AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 4 - Equipment |
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This is a big week. I'm looking for
short
consise answers to these. A neat bold format for the question followed by to the point answers.
As there are so many questions, look at answering with short replies, but make sure you make the point.
Good luck.
Studios
1.) What facilities should recording studios (of all types and levels, other than equipment) provide?
2.) Where in a flat or house should a home studio be situated?
3.) Why should a home studio be soundproofed?
4.) What problems will there be if a home studio does not have a room to itself?
5.) Why should a home project studio be separated from the rest of the house?
6.) Should a home project studio have its own kitchen and toilet facilities?
7.) Should a home project studio be separate from the house and have its own street address?
8.) Does a home studio or home project studio require planning permission to set up?
9.) Should a project studio have its own parking facilities?
10.) Where should a commercial studio be situated?
11.) Should a commercial studio have a rest/recreation area?
12.) Should a commercial studio complex have separate rest/recreation areas for each studio?
13) Should a commercial studio have a restaurant?
14.) Should a commercial studio have a bar?
15.) In what situations is it not necessary even for a top class commercial studio to have a restaurant or a bar?
16.) Should a commercial studio have parking?
17.) Why would a bedroom studio not take commercial bookings?
18. ) Why would a project studio not take commercial bookings?
19.) List the equipment necessary for a low budget studio capable of producing Hiphop music, and Dance music of the kind that is mostly created from samples.
20.) List the equipment necessary for a MIDI project studio capable of producing instrumental music solely from synthesisers and samplers.
21.) List the basic equipment necessary for a recording studio capable of recording any type of music. Additional equipment could be hired in as necessary.
22.) List the equipment necessary to start a popular music track in a home or project studio, then continue work in a commercial studio as works progresses.
Mixing Consoles
23.) List the equipment necessary to record music to picture in a home or project studio.
24.) What is the function of automation?
25.) Why would faders have to be moved during the mix?
26.) What aspects of mixing are normally automated on an analogue console?
27.) Comment on VCA vs. Moving Fader automation.
28.) Describe write/update/read.
29.) How does an automated mix session start?
30.) How would a section of automation data be re-recorded?
31.) How are automation 'punch-ins' blended smoothly with existing data?
32.) How could a complex series of moves be increased in level by say 3dB?
33.) Describe fader grouping.
34.) How could EQ, for instance, be automated using an analogue mixing console?
35.) How would EQ be automated using a digital mixing console?
36.) What is 'recall'?
37.) Why is recall necessary?
38.) What advantages does a digital console have over an analogue console regarding recall?
39.) What is the function of the gain control?
40.) What other switched functions are available close to the gain control?
41.) What is an insert point?
42.) What type of processing would an insert point be used for?
43.) What is meant by 'pre-fade auxiliary'?
44.) What is meant by 'post-fade auxiliary'?
45.) Describe the two signal paths in the channel module of an inline console?
46.) If the small fader is used to control the signal level sent to the multitrack recorder, what is the large fader used for?
47.) What is the meaning of 'flip'?
48.) Comment on the sharing of facilities between input and monitor signal paths.
49.) Describe two uses of PFL.
50.) Comment on the danger of solo-in-place.
51.) What is 'solo safe'?
Multitrack recording
52.) Comment on the current relevance of analog recording.
53.) Explain analogue recording's characteristic sound quality.
54.) Comment on the noise performance of analogue.
55.) Comment on the distortion performance of analogue.
56.) What is modulation noise?
57.) What are sidebands?
58.) What are the common professional analogue formats? (Remember that there are many valuable tapes in archives).
59.) Identify some analogue recorders in common use.
60.) What is the difference between stereo and two track?
61.) Describe the process of bouncing from one mono or stereo machine to another.
62.) Describe the process of bouncing on a 4-track machine.
63.) Describe the process of bouncing on an 8-track machine.
64.) When would you be likely to bounce on a 16-track or 24-track machine?
65.) What is a 'spin-in'?
66.) Compare the maintenance and cleaning of an analogue recorder to that of a digital recorder?
66.) Who carries out routine maintenance?
67.) Describe how the heads and guides of an analogue machine are cleaned. Mention the materials used.
68.) Describe how the pinch roller of an analogue machine is cleaned. Mention the materials used.
69.) What are the effects of neglecting cleaning?
70.) Why must an analogue machine be periodically demagnetised?
71.) What happens if a machine is never demagnetised?
72.) What might happen if the demagnetised is operated incorrectly?
73.) Why do analogue tape recorders need to be lined up?
74.) Do digital recorders ever need to be lined up?
75.) Comment on the three elements of line up:
Azimuth
Bias
EQ
Also mention zenith, wrap and head height.
76.) Explain the need for monitoring in sync.
77.) Why is the sync signal inferior to the playback signal?
78.) Why does this matter in track bouncing?
79.) Is it possible to edit 2" analogue tape?
80.) Is it possible to synchronise two 24-track recorders?
81.) List the common digital multitrack tape formats and describe their characteristics.
82.) What is 'formatting'?
82.) What are the advantages and disadvantages of digital multitrack compared to analogue multitrack?
83.) Comment on the difference between standalone hard disk recorders and computer based hard disk recorders.
84.) Why is it a problem to use hard disks for long term storage?
85.) Onto what media does backup/archival storage take place?
86.) What are the advantages of standalone hard disk recorders (compared to tape) for editing?
87.) What are the advantages and disadvantages of computer based hard disk recorders compared to standalone hard disk recorders? (For the purpose of brevity the Otari Radar will serve as an example of the former, Digidesign Pro Tools as an example of the latter).
88.) Why would one choose Radar in preference to Pro Tools?
89.) Why would one choose Pro Tools in preference to Radar?
90.) Comment on the use of Pro Tools as an accessory to multitrack tape.
91.) Give two reasons why analog recorders are still in use in top professional studios.
92.) Comment on distortion in analog recording.
93.) Comment on noise in analog recording.
94.) Comment on modulation noise in analog recording.
95.) What is the function of AC bias?
96.) What is the distortion level of peaks in an analog recording?
97.) Why is the concept of clipping not relevant in analog recording?
98.) Why is the supply reel motor driven in the opposite direction to the actual rotation of the reel?
99.) What is the capstan?
100.) What is the pinch wheel?
_________________
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 22, 2003 2:02 pm |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
| What facilities should recording studios |
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Ok guys, the Friday found me still struggling with those questions. I don't remember anything I've written on earlier days. I also won't go through my answers anymore, as the Music Technology is waiting for my attention.
<B>Studios </B>
<B>1.) What facilities should recording studios (of all types and levels, other than equipment) provide?
</B>There should be some place where the musicians can put their instrument cases etc, somewhere to rest.
Definitely there should be facilities for creature comforts - first of all toilet.
<B>2.) Where in a flat or house should a home studio be situated?</B>
Well it depends on what purposes the studio deserves. The best is of course to have separate room(s) for the studio, placed so that there will be least possible sound leakage to/from other rooms or outside world. If you only record your family band, then there is no need to avoid sounds finding their way into other rooms. Good sound insulation from outer world will pay off anyway.
<B>3.) Why should a home studio be soundproofed? </B>
To prevent noise leaking in from outer world, be it from the street or other rooms in a household. Also to the opposite direction – to avoid disturbing your family members and/or neighbors.
<B>4.) What problems will there be if a home studio does not have a room to itself?</B>
First you either have to rearrange and reconnect your equipment for every session, or you can risk your equipment being damaged in the course of everyday life (kids, pets, …). Second, the main function of the whatever room it is will suffer as other family members cannot use the room at session times.
<B>5.) Why should a home project studio be separated from the rest of the house?</B>
For minimal disturbance of other inhabitants by musicians and vice versa. For maximum comfort of the musicians, for they don’t need to feel guilty of disturbing other’s life.
<B>6.) Should a home project studio have its own kitchen and toilet facilities?</B>
Yes and no, depending on the purpose of the studio. When using the studio for commercial purposes, it is definitely advantageous to have those facilities belonging only to the studio, so that the studio life doesn’t disturb house’s inhabitants. On the other hand, if the commercial life of the studio is of minor order or lacks totally, investments into it’s own kitchen and toilet are probably not justified.
<B>7.) Should a home project studio be separate from the house and have its own street address?</B>
Separating the studio from the house is good, as this way the studio activity doesn’t interfere with everyday life going on in the house. When using the studio for commercial purposes, it will be advantageous to have an address of its own. For not-so-much commercial activities the address matter is out of question, I think.
<B>8.) Does a home studio or home project studio require planning permission to set up?</B>
It depends on local legislation. If all you are going to do is concerned with special treating of an existing room, without restructuring/rebuilding the house/flat, then at least here in Estonia it is not necessary to ask for a permission, since you don’t change anything with respect to construction of the house. I’d suppose that matter has to be checked out with respect to local law. The law certainly has its say with regard to sound levels reaching outside, and I don’t think you can get a permission for providing high decibels to the street midnight.
