AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 2 - Activities |
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Hello all.
So lets get the first week “kicked-off” with your first set of questions. A couple of things to bear in mind. What we are looking for here are detailed answers; which indicate that you have researched AND thought about the process. Naturally I suggest you use as many resources available to you as possible these include:
Resources
· The internet search engines. Google.com is my personal favourite.
· The local library, yes this can be a great resource, though ensure things are up to date.
· Your peers, do not be too proud to ask each other about subjects, some of you have good knowledge in particular areas and can help.
· AudioCourses website and in particular our forums. You can search the forums and glean lots of useful information. Also we have lots of articles.
Be Patient
- Do not expect the “answers” to come quickly, you may have to visit many resources in order to start putting together your responses. The worst approach you could take would be to copy and paste, not only does this ensure you are not learning anything (not constructing the knowledge), it is also illegal and academically wrong.
Prepare Before Posting
– Start putting your responses together in a word processor and only when correctly spell checked and read for errors, finished, should you post it up on the forum thread. However, please do feel free to post up questions to everyone if you really cannot find the info you need, perhaps someone else has!
Share Your Knowledge
– often students can become competitive (which is a good thing) yet do not share. Remember group learning is essential in distance education so please share with each other your resources. In fact by informing one of your peers you are in fact reinforcing your own knowledge, which cements your own understanding of a subject.
Seek Help
– if you are worried about the subject you must contact myself or Ben, please do not feel alone. We are here to help.
Great Resources:
http://acapella.harmony-central.com/forums/
http://www.prosoundweb.com/
http://www.soundonsound.com/
Music 1 Classical.
1.What are the technical difficulties found in classical music editing?
2. Why might a digital reverberation unit be used in classical music recording (particularly recording for broadcast)? Give two reasons and discuss.
3. List and describe FOUR administrative functions that would be undertaken by a producer or assistant producer in a classical recording session.
4. Describe THREE requirements of a classical recording venue.
5. What noise is often heard from an orchestral harp, besides the sound of the strings?
6. Describe FOUR aspects of the role of the producer in a classical music recording.
7. Briefly explain why it is more likely that digital reverberation would be used for recording an orchestra for broadcast, compared to when it is recorded for release on CD.
8. When is it most likely that a compressor would be used in classical music recording?
Popular Music
9.
a) Name the three types of instrument you would be most likely to find in a brass section in pop music.
b) What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
c) A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
d) What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
10.
a) When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
b) Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
c) A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
d) Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
11.
a) Describe the Decca tree system of miking.
b) In popular music recording, what are ‘basic tracks’?
c) In a popular music recording session of a conventional rock band, what is ‘foldback?’
d) Why is it not suitable to connect the output of a record player pickup cartridge directly to a studio mixing console? Give two reasons.
12.
a) Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why?
b) 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.
c) Describe how a multitrack live recording can be made using outputs derived from the channels of the front of house console. Assume that the front of house console is of professional design, and the channels are fully featured.
d) Explain why the channel direct outputs would not be suitable.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Mon Sep 08, 2003 2:21 pm |
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julesf
Joined: 31 Aug 2003
Posts: 58
Location: Southampton, UK |
| Week 2 Assignments |
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Well guy's here it is, I must say I have learnt an awful lot from this assignment,
JulesF 
Music 1 Classical.
1.What are the technical difficulties found in classical music editing?
In general it is more difficult to edit classical music pieces than it is other music genres. The pieces tend to be extensive and often with no suitable rest places to make cuts or pastes all be it with analogue tape or digital pointer based platforms. The music most often without a solid drum beat inherently will easily show up drop in points, tempo's may also vary slightly between takes as no click track or midi clock base is used in the process. Small tuning variations may also cause problems. Reverb tales from natural concert hall acoustics can also restrict edit points.
2. Why might a digital reverberation unit be used in classical music recording (particularly recording for broadcast)? Give two reasons and discuss.
It is common for classical music venues to have acoustics that present the audience with a pleasing natural concert hall reverberation. Whist this may be hard to avoid rather than a design feature of the large concert hall it is non the less accepted as being part of the audio performance and no effort is made to suppress this acoustic side effect of the building. I have heard this reverberation referred to as "natural concert hall RT60 reverberation."
When recording for CD or broadcast the ideal venue may be unavailable or simply uneconomical to use for the session. It may be that a studio facility, which will not possess these natural live acoustics, is being used for the session. Also if the broadcast is of a live performance attended by the general public then mike placement maybe compromised so as to avoid the sounds from the audience, (Coughs etc). In this case a closer miking technique may be used to allow ambience rejection and suppress these unwanted sounds from the recording. However natural reverberation will also be suppressed under these circumstances. In these cases concert hall RT60 reverberation can be added to the overall mix to simulate the reverberation of the venue and make for a more natural sounding recording. It may be possible to use a reverb that actually sounds more pleasing than the original venue.
In short digital reverberation can be used where natural reverberation is either:
Too difficult to record faithfully due to compromised mike placement.
Too expensive to obtain the correct venue with natural reverb.
3. List and describe FOUR administrative functions that would be undertaken by a producer or assistant producer in a classical recording session.
1. To research and book a suitable recording venue. The producer or assistant will need to seek a suitable recording venue which can comfortably house the entire orchestra allowing for space to isolate certain instruments to avoid unwanted spill. The venue must have suitable acoustics (Live / or dead) and adequate sound isolation to avoid unwanted sounds being recorded. The producer will then need to finalise the recording date ascertaining from the orchestra management that the orchestra, crew and selected engineer will be available for the session. Finally, he /she (probably the assistant) carries out the required booking and conformation. To select and inform the engineer(s) of any particular mikes or other equipment that is preferred for the session so as they may be reserved for the recording dates(s).
2. To obtain assess and where necessary amend, or have amended scores for the works to be recorded. Liase with the conductor in a pre production meeting to plan the recording and assess the time required to record each part making notes as required. Possible involvement in pre recording rehearsals to check the quality of the performance and to assess the layout and make up of the orchestra.
3. To assist in providing a cost analyses for the project working with the accountants on the project, having ascertained time required to record all of the parts of the works, the producers input will be valuable in calculating the costing of the project.
4. To log the recorded parts and recorder timings (SMPTE Position) (probably assistant) during the session, making appropriate notes for use during mixdown and editing.
4. Describe THREE requirements of a classical recording venue.
1. The venue should be large enough to allow the seating of a full orchestra taking into account that some instruments may need to be isolated or partially screened off to avoid unwanted spill.
2. The venue must have adequate sound isolation to avoid unwanted sounds being captured during quiet passages in the music. These sounds could be from passing traffic (Harley Davidson's are favourite for this problem) or aircraft.
There should be a suitable area distanced from the live area to set up a temporary control and monitoring room.
3. The venue should have pleasing live concert hall acoustics or a dead sound whereas ambience can be added with digital reverb during mixing.
5. What noise is often heard from an orchestral harp, besides the sound of the strings?
It is sometimes possible to hear the "pick" from a harp string before the sound of the string oscillation.
