AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 - RT Music 2 |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
2. Describe the term 'basic tracks'.
3. Describe the term overdubs.
4. Describe the term 'guide vocal'.
5. Describe the term 'foldback'.
6. Explian 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 Sep 12, 2005 4:20 am |
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thx1138
Joined: 07 Jan 2005
Posts: 21
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Here are my answers for this week:
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 would consist of a control room, a main room and several isolation rooms. Typically there would be a drum isolation booth and another isolation room for the recording of such things as vocals.
The control room is where all the recording gear is and where the mixing and mastering would take place.
The isolation rooms are used to separate a quieter sound source from the rest of the group such as vocals and acoustic instruments.
The main room is where the majority of the tracking occurs such as live ensemble recording, overdubs and the recording of the basic tracks.
The drum booth is where the drums are recorded and would be an acoustically dead space to provide plenty of separation from the rest of the studio. The vocal booth and other isolation rooms would be acoustically dead and soundproofed to provide separation from the rest of the studio.
(www.danshousestudio.com/studio_layout.html)
2. Describe the term 'basic tracks'.
It is usual to record the basic instruments - drums, bass, guitar etc. - all at the same time to get the feel of a band playing together and then add vocals, solo instruments and embellishments as overdubs. The basic instruments form the so-called backing tracks or basic tracks, often refereed to simply as tracking.
(www.record-producer.com/learn.cfm?a=197)
3. Describe the term overdubs.
To overdub is to record additional parts alongside, or merged with previous tracks. Overdubs are recorded after the basic tracks and are things like vocals, solo instruments or any other kind of embellishment.
(www.digitalhymnal.org/glossary_m-z.html)
4. Describe the term 'guide vocal'.
A guide vocal is recorded as a rough guide to the rest of the basic tracks, it is recorded with the other basic tracks and is usually replaced by a much more polished vocal track which is overdubbed.
5. Describe the term 'foldback'.
Foldback is the process of monitoring. It is a feed sent back to the artist(s) via loudspeakers or headphones to monitor the sounds they are producing.
(www.dmmusic.com/knowledge/glossary.html)
6. Explain how foldback set up?
Foldback is set-up by use of a mixer, which is used to select the signals used for monitoring. Different band members may require different parts relayed back to them. Each performer could have a different mix relayed back to them via monitor speakers or headphones.
7. Indicate the significance of 'spill'.
Spill is defined as 'unwanted audio coming into a microphone'. It is basically the bleed from other instruments, or in the case of drums, parts of the instrument that is picked up by a microphone that is not recording that instrument or part of that instrument.
While spill can lend a sense of coherence to the complete sound, too much spill can cause real problems when you come to mix and in the case of drums can cause problems if you need to control the balance and tone of the drum-kit.
(mediagods.com/glossary/what_is_mic_spill.html)
(www.soundonsound.com/sos/feb01/articles/drummix.asp)
8. What is a 'track sheet' used for?
A track sheet is a document of a recording session and can include things like details of effects and processor settings, synth settings, patch numbers and any sample CDs used. It is an account of each individual instrument used in a recording session and any settings regarding the instruments such as miking information, preamplification and compressor settings.
(www.soundonsound.com/may99/articles/20tips.htm)
9. Comment on some recording techniques used for basic tracks?
It is vital that the basic tracks are recorded and played properly as they are the 'building blocks' of the track.
Sometimes the producer will get the band to practise playing through the basic tracks several times before recording them so the performers are warmed up and comfortable with the recording surroundings. Some times a click track is used to give a timing reference for the band to play alongside to minimise any timing variations. Another way is record the drums first to supply a timing reference for the rest of the band, this would be done by having the drummer play along with the bassist or possibly a guitarist.
10. How might you prepare and record a kick drum?
There are three ways of setting up a kick drum:
With the front and rear skins on.
With the front skin on and the rear skin with a hole in it.
Front skin only.
These three set-ups create three differing sounds and firstly the drum must be tuned correctly.
With both skins on the drum it is best to use two mikes, one over the pedal on the front skin and one facing the opposite direction on the rear skin. This allows you to balance the attack sound of the beater with the decay of the rear skin and produces a thick, solid, round sound.
As the microphone on the rear skin is facing the opposite way up to the downward facing mike it will be out of phase and will require phase reversal. This will be the same for all opposite facing mikes on all the drums.
The set-up with a rear skin with a hole in it (or front skin only) means that a microphone can be placed inside the drum itself, eliminating the need for a downward facing microphone aimed at the beater itself as the mike inside the drum will be pointed toward where the beater strikes.
(www.saecollege.de/reference_material/pages/placement.htm)
11. What type(s) of microphones might you use?
A kick drum mike must be capable of withstanding high sound pressure levels so it must be capable of handling extreme transients (the peaks of a waveform) as the mike is only inches away from the beater and the sound pressure levels are very high at low frequencies. The mike must also be capable of reproducing low frequencies.
Two popular kick drum microphones are the AKG D12 and the Beyer M88 which both have an extended bottom end response. If the drummer doesn't hit the kick drums too hard a Neuman U87 or 49 could be used (both high quality condenser microphones with large diaphragms, which are good for low frequencies). Of course you could always use the trusty Shure SM57 or SM58 which are both good all round microphones.
(www.saecollege.de/reference_material/pages/placement.htm)
12. How would you prepare and record a snare drum?
Firstly the snare drum must be in good condition and tuned properly. It is also important to select the appropriate microphones and the placement of them.
The placement of the microphone(s) is quite important as the snare is close to the hi-hat and first rack tom. Often the snare is double miked. Also the drummers playing style has to be taken into account, if a drummer uses a lot of side stick then an additional microphone can be used to pick it up.
To properly record a snare drum you will need a microphone that will withstand extreme high end transients and has a tight pattern to keep out the spill from the hi-hat and any adjacent toms.
The most common mikes used for the recording of snares are the Shure SM57 and the Sennheiser MD421, the Neuman U87/89 and the AKG 414EB.
An advantage to using an SM57 is that its tight pattern keeps out the spill from the hi-hats and adjacent toms. They are also very reliable and can easily survive the odd accidental hit by a wayward drummer.
(www.saecollege.de/reference_material/pages/placement.htm)
13. Comment on the internal dampers found in some drums.
Internal dampers are to tighten the sound of the drum, to make it sound less boomy and to stop unwanted overtones and ringing. This can be a mechanism that is part of the drum itself or something as simple as insulating tape on the drum skin or a blanket folded and placed inside the kick drum.
(www.soundonsound.com/sos/feb03/articles/drumming.asp)
14. Describe how a snare drum can be recorded using two or more microphones.
The snare drum is the drum that is most oftenly double miked. A bottom (facing upward) mike on a snare drum can give it more depth than single miking and can give you control over how much snare crack is in the overall sound. The upper mike is usually squeezed in between the hi-hat and the first rack tom and is aimed at the main impact area in the centre of the snare. An additional microphone can be used for side stick/rim playing which would be pointing at the rim of the snare on the opposite side to the normal upper snare mike.
(www.saecollege.de/reference_material/pages/placement.htm)
15. Describe the tuning of drums, and toms in particular.
The kick drum(s), snare and toms are all tuned in the same way. If new skins are being used it is a good idea to stretch the skin once it has been put on the drum itself.
The bottom skin is usually tuned slightly higher than the top though every drummer has his/her own preferences and tuning.
The main thing is to ensure each drum is tuned evenly. To tune a drum evenly place your finger in the centre of the skin and tap the outer parts near each tuning peg. Continue going round tuning each point until they all produce the same note. Each drum must be tuned relative to the others so that the high toms progress down to the low toms.
Once the toms have been tuned one of the tuning pegs should be de-tuned slightly, this will make the whole note last longer and the tail end of the sound of the tom being hit drop slightly in pitch. The snare and kick drums are the same except you don't want to detune one of the tuning pegs as consistency of pitch of pitch at all tuning points is essential on the top and bottom skins of the snare.
(www.saecollege.de/reference_material/pages/tuning.htm)
16. Comment on single-headed and double-headed toms.
When a double headed tom is struck the energy given to the top head is saved in the shell, allowing sustain to resonate with the bottom head. This produces controlled decay. Also the top head vibrates, moving the air in a balanced movement with the bottom head. The bottom head muffles the unwanted vibration of the top head, preventing unwanted noise.