<B>9.) Should a project studio have its own parking facilities?</B>
It would be advantageous to have those facilities, of course. Though it is definitely not a requirement, as project studios are owned by musicians or producers and used for their own recordings, rarely made available for others. So depending on circumstances, if parking is not problem in your district, there is no need to worry about parking facilities. On the contrary, if it is difficult to find a place for a car near your studio, then dedicating some place for parking will pay off.
<B>10.) Where should a commercial studio be situated?</B>
It is best to be placed in an easily reachable location yet far enough from traffic noise and city madness. Beautiful inspiring surrounding will be beneficial to help the musicians calm down and relax before/after or between takes.
(Almost a quote from Dani)
<B>11.) Should a commercial studio have a rest/recreation area? </B>
Yes, it is quite a requirement for a commercial studio to have facilities for resting/recreation. Recording activity is demanding for both artists as well as producers and engineers.
<B>12.) Should a commercial studio complex have separate rest/recreation areas for each studio?</B>
It would be good to have them separate. Resting/unwinding is effective in a familiar and comfortable environment. Meeting too much musicians you are unfamiliar with can penalize the effect of resting. Depends on the person. More choices as to whether to go and see others or stay in a more lonely place for relaxing will be beneficial.
<B>13) Should a commercial studio have a restaurant?</B>
A commercial studio has to provide good relaxing environment for both the musicians and the stuff. Being able to get some drink/food should you need it is definitely beneficial for the recording process.
<B>14.) Should a commercial studio have a bar?</B>
Yes, for the same reasons as in question 13 above, I think.
<B>15.) In what situations is it not necessary even for a top class commercial studio to have a restaurant or a bar?
</B>If these can be found in close quarters.
<B>16.) Should a commercial studio have parking? </B>
Absolutely. Having to worry about where and for how long you can park your car has a negative impact to your mood and concentration, not to speak about your will to come back to that studio other time.
<B>17.) Why would a bedroom studio not take commercial bookings?</B>
Probably because it is not up to the level as to be attractive enough.
<B>18. ) Why would a project studio not take commercial bookings?</B>
The purpose of a project studio is to provide opportunities for the owning producer or musician to record his/her own music. I think that is what makes it a project studio (a matter of definition). Would it take commercial bookings, it would be commercial studio, it seems.
<B>19.) List the equipment necessary for a low budget studio capable of producing Hiphop music, and Dance music of the kind that is mostly created from samples.</B>
Turntables (decks in DJ terminology).
A DJ type mixing console – (a mixer in DJ's speak). These have two sets of inputs with a cross fader between them, the fader working against any two inputs on different sets.
A sampler plus a MIDI keyboard. 'Master' or 'mother' keyboards that doesn't produce their own sounds are more cost-effective.
A good microphone
Speakers and PA for monitoring
Finally, a means to store the end product somewhere – a DAT.
<B>20.) List the equipment necessary for a MIDI project studio capable of producing instrumental music solely from synthesisers and samplers.
</B>A synthesiser and a sampler with multiple outputs (multitimbral)
A sequencer (software or hardware).
A mixing console for the final stage of producing, capable of adjusting the monitoring level independently of what is going to the stereo output.
A DAT for the mastered product.
<B>21.) List the basic equipment necessary for a recording studio capable of recording any type of music. Additional equipment could be hired in as necessary.
</B>A good mixing console with monitoring section
Basic set of good microphones, at least one of them very good
Signal processors (compressors, reverb units etc)
Several pairs of headphones and a headphone aplifier
Monitor speakers and PA
A multitrack tape or hard disk recorder
Microphone stands
<B>22.) List the equipment necessary to start a popular music track in a home or project studio, then continue work in a commercial studio as works progresses.
</B>Some MIDI instruments and a sequencer plus monitoring equipment. In order to avoid bringing all the MIDI stuff into the commercial studio, a digital multitrack recorder allowing to record the MIDI tracks along with timecode is of help.
<B>23.) List the equipment necessary to record music to picture in a home or project studio.
</B>As usual, a mixing console, microphones, signal processors and monitoring devices common to a recording studio
A video machine
A digital multitrack recorder or some MIDI equipment
A synchronizer, a basic form of which allows to run (play/record) the multitrack synchronously with video, but doesn't transfer forward/backward winding operations. More advanced and costly synchronizers keep machines in sync even in case of transport commands (like rewinding).
<B>Mixing Consoles</B>
<B>24.) What is the function of automation?Automation provides a means for precisely and repeatedly controlling signal levels during mixdown. Fader positions or voltage controlled amplifiers' gain can be set to change in sync with the timecode.
<B>25.) Why would faders have to be moved during the mix? </B>
To get a suitable balance between different parts. As the music is going on, there could arise different needs for levels of different instruments/voices.
<B>26.) What aspects of mixing are normally automated on an analogue console? </B>
I don't see a reason why the levels couldn't be automated on an analogue console. So channel fades is the answer, I think.
<B>27.) Comment on VCA vs. Moving Fader automation.</B>
On VCA type of automation the channel amplifier's gain is determined by fader position (it is what adjusts the driving voltage of the VCA). No audio data will go through faders. In case of moving faders, audio signals do actually pass through faders, the latter being automatically moved by motors.
<B>28.) Describe write/update/read. </B><I>
Write</I> means storing the automation setting (fader positions or VCA gain) so it can be <I>read</I> back during the mixdown according to the timecode. <I>Update</I> or <I>trim</I> mode is a way to superimpose a new set of moves on top of previous automated set, without losing what has been already <I>written</I>.
<B>29.) How does an automated mix session start?</B>
Don't quite get the question there. When the automation data has been stored, probably the multitrack recorder has to be set to play back the audio tracks along with timecode and automation switched to read mode?
<B>30.) How would a section of automation data be re-recorded? </B>
In update/trim mode.
<B>31.) How are automation 'punch-ins' blended smoothly with existing data? </B>
By appropriately setting the system's <I>glide time</I>, which is the time it takes to change from one setting to another. The longer it is, the more smooth changes it produces.
<B>32.) How could a complex series of moves be increased in level by say 3dB? </B>
By using fader grouping. The fader(s) for which the complex series has been recorded can be grouped under another fader, called group master. That master fader can be used to apply additional automation, at this case to increase level by 3 dB.
<B>33.) Describe fader grouping. </B>
Fader grouping is where up/down movements of one – master – fader are transferred to other – slave – faders.
<B>34.) How could EQ, for instance, be automated using an analogue mixing console? </B>
By allocating two channels for a single signal and configuring their EQ differently, as needed. Automation can then be used to mute/unmute or fade up/down the channels, effectively changing the EQ used.
<B>35.) How would EQ be automated using a digital mixing console?</B>
Using stored scenes.
<B>36.) What is 'recall'?</B>
Recall is when previously stored settings are loaded in to become effective.
<B>37.) Why is recall necessary?</B>
To actually use what automation has to offer – precise and repeatable level and/or other settings changes in sync with music.
<B>38.) What advantages does a digital console have over an analogue console regarding recall? </B>
I suppose there are just more options you can store in a digital console (EQ, dynamics, etc)
<B>39.) What is the function of the gain control?</B>
It adjusts the preamplifier gain so that an input signal will have peaks around 1 V.
<B>40.) What other switched functions are available close to the gain control?</B>
Input signal select between microphone or line
20 dB attenuator pad
Phase invert
<B>41.) What is an insert point?</B>
Insert point is a location in signal path from where the signal can be routed into an external device like compressor, noise gate, or EQ (insert send) and then back to the channel (insert return).
<B>42.) What type of processing would an insert point be used for?</B>
Compressing, noise gating, equalising. Also reverb and limiting, especially in output channels.
<B>43.) What is meant by 'pre-fade auxiliary'?</B>
It means that signal is sent to the auxiliary bus from the point immediately before the channel fader, i.e. it is not affected by fader position.
<B>44.) What is meant by 'post-fade auxiliary'?</B>
The signal is sent to the auxiliary bus immediately after the channel fader, so that it's level will depend on the fader's position.
<FONT COLOR="#0000FF"><U>http://mmsound.about.com/cs/consoles/tp/consoletips.htm
</U></FONT>
<B>45.) Describe the two signal paths in the channel module of an inline console?</B>
The signal-to-be-recorded enters through microphone or line input, passes through channel fader to the bus and from here into a recorder. It is then routed back into another IO, goes through a monitor fader to the stereo bus and from there to the monitoring PA.
<B>46.) If the small fader is used to control the signal level sent to the multitrack recorder, what is the large fader used for?
</B>Monitoring.
<B>47.) What is the meaning of 'flip'?</B>
An inline console's channel has two faders that can be assigned to either recording or monitoring function (channel fader or monitor fader). The choice is made by a flip button.
<B>48.) Comment on the sharing of facilities between input and monitor signal paths.</B>
???
<B>49.) Describe two uses of PFL.</B>
Adjusting input gains – switch in the Pre Fader Listening and adjust the gain glancing at main output meters.
Identifying problem (noisy) channels maybe?
<B>50.) Comment on the danger of solo-in-place.</B>
Solo-in-place (SIP) alias Kill Solo or Cut Solo mutes all channels except the one which has the SIP button pressed and those with solo safe enabled. The danger is in that SIP affects also other outputs in addition to monitoring ones, so pressing that button is clearly undesirable in live sound enforcement or recording applications.