It may be possible to suppress this sound by careful use of noise gate or a compressor rigged with a side chain input, though this would not be a normal practice for classical music.
6. Describe FOUR aspects of the role of the producer in a classical music recording
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1. To act as the head of project making the final decisions as it will ultimately be the producer's responsibility to
Complete the final mixes to a commercial standard ready for mastering.
2. He/she will work closely with the conductor engineer(s), and crew to place musicians in optimal positioning to avoid unwanted spill and to obtain the optimal acoustics for given instruments. He / she will perhaps discuss with the engineer(s) the best mic's and miking techniques to use for overall sound capture and close mic's for soloists. He / she will be responsible for the overall sound quality produced on the project.
3. To work with the conductor in order to achieve the best performance from the orchestra and solo instrumentalists. To discuss pre production issues such as which versions of works will be recorded and in which order explaining to the musicians what is required from them, using physiology to keep all comfortable, maintaining high morale during the session.
4. To carry out logging and vetting of individual takes to decide if the overall required quality in sound and performance have be achieved. The logs will be used to decide which takes will be used during mixing and editing. To ascertain that all required parts have been recorded and that the session does not run out before all of the required takes have been recorded as MU members will not play after the designated pre arranged finish times.
7. Briefly explain why it is more likely that digital reverberation would be used for recording an orchestra for broadcast, compared to when it is recorded for release on CD.
If the recording is for broadcast only and it is not attended by the public then it would be unlikely that a concert hall would be used due to the unnecessary expense. In this case a studio live room can be used and digital reverberation can be applied to the overall mix to simulate concert hall acoustics.
8. When is it most likely that a compressor would be used in classical music recording?
It is likely that a compressor would be used during the recording of a classical piece that had particularly
Hi transients within generally quiet passages. If the recording levels where set to allow these particularly loud transient to record without exceeding the maximum headroom of the recording equipment, then the quiet passages would be recorded a too cold which may compromise the sound quality of the recording. This is more likely to happen when using analogue recording equipment as the signal to noise ratio is not as good as with digital platforms. Analogue tape hiss can be a problem though this can be reduced by using a good DBX compander, noise reduction system. Digital platforms will sound better when the signal to the A-D converters is hotter and a higher bit rate results. If the recording levels were set correctly to allow adequate recording levels for the quiet passages then it is likely that the transients high's would exceed the recording platform headroom causing distortion. A compressor can be used on channel inserts to contour the dynamics whilst recording. The compressor will allow adequately warm signals to be recorded during the quieter passages but subtly reduce the gain during the transient highs. This process can be equated to an engineer riding console faders during the recording. When the levels are quieter the fader stays at the optimum setting for a warm / hot signal. When the transient highs appear the engineer slowly moves the fader down to prevent clipping. This is really using the compressor as an AGC. It is important to set the compressor correctly to allow the contouring of the dynamic to effectively artificially extend recording headroom but in a way that is not apparent and certainly can not be detected by the listener. As the process is being used in the recording stage great caution should be used. If it is overdone the recording may be unusable. Therefore less can often be more when using this process.
Popular Music
9.
a) Name the three types of instrument you would be most likely to find in a brass section in pop music.
It is typical for a brass section for soul / disco / pop to comprise of Saxophone, Trumpet and Trombone.
Though there can be variations on instruments and instrument ranges, i.e. Alto, baritone etc.
b) What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
I would have thought two. However three would be more faithful. Two horns play to the left mike, which is panned left. Two horns play to the right mike which is panned right and the other horn plays to the centre mike which is panned centre bearing in mind that this mike will also pick up spill from the other horns.
c
) A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
Use the mike set up above for the horns. Either use a violin with a pizeo pick up that wont pick up much horn spill, in this case the spill from the violin to the horn mikes is going to be minimal as the horn mikes wont have much gain because the horns are inherently loud instruments. Use fold back through DT100's for all players to give the musicians a balanced mix. If possible record the four signal sources to 4 individual tracks for more mixing flexibility. Alternatively isolate the violinist either with screens or using a separate booth. Again adequate foldback will be required.
d) What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
It is always better to hire working brass sections, as they will easily work out lush harmonies for the track(s). Due to consistency in the playing they are likely to provide more accurate intonation in there pitching which will produce higher quality results in the finished works. The process of producing the takes will be more accurate, faster (equates to cheaper) and the whole process less stressful for all involved.
10.
a) When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
Miking the centre of the speaker cone should present a brighter crisper tone to the mike. As the mike is moved to the outer circumference of the speaker the tone will become darker and warmer though some clarity will be lost. Part of the reason for this is due to proximity effect, which is often more, pronounced in dynamic microphones.
b) Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
The reason that the sound characteristics of a power amp DI sound different to a miked cabinet is mainly because the speaker and cabinet offer coloration to the overall sound. However the microphone also has its own characteristic which will alter the sound in some way. This aside the DI box will offer a lesser load to the power amplifier, which will alter the response and change the sound character. This can be overcome to a degree by loading the output of the amplifier with a dummy load or power brake. It is possible to use speaker simulation added to the line signal to attempt to re-create the sound of a fully driven miked valve amp.
c) A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
The coil used in a dynamic microphone can be saturated and amplify eddy currents induced into it from inductors in the combo circuitry. These are likely to emit from the mains transformer, but may also radiate from other AC components in the amp. The result is an undesirable unwanted 50Hz mains hum. The condenser mike operates in a different manner and inherently does not utilise any inductors (Except certain models, which have output transformers for de-coupling). These microphones are not able to induce AC mains and therefore do not suffer with this problem. Well earthed metal screening of the amplifier can help this problem. Check that the hum source is induced into the dynamic mike and is not the result of a ground loop between the console and the combo. Dynamic mikes are good for miking combos and should normally be able to do the job with out incurring induced mains hum.
d) Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
Due to the limitations of speaker systems it is not possible for the cabinet and speaker to reproduce the whole range of the bass guitar (not flat anyway). Also some of the frequencies may be sub sonic in which case they cannot be heard anyway. However this is not a problem as the listener will not be aware of the missing parts of the frequency spectrum. The ear / brain will iron out the lost parts.
11.
a) Describe the Decca tree system of miking.
The "Decca Tree" system of miking was designed in the late 50's and predominately researched by Haddy and Wilkinson of Decca though Roy Wallace designed the tree and original mixer. The first recordings using this system of miking were released in 1958. The three microphone technique was developed out of the desire to produce a stereo recording with good stereo imagery but with extra detail.
A triangle of microphones (Mainly Neumann products) are place 10 - 12 feet above and tilted 30 degrees towards the stage. Two just behind the conductor and one further forward. Often two auxiliary flanking mikes are used too. The outer mikes are panned left and right respectively and the centre mike is panned centre so as to provide it's output to both the left and right channels of the mix. The mikes must be far enough apart to prevent phasing problems and should at least adhere to the "3:1" rule. Spot mikes may be used on soloists and other instruments at the producer's discretion and are generally used on Timpani and Harp. This system is very efficient at capturing the performance and the ambience of the concert hall. For this reason the concert hall acoustics are chosen very carefully and it has even been know for producers to correct acoustics further by placing wooden baffles and sheets in the hall.
b) In popular music recording, what are ‘basic tracks’?
