AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 - Questions |
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An excellent start last week, which I want you all to build upon and maintain, before you know it the exams will arrive.
As mentioned the questions are THE priority.
Good luck.
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
_________________
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 Mar 21, 2005 4:50 am |
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chemira
Joined: 03 Jan 2005
Posts: 50
Location: Nova Scotia Canada Eh! |
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Week Three Recording Techniques
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
The Variety of studio layouts differ from a single room project studio to facilities with tailored rooms for each type of instrument. I will discus what I have seen and the more common commercial studio for recording rock.
All things common there will be a control room. This room will house the Mixing desk(console)and equipment such as Preamplifiers, Compressors, Limiters, EQ, and Effects Units. Good monitoring here is a must to ensure good tracking signal and sound for the recorded tracks. Dimensions of the room should coincide with guidelines for the least amount of room modes or standing waves. Acoustical treatment will be used to reduce low frequency modes that are boosted too much.[2]
The Live Room or recording room will be at the minimum large enough for a drum set, barring cost acoustically flattering and separated from the control room. Sound Isolation to keep tracks clear of exterior sounds is factored into this rooms sound signature. A quiet room free from outside sound will not add unwanted noise to the tracks recorded. This room should be free of modes and standing waves to produce the best possible recorded tracks. [2]
The Vocal Booth will have more care for sound isolation, sound deadening, no modes or resonance to record a clear vocal track.
Budget withstanding a studio may have a Guitar room or instrument room equipped with a selection of Bass guitars, guitars and amplifiers.
Commercial studios will typically have a machine room to house noisy power supplies, computers and tape machines.[1]
2. Describe the term 'basic tracks'.
The initial recording of a song is usually done by recording all tracks live at the same time. These tracks create guide tracks and may be used later on in the mix but usually they are replaced by tracks that are more critically recorded. Basic tracks may be kept but usually they will be overdubbed with new tracks. The basic tracks are for feel and guidance during the individual instrument tracking process [3] Quote “A guide vocal is often recorded at the same time as the Basic Track. This will be rerecorded later.” Unquote[1]
3. Describe the term overdubs.
Overdubbing is utilized to record new passages that have mistakes such as missed words pitch problems or noise issues that take away from a performance.
4. Describe the term 'guide vocal'.
The guide vocal can be summed up as the road map for a song being recorded. A guide vocal keeps the recording bands members in touch with where the song is with regards to verse 1 , chorus bridge etc. There is not a necessary requirement for the singer to SING this guide track. They may just talk on tape giving cue points or countdowns to introductions. The singer may be saving their voice for the final tracks takes, but they may also sing along during the recording of the basic tracks and create a very emotive track worthy of keeping in the final mix. This track may also be used for main vocal doubling or doubling on chorus tracks.
5. Describe the term 'foldback'.
Definition Quote “Foldback A European term for the signal sent to the stage monitors in a live performance” unquote. [5] Despite the definition based on early live PA performances, the term fold back describes the process of monitoring the played signal by the members that are playing the parts being recorded. The same foldback is utilized in live and recording setups with the same overall intent. Feedback of the played/recorded signal. [4]
6. Explain how foldback set up.
Foldback monitoring is set up by utilizing portions of the recorded signal particular to the preferences of the performer monitoring the signal. The main intent is to give the performer references that will entice the best possible performance. Each track being recorded may be sent to an Auxillary send or Monitor send in any mix configuration depending on the mixer/console/desk. The druimmer may only want to hear his kick and snare, or maybe just overheads mics. Those signals will be sent to the members particular headphone ”foldback” mix. The bass player may want only kick and snare so they can follow only the rhythmic percussion, not the fills. The Vocalist may want a hotter vocal mix with reverb. This send will or may have a reverb unit patched into it to make the vocals fuller or warmer. The recorded tracks are not affected by the monitor mix but it is not best to send too much bass content to the singers headphone monitor mix. This will be picked up by the vocal microphone. A Highpass filter may be used on this foldback signal to alleviate this problem. Loud Guitars Should be recorded in a bomb shelter (isolation) so people can actually tell what the guitar actually sounds like in the room and what signal is going to tape(recorded). Guitar foldback may utilize a left right, Guitar one, guitar two separation so If two guitars are playing the same part they can hear each other clearly. Or they may want to ignore the other guitar part completely (more often than not).
7. Indicate the significance of 'spill'.
Spill is sound coming from an indirect sound source that is not the primary instrument being mic’ed. Quote “Unwanted audio coming into a microphone. Commonly, the drums in a band situation” Unquote [6] While micing a drum kit there is a lot of spill encounted in all mics. The hihats mic picks up the snare and the snare mic picks up the hihats. The significance is that if there is too much spill the signal you bring up in the mixing of tracks will also bring up the spilled unwanted sound. This will degrade the ability to mix tracks or add effects like reverb to the desired track. Small amounts of the unwanted sound are also amplified or effected. This may also cause phase problems if the signal strength of the snare spill into the hihats mic is close to or out of phase with the snares actual track. [7]
8. What is a 'track sheet' used for?
A track sheet is used to keep an organized account for each individual instruments track number and signal chain events. The listing of microphone, preamp, compression limiting and EQ settings keeps the tracking signal chain repeatable in case of punch in overdubs in the event of mistakes or lyrical changes. All parameters can be documented and saved for a later sessions and detailed notes may help to create repeatable sounds or sonic signatures for bands that are making a new record but still want to be easily recognized quickly on the radio. [8] There is a software version which saves all of your session data for you called Track Sheet[9]
9. Comment on some recording techniques used for basic tracks?
Recording basic tracks may be done in several ways. One possible way is with preloaded MIDI files that will be the tempo and musical sequence of the song to be recorded. These basic tracks may or may not retain their original sound font and they also may be overdubbed with real instruments. This may be anything from MIDI Drums to MIDI keys, brass, strings or woodwinds. The other Basic Track recording is recording all main instrument parts at ounce to separate tracks. The guide Vocal as mention and each part. Drum Kit may be a stereo submix or individual mics to separate tracks. This obviously depends on the recording format and track count potential. [10]
10. How might you prepare and record a kick drum?
First off the kick drum plays a signature role in many bands musical styles. The intended style of music may create many deciding factors such as microphone(s) placement and choice. A suitable location with a solid platform or riser with facility to drive the Kick drums cleats into a firm surface weather wood or carpet. The drum must be tuned well free of rattles and a squeak free peddle. The drum must have attack, body and resonance but not a long decay. Here comes the can opener, worms to follow. Dampening to the beater head may be desirable to stop sympathetic resonance between the beater and the front head. Further dampening of the front head may also be desired. Dampen to musical taste but record and listen to determine if the drum is working well in the room, and with the sound of the rest of the kit. Solo the kick mic while the whole kit is playing and listen for bleed. Cymbals, snare or toms may creep in a little too prominently for outside of front hole micing. The Microphone may have to be placed inside the bass drum or closer to the beater. Remember this instrument will take up a large amount of the low end spectrum so it should be tight and present as you record it. The Preamplifier used should also be considered since the low frequencies are difficult to amplify easily. A high quality Preamp should be used for this microphone. Compression and limiting are other factors that should be considered. [11][12]
11. What type(s) of microphones might you use?
Kick drum microphones can be of all shapes sizes and types. Dynamic mics AKG D112, Shure Beta 52 or SM57, Sennheiser E602, condenser mics AKG C3000B, Rode NTK, Ribbon mics such as the Royer R-122. [13] Boundary mics such as a Shure Beta 91 [14]. Essentially any microphone that can translate the low frequencies of body and the attack of the beater head should give a good kick response. There are also mics with a combination of two microphones in one such as the AE 2500 from Audio Technica with a dynamic and a condenser capsule. [15]
12. How would you prepare and record a snare drum?
The Style of music must be addressed before the snare is even mic’d. The right snare must be selected to ensure that the track sound will fit in the final mix. In preparation for recording a snare the condition of the instrument should be taken into account. Tuning to project the desired sound is mandatory. The snare top and bottom heads, the snares, dampers and even the stand should be in good condition and tune. [20] After an inspection of the snare and repairs or replacement of necessary parts, on to mic choice and placement. Depending on the desired sound regarding style, sounds from side stick or brushes or use of sticks may determine microphone choice and placement. For snare attack, the SM57 built ruggedly and proven for decades is the most frequently used microphone on snare. Other mics such as Audix D1 or Fusion series mics Audio Technica small and large dynamics and host of other manufacturers such as Sennheiser, AKG and Electro Voice. Top snare mic placement rule of thumb closer to the head creates more attack, further back adds body and sustain. If the snares are a concern for sound another mic, typically with it’s phase reversed is set under the snare to pick up the sound of the snare wires. This can also be used as a gating key mic for ambient effects such as reverb.[16] [18]
*** I must mention this article Printed by Electronic Musician written by Richard Alan Salz. Creative snare sounds of great records. [17] Well worth the look.***
13. Comment on the internal dampers found in some drums.
Dampers are used in some drums to stop unwanted overtones and ringing. They should not change the pitch if set correctly. There are several drawbacks to the internal dampers used in most drums and they are; The damper may shake loose inside the drum causing rattles fixed only by removing one head, the damper may create an unwanted overtone and the area around the damper is not playable. [21] [22]
14. Describe how a snare drum can be recorded using two or more microphones.
Two or more microphones can be used to record a snare drum in several different ways. An over under approach, a focused pair,[16] or a combination of all techniques. The over under technique utilizes one microphone placed to focus on top head attack and sustain (blend to taste) and a bottom mic that picks up the snares and resonance. These upper and lower mics must be in phase so the lower mic is usually recorded phase reversed. A focused pair has two microphones pointed at the same spot on the snare. The distance of these two mics must be accurate to alleviate phase problems. The focused pair may also have a bottom mic to pick up the snares during recording.
