mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
quote:
We have slack weeks towards the end of the course where we summarise and relfect on our knowledge
This is good to know Chris 
mommi |
Mon Sep 29, 2003 8:14 pm |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
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Here it goes guys, with varying quality as always, depending on the time of day (night) they were worked upon. Keep going!
1. What is the studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
If they were to play in the same room, there must be some acoustic separation between the drums and an electric guitar amp, since the latter is being picked up by a microphone. So I would think either the drums or the guitar player should sit/play in a booth. If there is another room available then it can be used for the guitar player together with his amp or for just the guitar amp. The latter option allows the musicians (the drummer and the guitarist) to be in the same room, i.e. more in contact. The bass is recorded through a DI box and is not a problem in terms of spill, so the bass player can be in the main room as well as in the control room. If a guide vocal is to be recorded, the singer could also be in the main room, I think, since it is going to be overdubbed anyway. On the contrary, if the recorded vocals is to be included in the final mix, the singer must be separated acoustically from drums. Keyboards can be placed in a control room.
2. What are 'basic tracks'?
Basic tracks are the tracks recorded first, usually the drums, bass and a rhythm guitar. Basic tracks are often called rhythm tracks as they form a framework of the song upon which overdubs will be recorded.
3. What are overdubs?
Overdubs are the tracks recorded after the basic tracks. These include vocals, additional instruments like solo guitar or brass etc. The players/singers are provided with a foldback consisting of a mix of previously recorded tracks end their playing/singing recorded.
4. What is a 'guide vocal'?
A guide or scratch vocal is a 'draft' vocal part providing the players an idea about what the vocals are going to be in the 'real' song. The guide vocal is usually recorded together with basic tracks.
5. What is 'foldback'?
Foldback is a technique by which recording musicians can hear a mix of basic tracks, overdubs and their playing during a recording session. Foldback itself is not recorded.
6. How is foldback set up?
Foldback is usually provided by means of headphones being fed from an auxiliary send through a headphone amplifier. It is shaped so as to suit the musician's needs and like, as quality of a foldback will largely affect the performance of a recording musician.
7. Describe the significance of spill.
Spill is any leakage of an unwanted signal into the microphone. In the context of foldback this could be leakage of the foldback mix from the headphones reaching into the microphone. This results in recording of what you were not after, i.e. your 'wanted' signal along with the foldback mix. This can make it hard if not impossible to get a good final mix later.
8. What is a 'track sheet'?
Track sheets are used to write down important information about what is on the tape. This includes general data like the song title, names of artists, name of the engineer, studio used. The detailed part of a track sheet shows information like what instruments are recorded on what tracks, where the takes start and end, and other useful information like effects used. That information is needed later for re-recording or mixing.
Question: is this more like an engineers tool or not? Producers also need to write things down, like how good a take was and so on. How is their paper called, if ever?
9. Comment on recording techniques used for basic tracks?
The drums would preferably be close miked, one mike per instrument. This gives more options in the mixing stage. A click track could be recorded during the first take, click being simultaneously sent to the foldback mix of the drummer, optionally for other players if they like so. The bass would be connected to the console through a DI box, the electric guitar either through a DI box or by miking a guitar amp from some 30 cm from it. Microphones for drums and an electric guitar would be dynamic.
10. How would you prepare and record a kick drum?
[url]http://www.soundonsound.com/sos/1997_articles/dec97/drumiking1.html
For all parts of a drum kit it is essential to ensure there will not be any unwanted rattles or clicks. The pedal of a bass drum should be oiled and firmly fixed. Unnecessarily long rings can be dampened by placing a pillow inside the drum (through the hole in a front skin) quite close to the beater skin; when more damping is needed the pillow can be moved to contact the skin.
I'd use a dynamic microphone put inside the drum some 5-8 cm from the rear skin and slightly off the center.