Basic Tracks are the initial tracks that are laid down to create the structure of the song. These are typically:
Bass, drums, and rhythm guitar. Keyboards may also be included. The recorded "Back line" tracks may be for just guide purposes or may end up being the penultimate takes for the recorded song. Often a guide vocal is recorded or just sent to foldback to give the musicians an idea of where they are in the and to allow for interactive expression with the vocalist.
c
) In a popular music recording session of a conventional rock band, what is ‘foldback?’
Foldback is the means for providing the recording musicians with the backing tracks they are to play to. In the case of recording the basic tracks, foldback enables the musicians to here themselves, each other, and possibly a guide vocal form a vocal booth or the control room. A click track may also be sent to the foldback mix. Talk back can also be added to the foldback mix to allow the engineer and or producer to talk to the performing members in the live area. Fold back is sent to quality headphones such as the industry standard Beyer DT100's. These have the properties of good clarity, comfort for long sessions and good insulation to prevent spill to close proximity mikes.
d) Why is it not suitable to connect the output of a record player pickup cartridge directly to a studio mixing console? Give two reasons.
It is not suitable to connect a turntable magnetic cartridge directly to a studio mixing console because the output from such a cartridge is very low, typically just a few milli-volts. This requires high gains to be used which could result in an undesirable noise floor which may be apparent during quiet passages and when no records are being played.
Also due to the limitations of recorded vinyl, the system uses a special form of Eq known as RIAA. In order to faithfully reproduce the frequency range of the vinyl the preamap must be RIAA equalised. The correct method of connecting the record deck to the studio console is to first connect to a suitable RIAA turntable mixer or pre amp and the connect the output of the pre amp to the console. For long runs between the RIAA preamp and studio console it may be beneficial to DI the RIAA preamp output and then run a balanced line connection to the console XLR input. This will help reject unwanted RF, hum and other sources such as noise from thyristor lighting circuits.
12.
a) Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why?
An electric guitar output does not match the channel strip input specifications in terms of amplitude and impedance of the mixing console. The mixing console is low impedance and the Guitar pick up is high impedance. There is also not enough amplitude in the signal to drive the high impedance line input.
A DI (Direct Injection) box is used to convert various impedance and voltage unbalanced signals to a balanced line low impedance signal suitable for direct input to a studio or live mixing console. Often the source signal will need to be decreased in amplitude (Attenuated) but sometimes the signal will need to be increased in amplitude to be hot enough to drive the input of the channel strip without having to use large amounts of gain on the mixer channel strip. Which will almost definitely on most consoles lead to unwanted noise.
DI Boxes normally fall into two categories: Passive and Active. Passive DI boxes simply use a centre tapped matching transformer to convert the input signal to balanced line and carry out the load matching. The advantage of the passive design is that with no active electronics in the chain they are very quiet. However there is always going to be a trade of between voltage and current depending whether the signal is boosted or cut which can make them unsuitable for some applications. The active DI box is more flexible and uses an electronic pre amp to carry the balanced configuration and amplitude / impedance matching. The amplifier is much better at boosting low amplitude signals whilst maintaining impedance matching and line current. Active DI boxes require a power supply to drive the amplifier circuit. This can be a battery inside the unit or if the mixing console is equipped with phantom power on the balanced line XLR inputs, then one of these can be used which will effectively send a supply to the DI box down the balanced line XLR signal cable. The balanced line input from the DI box to the console will benefit from much improved 50Hz hum and RF signal rejection. If purchasing an active DI box, it is worth considering obtaining a high quality one, as the cheaper ones tend to be noisy and can be a weak point for sound quality in the signal chain. This is not such a problem for live PA and FOH work as it is for studio recording work.
b) 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.
If the vocalist is having problems in identifying between the recorded vocal and their overdubbed vocal in the foldback a possible solution could be to pan the two vocals left and right in the foldback mix. It could also help if the vocalist removed one of the earpieces of the headphones so that they can hear the recorded vocal in the phones and the overdub vocal naturally. Some vocalists prefer this option. However the open headphone piece must be silenced or isolated to prevent possible unwanted spill. It maybe possible to apply an effect to the pre recorded vocal such as reverb or some Eq to separate it from the overdub foldback. The vocalist must be comfortable with the foldback mix if they are to present their best possible takes.
c) Describe how a multitrack live recording can be made using outputs derived from the channels of the front of house console. Assume that the front of house console is of professional design, and the channels are fully featured.
We should use the channel inserts of a fully featured console. The TRS inserts would need to be bridged using a stereo 1/4" jack plug so as to not disturb the signal path through the console. The plug can then be tapped at tip or ring and a ground taken from the sleeve. This source will not be effected by adjustments to the faders, as it is a pre-fade output.
d) Explain why the channel direct outputs would not be suitable.
It would not be suitable to use the channel strip direct outputs, as they are post-fade outputs. The recording signals would vary up and down as the FOH engineer adjusted aspects of the mix during the performance. This could not be rectified easily during mixdown.
See ya all Sunday  |
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Fri Sep 12, 2003 4:11 am |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Great Start |
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Julesf
An excellent start to the course, you have produced some very good work here and there are no errors to speak of.
Your contruction is clear, thoughtful, and displays insight, typical of what the examiners will look for.
Well done!
Just one thing to think of, and that's the harp, think about the pedal noise. Know what I mean?
Cheers 
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Fri Sep 12, 2003 1:45 pm |
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julesf
Joined: 31 Aug 2003
Posts: 58
Location: Southampton, UK |
Thanks Chris,
Pedals, right,
no problem, dont know anything about harp's couldn't find much
either so I was a bit naughty and hedged my bet's. However now I know.
Thanks M8. |
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Fri Sep 12, 2003 3:38 pm |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
| Music 1 assignment |
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Hi guys, I must confess the first assignment made me work VERY hard and pointed to much new information. I know I could have made it better, but I also must realise my limits (I think I've already gone beyound them )
Anyway, here it goes. If any of you still has spare time to comment on, don't hesitate to do so, please!
<P><B>Music 1 Classical.</B>
<B>1.What are the technical difficulties found in classical music editing? </B>
These are:
a) when takes are at different tempi, editing can become impossible
b) the same holds to takes being differently tuned, which can happen e.g. in recording classical guitar where the tuning of the instrument is mostly subjective. Also the wind instruments can get higher in intonation when played for some time (the warmer the instrument, the higher it sounds, if not adequately adjusted by the player). The opposite also holds: when wind instruments have been cooled down, e.g. after the break, they tend to intonate lower
c) since most of classical recording is done not in studios but in more natural environment like concert halls or even churches, reverberation should be taken into account. Cutting through the reverberation can easily result in abrupt increase or decrease in level of the reverberation.
d) the same holds to the decay portion of piano notes (or I’d rather think, all of the instruments having long decay like harpsichord, guitar, cymbals, gongs etc).