With a single headed tom the top head is fixed with a metal loop while the bottom has no fixed parts. As a result the shell of the drum does not resonate as a whole and sustain can be lost. The drum does not vibrate as a whole and undesirable noise can be created.
Introducing extra thickness to the shell can help compensate for the problem of unwanted noise but creates poor sound projection and short sustain. Making an oblique cut in the bottom of the reinforced extra thickness to the shell allows for better airflow and a proper balance in the sound.
The single headed tom was popular in the 70's but is virtually gone from the contemporary music scene.
(www.canopusdrums.com/english/html/products/shtom/sht_2003-e.html)
17. Comment on the importance of good cymbals.
It is important to have good cymbals as they are quite distinctive in the general sound of a drum-kit and should cut through the mix of recorded (and played) drums. A good cymbal would have a clear sound that fills out the overall sound of the drum-kit. Poor quality cymbals can sound quite dead and will not last as long as decent cymbals. Bad sounding drums/cymbals will make even the best songs sound dull and lifeless.
18. What type of microphone(s) could you use?
The overhead mikes basically cover cymbals though they may also be miked up individually. Good condenser mikes make good overhead and cymbal mikes, the Neuman U87 for warmth and an AKG 414EB and AKG451 for crystal clarity.
(www.saecollege.de/reference_material/pages/placement.htm)
19. Comment on mic positioning for the hi-hat.
Good separation between the hi-hat and snare must be considered when placing the hi-hat mike. Another factor is the sound made when the hats are snapped together. The mike should be aimed at the point that gets stick impact as well as pointing at the edge to capture the closing sound, though not too close or you may get wind distortion from the hats as they close.
It is best to set the hi-hat up so that it is in between its microphone and the snare for better separation.
(www.saecollege.de/reference_material/pages/placement.htm)
20. Comment on the positioning and phasing of drum mics.
When positioning microphones it is important to have them close enough to the part of the drum-kit they are recording and far enough apart from one-another so that signal bleed can be minimised and a degree of separation is present between each part of the drum. Also you would want to think of things in terms of capturing a stereo image of the drum-kit as you would want to hear it in the mix.
When using more than one mike to record a drum there is usually a microphone above and below. When two microphones are used they are both facing the opposite direction (one up facing and one down facing) so the microphones will be out of phase with one-another so the bottom (upward facing) microphones will require phase reversal to bring them back into phase with the rest of the downward facing microphones.
21. How would you approach mixing drums?
When mixing drums it is important to think of it as capturing a stereo image of the drums. The kick drums and snare should be at the centre of the mix, the hi-hat panned slightly to the right. Cymbals should be panned to the left and right as they are on the left and right sides of the centre of the kit: kick, snare and mid tom.
The toms should be panned to the left right and centre: hi tom: right, mid tom:centre, low tom/floor tom: left.
Of course this can depend on how the drummer has their kit set-up and whether he/she is left or right handed. The microphones should also be set-up with a stereo image in mind as you would want to hear that in the mix.
22. What time of day is best for recording vocals?
Singers can be rather temperamental creatures so the best time of day largely depends on the singer and what time they normally get out of bed. A singer that wakes up at 3 in the afternoon wouldn't be at their best if you make them sing at 7 in the morning.
A singer would probably be at their best early on in a session as voices tend to go a little hoarse after a few hundred takes and that just got out of bed sounding voice can sound a little hoarse and croaky too.
It really does depend on the singer as to the best time of day for them to sing.
23. How important is it for the engineer and producer to feel at ease with the singer?
I would say it is very important. Singers can sometimes be quite temperamental (dare I even say egotistical!), so it is important to feel at ease with them to coax the best possible performance from them. Plus you might be working with them for long periods of time so a good working relationship would reduce the stress levels of all parties involved.
24. Comment on microphone selection for vocals.
For recording vocals a large diaphragm condenser microphone would be suitable such as the KSM44 though for live vocals a dynamic microphone such as the Shure Beta 58A or SM58 would be suitable.
(www.shure.com/selectionguides/sel-perfecmics.html)
25. What is a 'pop shield'?
A pop shield is an anti pop noise protection filter for microphones, usually woven nylon over a circular mounting placed in front of a microphone to attenuate plosives such as expression of the letter P which might otherwise overload the microphone and lead to clipping.
(www.answers.com/topic/pop-shield)
26. Describe the rehearsal process for recording a vocal.
Firstly the singer would require a lengthy warm up period before they can sing at peak performance, experienced singers will probably have their own warm up technique which would be carried out in private in one of the isolation rooms.
The vocal parts are rehearsed and the phrasing of each line of vocals is worked upon and if need be adjusted.
A microphone would be selected that works well with the singer's voice and other technical details will be figured out such as the volume of the vocals in the overall mix.
Usually a number of vocal takes will be recorded so that the best one or best parts of each can be compiled into the final vocal track.
Even professional singers will not generally get things right in one single take, singers like that are few and far between.
(www.humbuckermusic.com/recvoc.html)
27. Comment on the importance of foldback.
Foldback is important so that the singer can follow the tempo and time changes in the song and has a good pitch reference to hopefully minimise poor pitch and tempo variations in the vocalist's performance.
28. What can be done to ensure good foldback for the singer?
Creating a good foldback headphone mix for the singer can be challenging as singers can have different preferences as to which part of the mix they want or need to hear. Some may require a full band mix while others may only require to hear a guitar parts.
Generally percussive elements are kept low in the foldback mix, especially snares and cymbals. As long as the singer can hear the songs basic rhythm the recording should be fine.
The main goal is to find the right instruments and the right balance of those instruments to keep the singer on pitch.
Too much low end in the foldback mix can cause the singer to compensate for the excessive lows so mid range elements should be provided in the foldback.
Finding the right level for the vocal in relation to the other instruments is critical, if the vocal is too loud in the foldback headphone mix then they may not sing forcibly enough or if it is too quiet they may sing too forcibly.
Any effects that may be used in the final mix should also be present in the foldback mix to give the vocalist some context as to how they will sound in the finished mix.
(psbg.emusician.com/ar/emusic_cans/)
29. Describe the 'comping' technique of recording vocals.
'Comping' is when multiple vocal takes are recorded and the vocal track is made up of the best parts of each take to make the vocals sound as flawless as possible.
30. What is a 'spin in'?
Spin in is the process of taking a copy of a part of a track, copy it to another recorder and then recording it back to the source track at another place.
(live workshop 27/03/05 mrlydmann at 22:32 and 44 seconds precisely!)
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
For a difficult song that the singer doesn't know well the vocal part can be recorded in sections and then the best takes of each section can be made into an entire vocal part for the whole song. This is known as comping.
32. What are the possible remedies for out of tune singing?
If the singer is singing out of tune then a guide vocal could be recorded to help keep the singer in tune and at the correct pitch. Extensive rehearsal can be a possible remedy so that the singer can practise the vocal part until he/she has everything at the correct pitch and key.
You could always use some studio trickery (if the worse comes to the worst). This can range from double tracking, pitch shifting out of tune notes using a harmonizer, sampling a vocal line and tweaking the pitch bend control as you record it back to tape, even as far as a total reconstruction of the vocal using an audio sequencer with time and pitch correction.
(www.humbuckermusic.com/recvoc.html)
33. How can a 'thin' voice be fattened up?
A voice that sounds thin can be fattened up by use of double tracking, which is basically doubling up the voice by recording a 2nd track alongside it. Doubling the same track will just result in making the voice twice as loud.
Reverb could also be used to fatten up and thicken the tone of the voice.
34. Describe some possible microphone positions for a piano.
A piano is difficult to record well as it has such a wide dynamic range, it can be extremely subtle or very, very loud, often in the same song.
Microphones could be placed over the strings inside the piano, one over the bass strings and one over the treble strings at roughly 8 inches away from the strings. If using pressure zone microphones, which would mount directly on the lid of a grand piano, then you would have to make sure they were of equal distance away from the strings. If the lid on the grand piano is open then one microphone would end up being further away from the strings than the other and this would effect the loudness of bass compared to treble.