15. Describe the tuning of drums, and toms in particular.
Acoustic drums are tuned by increasing or decreasing the tension on the heads. This is facilitated by the use of tuning pegs equally spaced around the circumference of the drums upper and lower rim. The pegs are threaded into a fixed point on the shell of the drum and as the peg(key) is turned the tension of the head will increase or decrease depending on direction of rotation. Clockwise will increase and counter clockwise will decrease the tension. For Tuning toms Fist find the fundamental note of the tom shell by tapping it to find it’s resonant frequency. Using the opposite tuning method tune the bottom heads pitch to this fundamental note[25]. Then tension the top head evenly until the top head creates a resonant report when it is struck. Fine tune to eliminate unwanted resonance or detune a key to create a downward pitch bend. [24]
16. Comment on single-headed and double-headed toms.
As the name implies the Single headed tom has one head, the top and the double headed tom has two heads top and bottom.
The single headed tom is designed differently than a double headed tom due to the different loading on the shell of the drum. Since by design resonance is carried from the single head to the shell the shell is required to be more rigid and more flexible to ensure uniform attack and sustain as the drum is hit. The single headed tom can make recorded easier helping with separation of the toms and minimizing other instruments bleeding into the tom mic. This can be done by inside placement of the tom microphone. This may create a thinner sound but it will increase isolation. Move the microphone to achieve the most separation with best sound. Double headed toms may have the bottom head removed to achieve close to the same results. [26]
A double headed tom utilizes sympathetic resonance between the top and bottom head. They are more tonally flexible and can create longer sustain and more resonance. This can be a bonus or unwanted ringing that causes the drum set to sound like a drone losing clarity and separation. A double headed tom creates a fuller richer sound than it’s single headed counter part. Micing can be done over or under the drum with regard to phase problems that may be created by the overhead mics. [26]
17. Comment on the importance of good cymbals.
A good cymbal will create smooth overtones when the cymbal is struck which will suit the style of music being recorded. The manufacturing procedures differ from stamped or cast with finishing by hand hammering or lathing to build a cymbal. The materials used in the manufacture process and the technique of finishing will determine if the cymbal will have higher quality or a distinctive sound.
Hand Hammered Cymbals will have more colorful overtones because of the different unique textures on the surface of the cymbal that disrupt or distort the resonant wave of the vibrating cymbal. This one factor of using good to highest quality cymbals makes a huge difference on the final quality of the drum kit sound. [29]
18. What type of microphone(s) could you use?
For recording cymbals the use of small and large diaphragm condensers or dynamic mics may be used. Usually cymbals are recorded as overheads in most micing set ups but individual cymbal micing does happen in some rare cases.[30]
19. Comment on mic positioning for the hihat.
The hihats mic position must take into consideration the style of music and the technique being used. Brushwork requires more close micing than stick work on the hihats so this should be addressed for positioning. Ensure that the snare is not being picked up in this microphone. The use of a directional mic may assist in this endeavor but directional placement should create a suitable amount of isolation. Move the mic to create the most amount of separation. Obey the 3 to 1 rule with regards to the snare mic.[31]
20. Comment on the positioning and phasing of drum mics.
There is a greater chance that with the use of more microphones there will be more potential for phase problems but this can be alleviated if not at least reduced. Noting that sound is made up of a pressure wave that extends and contract or visually on a graph it rises over a Null or zero point and falls below that null or zero with the same amplitude. The speed of sound is also a known constant , the speed of sound at sea level = 340.29 m / s. Understanding these principals will allow the understanding of recorded sound phase relationships. The distance of mic A to a given sound source will be the determining factor as to when that mic receives the sound wave of a given sound source. The speed of sound being constant if mic B receives that sound wave at the same time will be in phase with mic A. Any movement of mic B will start to shift the phase relationship between these two mics. Imagining that each mic picks up a shifting wave there will be a point where the wave become completely opposite of each other or 180 degrees out of phase. Hence the term out of phase. If these sound pickup distances are creating an out of phase relationship then the sound will be diminished or cancelled out. This can be corrected by utilizing the 3 to 1 rule. Quote “According to this rule, the distance between two mics should be at least three times the distance between each mic and the sound source” unquote . By listening to the mics all together and in pairs you can see if the mics are in phase or out of phase. Either move the mic or flip/reverse the phase.[32]
21. How would you approach mixing drums?
Assuming that the tracks have been recorded with a minimum of phase, resonance or tonal problems I would bring up all drum tracks and take a listen. Check for what’s not there or what’s really too present in all mic tracks. I would first solo the kick drum. Bringing it up to about –4 to –6 on the VU, scan for any bad resonance problems with a high (narrow) Q with a boost of about 6-8 dB. Cut anything that stands out as a bad resonance no more than 6 dB unless its low rumble or too much high cymbal I’d cut what I can keeping high attack and air with low push. Kick drum stays panned center. Next bring up the snare drum to an equal volume by ear with the kick solo it and scan for any bad resonance, same as kick, cut the mud and cut any extra kick that may be present. Add toms with Kick and Snare, scan and cut as above. Add high hihats, so they just poke in pan a little right and Low cut/high pass the kick and snare out. Add toms creating some separation left and right or panning hard left and right paying attention to the original left and right tracks. Slightly off centre is usually enough but mono toms are fine too depending on the mix. Toms should be slightly less volume than snare. Bring in the overhead mics and pan them to the 10 and 2 positions or hard left hard right paying attention to the toms panning left and right. Solo overheads and listen for kick and snare, EQ out kick and snare low end. Solo all drum tracks and listen for what’s not there or what is too present. Overheads may be phase canceling and instrument solo the absent instruments track with the overheads and flip phase and recheck. One overhead with flipped phase may be required so try each process. Attack of snare may overwhelm the overheads so dips may be required in the overhead mics. For more attack compress individual tracks paying attention to the attack time, too soon can reduce the snap. Send all the tracks to a buss and compress. Add reverb and any other ambience or aural enhancement. [33]
22. What time of day is best for recording vocals?
The best time of day to record vocals is at the time when the singer is at their best. This may be any time of day or night. The singer should be well rested and in good health to tackle the recording session. A survey among singer preferred singing in the afternoon at 46% over after midnight at 25% no difference at 18% and early morning was 13%. [34]
23. How important is it for the engineer and producer to feel at ease with the singer?
The most critical factor in encouraging the best vocal performance is the comfort level that the singer has while in the recording studio performing. The use of positive phrasing is a must so that when errors do occur or direction and guidance are needed phrasing towards the positive goal instead of focusing on the error keeps the singer in a positive goal oriented mindset. The singer must feel comfortable with the producer and engineer to put forth their best performance.[35]
24. Comment on microphone selection for vocals.
Typically for a main vocal selection a large diaphragm condenser will be enlisted for this task. Ribbon mics, small diaphragm condenser, dynamic, and boundary mics are also used for variety or tonal and or budgetary reasons. Selection of microphones will be based on selection for style of music, the singers vocal tone or technique. [36]
25. What is a 'pop shield'?
A pop shield is a hoop covered with nylon, fabric or metal mesh that will assist in the reduction of Plosives caused by P’s and B’s sung by the vocalist. The pop filter or also know as a pop or plosive shield will be attached to the microphone stand between the singers mouth and the microphones diaphragm. [36]
26. Describe the rehearsal process for recording a vocal.
The rehearsal process for recording a vocal enables the sound engineer to adjust level, the producer to settle on microphone choices and the singer to warm up. The Phrasing of the lyrics may be tested and adjusted at this time or wording may be changed. This rehearsal can also be recorded to tape. [37]