<B>51.) What is 'solo safe'?</B>
This is a button which, if switched in, keeps that particular channel unaffected from solo operations on other channels. Useful especially for effects returns in case of Solo-in-place, allowing to listen the SIP-soloed channel how it really sounds, i.e. with true panning and effects in use.
<B>Multitrack recording</B>
<B>52.) Comment on the current relevance of analog recording.</B>
Analog recording is currently used mainly because of its distinctive sound quality. Along with disadvantages like noise, distortion and cost, there are some advantages also. For example, analog is often easier to mix because it is more forgiving. And it is more compatible between different devices, in contrast with a diversity of digital formats with accompaning messing with complex export/import matters.
<B>53.) Explain analogue recording's characteristic sound quality.</B>
Analogue sound has a warm quality, being made 'thicker' by modulation noise. It has an inherent distortion due to nonlinearity of magnetic processes. The same nonlinearity performs a kind of smooth limiting on higher levels, until the tape reaches saturation. Another characteristic quality of analogue sound is constant noise.
<B>54.) Comment on the noise performance of analogue.</B>
Analogue recordings have quite high noise floor, in best cases giving the signal/noise ratio of about 65 dB. The noise is caused by random variations in magnetic properties of a tape. In addition to that, there is a noise component known as modulation noise, which changes together with changes in a recorded signal.
<B>55.) Comment on the distortion performance of analogue.</B>
Analogue recordings are inherently distorted because of nonlinear magnetic behaviour of tapes. The distortion increases gradually, reaching to 1% at typical peak levels of most analogue equipment. That adds frequencies to the recording that were not present in the original signal. Due to saturation effect, the distortion acts like a limiter at the highest levels.
<B>56.) What is modulation noise?</B>
Modulation noise is a noise component that changes in level together with a recorded signal. It has thre main components, Barkhausen noise being more complex (caused by “quantization of magnetic domains”) yet less important, another caused by irregularities in tape speed when it travels across the recording or playback head. The third component is sideband noise, explained below.
<B>57.) What are sidebands?</B>
The two frequency ranges that get added to any sinusoidal signal. Those ranges consist of stronger and more consistent plus weaker frequencies of more random nature.
<B>58.) What are the common professional analogue formats? (Remember that there are many valuable tapes in archives).
</B>
</U></FONT><UL>
<LI TYPE="disc">24-track on 2''
<LI TYPE="disc">16-track on 2''
<LI TYPE="disc">8-track on 1''
<LI TYPE="disc">4-track on 1/2''
<LI TYPE="disc">Stereo on 1/4'' or 1/2''
<LI TYPE="disc">Two track on 1/4''
<LI TYPE="disc">Full track mono on 1/4''
</UL>
<B>59.) Identify some analogue recorders in common use.</B>
The main manufacures are Ampex, Otari and Studer.
Ampex MM1200 (in the US)
Otari MTR90
Studer A80, A800
<B>60.) What is the difference between stereo and two track?</B>
Stereo track is one track consisting of the left and the right side. Two track is what it says, two separate tracks.
<B>61.) Describe the process of bouncing from one mono or stereo machine to another.</B>
Bouncing is a process of mixing two or more tracks together and recording them into another track (or two others for stereo bouncing). In that sense it seems we can't speak of bouncing in case of two mono machines or two stereo ones. What can be done then is just copying, duplicating.
<B>62.) Describe the process of bouncing on a 4-track machine.</B>
Two or three tracks are mixed together and recorded into the fourth track, so that the source tracks can be used for additional recordings. There is not much sense bouncing in stereo since what you then have is two source tracks mixed down to two destination tracks, whics doesn't make things better.
<B>63.) Describe the process of bounci~g on an%8-track machineo</B>
Two or move trackw are mi|ed together anderecordee into either onu or more tracks Two destination tracks is needed for stereo bouncing. The source tracks can be used for recording new material after bouncing.
<B>64.) When would you be likely to bounce on a 16-track or 24-track machine?</B>
When I run out of tracks and need to record more instruments.
<B>65.) What is a 'spin-in'?</B>
It is a technique used with multitrack tape recorders to copy or move contentseof a treck backwards/foswards i time. Uo do this, the urack istcopied to another recorter.
<B>66.)1Compare the maiotenance and cleaning of an analogue recorder to that of a digital recorder?</B>
There are much more issues that can (and must) be done with regard to maintenance of an analogue recorder in contrast to having only an option to run a cleaner tape on digital recorders. The necessary actions are mentioned in questions following.
<B>66.) Who carries out routine maintenance?</B>
Sound engineer, probably. An exception would be line-up, which nowadays is often performed by a specialist technician.
<B>67.) Describe how the heads and guides of an analogue machine are cleaned. Mention the materials used.
</B>The heads and metallic guides are cleaned by a cotton bud dipped into an isoprophyl alcohol.
<B>68.) Describe how the pinch roller of an analogue machine is cleaned. Mention the materials used.
</B>The pinch wheel is often cleaned the same way as above, i.e. with isopropyl alcohol, though it shouldn't – it is made of rubbery plastic and should be cleaned with special cleaner available from pro audio shops. A mild abrasive household cleaning liquid can also be used.
<B>69.) What are the effects of neglecting cleaning?</B>
The recording and playback heads' gaps get filled with dust particles, which has a negative effect on recording/playback of HF components. The guides get dirty, which can cause unwanted friction and increased modulation noise. The pinch wheel gets dirty and looses ~ecessar} friction, once again ccusing izregularities inmtape moving speed.
<B>70.) Why must an analogue machine be periodically demagnetised?</B>
As tape passes by metal guides, these will gradually build up residual magnetism. This will increase noise on the tape and erase the tape a little bit, degrading sound quality.
<B>71.) What happens if a machine is never demagnetised?</B>
The metallic parts the tapes go by will collect more and more residual magnetism, resulting in partial erase of any tapu put onuthat maghine.
M
<B>72.) What might happen if the demagnetised is operated incosrectly?}/B>
It%can maku thingspworse by even increasing the residual magnetic charge. Or, least harmful, it could have no effect at all.
<B>73.) Why do analogue tupe recorders need to beelined uu?</B>
To get tye maximum sound quality from thu machinu and to4ensure gonsiste~t recoreing/playback levels and quality between different machines.
<B>74.) Do digital recorders ever need to be lined up?</B>
Yes, digital tape recorders have to be lined up once in a six month or so. However, this has to be done by a trained specialist with aid of special equipment (PC and software).
<B>75.) Comment on the three elements of line up: </B>
Azimuth. The heads' gap have to be absolutely perpendicular to the direction the tape moves, othewise the HF components will suffer.
Bias. The tape is not very eager to get magnetized if the magnetizing field is below a certain level. To get over this, an AC bias is applied to the recorded signal, bringing the magnetic field strength up to where it will get recorded on the tape. On the upper end of magnetizing, the tape reaches saturation. Bias adjusting is all about to find a proper balance between noise, maximum output level and distortion.
EQ. HF playback EQ should be adjusted by means of a calibration tape with a 10 kHz signal on it, as well as both HF and LF recording EQ-s to achieve flat frequency response.
Also mention zenith, wrap and head height. (I suppose zenith is the angle indicating whether the head is tilted forwards or backwards, is it?) Wrap describes how much of the tape will be in contact with the head at any time. Head height is the heads vertical position with relation to the tape. These head adjustments don't need to be checked so often, as they are less critical to the sound quality.
<B>76.) Explain the need for monitoring in sync.</B>
Tape recorders have separate heads for recording and playback. When overdubbing not in sync, the pre-recorded tracks in foldback lag behind the recorded signals by the time it takes the tape to travel from recording to playback head. When monitoring in sync, the foldback is taken from the recording head so both the existing and new material sound together at the right time.
<B>77.) Why is the sync signal inferior to the playback signal?</B>
The sync signal is taken from a recording head, which is not specifically tailored for playback and has a reduced HF output in playback.
<B>78.) Why does this matter in track bouncing?</B>
Track bouncing is a critical operation since the bounce destination tracks will be included in the final mix. Given that, it is not wise to use inferior quality playback (from a recording head) for bouncing.
<B>79.) Is it possible to edit 2& analogue tape?</B>
Yes. “The tape is placed in a special precision-machined aluminum editing block, and cut with a single-sided razor blade, guided by an angled slot. Splicing tape is available with exactly the right degree of stickiness to join the tape back together.”
<B>80.) Is it possible to synchronise two 24-track recorders?</B>
Yes.
<B>81.) List the common digital multitrack tape formats and describe their characteristics. </B>
DASH (Digital Audio Stationery Head). _'' and _'' tape, either Normal Density or Double Density. Depending on the sampling frequency required, the tapes can be run under different speeds. Sony 3324 allows 24 tracks of digital audio on a _'' normal density tape plus two analog cue tracks, a timecode track and a control track. The same tape can be used for 48 digital tracks on Sony 3348.
