AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 - Questions, DO THESE FIRST |
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1.
(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.
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.
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.
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.
_________________
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 15, 2003 1:59 pm |
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mrg4u
Joined: 08 Sep 2003
Posts: 7
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e) Name three currently "desirable" film composers with radically differing approaches to composing/recording.
im not sure what i have to do surely its about each individual film so the composer will adjust to this accordingly i suppose if i gave examples of one film and how they worked on the composition for it i could work something out but surely each composer changes their style to suit the style of film am i wrong ?
Any ideas anyone ? |
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Mon Sep 15, 2003 10:57 pm |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
This is a hard question for me also. I would think yes, the composer has to adjust his/her music to the style of film, otherwise the two components -- visual and auditory -- will not work together. At the same time, composers are human and I don't think they can change their thinking habits much overnight. So probably what and how they have composed previously will determine what films they are offered to compose for.
Does it make any sense? |
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Wed Sep 17, 2003 2:37 pm |
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Albow
Joined: 02 Sep 2003
Posts: 27
Location: Spain |
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Hello everyone,
It's not so much that I'm overkeen or anything this week,
I've got my folks visiting from today, so I've bashed away
at the questions to get them done as soon as possible,
so I can have a crack at the practical maybe Sunday.
I've added links, not so much because I've copied and pasted
from sites, but because they are places which I found most
useful when researching.
The couple immediately below are "model" answers from a paper
of a few years ago. I was surprised in some cases how curt they
are, but they're probably good for cramming.
http://www.cwc.ac.uk/sound/past_papers/1820Pt3RT99.htm
http://www.cwc.ac.uk/sound/past_papers/1820Pt3MT99.htm
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.
A possible solution is to use delay so that the singer can
distinguish one from the other. Otherwise, one of the vocal
tracks can be directed to the left headphone and the other
to the right headphone.
b) Explain why a noise gate would not be used when recording
Scottish bagpipes.
A noise gate would be used for example in a song in a part
where the musical instruments quieten down and are sparse.
This cuts out the buzz from the guitar amp for example. The
buzz is not noticeable when the guitar is at full blast, but
during the quiet parts it would be noticeable alongside the
vocal if it were solo or accompanied by quiet piano or
percussion.
With bagppes, one would not expect the noise level to drop
enough for a noise gate to be useful. All through the
bagpipe playing, sustained background notes and drones are
heard constantly. These are part if the character of the
bagpipe sound. So it would be pointless to cut them off
with a noise gate.
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.
http://www.outersound.com/osu/recording/recdrums.html
To capture the ambience that a room can give to a drum
sound, one can place condenser microphones in the corners of
the room. Also one can hang 2 condenser microphones 10 feet
from the overhead mics and in a high position. As far as
processing is concerned you could add reverb to the sound to
make it sound how it would in a particular type of room, but
if the room itself offered a great sound then that should be
enough, even preferable as it is a natural spontaneous sound
as opposed to a manufactured one.
d) When recording a piano, what potential problems can exist
with regard to noise? How would you eliminate any problems?
With a piano you may hear the sound of the pedals tapping
the floor on the creaking of the piano bench or stool if the
pianist moves. Eliminating problems would be tackled by
placing the microphone that picks up the piano sound as far
towards the sound itself and away from the accompanying
noises as much as possible. So positioning the mic under
the lid or at the back of the sound board would help with
regard to this. At the mixing stage, one could attempt to
expel any extraneous noises by manipulating individual
sounds through EQ.
e) Name three currently "desirable" film composers with
radically differing approaches to composing/recording.
Mark Isham is a composer who mixes a variety of styles, such
as electronic, programmed music in Don't Say a Word to
native ethnic percussion in Galapagos to
rock/electronic/orchestral scores in Blade.
David Arnold is a fashionable film score producer who has
also gained mainstream music appeal by releasing music in
collaboration with popular artists such as Bjork. This is
reflected in his film compositions, mixing Pop and classic-
Hollywood, sweeping orchestral scores in Stargate and by the
sharp funk of Shaft.
A more cerebral composer is Michael Nyman, whose oeuvre
shows a mastery of opera, chamber music, vocal music and
dance scores in films such as The Piano, The Ogre, The End
of the Affair, Wonderland and The Claim.
2.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?
When playing live, the microphones and DI connections from
the musical instruments connect to the stage box. This
sends out multiple track cable to the Front of House
console. When recording the live performance, there are two
ways of feeding sound to the recording console. A splitter
from the stage box can be used to send the signal down 2
separate cables to the 2 destinations. Otherwise, a cable
can be connected to the insert send of each channel of the
console. Problems may arise however if the sound man makes
adjustments to the live sounds on a post-fader console.
b) Comment on the use of walking surfaces in audio drama
production.