27. Comment on the importance of foldback.
Good Monitoring is a must to ensure that the singer has a good pitch reference and follows with the tempo of the song. Without these elements there will not be a stable reference for the singer leading to poor pitch and off tempo singing. [38]
28. What can be done to ensure good foldback for the singer?
To ensure the singer has good monitoring during tracking ask the singer what they prefer for a headphone mix. If their preferences are not making the most of their talent or performance some adjustments may be in order. For a shy singer add a little reverb or doubling. For tempo challenged vocalist a bit of extra kick drum and bass guitar or better still cut the midrange instruments a bit such as keys, syth pads and guitars. Ensure the headphone spill does not get out of hand from the headphones into the vocal mic. For a singer with low projection lower the volume so they need to push more to hear their own voice. The volume is the most critical setting to entice the best performance from any vocalist so this must be adjusted with great care. [38]
29. Describe the 'comping' technique of recording vocals.
Vocal comping is accomplished by utilizing the best takes or sections from individual tracks to create as flawless a vocal track as possible. This may be done by singing a complete vocal passage of a song from beginning to end or by singing a section over and over until the section of the song has been done to a flawless take. The comp track will be done with the same microphone EQ settings and no effects will be recorded to tape. [39]
30. What is a 'spin in'?
I found no legitimate reference except former posts at Audio courses. “Spin in” by loose definition by me is the dropping in or transferring of audio from one tape based recorder to another and back again to another portion of the original tape. I see it as a cut copy and paste of the tape era but I have no real reference to back up my own words. Ben Forgive me Obiwan. [ME]
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
Vocals can be recorded for an unfamiliar song by practicing and recording section by section. This formulates a comp track that as the singer completes a section the best takes are selected and a comp vocal will be the final mix vocal track. [39]
32. What are the possible remedies for out of tune singing?
The correction for out of tune singing can be attempted in several ways. The singer can sing with one headphone cup off and stowed with the mix panned to the side being listened to. The singer can try to focus on simply one instrument in the mix either piano or guitar. Bass frequencies can be cut from the mix. The singer can sing to an open monitor (no headphones) mix into a hypercardiod dynamic mic and either live with those results or re-track to their better pitched tracks. If all this fails take all the tracks and comp the best sections, pitch correct the remaining tuning problems and if need be add a double track with heavy chorus or even flanging.
33. How can a 'thin' voice be fattened up?
If a signal recorded does not have enough presence in a song there are a few ways to fatten up the tracks sound. Re-track the vocal through a different preamplifier, compressor, line level amplifier or guitar amplifier. The re-recorded track will have added or different harmonics or distortion characteristics than the original which will produce added frequencies that the original track did not have. Another way to add the presence and increased punch to a vocal is the use of a compressor. A compressor will bring more signal up in volume for a longer period of time. This is done by reducing the tracks dynamic range with regards to it’s highest and lowest volume then increase the total volume in the mix. Main vocal doubling can also be done, copying the lead vocal track onto another track and add a different effect or type of reverb to each track. Double tracks should be checked in mono to see if they collapse of are boosted too much. Adjust as necessary using volume panning or phase. [40]
34. Describe some possible microphone positions for a piano.
Piano Micing can pose problems due to the size of the instrument and the areas that emit sound. By placing a microphone near the hammers inside the piano a more percussive string sound will emit. Move away will increase the body of the sound and focus on the sustain of the strings. The positioning of the microphones can also pose a challenge since there are eight octaves in an 88 key piano there is a large amount of frequency spectrum that will be emitted.
By Strictly using one microphone, even and Omni directional mic will not allow the full spectrum from lowest to highest to be recorded in a balanced manner. Unless distant micing is used. One PZM, boundary mic [43] under the lid or on the sound board of the Piano(grand, not upright) may pick up a reasonable balance but not best.
Two omni directional microphones spaced pairs with one pointed at the middle of the lower register the other pointed at the middle of the higher register. The mics will be pointed at the middle of the section of strings that it will be trying to pick up. Adjust the mics to ensure even balance from low to high emphasizing the middle region where the two mics will coincide.[27] Angling towards the hammers will add more attack. Angling away creates more sustain. Two PZM mics[43] used on the sound board or under the piano lid will have a marked better result than one by moving them to achieve a low register high register balance. Ribbon Microphones placed outside the piano a foot to three feet or in XY configuration in side the piano.[41] [42]
35. Describe some possible microphone positions for an acoustic guitar.
Micing an acoustic guitar can be done in a multitude of ways. One common way is to use the spaced pair technique with the microphones set at the same height with one mic pointed at the 12th fret and the other mic pointed at the bridge. Another spaced pair technique is the pointing one mic at the 12th fret and the other over the guitar players shoulder at about the players ear level. XY or coincident pair is one more acoustic guitar recording technique. By setting up one mics end capsule over another mics end capsule a nice stereo image can be picked up. No mic should be directed at the sound hole but the one directed near the sound hole should be focused at the frets on the body of the guitar. Although the sound hole emits a large amount of sound it typically has too many low frequencies and tends to create a very muddy low end to the recorded sound. All of these techniques can be also utilized at a distance depending on the sound of the room. Pull back if the room sounds nice move in if it is poor sounding. [32]
36. Describe some possible microphone positions for an electric guitar.
Micing an electric guitar can span the imagination and almost any High SPL Microphone can handle these duties.
Starting at the guitar itself, with the guitar player in an Isolation both a using good single large or small diaphragm condenser or two record the ambient guitar sound to one or two tracks. Just as you would record an acoustic except there is no sound hole boomyness problem. Player must wear quiet clothing so no parachute pants or jewellery.
The guitar Amp can be mic’d from any angle front ,side or rear. All angles provide different tones. Straight on directly in front of the speaker has more bite or presence. Off axis in front of the speaker reduces the attack. Front of cabinet will be more direct and present and micing the rear of an open cabinet can add more push to the track not attack but push. Side cabinet micing (not to popular)can add to the ambience and add to width imaging. But with all these mic’s there is the potential for phase problems so regards must be made the 3 to 1 rule. A room mic or two is also another way to mic a guitar cabinet, either in the room, outside the room door open or down a hallway. Anywhere you can put a mic in a room you can record with. If you have an assistant have them move around the room and point it while you listen. Don’t be afraid of corners or inside open boxes or containers. Experiment until you find something that suits the style or you find something new. [44] [my trials]
37. What is DI?
A DI or DI Box is named for the term Direct Injection. It will be utilized when a signal is desired to be recorded with out the necessary use of an amplifier or through effects. Hence the name Direct Injection. The DI will take the unbalance low to medium high impedance signal to a mic level balanced signal. [45]
38. Describe passive and active DI, and how a DI box is connected to the console.
A passive DI does it’s functional task by use of a step up transformer that taps off the guitar or bass guitar input signal through a transformer which in turn boost the signal and separates it from it’s original grounding path. The DI uses the original positive to shield ground and converts it to a balanced positive negative. There is some attenuation of signal in this configuration. The grounds of the instrument cable and the mic cable can be separated by a switch which is provided on most every DI Box. This is called the ground lift switch. [46][47]
An Active DI utilizes external power via Phantom Power or and AC adaptor or battery power to run a small signal amplifier within the box. This amplifier will boost any signal loss that occurs in the transformers duties of decoupling the signal. The amplifier may also be capable of boost or filtering or it may be able to run several different simultaneous outputs with no signal loss. [47]
39. How is a record player connected to a mixing console?
Through a phono Input or through a phono preamp into a line level input. The Record player utilizes a filter curve known as the RIAA curve that in the preamp it will boost the bass frequencies. [48]
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
I would say one with direct outs but I see the next question so I will say two, my final answer. [49]
41. How are the mix signals separated to go to two consoles?
The use of a splitter which takes the single track signal and through isolation transformers splits it into two signals. This is similar to a transformer in a DI except the signal has two outputs one for the Live PA Console and the other for the Recording Console. [49]
42. Where would the recording equipment and recording engineer be situated during the concert?
As far away from the sound source as possible to ensure that what the engineer is hearing is the best monitoring of the signal they can record. A separate room, a separated hall way or a mobile truck outside the venue with as much isolation as possible. Close backed headphones are the bare minimum to assist in this critical monitoring of the live recording session. [49]
43. Onto what multitrack format would a live recording be made?
Adat, Da88 or any multitrack digital recorder can be used for live recording. Factor in the set times and recording time of the medium to synchronize tape changes or archiving.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
A brass section in pop music will comprise of trumpets trombones and Saxophones.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two Microphones are the minimum number of microphones 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.
