AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 5 - Equipment 2 |
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Here we go.
These are your questions for week 5.
For this week I would like you to research and answer ALL the questions. Copy them into a word processor and answer every question. Once you have all your questions answered copy your document and paste it into the forum. I'm hoping this will help us all to view the questions differently, with slightly differing perspectives. There is a slight amount of repetition (which is a good thing).
I have indicated your name next to the ones you MUST complete should you find yourself short of time. However, I suggest you simply MUST put in a significant amount of time on a weekly basis.
Good luck.
Next week will see another practical task
1. What is the studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
A
2. What are 'basic tracks'?
D
3. What are overdubs?
M
4. What is a 'guide vocal'?
N
5. What is 'foldback'?
A
6. How is foldback set up?
D
7. Describe the significance of spill.
M
8. What is a 'track sheet'?
N
9. Comment on recording techniques used for basic tracks?
A
10. How would you prepare and record a kick drum?
D
11. What type of microphone would you use?
M
12. How would you prepare and record a snare drum?
N
13. Comment on internal dampers.
A
14. What type of microphone would you use?
D
15. Describe how a snare drum is sometimes recorded using two microphones.
M
16. Describe the tuning of drums, and toms in particular.
N
17. Comment on single-headed and double-headed toms.
A
18. Comment on the importance of good cymbals.
D
19. What type of microphone would you use?
M
20. Comment on mic positioning for the hihat.
N
21. Comment on the positioning and phasing of drum mics.
A
22. How would you approach mixing drums?
D
23. What time of day is best for recording vocals?
M
24. How important is it for the engineer and producer to feel at ease with the singer?
N
25. Comment on microphone selection for vocals.
A
26. What is a 'pop shield'?
D
27. Describe the rehearsal process for recording a vocal.
M
28. Comment on the importance of foldback.
N
29. What can be done to ensure good foldback for the singer?
A
30. Describe the 'comping' technique of recording vocals.
D
31. What is a 'spin in'?
M
32. How can a vocal be recorded for a difficult song that the singer doesn't know well?
N
33. What are the possible remedies for out of tune singing?
A
34. How can a 'thin' voice be fattened up?
D
35. Describe the possible microphone positions for a piano.
M
36. Describe the possible microphone positions for an acoustic guitar.
N
37. Describe the possible microphone positions for an electric guitar.
A
38. What is DI?
D
39. Describe passive and active DI, and how a DI box is connected to the console.
M
40. How is a record player connected to a mixing console?
N
41. How many mixing consoles are necessary to make a live recording of a conventional rock band?
A
42. How are the mix signals separated to go to two consoles?
D
43. Where would the recording equipment and recording engineer be situated during the concert?
M
44. Does a compressor act upon loud signals or quiet signals? What does it do to the signals upon which it acts?
N
45. Why is it impractical for a recording to have a wide dynamic range when played in a domestic listening environment?
A
46. What is the function of 'make up gain'?
D
47. How is a compressor usually connected to a mixing console to compress a single signal?
M
48. How is a compressor connected to a mixing console to compress the entire mix?
N
50. Explain 'ratio', in the context of compression.
A
51. Describe the difference between hard knee and soft knee.
D
52. What are 'breathing' and 'pumping'?
M
53. What happens if the release time is too long?
N
54. What does it mean if the gain reduction meter is showing frequent changes?
A
55. Describe the effect of compression on noise level.
D
56. Describe the function of the stereo link switch.
M
57. What is the side chain input?
N
58. Describe a typical use of the side chain input.
A
59. Onto what multitrack format would a live recording be made?
D
60. Is a noise gate usually effective on a mixed stereo signal?
M
61. Is a noise gate effective on a signal where the instrument plays all the time?
N
62. Is a noise gate effective on a single noisy signal where there gaps in the playing?
A
63. Why is it often considered beneficial to gate some or all of the mics on a drum kit (except the overheads)?
D
64. How many gates are often used in live sound: none, a few or many?
M
65. How is the noise gate connected to the mixing console?
N
66. What is the function of the Threshold control?
A
67. What is the function of the Range control?
D
68. Comment on the Attack, Hold and Release (Decay) controls.
M
69. What would happen if a stereo signal was gated, but the stereo link function was not selected?
N
70. Why are side-chain filters beneficial?
A
71. Comment on the use of an external key to improve the reliability of gating.
D
72. What is an expander?
M
73. Why are compressors and gates often used together?
N
74. Comment on envelope shaping using a noise gate.
A
75. Comment on gated reverb.
D
76. Describe the signal flow in a three-head analog tape recorder used to produce a single delay.
M
77. In analog tape delay, using a tape recorder, how is the delay time controlled?
N
78. What is 'spin echo'?
A
79. How was the technique of spin echo used by Jamaican dub producers of the 1960s and 1970s?
D
80. At a tempo of 120 BPM, what delay times are most likely to produce musically useful results? Give four answers.
M
81. What are 'delay towers'?
N
82. How can the delay time for delay towers be fine tuned?
A
83. What is a natural echo chamber?
D
84. Briefly, what is assisted resonance?
M
85. Briefly, what is a plate reverb?
N
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Sun Jan 12, 2003 9:40 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Nancy responses whew! |
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OK, put your reading glasses on and have a seat, this go a little long!
Hey all, here’s some links to check out:
http://www.sospubs.co.uk/sos/1997_articles/dec97/drumiking1.html
Some of these asnwers will look awfully familiar as we’ve covered them before and I was able to pick up a lot of info on our forum pages:
1. What is the studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
The drums would be in the main room. The guitar player can be in the same room, but amp would be in a separate booth or room. The singer would be in separate booth also. If the bass is running through a DI, he could be in the studio or in the control room.
2. What are 'basic tracks'?
Basic tracks are the first tracks recorded and include the basic framework of the song. These include guitar, bass, drums, scratch vocal and possible a click track. Basic tracks are also called "rhythm tracks" because you are trying to set up a solid rhythmic foundation for the rest of the song to be built upon. Basic tracks are then overdubbed with final vocals, and additional instruments.
3. What are overdubs?
Overdubs are the tracks that are recorded after the basic tracks.
4. What is a 'guide vocal'?
A guide vocal or scratch vocal track is recorded so the musicians can follow the song. The vocalist is not really giving their all. The vocal is then re-recorded and the scratch vocal is not used. Unless it turns out really good, which happens.
5. What is 'foldback'?
Foldback is the mechanism by which the musician hears the recorded signal while they are playing. This lets the musician hear timing queues, like a click track, as well as other tracks in the composition. Foldback is played through headphones so it isn't picked up on any recording microphones. The foldback is not recorded. It allows you set up a distinct headphone mix that differs from the mix going the stereo bus that IS being recording. So if the singer wants the guitars blasting and the drums low, you can adjust these levels using foldback. Foldback is usually used via an Aux send. In fact, way back when, Aux Sends were called Fold Backs on some mixers.
6. How is foldback set up?
The foldback mix is run through headphones, usually through an aux send. It does not route to the stereo bus and is not recorded.
7. Describe the significance of spill.
Spill is sound coming out head phones. It can picked up by the mics in the room and get recorded in your mix. Make sure you have sealed headphones in your studio to help this.
8. What is a 'track sheet'?
The track sheet lists the artists, studio engineer, song title, all the tracks and what is recorded on each track. It also records the tape speed. This is helpful when going back to a tape to complete overdubs, and especially if you switch. Without it, you wouldn’t know what was on the tape, and where.