An overhead microphone could also be used to capture any natural ambience from the instrument and playing area.
When miking the inside of a piano you would have to make sure they weren't too close to the hammers or too much of the noise of the hammers hitting the strings would be picked up.
35. Describe some possible microphone positions for an acoustic guitar.
To record an acoustic guitar you could use a pair of stereo mikes placed above and below the sound hole about 1 to 6 inches away from the instrument or a single mike could be used in the same way. A microphone could always be pointed at the fretboard depending on how much noise from the movement of the player's fingers moving on the fretboard you wanted to pick up.
36. Describe some possible microphone positions for an electric guitar.
To record an electric guitar using an amplifier you could use a dynamic mike such as the SM57 that would be pointed at the cone of the speaker, (directly in front or at the edge of the cone depending on what tone you wished to pick up) slightly off its axis at about 1 to 4 inches away.
37. What is DI?
A DI box takes an unbalanced low to medium level, high impedance signal from a guitar or similar and convert it to a mic level balanced and low impedance signal intended for a sound desk microphone input. Many have facilities to accept line and speaker level inputs and reduce them to mic level.
DI stands for direct injection or direct insert.
(www.soundonsound.com/sos/dec04/articles/qa1204-s.htm)
38. Describe passive and active DI, and how a DI box is connected to the console.
The simplest form of DI consists of a box containing a transformer (no not optimus prime or megatron kiddies!), this is known as passive DI. The transformer reduces the input signal to mic level and converts the signal to balanced and low impedance.
The same conversion that occurs with a passive DI box can also be accomplished with an active electronic circuit. An advantage of active DI is that it can be fine-tuned to produce a wider frequency response than passive DI. However, active DI's require a power source: phantom power from the mixer, internal batteries or external power adapter.
Passive DI is connected to a mixer via a cable to any insert point such as 1/4-inch jack or XLR mic input. Active DI would generally be connected to a mixer via a cable to a powered XLR microphone input (if the DI box is powered by phantom power).
39. How is a record player connected to a mixing console?
A record player is connected to a mixing console through phono input. RIAA EQ curve is utilised by a record player's pre-amp, which boosts the low frequencies.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
At least 2 consoles would be used to make a live recording of a conventional rock band, one would be the in-house console used with the venues P.A system and one console for the actual recording of the band.
41. How are the mix signals separated to go to two consoles?
The mix signals would be separated by using a splitter box, which would enable the same signals to be sent to both consoles.
42. Where would the recording equipment and recording engineer be situated during the concert?
The recording equipment and engineer would either be situated in a room in the venue separate from the performing area or in a mobile studio outside of the venue.
43. Onto what multitrack format would a live recording be made?
A digital multitrack would be used for live recording onto a digital audio tape or a direct to hard disk multitrack.
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 a pop band would most likely consist of a saxophone, a trumpet and a trombone.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
I would say the minimum number of microphones would be two well placed microphones to capture a stereo image of the brass section.
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.
To combine a violin with the brass section and to record everything at the same time the violin would require its own microphone. It would be close miked so that it wouldn't pick up too much bleed from the brass section. Without an individual microphone the brass section would easily drown the violin out.
For better separation the brass section and violin could be in separate rooms acoustically isolated from one another with some headphone foldback for the violinist so everything could be recorded at once.
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 to hiring a brass section that regularly work together is that they are used to playing with one-another. Whereas if individual musicians are hired they would have to get used to one another's playing styles and there is always the chance that the hired musicians will not 'gel' together too well.
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?
When miking an electric guitar amplifier the sound will be brighter if you place the microphone near the centre of the cone of the speaker. For a mellower tone, place the microphone nearer to the edge of the speaker cone.
(www.tape.com/techinfo/mics.html)
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
A signal from the DI output from a guitar amplifier would sound different to a miked up guitar. The DI signal won't have the sound characteristics of the loudspeaker. When it is miked up you will capture the sound of the guitar, the amp and the speaker but from the DI output you would only get the sound of the guitar and the amp.
The DI signal will be cleaner than the miked up signal as it will not pick up any other noise from around the amp as a microphone would.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
Dynamic microphones have an internal transformer, which acts like an antenna. This is very sensitive so the antenna will pick up electrical transmissions from a guitar amp which means that it may pick up hum. A capacitor mic does not have a transformer and therefore will not pick up hum.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
This depends on the size of the bass cabinet, the bigger the speaker is the more accurately the fundamental frequencies will be reproduced.
51. Describe the Decca tree system of miking.
The Decca tree system of miking is a stereo miking technique. A Decca tree configuration is characterised by having 3 omindirectional microphones in a 'T' shaped set up. The third microphone is placed in between and in front of the other two so it is closer to the source. The distance between the microphones is variable depending on the size of the sound source.
The 2 mikes at the rear of the 'T' formation represent the left and right side of the sound source and the forward mike the centre.
(www.sweetwater.com/expert-centre/glossary/t--DeccaTree)
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AcousticalWeaponsDivision/Alex |
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Thu Sep 15, 2005 12:47 pm |
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AndyBarber
Joined: 09 Sep 2005
Posts: 18
Location: North Wales |
| RTWEEK£ANDYBARBER |
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Posted: Mon Sep 12, 2005 2:20 pm Post subject: Week 3 - RT Music 2
ANDY BARBER
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
- No one perfect way to organize equipment and furniture in the room
-1,400 sq ft would be enough to record an orchestra
- Studio split up into sections
CONTROL ROOM Multi-track recorder
ADAT
DAW
Mixer desk
Outboard (effects)
Keyboards
Wired directly to Live Room
Multiple headphone outputs
LIVE ROOMS Houses musicians, instruments amplifiers and microphones
Acoustically treated (removes TRANSIENT and STANDING waves)
Drums usually in separate live room
VOCAL BOOTH Singer in separate room
No sound picked up from other instruments
Obtain pristine vocals
PRODUCERS LOUNGE Area to go when everyone else is recording their parts
Entertainment facilities
ERGONOMICS
After most accurate acoustic response possible (room dimensions, surface geometry/treatments, speaker vs. listener position)
Good isolation between rooms
An instruments recording mic must not pick up any other instruments
LAY DOWN BASIC TRACK THEN OVERDUB
BASIC TRACKS
Prepare band, music for recording, establish game plan with producer, pre-production phase
Basic instruments constitute BACKING/BASIC TRAK
Start with basics of tracks
Basic track is important foundation of song
OVERDUBS
Adding a supplementary recorded sound to previously taped recording
i.e. if musician isn’t available, recording can be made with their track being added later
Guitarist could record rhythm first then go back and record lead part later
GUIDE VOCAL
Basic recording of the vocal section, recorded when laying down the basic track
Best to record all instruments at same time to get FEEL OF REAL BAND playing together
CLEANER VOCALS and SOLO’s can be overdubbed later until good recording is put down
FOLDBACK
When recording, the overall signal routed to the mix desk is passed back (folded back) to the musicians while they’re playing.
Explain how fold-back set up
In a studio this will be done with headphones, but live usually by rear-facing loudspeakers (monitors) on stage. This is known as the fold-back mix. Can be same mix as for the audience (front of house mix).Artists require to hear a DRY-MIX. Helps stay in time and in tune with each other
Indicate the significance of 'spill'. (leakage/bleeding)
Spill in the recording studio is created when an instrument’s mic picks up unwanted sound from another instrument. To reduce, record in non-reflective environment with acoustic screens for clean recording. Once recorded its possible to reduce spill by gating it out. Common problem with drum kits, spill can be as loud as signal itself.
Spill/Cross-talk in analogue recording, electricity is tractable and follows set paths, magnetism is feral and goes where it likes. Analogue multi-track recorders get cross-talk from one track to the next (large no of tracks-narrow guard bands). Worst at low frequencies.
8. What is a 'track sheet' used for?
Means of keeping track and storing all session information. Information about what’s being recorded on which channel, track number being recorded, take number, instruments/mics used. Can be printed out as a hard copy but most DAWS (I.e. cubase) have built in track sheets and notepads for easy access.