By setting the quieter instrument, the violin, closer to the recording mics there will be violin signal to record. This can be achieved by listening to the violin with the brass together and place the violin a suitable distance in front of the brass. A step forward solo may also be tried for parts that require even more violin.
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 regularly works together will be more sonically cohesive while recording since they have a very good familiarity with each others capabilities and knowledge of how they blend together. They will only have to focus on the music that will be recorded not the dynamics of the section.
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?
A speaker emits its higher frequencies near the centre of the cone and lower frequencies near the outside of the cone. If you place a mic near the centre of the cone it will be brighter and if you place a mic towards the outside of the cone it will be mellower sounding. [50]
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.
A Dynamic microphone contains a transformer to boost the low signal level right at the source, the capsule. This transformer is very susceptible to any EMF given off by the Guitar amplifiers large power transformer. The Capacitor microphone will not pick up this hum because they do not utilize a transformer in the microphone. [51]
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
Unless a bass guitar amplifier is overly large it will not accurately produce the actual fundamental frequency. Instead the brain will fill in the missing portion of the fundamental frequency if it can detect the first two harmonics. Quote “If the brain detects two different pitches, the difference is perceived as a third pitch. If, for instance the two first harmonics of a bass guitar note are heard, but the fundamental frequency of the string is omitted, the brain will "fill in" the missing fundamental. The difference with the real thing is feeling” Unquote. [52]
51. Describe the Decca tree system of miking
The Decca Tree is a recording technique that utilizes three microphones in a triangular array. The center microphone will be mounted ahead of the other two and it will be the centre soundstage microphone. The microphone on the left will be responsible for the left soundstage and the right microphone will capture the right soundstage. This arrangement can be used on small or large recording soundstages and the width of the dimensions is not critical as long as it stays somewhat symmetrical. Potential for comb filtering does exist but the advantage of the full centre stage out weighs the risks of these phase problems. Listening to the balance and phase during the recording would ensure a problem free recording. [53]
[1] Studio Recording Engineer
[2] http://www.ethanwiner.com/acoustics.html
[3] http://rosewoodrecording.com/RosePages/RecordingABCs.html
[4] http://www.josaka.com/Content/Glossary-of-Terms/a.htm
[5] http://www.josaka.com/Content/Glossary-of-Terms/f.htm
[6] http://mediagods.com/glossary/What_is_mic_spill.html
[7] http://www.soundonsound.com/sos/feb01/articles/drummix.asp
[8] http://www.soundonsound.com/sos/may99/articles/20tips.htm
[9] http://www.tracksheet.biz/
[10] http://www.dksproductions.com/recordingprocess.html
[11] http://emusician.com/met/emusic_kicks/
[12] http://www.career-connection-inc.com/recording/resources-t-kickdrum.html
[13] http://www.proaudioreview.com/par/january03/royer.shtml
[14] http://www.shure.com/microphones/models/beta91.asp
[15] http://www.audiotechnica.com/prodpro/profiles/AE2500.html
[16] http://www.homerecordingconnection.com/news.php?action=view_story&id=133
[17] http://emusician.com/tutorials/emusic_old_two_four/
[18] http://www.epinions.com/inst-review-2491-37CB0BD-397EEA3D-prod6
[19] http://www.music-and-technology.com/drumtracks.html over all kit micing and recording
[20] http://www.hpb.dk/artikler/gb/tuning_a_pipe_band_drum.pdf
[21] http://www.soundonsound.com/sos/feb03/articles/drummiking.asp
[22] http://www.vicfirth.com/education/articles/Collison.html
[23] http://www.waywood.com/tuningd.htm
[24] http://www.waywood.com/toms.htm
[25] http://www.waywood.com/images/drumtune.jpg
[26] http://www.canopusdrums.com/english/html/products/shtom/sht_2003-e.html
[27] http://www.cd-mastering.ca/micing.html
[28] http://www.bothner.co.za/articles/cymselec.shtml
[29] http://www.drumjunction.com/cymbal_making.html
[30] http://www.silver-dragon-records.com/drums.htm
[31] http://www.soundonsound.com/sos/feb03/articles/drummiking.asp
[32] http://www.humbuckermusic.com/acguitrectec.html
[33] http://www.recordingeq.com/EQ/req0200/recmeth.htm
[34] http://homerecording.com/bbs/showthread.php?t=75493
[35] http://www.johnvestman.com/vocals.htm
[36] http://www.soundonsound.com/sos/jun01/articles/vocalsfaq.asp#Anchor-44750
[37] http://www.humbuckermusic.com/recvoc.html
[38] http://psbg.emusician.com/ar/emusic_cans/
[39] http://emusician.com/mag/emusic_comping_vocal_track/
[40] http://www.soundonsound.com/sos/1997_articles/apr97/compressors.html
[41] http://www.royerlabs.com/articles/Recording_10-02_R122.html
[42] http://music.columbia.edu/cmc/courses/g6630/MicSweetSpot.html
[43] http://www.soundandsong.com/Issue004/004TIP_MIC.html
[44] http://www.recordingwebsite.com/articles/guitar.php
[45] http://www.soundonsound.com/sos/dec04/articles/qa1204-5.htm
[46] http://www.whirlwindusa.com/tech02.html
[47] http://www.leonaudio.com.au/active.htm
[48] http://www.graniteaudio.com/phono/page5.html
[49] http://www.soundonsound.com/sos/feb00/articles/livefaq.htm
[50] http://www.tape.com/techinfo/mics.html
[51] http://www.gmp.co.nz/a/m/2002/01/08/Shure_SM7A_hum_reduction_effective_design-249797.html
[52] http://www.talkbass.com/ampfaq/
[53] http://www.soundonsound.com/sos/1997_articles/mar97/stereomictechs2.html
Great All out sites for recording/mixing/sound
http://www.professional-sound.com/
http://www.soundonsound.com/index.php?url=/
http://www.audio-recording-center.com/index.html
http://www.tweakheadz.com/index.html
http://emusician.com/
http://www.findarticles.com/p/articles/mi_m0HEO
http://www.homerecordingconnection.com/index.php
Cheers |
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Fri Mar 25, 2005 8:33 pm |
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rachelh
Joined: 16 Jan 2005
Posts: 35
Location: Trinidad WI |
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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?
A typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards can consist of a main room where the basic track can be laid and one or two smaller isolated rooms where loud or softer instruments and vocals can be recorded. Discussions on ‘what to do next’ in terms of the over dubbing process can also take place in the much larger main room and it can also house practice sessions leading up to the recording session. The type of studio, whether project or commercial and the size of the studio would determine the location of the control room, machine room, lounge etc.
2. Describe the term 'basic tracks'.
The term ‘basic tracks’ refers to a pre-determined format that is applied during a recording session. The tracks of which we speak about are the different recorded instruments of a song for example bass guitar, drums, guide vocal and acoustic guitar, just to name a few. The basic track is also called the backing track and, allows for deduction of an accurate generalised sense of the musical pattern of the song. During a recording session, the use of a multitrack will allow us to record these basic tracks leaving the other tracks free to record DI’s [Direct Injections] and other embellishments to the recording. Lead and backing vocals, instrument solos, and other overdubs therefore can be added after the basic track has been laid down. The basic track has to be accurately recorded as it is the backbone to the final recording, thus, it is not un common to try to perfect this track as much as is humanly possible.
3. Describe the term overdubs.
The term ‘overdubs’ describes the process by which additional elements such as lead and backing vocals, instrument solos are recorded. Overdubs are usually recorded after the basic track has been laid down. The overdubs themselves can be characterised as all the fundamental elements that were ‘left out’ of the basic track and any tweaking that may be done to the basic track itself as well as any other existing tracks. The overdubbing process allows for lots of brainstorming and experimentation to be done. After this stage the post-recording section is initiated that is the mixing and mastering of the track.
4. Describe the term 'guide vocal'.
The term ‘guide vocal’ describes a temporary vocal that is recorded along with the basic track, which gives guidance with respect to where the vocal will fit into the general scheme of things. During the overdubbing process, the guide vocal is discarded and the lead vocal and backing vocals are recorded. Thus, the guide vocal will be recorded as a direct insert, which allows it to be easily discarded in the overdubbing process.
5. Describe the term 'foldback'.
The term ‘foldback’ describes the name that was originally used for what is today called monitors. Monitors refers to loudspeakers or ear / head phones that are used by musicians to hear themselves as well as to monitor the rest of the band. A mixer is used to dictate the signals that would be used for monitoring.
6. Explain how foldback set up? [4]
Foldback is set up by using a mixer which is used to dictate the signals that would be used for monitoring. The producer would let the band play the song through a couple of times to allow the engineer to adjust signals and to let the band get accustomed to playing with monitors/ headphones.