MDM (Modular Digital Multitrack) formats, allowing to stack several machines together to get more tracks:
ADAT (Alesis Digital Audio Tape). 8 tracks on S-VHS tape, 60 minutes maximum record time. Resolution can be enhanced to 20 bits, reducing the number of available tracks.
Tascam DTRS (Digital Tape Recording System). 8 tracks on Hi-8 tape, up to 108 minutes of recording time. Resolution can be enhanced to 24 bits, reducing the number of available tracks.
<B>82.) What is 'formatting'?</B>
Formatting means storing a kind of administrative data on the tape. Digital data is recorded to the tape following a predefined pattern, called <I>footprint</I>. DAT, for example, stores ATF (Automatic Track Finding) signals plus Sub Code (including timecodes) in addition to audio data. The footprint is created during formatting.
<B>82.) What are the advantages and disadvantages of digital multitrack compared to analogue multitrack?
</B>Advantages:
Better sound quality
Cheaper equipment (with exception of DASH) and media
Possibility to increase available track count by stacking several machines together (modularity) – ADAT and DTRS
Disadvantages:
Compatibility problems
High maintenance costs (especially ADAT and DTRS)
Tape cannot be edited by splicing, except on DASH (it is found to be unreliable, though)
<B>83.) Comment on the difference between standalone hard disk recorders and computer based hard disk recorders.
</B>Standalone hard disk recorders are self-contained products designed as a whole by the single manufacturer.
Computer based systems use standard computer industry hardware and OS-s, to where additional hardware and software is installed.
<B>84.) Why is it a problem to use hard disks for long term storage?</B>
Disks have precicion mechanical components inside, which makes them unreliable for long term storage. Also, disk standards change very fast and cost per gigabyte is quite high in disks.
<B>85.) Onto what media does backup/archival storage take place? </B>
To the tapes like Exabyte, or to optical media, typically CD-ROM.
<B>86.) What are the advantages of standalone hard disk recorders (compared to tape) for editing?</B>
On disk recorders the tracks are not tied together in time, it is easy to shift one or several tracks forward/backward or to make copies of a succesful take to paste them where needed. On tape recorders there is much more work involved (look ‘spin in’ techique in question 65) to achieve the same results.
<B>87.) What are the advantages and disadvantages of computer based hard disk recorders compared to standalone hard disk recorders? (For the purpose of brevity the Otari Radar will serve as an example of the former, Digidesign Pro Tools as an example of the latter).</B>
As far as I could get out from the web the Pro Tools seems to be an example of computer based disk recorder and Radar represent standalone approach, not on the contrary.
However it is, I have nothing specific to say about the topic, only general gibberish.
Standalone hard disk recorders are manufactured as a whole by the single manufacturer, or the manufacturer at least knows exactly what is going on in their product. So the performance can be guaranteed by the manufacturer. At the same time, standalone systems are more expensive.
Computer based systems benefit from hard variety of standard computer industry hardware and OS-s, making them be a cheaper option. The disadvantage of such systems is difficulties in identifying the problems’ source, should they arise.
<B>88.) Why would one choose Radar in preference to Pro Tools?</B>
For guaranteed performance (I still assume Radar is a standalone product)?
<B>89.) Why would one choose Pro Tools in preference to Radar?</B>
For price (again, assuming it is a computer based recorder)?
<B>90.) Comment on the use of Pro Tools as an accessory to multitrack tape.</B>
I suppose you can do editing with Pro Tools, sort of ‘spin in’, if you like.
<B>91.) Give two reasons why analog recorders are still in use in top professional studios.</B>
For their characteristic warm sound
For more forgiving mixing
<B>92.) Comment on distortion in analog recording.</B>
Think it is the same as Q55, so duplicating:
Analogue recordings are inherently distorted because of nonlinear magnetic behaviour of tapes. The distortion increases gradually, reaching to 1% at typical peak levels of most analogue equipment. That adds frequencies to the recording that were not present in the original signal. Due to saturation effect, the distortion acts like a limiter at the highest levels.
<B>93.) Comment on noise in analog recording.</B>
Found similar to question 54, duplicating:
Analogue recordings have quite high noise floor, in best cases giving the signal/noise ratio of about 65 dB. The noise is caused by random variations in magnetic properties of a tape. In addition to that, there is a noise component known as modulation noise, which changes together with changes in a recorded signal.
<B>94.) Comment on modulation noise in analog recording. </B>
Found similar to questions 56 and 57, duplicating:
Modulation noise is a noise component that changes in level together with a recorded signal. It has thre main components, Barkhausen noise being more complex (caused by “quantization of magnetic domains”) yet less important, another caused by irregularities in tape speed when it travels across the recording or playback head. The third component is sideband noise, consisting of two frequency ranges that get added to any sinusoidal signal. Those ranges have stronger and more consistent plus weaker frequencies of more random nature.
<B>95.) What is the function of AC bias? </B>
From quesition 75:
The tape is not very eager to get magnetized if the magnetizing field is below a certain level. To get over this, an AC bias is applied to the recorded signal, bringing the magnetic field strength up to where it will get recorded on the tape. On the upper end of magnetizing, the tape reaches saturation. Bias adjusting is all about to find a proper balance between noise, maximum output level and distortion.
<B>96.) What is the distortion level of peaks in an analog recording?</B>
Typically 1%.
<B>97.) Why is the concept of clipping not relevant in analog recording?</B>
Magnetic tape gets saturated gradually, there is no abrupt cut-off as is the case with digital clipping.
<B>98.) Why is the supply reel motor driven in the opposite direction to the actual rotation of the reel?
</B>To keep the tape in constant tension against the heads.
<B>99.) What is the capstan?</B>
The capstan provides the driving force to keep the tape moving at the correct speed.
<B>100.) What is the pinch wheel?</B>
To transfer the driving force of a capstan to tape, the latter is pressed between the capstan and the pinch wheel. The pinch wheel is made of rubbery plastic and provides enough friction to bring the tape into motion.
</P>
Greetings,
mommi
Last edited by mommi on Sat Sep 27, 2003 5:47 pm; edited 2 times in total |
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Fri Sep 26, 2003 7:28 pm |
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ruiabreu
Joined: 15 Sep 2003
Posts: 12
Location: Portugal |
| recording techniques week4 |
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Hi Chris
The English spell check is now installed in my word (not just Portuguese).
I´ve bypassed 2 or 3 questions. I know I´s still a week short but I´m planning to use the weekend to start catching up on that.
Studios
1.) What facilities should recording studios (of all types and levels, other than equipment) provide?
You should provide a recording room and a control room at minimum. Both rooms acoustically treated. There should also be a waiting room usually with a kitchen facility and a bathroom. If you can’t afford a kitchen facility at the very least a coffee machine.
2.) Where in a flat or house should a home studio be situated?
It should be situated at the most isolated part of the house, away from the noisier divisions like the dining room and the kitchen. Usually the best options are: the basement or an empty bedroom.
3.) Why should a home studio be soundproofed?
A home studio is most of the times also the place you live in and normally you live with somebody else. Also there are neighbours to be concerned with. You should soundproof you home studio to prevent sound from disturbing others as well as prevent sound to come to your home studio from the outside.
4.) What problems will there be if a home studio does not have a room to itself?
You probably won’t be able to concentrate on your project because others may use the room. The best option would be to use your bedroom as you will stay away from the dining room television.
6.) Should a home project studio have its own kitchen and toilet facilities?
If you can afford it I would say yes. On this kind of studio you usually have musicians coming by to record and it would be hard to negotiate the situation with your family.
7.) Should a home project studio be separate from the house and have its own street address?
Yes. It´s always better to separate family and business.
8.) Does a home studio or home project studio requires planning permission to set up?
If there is no construction or remodelling you should not require any planning permission. If so planning permission is required. Be ware of some local laws for this kind of facilities even if you’re not doing any construction.
9.) Should a project studio have its own parking facilities?
I would say yes since you will have musicians coming to the studio almost every day.
10.) Where should a commercial studio be situated?
Ideally a commercial studio should be situated inside a city. In this kind of facility proximity to your target market is essential and cities is were you usually have the cultural stream flowing, music included.
11.) Should a commercial studio have a rest/recreation area?
Yes. In this kind of facility you usually pay by the hour. You can’t afford the musicians that are not recording to be running around the studio or control room. Also you want then available on the spot not at the nearest 5 km away moll.
12.) Should a commercial studio complex have separate rest/recreation areas for each studio?
My opinion would be no. A rest/recreation place is always a good place to exchange ideas and have some laughs.
13) Should a commercial studio have a restaurant?
Yes. Studio sessions are an intensive effort. It wouldn’t be advisable to spend 2 hours going to the nearest restaurant unless it’s next door.
14.) Should a commercial studio have a bar?
Yes. If you just sell non alcohol drinks and impose a 2 beers a day limit you should be fine.
15.) In what situations is it not necessary even for a top class commercial studio to have a restaurant or a bar?
You’re commercial studio is placed on a moll and you have lots of restaurants on that moll. Or maybe you have a good food delivery service on your area. You still need a rest/recreation room with a table for eating.
16.) Should a commercial studio have parking?
Yes please. Were would you put the limo.