On a foley stage, a screen will be present so that actors
can see the scene they have to replicate. There will also
be props on the stage to mimic walking sounds where
appropriate in the film. So there will be sand, stones,
glass and walking pits for recording purposes. At times
materials are used to fake sounds. For example, rock salt
and cornflour are used to approximate walking in snow.
However, where practical and convenient, the real sounds may
be recorded outside the studio to make them more unique.
c) What does the term "comping" mean. Explain how this can
be a useful technique. Indicate how you would plan for
"comping".
http://www.gouldmusic.com/articles/comping.pdf
One meaning of comping is a term that Jazz musicians used to
describe the accompanying rythym tracks to an improvised
solo. The rythym players would also improvise in their
rythyms to accompany the solo playing, with the effect of
making the music even more spontaneous and complex.
The meaning I would have thought had more relevance to the
Sound Engineer is that comping also means to edit together
various takes of a performance to create a best possible
performance. For example, if a vocalist does 3 takes and
each has faults, or particularly good points, they can be
edited together to produce a final take which incorporates
all the best elements of each take. To prepare for this,
the producer would listen and make notes at each points of
each performance with comping in mind.
d) It is usual to use "foldback" when recording classical
musicians? Explain your answer fully.
I don't suppose it would be usual due to the sheer
complexity of miking what could be dozens of instruments!
Add to that wiring everybody up for headphones and it would
be a complex operation. The producer may then have to take
requests from each individual regarding the volume of the
instruments they are hearing. However, this is not to say
that it is not used at all. If, say, we have a vocalist
singing opera, then s/he may prefer to use foldback to hear
the music and a guide vocal. I could swear I have also seen
cellists and the like on TV recording classical music
playing with headphones on, but perhaps I am thinking of
videos where classical musicians accompany pop/rock
musicians. In that case, the heavily amped instruments
involved may make it difficult for them to hear the
classical instruments. Maybe someone could comment on that
e) Explain the purpose and operation of delayed loudspeakers
in Live PA. Consider the use in theatre.
In a theatre, the actors and/or singers' voices will be
miked and projected through the speakers at the front of the
stage. In order to cater for those at the back, so that
they can hear clearly, speakers are situated towards the
rear of the venue. As sound travels though the air it would
arrive at a later time to those at the back than their own
speakers, causing an echo. This would be irritating to hear
throughout a performance. By calculating the speed of sound
and the distance of the speakers from the stage, a delay is
put on the rear speakers' output so that only one stream of
sound is heard.
3. 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 enunciate sounds from words beginning with P or B,
the sound made, called a labial plosive, is a small
explosion of air released from the lips. On a microphone
without a pop shield, this is exaggerated and causes a 'pop'
which will sound quite unseemly in a spoken passage.
To avoid this, we have to find a way of allowing the sound
to reach the mic while stopping the small gust of air from
reaching it. From what I've read, there are a wide range of
inventive solutions used for this, from poking hundreds of
little holes in both sides of a plastic bag with a needle
and then filling it with polystyrene balls, to stretching
out nylon material from a pair of tights over a coat hanger
and fixing it in front of the mic. Less interestingly, one
can try angling the mic away from the air stream that the
mouth causes, though you then risk not picking up the sound
of the vocal enough.
b) What is the difference between a talking book and an
audio book?
A talking book is used by people whose eyesight is not good
enough to read, or are physically incapacitated from doing
so. They are lent by libraries and as are not big business
are read normally by volunteers.
An audio book can be purchased in cassette or cd format and
can be listened to as somebody telling the narrative of a
book as opposed to reading the book. Actors or newsreaders
are often employed to perform these recordings as they are
trained to use their voices to engaging effect with an
audience.
c) When recording 'pop' vocals, indicate your approach.
What things would you need to consider, what techniques
would you personally use and why?
The all-important consideration for recording pop vocals is
that the end result is commercial and that the vocal
performance is at least satisfactory. So a lot would depend
on whether the vocalist is any good. If s/he is a naturally
good singer then it is a simple process of letting the
singer do a few takes and deciding the best one. If a
singer has character but flaws in their voice, I would work
on building confidence for the singer. A voice coach would
get the best out of the singer, and the foldback through the
singer's headphones could be treated with compression and
reverb to make it sound fuller and more even to the singer.