7. Indicate the significance of 'spill'.
The significance of “spill” can be summed up as bleeding between instruments that is picked up by the microphones that is recording the other instruments. Spill has a certain ambience and it can be noticed during playback, it adds a live feeling to the recording and can be vital to liven up rock recordings and other ensemble recordings.
8. What is a 'track sheet' used for?
A ‘track sheet’ is used to keep records of all the happenings in a session; they are there to record the hits and the misses and most importantly to protect the recorded content from being prematurely and mistakenly being deleted. The sheet itself comprises of information to be recorded such as the date, time, recording engineer, studio and most importantly outlines each track and you can insert the relevant details pertaining to that track.
9. Comment on some recording techniques used for basic tracks?
Some recording techniques used for basic tracks are firstly that is after the rigging takes place, allow the band to practice the basic track[s] a couple of times so that they can get accustomed to the recording environment also, that foldback can be adjusted. The basic track serves as the outline for the final song and should be accurately recorded thus; it is vital to make sure that the finalised track is as perfect as it could be by making the band practice, in a recording environment, it can help in accurate execution of the song. Other techniques that can be used are the use of a metronome to prevent sudden gearshift, using a click track is also an option in trying to prevent gearshifts in recordings. Another technique is to select edit points in the basic track and record the track itself in ‘pieces’ which then can be put together to make the completed track. Generally, because the basic track is being recorded in a studio setting and not a live one, it allows for many re-takes and room for mistakes on the road toward the final basic track.
10. How might you prepare and record a kick drum? [1] [5]
Preparation for recording a kick drum will firstly start with spraying any squeaking moving parts with some WD-40, then I will proceed to tuning the drum, when this is finalised, I would place a blanket or some other material which is damped inside of the drum shell firmly against the beater head, reason being that it produces a sharper more defined transient sound, than if not implemented [the sound will be dull and reek of a loose kick sound, lacking in execution]. After this is done, I would then proceed to place the microphones. The microphone type that I would use is a large-diaphragm dynamic microphone as it can handle and reproduce the low frequencies at high sound pressure levels produced by the kick drum. I would then place the mic close to the head of the drum about 2- 3 cm and then I will listen to the play back produced, if this is not the desired effect that I want I will then continue moving the mic around that area to get the placement that I want.
11. What type(s) of microphones might you use? [5]
The type of microphones that I deem usable for recording a kick drum would be a dynamic microphone with a large-diaphragm such as the AKG d112 or EV RE20.
12. How would you prepare and record a snare drum? [1]
For recording a snare drum I will firstly prepare by tuning the drum, examining it to make sure that it is in a good condition then, I will proceed to place the microphone. The microphone placement that I will use for a snare drum is aiming the mic just inside of the top rim of the drum. Because of the location of the snare drum in the set up of the drum kit, I will angle the mic away from the other drums, by aiming the rejection angle toward either the hi hat or rack toms I will decide upon the permanent placement of the mic when I examine the pick up made looking out for leakage as a negative sign with respect to my choice of mic placement. Different genres of music may also call for a different approach in placement. The microphone type that I will use is a mic with a cardioid polar response such as the Sure SM 57; in general dynamic mics are used to record drums.
13. Comment on the internal dampers found in some drums.
The internal dampers found in some drums revolve around the hydraulic heads, which involves the sandwiching of an oily substance between two thicknesses of head material. This helps to reduce overtones and increase the durability of the heads. Some problems that arise with this is that the drums may not project very well in a large room, as the tone tends to flatten a short distance out from the drums, but although a problem, microphones can be used to solve this dilemma.
14. Describe how a snare drum can be recorded using two or more microphones. [1]
A snare drum can be recorded using two or more cardioid microphones for example the Sure SM 57, by aiming the rejection angle toward either the hi hat or rack toms and the ‘pick-up’ of the mic toward the inside top rim of the snare drum. For a crisp bright sound such as that associated with Jazz recordings, the snare’s top and bottom heads can be miked and combined into one single track.
15. Describe the tuning of drums, and toms in particular. [6]
The tuning of drums is essential to extract the best possible sound. Unlike guitars and piano’s drums can be tuned any way that the drummer wants. But, in order for them to sound the best, they have to be tuned properly. By tightening the heads of a drum higher tones are achieved and by loosening them, lower tones are produced. For toms, we first begin with the smallest tom [which should be the highest pitched as it is the smallest] we then arrange the toms in descending pitch, it is all up to the user, if he/she wants they can use the keyboard as a guide. Experimentation with the various combinations of tight top heads, loose bottoms and so on can help the user develop the much sorted after sound.
16. Comment on single-headed and double-headed toms. [6]
Single headed toms tend to produce lots of overtones and are not as durable as double-headed toms. Double headed toms such as Black Dot which is designed with a double thickness of head material in the centre of the drum and Pinstripe which have a double thickness of head material around the outer perimeter of the drum [the place where most of the overtones occur] are designed so that overtones can be eliminated, this helps to enhance the live of the drum head. Hydraulic heads incorporate an oily substance between the two thicknesses of head material for the same reason.
17. Comment on the importance of good cymbals.
Good cymbals are important to any drum kit. Because of the dynamic range of these instruments, it is vital that they be in good shape because if they aren’t it will definitely be noticeable and instead of enhancing the sound via the use of cymbals you would be basically thrashing it as the cymbals would be reduced to noisy clanging pieces of metal.
18. What type of microphone(s) could you use?
The type of microphones that I will use to record cymbals is a mic that has the capability to record an instrument with a high dynamic range and can reproduce this range effectively with crisp accurate detail such as, a condenser mic for example the Beyerdynamic MCD 100 Digital Condenser mic.
19. Comment on mic positioning for the hi-hat.
The hi-hat has a dynamic range that produces sound that is in the upper frequencies so the positioning of the mic closer or further from the drums will not be as critical as when for say miking a snare drum. Mic positioning for the hi-hat may consist of placing the mic above the top of the cymbals to pick up those sharp attacks, making sure that if you are miking the hat’s edge that angle mic is placed slightly below or above the place where the cymbals meet [to avoid capturing the rushes of air that form in that area] and finally, one mic can be used to capture both the snare and hi-hat if necessary due to their proximity to each other by placing the mic between the two and as far away from the rack toms as possible .
20. Comment on the positioning and phasing of drum mics.
When positioning drum mics, the most critical aspect is to be aware of the close proximity of the different instruments to each other, thus miking has to be done with signal bleeding, signal blending and accuracy of pick up in mind. Also, the dynamic range of the drum set has to be taken in to consideration, and the microphones chosen have to be able to record and reproduce the varying ranges respectively.
When using more than one mic to pick up the sound from a drum it is vital that we take into consideration the phasing of the mic, for example when miking the top and bottom heads of a snare drum, where the two signals would be combined. The bottom snare head is out of phase at 1800 with the top head of the snare thus the bottom mics polarity will have to be reversed to have both signals in phase. If not, the combined signal will be out of phase and unusable.
21. How would you approach mixing drums?
The approach that I would take in mixing drums will be to go through all the separately recorded instruments from the drum kit with the track sheet identifying the hits and misses, I would then make a master track for each percussion instrument, tweak each instrument using editing tools such as splicing, then I would combine them all into one master percussion track.
22. What time of day is best for recording vocals?
The time of day best for recording vocals is dependant on the vocalist. Whether the vocalist’s voice is more active during the morning, afternoon or night. Also according to the location of the studio noise or the lack thereof will also pay a vital role in deciding what type of day would be best for recording.
23. How important is it for the engineer and producer to feel at ease with the singer?
It is critical for the engineer and the producer to develop a good working relationship with the singer because of the fact that there are very few singers that can nail a vocal track in one to two takes; thus, the average singer will need lots of encouragement and guidance from the power that be i.e. the engineer and the producer. Sometimes this guidance will come in the form of constructive criticism which should be able to ‘roll of the back’ of the singer as he/she would have developed the kind of relationship with the engineer and producer which ensures that the singer knows that it is in his/her best interest and they know the same as the vocalist is allowed to express their concerns. Additionally, there is a small window of opportunity when recording a vocal thus; it is vital to have a healthy support unit in place to ensure that this critical time is used constructively so that the recording sessions can prove fruitful.
24. Comment on microphone selection for vocals.
The human voice has a dynamic and tymbral range that allows it to have many pre-requisites when it comes to miking. Unwanted effects such as excessive dynamic range, sibilance, popping and excessive bas boost due to proximity effect can all occur. Thus when selecting a mic for a vocal, one has to take all these things into consideration and according to the timbral quality of the vocalists voice one will know how to compact any difficulties faced. For example Omnidirectional mic can be used to reduce popping as well as excessive bass boost, for excessive dynamic range a compressor can be place in the signal path and sibilance can be eliminated by the use of a de-esser.