17.) Why would a bedroom studio not take commercial bookings?
Do I need to answer this question? A bedroom is the place you sleep and I wouldn’t want other to know that my sheets are a month long, or find my secret magazines under my bed. Seriously, a bedroom studio is usually not a business place, if you´re going to take commercial bookings you should always get legalised first.
18. ) Why would a project studio not take commercial bookings?
A project studio is usually built by a musician or a band. They built it so that they can have a studio available all the time. If they take commercial bookings that wouldn’t be possible
20.) List the equipment necessary for a MIDI project studio capable of producing instrumental music solely from synthesisers and samplers.
A good sequencer for handling all the synthetisers ans samplers. A midi in/out interface. Audio samples usually distributed on CDs. A speaker amplifier and near field monitors.
21.) List the basic equipment necessary for a recording studio capable of recording any type of music. Additional equipment could be hired in as necessary.
Microphones. At least one good large capacitator microphone for recording vocals, a couple of good multipurpose dynamic microphones, and special microphones for the kick drum and maybe the snare. You can also hire a top capacitator microphone if you need it for a vocal or a special situation. A good recorder mixing console and/or good standalone pre-amplifiers. The mixing console must have enough inputs for all microphones (with phantom power for the capacitator microphones) and a section with enough channels for monitoring. A multitrack recorder (digital or analogue). The digital kind can be computer based (DAW) or standalone. The multitrack must have a good number or inputs (a sound card for a DAW). A headphone amplifier with 4 or more inputs (although top mixing consoles can do the same) and headphones for each musician being recorded. A dedicated speaker amplifier and near field professional speakers. A midi interface is advisable with at least one midi input for recording and a midi out for playing back. You can also hire midi gear like synthesizers for a special project.
Mixing Consoles
24.) What is the function of automation?
Automation is used to replace manual handling of processes at the mixing stage. This way you don´t have to repeat it all again everytime you platback.
25.) Why would faders have to be moved during the mix?
You may want to decrease or increase the level of a track during a music.
26.) What aspects of mixing are normally automated on an analogue console?
Increase/Decrease faders. Track muting on parts of a music for clearing some track background noise or for artistic reasons. Almost all other aspects of mixing cam be automated, specially in a DAW system.
27.) Comment on VCA vs. Moving Fader automation.
These are two types of fader automation control. In VCA (voltage Controlled Automation) you use a separate fader that, when moved, amplifies or attenuates a voltage signal. This movement is recorded in the gain control element of the VCA. These gains adjustments will control the audio signal of the channel. No audio signal passes trough the VCA fader. In Moving Fader Automation you have a motor in each channel and the faders actually move. You can record manual movements and these movements are performed by the motors on each channel. You can’t see the VCA separate faders moving when playing back the music. The Moving Fader Automation is considered to have better performance although the newest VCA seems to have similar performance.
28.) Describe write/update/read.
These are modes you can use in automation. When your automation system is in write mode, every fader movement or setting you manually change is recorded. In read mode the changes you perform will be automatically performed. Update mode is used when you want to fine tune your automation. The changes you perform in this mode will override the ones recorded before.
29.) How does an automated mix session start?
You should first level the channel faders to positions were they will stay most of the music. Then you enable write mode and start automating muting and unmuting channels and making fader’s movements according to your artistic taste.
30.) How would a section of automation data be re-recorded?
This would depend slightly from system to system. Normally you enable write and read mode at the same time and when you get to the section you want to change you make the necessary changes that will be recorded. This method is used if you want to discard the section recorded before. If you want to make fine adjustments to the automation recorded before the process might be different.
31.) How are automation 'punch-ins' blended smoothly with existing data?
Again this varies from system to system. Usually you have an update (or trim) recording mode. The automation changes you make in this mode will accumulate (and not erase) with the automation data previously recorded.
32.) How could a complex series of moves be increased in level by say 3dB?
Even again it depends on the system. In my system (Nuendo) if I have the trim mode enabled I can increase or decrease the volume fader of the region between left and right locaters even with play back stopped. This is on a digital sequencer. In a VCA system you just make adjustments in the VCA dedicated fader with the read and write mode enabled. In a moving fader systems you sometimes have to rely on fader grouping described below.
33.) Describe fader grouping.
In moving fader automation the faders actually move when in read mode. This can make fine adjustment to movements already recorded difficult because you have to use a fader already moving. However you can do it anyway and if you move the fader in this condition the system usually passes to write move while you’re making the movement. But in some systems you can use another fader to fine tune the initial fader. You assign the first fader (slave fader) to the second fader (group master fader). Then every movement you record in the master group fader will be superimposed in the recorded movement faders of the slave fader. You can afterwards join together both fader recorded information in just one fader. Usually you use a coalesce function for this job.
34.) How could EQ, for instance, be automated using an analogue mixing console?
Don´t know. Maybe some 10000 dolars speciallized device.
35.) How would EQ be automated using a digital mixing console?
In a digital console you can automate almost any function, just move the EQ knobs during playback with write mode enabled.
36.) What is 'recall'?
Recall is a function that is usually available only on digital mixing consoles. It enables loading of settings of all functions of the mixer you have recorded before (snapshot).
37.) Why is recall necessary?
Sometimes you need a certain mixing console configuration that you’ve used before. If you already have this configuration recorded before you can “recall” it immediately without having to make all the adjustments again. This saves a lot of time.
38.) What advantages does a digital console have over an analogue console regarding recall?
Digital console usually enables saving of all console settings. You just store this information in a computer file and give it a coherent name. This information, also called “snapshot”, can then be recalled whenever you want it. An analogue console doesn’t have this function and you have to make the settings by hand again.
39.) What is the function of the gain control?
Mixer consoles operate at line-level signal. Gain control function is used when you have a low-impedance signal (like a microphone) and you need to boost it to a line-level signal. For this you need a pre-amplifier. The gain (or trim) control is used to adjust this boosting of the signal.
40.) What other switched functions are available close to the gain control?
You can have a line-level/mic switchand an attenuation switch for handling hot signal.
41.) What is an insert point?
An insert point is a place in the channel strip where you can connect an external device. There are more than one ways to use inserts. Usually the audio signal leaves the channel path, goes to the external device and comes back trough the same insert. Then continues trough the channel path.
42.) What type of processing would an insert point be used for?
A compressor unit or an equalization unit.
43.) What is meant by 'pre-fade auxiliary'?
This means that the signal of a channel is sent to the auxiliary buses before it passes trough the channel fader. This way the signal is independent of settings in the channel fader.
44.) What is meant by 'post-fade auxiliary'?
It means the signal first goes trough the channel fader and just then goes to the auxiliary send. Every change you make in the channel fader is mirrored in the auxiliary send level.
45.) Describe the two signal paths in the channel module of an inline console?
In an inline console a channel strip can handle two signal paths. The main distinction between the two signal paths is the input signal. One signal comes from a microphone or instrument you want to record in a multitrack recorder (channel input). The other signal comes from an output multitrack recorder and the channel strip is used for mixing (tape or monitor input).
46.) If the small fader is used to control the signal level sent to the multitrack recorder, what is the large fader used for?
It’s used to control the signal that comes from the multitrack recorder so that you can mix all the signals into a stereo mix.
47.) What is the meaning of 'flip'?
Flip means you can switch between the channel input and tape input. In both input types you can use all the possibilities of the channel strip like EQ and bus assignment.
48.) Comment on the sharing of facilities between input and monitor signal paths.
Some inline consoles can’t use all the facilities of a channel strip in both input and monitor paths. This is a big disadvantage specially when you use the console for mixing. But if the console is “flip” enabled this means that you switch between signal input paths and the entire channel facilities can be used in both paths.
49.) Describe two uses of PFL.
You can use PFL (pre-fader listen) to setup the input signal of the mic pre-amplifier. This way you can make pre-amp input level adjustments without the signal being altered by the channel settings. You can also use PFL to hear the signal before it is altered by an insert FX unit per example. If you have a radical FX unit the source signal can become unintelligible.
50.) Comment on the danger of solo-in-place.
Solo-in-place is a solo pos-fader setup that is used if you want to now how the signal becomes after being processed trough the channel settings. The danger is that it doesn’t represent the input signal and you can’t really hear what was there in the first place.
51.) What is 'solo safe'?
If you have this function in a mixing console channel it means this channel can’t be soloed. For example: you have a channel going trough an auxiliary bus to a FX unit. If the auxiliary bus is solo safe enabled even if you solo-in-place the original channel you can still hear the sound going trough the FX unit.
Multitrack recording
52.) Comment on the current relevance of analogue recording.
Nowadays the digital recording is the major player in recording systems. Analogue recording is still used specially by people who have used it for a long time. Also analogue systems are universal in the sense that you can take a tape to another analogue studio and simply start playing. Other people use analogue for the warmer, vintage sound these systems have. There are a lot of disadvantages about analogue recording like maintenance costs and low editing versatility. In my opinion, if someone is starting his carrier in the music business, versatility and lower costs makes a digital recording system the only way to go.
53.) Explain analogue recording's characteristic sound quality.