11. What type of microphone would you use?
A dynamic one, though condenser mikes can be used as well. The dynamics have an advantage of being more robust, also there is usually no need to catch the high transients from a kick drum.
12. How would you prepare and record a snare drum?
The tension of skins has to be even and can be checked by tapping around the perimeter. The bottom skin should have a bit lower tuning than the batter. Tuning should be adjusted to the needs, the higher tuning giving more grisp sound with faster decay and the lower tuning having fatter sound with longer decay. Snares must be tensioned so that they sound (mostly) when the drum is hit, not just in sympathy with other sound reaching there. Excessive ringing can be damped with the aid of small piece(s) of soft material taped on the skin near the edge.
The microphone has to be positioned so as to reject sound of a high-hat as much as possible, i.e. preferably aimed away from the high-hat, towards the skin, just above the batter head.
13. Comment on internal dampers.
The drum's internal dampers apply pressure to the rear of skin(s), so affect tuning. They also tend to add rattle. It is best to avoid their use therefore.
14. What type of microphone would you use?
Both dynamic mikes with good transient response and condenser mikes do the job. More directional mikes are preferred to reduce the high-hat spill-in.
15. Describe how a snare drum is sometimes recorded using two microphones.
http://www.soundonsound.com/sos/Feb03/articles/drummiking.asp
If more wires is desired in the snare drum sound, a microphone can be placed under the snare. That mike can be used alone or mixed with the upper one. In the latter case it is necessary to switch the polarity of the bottom microphone as the two microphones' diaphragms work in almost opposite directions.
16. Describe the tuning of drums, and toms in particular.
From the above url:
"With tom-toms and snares it is important that the head is tensioned equally around its rim. This is best done by backing all the tensioner keys off completely, then winding them up by hand until they just start to get tight. From this starting point, adjust keys in pairs on opposite sides of the head, much like you would the nuts on a car wheel. Start with a full turn (maybe two) to take up the tension, then apply a heavy pressure to the centre of the head to stretch it a little and help it to equalise its position. Next, continue winding up the tension a half turn at a time, working on opposite pairs of nuts all around the head, until the desired pitch is achieved. You can check for an even tension by hitting the head close to the rim between each pair of adjusters - the pitch should be constant all around the head."
(Can't think of any local drum player allowing me to make adjustments to his equipment though ..)
The bottom head of a snare drum should be tuned a bit lower. With double-headed tom-toms there are options for either tuning the bottom head higher about a fourth and getting a bit duller attack with pitch bending effect, or to tune it lower for a more sharp attack and with more damped sound.
Excessively ringing drums can be dampened by taping small pieces of some soft material on the skin near the edges.
17. Comment on single-headed and double-headed toms.
The single-headed toms give a louder sound and are less critical in the sense of tuning. With double-headed toms, tuning of the bottom head is critical. (see above)
18. Comment on the importance of good cymbals.
With cymbals there is not much you can do with regard to tuning, except for having an option to dampen their ring by putting some tape strips radially on them. It means they better just be good.
19. What type of microphone would you use?
Cymbals have very wide frequency range, best to go for good condenser microphones.
20. Comment on mic positioning for the hihat.
Once you opt for separate miking the hihat, the microphone should catch as much of its sound as possible and reject all the other sounds - especially that of the snare - as much as possible. A good position would be 10-15 cm above the edge of the highhat, furthest away from the snare, looking down. Sound at the outer edge is more crisp, moving towards the center gives more stick sound.
21. Comment on the positioning and phasing of drum mics.
When close miking drums there are several microphones quite close each other. This can cause phase cancellation between some of them, when the signal arrives at different microphones with an opposite or almost opposite phase. To avoid this, a 3 to 1 rule must be followed whenever possible. There is also a special case regarding this aspect - when recording the same drum from both above and below, one of the two microphones (usually the lower) must be inverted in phase.