<B>2. Why might a digital reverberation unit be used in classical music recording (particularly recording for broadcast)? Give two reasons and discuss.</B>
First, digital reverberation unit just gives us more flexibility to shape the sound. To get the natural reverberation (the ambience) of the venue, you have to put at least some mikes in the reverberant field. If you fail to do so (not enough mikes, nowhere to put them because of not-so-good acoustics, not enough time to find the satisfactory/good position for ambience mikes), you can save your job and add the missing ambience component by means of digital reverberation. And digital reverberation unit gives you more choices about how much reverberation should different instruments have.
Second, concerning recording for radio broadcast, we could assume the receivers to be mostly located in rooms not specifically tailored for sound listening and having poor acoustics. Furthermore, most receivers probably won’t produce very high fidelity sound. Taking this into account, could an artificial reverberation also be used in radio broadcasting to compensate for poor quality listening rooms and equipment? (this really is a question)
<B>3. List and describe FOUR administrative functions that would be undertaken by a producer or assistant producer in a classical recording session.</B>
At first there should be some planning and preparative work. The producer has to decide on where, when and with whom to work with, so:
1. choose the suitable recording venue and hire an engineer, perhaps be involved also in selection of the musicians
2. agree with the conductor and engineer about what sections will be recorded in what order and when, and how should the musicians be placed in the recording room
During the actual session it is the producers task to
3. log the takes writing down the take number, section of the piece, corresponding start/end points on the tape and commenting on quality of the take (FS = false start, NG = no good, …); also assure all the music has been recorded and with necessary quality
After the session:
4. - listen through all the takes and decide on which ones of them will be chosen for editing to be included in the final product
<B>4. Describe THREE requirements of a classical recording venue.</B>
Rewording what I could read out from the link kindly pointed by Jules:
The venue has to be of enough size to fit the musicians. The shape of the venue is also important as this determines the frequency response and possibilities for placement of the musicians.
The interior of the recording room has to offer just enough reverberation. Too much stone/glass etc will result in too much reverberation. The other option is to use a dead room and apply digital reverberation.
A control room needs to be acoustically separated from the recording room. On the other hand, it shouldn’t be too far from the recording area, to avoid too long cable runs and feeling of isolation between musicians and recording personnel. Good isolation from outer noise is a must also for the recording room.
<B>
5. What noise is often heard from an orchestral harp, besides the sound of the strings?
</B>The harpist uses pedals to choose between different scales. Switching the pedals makes clattering noise which can be of comparable level with the sound of strings.<B>
</B>
<B>6. Describe FOUR aspects of the role of the producer in a classical music recording. </B>
First of all, the producer has to plan the session. He/she has to choose the recording room (studio, concert hall), hire an engineer (if not suggested by someone else), perhaps comment on choice of musicians to work with.
Together with the conductor he/she should agree about what edition of the score to use. Decide, together with the conductor and engineer, in which order should different parts of the music be recorded and how should the musicians be placed in the recording room.
During the session it’s a task of the (assistant) producer to log all the takes, indicating the task’s number, which section of the piece was recorded, and commenting on the quality of the take. It should also be assured that all the music has been recorded. After the recording he/she has to listen through all the takes and decide on which ones of them will be chosen to be included in the final product.
It is also the producer’s task to try to get the maximum out of the musicians. To achieve this he/she should consolidate with the conductor and praise the musicians where appropriate, not forgetting to mention what was not so good. All this has to be done without upsetting the musicians.
<B>7. Briefly explain why it is more likely that digital reverberation would be used for recording an orchestra for broadcast, compared to when it is recorded for release on CD.
</B>Well, could it be the case that recordings for broadcast are made predominately live? If so, there probably is less playroom for ambience microphones either because you don’t find a place to put them (the audience sits in the hall, after all) or you just don’t have enough time to put them up. Using digital reverberation gives you the missing ambience component (ok, not exactly that same component present in the room, rather it enables you to add to the direct sound whatever kind of ambience YOU decide to add).<B>
</B>
<B>8. When is it most likely that a compressor would be used in classical music recording?</B>
Didn’t find any specific mention of compressing in classical music recording. Use of a compressor is justified when you aim to have the peaks under control. If to speak about particular instruments, I would consider compression at least when dealing with (operatic) singers.<B>
</B>
<B>Popular Music</B>
<B>9.</B>
<B>a) Name the three types of instrument you would be most likely to find in a brass section in pop music.
</B>These are saxophones, trumpets and trombones.
<B>b) What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
</B>Two, as required by stereo.
<B>c) A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.</B>
The violin would need acoustical separation. The simplest way that comes into mind is to place the violinist behind the brass players and use additional spot mike for the violin. Would the violinist sit in front of the brass, they'd better sit face to face and be separated by a sound screen. Finally, there is an option for baffles.
(Uh, I now read Jules's post on this topic. Sure, we have an option of a piezo mike for violin.)
<B>d) What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
</B>Players who regularly work together get used to each others playing manners and are more readily able to act as a unit, not as separate musicians. This can save a lot of work and ultimately results in a better recording.
<B>10.
a) When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone? </B>
Sound from the center is brighter, having more high frequency components compared to sound from the edge.
<B>b) Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet? </B>
Because the latter has to overcome some transformations. A DI signal goes straight into the console. When using a microphone, the signal is transformed twice, first from an electrical form to acoustical by the loudspeaker, and then back to electrical by the microphone.
<B>c) A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason. </B>
The coil of a dynamic microphone acts as an antenna, thus it is sensitive to electromagnetic radiation emanating from the amplifier.<B>
d) Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?</B>
Apparently not. For a device to radiate sound efficiently, it's dimensions have to be comparable to the wavelength of the sound. At 100 Hz we have a wavelength ca 3,4 meters, at 50 Hz more than 7 meters. The size of a cabinet is not very comparable to that.
At the same time, the human ear can reconstruct the missing fundamental, given there is sufficient information in a form of overtones. They call it Fundamental Tracking (thanks to you Chris, for a comment I found in an AC archive).
<B>11.
a) Describe the Decca tree system of miking.
</B>The Decca tree system consists of two side microphones, placed some two meters or so apart from each other, and a center mike in front of these by about 1.5 meters. The array is placed 0.5-1 meters behind and 2.5-3 meters above the conductor's head. The microphones, originally omnis but nowadays also of other polar patterns, are panned in the same way as they are placed, left mike to the left, right to the right, center to the center. As omnidirectional microphones become more directional with increasing frequency, it is preferable to aim the axes of the mikes slightly downward and inward.
The center microphone allows for more clear central image than just using the spaced placement. An interesting modification of the Decca tree system is to use a stereopair for the center pickup. This way we get the stereo image from the center and spaciousness from the side mikes.
The key to a good Decca tree system is a correct placement, which should be found by experimenting (nothing new there ...).