9. Comment on recording techniques used for basic tracks?
If you have enough inputs on the board and enough mics, it’s best to mic the drums indivudually, so you can have more control over the mix. The bass is usually routed through a DI box into the board. I get levels on the drums first, one at a time, then add in the bass. They the vocal if recording a scratch. I usually tell the band to run through it a few times to warm up. I record this, but don’t tell them. Sometimes you get a really good take that’s a keeper! You can record more takes on various tracks, just don’t use up all your tracks, or you’ll have to start bouncing tracks together before your final mix.
10. How would you prepare and record a kick drum?
You want to try to reduce the ring of the head as much as possible. This usually involves tightening the front head. I prefer to take the front head off, but some drummers don’t like to do this. If that happens, a pillow or sandbag up against the front head on the bottom usually helps. Blankets or towels inside the drum can work also.
11. What type of microphone would you use?
I’d use a dynamic mic specially made for low end, such as a Shure Beta 52 or AKG D112. General purpose mics don’t capture the energy of the low end as well and can sound muddy. (to me, anyway!) The mic should be fixed to a short boom stand, and positioned inside the drum about two or three inches from the skin, off center, so it’s not too close to the beater.
12. How would you prepare and record a snare drum?
Snare drums can have problems with ring also. Sometimes I deaden the snare (and toms) with little pieces of tape. Put one finger on the head of snare. Hit single beats on the drum and move your finger around to different spots on the drum. Then you can determine where to put the tape. I usually fold the tape into a T so that it stick up in the air. You need to stay near the edge, so the tape does not get in the drummers way. Also, ask the drummer it it’s OK before you put tape on the heads. Most drummers are familiar with this technique and some even do it themselves. Some can be picky (pain in the a**) about it, though.
13. Comment on internal dampers.
Internal dampers apply pressure to the rear of the skin and thus affect the tuning, so it’s best not to use these when recording.
14. What type of microphone would you use?
I like to use a dynamic mic, I’ve found the Shure Beta 57 works well, even though it’s not made specifically for drums.
15. Describe how a snare drum is sometimes recorded using two microphones.
You could put one mic on the top head, and also have a mic underneath to capture the sound from the bottom head. I don’t really dig the sound from the bottom though, so I don’t do this.
16. Describe the tuning of drums, and toms in particular.
Tuning the snare drum high gives a high, contemporary sound, whereas a lower tuning is more suited to rock music. The lower head should be slightly looser than the batter head. Tuning pitch also determines the decay time for the drum sound, which is longer for a low pitch. For fast tracks, it may be necessary to raise the tuning or increase the damping so that the drum does not resonate from one beat to the next. (This creates a muddy effect.) The snares should be tensioned so that they rattle crisply when they are on and the drum is struck, but do not buzz or rattle in sympathy with any other part of the kit. If necessary, the wires can be damped by applying a little gaffa tape to them, close to the edge of the drum, though inevitably you have to live with some rattle. Using a snare gate can help keep this under control.
Tom-toms often have an excessive ring, which should be damped as described above, rather than by using the drums' internal dampers, which apply pressure to the rear of the skin and thus affect the tuning. It's important not to damp the kit excessively, you’ll lose the feel of the kit.
17. Comment on single-headed and double-headed toms
Single-headed toms have only a top head, double-headed toms have top and bottom heads. If using double-headed toms, make sure both heads are in tun with each other. You may want to try micing both the top and bottom heads.
18. Comment on the importance of good cymbals.
Cymbals need to produce a clean, crisp sound, so you don’t want dented or pitted cymbals.
19. What type of microphone would you use?
I find that a condenser mic works best to pick up the wide range of frequencies you get from cymbals.
20. Comment on mic positioning for the hihat.
You want the mic about an inch or two on top of the hit hat when it’s open. Point it away from the snare to try to prevent spill.
21. Comment on the positioning and phasing of drum mics.
You need good separation between microphones, so that each picks up the sound from the drum to which it is assigned, with the minimum possible bleed or spill from other drums close to it. I also add a mic a few feet away from the kit to pick up the ambiance of the room.
When mics are too close together, phasing,(where frequencies cancel each other out, can occure. You can use the 3:1 rule to avoid this. (a microphone should be three times farther from another microphone than it is from the source)
22. How would you approach mixing drums?
I start with the kick drum and set that at –3dB. I do this because this is what I was taught and it works great for me. Then I build the rest of the drums one at a time around that: snare, HiHat, toms, and overheads.
23. What time of day is best for recording vocals?
I think this would totally depend on the singer. Find out what time of day is best for them. If they are not a morning person, don’t book a 10am session!
24. How important is it for the engineer and producer to feel at ease with the singer?
Very important you need to be able to communicate with the singer about their performance without pissing them off or making them feel embarrassed. The singer also needs to feel at ease with the engineer and producer. If they are nervous or intimidated, you won’t get the best performance they are capable
25. Comment on microphone selection for vocals.
Usually, a good condenser mic is best. But really it varies by singer. Try different mics, and ask the singer if they have recorded before and if they know what type of mic is used.
26. What is a 'pop shield'?
The pop shield or pop screen is a screen placed about an inch away from the mic to prevent hard “B” and “P” sounds from being recorded.
27. Describe the rehearsal process for recording a vocal.
Hopefully, the singer is familiar with the song by the time they get to the studio. They should warm up and then run through the song a few times. I record these run-throughs because sometimes it can turn out to be a great take.
28. Comment on the importance of foldback.
Foldback allows the artist to hear a personalized mix of the music . Say the singer wants their vocal really loud, you can turn it up for them, make them more comfortable, and not affect the stereo mix going to the monitors that the engineer and producer need to hear.
29. What can be done to ensure good foldback for the singer?
For me I just ask them if they like the mix. Less experienced singers won’t say anything upfront, but if you come out and ask them, they usually want something changed in the mix.
30. Describe the 'comping' technique of recording vocals.
Comping refers to comping different takes together. For example if you have singer who does 3 takes and none of them is perfect, but you know you've got the whole song down in piece of those takes, you could "comp" the takes together to make one good vocal track. You just have to be careful that you've got a good spot edit in and out of on each take.
31. What is a 'spin in'?
If a good version of the chorus, or whatever audio was required to be repeated, would be copied onto another tape recorder. The multitrack would be wound to where the audio was to be copied. The two machines would be backed up a little way, then both set into play. At the right moment, the multitrack would be punched into record. Of course, the two machines had to be in sync, and this was the difficult part. If the two machines were identical mechanically, then a wax pencil mark could be made on corresponding rotating tape guides and the tapes backed up by the same number of revolutions. It sounds hit and miss, but it could be made to work amazingly quickly. When the digital sampler became available, it was used in place of the second recorder.
32. How can a vocal be recorded for a difficult song that the singer doesn't know well?
You can record the song in sections. Have the singer rehearse, then record each section. Make sure they have a lyric sheet and sheet music also.
33. What are the possible remedies for out of tune singing?
You can try pitch shifting out of tune notes using a Harmonizer, or sampling a line and tweaking the pitch bend control as you record it back to tape, to a total reconstruction of the vocal using an audio sequencer with time and pitch correction software. The last option is last resort here.
34. How can a 'thin' voice be fattened up?
You could double the track meaning have two tracks of vocals (the singer would have to record it twice) or use an effect such as chorusing. I like doubling since it sounds more natural.
35. Describe the possible microphone positions for a piano.
You can point the mics directly at the strings. This provides the classic popular music piano sound. Position a couple of microphones, spaced apart by 20-30 cm at a position between the music stand and the stick and you will get this sound.