22. How would you approach mixing drums?
Actually I would start by judging whether I can live with just the sound from the overheads, if these were present, and try to build the drum sound around them. The build-up would start with the kick drum followed by the snare, probably some compression added to them, then hi-hat and cymbals (if they were recorded separately) and finally toms.
23. What time of day is best for recording vocals?
Don't know what is best, but I know the morning hours mostly are not. It is said the voice sleeps then. The best time almost certainly depends on singer. There is a singer in an ensemble of Gregorian music here in Tallinn whose voice turns out to something very uncontrollable at somewhere between 7 pm and 8 pm (it is ok again later), so you decide the best time yourself 
24. How important is it for the engineer and producer to feel at ease with the singer?
Needless to say, it is vital. The singer is the success and failure of the song, if you upset her/him, you could as well finish with the session for that day.
25. Comment on microphone selection for vocals.
The microphone needs to ft to the singer's voice. In general, it is better to use condenser microphones because of their better frequency response on higher frequencies. This way the vocals will sound more clear. If there are sounds during the recording session you want to avoid being picked up (e.g. when the singer sings in the same room with other musicians), an unidirectional microphone is the choice.
26. What is a 'pop shield'?
Pop shield is a special screen placed in front of a microphone to prevent blasts of air from plosives from getting directly into the mike.
27. Describe the rehearsal process for recording a vocal.
Before rehearsing a good warm-up is necessary. If the singer is not very experienced, you can help him/her by asking to go through some other songs they may have.
During rehearsing the singer should run through the song a few times. Attention must be paid to phrasing and intonation. Technically, the recording level (input gain) and the foldback mix can be adjusted during the rehearsal (or should it be done already?)
28. Comment on the importance of foldback.
Foldback has crucial importance to the performance during the recording session. Foldback determines what the performer can hear and relate him/her to. The performing musician must feel comfortable with the foldback in order to perform well. In more serious cases there could arise intonation problems if the foldback is not adequate.
29. What can be done to ensure good foldback for the singer?
Use good headphones in the sense of sound and isolation (the latter is to avoid the foldback spill into the microphone). Ask the singer about how he/she feels with the mix, check the performance to see whether the foldback really helps to get the result or are there problems with intonation etc.
30. Describe the 'comping' technique of recording vocals.
When comping you combine different takes to one better take. For that you need to know which sections of the piece have been recorded well and where are problems. So keeping track on what has been recorded is a necessity. The problem sections can be given another run and finally the best parts of every take put together.
31. What is a 'spin in'?
Spin in is a technique used with tape recording to copy a section on the tape to another place. For that the section would be copied to another recorder and then back to the original where desired.
32. How can a vocal be recorded for a difficult song that the singer doesn't know well?
It cannot
Well, if absolutely necessary, you can go for several takes of short sections with the idea of comping them together later. The sections can be rehearsed one at a time in the order they are going to be recorded.
33. What are the possible remedies for out of tune singing?
Deal with the foldback. Narrow down the stereo panning, it is sometimes difficult to compare signals from very different directions. Let the singer use only one earphone to hear his/her voice more naturally. Add some reverb maybe. Check whether there is enough reference to rely upon in the foldback. Turn up the foldback level to hear it more, or turn it down if the singer sings flat.
34. How can a 'thin' voice be fattened up?
I would think of EQ there, some enhancing near 250 Hz, say.
Any other ideas?
35. Describe the possible microphone positions for a piano.
http://www.soundonsound.com/sos/may99/articles/recpiano.htm
http://www.soundonsound.com/sos/1994_articles/oct94/pianomiking.html
http://www.record-producer.com/learn/recording_technique_microphone_piano.cfm
There are many. The most piano-like, natural sound is obtained from a stereo pair in front, a few meters away from the instrument with a lid fully open. If spill in is a problem, you have to move closer with accompanying loss in quality. The loss is due to the fact that piano is quite large instrument with sound radiating from literally every point and you cannot cover all this with a clos microphone.