I would let the singer / band run through a few songs they
are comfortable with to warm up, and then when they are
relaxed do a few takes on the vocal until the singer would
rather stop. Then if there is a perfect take, then fine.
If not, a good final track could still be produced by
comping. If the singer is awful then I would do all of the
above and then try and edit together a good take, using a
Harmonizer / EQ to pitch shift bum notes, sampling good
vocals either from the singer or elsewhere, or hire a
session singer to do it and tell the singer to mime during
performances.
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.
120BPM gives 2 beats a second. Each beat occurs every
500ms. 3 beats against 2 would therefore give 3 beats a
second. So one of those beats would be in the middle of the
other two. This would require a beat every 250ms. We could
go a step further and provide an extra note in between those
beats, which would be a delay of 125ms. As we may be
delaying instrumental notes, it may enrich the sound to have
a delayed note played on the same beat. So in that case I
would put a 500ms delay on it.
e) What does the term "foley" mean.
Foley is the method of making natural sound effects for
television / cinema to be tacked on after filming is
complete. This is named after Jack Foley and is done by
means of a Foley stage. Thus sound phenomena such as doors
closing, feet walking across floors, rain falling etc. are
carried out by a variety of props on the Foley stage and
recorded and added to the film's visual recording during the
post-production sound-dubbing stage. The stage will also
have an adjacent screen so that the actors can produce the
sounds appropriately in time with the film.
4. a) In a popular music recording session of a
conventional rock band, what is foldback?
Foldback is the medium through which the musician hears the
song as it is played. This helps the musician sing or play
in time with the song. This is played through the
headphones and can be manipulated to the requirements of the
individual musician, who can select which parts of the track
s/he would like accentuated to help with their performance.
This does not have a bearing on how the track is recorded,
it is simply an aide to the individual musician.
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.
This recording is fine is what is required is specifically
the sound of a caridling and in the background a dog is
barking. However, as the sounds are recorded together, they
will be no use to you if you require each sound singularly,
or to play with each sound. Perhaps it would be possible to
mask out either of the sounds with EQ, but it would be
easier all round to be able to select a single sound. Then
sounds could be added to each other or used singularly as
needed.
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?
A click track is used to ensure that the rythym section of
bass and drums can keep near to perfect time. It can be
acquired through a metronome or a midi rythym track. This
can also be used through the headphones / monitor of a
drummer during a live performance, so that his/her rythym
can lead the band through keeping time.
d) You are recording a punk vocalist, she is singing
continuously flat. What steps might you take to rectify
this?
I have to say I've been flummoxed with this one. I suppose
that after the session is over you could use a Harmonizer EQ
to pitch shift the vocal line to gloss over the faults. It
also occurred to me to try detuning all the instruments a
semi tone so that the vocal is no longer flat, but I'm not
sure that this would be practical or would even work.
Perhaps to distort the vocal with a vocoder might help out.
e) Explain why the M+S mic technique is popular for
broadcasting audio.
http://www.sounddevices.com/tech/ms_stereo.htm
Mid-side stereo is a popular miking technique, as it has
good spatial imaging, mono and surround sound compatibility.
It is effectively a 2-mic capsule. A primary microphone
provides the mid signal, like a circle billowing out from
the mic, and a bi-directional microphone for the side signal
which pans out like two adjacent circles. This side
microphone is added to the central mic to give stereo
output. It is this capability to achieve a number of
general aims that gives the M + S technique its popularity. |
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Wed Sep 17, 2003 9:07 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| BPM Calculating |
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quote:
The couple immediately below are "model" answers from a paper
of a few years ago. I was surprised in some cases how curt they
are, but they're probably good for cramming.
Yes that’s great, though do not rely on them as I have it on good authority (the exam moderator) that each year’s model answers are regularly updated to reflect recent industry changes. Great for guidance but tread carefully.
quote:
To capture the ambience that a room can give to a drum
sound, one can place condenser microphones in the corners of
the room.
Yes you can, though in practical terms this can often lead to phase problems, multiple mics facing into each other.
quote:
To prepare for this, the producer would listen and make notes at each points of each performance with comping in mind.
This is good and spot on. Now I would like you (or anyone) to extend the answer to include some ways of making the process more efficient in the studio. What could be set up on say a digital audio editor for this? How could the different takes be logged?
quote:
Consider the use in theatre.
You answered well if indeed delayed speakers exist due to sheer distance, such as a large open air concert. However small theatres can use them also. Anyone know why? To get you started try your searches here: http://www.google.com/search?hl=en&lr=&ie=UTF-8&oe=UTF-8&q=hass+effect+sound+sources&btnG=Google+Search
quote:
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.