<B>b) In popular music recording, what are ‘basic tracks’?</B>
The basic tracks are those that are recorded first to form the skeletion or structure of the song. Mostly drums, bass and rhythm guitar. Other instruments or guide vocals can be included as necessary, also a metronome click track. The basic tracks, often called 'rhythm tracks', can be overdubbed later or included in the final mix as they are.
<B>c) In a popular music recording session of a conventional rock band, what is ‘foldback?’ </B>
Foldback is a mechanism to let the musicians in the recording room hear what is needed. This is typically done by means of headphones, so it does not interfere with the recorded sound. Foldback is typically sent through auxillary send and includes whatever tracks the recording artist needs.
<B>d) Why is it not suitable to connect the output of a record player pickup cartridge directly to a studio mixing console? Give two reasons.
</B>First, output level from these cartridges is measured in millivolts, while line inputs need about 100 millivolts. If adequate gain is used in the console, this can result in an unacceptably noisy backround.
Second, the signal recorded on the LP is equalized in a special way called 'RIAA equalizing'. This process needs to be reversed in order to get a proper spectral balance input to the console.
<B>12.
a) Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why?
</B>There are at least three reasons for that. An electrical guitar's output impedance is higher than the console's input impedance. For them to be connected, an impedance matching device is needed. That's DI box.
A DI box also converts the signal into balanced form, so connection cables don't pick up much hum. There is also an option to break the ground connection between an instrument and a console (a ground lift switch), which can help eliminate ground-loop hum.
In addition, if a signal is taken from the line output of a guitar amplifier, it will require further processing because it contains high-frequency harmonics normally removed by the guitar speaker's limited frequency response. For this occasion a specialised guitar DI box can be used. It has a filter network simulating the frequency response of a typical guitar speaker.
An active DI box means it has an amplifier inside. The amplifier needs power that can be provided by means of a battery or by supplying a phantom power through a balanced connecion line. So an active DI box without a battery must be connected to a balanced microphone input capable of providing phantom power.
<B>b) 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>The two vocals could be panned differently, e.g. one to the left, the other to the right. Or some complimentary equalization could be used by cutting some frequency region in one and boosting it in the other part.
Adding some delay to one of the parts may also be of help.
<B>c) Describe how a multitrack live recording can be made using outputs derived from the channels of the front of house console. Assume that the front of house console is of professional design, and the channels are fully featured.
</B>Couldn't find a general description of a professional design mixing console. What comes into mind from my little personal experience is to connect aux outputs to the multitrack and combine the channels by means of aux sends respectively. That of course means there are enough auxes available; often there are not. When auxes are used for monitor mix, for example. The sends should be made pre-fader in order to be independent from FOH adjustments.
<B>d) Explain why the channel direct outputs would not be suitable.</B>
OK I read this from Jules that these are post-fader and as such depend on adjustments made for the listeners. I really thought myself that direct outs were pre-fader and depend only on gain adjustment!  </P>
See you on Sunday,
Tarmo |
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Fri Sep 12, 2003 8:56 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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Tarmo
Great job, that needs rewards, well done.
You have explored well and created clear answers that read well.
To clear up a couple points may I mention the following:
quote:
Taking this into account, could an artificial reverberation also be used in radio broadcasting to compensate for poor quality listening rooms and equipment?
Generally, engineers do assume the worst possible listening environments and compensate for this, somewhat, at the production stage. However, I would not suggest they compensate for ALL manner of environments, but just try to replicate a sound (in a dry condition) that imitates a natural reverberation. I would suggest that they do however always ensure good mono compatibility. (Though this was not part of the question).
quote:
Would the violinist sit in front of the brass, they'd better sit face to face and be separated by a sound screen.
Yes this might be an option, and also I would mention that the polar characteristics of microphones could be exploited to the fullest extend to reject sounds off axis.
10. a) Expand a little in answers like this.
For example why is this the case? While we are learning here, if the work does not suggest an answer, maybe we will encourage some suggestion from our peers.
quote:
First, output level from these cartridges is measured in millivolts, while line inputs need about 100 millivolts.
I’m a little confused on this one. If you use measurements try to use figures for both examples.
12 a) = very good!
quote:
I really thought myself that direct outs were pre-fader and depend only on gain adjustment!
Generally, studio desks (in-line) have Direct Outputs that are post-fade, so the fader controls the level being sent to the multi-track recorder. While live desks generally have Direct Outputs that are pre-fade, for obvious reasons. The confusion can exist that not always a specific desk type is used in the area it’s designed for.
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Fri Sep 12, 2003 11:10 pm |
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mrg4u
Joined: 08 Sep 2003
Posts: 7
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1.What are the technical difficulties found in classical music editing?
As with most types of recording the producer will listen to each take and then decide which parts are to be used in the finished recording. The producer advises the editor as to which parts they would like changed and the editor then plays their role . In Classical music the editing procedures can become fairly extensive, even with technology being where it is today, when editing classical music some problems can arise.
a) Editing between takes is not possible when they are a different tempo.
b) Its not always possible to edit between takes where the tuning is different , eg. When recording a classical guitar the tuning of the instrument is not neccesarily true therefore not being a precise procedure.
c) When editing a sound that contains reverberation, the levels can suddenly increase or decrease this is known as a bump.
d) It is not possible to cut through the decay portion of piano notes, this will result in the recorded note sound like it has been played again.
2.)Why might a digital reverberation unit be used in classical music recording (particularly recording for broadcast)? Give two reasons and discuss.
The digital reverberation unit device is based on several digital delay lines. The whole idea of this is so the enginner can simulate very realistic effects that simulate real acoustic enviroments.
In the early days of multitrack recording the enginners usually used a single reverbaration device or program to allow the recording to replicate the sound of being made in an acoustic environment as opposed to the studio. when recording in a studio the instruments were closed miced to capture the direct sound therefore avoiding the studio sound. The reverberation device is then added to capture the "room" to the sound .
Nowadays the reverberation unit is available in many forms engineers tend to use a reverberation program to enhance a particular instruments natural sound and very often will be used more than once in the mix. One of the most popular types of effects used is the hall program this is excellent at replicating the natural acoustics of a large hall or auditorium which is very useful for classical music based recording. A digital reverb unit might improve the sound of an acoustically poor venue, although really such a venue should not have been chosen. A digital reverberation unit may be used in broadcasting in order to make setup easier and achieve an acceptable result more easily. When the broadcast is a live performance mike placement maybe changed so unwanted sounds are not picked up. This is when the closer miking technique is used to avoid the shuffling of feet or sneezing sounds not desired. However the reverberation and overall soundscape may be lost and so reverberation units used to achieve the desired ambience of sound .
3. List and describe FOUR administrative functions that would be undertaken by a producer or assistant producer in a classical recording session.
To choose a suitable recording venue, which will comfortably fit the entire orchestra with extra space so the sound can move freely. The acoustics of the venue must be sound and the insulation a standard where unwanted noise is also kept out.
To amend the works of the proposed recorded work maybe liase with the conductor and attend rehearsals to make sure the layout is also an accepted standard.
