AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 - Music 2 |
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Week 3 - Music 2
Speech
o Voiceover
o Talking books
o Poetry
o Drama
Sound Effects
o Radio/drama
o Film and video
o Sound effects in music
o Cataloguing sound effects
Last edited by AUdIoCoUrSeS on Tue Feb 04, 2003 4:41 pm; edited 2 times in total |
Sun Jan 12, 2003 9:42 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Activity 1 - Music 2 |
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1.
(Aidan)
a) A singer is double tracking a vocal using headphone foldback, they experience
difficulty in identifying the two vocals. Explain a possible solution to the problem.
b) Explain why a noise gate would not be used when recording Scottish bagpipes.
c) Describe some possible ways how you might capture the room sound when recording a drum set. Indicate the type (not manufacturer) of microphones you would use and explain any processing that you might apply.
d) When recording a piano, what potential problems can exist with regard to noise? How would you eliminate any problems?
e) Name three currently "desirable" film composers with radically differing approaches to composing/recording.
2.
(Daniel)
a) In live recording where there is a separate PA mixing console and recording console, how do the two consoles receive signals from the microphones?
b) Comment on the use of walking surfaces in audio drama production.
c) What does the term "comping" mean. Explain how this can be a useful technique. Indicate how you would plan for "comping".
d) It is usual to use "foldback" when recording classical musicians? Explain your answer fully.
e) Explain the purpose and operation of delayed loudspeakers in Live PA. Consider the use in theatre.
3.
(Nancy)
a) A microphone is to be set up to record speech without the use of a pop shield. Briefly describe how the microphone should be set up to avoid popping.
b) What is the difference between a talking book and an audio book?
c) When recording 'pop' vocals, indicate your approach. What things would you need to consider, what techniques would you personally use and why?
d) The tempo of a song is 120 BPM. Calculate FOUR delay times, in milliseconds, that would produce useful delays in time with the music. Include a triplet delay (three beats against two) in your answer and show all calculations.
e) What does the term "foley" mean.
4.
(Mike)
a) In a popular music recording session of a conventional rock band, what is ‘foldback?
b) A sound effects library has a recording of a car idling and in the background a dog is barking.
 i) Briefly explain the problem with this recording.
ii) Briefly describe how sound effects should be recorded to eliminate this problem.
c) Explain the use of a click track, how might you derive this signal and when might you use it. When would you not use it?
d) You are recording a punk vocalist, she is singing continuously flat. What steps might you take to rectify this?
e) Explain why the M+S mic technique is popular for broadcasting audio.
Here we go again..
Chrish |
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Sun Mar 16, 2003 5:52 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Activity 2 - Practical Task |
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Classical edit
Often we have to create short "radio friendly" versions of tunes for advertisments etc. In this task you are required to edit the attached file into a "radio friendly" snippet of 31 seconds, no more no less. This is to then be compressed into an mp3, and Zipped, and uploaded in time for the next Live Workshop. Where we can discuss the outcomes.
Download the following file:
http://www.audiocourses.com/part3/week3.zip
Unzip the file and find contained within a 2.5 min classical music extract.
You can upload/download by going to this url:
http://www.audiocourses.com/explorer/
Enter your folder and then click on "more options", here you will be able to browse your hard drive and select the file to upload.
To download you click on the "send" icon, choose an appropriate name and extension and save.
Any problems post them here.
Chrish |
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Sun Mar 16, 2003 6:32 pm |
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MIKE_NOSTRADAMUS
Joined: 08 Jan 2003
Posts: 163
Location: Northfork Recording Studios |
| what is foldback? |
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4. (Mike)
a) In a popular music recording session of a conventional rock band, what is ‘foldback?
2.1.2 Foldback and Monitoring
Foldback is the mechanism by which the musician hears the recorded signal while they are playing. This facility lets the musician hear timing queues, say a click track, as well as other tracks in the composition. The foldback signal therefore acts as an aid to recording. Playing foldback through headphones ensures that it isn't picked up on any recording microphones.
The simplest foldback case is when you're just recording yourself. Using headphones and some routing from your sequencer to your mixer to feedback the sound of your instrument and the click track. We see this simple foldback situation below. The singer is being recording on the computer, the audio being routed through the mixer. The backing track is playing from the computer into the mixer and into the headphones. The singer can also hear their own performance though the headphones.