Closer options go as far as putting two microphones 15-25 cm above the strings near the hammer hit points, one mike for the upper strings and one for the lower ones (either spaced or near-coincident). Or using the mikes to catch sound from the sound holes, one above the far (right) end hole (basses), another for the left hole (trebles).
Recording from under the piano is also an option, though prone to pedal noises.
36. Describe the possible microphone positions for an acoustic guitar.
http://www.soundonsound.com/sos/Aug01/articles/recacgtr0801.asp
The most common way is to place a microphone ca 40 cm away from the guitar, aimed at the point where the guitar's neck joins its body. This is where the bright sound from the neck will be balanced with more boomy sound from the sound hole. Other positions are possible, like miking over the shoulder of the player, which gives the sound as the player himself hears it, or miking from under the guitar etc.
Multimiking techniques include all the stereo miking possibilities, plus approaches where microphones are placed quite close to the instrument, each one listening after different part/sound of the instrument.
37. Describe the possible microphone positions for an electric guitar.
http://www.soundonsound.com/sos/Dec02/articles/recordingguitars.asp
Usually one microphone very close to the speaker grille, pointed directly at the centre of the cone. Move away from the centre for less bright sound. Other options include miking from the back of the speaker box, which yields smoother HF, warmer sound, or using several microphones in any combination you may like (one to the centre, another more off-axis, or one in front of and another to the back of the speaker), including an ambience microphone more far away.
38. What is DI?
DI box, or Direct Insertion box, is a device for connecting electrical instruments into microphone inputs on a mixing console. It does several useful things like impedance and level matching, ground loop elimination for hum reduction and transforming an unbalanced signal into balanced one. Some specialist models also colour the sound, to imitate an electrical guitar sound being picked up by a microphone, for example.
39. Describe passive and active DI, and how a DI box is connected to the console.
http://www.soundonsound.com/sos/Jun02/articles/diboxes.asp
A passive DI box is essentially nothing more than an impedance matching transformer with a ground lift switch. Passive boxes typically accept line level inputs, although some can be used with electric guitars and basses also. An active DI box includes electronical circuits and are battery and/or phantom powered. Most of them don't include transformers, as these are relatively high cost components, though on some active boxes there are transformers in the output to provide better electrical isolation. Active boxes have higher input impedance,
40. How is a record player connected to a mixing console?
Through a special pre-amplifier into line inputs. The pre-amp provides sufficient amplification to bring the 0.5-5 mV output levels from the cartridge up to ca 100 mV of the line input. It also performs reverse equalisation to get a flat frequency response signal from the cartridge. Signals recorded on the LP are applied special equalisation (RIAA equalisation) to overcome some physical limitations of LP. The pre-amp reverts it back.
41. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Preferably two, though I think it is probably possible to live with one, using either signal splitters or channel inserts to feed a multitrack recorder.
42. How are the mix signals separated to go to two consoles?
a) using signal splitter boxes
b) feeding one console from channel insert sends of another
c) if pre-fader direct outs are available on one of the consoles, these can be connected to the inputs of another console
43. Where would the recording equipment and recording engineer be situated during the concert?
I would think they should sit close to the live mix desk, this would make connecting the recording console easier. At the same time it could be better for the recording engineer to sit somewhere in more isolation, so as to better hear what is going to be recorded. Sound levels are quite high on the air during a rock concert, after all.
So what's the answer?
44. Does a compressor act upon loud signals or quiet signals? What does it do to the signals upon which it acts?
A compressor acts on loud signals. It reduces gain on signals exceeding some predefined level called threshold.
45. Why is it impractical for a recording to have a wide dynamic range when played in a domestic listening environment?
Because
a) domestic equipment cannot usually represent very wide dynamic range
b) there is usually plenty of noise in domestic environment, further reducing the useful dynamic range of equipment
c) even if the equipment could cope with a wide dynamic range, using higher sound levels would disturb neighbours and others
46. What is the function of 'make up gain'?
The function of make up gain is to bring signal peak levels up again. Peaks are lowered by compression, they move closer to the noise floor. Make up gain brings all levels (including noise) up, so effectively making the sound louder.