The characteristic sound quality of analogue recording comes from the fact that the sound is distorted when recorded this way. The higher the signal you record, more distortion you get. It is this increasing amount of distortion that makes for the characteristic analogue sound. Digitally recorded sound is distorted just when it reachedsreally high levels, then it clips.
54.) Comment on the noise performance of analogue.
If the input signal is too low, only a part of the tape is used and the rest are non-aligned magnetic particles. The more of these particles are non-aligned the more noise (hiss) you have.
55.) Comment on the distortion performance of analogue.
If the input signal is too high (hot) all magnetic particles are aligned and the tape can’t handle more input signal. In this case the tape is said to be saturated and there is a distortion effect as a result of the saturation.
56.) What is modulation noise?
Its noise associated with the sound and not background noise (hiss). It appears when you have inconsistencies on tape velocity. These velocity should be constant but sometimes suffers very small changes.
57.) What are sidebands?
Sidebands are a result of modulation noise. When small velocity variations take place the signal is recorded but also other frequencies closely related to the frequency of the initial signal are recorded, the sidebands. These sidebands cause an audible thickening of the sound.
58.) What are the common professional analogue formats? (Remember that there are many valuable tapes in
archives).
The normal commercial cassette deck uses 1/8 inch tape (1/8’’ being the width). For professional use you have ¼’’ tape although these are hardly used unless you work in an archive that handles this format. Nowadays the common format for analogue recording is ½´’ tapes mainly for stereo mastering and 2’’ for multitrack analogue recorders. This width enables 24 tracks recording.
59.) Identify some analogue recorders in common use.
The main analogue recorders are Ampex, Otari and Studer. They all have models in current use although they are difficult to find unless you go to the second hand market. Ampex have the MM1200 and ATR124 (40 were only made of this one and it’s considered the best ever). Otari has the MTR90 model among others. And Studer has the A series.
60.) What is the difference between stereo and two track?
In both cases we record 2 tracks on a tape. The tape is divided in 3 parts. 2 parts are used to record 2 tracks; the part in the middle is not used to prevent crosstalk between the 2 recorded tracks. The difference between stereo and two track is that in stereo you record the left side on a track and the right side on another track, in two track you can record two mono tracks.
61.) Describe the process of bouncing from one mono or stereo machine to another.
Press play on one machine and record on another. Don´t see much use for this process.
62.) Describe the process of bouncing on a 4-track machine.
You can record in the first 3 tracks and then bounce those 3 in 1 track. The disadvantage is that you can only bounce to 1 track so the mixed signal can only be mono. In 4-track machine stereo, bouncing doesn’t make sense because it would be pointless to bounce 2 stereo tracks to the other 2 empty tracks.
63.) Describe the process of bouncing on an 8-track machine.
You would, per example, record a drum kit on the first 6 tracks and then bounce these tracks into the other 2 tracks creating a stereo track. You would then have 6 empty tracks to record other instruments.
64.) When would you be likely to bounce on a 16-track or 24-track machine?
Bouncing is a process that diminishes slightly audio quality and you shouldn’t do it unless you really need it. So if I had a 16-track or 24-track machine I would only perform bouncing in situations were I had a lot of microphones and instruments like when recording an orchestra.
65.) What is a 'spin-in'?
In analogue recording ´spin-in’ is a technique used to replace a bad sequence of a take and replace it with another part. Both parts should be equal.
66.) Compare the maintenance and cleaning of an analogue recorder to that of a digital recorder?
You have much more maintenance and cleaning to do in analogue recording. You have to clean the heads periodically. You have to demagnetize the heads and make alignment adjustments of various parts of the analogue recorder. In the digital domain you just need to change the tape for digital tape recording or defragmentation of the hard disk for digital hard disk recording.
66.) Who carries out routine maintenance?
There are specialists in performing these maintenance tasks specially demagnetizing and alignments. If you intend to make your life out of analogue recording you should learn these procedures.
67.) Describe how the heads and guides of an analogue machine are cleaned. Mention the materials used.
You clean them with cotton and isopropyl alcohol. Just rube gently these parts with cotton dipped with isopropyl alcohol. There are other types of alcohol you can use, but commercial ethanol isn’t one of them so you should be careful.
68.) Describe how the pinch roller of an analogue machine is cleaned. Mention the materials used.
For the pinch wheel a mild abrasive will do.
69.) What are the effects of neglecting cleaning?
The metallic parts are in contact with the tape. If you don’t clean the metallic parts on a regular basis the dirt will stand between the head and the tape introducing noise on the tape recorded sound.
70.) Why must an analogue machine be periodically demagnetised?
For removing residual magnetism that builds up on that parts after some time.
71.) What happens if a machine is never demagnetised?
Then part of the signal recorded on a track can be erased as it passes trough the magnetised metallic part of the machine.
72.) What might happen if the demagnetised is operated incorrectly?
You can have the opposite effect making the erasing problem even worse.
73.) Why do analogue tape recorders need to be lined up?
The alignment of the tape recorder is necessary for top performance. Also to insure that a music recorded in a tape recorder can be played in any other analogue recorded providing this recorded is also aligned.
74.) Do digital recorders ever need to be lined up?
No.
75.) Comment on the three elements of line up:
Azimuth
Bias
EQ
Also mention zenith, wrap and head height.
Azimuth adjustment is to ensure that the head is completely vertical in relation to the tape. Bias is an adjustment of the magnetic field applied to overcome the initial resistance of the magnetic tape to become magnetised. It must be carefully regulated so that bias isn’t too strong and overcomes the actual signal being recorded. The audio signal being recorded is equalised. There is a boost in the low and high frequencies but theses boosts must be periodically controlled.
Zenith, wrap and height are adjustments of the heads and are usually left for specialized technicians.
76.) Explain the need for monitoring in sync.
When you need to record a second track on top of another you need to monitor the first track (overdubbing). In analogue recording you have a problem because there are 2 separate heads for recording and playing. The play head reads the tape first and just then the record head reads the tape. If you play the first track for monitoring and start recording, the recordin track will be recorded with a time gap in relation to the first track. In this case what is done is use the record head as a play head also.
77.) Why is the sync signal inferior to the playback signal?
Because the recorded head is optimised for recording and not playing.
78.) Why does this matter in track bouncing?
Because when bouncing you have to sync the play and record signal. The signal is slightly degraded but this is a concession you have to make if you have few tracks and need to bounce.
79.) Is it possible to edit 2" analogue tape?
It is possible if you have a really big razor blade. But I would practice a lot first.
80.) Is it possible to synchronise two 24-track recorders?
Yes. You use this to replace a song part with a better take of that part. Usually you use 2 equal machines for compatibility.
81.) List the common digital multitrack tape formats and describe their characteristics.
We have DAT, ADAT, DTRS and DASH. The main difference is the type of tape it is used. DAT uses 10.5 mm DAT tape. ADAT stands for Alexis digital audio tape and uses S-VHS tapes. DTRS is a Tascam product and uses Hi-8 tape. DASH uses ¼’’ or 1/8’’ tape. For DAT, ADAT, DTRW each tape records 8 tracks, for DASH you can record up to 48 tracks but usually 24 for each tape.
82.) What is 'formatting'?
It’s the process that must be done in any digital tape media that enables the engineer to start recording.
82.) What are the advantages and disadvantages of digital multitrack compared to analogue multitrack?
Digital multitrack has better sound quality. The audio signal isn’t degraded by continual use of the tape. You can run more tracks on a multitrack recording. You can link more than one machine in digital multitrack resulting in more tracks. These systems (like ADAT or DTRS) are said to me modular. Disadvantages: the digital systems have different standards causing compatibility issues between studios.
83.) Comment on the difference between standalone hard disk recorders and computer based hard disk recorders.
Standalone hard disk recorders are dedicated systems not used or anything else. All the pieces are done to work together and you can expect to have lesser releability problems. Computer hard disk recorders are based on everyday computers (although there are some computers that are tuned for audio recording) and as such uses hardware form various origins witch may result in compatibility problems, still they are quite popular because they are cheap.
84.) Why is it a problem to use hard disks for long term storage?
Hard disks are more expensive if you consider the cost for Gigabyte. Also the hard disk eventually will fail because it is a mechanical device more prone to malfunctions.
85.) Onto what media does backup/archival storage take place?
You can backup to digital tape media or to an optical storing system like a CDR. Although a CDR is very cheap nowadays it only stores 700 Megabytes. In some projects just 1 music can use more than 700 Megabytes. If I were to buy a storage system I would seriously consider a DVD recorder since you can record on a DVDR about 8 Gigabytes.
86.) What are the advantages of standalone hard disk recorders (compared to tape) for editing?
In a standalone hard disk recorder you can copy and paste parts of a track placing it in another part of the music, editing in much more flexible. This adds another dimension on creative possibilities for musicians and a faster audio editing environment for an audio engineer.
87.) What are the advantages and disadvantages of computer based hard disk recorders compared to standalone hard disk recorders? (For the purpose of brevity the Otari Radar will serve as an example of the former, Digidesign Pro Tools as an example of the latter).