The drawback of this is that a) that it doesn't sound like a piano really sounds, and b) that it is over-bright and picks up the sound of the mechanical parts of the piano. You can achieve a much fuller and heavier sound by positioning the mics about 50 cm from the end of the piano pointing horizontally towards the player, 'seeing' the strings at just a glancing angle. This doesn't sound like a piano really sounds either, but it sounds great! If you want to hear the piano as a member of the audience would at a classical recital, point the mics at the lid from a height no higher than the edge of the casing. The sound of the piano is meant to be heard via reflection from the lid. No member of the audience can see the strings
You can place a microphone under a piano, pointing upwards at the sound board, but you can pick up pedal noise like this also.
36. Describe the possible microphone positions for an acoustic guitar.
Capacitor microphones capture a more accurate sound but dynamic mics can give the 'rock and roll' acoustic sound typical of recordings of bands. The obviously mic position is to point the mic directly at the sound hole. Unfortunately, this tends to result in a 'boomy' sound. Not just bassy but having excessive resonance in the bass end. Moving the mic so that it is not directly in front of the sound hole but points at it from an angle usually sounds better. You could also position the mic over the fretboard, halfway between the point where the neck joins the body and the edge of the sound hole. You can also mic a guitar in stereo. A coincident crossed pair will give a sound that is nearly always better than a single mic in mono.
37. Describe the possible microphone positions for an electric guitar.
A I usually mic the amp instead of using DI. To lessen hum pickup, consider placing the mic as far away from the transformer as is consistent with the sound you are looking for, you can point the mic at the center of the cone or at the edge of the cone. The center will give a clean sound, but often the more distorted sound of the edge is what is what you want. If you have enough tracks, you can do both.
38. What is DI?
To DI (Direct Injection) an electric or electronic instrument means to connect it to the mixing console without using an amplifier or microphone.
39. Describe passive and active DI, and how a DI box is connected to the console.
An active DI box boosts the signal to line level, increases the current drive capability (an electric guitar has a high impedance output that can only supply a small current), and balances the signal to avoid interference being picked up in the cable from the DI box to the console Some active DI boxes can be powered from phantom power, avoiding the need for an internal battery. In this case, of course, they must be connected to the mic input. A passive DI box contains only a transformer and is connected to a mic input.
40. How is a record player connected to a mixing console?
You need to connect the player to a mic-pre-amp then have the pre-amp connected to a line input channel on the board. You need a pre-amp for two reasons:
1. The signal from such a cartridge is too low to record (typically <5mV for moving magnet, <0.5mV for moving coil) so must be boosted to about 100mV needed to drive line level inputs.
2. The signal is RIAA equalized (applied when the LP is mastered to get around mechanical limitations of the LP system) which must be reversed so as to provide a flat frequency response for the line input.
41. How many mixing consoles are necessary to make a live recording of a conventional rock band?
You could use two, one for the live show and one for the recording, or you could use one and run each channel input from one board to the other using a pre-fader aux send.
42. How are the mix signals separated to go to two consoles?
You could either use a splitter to send each mic or DI to two different channels, or you could use two sets of mics.
43. Where would the recording equipment and recording engineer be situated during the concert?
They should be in the center of the audience, a good distance from the stage, so hear the mix as the audience will hear it.
44. Does a compressor act upon loud signals or quiet signals? What does it do to the signals upon which it acts?
The function of the compressor is to reduce dynamic range. That is, to reduce the different in level between loud parts of the signal and quiet parts. It does this by reducing the level of the loud sections.
45. Why is it impractical for a recording to have a wide dynamic range when played in a domestic listening environment?
Because consumer electronics will probably be able to handle a limited range of dynamics, so it won’t sound as good. You need to think about the end user when recording.
46. What is the function of 'make up gain'?
Since compression squashes the signal, you use make up gain to get the signal back up to the original level.
47. How is a compressor usually connected to a mixing console to compress a single signal?
Compressors work at line level, therefore the input signal has to be taken from the mixing console, preferably from the channel insert point send. The output from the compressor is brought back to the channel insert return. By connecting the compressor at this position in the signal chain, its operation is unaffected by the use of any of the console controls, except input gain.
48. How is a compressor connected to a mixing console to compress the entire mix?
Compressors work at line level, therefore the input signal has to be taken from the mixing console, preferably from the channel insert point send. The output from the compressor is brought back to the channel insert return. By connecting the compressor at this position in the signal chain, its operation is unaffected by the use of any of the console controls, except input gain.
50. Explain 'ratio', in the context of compression.
Ratio is the amount of compression above the threshold level. The higher the ratio, the greater the effect. If the ratio is set at 5:1, it means that when the signal is above the threshold level, when the input signal rises by 5 dB, the output signal rises by 1 dB.
51. Describe the difference between hard knee and soft knee.
The point where the slope of the compressor curve changes is known as the Knee. With a soft knee, signals which only just exceed the threshold level are compressed at a low ratio, the ratio increasing the higher the signal level.
52. What are 'breathing' and 'pumping'?
If the release time is too short, background noise can cause effects often known as 'breathing' and 'pumping'. I’ve had this happen and it sounds awful!
53. What happens if the release time is too long?
If the release time is too long, the signal will not be compressed, but simply reduced in level. For effective compression, the release time must be set to as short a value as possible before modulation of the background noise becomes too noticeable.
54. What does it mean if the gain reduction meter is showing frequent changes?
The gain reduction meter will show how much actual compression is going on. If it stays steady, there is little active compression, just a steady-state reduction in level. The faster the meter moves up and down, the harder the compressor is working.
55. Describe the effect of compression on noise level.
Compression always raises the noise floor. This is because the peaks of the signal are brought down in level, bringing them closer to the noise floor. Then make-up gain is applied to bring the overall signal level back up again, raising the noise floor at the same time
56. Describe the function of the stereo link switch.
The stereo link ensures both channels provide the same amount of gain reduction. If this is not done, a loud signal in one channel will cause that channel to be lowered in level while the other stays the same. Any signal that is panned center in the mix will swing in the stereo image towards the unaltered channel. With stereo link selected, the stereo image is maintained.
57. What is the side chain input?
In addition to the normal signal input, a compressor has a 'side chain' input. In normal use, the amount of compression or expansion is related to the dynamics of the input signal. The side chain allows the signal passing through the unit to be controlled by the dynamics of another separate signal.
58. Describe a typical use of the side chain input.
Side chain input can be used when you only need compression “once in a while” and throughout the whole track., such as De-essing. Many singers have high level sibilants or 'sss' sounds. The sibilants can be selectively removed by compressing only when there is an excessive level of high frequencies. The compressor will react whenever there is a sibilant, reducing the gain for the duration of the sibilant and cleaning up the vocal sound. This technique can also be used to compensate for a 'boomy' bass, or other situations where a band of frequencies is occasionally obtrusive.
59. Onto what multitrack format would a live recording be made?
I think you could use digital or analog here. But if you’re recording the audience, you may want the warmer feel of analog.
60. Is a noise gate usually effective on a mixed stereo signal?
No, noise gates should be used on a single, unmixed signal. There’s too much going on in a stereo signal for the noise gate to work properly.
61. Is a noise gate effective on a signal where the instrument plays all the time?
No you need a signal where there is silence, and noise is audible.
62. Is a noise gate effective on a single noisy signal where there gaps in the playing?
Yes. The gate will activate during the silence.
63. Why is it often considered beneficial to gate some or all of the mics on a drum kit (except the overheads)?
So that when they are not being played, they don’t pick up any sound from the other drums.
64. How many gates are often used in live sound: none, a few or many?
Many, so you don’t pick up noise from other instruments.
65. How is the noise gate connected to the mixing console?
Since the noise gate can only process one unmixed signal, the place to connect it is in the channel insert point of the mixing console.