9. Comment on some recording techniques used for basic tracks?
Setup instruments and microphones
Need cleanest sound possible if pop recording
If using MIDI equipment, decide on sounds and beats, build song up from the ground
Need to create comfortable environment for all
Record all base parts of track at same time
Essential to capture a groove
10. How might you prepare and record a kick drum?
Mics maybe most important link in audio chain
Acoustic energy changes to electrical
Engineers more time getting right drum sounds than any other instrument
General for drums, mikes on each drum and hi-hat, two over heads to capture the cymbals and one on the hi-hat, then maybe a few around the room for different room sounds and effects. Need console with at least 8 inputs
Use PAD SWITCH with drums. Best pad on mic rather than console.
Standard panning setup in drum recordings is: Kick - Centre
Snare Centre
Hats - Half right/right
Cymbals - left - right
Toms - left - centre - right.
Firstly drums must be tuned which involves tweaking pitch, damping, and the selection of drums, heads, sticks and beaters. Don’t over dampen (stay away altogether really)
OVERHEADS Stereo pair miking
Set overhead mics up in a x-y coincident pair over the drummer's head.
Angle each mic down and at the outer edges of the kit.
About 16 inches over cymbols centers/towed out 45 degrees (gives better separation, reduced low end from toms)
stereo image width increases as you move the two mikes away from each other
Overheads give a more real fuller sound
Second biggest factor that determines your entire recorded drum sound
(1st, combination of the drummer and the sound of the drums in the room)
KICK DRUM Damping-Sand bag in drum to weigh it down. Touching the head which the beater hits just enough to DAMPEN obnoxious OVERTONES but not NATURAL SOUNDING ones
Miking-Needs to capture nice LOW END.
Position-keep away from middle of drum. Sounds produced by each skin come together in middle, can cause sounds to cancel each other out. Place near the front or back skin. Keep mic pointing at the beater avoid leakage from snare drum.
Hole in back skin, can access front skin from inside (thus the attack sound/full impact of beater) without having to use an extra beater mic
Mic placed off centre within shell
Phase- All other mics on kit FACE DOWN. Kick mic out of phase with rest of kit. Phase reversal on kick is preferred
TOMS Micing-45 degrees angle to drum head. Pointing about 2 inches in from the rim. Floor tom little more close to centre of head. Mic distance from head 1-6 inches depending how roomy want the sound
Tight polar patterns on toms helps to isolate the sound from each drum
11. What type(s) of microphones might you use?
KICK/Shure Beta 52 - High output dynamic mic
- Tailored frequency response for bass
- Requires good attack for punch
- SUPERCARDIOID PATTERN (insure high gain before feedback, good noise rejection)
- accurate at high sound pressure levels
12. How would you prepare and record a snare drum?
Firstly tune the snare.
Drums require mics with TIGHT POLAR PATTERNS
Snare requires a mic that can handle a very high sound pressure level (SPL) so a dynamic mic is usually best
Top Mic Positioning Bring in from audience side of kit.
45 to 60 degree angle with capsule
1-2 inches above head (further away makes a more roomier sound but more phase problems)
Aim at main impact area (centre of snare)
13. Describe how a snare drum can be recorded using two or more microphones.
Miked from the top and bottom
Bottom mike gives snare more depth and control over snare crack sound (from stretched wires)
Signal from bottom mike has to be phase inverted to make in phase with top mike and rest of kit
14. Comment on the internal dampers found in some drums.
Internal muffling can dampen both high overtones and overall resonance
Result, focused low pitched sound with moderate attack and response characteristics (deeper fatter controlled drum sound)
To get rid of slight high-pitched ring use piece of duct-tape
Not recommended to use internal mufflers, best removed as can cause weird noises and buzzes
Kick drums should be heavily muffled (filling half full is too much)
Many drummers refuse to use any damping whatsoever
15. Describe the tuning of drums, and toms in particular.
Allow plenty of time to tune a kit (roughly 1 to 2 hours)
TUNING SNARE
Turn snare off for tuning. Tune top head first. Maintain equal tension between the lugs. Tighter each rod ½ turn, move to opposite lug until removed wrinkles. Continue till hear tone. Apply pressure to centre with hand. While tuning place on carpet, muffle resonant side so can focus on head tuning. Tap 1 inch in from tension rod. Note pitch. High pitch=loosen rod(¼ turn) opposite if Low pitch. Repeat for snare side.
TUNING KICK
Tune front head first (doesn’t have that much impact on drum sound)
Get head loose as possible before it starts wrinkling. Bring it up a bit to get FUNDEMENTAL SOUND into AUDIBLE RANGE, giving punchy sound
Single headed bass drums, Quicker with less low end
TUNING TOMS
Personal taste
Tune bottom head first (tune all bottom heads same)
Same tuning sequence as snare
Next tune top head (This is where pitch is generated)
Get right scale of notes (e.g. notes D A E going down the toms, or 3rd/root/5th of song’s key)
Play simple roll and ensure evenly spaced in sound (high to low)
If nasty ring, probably incorrect tension on a lug
Tama tuner. Electrical device which lays on the head near each lug showing a pressure readout on a dial display.
16. Comment on single-headed and double-headed toms.
DOUBLE-HEADED - used by most drummers
- bit more sweetness?
- with two heads you can tune bottom slightly different to top, this will deaden drums overall sound and broaden its tone (i.e. skins vibrating out of phase)
SINGLE-HEADED - tend to be a little thinner
- easier to tune
Both tuneable to specific pitches
Concert toms have single head, shallower shell than double headed
17. Comment on the importance of good cymbals.
When hit cymbal its energized and certain tones are intensified depending on its size.
Cymbals sound, number of sounds that ring together giving sonic characteristic
(played soft-hear fundamental tone and few overtones/partials)
(hit harder get more high overtones)
DARK - stronger lower tones
BRIGHT - lots high frequencies and CUT THROUGH MIX BETTER/PIERCING PENETRATING SOUND
HEAVY - louder, needs more energy to resonate and make it crash
LIGHTER - crash quickly with less effort, less sustain (GOOD FOR RECORDING)
18. What type of microphone (s) could you use?
The brilliance and high frequencies of cymbals are picked up best by a flat-response condenser mic.
Dynamic microphones (TOMS,SNARE,BONGOS,CONGAS)
Large diameter dynamic microphones (KICK DRUM)
Condenser Microphone (CYMBALS,OVERHEADS,INSTRUMENTS)
CLEANING UP RECORDING/ELIMINATING UNWANTED NOISES
Move mic closer to sound source (makes dry as possible-minimum room/ambience leakage)
Use directional microphones
Aim null of the polar pattern at offending noise source
[null=off-axis angle of back of microphone which is least sensitive
Relative rejection levels (in Db)
relative to an “OMNI PATTERN”
1 foot from sound source at 1KHz NULLS in degrees
1)Omni -0.0dB 0.0
2)Cardioid –4.8 dB 180
3)Bidirectional –4.8 dB 90
4)Supercardioid –5.7 dB 125
5)Hypercardioid –6.0 db 110
6)Differoid -8.0 dB and 150
@ 100hz it’s over –20db!
Omni not usually good choice
Hypercardiod and Supercardioid patterns reject more “ambiance” than a Cardioid
Cardioid & Bi-directional patterns reject “ambiance” equally well.
MINE, SE electronics 2200 A
Studio condenser mic
Low cut filter and 10Db pad
Cardiod
19. Comment on mic positioning for the hi-hat.
Most cases don’t need one. Get plenty of bleeding into other mics
Usually condensor, good clean top end
Need good separation from snare
Point at where drummer stick impacts with hat and edge of hat (for sound when snapped together)
(too close, might get wind distortion)
(hi-hat physically between hat mike and snare)
20. Comment on the positioning and phasing of drum mics.
Generally all mikes face downward and are therefore in phase. Kick drum mics and mics recording bottom of snare face upwards and are out of phase with rest of kit. Phase inversion is required on these channels.
