. And it wouldn’t be a good idea to ask the singer to come when everybody else has been working in the studio all the day.
23. How important is it for the engineer and producer to feel at ease with the singer?
It is very important to make the singer feel very comfortable as he/she will feel much more exposed as other musicians. The vocal part is usually the most important part of a recording so a perfect atmosphere physically and mentally would help the singer to give the best performance
24. Comment on microphone selection for vocals.
There are quite a few options. Most common is it to use a large diaphragm condensor mic with a flat frequenciy response. That gives a good overall sound. In a live situation you might choose a cardioid pattern to avoid to much spill. In the studio situation you would probably rather go for an omnidirectional mic as it gives you more of the room.
If backing vocals are recorded you would choose a bidirectional mic, which would be good to pick up a few singers in a row.
25. What is a 'pop shield'?
A pop shield is a piece of nylon attached to a frame and placed between the mic and the singer to avoid plosives.
26. Describe the rehearsal process for recording a vocal.
Obviously the singers voice needs to be warmed up. You have to make sure the singer is comfortable with the environment and spend some time to make a good foldback. Let the singer rehearse a few times so he/she will be in tune and rhythm with the music. During these rehearsals you can make adjustments of the mic position if necessary. When everything is set up the best way and everybody is relaxed you can start the recording.
27. Comment on the importance of foldback.
Foldback is very important as it is the only reference for the tune and rhythm for the musicians and the singer.
28. What can be done to ensure good foldback for the singer?
It is useful to spend some time to make a good cue mix for the singer. It is important for the singer to hear some pitched instruments like piano or keyboard to make it easy for the singer to find the right pitch. In a rhythmic track it you would feed the kickdrum and the snare drum to help the singer to keep the rhythm. Some reverb on the singers own voice can be good to make the singer feel good about his/her voice.
29. Describe the 'comping' technique of recording vocals.
Recording multiple takes on several tracks and combine the best parts of each track to the final track.
30. What is a 'spin in'?
It is recording a track from one multiple track to another. It is used in analogue recording to move tracks to another position at the tape. In order to achieve that you need to record it to another tape first and then record it back to the original one in the required position.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
You could provide a lyric sheet and place it in a way that the singer doesn’t need to move his/her head to read it. You could record in parts and put them together afterwards.
32. What are the possible remedies for out of tune singing?
Basically I would say none, other then re-recording. But depending on how much out of tune and how many notes out of tune pitch software can correct minor things.
33. How can a 'thin' voice be fattened up?
By double up tracks and add effects.
34. Describe some possible microphone positions for a piano.
For a grand piano raise the lid and use two mics, one over the bass strings another one over the treble strings.
You could also position two mics on stands in front of the open lid (short stick), one at the bottom end where you have a warmer sound and one in the middle for the brighter sound.
For the upright piano, you would remove the panel in front of the player and position two mics, one in front of the bass strings and one in front of the treble strings.
35. Describe some possible microphone positions for an acoustic guitar.
In a live situation where the level is of more importance you would place the microphone close to the sound hole.
In a studio in a recording situation where the sound is of more importance you would place a mic about 15 inches away from the guitar, pointing at the place where the fingerboard joins the body to achieve a warm and full sound and another one pointing halfway between the body and the neck for the brighter sound.
36. Describe some possible microphone positions for an electric guitar.
If you mic up an electric guitar, you mic up the guitar amp, by placing a microphone 1 to 12 inches from the speaker cone, slightly of centre. If you want to hear more bass move it closer to the speaker, if you want more brightness move it closer to the centre of the speaker cone.
37. What is DI?
DI is short for Direct Injection or Direct Input. You use it to connect an instrument direct to the mixer console without using a microphone. They are used to convert the high output from the instrument to a lower output which is suitable for microphone input lines.
38. Describe passive and active DI, and how a DI box is connected to the console.
An active DI contains an electric circuit to convert the high signal to a lower signal and needs to be powered by phantom power or batteries, whereas a passive DI contains a transformer and doesn’t need any power. Both are connected via XLR or ¼’’ jack to microphone line inputs at the mixing console.
39. How is a record player connected to a mixing console?
Via to line inputs, through a preamp which reverses the RIAA EQ curve.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Two, one for the live performance and one for the recording.
41. How are the mix signals separated to go to two consoles?
By using splitters.
42. Where would the recording equipment and recording engineer be situated during the concert?
Preferably behind the audience, facing stage centre
43. Onto what multitrack format would a live recording be made?
Either digital onto hard disk or DAT, or analogue onto tape.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Saxophone, trumpet, trombone
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
You would need to separate the violin with screens and use an extra mic for the violin. If possible you would place the violin in a separate booth.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
The essential of music is not to play the notes correctly but to achieve a rhythm and a heart beat together in a band. Musicians who know each other would typically have this confidence of playing together, knowing each others weaknesses and strength. This gives each band their special tone, which is the main advantage compare to individual hired musicians.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
In the centre of the cone you have brighter tones, whereas at the edge the sound is warmer and fuller.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
There is no variation in a DI signal, it is very clean. A microphone in front of the cabinet can be placed different and would pick up the room as well .
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
The coil of the dynamic mic works like an antenna and would pick up electromagnetic radiation from the combo amplifier.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
No, the lowest frequencies are left out.
51. Describe the Decca tree system of miking
The Decca tree is a recording technique invented by Decca and is mainly used for classical recording. Three omnidirectional microphones are placed about 10-12 feet high just behind the conductor.. The centre mic would be paned centre and cover the hole between the left and right mic, whereas the the left mic is paned left and the right mic is paned right.
There can be two additional mics at either side in front of the orchestra, which would as well be paned either left or right |
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Mon Sep 27, 2004 6:42 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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Thanks aik.
Just a couple things:
quote:
a life room for the
It is a Li
V
e room, not life.
quote:
16. Comment on single-headed and double-headed toms.
Single-headed toms only have a top head whereas double-headed toms have a top and a bottom head.
Here you may want to comment on the recording problems of each.
quote:
Comment on microphone selection for vocals.
With ths I would make it clear you understand there is a difference between the female and male voice.
quote:
25. What is a 'pop shield'?
A pop shield is a piece of nylon attached to a frame and placed between the mic and the singer to avoid plosives.
More detail here, why do you want to avoid them etc.
quote:
29. Describe the 'comping' technique of recording vocals.
Recording multiple takes on several tracks and combine the best parts of each track to the final track
You can get specially designed comping log sheets to keep track of this. Remind me in the Live Workshop to mention it.
quote:
32. What are the possible remedies for out of tune singing?
Do a bit more research here.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Tue Sep 28, 2004 2:20 am |
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