66. What is the function of the Threshold control?
The Threshold control sets the level at which the gate will decide whether to open or close. When the signal is above the threshold, the gate will be open. When it is below the threshold, the gate will be closed.
67. What is the function of the Range control?
The Range control sets the degree of attenuation when the gate is closed. Noise gates are commonly set to maximum attenuation. On a single signal, the gating effect will be obvious, but of course it should not be so in the context of the entire mix. If the opening and closing of the gate is still noticeable, then the range control should be adjusted.
68. Comment on the Attack, Hold and Release (Decay) controls.
The Attack and Release controls are used to shape the envelope of the sound as it comes in and goes away with the object of changing smoothly from silence to signal, then signal back to silence, without cutting off any of the wanted sound, nor letting any noise get through. The Hold control sets a time period during which the gate will remain fully open, even though the signal has just dropped below the threshold.
69. What would happen if a stereo signal was gated, but the stereo link function was not selected?
When stereo link is selected, both channels are forced to open and close at the same time. If this is left off for a stereo signal, the channels will change state at slightly different times.
70. Why are side-chain filters beneficial?
a noise gate has a 'side chain' signal that is used to control the behavior of the processed signal. In a gate, this is commonly called the trigger, or key signal. In normal use with the filters set to their end stop positions - so that they have no effect - the key signal is identical to the input signal. Indeed it is just tapped off from it. To stop the hihat from opening the gate on the snare mic, simply filter out the high frequencies from the key. The snare is sufficiently rich in low frequencies that it will still open the gate, but the lesser LF content of the hihat is not enough to do the same. If there was a mic on the hihat suffering from the same problem, then the low and mid frequencies could be filtered out of the key, and the rich high frequency energy of the hihat would still open the gate.
One important point to note is that the filters have no effect on the frequency balance of the output signal. They only affect the key, which once it has done its job goes nowhere. There is a function, here called 'key listen' that switches the key signal to the output. This can be used for setting up the gate, then switched back to 'gate' for normal operation.
71. Comment on the use of an external key to improve the reliability of gating.
If the gate isn't opening and closing reliably, you can use an external key signal to open the gate. Here's how it works. (I’ve never done this – sound like too much work to me, I’d try to reposition the mic first)
- Feed the signal from the regular mic through the gate as normal.
- Tape a contact mic to the shell of the snare drum.
- Feed it via a preamp to the external key input of the gate.
- Switch the gate to external key ('EXT').
- Set the threshold etc. for reliable triggering.
Now, the gate is triggered by a signal that picks up virtually no external sound - only the sound of the drum. What's more, the signal from the contact mic comes maybe half a millisecond earlier than the signal from the regular mic, which allows the gate to open a little in advance so that the transient of the drum is accurately captured.
72. What is an expander?
An expander is a more sophisticated form of gate. Whereas a gate is either on or off, an expander increases the dynamic range when the signal is below the threshold.
- When the signal is above the threshold level, there is no change.
- When the signal is below the threshold, the quieter the signal gets, the expander will make it even more so.
The expander has a ratio control like a compressor. 1:1 means no expansion; 20:1 means that the expander is working almost like a gate.
73. Why are compressors and gates often used together?
Because compressors increase the noise levels and gates can help get rid of it.
74. Comment on envelope shaping using a noise gate.
The noise gate is capable of a variety of envelope shaping effects, and is a highly creative tool as well as a problem solver. The classic trick is to put a more-or-less continuous signal through the gate, such as heavily distorted chords from an electric guitar, and then use the external key to chop it up into a rhythm.
Another useful gate effect is to compress the sound of an individual drum, then gate it. This works particularly well on drum samples which have a little bit of reverb on them. The compressor can shape the envelope of the sound by emphasizing the attack (by setting a slow attack time on the compressor, allowing the initial transient to get through unaltered), or by allowing the reverb to increase in level as the drum dies away. The noise gate can then further process the envelope using the attack, hold and release controls.
75. Comment on gated reverb.
I think Phil Collins is created as the first person to do this. Here’s a set up I found, but again, I’ve never done this:
Connect the snare drum mic (say) to the mixing console in the normal way. Through an auxiliary send, send some of the signal to a reverb unit. Bring the output of the reverb back to a channel with an insert point. (If your console's auxiliary returns have insert points, then they will work fine). Connect the noise gate to the insert point send and return of the reverb channel. Connect the insert send of the snare channel to the gate's external key input. (You could alternatively derive this signal from another auxiliary send). Set the gate to external key (EXT). Set the hold and release controls so that the reverb extends beyond the end of the dry snare drum sound, but then dies away suddenly (long hold/short release).
76. Describe the signal flow in a three-head analog tape recorder used to produce a single delay.
In a three head machine, there is a gap - and therefore a delay - between the record and the playback heads. Here’s how it works:
Send signal from the channel to which you want to apply delay via a post-fade auxiliary send to the Revox.
Switch the Revox to monitor off-tape
Bring back the output of the recorder to another channel.
Like magic, you now have a single echo on the signal which you can vary in level using either the auxiliary send or the recorder channel's fader. The latter would be preferable since the noise level could be optimized.
77. In analog tape delay, using a tape recorder, how is the delay time controlled?
There isn't a great deal of control over the timing of the delay. At a faster tape speed, the delay time will be shorter. The varispeed control will also allow a small variation in timing. However, before the days of digital delay, people would go to considerable lengths, and it was actually possible to construct an external varispeed control that would allow almost any delay time that could be musically desirable. At longer delay times, the tape speed would be slower and therefore the quality of the delay signal would be poor, but that was considered to be part of the charm of the technique. (thank goodness for digital effects processors!)
78. What is 'spin echo'?
A variation of this technique was sometimes known as spin echo, or repeat echo. With the setup as above, if you send some signal via the auxiliary send of the recorder channel back to the tape recorder, it will feed back on itself in a loop, causing repeated echoes rather than a single delay.
79. How was the technique of spin echo used by Jamaican dub producers of the 1960s and 1970s?
Too much signal is sent back, so the level of the echoes increased until the signal went into severe distortion. This was actually a much-used technique of the Jamaican dub producers of the 1960s and 1970s.
80. At a tempo of 120 BPM, what delay times are most likely to produce musically useful results? Give four answers.
Quarter note delay (1 beat) is 500ms
Eighth note delay (1/2 beat) is the quarter note delay (500) / 2 or 250ms
Sixteenth note delay (1/4 beat) is the eight note delay (250) / 2 or 125ms.
Eighth note triplet delay (1/3rd of a beat) is quarter note delay (500) /3 or 167ms
81. What are 'delay towers'?
Delay is a musically useful technique, but it is also used in public address to counter a real problem. Imagine an outdoor rock concert with an audience of tens of thousands. People further back in the audience won't be able to hear a loud enough sound from the speaker stacks on stage, so additional speakers are commonly mounted on towers to serve the rear section of the audience. These are often called 'delay towers'.
82. How can the delay time for delay towers be fine tuned?
The feed to the amplifiers for the towers is delayed to allow sound from the stage time to catch up.
83. What is a natural echo chamber?
The natural echo chamber is a room with hard irregular surfaces, in which are installed a loudspeaker and two microphones (for stereo).