21. How would you approach mixing drums?
DO IN FOLLOWING ORDER
KICK DRUM Start with this signal
Keep fixed and mix levels of other drums around it
Add slight reverb (plate) short reverb time (½ sec)
SANRE Top snare track establishes general level of snare in mix
Equal volume by ear to kick drum
Bring up bottom snare till enough snap
Pan both center
HI HAT Pan right then then slowly bring up fader
When image shifts right=good level
TOMS Pan two toms left and right then bring up faders
Reach point were increase in room ambience
Reduce slightly (2-3 dBs)
Final adjustments when roll played
OVERHEADS Listen as overall drum tone changes as increase level
Especially snare
Tend to increase attack of snare and tom
22. What time of day is best for recording vocals?
Vocals most important element of recording
Time of day a singer will sing best varies between performers
If little sound proofing in studio, record away from peak traffic times outside
23. How important is it for the engineer and producer to feel at ease with the singer?
Technical and psychological challenge
Organise recording day around singer
Must express enthusiasm and encouragement
Singers need to feel good to be at their best
Must keep vocalist motivated
24. Comment on microphone selection for vocals.
Success depends on recording environment and microphone placement
Requires no low frequency noise (60Hz electrical hum)
Studio condenser mic - work well with wide frequency response and high sensitivity
Dynamic mic - good for powerful voice or bad sibilance problems (generally used live)
25. What is a 'pop shield'?
Popping comes from Bs and Ps (plosives) sounds coming from singer. These noises can exceed input capacity of mic causing clipping
A pop shield is an anti-pop (noise) protection filter.
A pop shield is placed between the singers mouth and microphone
“Composed of an acoustically semi-transparent material such as woven nylon stretched over a circular former, and often including a clamp and a flexible mounting bracket”
http://www.answers.com/pop%20shield
26. Describe the rehearsal process for recording a vocal.
Get rid jangley/noisey metal objects from singer
If have backing track need to find the right key first
Singers vocal range increases dramatically as they warm up
Get them on mic running through song 3 or 4 times
Don’t worry initial performance sounds bad
Solo vocal and check for spill
Keep checking tape level till fully warmed up
Be conservative when setting recording level
Ensure mic amp and mic are not being overloaded
Watch don’t record any distrotion
Multi-tracking backing vocals, pan complete tacks away from centre and low in the mix
27. Comment on the importance of foldback.
When live, performers will hear sound reverberating from the front of the house. Most sound heard is reflected from rear wall and is DELAYED and DISTORTED. Dry foldback mix is needed, enables performers to stay in time and in tune with each other (particularly singers singing off tune)
28. What can be done to ensure good foldback for the singer?
In studio send foldback to headphones
Good headphones help singer attain acceptable aural perspective (must be closed design cans)
Raise monitor level of vocal being recorded significantly higher than it will be in the finished mix
Send mixer master out direct to foldback amp, both engineer and singer will hear good mix of backing track with effects in place
29. Describe the 'comping' technique of recording vocals.
“Comping is the art of compiling a complete vocal or instrumental take from several raw performances, and is one of the most commonly used techniques in music production”
http://www.soundonsound.com/sos/mar01/articles/logicnotes.htm
Prepare raw material for comping
Preferably recording without effects, leave till mix down as can conceal errors in editing/comping
Take about 3 complete takes for editing
30. What is a 'spin in'
Providing a different interpretation of a specific recorded part
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
Ensure all other parts are recorded and mixed down first to give singer better feeling of song
Get someone else to do a rough take of vocal part then singer overdubs later (doing a few takes like this will get singer more familiar with song quicker)
Record lead vocals last
32. What are the possible remedies for out of tune singing?
Pitch correction
Most pop songs are pitched perfectly
A pitch correction processor (plug-in) can be used to bend notes to exact center of pitch
Can also add a bit of vibrato (beef up?)
Once time and pitch errors created, mix-down vocal track to new file
33. How can a 'thin' voice be fattened up?
1st Clean track, zero out (silence) dead space between phrasing
Breath control leave in/out? (vocalist’s breaths)
INSERT EFFECTS
Compression - Smooth out levels
De-esser - removes SSSs
Exciter - gives sheen on high frequencies (adds harmonics to source signal, more boost than EQ, EQ doesn’t add just increases harmonics already there)
Combination EQ and exciter gets vocal bright and crispy. (Pop records are cleaner having greater brightness and increased intelligibility )
Adding chorus will make stand out more
SEND EFFECTS
Reverb
Delay
A good effect is one that defines it's difference relative to a norm
Doubling tracks/same take/separate takes together (panned hard left and right) gives thicker sound
34. Describe some possible microphone positions for a piano.
Easy process
Consider style of piano
Basic recording requires a few good mics (get use up to 
Mostly condenser mics (not available then use dynamic mics)
Rock piano - Place 2 mikes close to where hammers hit strings
- Place in middle over piano facing slightly out (less phase cancellation)
- Panned hard left/right to 9 and 3 o clock for stereo image
- Check in mono for phase cancellation
Concert/grand piano
Interacts with the room in which it is placed and the recording method requires independent consideration in each situation and each location
Best results with two omni directional microphones in an A-B stereo setup in front of the grand piano
Stereo pair placed on side of piano to give listener illusion of being part the audience
- Ambience and timbre of instrument tuned by distance to piano
- place round mid of piano about 1-2 metres away
- 40 - 60 cm between mics
- boom stands about 1.2-1.5 m off ground
- pointing mics into open lid will brighten up recording and give more depth
- stereo image adjusted so pianist is on left
If omnidirectional spaced mic. are used there is no need to angle them outwards; they can be mounted about 20 cm apart facing the same direction
35. Describe some possible microphone positions for an acoustic guitar.
Classical guitar can be difficult to record because the mic needs to be close to the instrument where finger noises, particularly "whistles" on the lower, wound strings become obtrusive
Use large-diaphram condenser mic
Place about 1 foot from guitar
Point at point where neck meets body (pointed at sound hole make too boomy)
Some have internal pickups which are great for playing live
If recording electro acoustic keep EQ flat and adjust after recording
Recording from pickup and mic provides more creative head room (check phase problems)
36. Describe some possible microphone positions for an electric guitar.
By definition recorded via pickup
Place mic right on front of grill of amplifier aim directly at speaker
Moving mike closer to sound source (makes dry as possible-minimum room/ambient noise)
Don’t plug directly into mixer/soundcard unless pickup is active
Pick up on acoustic or electric guitars, output fed directly into guitar amp via DI box into a mixing desk or other pre-amp.
37. What is DI? (Direct Input box)
Situated on the guitar or seperate
Signal passed from pickups to DI box
Irons out problems to do with impedance (’Z‘ resistance of an AC circuit, resistance changes with varying voltage). Result of not using a DI is that signal will lose a lot of its frequencies including harmonics which affect character of sound.
Changes the topology of a signal from unbalanced (2 wires) to balanced (3 wires); improving noise rejection.
(Buffering) Provides a high impedance ("high Z") load to the source, and a Low-Z output to the mixer. Impedance has nothing directly to do with "level," but since the balanced inputs on mixers are typically mic inputs, most DIs reduce the level of the signal by 10 - 20dB to prevent distortion of the mic preamp stage.
When input and output impedances are equal (balanced) at a connection, the power is maintained between the two circuits. DI’s output is balanced you can run it safely over much greater distances
38. Describe passive and active DI, and how a DI box is connected to the console.
PASSIVE (CONVERTERS)
Input Z 10-50Kohms
High compared to impedance of mixers balanced inputs (1Kohm or less)
Use transformers to convert impedance and create a balanced signal
Transformers affect tone altering frequency response, also distort with louder signals
Passive only a help if pickup already has a pre-amp (I.e. have to put battery in guitar)
ACTIVE
Input Z few Mohm
Only suitable for use with bare piezo pickup (no pre-amp in guitar)
Signal from the DI can feed into the console via;
- Pre-amp
- Guitar amplifier with microphone
- Straight into a mixers channel
39. How is a record player connected to a mixing console?
MIXING CONSOLE/DESK/AUDIO MIXER
Electronic device for combining (mixing), routing, and changing the level, tone, and/or dynamics of audio signals. A mixer can mix analogue or digital signals, depending on the type of mixer. The modified signals (voltages or digital samples) are summed to produce the combined output signals.
Record player connected via RCA (radio corporation of America) phono jack or quarter-inch jack plug cables
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Provided the console has enough channels to accommodate the necessary amount of microphones required to mic up all the instruments/vocals for a particular mix, 1 should be enough. Additional console may be required for foldback mixes.