Using the speakers (monitors) during recording could lead to the foldback signal being record onto the new track. We want to avoid this situation as we'll see when it comes to mixing
ref:site
http://www.bownie.com/guide/studio/bdc-RG-studio-monitoring.shtml
Simply Put When I record in my studio Especially Vocals I put a set of headphones on the vocalist(s).Sometimes up to six headsets.I have nothing coming out of speakers because I don't want Feedback in my take.I play the music at the same time they sing they can hear both through the headphones.The music was previously recorded but the voice is now being recorded on another track.I also find that artists (not all) find that they feel better and also perform well while doing it this way.
Later
Mike |
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Mon Mar 17, 2003 12:08 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| more of foldback |
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Mike,
Would you also say that foldback allows you to provide a different mix for everyone listenting to the music? For example, if one singer wanted more guitar and the others didn't, you could accomodate the singer. (provided you had an extra aux send). Since foldback isnt' recorded, the singers could have whatever mix they wanted.
Nancy  |
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Mon Mar 17, 2003 4:32 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Nancy's answers |
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3. (Nancy)
a) A microphone is to be set up to record speech without the use of a pop shield. Briefly describe how the microphone should be set up to avoid popping.
When we speak words that include a ‘b’ or ‘p’ sound, there is a bug rush of air when you make these sounds. The mic picks this up as a “popping” sound. A pop screen, (or pop filter) ensures that the hard “b’ and “p’ sounds are absorbed before they get to the mic and are not recorded.
The standard way of micing a speaker is to put the mic directly in front of the mouth. (called “in your face.”) However, without a pop screen, this won’t work. You’ll get popping on the recording and you won’t be able to get rid of it. Also, with spoken word, there is no background music to help hide these sounds.
You can try to angle the mic to get rid of the popping. This is called placing the mic ‘off axis.’ Some mics can handle this and will still pick up the sound when they are placed off axis. However, from what I’ve read, many mics don’t pick up the sound well this way.
For me personally, I would search my closet for a wire hanger and a pair of pantyhose (you guys can get the help of your wife, sister or female friend on that last part) and make a pop screen. Pop screens are pretty cheap here in the US, about $25. I wouldn’t want to try to record without one.
Have you guys recorded without a pop screen? How did it turn out?
b) What is the difference between a talking book and an audio book?
Talking books are created for people who can’t see well enough to read, or have some other physical disability that makes it hard for them to read. This includes not be able to hold a book or turn the pages. Talking books cannot be purchased. They are loaned from libraries including playback equipment. From what I read online, some libraries have a small studio and do the recording using volunteers. You can search the text, or go to a specific page. Books include literature, fiction and textbooks.
Audio books are made for the general public, those who have the ability to read, but would rather listen to it than read it. They can be for entertainment purposes, or perhaps training (seminar on tape). It is a recording of someone reading the book. They are recorded in professional studios. Many times, a celebrity voice will be used to help sell it. Audio books can be purchased at most bookstores.
Here in Los Angeles, we call them ‘books on tape.’ They are popular with L.A. drivers since we spend so much of our time sitting in traffic on the freeways. Personally, I have a 15-mile commute that takes 45 minutes to an hour. I would still rather listen to Iron Maiden or Rush. I think listening to a book on tape would put me to sleep.
c) When recording 'pop' vocals, indicate your approach. What things would you need to consider, what techniques would you personally use and why?
First, consider the market. I listen to some current recordings to see what is popular and what is selling. I try to match that feel for the singer.
Then, I would take stock of the singer. Are they seasoned, or new? Don’t take it for granted that the singer knows common things like when to back off the mic when they sing really loud, or that they shouldn’t be chewing gum between takes. Also ask the producer how familiar the singer is with the song. Tell the singer it’s OK to use a lyric sheet if needed. Make the singer feel as comfortable as possible, you’ll get a better performance. If you are doing a lot of takes, keep the singer motivated. One of my favorite lines is “that was great, now let’s try it this way.” Be mindful of the producer’s interaction with the singer. Are they motivating the singer, or making them feel awful with their comments. Try to tell the producer to remain positive, even when you are on your 25th take.
Now for the set-up. For the room set-up the singer should be in a booth. I would place the mic directly in front of them. I would place a pop screen a few inches away from the mic. Get the singer as close to the pop screen as you can. I like to pick up some breath sounds that keep the sound human. A standard mic to start out with is a Neumann U67 (or if you’re in my budget range, the Marshall MXP V67 knockoff version.) If you’re not getting a good sound, try different mics. I had a singer once who didn’t want a “fancy mic” and would only record with the ‘ol Shure 57 workhorse. He sounded great. Lesson learned: listen and be open other’s ideas. For condenser mics, turn the phantom power on if the mic doesn’t have its own power supply. I felt really silly one day when I was switching inputs trying to get a mic to work before I realized the power supply box wasn’t turned on. 