1/2 note:1000ms
1/4 note: 500
Dot 1/8: 375
1/8 note: 375
1/8T note: 166.666
1/16 note : 125
I think you just about got it, though check your understanding of what a triplet is.
This is handy also: http://download.com.com/3000-2176-10193281.html
quote:
You are recording a punk vocalist, she is singing continuously flat. What steps might you take to rectify this? I have to say I've been flummoxed with this one
You got some good ideas there, anyone else add to this?
Great stuff Albow.
_________________
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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Thu Sep 18, 2003 2:24 pm |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
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Hi all,
Here it goes. I know it could be made better. I also know I've another series of questions to work yet. Thanks to Chris and Gkaj for their help, be it explicit or implicit.
<P><B>1.</B>
<B>(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>
One possible solution is to actually divide the two parts between two ears. This can be done either by panning the recorded part to one and an overdub to another side, or the singer can wear only one earpiece for foldback and let the other ear to catch their natural vocal sound.
Another way is to apply some processing. Little reverb may be added to the recorded part or it may be delayed for ca 50 ms. Some EQ may help to make the two vocies distinguishable.
<B>b) Explain why a noise gate would not be used when recording Scottish bagpipes.
</B>Noise gates are expanders with high expand ratio. They are used to attenuate signals when there is no useful signal present, thus reducing unnecessary spills and noises. Scottish bagpipes emit constant (bourdon) sound through the so-called <I>drones, </I>so there is always useful signal present and consequently no use for noise gates.
<B>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.</B>
The room sound can be captured by use of dedicated microphones, putting them more far away from the drum set. I'd even think there is no strict need for two ambience microphones, as the stereo image will be created by "actual" drum set mikes anyway. If additional microphones are not welcome, you can get more room sound into overhead microphones by positioning them higher and wider. The microphones should be quality condenser ones, as they are more sensitive and reproduce fast transients more truely than dynamic microphones. This time we want to include sound from other directions, so there is no need for the mikes to be directional -- omnis will do the job.
<B>d) When recording a piano, what potential problems can exist with regard to noise? How would you eliminate any problems?
</B>Since the way a piano operates is percussive, the potential noises are of percussive origin, be they thumping of pedals or dampers, crumping hammers or keys. First of all, there is no substitute for a quality instrument in a good order. While thumping pedals can be get rid of by wrapping them in soft cloth, there is not really much to do with a crunching mechanism. However, in general there is not very much sense miking from behind the piano (from the left of a pianist), as this is where mechanical noises are strongest with regard to string sound. The best miking approach would be in front of and somewhat above the instrument, where most of useful sound will be radiated when the lid is open. Should close miking be desirable (to eliminate unwanted spills, for example) it is to be noted that the closer to the hammers, the more percussive sound there is.
<B>e) Name three currently 'desirable' film composers with radically differing approaches to composing/recording.
</B>http://www.mfiles.co.uk/film-composers.htm
John Williams, the most well-known film composer. His music is firmly from the classical tradition, based heavily on the style of the late-romantics like Gustav Mahler and Richard Strauss. Good memorable tunes, fanfares and fun marches. “Star Wars” and “Indiana Jones” series, “Home Alone”, “Harry Potter” films, “Catch Me If You Can”.
Christopher Young - a horror specialist. Dark orchestral style with some sound effects and wordless choral sounds. “Species”, “A Nightmare on Elm Street”, “Entrapment”, “The Shipping News”.
Michael Nyman - a representative of minimalist style. Minimalism is about taking some simple patterns and repeating them over and over again, making only subtle alterations to these patterns at times. Nyman uses patterns from earlier composers like Purcell, Mozart, Brahms as a seed for his music. “The Piano”, “Gattaca”, “Wonderland”.
<B>2.
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>Assuming the consoles are right ones for their job, the live sound console’s direct outs come from post-fader and the recording console’s direct outs pre-fader. So microphones can be connected to the recording console, and it’s direct outs to the live sound mixer’s inputs. This way the input signal levels at the live console will not depend on fader positions on recording console.
Another way would be to use a signal splitter, which enables a signal to be sent to several destinations at the same time.
<B>b) Comment on the use of walking surfaces in audio drama production. </B>
A Foley stage is used for recording footsteps, movements and sound effects. There are various surfaces for walking, e.g. sand, gravel, wood, pavement, which a foley actor can use to produce sounds corresponding to movements on screen. If possible, true materials are used to reproduce the desirable sound. The sounds can be faked, though, as it is not always possible or practical to get the true materials in (e.g. snow).