To assist in the accounts of the recorded outfit and liasing with the producer will be essential for all matters to be taken into consideration.
To log the recorded parts and timings during the session which will be used later for mixdown and editing.
My knowledge of classical is fairly non-existant so the info above has been borrowed from various resources.
4. Describe THREE requirements of a classical recording venue.
1.)The size of the venue is essential. Taking into account it must house the entire orchestra and be aware of unwanted spill from other instruments when the focus is on a particular group of instruments.
2.)The venues acoustics must be suitable for live recording although this problem is often solved when reverb is added to the mixdown.
3.)A classical music recording location is set up very much like a normal recording studio, albeit temporarily. The main auditorium is of course the recording area, but there also needs to be a control room that is acoustically separate from the recording area.
5. What noise is often heard from an orchestral harp, besides the sound of the strings?
The harp has pedals which allow the harpist to change the key of the instrument if neccessary.
It has a system of seven foot-operated pedals which allows the harp to change keys or pitches rapidly. Todays orchestral (concert) pedal harps have 46 or 47 strings and encompass 6-1/2 octaves.
Pedals: A pedal can raise the pitch of each string by one semitone, which is controlled by the player's foot. Pedals are attached to the base of the harp, and are connected to steel rods which run through the backbone of the harp, and a series of gears. The gears then transfer the motion of the pedal to disks which are forked shape enabling each string to bend slightly thus shortening its length of sound. Most pedal harps can raise the pitch of a string twice. (semitone). Since the pedal harp has a double action it is tuned in all flats, this allows the player to move a single pedal to achieve , G flat, G natural, and G sharp from the same string. There are seven pedals on a pedal harp covering each note on the diatonic c major scale. Moving the G pedal to its "flat" position changes all the G notes on the harp to G flat at the same time, moving the pedal to the G sharp position changes all G notes on the harp to G sharps, and so on.
pedal slide:changing the pedal after playing a note and while the string is still vibrating. Rapid chromatic changes can thus be made, such as when a string is played and the pedal is all the way up (in the flat position) and when pushed down the pedal is in the sharp position without touching the string again.
pedal spring: There are 7 powerful springs inside the base of pedal harps, with the function of allowing the player to set the harp pedals into the sharp, natural, and flat positions for each of the 7 pedal letters. The springs enable the pedal to move to the position of the sharp mode (at the bottom of the slot), to the natural mode (middle) and finally flat mode (at the top) with a light foot pressure or release by the harp player.
6. Describe FOUR aspects of the role of the producer in a classical music recording
The location for recording is essential ( e.g. are the acoustics correct for classical or the desired sound.
Although Record companys usually have the final say the producer may be involved with what engineer is taken on to achieve the desired result.
Liaise with the conductor and engineer to plan the recording in terms of which parts of the music will be recorded first (it can be edited into the correct order later), and the placement of the musicians within the recording space. Liaise with the conductor on which version of the score (the written music) will be used. Often, scores come in slightly different versions from different publishers (with different errors).
Listen for performance errors - wrong notes etc.
Make sure all the music has been recorded. When the music has been recorded out of sequence its very easy to miss something.
7. Briefly explain why it is more likely that digital reverberation would be used for recording an orchestra for broadcast, compared to when it is recorded for release on CD.
If the recording is intended for broadcast only and not for commercial release its highly unlikely a concert hall would be used due to the expense of such a project. It is more likely a studio live room will be used which will allow reverberation to added to the overall mix to achieve the best obtainable replication of a real concert hall.
8. When is it most likely that a compressor would be used in classical music recording?
The compressor in classical music is used to control the dynamic range, so may be used for operatic singers, particularly soprano. Although classical music singers are highly trained a compressor is often used to even out the differences between the high notes which tend to naturally be louder as opposed to the lower notes which are quieter.
Popular Music
9.
a) Name the three types of instrument you would be most likely to find in a brass section in pop music.
It is typical for the brass section of a pop group to comprise of the Trumpet Trombone and Saxaphone.
b) What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
To achieve the recording to a fairly high standard this would have to be three microphones. Two of the trumpets could be amplified by a separate mic from each side of the panning circle. ie one from the left and one from the right. Then a seperate mic would be used for the remaining trumpet in the middle of the pan. However this trumpets mic would be surrounded from each separate panning side and the trumpets spill would have to be controlled either via mic gains or mixing gains.
c) A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
A way this could be achieved is if the violin was to have acoustic seperation from the trumpets, as their volume is much greater than the violins, therefore avoiding trumpet spill. A pizeo pick on the violins would cut unwanted spill out from the trumpets, and the gain on the horns mikes will have to be minimal also.
d) What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
The brass section in question have had experience working together they will be able to work out each others arrangements much quicker, than two musicians who have never worked with each other. They will each have a much better understanding of how the other works, and bounce off each other for ideas and inspiration.
10.
a) When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
The cone tends to bend near the edge and therefore produces more distortion. A brighter tone will be achieved in the centre of the drive units cone.
b) Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
A DI signal plugs straight into the console. where as the other example two transformations would have to take place. The first one being electrical to acoustical via the loudspeaker then back to electrical via the microphone.
A Dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
A dynamic microphone basically consists of a coil of wire, attached to a diaphragm that moves in response to sound waves. The coil sits in a magnetic field created by a permanent magnet. The moving coil generates an electrical signal due to its motion in the magnetic field; the electrical signal will fluctuate, representing the sound waves with electrical signals. When sound waves hit the diaphragm, the diaghragm moves back and forth with the same frequency of the sound wave. This in turn forces the coil to move at the same frequency in the magnetic field, which generates an electrical signal also at the same frequency of the sound source. The dynamic microphone is sensitive to electro magnetic radiation means it will be very sensitive to amplifiers thus causing a hum.
Condenser microphones do not use a moving diaphragm and coil. Instead they use two thin membranes which have been coated with a conductive material, often gold, that are physically placed very close to each other. This construction is similar to a common electronic capacitor, also known as a condenser, and is where the name comes from.
) Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
It is not possible for the speaker and cabinet to produce the whole range of the bass guitar. However the human ear will be unable to miss these frequencies as our range is not a part of this lost frequency spectrum.
11.a) Describe the Decca tree system of miking.
This technique was developed by Decca Records in the mid-1950s, and is still used on many Hollywood film score recordings. Three microphones (typically cardioid, but sometimes omni) are placed on stands ten to twelve feet above and slightly behind the conductor's head. The three mics are tilted approximately 30 ° downward towards the orchestra, and angled from each other to cover the entire symphony (one aimed at the center, and the other two aimed 45° out from the center). In addition, two other microphones are typically placed on the edges of the orchestra, usually further back in the room to capture the ambience of the hall. This technique yields a realistic stereo image, provides a good balance between miking the entire orchestra and spot-miking individual sections, and produces a discrete center channel which is useful for mixing in surround.
b) In popular music recording, what are ‘basic tracks’?
The basic tracks of any recording are the ideas of the arrangement in its rawest form and basic structure. This will commonly include the bass guitar keyboard drums. Vocals may be added also once the basic structure or arrangement has been constructed.
c) In a popular music recording session of a conventional rock band, what is ‘foldback?’