25. What is a 'pop shield'?
A pop shield is a device that is paced between a vocalist and the microphone during the recording process that helps to eliminate popping which results from turbulent air puffs from the mouth striking the diaphragm of the mic.
26. Describe the rehearsal process for recording a vocal.
The rehearsal process for recording a vocal would first start with the vocal warm-up, which would take the singer about one hour to accomplish, then, the song can be rehearsed. For the initial rehearsals of a song, the song can be broken up into parts and each part can be perfected before doing run troughs of the song in its entirety as this would help to speed up the process as it is easier to perfect smaller parts of the song than the whole thing all at once. Once the initial stages have passed, full run throughs of the song can occur, that is where changes can be made with respect to intonation pronunciation and execution of the lyrics and notes of the song. At this stage a vocal coach can be called in to help the singer re-structure their execution in order to perfect the song. The idea of having rehearsals is so that when the recording stage is initiated, the song could be perfected although, it may be necessary to record more than one take of the song for editing purposes.
27. Comment on the importance of foldback.
Foldback is important because it helps the musician monitor him or herself while they are executing their part. It allows for a critical listening environment during the recording process whereby the instrument is easily recognised and any mistakes can be easily picked up on and re addressed.
28. What can be done to ensure good foldback for the singer?
Good foldback for the singer can be achieved by having the singer do a run-through of the song while being monitored; so that any problems that they may experience can be addressed. Also, practice runs ensure that the singer can get accustomed to hearing himself or herself on the monitor and use it to their advantage. The engineer can ensure for good foldback for the singer by eliminating as much ambient noise as possible so that the little semblance of reverb may be the only thing that will contend with the vocals during the session.
29. Describe the 'comping' technique of recording vocals.
The comping technique for recording vocals is the process of compiling all the best parts from multiple takes into one master track. As vocals are usually recorded onto many tracks sometimes 7 or 8 comping is necessary to achieve the final vocal track. Comping is achieved by selecting the best sections of the vocal for each part of the song from the various tracks these sections are then edited together to create a seamless mix. The goal of creating a vocal comp is to get most of the emotive performance as possible into the master track.
30. What is a 'spin in'?
A spin in is
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
Rehearse/ record describes the procedure used during the recording process whereby sections of music are rehearsed and then recorded; this will be the solution to the problem at hand as the vocalist can rehearse the song piece-by-piece and record as he/she has it executed correctly.
32. What are the possible remedies for out of tune singing?
Possible remedies for out of tune singing would be to firstly try recording the song using a guide track, which plays the harmony of the vocal to guide the singer along the correct pitch, if that fails, a vocal coach could be called in, if not rehearse/ record can be another method, having the vocalist rehearse the song until they have it in key then recording if all else fails, during the mix down process a harmoniser can be used to double track and shift the pitch of the song or pitch correction software can be called in.
33. How can a 'thin' voice be fattened up?
A thin voice can be fattened up by the use of double tracking, or using slight reverb to thicken the appearance of the voice and give it a warmer tone, harmonies in some cases can also be used to fatten up a thin voice.
34. Describe some possible microphone positions for a piano. [1]
Possible miking positions for a piano are as follows:
Miking over the top, which consists of placing two mics over and in front of the open top of the piano with one mic positioned over the high strings and one over the bass strings. Reflections can be reduced by removing the front face that covers the strings that is, if isolation of the instrument is not necessary. Miking over the kickboard area is yet another microphone placement technique that can be used for a piano. It consists of removing the kick board from the front part of the piano exposing the strings and placing a stereo pair of mics about 8 inches over the bass and high strings. Miking the upper soundboard area can also be implemented when recording a piano. To do this, a mic is placed about 8 inches off the soundboard.
35. Describe some possible microphone positions for an acoustic guitar. [1]
For an acoustic guitar, experimentation with respect to picking up the best tonal balance is always necessary. A balanced pick up can be achieved by placing a mic or a XY stereo pair slightly off the axis and above or below the sound hole at a distance of between 1 to 6 inches. Positioning the mic at the fret board is another option if using a single mic.
36. Describe some possible microphone positions for an electric guitar. [1]
For an electric guitar, the guitar amp will have to be miked if not recording direct using a DI. Miking the amp using a cardioid dynamic mic. The mic can be placed either in front of or off centre of the cone of the amp at a distance of about 4 inches. If miking simultaneously, the placement between the mics can be about 1 to 2 inches.
37. What is DI?
DI refers to Direct Inserts. DI is to basically connect instruments directly to the mixing console without the use of an amplifier or a microphone.
38. Describe passive and active DI, and how a DI box is connected to the console.
An active DI box actually combats high impedance by boosting the signal to line level and increasing the current drive capability, the signal is balanced to avoid any interference. A passive DI only contains a transformer and is connected to the mic input, the transformer reduces the voltage of the signal whilst increasing the current and reducing the output impedance at the same time. A DI box is connected to a console via a cable into an insert point. If they are powered via phantom power they will have to be connected to the mic input.
39. How is a record player connected to a mixing console?
A record player is connected to a mixing console via a DI which is then connected to an insert point on the console.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
For making a live recording of a conventional rock band, two recording consoles will be used. One is the front of house FOH console which is located usually in the audience and will be used for sound reinforcement systems and the other will be a recording console which will most probably be located in a mobile studio parked up outside.
41. How are the mix signals separated to go to two consoles?
The mix signals for the both consoles would be separated by the use of a stage box. This box incorporates a splitter for each channel so that the direct insert can feed into both the FOH and the recording console.
42. Where would the recording equipment and recording engineer be situated during the concert?
During the concert, the recording equipment and engineer would be situated in a truck outside of the concert most likely in a mobile studio.
43. Onto what multitrack format would a live recording be made?
The multitrack format that a live recording would be made is a digital multitrack.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
In a brass section in pop music three types of instrument that most likely would be found are a saxophone, a tuba and a trombone.
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 that can be used to record a five-piece brass section is three.
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 achievement of recording a violin alongside a brass section would be successfully achieved by miking the violin by placing the mic at a distance of 6 inches or less over the front of the player ‘on axis’ as increased overtones help the instrument to cut through an ensemble. The brass instruments would miked the clarinet, flute, saxophone, oboe and bassoon being individually miked.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians?
The main advantage of hiring a brass section of persons that regularly work together is that they have of course comradery as well as the fact that they are accustomed working together so things would be easier to accomplish the session for a better use of a word would ‘flow’
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 difference in miking the centre of the cone and the edge of the cone of an electric guitar cabinet would be that a brighter sound can be picked up at the canter while a more mellow sound with less amplifier noise is accomplished by placing the mic off 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?
DI produces a cleaner more present sound rather than when miking the cabinet because the signal is directly inserted into the console thus it is not derogated and is in its purest form, despite any gating or compression that may have been used. Whereas the miked signal has passed through so many mediums that signal derogation takes place.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
The reason that a dynamic mic would pick up hum and a capacitor microphone will not when placed close to a combo amplifier is
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument? [4]
A bass guitar cabinet will not normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument as the dynamic range of the instrument is greater than the range of the cabinet in some instances also keeping in mind that there would be harmonies and other envelope characteristics to contend making it difficult for the equipment to accurately reproduce the frequencies.
51. Describe the Decca tree system of miking [3]
The Decca tree system of miking is resounds around rooms that have short reverberant times, it allows for the use of three omni directional microphones which will be mixed down into two tracks. One mic is placed on the left, one on the right and one in the center of the object. The Left and right mics are set to a utility gain while the center mic is set to 5 dB to -10 dB, overall, the centre mic should not be heard. The Decca tree system is usually used when recording classical music. This arrangement will allow for reverberation and additional ambience to be recorded.
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Reference/ Information Sources:
[1] Modern Recording Techniques – D M Huber
[2] MSN Encarta Enclycopedia
[3] AKG
[4]Studio Recording Engineer
[5] http://emusician.com/met/emusic_kicks/
[6] http://home.att.net/~drums01/tuning.html |
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Fri Mar 25, 2005 8:49 pm |
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hoaxwagon
Joined: 28 Feb 2005
Posts: 27
Location: Boulder Creek, CA USA |
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hey there, hoaxwagon RT wk 3- Q & A
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 conventional rock band consisting of drums, bass,
electric guitar and keyboards could be...... a control room with visual access to the rest of the studio (
large pane glass ) is situated with the processing gear and a selection of studio monitors. This is where
the recording engineer and the producer are during the recording process. The keyboards would most
likely be in the control room as well. The main recording room is where the musicians set up. they
communicate to the control room with head phones. The isolation booth is usually for vocals and an
amp room for controlling the sound of the amps running. The drums would be mic’d and the guitar amp
as well. The bass could connect to the desk via direct box and a pre amp or the bass rig can be mic’d.