<B>c) What does the term &comping& mean. Explain how this can be a useful technique. Indicate how you would plan for &comping&. </B>
Comping means to combine various takes together. Given you’ve got several takes, each with it’s own strengths and weaknesses, you could take the best from each take and edit them together. It can be used to save an otherwise good take which has flaws at some point by taking that problem section from another take and pasting it into the first. Or just for combining the best sections of several takes together to achieve the best performance.
Planning for comping includes getting very acquainted with the piece being recorded to see where the possible edit points are. The recorded signal is better to be dry, for editing at reverberation tails will result in “bumping” -- sudden increase or decrease in level. During the session an accurate logging is needed to see what sections have been recorded, how good/bad they were and whether they can be combined together into one single performance. It is also mandatory to keep tempi between takes the same, not to speak of tuning.
<B>d) It is usual to use &foldback& when recording classical musicians? Explain your answer fully.</B>
Classical music is seldom recorded by overdubbing because of it’s fluent nature. The musicians have to feel each other, think together, breath together, and the flow of music is hardly ever strictly in some fixed tempo, being accelerated here and slowed down there instead. Thus foldback is not usually used in classical recording. If we don’t overdub, we don’t need a foldback, right?
Some possible uses of overdubbing (and thus foldback) come into mind, though. I think it <I>can</I> be used for recording singers under orchestral accompaniment sometimes. If the conductor knows well the piece and the way the singer interprets it, an accompaniment could be recorded first and the solo later. This is tricky, however. Another need for overdub/foldback is when more players are needed than available (this is often the strings). Then the same players have to be recorded twice, which obviously will demand some foldback.
<B>e) Explain the purpose and operation of delayed loudspeakers in Live PA. Consider the use in theatre. </B>
The purpose of a PA is to transport clear sound to the audience with comfortable level. If the audience is covering a large field, this cannot be done with a single pair of speakers, as this would imply too high levels for the front listeners. So additional speakers are placed more far from the stage. The problem arises from sound travelling quite slowly in the air, ca 340 m/s at 20 degrees Celsius. The rear speakers, at the same time, get their signals through cables with only insignificant delay. So the listener will hear the same sound event twice -- the first from the speaker closest to him/her, another from the more far speaker after some delay. To make the situation better, signals to the rear speakers are delayed electronically, aiming to get a sound event to the listener only once. (Actually it is preferable to have sound from the front speakers to arrive a bit earlier, as this will contribute to the right sense of direction.)
Theaters probably haven’t such dimensions as to justify such an approach. After all, the sound travels ca 34 meters in a tenth of a second. However, one can consider using some delay to let the amplified sound arrive at listeners shortly after the direct one to preserve sence of directionality (thanks Chris for your hint given in reply to Albow - I knew there should be some clever application for delay  )
<B>3.
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>When a speaker says words containing the letters ‘k’, ‘p’, ‘t’, ‘b’ (plosives), small explosions of air come from the mouth. If such an explosion gets in the microphone it will generate specific thump sound. This is known as popping. To avoid popping, the air explosions have to be prevented from hitting the mike. If pop shield is not an option, the microphone can be placed to the sides or slightly above/below the mouth, aside from the direct path of explosions.
<B>b) What is the difference between a talking book and an audio book?
</B>A talking book is an aid for people who cannot read themselves for some reason, be they blind or not able to turn pages etc. Talking books are usually borrowed from library along with an equipment that can “read” them. The emphasis is on the content, there is no big business with talking books and so they are recorded mostly by volunteers with good will.
An audio book is a recording of someone reading a book. Audio books are available on conventional media like CD-s and cassettes. There is much more business involved, so mostly actors or trained narrators are employed to record audio books. Often even voices of celebrities are used to attract more audience and enhance selling.
<B>c) When recording 'pop' vocals, indicate your approach. What things would you need to consider, what techniques would you personally use and why?
</B>Most of all, I’d use a dead room for recording, so there will be more control over the sound on mix stage. This also allows for combining different takes together, should it be necessary. I’d use an unidirectional condenser microphone to get as clear sound as possible and reject most of the ambience sound, and equip the mike with a pop shield to prevent popping sound from plosives to come through. The singer would be provided with an earphone foldback, probably adding some reverb to the vocal in the foldback mix so the artist would not be distracted by unfamiliarly dry sound. I would save compression and other processing for later, so there would be more options in the mixing stage.
<B>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.