When recording an acoustic setup only foldback is not required however when electrical instruments are bought into the equation the solution is to give all the band members headphone foldback so they can hear each other clearly. Often, two channels of foldback are provided so that there can be two alternative mixes. The foldback mix is supplied from pre-fade auxiliary sends on the mixing console - pre-fade so that the position of the fader has no effect on the foldback mix. Getting the foldback mix right is a vital part of the recording process. It is recommended that the engineer has a pair of headphones of the same type as the band are using so that he or she can check out the foldback mix exactly as the band hear it. Checking the foldback mix on the monitor speakers, which is easily possible, is not so satisfactory.
d) Why is it not suitable to connect the output of a record player pickup cartridge directly to a studio mixing console? Give two reasons.
The line input needs about 100 millivolts but the output from cartridges are much lower. In order for the needed volume to be achieved high gains would have to be used which would mean unwanted noise and hum, which when certain records are being played will be apparent.
Vinyl has its limitations and uses a special form of eq called RIAA, to reproduce the frequency range of the vinyl. The preamp must be able to eq to RIAA.
The correct method of connecting the record deck to the studio console is to, connect to a RIAA pre amp or studio console, then the output of the preamp into the mixer console.
12.a)Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why?
The DI box performs two important roles it provides electrical ground isolation between input and output, and they match the impedance of the source signal to that of the load. For example, a DI box with a high input impedance and a low output impedance may be used to match an electric guitar or bass to the input stage of a mixing console. There are two main types of DI box: passive transformer and active electronic (though there are some active electronic models that also include transformers). Passive transformer DI boxes require no power, while active models need either phantom power or batteries to operate.
The simple transformer DI box has the advantages of simplicity, excellent electrical isolation between input and output, and lack of dependence on a power supply.Good-quality transformers are expensive (which is why most low-cost DI boxes are active), but transformers used on their own are limited in what they can do, by virtue of the fact that they are passive devices. If you discount any losses due to inefficiencies in the transformer, the total power going into a transformer equals the power coming out, and as power is equal to the current in Amps multiplied by voltage, it's apparent that if you step up the voltage you end up with a lower current capability. If you step up the current, on the other hand, the signal will be at a lower voltage. Where a transformer DI box is being used to match a guitar to a mixing desk, the output side of the transformer is required to deliver a higher current than the original signal source, which means a significant drop in signal voltage. To overcome this, the DI box needs to be be plugged into a console mic input, where sufficient gain is available to restore the signal level.
A transformer DI box usually comprises a single transformer with a centre-tapped secondary winding.. The centre tap provides the ground for the output signal, the ends of the winding providing the '+ve' and '-ve' balanced outputs. The unbalanced input is completely isolated from the output, but you can connect the input ground to the output ground if necessary, by setting the ground lift switch to 'Off'.Note that the input connection has a thru socket so that the DI box can be used to take a feed from an existing signal path without breaking the signal flow. This is useful in live sound applications, where the DI box can be inserted between the instrument and its amplifier, to permit an isolated feed to be sent to the mixing console. Note that a transformer DI box doesn't necessarily provide a foolproof safeguard against electric shock in fault conditions, as it's possible that the connected cabling is grounded at some other point in the system.
b)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.
As a rule, singers need to be able to hear both the rhythm of the track and an instrumental mix that will help them pitch their notes most accurately. This might mean bringing up the level of the pad keyboard part or the rhythm guitar, while pulling stabs and sound effects back a bit; in the case of backing vocals, the singer also needs to be able to hear the existing vocal parts clearly. None of this need be radical, however, and a slight readjustment of the control room mix is usually all that's needed.The type of headphones used by the singer can also make a difference to your end result. Although semi-open headphones usually provide the most accurate sound, they don't give as good a degree of isolation as fully-enclosed models. Whether a little spill from the cans is going to cause problems is really down to you to decide; if the vocals are going to be used solo at any stage, then spill from the backing tracks needs to be kept to an absolute minimum, but in most instances, a little spill is not a major problem. Some singers find it easier to work with one headphone on and the other off, and if this increases the spill level unacceptably, you can always pan the headphone mix to one side, or even wire up a set of phones with one side disconnected.
Aside from the headphones, spill into the vocal mic can often be traced to sound leakage from the control room. The only way around this is to turn the control room monitors down as much as is practical while recording, and in extreme cases, the engineer may need to resort to headphones during recording.
Of course it is possible to use loud speakers for monitoring. This obviously raises the question of spill, but in situations where a modest degree of spill isn't a problem, you can get away with keeping the mic fairly close to the vocalist and setting up a speaker (or pair of speakers) behind the mic, in much the same way as you would live. You'll need to use either a cardioid or hypercardioid mic to make this work properly, and the monitor needs to be positioned in the 'dead' area of the mic, where it picks up little or no sound. A more effective solution is to use the 'out-of-phase' monitoring trick, which involves sending an identical mono foldback mix to two speakers, one of which is wired out of phase with the other.If a microphone is placed anywhere on an imaginary line from the two speakers, the sound fields will largely cancel each other out, resulting in very little spill. The mic position is critical, and the best way to do the final adjustments is to listen to the mic channel using headphones while you play the backing track. As you move the mic, you'll hear the spill level change, and it doesn't take long to find the spot where there's minimum sound. It's well known that reverb in the cans is very helpful in extracting a confident performance, and can also help with accurate pitching. What is less well known is that too much reverb can put the singer off just as much as too little, so once you've set up a level you think is OK, ask the singer if he/she would like more or less of it. |
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Sun Sep 14, 2003 9:26 am |
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Fenderocks
Joined: 09 Aug 2003
Posts: 26
Location: Music City, USA |
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Music 1 Classical.
*1.What are the technical difficulties found in classical music editing?
1. Not being able to edit between takes at different tempo’s
2. Not always possible to edit between takes where tuning is different (classical guitar where tuning is subjective rather than precise), can go the same with brass and wind equipment warmed up sounds a little different than cold can also result in the same
3. Cutting through reverb can result in a bump where reverb eration suddenly increases or decreases in level
4. It is not possible to cut through the decay portion of piano notes as it will sound as if the note is played again.
2. Why might a digital reverberation unit be used in classical music recording (particularly recording for broadcast)? Give two reasons and discuss.
1. acoustics
2. microphone placement
acoustics of the room can never be too good, while you might have some problems placing microphones due to lack of space, by added the digital reverb you can be saving time and space.
3. List and describe FOUR administrative functions that would be undertaken by a producer or assistant producer in a classical recording session.
1. Choose the studio. The producer would want to use a studio where he/she knows the sound of the room and will compensate for any room issues in the recording.
2. Hire the engineer. The producer would also choose an engineer that they have worked well with previously. The engineer will know the room and the board and can give you the sound you want.
3. Plan the session. Poor planning costs a lot of money. The producer should plan what is being recorded and when. 4. Log the takes. Logging means writing down the take and your comments for each one, whether it’s good, bad or ugly.