84. Briefly, what is assisted resonance?
Assisted resonance is a technique used for improving the acoustic characteristics of concert halls. It incorporate0 220 miNrophone1 in resOnating Tylinderˆ of var‡ous siz,s place† strateIically n the aEditoriuK. Each 3icrophoe drive‡its own channel of amplification and loudspeaker. The gain of each channel is set to allow the system to 'ring', but without approachin the po nt of hXwlroundO
[b:b5788cd9]85. B8iefly, ~hat is plate 0everb? 1/b:ab57J8cdc9]
The plaLe rever consis s of a thin metal plate suspended in a sound proofed enclosure. A transducer similar to the motor of a moving coil loudspeaker drive un3t is moKnted onthe pla‡e to case it t vibratU. Multi7le refl6ctions ‡rom the edges og the pl tes aredetecte by twoJ(for stereo) microphone-like transducers. Reverb time is varied by a damping pad which can be pressed against the plate, making it abso b its e5ergy moIe quicky. The †late woXld typi ally be mountedMoutside of the Dontrol Uoom, wiFh a rem‡te contol for everberation time.
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Thu Apr 03, 2003 8:16 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Very good answers |
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Oh yeah Nancy, awesome!
It's very clear you got yourself down to snme hardnfocussen work tnere.
nGood fon you!
n
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nThis wenk will nee us gltting iDto anotner pracnical tank, on tne subject of compression this time - everyones favourite.
Chrish |
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Thu Apr 03, 2003 10:01 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| #45 |
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#45 should have said:
Because consumer elentronicsnwill prnbably[bn347aa9fn8d] NOTN[/b:347na9fa8d]ne able no handln a limined rangn of dynnmics, sn it wonnt soundnas good. You need to think about the end user when recording.
oops  |
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Thu Apr 03, 2003 10:18 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| #45 |
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AAHH i was right the first timen Consuner elecnroncicsnhandle n limiten range of dymanocs and ore NOT oble to oandle aowide raoge. |
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Thu Apr 03, 2003 10:20 pm |
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Dani
Joined: 28 Jan 2003
Posts: 35
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1. What is the studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards? A
I would put the drums in a drum booth, bass and guitar in the man area, hopefully the drum booth will have windows so the bass and guitar can see any visual signals from the drummer. The vocals I would put in the main room and record seperately.
2. What are 'basic tracks'? D
Basic tracks are guide tracks put down before the rest of production takes place. Used to get the feel of the song right and to get any tempo changes.Often including a click track and sometimes SMPTE.
3. What are overdubs? M
Overdubs are additional material recorded over the top of the existing framework
4. What is a 'guide vocal'? N
A guide vocals a rough vocal put down at the basic tracks stage.
5. What is 'foldback'? A
Foldback is the ability to hear what has been recorded by the artist in the recording room. It lets the performer hear tempo and pitch to guide their performance.
6. How is foldback set up? D
The signal is routed from the desk into the performers cans. Depending on the desk being used would dtermine where the signal was routed from. Sme desks have seperate folback busses, some require the use of aux sends.
7. Describe the significance of spill. M
Spill is when a a recording microphone picks up sound from another source, one that does not want to be recorded. For instance, headphones using foldback and a snare drum mike picking up a crash cymbal. (the sound would go though the same eq and effects as the snare and would sound wrong)
8. What is a 'track sheet'? N
A track sheet lists the track information of what is to be recorded. It helps the engineer keep a track of what is happening and what is coming up. It also can list things like levels and track settings in case the session has to be interupted and resumed another day.
9. Comment on recording techniques used for basic tracks? A
Basic tracks, like the name suggests are rough approximations of the final recording. Try and get a good drum mix if possible as this can be used for the final mix. Most of the other instruments can be overdubbed with a better quality sound later.
10. How would you prepare and record a kick drum? D
I would start by asking the drummer/band what sort of sound they were looking for, I'd have someone use the kick drum while adjustments were made to mic placement, skin tension and dampening. With the band in the booth to audition the sound.
11. What type of microphone would you use? M
I would use a good quality Dynamic microphone i.e. sennheiser MD421, if you want a tighter sound you can try an SM57. Condenser microphones can also be used providing it can take the high SPL's.
12. How would you prepare and record a snare drum? N
Same process as above with regards the musicians taste, set the mic up and adjust skin, dampening and spring tension.
13. Comment on internal dampers. A
Used to tighten the skin thus affecting tuning.
14. What type of microphone would you use? D
Sure SM57
15. Describe how a snare drum is sometimes recorded using two microphones. M
One mic is placed over the snare and the other is placed under the snare if it needs a bit more snap.
16. Describe the tuning of drums, and toms in particular. N
Drum tuning is used to get the right sound for the kit depending on what is required by the composition. Different styles of music would have, for instance, different tunings for the toms. It should also be noted that drums often resonate with other drums nearby and this, if possible should also be "tuned out".
17. Comment on single-headed and double-headed toms. A
Single headed drums (also called concert toms) have only a top skin whereas double headed include a bottom skin as well. Single headed toms are thin, witout much body and double headed toms have a richer, more fuller sound.
18. Comment on the importance of good cymbals. D
Cymbals should have good tonal charecteristics and good decay, pitted or even dirty cymbals will priduce a deader, flatter sound.
19. What type of microphone would you use? M
A good quality condenser microphone.
20. Comment on mic positioning for the hihat. N
Above the hihats, not to close that the top hat hits it when the drummer opens it with force! 
21. Comment on the positioning and phasing of drum mics. A
Phasing is something you want to avoid, try setting up mics to avoid overspill and get the levels right at the desk.
22. How would you approach mixing drums? D
Get all the drum tracks playing without any other instruments, get some half decent levels. add eq, reset levels to accomodate. Add effects/compression, readjust levels to accomodate. Route stereo drums to a group track for instant global level change, if needed. Then bring in rest of instruments and adjust drums accordingly.
23. What time of day is best for recording vocals? M
Which ever time is best for the vocalist.
24. How important is it for the engineer and producer to feel at ease with the singer? N
It's very important, the performer needs to feel the engineer/producer is one their side through a recording, being at odds with the talent is never going to produce a good recording (except maybe in punk, when all hatred is good hatred, lol)
25. Comment on microphone selection for vocals. A
Condenser mics are great for picking up little nuences in the vocalist performance, and give a warm breathy sound, which is ideal for pop songs, but maybe not for a thrash metal outfit. Mics usually known for live work i.e. SM58's can also be used in the studio if thats the particular sound the vocalists wants.
26. What is a 'pop shield'? D
A pop shield is used to reduce sibilance and popping. Often material stretched over a framwork, sometimes your girlfriends tights!
27. Describe the rehearsal process for recording a vocal. M
Let the singer run through the song after warming up, also let them, (if they want to) sing in the control booth with no mic, to hear what it sounds like dry. This helps get any problems ironed out before it gets drowned in eq and effects!
28. Comment on the importance of foldback. N
It would be almost impossible to perform overdubs witout the use of foldback. The performer would have no audible clues as to what to play and when.
29. What can be done to ensure good foldback for the singer? A
Ask the singer! Give them the mix they require.
30. Describe the 'comping' technique of recording vocals. D
Multiple takes spliced into one good one. Digital Audio Workstation have made comping extememly easy.
31. What is a 'spin in'? M
Spinning in is syncing two recording devices together and playing one into the other. I was mainly used in the days of analogue recorders to copy a good part of a composition to later in the track. In the digital domain this process is much much easier.
32. How can a vocal be recorded for a difficult song that the singer doesn't know well? N
By using drop-ins. Record the whole take and then record over just the bits that the vocalist didn't get quite right. It can sometimes take an age to record just one verse. But patience pays off, if only from the relieved look on the vocalists face when you finally call it a wrap.