</B>The tempo 120 BPM means two beats per second, thus a beat lasting 0.5 s or 500 ms. That’s one useful delay time. Two others would be two times shorter, corresponding to an eighth note, and four times shorter, corresponding to a sixteenth: 500 / 2 = 250 ms and 500 / 4 = 125 ms. A triplet with three beats against two indicates time separation of 500 * 2 / 3 = 333 ms.
<B>e) What does the term
foley
mean.
</B>Foley is a term encompassing film sound effects. Named after Jack Foley, who was the first to add music and effects to an originally silent film. A film studio has a
foley stage
where all sounds except actors’ speaking is recorded. It is equipped with a screen where a foley actor can see the action which the sound is recorded for, lot of different materials and surfaces for walking to produce footsteps, and a lot of props.
<B>4.
a) In a popular music recording session of a conventional rock band, what is
foldback
?
</B>Foldback is a means for the recording artist(s) to hear a mix of previously recorded tracks and sound produced by their own. Foldback is usually provided by means of headphones to avoid it’s pickup by microphones. It is very important to balance the foldback to suit the artist’s like, as this will greatly determine the success or failure of a session.
<B>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.
</B>That recording actually consists of two different effects. The problem is that such an effect can only be used when there is actual need for that kind of sounds at the same time, which is probably rare. Sound effects should be recorded separately, with maximum isolation from other sounds. This enables them to be used in whatever combination is desirable.
<B>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?
</B>A click track consists of metronome clicks and is used to help a musician keep invariable tempo. The clicks can be recorded from a metronome, or a MIDI machine, or a computer etc. When recording - and in live performance as well - the click track can be included in a foldback mix to aid the rhythm section keep stabile tempo. Usually there is no need for the click track to be included in foldback for singers or other soloists, as they rely on rhythm section.
<B>d) You are recording a punk vocalist, she is singing continuously flat. What steps might you take to rectify this?
</B>There probably is some problem with a foldback. It might be of help to reduce the stereo panning width, as sometimes it is hard to compare sounds arriving at too different directions. Using only one can could also help, since the singer can thus hear her voice more naturally. A little reverb sometimes helps to stay in tune. Last - but not least - I would put my money on reducing overall level of the foldback. This is because there is a tendency to hear loud sounds as being flatter than quiet ones. If you hear the foldback flat (because it is too loud), you will intonate flat, to fit in the picture.
<B>e) Explain why the M+S mic technique is popular for broadcasting audio. </B>
The M+S miking techique is a stereo microphone techique employing two microphones placed very close to each other. One, the M = mid, is usually a cardioid mike with flat frequency response, though other polar patterns are also used. The other, S = side, is a figure-eight pattern microphone placed at right angle to the Mid mike, so it’s sensitivity is higher sideways. The signals from both microphones are combined together to achieve a stereo image. It is done by sending the M signal to both channels, S signal to one
and an inverted S signal to another channel. So the stereo channels are built up as M+S and M-S.
MS technique gives an excellent stereo image, allows for easy stereo field width adjustment any time and, being a coincident techique, is inherently mono-compatible - summing the channels up leaves alone only the M signal, so there will be no phase problems. The last feature is probably most responsible for the techique’s popularity in broadcasting.</P> |
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Thu Sep 18, 2003 5:12 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Directionality With Delayed Sound |
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Mommi
quote:
Another way would be to use a signal splitter, which enables a signal to be sent to several destinations at the same time.
Yep good, and also do mention that the insert point sockets can be used if a lead is wired correctly, which means the signal can be slit and fed off and also continue through the channel strip. – It’s just a question that crops up and I’ve noticed this answer time and time again.
quote:
What does the term &comping& mean. Explain how this can be a useful technique. Indicate how you would plan for &comping&.
Good answer, just to focus a little more on the administration of it. Think for a sec if you say have 5 or 6 different pieces for let’s say verse one. It can get confusing which one’s you actually like. Engineers will cue sheets, sometimes on a word processor to log the lines they feel good. So you may have word file like:
----------------------------------------------------1 – 2 – 3 –4 –5 –6
“this is the first line of the verse, ra ta ta do” x- 1 – x – x – x – x
-----------------------------------------------------1 – 2 – 3 –4 –5 –6
“this second verse is sung a la te frik a dag” x- x – x – 1 – x – x
So it is evident that take 2 for line one is the best and take 4 from line 2 is the best. Very common practise this.
quote:
If we don’t overdub, we don’t need a foldback, right?
Not completely true, but in classical it is more correctly.
code:
However, one can consider using some delay to let the amplified sound arrive at listeners shortly after the direct one to preserve sence of directionality
Good, this is a very important concept to get.