4. Describe THREE requirements of a classical recording venue.
1. large venue enough for all instruments and maybe some extra
2. adequate sound to avoid unwanted sound during quieter parts in the orchestra
3. venue should have pleasing acoustics or a dead sound where digital reverb could be added.
5. What noise is often heard from an orchestral harp, besides the sound of the strings? Most likely the pick or the persons fingers hitting the strings. Just like if you recorded a guitar in the same room as the mike. When you play back the track you will hear a faint sound of the pick hitting the strings.
6. Describe FOUR aspects of the role of the producer in a classical music recording.
1. to complete final mixings of the project ready for mastering and to act as the head of the operation.
2. work close to the conductor engineer, placing the people in the best possible spot to achieve the best overall sound quality possible
3. to keep every comfortable, while discussing pre production issues
4. to make sure all parts recorded before the session ended with a detailed log.
7. Briefly explain why it is more likely that digital reverberation would be used for recording an orchestra for broadcast, compared to when it is recorded for release on CD. When you record for broadcast you have to worry about a lot more. You don’t always know the natural acoustic are going to be that great as if you were recording in a studio. The digital reverb is added so you don’t have to worry about microphone placement
8. When is it most likely that a compressor would be used in classical music recording? The use of compression justifies how loud all the notes are compared to the others . when recording classical music a lot of instruments and notes are being hit. So by having compression in classical music it is allowing all sound levels and volume to be the same.
Popular Music
9.
a) Name the three types of instrument you would be most likely to find in a brass section in pop music. Trumpet ,saxophone and trombone.
b) What is the minimum number of microphones that can be used to record a five-piece brass section in stereo? Two is the minimum of course more would sound better.
c) A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved. I would imagine that the violin player may need some extra isolation as the sound levels would differ. But I would use three mikes for the brass section 2 horns on left 2 horns on right and 1 center.
d) What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians. Save time and money. People that work together are more comparable then people that are playing the first time together, more or less they no each others strengths and weaknesses.
10.
a) When mikeing an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone? In the center of the cone there is more brightness and the more you go to the edge of the cone you go deeper.
b) Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet? Well the di signal when recording through it goes from instrument into the board, but when using a microphone the signal transformed twice, first from and electric form to the acoustics by the loudspeaker and then to the consol.
c) A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason. The coil of the dynamic acts as an antenna, so it is sensitive to electromagnetic radiation emanating from the amplifier.
d) Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument? No, fundamental tracking. Where the human ear can reconstruct the missing fundamentals by an overtones
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a) Describe the Decca tree system of mikeing. The use of the three microphone technique. The mixer is adjusted so that the center mike goes equally to both channels of a two track recorder, with the right tree mike and right outrigger going to the right channel, and both left mikes to the left.
b) In popular music recording, what are ‘basic tracks’? Basic tracks are the first tracks recorded and include the basic framework of the song such as drums, bass, guitar, scratch vocals and maybe a click track.
c) In a popular music recording session of a conventional rock band, what is ‘foldback?’ Foldback is the mechanism by which the musician hears the recorded signal while they are playing. As far as a click track but the foldback is never picked up on recording microphones.
d) Why is it not suitable to connect the output of a record player pickup cartridge directly to a studio mixing console? Give two reasons.
The signal from such a cartridge is too low to record, so must be boosted to about 100mV needed to drive line level inputs.
The signal is RIAA equalized, which must be reversed so as to provide a flat frequency response for the line input
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a) Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why? so you can have access to trim or gain to increase the sound pressure if needed
b) 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. What someone could do would be to add delay in headphone mix bu 50ms when double tracking on second track, also could pan them as far as putting one in the left speaker and the other to the right speaker.
c) Describe how a multitrack live recording can be made using outputs derived from the channels of the front of house console. Assume that the front of house console is of professional design, and the channels are fully featured. these outputs will have to go to your recorder at the same time you are playing
d) Explain why the channel direct outputs would not be suitable
there presets and you can’t control the outputs.
Trey Smith. |
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Sun Sep 14, 2003 9:46 am |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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OK I’m giving feedback to both MRG4U and Fenderocks.
MRG4U
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My knowledge of classical is fairly non-existant so the info above has been borrowed from various resources.
This is normal and though your “knowledge” is not currently exhaustive the whole point is that you are exploring and finding out, in order to build your knowledge. If you do borrow from various sources, that’s also fine that how most of us do it. Just indicate where you have borrowed from, that is better academic practice.
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Although Record companys usually have the final say the producer may be involved with what engineer is taken on to achieve the desired result.
Typically the Producer has the final say, as he usually controls the project budget.
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If the recording is intended for broadcast only and not for commercial release its highly unlikely a concert hall would be used due to the expense of such a project.
Careful here as usually a classical recording for broadcast is in fact a recording of a performance. Therefore it will have taken place in a large concert here. So what this is getting at is that fact that the essential thing is the performance, that what people are paying tickets for, the broadcast is a bonus. Know what I mean?
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What is the minimum number of microphones that can be used to record a five-piece brass section in stereo
Two, although I like your reasoning.
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and the gain on the horns mikes will have to be minimal also
So how would you achieve this? Try to always justify your points.
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The preamp must be able to eq to RIAA.
Yes this is correct, but again it might be a good idea to explain what RIAA e.q. actually is and does.
Generally good stuff here, though I would try to equalise your responses. For example some are very short while others are probably a touch on the long and verbose side.
Keep it up.
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Fenderocks
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Most likely the pick or the persons fingers hitting the strings.
Certainly the pedal noises are far more problematic.
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So by having compression in classical music it is allowing all sound levels and volume to be the same.
Be very careful with answers like this it is too short and could confuse what you mean. Surely you do not want classical music to have zero dynamics? We cover more about compression soon, which may help you understand.
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Name the three types of instrument you would be most likely to find in a brass section in pop music. Trumpet ,saxophone and trombone.
Yes that’s correct, and some of the others also mention this simply, but do expand and mention that an alto sax and baritone sax would typically be in there.
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Two is the minimum of course more would sound better.
And why is that?
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But I would use three mikes for the brass section 2 horns on left 2 horns on right and 1 center.
Why?
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In the center of the cone there is more brightness and the more you go to the edge of the cone you go deeper.
I’m not sure I understand what you mean here.
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As far as a click track but the foldback is never picked up on recording microphones.
That is the ideal though I often hear the headphone mix coming back down the recording mics, even with closed headphones such as DT100s. Try to not be quite so strict.
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Why is a DI box used to connect an electric guitar to a mixing console? If an active DI box is to be used without a battery, to which input of the console must it be connected and why? so you can have access to trim or gain to increase the sound pressure if needed
You need to look at this one again.
Well done Trey some good stuff there.
To be positive and give some advice, I would suggest that you now look to expand your answers and include more detail and justification. Currently they are too clipped and short, and lacking justified points.
Keep it up.
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It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Sun Sep 14, 2003 7:39 pm |
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