41. How are the mix signals separated to go to two consoles?
Each source signal is allocated separate channel in the mixer
Each channel has its own Auxiliary channel which sends part of the signal to external processors, onstage monitors or another mixing consol
Digital consoles can be linked together using firewire, mLAN or optical digital (TosLINK/SPDIFF) cables
42. Where would the recording equipment and recording engineer be situated during the concert?
The following would be found onstage, Musicians, Instruments, Microphones, Foldback monitors, PA system. Recorded signals sent to a mixing desk situated centrally at the back of the room. From hear the recording engineer is able to control live and foldback mixes. Effects processors and pre-amps are also situated at the engineer’s disposal.
43. Onto what multi-track format would a live recording be made?
Multi-track Recording on cassette-involves using the entire tape surface in one direction to lay down "multiple" tracks. This is useful for recording separate audio inputs for instance, vocals, keyboard, guitar and drums, and then retrieving them later to mix each one in a non-multi-track format.
Multi-track Recording on DAW (Digital Audio Workstation)
Provided by computer with high quality soundcard
Can record multiple tracks digitally
Once recorded, now usually saved and access via DVD (Digital Versatile Disk) FORMAT
Being computer based will be prone to crashing (not ideal for live recordings)
Digital Multitrack recorder
State of the art digital recording technology
24-bit A/D and D/A conversion
Internal Hard Drive
Optical digital I/O
Import/export *.wav format
CD-RW FORMAT, save/load backup data from hard drive
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Larger the band the more expensive it will be to hire. Some parts more essential than others
3 PIECE BRASS SECTION Trumpet Saxophone Trombone
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Many methods of miking brass
Bigger the recording room the better (don’t squeeze into vocal/drum booth)
Need strong low brass section
Horns work as a team (ensemble) play best as a section. Form circle with horn section playing towards each other well spaced apart, use mics with cardioid pattern to reduce leakage
Focused pattern, soft high end, and flatter response of ribbon mics are best for close-miking horns and particularly brass instruments. With ribbons can adjust tone by moving closer or further away from the mic. Ribbon mics have figure-8 pattern. Certain dynamic mics also yield excellent results with brass and low-register horns. Close Miking trombones and saxes give more level on recording (15-20 cm from mic)
Trumpets are loudest giving most leakage into other mics (keep about 30cm from mic)
More flexibility when mixing if place the players properly in the room.
Only 2 mics are required for a stereo recording. Having the players blending live in a room sitting in an oval facing toward two mics can give a good balance
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 brass section would be recorded as stated before in one LIVE ROOM
Violin part can be recorded at the same time but in an acoustically isolated room/VOCAL BOOTH
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
Musicians who work together regularly work as a cohesive unit
Characteristic of a good sounding band is quality of players but doesn’t mean they’ll be able to have a sound unique to their band
‘CUTS’ give each band its unique sound (different “shticks” done to song which are unique to each band making song more geshmack??) Cuts usually thought up by band leader. Players in brass section who work together regularly will be familiar with the cuts
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 common approach when miking multi-cabinet rigs is to mic the top and bottom left cone of the cabinet
Positioning mic in centre of cone produces harshest sound
Moving mic off centre picks up subtle distortions
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?
Direct box is all about controlling noise
DI reduces strong instrument or amp signals to a level mixer can handle
Sound from loudspeaker depends on performance of speaker itself and generally contains more distortion
Sound recorded from loudspeaker will also depend on frequency response and dynamic range of microphone used
Best record DI and mike signal from loudspeaker on different tracks for mix down
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
COMBO AMP - Amp and speakers boxed in one unit
SEPERATES - Amp speakers separate linked by short cable
CAPACITOR/CONDENSER - Diaphram acts as one plate of a capacitor
- Distance between plates vibrates creating changes in voltage maintained across capacitor
- Power supply required to maintain voltage (PHANTOM POWER)
- used in laboratory and studio recording
DYNAMIC - small movable induction coil positioned in magnetic field of permanent magnet
- coil attached to diaphram
- coil vibrated by diaphram creating electrical current
- robust and inexpensive
If dynamic mic is placed near combo amplifier it will pick up magnetic field created by loudspeaker in the amplifier creating noise/hum. Capacitor mic doesn’t depend on magnetic field and will therefore not be affected by amplifier’s magnetic fields
There is usually a difference in ground potential between bass amp’s connection to the mains supply and mixer’s connection to the mains supply. Make sure both are plugged into same mains board
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
Lowest octave you can hear is (20 - 40 Hz), has virtually no energy in most music
Lowest note on bass guitar has fundamental frequency of about 41Hz
General frequency response of bass amp 30Hz - 20KHz
When mixing it’s important to look at the frequency range of the fundamental notes of the instrument and the frequencies of the harmonics
Most bass guitar energy around 100Hz
Definition at 1-2KHz
Mixing, let kick drum make fundamental with bass guitar rounding out low mid-range just above kick
51. Describe the Decca tree system of miking (Stereo microphone array)
Utilizes 3 omnidirectional mics situated at ends of large T-shaped fixture (panned left, center, right)
Point principal axes of mics inward and downward toward sound source
Relatively closely spaced, produces intensity cues necessary for good stereo image combined with sufficient phase information to produce open spacious sound
Middle mic maintains solid central image
Two basic but radically different approaches to stereophonic recording
COINCIDENT MICROPHONES
Stereo pick up based on intensity differences generated between pair of mics a sound wave passes by
Relies on the strong stability and clear articulation of the stereophonic image that it creates
Constricted image width and can sound dry/sterile
SPACED MICROPHONES
Captures and reproduces sound-wave intensity and time-of-arrival cues as it passes mic array
Greater sense of spaciousness
Lack of articulation across stereophonic image
Ambiguity in center of image
Used in multi-channel recording
Decca tree preferred by FILM SCORE recording/mixing
Produces good, stable, stereo image
Works with application of Dolby and other surround-sound matrix systems
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
http://www.answers.com/
http://sunsetrecordingstudio.net/layout.htm
http://www.allaboutjazz.com/php/article.php?id=86
http://www.mackie.com/products/d8b_v5/tracksheet.html
http://www.audio-recording-center.com/article-drum-sounds.html
http://www.electricbluesclub.co.uk/recording_drums.html
http://www.saecollege.de/reference_material/pages/placement.htm
http://www.petererskine.com/discus/messages/346/435.html?1123723040
http://www.ehow.com/how_15100_tune-drum-set.html
http://www.cse.ogi.edu/Drum/tuning.html
http://www.planetoftunes.com/record/re_media/rec_vox.pdf
http://www.acousticfingerstyle.com/gfaqs/dibox.htm
http://www.leeds.ac.uk/acom/webdesign/sample2/equipment.html
http://www.geocities.com/keyboardguy/geninfo.html
http://www.wesdooley.com/pdf/DeccaTreeD2.pdf
http://en.wikipedia.org/wiki/Microphone
http://mixonline.com/recording/applications/audio_decca_tree/
http://www.alexandermagazine.com/recordingeq/eq/req0104/bass.htm
Computer music issue #79
Future music issue #157
Future music issue #158
Future music issue #159 |
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Fri Sep 16, 2005 7:49 am |
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Kepano
Joined: 06 Jan 2005
Posts: 4
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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?
They need to all be laid out in a way that they can all see each other to “groove” together. The drummer and the bass player definitely need to be near each other so they can feed off of each other’s impact points.
2. Describe the term 'basic tracks'.
Basic tracks are used before recording begins to adjust the levels and mic placement on choral and rhythm instruments to ensure that the instruments have been properly prepared for the actual recording
3. Describe the term overdubs.
Overdubs are when one or more tracks are laid down then other tracks are added to those tracks later to bring it all together
4. Describe the term 'guide vocal'.
A guide vocal is made by the singer and is used to simply act as a point of reference for the musicians to follow and is usually later re-recorded for the final product to be delivered to the masses.
5. Describe the term 'foldback'.
Foldback is the part of the song that is sent back to the talent or musician(s) i.e. a singer’s track is sent back to a musician or another singer etc.
6. Explain how foldback set up?
Foldback can be set up by simply putting on a set of headphones or listening to the monitors while having the engineer play back a specific or specific tracks.