Well done mommi.
_________________
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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Thu Sep 18, 2003 9:02 pm |
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ruiabreu
Joined: 15 Sep 2003
Posts: 12
Location: Portugal |
| recording techniques - answers - week3 |
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1.
(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.
We can pan the recorded vocal to one side, leaving the one you are recording in the middle.
b) Explain why a noise gate would not be used when recording Scottish bagpipes.
We wouldn´t use a noise gate because a Scottish bagpipe has a continum sound with no silent pauses.
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.
To capture the room sound we usually use a stereo pair of microphones placed at a distance from the drum set. Normally the distance is dependent on the room size We can place the mic pair in a crossed manner for a tighter sound or place the mics moved apart to get a more ambient spread. We usually use capacitator mics. We can use a gate effect so that these mics only open when there is a hit in the snare or the kick, this way you can get a tight sound kick and a more ambiance snare.
d) When recording a piano, what potential problems can exist with regard to noise? How would you eliminate any problems?
The pedals and hammers can some times be noisy. We can maybe try to isolate the frequency of the pedal or hammer sound and bring it down a few dB probably using a narrow Q so that the piano general sound is not to much affected.
e) Name three currently "desirable" film composers with radically differing approaches to composing/recording.
2.
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?
You can split the microphones signal using a splitter, one signal going to the mixing console another signal to the recording console. You can also send the mics signals to the recording console first and then connect the outs of the first console to the second console for PA mixing.
b) Comment on the use of walking surfaces in audio drama production.
Walking surfaces are used to recreate the sound of an actor walking on different surfaces on a stage. Usually we can´t have lots of different surfaces on a stage and the actor can´t go from one place to another on the stage just to make a walking sound effect, so we usually have someone faking the sound of the actor walking on different surfaces.
c) What does the term "comping" mean. Explain how this can be a useful technique. Indicate how you would plan for "comping".
Comping means assembling a good take of an instrument from two or more takes. This technic is usefull when you have to record for example a vocalist with difficulty to perform a good take. I can record different takes and choose the best for each section of the music, ending up with the best possible take. If I am using a DAW (wich I am) I would record on cycle mode. I would record two or more takes in a sequence alowing the musician to play without the stress of making the perfect take.
d) It is usual to use "foldback" when recording classical musicians? Explain your answer fully.
I think “foldback” is not much used in classical recording because of the amount of instruments used at the same time in this kind of recording. It would be a nightmare to have a “foldback” headphone mix for each musician. Also I think using headphones in a orchestra could result in losing the sense of group performing. In an orchestra the musicians respond to each others so timing isn´t usually an issue and no click track is need.
e) Explain the purpose and operation of delayed loudspeakers in Live PA. Consider the use in theatre.
If you want everyone in the theatre to ear the music or speech on stage you may have to place addicional loudspeakers on the rear of the theatre. The problem is that the sound coming from the front loudspeakers takes time to get to the rear audience and when its mix to the sound of the rear loudspeaker it may get confused. To tackel this problem the sound of the rear loudspeaker is usually delayed in relation to the front loudspeaker sound.
3.
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.
If you can´t use a pop shield for recording speech you have a problem because the words starting with P and S will produce a “pop” sound when the sound hits the microphone. The other way besides the pop shield to try and solve this problem is recording the vocals off axis, that is with the mouth not facing directly the microphone. You can place the microphone in another angle or place the latest Playboy cover on the wall in a 60 º angle off the axis.
b) What is the difference between a talking book and an audio book?
A talking book is a recording of a written book used for persons with a reading desability or an incapacity to handle a book, they are usually available in librarys.
An audio book is a comercial recording of a written book, usually using famous voices, that are sold in bookstores to people with serious traffic problems.
c) When recording 'pop' vocals, indicate your approach. What things would you need to consider, what techniques would you personally use and why?
´Pop´is a difficult term the define, but I will define it as a comercial recording whos primordial objective is to sell albums.
First I would send a set of questions to the vocalist to try and determine influences, what is intended of the recording section, musical backgroung and experience. I would listen to a few records based to the querie and investigated how that albums were recorded.
I would set up a good capacitator mic (for me is the good capacitator mic) and a good mic pre-amp (again not a but the mic pre-amp) and usually record it with a small measure of compression. Let the vocalist make a few takes and experiment. You can´t prepare everything. I would make shure the vocalist is confortable with the headphone foldback mix usually adding reverb and some compression to boast the vocalist confidence. I would line up a few takes in cycle mode making shure the vocalist nows that. Maybe he will loosens up knowing he doesn´t have to performe a perfect take everytime.