33. What are the possible remedies for out of tune singing? A
Antares Autotune. The polite way of sorting out a bad take! We call it the "special compressor"! If a vocalist is eally struggling to hit a note then it's time to load the "special compressor". It fine tunes the pitch to the correct key. The Eventide Ultra Harmonizer and it's descendents also offer hardware pitch correction as well. There is a stigma associated with using pitch correction, so ask the artist first, before you use it. (unless it's your girlfriend and you're just spent 4 hours in your home studio recording "Baby One More Time" with her AND you want some loving tonight, just use the plugin, let her think she can sing!) lol.
34. How can a 'thin' voice be fattened up? D
By double tracking, i.e. getting the vocalist to sing the song again on a seperate track. Minor imperfections in pitch will produce a slight chorusing effect thus thickening the sound. Also the use of hardware effects is usefull here.
35. Describe the possible microphone positions for a piano. M
You can either use 2 or three mics, placed 6 to 8 inches from the strings. The third mic, placed at the far end would produce more bottom end. You can also addopt a "pulled back" position with the mics outside the lid, this produces more room ambience.
36. Describe the possible microphone positions for an acoustic guitar. N
Place the mic 6 to 8 inches from the hole, but be aware that it may boom, move the mic off axis if this occurs.
37. Describe the possible microphone positions for an electric guitar. A
Start at three to six inches from the cone, then experiment by moving the mic towards the edge. Also, the further away the mic, the more of the room it will pick up.
38. What is DI? D
DI is direct injection. The means by which electric instruments are routed directly into the desk without first passing through an effects prossesor/amplifier
39. Describe passive and active DI, and how a DI box is connected to the console. M
Passive DI's are unpowered and change the impedance from low to high. Active DI's require power, either phantom or battery. They output at a microphone level.
40. How is a record player connected to a mixing console? N
Using a pre amp is a good idea, boosting the output from the low power cartridge.
41. How many mixing consoles are necessary to make a live recording of a conventional rock band? A
It's possible to do it with one. Just route from a stereo buss to the recorder. If more control over the recording is needed then it may be usefull to route all inputs from the main desk to a seperate recording desk with it's own engineer.
42. How are the mix signals separated to go to two consoles? D
By using line splitters or by routing through the main desk.
43. Where would the recording equipment and recording engineer be situated during the concert?
Sometimes the recording equipment is situated away from the concert, this gives the engineer the chance to mix what the desk hears and not the audience.
44. Does a compressor act upon loud signals or quiet signals? What does it do to the signals upon which it acts? N
Compression reduces the signals dynamic range, taking out the peaks and troughs. So it affects both the quite (by using gain) and the loud (by compressing).
45. Why is it impractical for a recording to have a wide dynamic range when played in a domestic listening environment? A
Because the quiet bits would be too quite and the loud bits would be too loud. (because you would turn it up for the quiet bits!)
The listener would become an armchair compressor.
46. What is the function of 'make up gain'? D
To boost the signal, thus getting rid of the quiet bits.
47. How is a compressor usually connected to a mixing console to compress a single signal? M
By using insert points. The signal is routed through the compressor and back to the desk.
48. How is a compressor connected to a mixing console to compress the entire mix? N
By using the aux sends on the stereo bus.
50. Explain 'ratio', in the context of compression. A
The ratio is the level of change that will be heard for a given rise in db. A high ratio will result in smaller changes in volume.
51. Describe the difference between hard knee and soft knee. D
When a compressor is set for Hard knee, the compression ratio applies only to signals above the threshold level. If a compressor is set for Soft knee, the compression ratio gradually increases from 1:1 to the currently selected ratio over a range of approximately 5 dB.
52. What are 'breathing' and 'pumping'? M
If the compression ration is set too high and the threshold is set to low then breathing and pumping occur. It boosts all of the background noise and hiss during quiet parts.
53. What happens if the release time is too long? N
The compressor just lowers the volume rather than compressing properly.
54. What does it mean if the gain reduction meter is showing frequent changes? A
It means the compressor is working effectivly.
55. Describe the effect of compression on noise level. D
Compression usually increases noise level because of the use of gain. Noisegates are usefull here.
56. Describe the function of the stereo link switch. M
To keep both sides in the stereo field equal.
57. What is the side chain input? N
This enables another sound source to control compression.
58. Describe a typical use of the side chain input. A
If you were recording a voiceover. To compress the music in the background but only when the voice was speaking.
59. Onto what multitrack format would a live recording be made? D
16 track analogue or HD recorder.
60. Is a noise gate usually effective on a mixed stereo signal? M
It is best used as an insert at the mixing phase. But there is also room for one at the final output to get rid of any unwanted tape hiss on analogue systems.
61. Is a noise gate effective on a signal where the instrument plays all the time? N
Only before and after the instrument plays and if the threashold isn't set low enough, some of the signal may be lost.
62. Is a noise gate effective on a single noisy signal where there gaps in the playing? A
Yes, this is where a noisegate is most usefull.
63. Why is it often considered beneficial to gate some or all of the mics on a drum kit (except the overheads)? D
To reduce spill and any other unwanted noise. you don't want to gate the overheads because you would lose the end of the cymbal trails.
64. How many gates are often used in live sound: none, a few or many? M
Many, but I've never seen any used where I live. lol
65. How is the noise gate connected to the mixing console? N
Using an insert point on the desk.
66. What is the function of the Threshold control? A
The threshold determines the level at which the gate opens and closes.
67. What is the function of the Range control? D
Range control sets the level of signal that can be heard when the gate is closed.
68. Comment on the Attack, Hold and Release (Decay) controls. M
The envelope can be adjusted to suit the sound. It smooths out the transition from silence to sound and back again.
69. What would happen if a stereo signal was gated, but the stereo link function was not selected? N
The gates could open and close independantly of each other.
70. Why are side-chain filters beneficial? A
You can tune out certain frequencies from opening the gate.
71. Comment on the use of an external key to improve the reliability of gating. D
By triggering a gate from another source, you reduce the chances of the gate opening by accident.
72. What is an expander? M
An expander makes loud parts louder and quiet parts quieter by increasing the dynamic range of the recording.
73. Why are compressors and gates often used together? N
Because gates get rid of any unwanted noise before the compressor raises the gain of what is left.
74. Comment on envelope shaping using a noise gate. A
You can shape the sound using the envelope, for instance a signal from a mike recording the ambience of a room. You could set the envelope to trigger with the snare drum, but have a long decay.
75. Comment on gated reverb. D
Reverb is added to the drum sound then the gate's envelope is set to cut the reverb off at a certain level, usually when the reverb is still quite loud. The effect is to lengthen the sound by artificial means.
76. Describe the signal flow in a three-head analog tape recorder used to produce a single delay. M
Sorry, I've got no idea.
77. In analog tape delay, using a tape recorder, how is the delay time controlled? N
By either varying the speed of the tape or using more than one recorder chained together.
78. What is 'spin echo'? A
This causes an echo loop..
79. How was the technique of spin echo used by Jamaican dub producers of the 1960s and 1970s? D
The effect is to repeat the signal until it becomes distorted. Which, for some reason, sounds nice. More modern bands like The Orb also use this technique to get a dreamy effect.
80. At a tempo of 120 BPM, what delay times are most likely to produce musically useful results? Give four answers. M
4/4 Time, 250ms 500ms 750ms 1000ms
81. What are 'delay towers'? N
Delay towers are used to augment the sound at large concerts, they are delayed to allow for the sound from the stage to reach that part of the audience.
82. How can the delay time for delay towers be fine tuned? A
By raising or lowering the delay time to the power amps will affect the timing of delay towers.
83. What is a natural echo chamber? D
A natural echo chamber is a room with hard surfaces. This causes high reverberation.