7. Indicate the significance of 'spill'.
Spill is when the signal going into one channel “leaks” into another i.e. hearing a snare drum in the Tom mic.
8. What is a 'track sheet' used for?
A track sheet is used to assign certain instruments to certain tracks on the board and to ascertain what will be occurring in the song by those tracks.
9. Comment on some recording techniques used for basic tracks?
10. How might you prepare and record a kick drum?
Preparing a kick drum is done in several ways. You can put a pillow inside of it to dampen the sound. To mic and record one technique one can use is to feel where the sound wave is and mic at the edge of the wave.
11. What type(s) of microphones might you use?
There are certain mics that are designed specifically for Kick drum use. For example, the Shure Beta-91, AKG D110, Audix D-6, Shure PG-52, Sennheiser E 602, just to name a few
12. How would you prepare and record a snare drum?
Make sure as with all drums that the drum in question has new heads and is properly tuned. Mic placement will vary depending on what sound one may want. One technique that can be used is to gate the snare drum so as to cut down on the spill of the other drums. One can isolate the mic by placing something as simple as a Styrofoam cup over it in order to direct the sound. Keep in mind though that the sound characteristics of the mic will change. To get more attack the obvious place to put the mic is near the top head. To hear more snare: the bottom head.
13. Comment on the internal dampers found in some drums.
The internal dampeners are generally used to, as the name implies, dampen the head and give it just a little bit more tension. On snare drums it helps to take away the deep sound and give the snare more “crack”.
14. Describe how a snare drum can be recorded using two or more microphones.
A snare drum can be recorded using two microphones by aiming one at the top head and the bottom head and mixing to taste. Also, one can place a third mic at the center of the drum with the combination of the other two. It is also possible to place a mic at another part of the room. Really, the possibilities are endless.
15. Describe the tuning of drums, and toms in particular.
Toms with two heads are usually tuned in this manner: the top head is tuned to a certain tone or pitch. Then, the bottom is tuned to that same pitch. Afterwards the bottom head receives about a quarter turn more on each lug to give it slightly more tension.
16. Comment on single-headed and double-headed toms.
Single headed toms in this writers opinion are very anemic while double headed toms allow for more depth in live situations and recording.
17. Comment on the importance of good cymbals.
Good cymbals are just as important as selecting the finest mics for the job of recording them. You wouldn’t use a $50 mic to record a Steinway. In the same manner you wouldn’t want to play with or record a piece of tin with no sonic qualities or tonal color.
18. What type of microphone(s) could you use?
Condensers are good to use to catch the shimmering colors of the cymbals
19. Comment on mic positioning for the hihat.
The mic can be positioned about 4 to 6 inches above the hat and angled towards the place where the stick makes contact with the cymbal. This should provide good clarity.
20. Comment on the positioning and phasing of drum mics.
The mics should be positioned in such a way that they are not facing each other, not facing the floor, and that they are not pointed at a source that has a much louder source nearby. Theses are all things that cause phasing.
21. How would you approach mixing drums?
First it would be a good idea to start with the kick and get the desired sound that you were looking for there. Then I would mix the overheads depending on if you had any to get a good overall sound. I would then add the other mics to taste to get a good nice balance of the kit. I would make sure to not give the kick so much boom in the bass instead I might cut as much as 10 dB in the 100 to 300 Hz range and boost the frequencies in the 5 to 6000 Hz range.
22. What time of day is best for recording vocals?
The morning is a good time because the singer’s voice isn’t fatigued from a full days use.
23. How important is it for the engineer and producer to feel at ease with the singer?
Extremely important; the singer must be able to feel very comfortable or else the end result in the recording will not go as planned. If the singer is tense then they won’t be able to put out a good result.
24. Comment on microphone selection for vocals.
Mic selection for vocals is as varied and vast as the number of vocalists themselves. Certain mics will work better for certain people then other mics will. Some people sound better on a ribbon mic then they do on a condenser and vice versa. Some even sound good on a good ol’ dynamic. It just depends on the vocalist and the situation.
25. What is a 'pop shield'?
A pop shield is a device usually put in front of the mic in order to eliminate the pop found when singers sing “P” or “S” or “B” as these usually cause a loud pop.
26. Describe the rehearsal process for recording a vocal.
The rehearsal process for vocals is such that the singer will usually find a position that they are most comfortable singing in. The Engineer will let the singer sing while things like EQ and other things are processed.
27. Comment on the importance of foldback.
Foldback is essential because it allows the singer to hear themselves and allows them to adjust to the song and themselves as they are hearing it. It also helps the singer and any other musician for that matter stay in tune.
28. What can be done to ensure good foldback for the singer?
The Engineer needs to make sure that the singer has a good set of studio headphones with some processing if the singer so desires it.
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?
Loops can be used. The singer can sing the chorus once and the versus once and then the song can be mixed accordingly from there.
32. What are the possible remedies for out of tune singing?
There are pitch correction tools in most high end software. You can also get a new vocalist. It could be also that the singer is nervous and needs to be comforted. These are all techniques for helping out of tune singing.
33. How can a 'thin' voice be fattened up?
You could re-record it in order to get a hotter signal. Another option would be to boost the amplitude, make it stereo and expand the image, EQ of course, some effects processing, and that’s all I can think of.
34. Describe some possible microphone positions for a piano.
For Piano you can aim 2 mics at the hammers or you can place an ambiance mic to catch the sound of the room and then another mic aimed near the harp. These are just some ways.
35. Describe some possible microphone positions for an acoustic guitar.
OFr acoustic guitar you can place a rug at the feet of the player. You can aim a mic near the peg board or you can also aim one at the twelfth fret. This usually gets a good sound.
36. Describe some possible microphone positions for an electric guitar.
For an Electric guitar sometimes it’s the little things that count like smaller amps. Small amps can actually sound huge versus a larger counterpart. You can aim a mic just off center from the speaker cone almost towards the edge. This allows you to pick up the sound fairly well without causing distortion.
37. What is DI?
DI stands for Direct Injection.
38. Describe passive and active DI, and how a DI box is connected to the console.
Passive is when the Direct Box doesn’t require additional power and active is when it requires some kind of electrical or battery power. Direct boxes are connected to consoles through XLR or ¼” connectors.
39. How is a record player connected to a mixing console?
You can connect the record player through RCA jacks and then connect a ¼” converter to the console or you can just go from ¼” connectors if the record player has it.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
One Console depending on the size of the console and the band in question.
41. How are the mix signals separated to go to two consoles?
A double headed snake.
42. Where would the recording equipment and recording engineer be situated during the concert? Probably next to the Live Sound Engineer.
43. Onto what multitrack format would a live recording be made?
You could do a classic eight track or you could use systems like the Mackie Onyx systems that would allow you to take all the individual channels and pipe them into some kind of recording software which would then allow you to mix them independently and then make a CD.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Trumpets, Trombones,
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo? 2 microphones hence the name 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.
Mic the violin separate due to the fact that the Brass Instruments will cover it up. Then you can mix the violin on your computer with the other instruments.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
Individual musicians will not know how to work with each other whereas an ensemble will know how to “feed” off each other based on the feel. They all know who to play together.
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?
If it’s in the center then you would get more distortion. If it’s at the edge then you can catch the sound much better.
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 can be manipulated by the sound engineer in the back as far as tone controls go while a mic in the speaker is determined by the musician deciding that he/she likes things a certain way.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
I have no clue
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.
The Classic setup uses three Neumann M50’s that are arranged in a triangular fashion about 10 feet above thye conductor. The left mic is panned left and the right accordingly. There is a center mic panned of course to the center. There are also spot mics that are of course left and right and panned accordingly that are used to pick up the violins and cellos etc.
http://www.tape.com/Bartlett_Articles/session_procedures.html
http://www.sfu.ca/sca/Manuals/ZAAPf/o/overdubbing.html
http://www.xprt.net/~rcrowley/AVclass/Aud0000.htm
http://www.ranchstudio.com/SessionPlanning.htm |
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Sat Sep 17, 2005 12:54 am |
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Polarman
Joined: 24 Jun 2005
Posts: 55
Location: Barbados |
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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 would have a main recording room/ tracking room, a control room and some isolation booths. Of course if it is a professional studio it would also have a coffee/common room and a toilet.