Also, make sure you have a good pre-amp. The best mic in the world will sound awful with a lousy pre-amp. For processors, I usually use compression. There’s a lot of highs and lows when the singer gets emotionally into it, and compression helps me catch them all and keep the level hot without distortion. I try not to record with EQ, because you can’t undo it, I’ll add that later in the mix.
For the headphone mix, I give the singer a good amount of reverb. They sound better in their own ears, which gives them more confidence. If they want more, I give them more. It won’t matter because I’m not recording it. I always ask the singer if they are OK with the mix. Many singers wont’ bring this up, but when you ask them, they usually want a little more this or a little less that in their headphone mix.
I try to give the singer a few breaks so they don’t get tired. Also, I have the singer come in the control and listen with the producer. Hopefully, the rest of the band is there too to give listen. We can all discuss it together and see if anything needs to be worked on. I try to keep at least three takes so we can compare them later, and cut and paste if necessary.
When you think you’re done, make sure the singer and producer are happy with what you have recorded. You don’t want to have to find out during the mix that they want to re-record it.
d) The tempo of a song is 120 BPM. Calculate FOUR delay times, in milliseconds, that would produce useful delays in time with the music. Include a triplet delay (three beats against two) in your answer and show all calculations.
Hey, how come I’m the only one with a math question?  Here goes:
Let’s say we’re 4/4 time, so a quarter note equals one beat. There 60,000 milliseconds (ms) in minute.
Take 60,000 (1 minute) and divide by 120 (BPM) = each beat is 500ms. We said that in 4/4 time, a quarter note is one beat. So here’s what I think happens:
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 = 1 beat.
Eighth note triplet delay (1/3rd of a beat) is quarter note delay (500) /3 or 167ms.
Jump in if you think this doesn’t make sense.
e) what does the term foley mean?
Foley refers to creating sound effects. It is named after Jack Foley, the guy who created it. The foley stage is full of materials and props to help create the sounds needed in radio and film, different floor surfaces, shoes, broken glass, sand, rocks, etc. The foley artist uses these materials to create the sounds needed in radio and films. These aren’t just special effects sounds, but everyday sounds, including shoes on pavement walking down the street, a glass breaking, etc. The stage is equipped with a screen, so the foley artists can watch the movies while they are creating the sounds for it. Foley does not include large, mechanical noises like a car engine or explosion, those are done by the sound effects editor.
You can see a picture of a foley stage here http://www.monkeylandaudio.com/lg_foley-stage.html
If you ever in Los Angeles you can visit Universal Studios and see the sound effects show. Volunteers from the audience use props in the room to create sound effects while a movie is playing. Then you all get to see the movie played back with the sound effects in it. Very fun. |
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Mon Mar 17, 2003 11:14 pm |
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MIKE_NOSTRADAMUS
Joined: 08 Jan 2003
Posts: 163
Location: Northfork Recording Studios |
| more on foldback |
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Good Point Nancy !!!
Never thought of it that way.I just thought you we would'nt want to hear music in the backgroung of vocals.I guess You could use a headphone amp with multiple inputs.I have one I always wondered what all those extra inputs were for.!!
Mike |
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Tue Mar 18, 2003 11:14 am |
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MIKE_NOSTRADAMUS
Joined: 08 Jan 2003
Posts: 163
Location: Northfork Recording Studios |
| note on pop screen |
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I haven't had time to try some of the new mics with built in pop screens.
I have 4 studio mics and 3 dynamics with them.
I've had them apart to see what they have for a pop screen and I found them to have a foam like substance in front of the diaphrams.
I used the mics for recording like a complete 62 pc choir.but the mics were'nt in your face like recording.
I'll have to try them in my studio.I'm making a relaxation recording for a thearopy group(recovering heart surgery patients).This is recording over music using my voice while reading from a pre written script.
Mike |
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Wed Mar 19, 2003 1:43 am |
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MIKE_NOSTRADAMUS
Joined: 08 Jan 2003
Posts: 163
Location: Northfork Recording Studios |
| talking books |
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I remember when I had to write for my tecnologist exams in mechanics that I had recorded all my notes to tape I had lots of tapes.this was done with a regular cassette.Then I got smart and used voice activated tiny cassette.I then transfered them to regular tape.Anyhow thats how I passed my finals with flying colors.I came in tops in my class.Thats how it all started from listenning to my cassette in my vehicle on my way to work.
That little tid bit brought back memories
Mike |
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Wed Mar 19, 2003 1:55 am |
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