Whether the tracks are recorded at the same time or a first track is laid down and the other tracks are
recorded separately depends on the tightness of the band, and with what the engineer and producer are
comfortable. Sound absorption/ reflection panels are also part of any studio layout. [1]
2. Describe the term 'basic tracks'.
I think a fair description of the term ‘basic tracks’ is the tracks that are recorded at the start of the
recording process. The foundation of the recording. These tracks could be the mic and line feeds for a
whole band , a single instrument or any configuration scheme imaginable. Behold a groove is created
and a vibe is captured. Most likely candidates for these tracks would be the rhythm section feeds
(drums, bass, guitar). These basic tracks set the stage for all other tracks to be added.
3. Describe the term overdubs.
overdubs are the tracks recorded after the basic tracks. For example, the vocal parts, instrument
solos, percussion tracks, keyboards ( situated in the control room), and any other part that needs to be
recorded again. An overdub sheet is used to show which tracks are active and the contents of each
section. [R] sound and recording( focal press)
4. Describe the term 'guide vocal'.
A guide vocal is the vocal track recorded with the basic tracks or as one of the first basic tracks.
Sometimes it is a rough mix but enough to guide the way for the other basic tracks. A guide vocal is
usually replaced by a more polished vocal part in the form of an overdub.
5. Describe the term 'foldback'.
Foldback is a term used for an amplified monitor system that relays sound back to the stage during
a live performance.
6. Explain how foldback set up?
The foldback is set up using a console on or close to the stage that receives a cable, from the splitter
box, from every instrument and vocal on the stage. This console feeds the signal to any number of
separate, amplified speaker systems (monitors). these monitors are placed in front or next to (not
behind) the performer. Now every one can have their own mix in their own speaker. If the just want to
hear kick and vocals in his or her monitor this can be easily accommodated. The console channels and
sends knobs should be labeled so at a glance you can see who is where and who is receiving what.
7. Indicate the significance of 'spill'.
Spill, the sound from a singers headphones spilling into the mic he or she is singing into, is significant
in that it as well as other unwanted sounds such as traffic, appliances, shuffling papers and throat
clearing is clearly audible between vocal lines and more so if the singer has that classic one side of the
headphone half off the ear thing goin’ on. This kind of spill as well as crosstalk needs to be dealt with
early off in the game, before compression and EQ are added otherwise the “noise” will be enhanced
and brought up in the mix with the softer passages of the vocal track. Minimizing the crosstalk ( the spill
of the right rack tom sound into the floor toms mic ) between two adjacent mics early off is key to
having more control over the final sound. Some would say that alittle spill is a good thing when miking a
drum set. It gives the impression of one set rather than 10 mic feeds pieced together to sound like a set.
And I would agree. [R]audio courses forums
8. What is a 'track sheet' used for?
A track sheet is used in a recording situation to reference the contents of a track(s) and the times
for which the tracks are to be active. For instance, during the overdub stages of recording, more than
one take may be recorded making it hard to keep track of and remember specifics for each take.”I like
the one that sounded really cool man, what track is that on .....? The dubbing track sheet would be used
to keep everything organized and tidy for at a glance use.
9. Comment on some recording techniques used for basic tracks?
If a band is to play the tracks at the same time, alot of close mic techniques are used to preserve a
separation by minimizing leakage. If the guitar amp(s) in the room with the drums it would be pointed
away from the drum mic’s and surrounded by sound absorption/ reflection panels.
Another recording technique for recording basic tracks is to record the drums first. This can be
done by having the guitar player play along with the drummer. Who in turn is able to hear the guitar in
the headphones therefor having familiar Que.’s for upcoming parts of the song.
Whatever your choice of recording techniques for basic tracks is, go all out and put mic on every
drum and cymbal if you have to, have some ambient mics as well and move them around until they
sound just right, take a direct line and a speaker mic feed for the bass. You will have choices later on
that you wouldn’t have had if you had just set up a stereo pair of mics and recorded for instance.
10. How might you prepare and record a kick drum?
Place a pillow or a blanket in side to relieve some ring, find and fix any loose hardware rattling
around when the drum sounds and oil that squeaky pedal. Then use one of many techniques for mic
placement. How about a high spl dynamic mic placed inside the drum and experiment with the depth of
the mic goes in the drum, but always keep the mic pointed at the drummer's shin bone on the leg that
controls the hi-hat crosstalk and is in line with the beater. Or place a mic just outside the resonant head
head and little off center. A mic placed on the beater side or front side of the drum has a punchy sound.
On the control room side of things, I would use a gate to open when the drum is kicked ( to minimize
the sounds from the other drums in the kick drum mic) and also a compressor to keep an eye on those
peaks and to fatten the sound and last but not least EQ. I like to boost 3k for presence and clarity. A
pad on the mic or the console channel should be used.
11. What type(s) of microphones might you use?
dynamic moving coil, with a high spl. or a dual eliment condenser / dynamic, AKG D 112,
Electrovoice D12E
12. How would you prepare and record a snare drum?
First off I would tune the snare drum if it was needed. A wide range of mics are suitable for
example: Shure SM57, AKG 414, Sennheiser 421, Neumann KM 84 and Neumann KM 184. Feed
the mic in from the audience side of the drum set and keep it an inch or two from the top snare head and
two to three inches in from the rim following a line toward the drummers crotch. The rest of the set will
be off axis.[2] A place to start eq’ing for the snare is to add a couple of db’s at 100 Hz; roll off 300 to
700hz to eliminate the boxy sound; and boost 5,8or 10khz to brighten up the top end. A pad on the
channel will be necessary if the mic doesn’t have one although if the mic has a "pad" switch, use it when
recording drums. Always better to pad at the mic than the console.
13. Comment on the internal dampers found in some drums.
This a personal comment, Dont they rattle around in there
14. Describe how a snare drum can be recorded using two or more microphones.
One mic placed underneath for the spring sound, one placed on the top for a sharp attack and one
placed near the air hole to give a very tonal quality. All these signals can be mixed together and tweaked
for an interesting sound. Early John Cougar has a snare sound with a tonal quality.( just a personal
observation)
15. Describe the tuning of drums, and toms in particular.
The toms are tuned starting with the batter head. With the drum on the carpet or a drum throne
loosen the tension using a criss cross tensioning pattern to let out the slack. Then using a criss cross
tensioning pattern bring batter head up to the lowest tone it can make. Now slowly tighten each lug (
1/16 of a turn) until the desired tone is achieved. The tones when hit one inch from the rim at each lug
should be the same. If not just loosen the ones that are to high in pitch and tighten the ones that are to
low in pitch. When a lug needs to be loosened a bit it is a good rule of thumb to loosen it more than you
need and tighten the lug until you have the correct tone. [4] After all the heads are done this way the
relative tension needs to be adjusted. Just hold your hand over the resonant head while striking the
batter head and vise-versa. The batter head can be tightened a little bit more than the bottom head but
when the bottom head is then tightened to even relative tension the higher in the drums tuning range the
pitch will be. The bottom head can be tweaked just a bit to fine tune. A fat tom sound can be achieved
by taking the resonant head and tuning to the lowest note, not choking, and then detuning a slight
amount (1/16 to 1/8 of a turn). This creates a fat, loose or dark drum sound. To tune for the best sound
of a drum rather than a certain note might seem ideal but in the real world the toms are tuned probably
to the forth and fifth intervals of a certain key. The kick drum also can be tuned to a specific note,
mabee the root of the key that the bass player is in, and is tuned using the same method used for tuning
toms. The snare is tuned starting with the resonant head but again using the same technique used for the
toms. The relative tension of the heads on a snare need to be different to minimize the sympathetic
resonance’s of the snares when a another instrument in the room is played. The batter head is usually
tuned two or three notes above the highest tom.(middle G). [5]
16. Comment on single-headed and double-headed toms.
Double headed toms produce a sound with lots of depth, tone and ring. If you remove the
resonant head the sound is thinner with less over tones. I think that the resonant head being present
offers more flexibility on the overall sound of the drum. But some drummers swear on no resonant head.
17. Comment on the importance of good cymbals.
Hihats should be of superior quality if for the only reason that they are heard more than any other
cymbals. But the importance of good cymbals in general is in that the consistency of quality for the drum
set is maintained. Good cymbals sounds are right at home with and enhance a well tuned drum set .
They don’t take away from the sound that took alot of effort, tuning the drums, to get just right.
Cymbals of good quality also last longer.