Computer based hard disk recorders are cheaper. Updates are also cheaper. They are also more flexible in the sense you can easily experiment several systems and software before you make a choice. Although when you settle for a system you should stop the playing around with software and stabilize your setup. Standalone systems are usually prettier because you don’t see a beige tower on your system (I paint everything black, case and monitor).
88.) Why would one choose Radar in preference to Pro Tools?
My main reason would be reliability. I have never used one although I suspect they are quieter.
89.) Why would one choose Pro Tools in preference to Radar?
Pro Tools has superior editing capabilities. Also it is as industry standard. Personally I wouldn’t go for Pro Tools because the professional version is just too expensive.
90.) Comment on the use of Pro Tools as an accessory to multitrack tape.
Sometimes Pro Tools is only used for editing and mixing while the recording is done with another standalone or tape digital system. Again personally I think that’s a waste of money.
91.) Give two reasons why analogue recorders are still in use in top professional studios.
They have a characteristic sound, and sound being a subjective matter, there will always be someone swearing by it. They are systems that last decades while the digital realm is always on the move.
96.) What is the distortion level of peaks in an analogue recording?
1 %, tolerable in professional standards uup to 3 %.
97.) Why is the concept of clipping not relevant in analogue recording?
The analogue tape becomes saturated as the signal level is increased, this process is gradual and distortion is gradually increased but there is no cut off.
98.) Why is the supply reel motor driven in the opposite direction to the actual rotation of the reel?
To maintain the tape under tension.
99.) What is the capstan?
It´ s a device that is in contact with the tape and delivers the force necessary to make the tape move at a constant velocity.
100.) What is the pinch wheel?
The pinch wheel helps the capstan move the tape by providing friction to push the tape. |
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Sat Sep 27, 2003 1:59 am |
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julesf
Joined: 31 Aug 2003
Posts: 58
Location: Southampton, UK |
| What facilities should recording studios |
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That was a breeze 
Studios
1.) What facilities should recording studios (of all types and levels, other than equipment) provide?
Rest area, washroom and toilet, mess room with at least kettle, microwave, fridge, sink, adequate parking. Street level accesses.
2
.) Where in a flat or house should a home studio be situated?
In a
spare room or a bedroom that is not used by other family members.
3
.) Why should a home studio be soundproofed?
To prevent sound from entering the recording area, which will spoil the recording Such as aircraft, motorcycles, TV, radio from the house. Also to prevent noise from monitoring annoying family and people next door.
4.) What problems will there be if a home studio does not have a room to itself
?
Noise ingress from other family members, disturbance from, and to, other family members.
5.) Why should a home project studio be separated from the rest of the house?
To prevent noise from other family members spoiling recordings, and to prevent noise from monitor disturbing other family members.
6.) Should a home project studio have its own kitchen and toilet facilities?
It is not necessary or practical for a home project studio to have separate kitchen and toilet facilities.
7
.) Should a home project studio be separate from the house and have its own street address?
No, If it does then it is surely not a home project studio.
8.) Does a home studio or home project studio require planning permission to set up?
If the studio is used for recreational purposes only and is not receiving paying clients, and no structural changes are being made to the building, then planning permission is not required.
9.) Should a project studio have its own parking facilities?
It is not necessary for a project studio to have separate parking facilities.
10.) Where should a commercial studio be situated?
A commercial studio should be situated in an area that is not too noisy, though further soundproofing can be used for noisy locations. It should be in an area where there is good access for parking and street level entrances to the live areas. It should be ideally away from residential areas. A remote location is good or an industrial unit.
11.) Should a commercial studio have a rest/recreation area?
Yes
12.) Should a commercial studio complex have separate rest/recreation areas for each studio?
Where possible.
13) Should a commercial studio have a restaurant?
There should be a facility for food and drink 24/7
14.) Should a commercial studio have a bar?
Alcoholic drinks should be available.
15.) In what situations is it not necessary even for a top class commercial studio to have a restaurant or a bar?
If there is such a facility very close by that can be used.
16.) Should a commercial studio have parking?
Yes parking is very important.
17.) Why would a bedroom studio not take commercial bookings?
Because it then becomes a commercial studio and is subject to planning permission, liability insurances fire regulations, and a whole host of legal obligations.
18.) Why would a project studio not take commercial bookings?
Because a project studio will not be geared up for the diverse requirements that will come through the doors. Also parking and all of the other requirements for a commercial recording studio will not be in place.
19.) List the equipment necessary for a low budget studio capable of producing Hiphop music, and Dance music of the kind that is mostly created from samples.
Computer PC/ Mac with sound card, software sequencer, sample library, sampler, small mixer (12 - 14 Channel), monitors, monitor amp (if monitors not active), Large diaphragm condenser mic (If vocals are required), midi keyboard, Sound module, CD burner and software.
20.) List the equipment necessary for a MIDI projects studio capable of producing instrumental music solely from synthesisers and samplers.
PC / Mac running MIDI sequencer, Synths and a sampler, Small mixer (say 8 Channel) CD burner and software.
Alternately, a hardware sequencer, and a CD recorder, or DAT recorder.
21.) List the basic equipment necessary for a recording studio capable of recording any type of music. Additional equipment could be hired in as necessary.
Mac or PC, digital sequencer platform (say Pro Tools) or audio recorder (16-24 track 1/2"-1"-2" tape) or digital recorder array (say 2-3 ADAT's), Mixing console (24 - 32 Channel, 8 bus). Audio converter set, Array of Mics (additional could be hired), Loom from live area to control room, mic stands, High quality nearfield / mid field monitors, 4-6 stereo outboard compressors, digital FX unit. More outboard if digital platform is not used. Sync unit if want to use the digital sequencer platform as well as audio recorder or ADAT. Mastering machine
22.) List the equipment necessary to start a popular music track in a home or project studio, then continue work in a commercial studio as works progresses.
Small mixing console, DI Box or dedicated guitar processor / front end. PC / Mac with sequencing software or standard audio / digital recorder that will allow computability when the project is moved to the commercial studio, (ADAT is good for this). Sync unit to allow Audio recorder or ADAT to sync with MIDI sequencer (Data sync 2 if using ADAT), High quality sound card or converters if computer being used as audio recorder.
Mixing Consoles
23.) List the equipment necessary to record music to picture in a home or project studio.
DAW based on PC or Mac, Mixer, Synths, Guitar, Sampler with sound library, SMPTE decoder.
24.) What is the function of automation?
Automation allows aspects of the mix to altered and the automation recorded in real time against time code.
These adjustments will automatically be repeated as the mix is replayed in the exact same SMTP frame.
The adjustment predominately are changes to fader positions but may also be EQ, AUX sends, Plug in parameters (on a DAW), Pan control etc. You can also save the entire mixer settings (snap shot) which allows projects to be quickly changed for work in progress. On manual desks engineers used to photograph the desk so the settings could be returned back to their original positions when the project was ready for a new session.
25.) Why would faders have to be moved during the mix?
During mix down it is necessary to change many aspects of the mix. This is the fundamental process of production.
Let's say that we wish to have the last word of the vocal after the verse repeating with a delay. It will be necessary to turn up the AUX send to the delay unit at exactly the correct place to achieve the effect. In the early days the engineer would do this on the fly during mix down. The result would be recorded with the mix on the mix down master machine. That's fine, but often there would be a large number of track level changes and a whole host of other "on the fly" tweaking. To the point that it may take three operators to carry out the tweaking from pre written notes and fader markers, made from strips of tape stuck next to the fader to cursor the positions.
Using automation, the production mix can be built up by a single engineer simply by playing the track and layering the various automated production processes stage by stage. Finally the track can be played for the final time and all the automation will carry out the entire mix down.
26.) What aspects of mixing are normally automated on an analogue console?
Certainly faders, but also AUX sends, Pan controls, EQ. Virtual mixers on DAW's
Most aspects are automated.
27.) Comment on VCA vs. Moving Fader automation
.
Moving faders "flying faders" are the best solution because you can see where the position is at any given time. If you select a mixer scene re-call or "snap shot" the faders will immediately move to their original positions. On VCA mixers the levels will change or be recalled but the faders will remain static. Some mixers show the relative position on a LCD display; it is their possible to move by hand the fader sliders until they match the positions on the LCD display.
28.) Describe write/update/read.
With "write selected" any automated parameter of the console that is changed in real time will be stored, or remembered.
With "update" selected any movement of an automated parameter that has already been written will be modified or "updated" Unwritten parameters will not be written for this you will need to select "write"
Read, switched in to allow reading, all written automations will be read and executed according to the written program of events.
29.) How does an automated mix session start?
Automation in real time requires time code to be generated to sync the automation to the tracks. This could be generated from the house central timecode "word clock" and fed to all equipment. On if using a standard multitrack recorder that does not support timecode then it will be necessary to "stripe" one track with time code which all other hardware can acesss. The automated console will also reference this timecode to for automation. All of this must be achieved before the session can start. Also may be a standard snapshot will be recalled before starting.
30.) How would a section of automation data be re-recorded?