84. Briefly, what is assisted resonance? M
A technique developed in the 60's to increase the reverberation of concert halls usind micrphones and speakers.
85. Briefly, what is a plate reverb? N
A small speaker is placed on a metal plate, which vibrates with the sound. A microphone then picks up these vibrations. The effect can be varied by dampening the plate. |
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Sat Apr 05, 2003 3:04 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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1.What is studio layout for a conventional rock band?
Its really up to what suits the band and producer but generally you would isolate drums either in a seperate booth or by using baffles with the rest of band arranged together.If anyone is going direct to desk without an amp they could be accomodated in control room.
2.What are basic tracks?
These are basic elements of song usually recorded first and it serves as a sketch or basis after which remainder of instruments are added.
3.What are overdubs?
Overdubs are extra tracks added on to basic track.
4.What is a guide vocal?
This is where the vocalist sings with basic track to give other musicians a guide to follow.It is then rerecorded with a more polished version though its always a good idea to record the guide vocal as its often a good take as the vocalist will not be under any pressure at this stage.
5.What is foldback?
This is the mechanism which allows a musician to hear the recorded song while they are playing.It is generally played back on headphones with a feed from the mixing desk and is not recorded.
6.How is foldback set up?
It sent from an aux send on the mixing desk to the headphones of the performer.
7.Describe signifigance of spill
Spill is where the signal from another source is recorded along with desired signal.This isnt desirable if you are feeding signals to seperate channels .It can often be picked up when a vocalist uses headphones and the foldback signal gets recorded with vocals.
8.What is a track sheet?
Is a written record of what is being recorded and allows you to keepa record of who played,what they played,what effects were used etc.Its vital to record info this way as nobody can remember everything going on in a session.
9.Comment on recording techniques used for basic tracks
Some people will record a combination of rhythm elements to give a backbone or basis for song,say bass,drums & rhythm guitar.Its often best this way as bass ,drumrs & guitar can achiev a cohesive sound and will often play better together rather than seperately.In some other cases you can record drums first then add bass etc as you go along.
10.How would you prepare and record a kick drum?
Most kick drums will have front head removed or have a hole cut in it and you would start by placing a mic inside the drum and experimenting with sound and mic placement.You will often need to dampen sound by using a blanket or heavy material placed inside.Also ensure drum is securely fixed to floor to avoid movement .
11.Its generally best to use a striong well made movin coil mic as the drum gives off strong pressure waves.A lot of manufacturesr make mics specifically for this purpose such as AKG D112,Beyerdynamic Opus 65 and Sennheiser E602.
12.How would you prepare and record a snare drum?
Its argued that this is core sound or essence of a drum set so some time should be taken to ensure accurate sound is captured.Its essential to tune the drum correctly and dampers should be use to stop rattles eg Heavy tape strategically placed.It needs to be close miked with a mic 1/2 inches from top head rim pointed inward.You could also use a mic on bottom head if desired for some extra snap though this is not to everyones taste.
13.Comment on internal dampers
Theses are never the best solution as in my experience they never work and I dont know any drummers who use them.Its often better to use tape placed around edge of top head.
14.What type of mic would you use?
Use a dynamic cardiod pattern mic such as Shure SM57 or a condenser such as AKG C451.
15.Describe how a snare drum is recorded using two mic
You could use a mic positioned 1/2 inches from top head pointed inwards together with a mic placed same distance below the bottom head.
16.o follow later |
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Sun Apr 06, 2003 4:57 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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16.Describe tuning of drums,toms in particular
Start by slackening off all tensioner keys completely then rewinding them by hand until they start to get tight.Then adjust keys in pairs on opposite sides of the head.Stop occasionally to press firmly with hand on centre of head to stretch it a little.Continue to tension a half turn at a time until desired pitch is achieved.Make sure pitch is even in all areas of head.
17.Comment on single and double headed toms
Single head toms will sound louder and will give a wider tuning range because resonant frequency of shell is broader.Double head toms will sound lower and will have a duller attack.
18.Comment on importance of good cymbals
Its important they are clean and not pitted to ensure they give a clear unblemished tone.
19.What type of microphone would you use
Any number of choices eg Neumann U87,TLM170,TLM103,AKG C414B,C3000B,C4000B,Sennheiser E664 & Audio Technica AT4033 & AT 4040
20.Comment on mic positioning for hihat
You could use a dedicated mic but some people maintain snare mic and overhead mics are adequate to capture hihats.A condenser mic could be used directly pointed at hihat tilted downwards to avoid air chuff when hihats strike each other.
21.Comment on positioning and phasing of drum mics
Positioning is up to individual taste and on how many mics you have but most would individually mic snare,toms,kick drum and hihat with a pair of overhead mics also used.You can then put individual drums to seperate channels for processing with the overheads giving an overall picture.Depending on position of mics the initial wavefronts will reach mic in different relative phases so its worth experimenting with polarity switches to find position which gives best sound.Another area to be careful of phase is when you use a top and bottom mics on snare drum.
22.How would you approach mixing drums?
Listen to overheads to give feel of sound then position individual drums as you see fit.Its a cliche but true that kick and snare in centre sound best if only to save speakers on playback .Toms left and cymbals right can be tried.Its really a question of taste and what sounds right to you.
23.What time of day is best for recording vocals?
Whatever time suits the vocalist.
24.How important is it for eng/prod to feel at ease with singer?
Its more the other way round as its the artist that counts and he must feel he can give his best in a drama and stress free area with understanding people in charge.
25.Comment on microphone selection for vocalists
Whatever mic the singer likes and sounds best on.Its a lot to do with technique but even what might be seen as a cheap mic will often sound best.Experiment as much as possible.
26.What is a pop shield?
Its a screen usually made of light nylon/synthetic material which is placed on or in front of mic to stop sibilant sounds,ie Bs and Ps from being recorded.
27.Describe the rehearsal process for recording a vocal
A couple of runthroughs of the song can be made before recording to warm up vocalist.Its best to record these as often they are good enough to use as the singer is more relaxed- knowing or believing hes not being recorded.
28.Comment on importance of foldback
It is important as the foldback mix will be as the singer wants it,eg lots of reverb and will enable them to give a better performance.
29.What can be done to ensure good foldback?
Talk to singer and make sure they know that the foldback mix can be modified to suit them.
30.Describe comping
Comping is where a number of takes can be recorded and put together in sections to form a composite track.
31.What is a spin in
Its where a good version of a line etc is recorded onto a seperate recorder,the two machines lined up and when desired edit is required pressing record on original.
32.How can a vocal be recorded for a difficult song that the singer doesnt know well?
You could take it piece by piece rehearsing as you go along ensuring singer had a lyric sheet to work off.You could go over awkward or difficult pieces againand again.
33.What are possible remedies for out of tune singing?
Geta new vocalist!Only kidding-there are a number of options including sampilng lines into a sampler and then pitch adjusting and time stretching the problem areas.You could also use a Harmonizer or other special effect unit which can pitch shift and correct voices.
34.How can a thin voice be fattened up?
You could apply some chorus effect or you could have them double the vocal by recording an identical vocal and playing two tracks together.
35.Describe the possible mic positions for a piano
You could use overhead mics to capture overall sound,you could put mic near strings inside piano or mics pointed at lid just outside.Its said this last technique is closest to what an audience hears but this might not be what you are after.In some cases you could record under the piano but watch out for foot/pedal noises.
36.Describe possible mic positions for an acoustic guitar
Try pointing mic at soundhole directly as close as possible.Then experiment with moving mic to different angles .You could also point mic at fingerboard to get a more percussive sound.