18. What type of microphone(s) could you use?
All kind of mics can be used for cymbals. A condenser mic is widely used. A pzm mic can be used
as well. The mics used for cymbals don’t have to have high SPL but they do need to have high
frequency response.
19. Comment on mic positioning for the hihat.
A good starting point for positioning a hihat mic is to put the hats between the mic and the rest
of the set in hopes of rejecting as much of the rest of the set as possible. Point it toward one of the hihat
cymbals edges but not in line with the burst of air that is produced when the hihats are clapping. Also, a
mic pointed at the hat from in between the snare and the hat yet keeping the rest of the set off axis to
the mic is another. A single mic can also be used to pick up the snare and hihat . This mic would be
placed between the snare and the hihat trying keep both sources as on axis as possible.
20. Comment on the positioning and phasing of drum mics.
. Using a 5 to 1 ratio technique will minimize phase cancellation. Meaning if two adjacent
microphones are to remain in phase they have be 5 times further apart from one another than they are to
their respective sound source. Except for the over heads which are meant to pick up a stereo image of
the set. The phase on a mic can also be reversed from the channel on the console.
21. How would you approach mixing drums?
I would approach mixing drums as if I were sitting at the set. Hihat panned to 9 o clock, the snare
in the middle, high tom panned hard left, low rack tom at twelve o clock, the floor tom panned hard
right and a pair of overheads one panned hard left and one panned hard right. Then I would move some
ambient mics around the room to find the sweet spots. Could even place a gate on each mic to
eliminate most spill . After getting the right levels on the board using the pre fade level pfl I would bring
the kick up in the mix . The rest of the drums can be brought up, only after the right levels are achieved
on the board using the pre fade level, until the set starts to sound like a set. Most of the drums I would
add eq. and compression to fatten up the sound.
22. What time of day is best for recording vocals?
The best time to record vocals is as elusive as the wind. The singer should have had plenty of time
to exercise so if the singer is not nocturnal the middle of the day should do the the trick. I know from
personal experience that just after waking up is not a good time.
23. How important is it for the engineer and producer to feel at ease with the singer?
It is very important that the engineer and producer feel at ease with the singer. The engineer and
producer need to know when to give the pat on the back, when to say lets take a little break or when to
give the singer a good swift kick in the butt. If these three parties aren’t comfortable the recording
suffers. It is a good idea for these three to get to know one another slowly and with minimal commitment
at first (one song). Then if it works out, the relationship is going to be beneficial to all.
24. Comment on microphone selection for vocals.
Selecting the right vocal mic for the room and the singers particular style is a not an exact science
but is very important. A dynamic mic with a cardiod pattern is used for live applications for its off axis
rejecting qualities and low handling noise and has a frequency response of 50 to 15k. Some of these
mics are very sturdy and quite affordable. In the studio a large diaphragm condenser with a switchable
polar pattern will be well suited for vocals. These mics can be very expensive (up to 4000 bucks) and
have a wider frequency response, 20 to 20k.
25. What is a 'pop shield'?
A pop shield is plastic, wire or wooden hoop covered with nylon stocking (hose) usually placed
mid-way between the microphone and the vocalist.
26. Describe the rehearsal process for recording a vocal.
the rehearsal process for recording a vocal is dependent on a number of things proportionately
related to perfection desired. The amount of attention applied to detail is relative therefore there are
many ways to rehearse a vocal recording. If there is alot of processing equipment to set up or if there
are alot of singers then the rehearsal is not just for the singer but for the engineer as well. The singer
stands in the isolation booth or the main recording room and is given a headphone mix with the music to
be sung to and the vocals themselves. A couple of dry runs are made before the recording starts to
assure the mix in the singers headphones is OK and the processing equipment is working as planned.
The song can be rehearsed in sections and recorded in sections if the singer is not so familiar with the
song. Ambient mics can also be moved around or changed out to achieve the desired sound.
27. Comment on the importance of foldback.
Fold back is a crucial part of any recording or live show. For example, if the stage artists are
able to hear themselves on a large stage without getting lost, the foldback is enabling the musician to
express their art in a relaxed and unstressed fashion. Foldback is necessary for the artists to achieve
what they are looking for and in turn provides the engineer with a more intune, tight, confident and
experimental (or not) band to mix. Lets not forget that the audience will reep the benefits of carefully set
up foldback system. They will get to enjoy a level of music that otherwise might not have been possible.
Win, win, win.
28. What can be done to ensure good foldback for the singer?
Whether live or in the studio the singer should have in their own mix exactly what they desire.
For a live set up, first the foldback system should be rung out of any frequencies that would feedback
otherwise when the system is turned up to the level needed for the show. This ensures a somewhat
hassle free show (yeah right) and a more comfortable experience for the artist who most likely on more
than one occasion has been drilled with feedback. Some other was to ensure good foldback are to
control feedback by reversing the polarity with a switch on the console or preferably at the monitor
speaker itself to keep the feedback to a minimum; using a cardioid pattern mic to minimize off axis
sound such as the monitors or the audience will also help to keep feedback to a minimum: and putting a
20 to 30 second delay on the monitor will enable the singer to hear more definition and separation
therefore needing less volume and again nipping the feedback in the bud.
29. Describe the 'comping' technique of recording vocals.
Vocal comping , compositing, is the technique of recording several tracks of the same vocal part
and choosing the best parts of each tracks to create a composite vocal. Comping vocals is done easily
when hard-disk recording. the bad parts of each track could be cut, until only the good parts are left. A
composite track can now be made from these parts. You can also copy and paste the desired parts to
form a composite track. Amplitude envelopes are also used to silence out the undesired parts making it
easy for the mix down of a composite track.[6]
30. What is a 'spin in'? I will go crazy trying to find this one
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
After the initial rehearsal for recording vocals is done and every one is happy with their mixes,
sends and atmosphere, the song can be tackled in sections. Before each section, the section ca be
rehearsed. These sections could be individual lines of lyrics, a single verse, a chorus etc...
32. What are the possible remedies for out of tune singing?
A pitch harmonizer working with a midi keyboard with a pitch bend wheel can be used to to
directly flatten or sharpen a note over a narrow range for fine tuning or a note on the keyboard can be
keyed to pull a not to the desired pitch.
33. How can a 'thin' voice be fattened up?
A thin voice can be fattened up by splitting the signal to two channels of the console. Put a delay
on one of the channels with setting like 25 ms delay, minimum feedback, about 20 percent of
modulation width with a slow modulation speed and output mix is set to just the delayed sound.
Another method would be to make subtle adjustments of the EQ on one channel and on the other
channel do the opposite. In other words if 5k is boosted 2 db on one channel then put a 2db cut at 5k
on the other.
For a pseudo-random tight, echo effect, record the vocal line twice then mix them together.
Or just reep one of the benefits of proximity effect and get closer to that dynamic mic.
34. Describe some possible microphone positions for a piano.
one boundary (plate or pzm) microphone -- or two for stereo can be used. These
boundary-mic techniques are often a good choice when the piano lid must be closed; they also offer
good control over leakage of other sound sources into the piano mic when recording.
Place a mono or stereo microphone about two feet above the strings . For greater isolation,
lower the microphone to within six to eight inches of the strings.
If the lid is lowered to the short stick, place the microphone just outside the piano, near the narrow
part of the curve. Move it toward the keyboard for a brighter sound, away from it for more emphasis on
the low end.
Alternately for close-up stereo miking, two microphones inside the piano, one mic centered over the
low strings and the other over the high strings would do ok when the the lid is raised. In a controlled
environment, a mic can be situated further away for a more ambient tone.
35. Describe some possible microphone positions for an acoustic guitar.
a condenser mic placed a few inches up the neck and 10 inches from the guitar and pointed across the
sound hole at the picking fingers would alleviate the woofy sound that a mic in front of the sound hole on
axis would have. If the mic is to placed in front of the sound hole,keep it six inches away and point it
towards a spot three inches up the neck from where the neck meets the sound hole
36. Describe some possible microphone positions for an electric guitar.
Aside from mics placed in the room with the guitar amp, the amp can be situated with a mic
directly in front of the speaker (practically touching the grill cloth) and/or a direct line can feed the
console from the pre amp section of the guitar rig. The position of the mic in relation to the center and
the edge of the speaker also yields different results. A second mic can be placed directly in front of the
amp about three feet away to capture clarity as well as perspective and a third mic can be placed six
feet away from the front of the amp and higher in the room. This third mic gives total perspective and
captures the low ends longer wave lengths from the cabinet.
37. What is DI?
DI (direct injection) box enables high or low impedance unbalanced equipment or instruments to
be connected to a low impedance balanced signal line. For example a bass or keyboard connected to
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