In the control room you will have the mixer console and all the recording gear. Here is where mixing and mastering also is done. Normally you have visual contact with the rest of the rooms from here through windows. The isolation booth is for recording quieter sources or sources that you don’t want any spill on such as vocals, violins and so on. You can also have a bigger isolation booth or drum booth where you records the drums. This room is acoustically dead and have a sand filled floor and sound absorbing baffles. It has plenty of separation. The booth can be used for other sources then drums. The majority of the tracking, both live ensemble and overdubbing, is done in the main room.
http://www.javajivestudio.com/layout.php
http://www.netnik.com/fullmoon/layout.html
http://www.beartracks.com/layout.html
http://www.danshousestudio.com/studio_layout.html
2. Describe the term 'basic tracks'.
The first thing you do in a recording session is start on the basic tracks. If it is a band situation that means miking up the instruments to get the best sound onto tape or harddisk that truly represents the bands and the genres sound. If it is a recording with a lot of MIDI and drum machines, then this will be the time you start to decide on particular sounds, beats and basically build the song from the ground up.
What is essential no matter the genre, no matter the recording style of the initial tracks is to capture a groove. Again, this is not genre specific, but if a song doesn’t groove, have a natural rhythmic feel then you are likely to lose you listener even before they have a chance to get to you lyrics, hook or solo.
http://www.allaboutjazz.com/php/article.php?id=86
It is usual to record the basic instruments - drums, bass and rhythm guitar -all at the same time to get the feel of a real band playing together, and then add vocals, solo instruments and embellishments one by one as overdubs. The basic instruments form the so-called 'backing track' or 'basic tracks' - often referred to simply as 'the track'. 'Tracking' is the process of recording the backing tracks, although some people use the word to cover overdubs as well so that it means the entire recording process apart from the mixing.
Setting up to record the backing track takes some time, and it is common to finish recording all the backing tracks for an album before starting on the overdubs.
http://www.record-producer.com/learn.cfm?a=197
This is what I refer to as the foundation for the song. It could be a five piece band or it could be just a piano. In any case it's the part of the song that provides most of the harmonic and rhythmic structure. These instruments will serve as the bed for all the other instruments to lie on top.
http://www.dksproductions.com/recordingprocess.html
3. Describe the term overdubs.
The term overdub stands for to add (supplementary recorded sound) to a previously recorded musical recording especially in order to heighten the total effect or additional recorded sound that is blended into a musical recording. But normally overdubs means two things adding lead and backing vocals solos etc. It can also mean to enhance different part that has not been recorded in a satifactory way.
http://www.thefreedictionary.com/overdub
4. Describe the term 'guide vocal'.
Guide vocal in multitrack recording, is a preparatory vocal track to serve as a template for the later recording of instrumental tracks, eventually replaced by a final version. Sometimes its recorded at the same time as the basic tracks. This often helps the musicians get a better feel for the song and it will also give them cues to different sections of the song.
http://www.dilettantesdictionary.com/index.php?search=1&searchtxt=IDE
http://www.dksproductions.com/recordingprocess.html
5. Describe the term 'foldback'.
Foldback is the monitoring system for the artist. Normally through headphones but some times with loudspeakers.
http://www.sfu.ca/sca/Manuals/ZAAPf/f/foldback.html
6. Explian how foldback set up?
Foldback is very important for doing a good recording. You need to set up the mix for each of the performers. Normally vocalists likes to have a reverb on their voice.
http://www.thewho.net/whotabs/equipment/equip-pa.htm
7. Indicate the significance of 'spill'.
“Unwanted audio coming into a microphone. Commonly, the drums in a band situation.”
http://mediagods.com/glossary/What_is_mic_spill.html
Normally you want the microphone to record the instrument that you have set it up to do. But sometimes you get leakage from one instrument in to another instruments microphone. This is common when you are recording a drum set. While spill can lend a sense of coherence to the complete sound, and is not necessarily a problem in its own right, it can cause real problems when you come to mix if you need to control the balance and tone of the drum kit.
http://www.soundonsound.com/sos/feb01/articles/drummix.asp
8. What is a 'track sheet' used for?
When you are doing multitrack recording it’s very important to write down everything regarding each track and make up track sheets to document your recording sessions. Expand your design to include details on effects, processor settings, samling rate, bit rate etc. If the session includes sequenced sounds, keep a note of all the synths, patch numbers, expansion cards and sample CD-ROMs used during the session. A double-sided track sheet with one side for audio and another for MIDI is a practical way to do the job.
http://www.soundonsound.com/sos/may99/articles/20tips.htm
This is very important if the recording engineer has to hand over the project before all recordings are done, if a separate mixing engineer will do the mixing, to keep the same “sound” between tracks etc.
Track sheet templates:
http://www.silentway.com/tips/equip/tracksheet.html
9. Comment on some recording techniques used for basic tracks?
Let the band play through the song a few times so that they can get used to the headphones and check fold back levels. You will be thinking about the sound of each instrument, and each drum of the drum kit, from both technical and musical points of view. While realizing that you are not hearing the final mix, you will be considering how the instruments blend, and whether the tempo is the same as it was in the rehearsal studio. You may need to discuss subtle musical points with one or more of the band. Maybe the bass player is dragging notes out when they would be better cut short. Perhaps the guitarist hasn't settled into this rhythm yet and will need a few more runs through. Maybe they are all just a little bit nervy because they don't have much studio experience and they have forgotten that if they make a mistake, the engineer can wind back the tape and they can try it again.
http://www.record-producer.com/learn.cfm?a=197
Most of the time musicians record the basics with a click track. This is the metronome that will be fed into the headphones for the musicians to keep a perfect tempo but sometimes the song will sound better with a more human feel. Recording basics for 12 songs can be done in one day or it might take several days, but once you've finished recording a few takes of each song, it is time to decide which take you want to use for the overdubs.
http://www.dksproductions.com/recordingprocess.html
10. How might you prepare and record a kick drum?
First its important to get a kick drum sound that you want in your music.
So the first thing is to check the tuning (Q15).
There are three different ways to setup a kick drum which creates three different sound characters:
Beater skin on only.
Here the front skin has been removed allowing dampening to be placed in the drum. This is the most common setup in recording. Make sure the unused fixings don't rattle. A blanket, heavy pillows or other dense fabric placed in the bottom of the shell and pressing against the beater head will help dampen any ringing and provide a much tighter, more rock-oriented sound.
Both skins on
This is the traditional kick drum setup. If it needs dampening you can use a pillow or a blanket pressed up against the front skin and held in place with a sand bag, brick, mike stand base, or anything with weight lying around the studio. This setup gives a thick, solid, round sound with a decay as the drum decays. The best way to mike up this setup is to use two mikes, one over the pedal and one at the rear skin. This setup allows you to balance the attack sound of the beater with the decay of the front skin. Here its is very important to think about possible phase problems.
Both skins but with a hole in the front skin
In this situation you have access through the hole to place dampening inside the drum. A blanket or pillow is placed on the base of the drum and held in place with a sand bag or weight. Because of the hole you can access the front skin - thus the attack sound - without having to use a beater mike. Here the mike is placed inside the drum pointing to where the beater hits so as to get the full impact of the beater. Note that the mike is still out of phase to all the downward facing mikes on the kit so a phase reversal is preferred. The mike is also placed off centre within the shell.
http://www.saecollege.de/reference_material/index.html
Additional tips
You can dampen the whole drum by placing a blanket over the whole kick drum. This helps gain isolation of the microphone in the drum from the rest of the kit. Additionally a weight (sand bag) can be placed on the kick drum to make it rigid and dampen the shell vibrations.
As regards the kick drum, a tight, well-tuned beater head gives an identifiable tone and a full body, whereas a looser head gives a more clicky sound with obvious attack — you are looking for the compromise that best suits the musical style. Clearly, a harder beater will also provide more attack and click than a soft beater.
http://www.soundonsound.com/sos/Feb03/articles/drummiking.asp
11. What type(s) of microphones might you use?
The mike used for a kick drum must be able to handle the extreme transient’s involved and be capable of reproducing very low frequencies.
The size and repetitiveness of the pressure wave emanating from a kick drum makes this a r | | | |