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.
If tempo is: 120 Beats per minute
and considering: 1 minute = 60 second
We have:
2 beats for second
1 beat for 0,5 sec.
½ beat for 0,25 sec.
¼ beat for 0,125 sec.
1/3 beat for 0,167 sec.
The delay times would be 500 ms, 250 ms, 125 ms, and the triplet delay 167 ms
e) What does the term "foley" mean.
Foley means adding sounds effects to a footage made before. This sounds are everyday sounds like a door slam or walking on various pavements. This sound effects are usually recorded on a stage equiped for that with a screen to synchronize the video action with the sound effects being recorded. The term foley is derived from Jack Foley the first person to use this kind of technique.
4.
a) In a popular music recording session of a conventional rock band, what is foldback?
Foldback is the process of hearing the tracks already recorded while recording another track (overdubbing). This way the track being recorded has the same timing as the tracks already recorded. We use headphnes to hear the tracks already recorded this way avoiding spilling of the sound to the mics used to record the overdub.
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.
If you just wanted a car idling effect to your music you couldn´t use this effect because the dog bark was in the way. Unless you really want a idle car and a dog bark at the same time this effect is difficult to use (I have the same problem because I have four dogs).
ii) Briefly describe how sound effects should be recorded to eliminate this problem.
First sedate the dog and record the car idling effect, then take the car to the garage, wake up the dog, show him pictures of a cat and record the result.
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?
A click track is used to maintain the timing throughout a recording. You can have a midi track with a sound (usually a snare or kick sound) being foldback to the performer while he is playing. I would use a click track when I don´t have any guide tracks to give me the music tempo. I wouldn´t use a click track when I have guide tracks already recorded and I can overdub.
d) You are recording a punk vocalist, she is singing continuously flat. What steps might you take to rectify this?
I would mess a little with the foldback mix maybe taking off some compression or bringing back the other isntruments. Maybe go out for one or two beers with the vocalist, usually she gets less self-conscient of his voice.
e) Explain why the M+S mic technique is popular for broadcasting audio.
When you pass a stereo signal to mono the instruments panned to the center are lifted compared to the instruments panned to the left or right. When you use this stereo miking technique this effect is less noticeble. This technique is used in broadcasting audio because many people still listens to music in mono devices. |
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Fri Sep 19, 2003 4:38 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Dog Barking |
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quote:
We can use a gate effect so that these mics only open when there is a hit in the snare or the kick, this way you can get a tight sound kick and a more ambiance snare.
Might be worth mentioning about being cautious when using noise gates on drums. Very often they can be set badly, creating a very un-natural sound.
quote:
The pedals and hammers can some times be noisy. We can maybe try to isolate the frequency of the pedal or hammer sound and bring it down a few dB probably using a narrow Q so that the piano general sound is not to much affected.
Mention placement here also, and pick-up patterns, the examiner will look for knowledge.
quote:
e) Name three currently "desirable" film composers with radically differing approaches to composing/recording.
Don’t watch films?
quote:
To tackel this problem the sound of the rear loudspeaker is usually delayed in relation to the front loudspeaker sound.
No this is not understood. Please read above and work out why the front of house (FOH) in even a relatively small theatre may have delayed loudspeakers. It is not a product of distance in this case, another reason?
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that are sold in bookstores to people with serious traffic problems
I’m not sure I understand this.
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´Pop´is a difficult term the define, but I will define it as a comercial recording whos primordial objective is to sell albums.
I would agree with that, and in what ever the genre of music. “Pop” country, “Pop” folk etc.
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shure the vocalist nows that
Just to aid you, it should be “sure the vocalist knows”
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First sedate the dog and record the car idling effect, then take the car to the garage, wake up the dog, show him pictures of a cat and record the result
Ha Ha, were you bored?
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A click track is used to maintain the timing throughout a recording. You can have a midi track with a sound (usually a snare or kick sound)
Actually in pro studio it is often a Cow Bell sound.
quote:
Explain why the M+S mic technique is popular for broadcasting audio.
Not a very good answer, unclear.
Ok generally some good stuff there though it feels rushed and needs to have more time in research. Always difficult joining a course late I know. Next week I’ll be looking for twice the amount of input. This is necessary to stay on top of the topics. Also you may want to use a word processor first and carry out a spell checker before uploading your post.
Well done for making a start, I know you were busy this week. More effort next time though huh?
Chrish
_________________
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 19, 2003 5:25 pm |
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