37.Describe possible mic positions for electric guitar
Again try pointing mic at amp 2/3 feet away and experiment with angles.If its an amp cabinet with a number of speakers choose the best speaker and concentrate on micing this.You coud try micing back of amp cab particularly if its open or partially open backed.Try a mic some distance away to capture room ambience.
38.What is DI?
This is where you connect an instrument direct to mixing desk without using an amp.
39.Describe passive and active DI and how a DI box is connected to console
Passive DIs have transformers but only route signal to desk while active DIs have power,either battery or mains,and they balance the signal and boost it to give better line levels.
40.How is a record player coonected to console?
You will need a pregain device as the record player cartridge signal is too low.In addition an LP is equalised by a process to overcome LP limitations and you will need the preamp to correct this.
41.How many mixing desks are needed to make a live recording of a conventional rock band?
Its possible to use one by using channel outputs to feed a multitack as well as PA although its often best to use a dedicated mixer for recording.
42.How are mix signals seperated to go to two consoles?
You could use a mic spitter device.
43.Where would recording engineer and and equipment be situated?
In most concert situations the sound engineer and desk are situate 2/3rds of the way back from stage in middle of auditorium.The recording equipment and engineer would be in same place.
44..Does a compressor act upon loud signals or quiet signals?What does it do to signals upon which it acts?
It reduces the level of loud signals and allows you to boost low signals.It effectively reduces the dynamic range .
45.Why is it impractical for a recording to have a wide dynamic range when played in a domestic environment?
Generally because most domestic units dont have a wide enogh range to accomodate these signals.
46.What is function of make up gain?
This s used in compression.As the compressor pushes down the signal you need to use make up gain to push signal back to original level.
47.How is compressor usually conected to mixer to compress a single signal?
By using insert point on mixer.These are often located on individual channels or on main input.You would use a TRS(Tip,Ring,Sleeve) lead to connect allowing both input and output on one lead.
48.How is compressor connected to compress entire mix?
By connecting to main insert point.
50.Explain ratio
This is level of compression above a selected threshold.A threshold level is set up to which signal is not affected and over this a ratio is set to effect signal.If for example its set at 4:1 it means that when signal rises by 4DB above threshold the output rises by 1DB.
51.Describe difference between hard and soft knee
This describes the speed of compression effect once threshold is exceeded.As in example above when compression is applied at 4DB above threshold the hard knee will will reduce signal quickly or at a fast rate and soft knee will slowly apply compression.
52.What are breathing and pumping?
hen acompressor is making large changes to a signal ,say 10/12DB or more,the noise floor or lower signals will rise and fall with signal level.When this noise rises and falls drastically between signals you can sometimes hear the noise level breathing .A solution is to turn up release time.However if release time is too long lower level signals after the peak will be lost as compressor slowly stops reducing gain.This is called pumping as lower level signals slowly fade back up to normal signal level.
53.What happens if release time is too long?
If release time is too long lower level signals will be lost.The answer is to fine tune the input signal to achieve a balance to avoid pumping.
54.What does it mean if the gain reduction meter is showing frequent changes?
It gives you an idea how hard the compressor is working-frequent changes mean compressor is dealing with a lot of signals exceeding set threshold.
55.Describe effect of compression on noise level
I will always raise noise levels so it is important to ensure your signal path is as clean as possible.
56.Describe function of stereo link switch
This ensures both channels receive same amount of compression.It stops loud levels on one side effecting level in other.
57.What is a side chain input?
This allows the signal to be routed out to another processor and to be controlled by this processor before returning signal to compressor.
58.Describe a typical use of side chain input
When ducking-speaking over main track say for radio use or for removing sibilant sounds by setting compressor to reduce gain for these signals-known as de-essing.
59. Onto what format would a live recording be made?
Digital or analog depending on taste and to what format it is aimed at.
60.Is a noise gate usually effective on a mixed stereo signal?
Its not effective as I believe too much signal is present in stereo
61.Is a noise gate effective on a signal where the instrument plays all the time?
No -the idea is for a noise gate to stop noise which is generally only audible when there is no music playing.
62.Is a noise gate effective on a single noisy signalwhere there are gaps in theplaying?
Yes-it will work on gaps or silent periods to reduce noise.
63.Why is it considered beneficial to gate some or all of the mics ona drumkit?
To stop you picking up unwanted sounds from other parts of the drumkit
64.How many gates are used in live sound?
As many as is felt necessary-wherever here is a noise problem.
65.How is the noise gate connected to the mixing console?
Use the channel insert point as you would with a compressor..
66.What is function of threshold control?
This sets the level at which the gate comes into effect
67.What is function of range control?
It adjusts degree of gating-how muh it opens and closes.
68.Comment on Attack,Hold and Release controls.
These enable you to adjust the gain ,hod the gate open and relaese it to avoid noise and make it as smooth and effective as possible.
69.What would happen if stereo signal was gated but stereo link functon not selected?
The gate would vary its effect on each channel and not act in unison.
70.Why are side chains beneficial?
They enable you to send out signal to be processed.Its use in noise gate is to select frequencies that will open gate only when sent to side chain.The best example is drums where the mics for snare and hi hat are very close.Frequencies are set to enable gate open only for snare or hihat,whichever you select.
71.Comment on the use of an external key
This is tied into the side chain above as signal sent back from side chain is known as key signal.It ensures that gate works all the time by choosing frequencies that enable gate to open in all situations.
72.What is an expander?
Its also a gate but it remains on all the time and effects the dynamic range.
73.Why are compressors and gates often used together?
Because the nature of compressors is to raise noise levels and the gate used to get rid of this noise.
74.Comment on envelops shaping using a noise gate
This refers to when a noise gate is used to create effects .You can send signals such as heavy guitar sounds,to a side chain to chop it up by frequency selection and send it back giving a stuttering or choppy feel to the sound.
75.Comment on gated reverb
Its effect is to gate heavily and give the reverb a sharp cut off.Its use was pioneered by Phil Collins/Hugh Padgham on drums and its very recognisable but also very dated.
76.Describe signal flow in a 3 head analog tape recorder used to produce a single delay?
77.In analog tape delay how is delay time controlled?
By shortening or lengthening the tape loop used to provide delay.
78.What is spin echo?
This refers to a repaet echo whic feedbacks on itself.
79.How was the technique of spin echo used by Jamaican producers of 60s 70s?
Its used heavily by producers such as Lee Perry.King Tubby etc who used it stringly to get a distorted effect.
80.At a tempo of 120 BPM what delay times are most likely to produce useful results.Give four examples
1/4 note delay is 500ms
1/8 note delay is 250ms
1/16 note delay is 125 ms
Eight note triplet is 167ms
81.What are delay towers?
These are used in large live gigs generally outdoors where the sound has to travel a good distance.In order to synchronise sound to visuals on stage delay towers or PA stacks are set up at various distances from stage and fed a signal.
82.How can delay time for delay towers be fine tuned?
By using delay to ensure stage sound catches up with towers.
83.What is a natural echo chamber?
Its a room or closed space where a natural echo can be created,controlled and recorded.
84.What is assisted resonance?
85.What is plate reverb?
Its a thin metal plate suspended in a box with pick ups mounted on each end to pick up vibrations.Theese vibrations give the reverb effect and are adjusted by means of a damper.Its a unique sond which was prevalent in a lot of guitar amps in 602/70s such as the Vox AC30.
Thats it-- Im blind and my backs sore from typing 2 hours solid but I hope answers are ok.Ive left out two which Im still researching.
Cheers |
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Sun Apr 06, 2003 8:53 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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