First select "update" Replay the tracks and listen to the music to get a cue for the parameter to be tweaked. Move the control in real time to correct the desired effect or level change. Switch off update, switch on read. Play back the tracks; your tweak is replicated at the same SMPTE point as it was written.
31.) How are automation 'punch-ins' blended smoothly with existing data?
Use crossfades.
32.) How could a complex series of moves be increased in level by say 3dB?
It would be possible to route the channels of the complex mix to a sub group
And then increase the sub group level by 3Db
33.) Describe fader grouping.
It is possible to route individual channel faders to a subgroup group fader.
Suppose you have the ultimate drum mix of hats, kick, snare, toms, and overheads.
But the drums mix is too low in the mix. You could increase each of the faders
Of the drum channels a little and get the mix up a couple of dB. The better way
To do this is to route the drum channels to a sub group. No you can alter the drums
In the mix without spoiling the actual drum mix.
34.) How could EQ, for instance, be automated using an analogue mixing console?
The analogue console must have automation on the Eq. Use read, write, update,
To set automation. RTTM
35.) How would EQ be automated using a digital mixing console?
On a digital desk you may be able to select the type of Eq (i.e. parametric) you wish to use, then use the
The write, read, update functions to create automation. RTTM
36.) What is 'recall'?
Recall is used to "recall" a mixer snap shot that has been previously stored.
37.) Why is recall necessary?
Recall is necessary so as "work in progress" projects can be recalled, whereas all of the stored parameters will be restored to the last settings for that project.
38.) What advantages does a digital console have over an analogue console regarding recall?
Digital consoles tend to have more automated functions, and often include compressors for each channel strip. They also often have effects algorithms and some allow special plugins to be used to increase the function of the desk. These settings can be stored and recalled.
39.) What is the function of the gain control?
The Gain control sets the gain of the preamp stage to match the inputted signal. Low amplitude signals will require more gain, high amplitude signals will require gain cut. If the signal is too hot and the gain is not set correctly then front end distortion will occur.
40.) What other switched functions are available close to the gain control?
All high quality consoles also include a Pad or pad's which allow large reductions in gain say -20Db
for really hot signals.
41.) What is an insert point?
An insert point is a socket on each channel that allows the signal path to be broken and tapped off.
This is a "pre fader" tap and allows outboard processors such as compressors to be "inserted" into the signal path. It is also possible to bridge the insert point at the TRS plug and just tap off the signal to be sent to another device, or returned to a aux return.
42.) What type of processing would an insert point be used for?
Compression, Noise gate, Autotune
43.) What is meant by 'pre-fade auxiliary'?
The Aux signal is taken before "Pre" the fader and is therefore not altered by fader movement.
44.) What is meant by 'post-fade auxiliary'?
The aux signal is taken after "post" the fader and the signal level will alter as the fader is moved.
45.) Describe the two signal paths in the channel module of an inline console?
The two main signal paths are bus and auxiliary. The signal from the pre amp can be sent to the main bus or busses, and to the auxiliary sends.
46.) If the small fader is used to control the signal level sent to the multitrack recorder, what is the large fader used for?
Controls the overall level of the channel during record, used for level control during mixdown, level to mixdown master machine.
47.) What is the meaning of 'flip'?
The flip button routes the playback signal from the multitracker to the main channel strip for mixdown.
48.) Comment on the sharing of facilities between input and monitor signal paths.
Each channel fader is sent via switching to the main busses. These busses connect to the multitrack recorder. The signal is then returned from the recorder to the monitor bus via the monitor faders. The monitor bus is
Sent to the control room and possibly the master mixdown recorder.
49.) Describe two uses of PFL.
The pre fade listen feature found on most consoles allows a track to be monitored before it is faded into the mix.
It can be very useful for cue point monitoring before fading a track into the mix during mix down.
Or to monitor a channel during a live recording to a stereo recorder so as the channel source only reaches the recorded mix at the correct time. Can also be used when setting up an individual channel.
50.) Comment on the danger of solo in place.
With some console if a channel is "soloed" then the output to tape is cut from all of the muted channels, which can ruin the recording or take.
51.) What is 'solo safe'?
If you select "Solo Safe" for a channel then it's output will not be cut if another channel is "soloed"
Multitrack recording
52.) Comment on the current relevance of analogue recording.
Analogue recording sound is still preferred by many producers. Due to the flexibility of DAW's it is difficult to justify working wholly with analogue tape (though there are still some die hard's). Therefore analogue recording may still be used as part of the process. This may be to master to, or simply to fly some tracks from the DAW mix, such as drums, and then back to the DAW mix. This can still benefit the sound as it uses the natural compression characteristic displayed in tape recording and the warmth of sound due to the added harmonic distortion.
53.) Explain analogue recording's characteristic sound quality. The sound quality of analogue audio is said to
sound warmer that digital. Many producers (and clients) still prefer analogue tape recording because of this quality despite the lack of quick editing facilities.
54.) Comment on the noise performance of analogue.
The noise performance is not as good as digital platforms. There is an apparent tape hiss present on playback though this is generally only heard in quiet passages
55.) Comment on the distortion performance of analogue.
Generally the distortion in analogue is worse than in a digital platform, however the distortion is harmonic and has a pleasing sound a bit like when a valve is driven hard. It is more difficult to drive analogue into displeasing distortion by a too hot a signal and the effects of tape produce a natural compression effect for the sound making it excellent for drums.
56.) What is modulation noise?
Modulation noise is unavoidable in analogue tape machines. However it is also part of the character of the sound of these machines. It is a form of distortion but can actually enhances the sound to the ear by enriching the waveforms, fattening and warming the sound. Part of the modulation is caused by Barkhausen noise, which is c, is a complex theorem and can be reviewed here:
http://www.msm.cam.ac.uk/phase-trans/2002/JAPAN/kyushu/kyushu2.html
Other sources of modulation noise occur from the mechanisms and mechanics of the machine. Bearings and the friction of the tape against static parts can cause tape resonance or "scrape flutter" most pro machines use a roller in the head assy to prevent this. Some engineers have been know to tamper with the rollers of tape machines to create further modulation noise harmonics as it is said to warm the sound. Check out the ever-reliable SOS listings:
http://www.soundonsound.com/sos/1997_articles/may97/analysinganalogue.html
57.) What are sidebands?
Side bands are the cloud of harmonic frequencies that are produced by the inaccuracies of the tape machine.
They are unavoidable but are actually considered to enrich the sound generating the associated warmth and weight of analogue sound. Check this very excellent link:
58.) What are the common professional analogue formats? (Remember that there are many valuable tapes in archives).
24 track 2" tape,
16 track 1" tape
1/4" 2 track Tape
1/4" 1/2 track masters.
59.) Identify some analogue recorders in common use.
Fostex R-8, Tascam BR20, Otari MX-80
60.) What is the difference between stereo and two track?
On a stereo recorder you can only record on both tracks at once. On a two-track recorder you are able to record to track one and track two independently.
61.) Describe the process of bouncing from one mono or stereo machine to another.
Connect the line output of the source machine to the line input of the machine to bounce to. Set the bounce (copy) machine to record and the source machine to playback. Start the record machine and then the source machine. The output of the source machine will be "bounced" to the copy machine, other material may be mixed in to be included in the "bounce" this is known as "Sound On Sound".
62.) Describe the process of bouncing on a 4-track machine.
Select the empty track for record, select the other 3 track for playback, route the playback tracks
through the mixer to the empty track. Set levels and Eq for the bounce as required. Start the machine in record mode the three Tracks will be mixed down or "bounced" to the free track. Now further recording can take place on the bounced three tracks. Be careful, as the bounced track cannot be altered after the other tracks have been recorded to. Best back them up!
63.) Describe the process of bouncing on an 8-track machine.
Select two empty tracks for record, select the other 6 tracks for playback, route the playback tracks
Through the mixer to the empty tracks. Set levels and Eq for the bounce. Pan for a stereo image, start the machine in record mode the 6 Tracks will be mixed down or "bounced" to the free tracks. Now further recording can take place on the bounced 6 tracks, however this is totally destructive recording and no changes can be made the bounced mix. Back tracks to another recorder where possible.
64.) When would you be likely to bounce on a 16-track or 24-track machine?
If you run out of tracks on a big project.
65.) What is a 'spin-in'?
Spin in, also known as "Drop in" the multitrack is set to record on the track where the "drop in" is to take place,
The track is played and at the point where the track is to be modified the engineer "punches in" hits the record button, the part to be recorded may be a vocal part, guitar solo and may be played or sung in real time or taken from another recorded source. After the take the record made is released (punched out) so as not to erase other required recorded parts on the track. Some machines have automated punch in / punch out.
Great care must be taken when using this system, as there are no levels of undo with tape!
66.) Compare the maintenance and cleaning of an analogue recorder to that of a digital recorder?
Analogue recorders require scheduled maintenance if they are going to produce results as intended.
Hard disk recorders require no maintenance at all though digital recorders that stream to tape such as ADAT also require a degree of maintenance.
66.) Who carries out routine maintenance?
The engineer or tape op carries out most routine maintenance though some can be complex and require a service company to do the work.
67.) Describe how the heads and g | | | |