47. How is a compressor usually connected to a mixing console to compress a single signal?
The input of the compressor is fed from the channel insert send, output is sent back to the channel insert return.
48. How is a compressor connected to a mixing console to compress the entire mix?
The same as above, except that the output channel insert points are used.
50. Explain 'ratio', in the context of compression.
Ratio determines the amount of compression once the threshold has been exceeded. For any gain of ratio dB in the input signal, the output signal from the compressor will have only one dB gain. So, ratio of 3:1 means 3 dB input gain gives 1 dB in output.
51. Describe the difference between hard knee and soft knee.
Knee is a matter of how soon (in terms of decibels) the compression ratio will become fully effective. Hard knee means the signals will have full amount of compression once they pass the threshold level. Soft knee implies the gain reduction will take place gradually, with signals closer to the threshold level being less compressed.
52. What are 'breathing' and 'pumping'?
Breathing/pumping is when the compressor returns too quickly from its gain reduction state, so that increase in noise level will be audible.
53. What happens if the release time is too long?
This would result in constant gain reduction, which could actually be achieved by lowering the fader.
54. What does it mean if the gain reduction meter is showing frequent changes?
That means the compressor is working effectively.
55. Describe the effect of compression on noise level.
Compression brings the peak levels down towards the noise floor. Make up gain is applied to raise the overall level so that peaks are high again in the output. Everything is raised in level by make up gain, including noise.
56. Describe the function of the stereo link switch.
Stereo link switch is used to make compression in both channels behave the same. Without it, when a signal passed a threshold in one channel this would result in gain reduction only on that particular channel, which is destructive to the stereo image.
57. What is the side chain input?
Side chain input is an input to the comressor's driving circuitry. This is used for making the gain of the signal dependent on the level of another signal that is applied to the side chain input.
58. Describe a typical use of the side chain input.
Recording voice-over to the musical track: a compressor would be inserted into the music channel insert point. The voice signal is taken from an auxiliary send and fed to the compressor's side chain input. It makes level of the music track dependent on presence of signal in the vocal track.
De-essing: the vocal part is sent simultaneously to two channels, one with a compressor attached to the channel insert point. The other channel is applied EQ boost on high 'essing' frequencies and sent through auxiliary send to the side chain input of the compressor. This way the vocals will be reduced in gain every time there are strong high fequencies present.
59. Onto what multitrack format would a live recording be made?
Good question. No idea actually .. I would think some digital Modular Digital Multitracks, either ADAT or DTRS. They are quite portable. Analogue will probably fall out of question, these are more like a studio stuff? Personally I would go for a hard disk recorder. Because I've done so
60. Is a noise gate usually effective on a mixed stereo signal?
http://www.audiomasterclass.com/units/body/18noisegatebody.html
No, noise gate is effective on a single unmixed signal with periods of silence in, during which noise is apparent.
61. Is a noise gate effective on a signal where the instrument plays all the time?
No.
62. Is a noise gate effective on a single noisy signal where there gaps in the playing?
This is the most obvious case of using a noise gate.
63. Why is it often considered beneficial to gate some or all of the mics on a drum kit (except the overheads)?
Because the drum kit microphones are placed very close each other and inevitably catch sounds from other instruments besides the one they are meant for. For example, the snare drum mike's output will always contain hihat sound and vice versa. Gating allows to selectively pass through the microphone's output only at times when the particular instrument is played.
64. How many gates are often used in live sound: none, a few or many?
Many.
65. How is the noise gate connected to the mixing console?
Like compressors and equalizers - to the channel insert point.
66. What is the function of the Threshold control?
The threshold determines the level above which the signal will be let through (the gate opens). Signals with a level below the threshold will be blocked out, i.e. reduced in gain (gate closes).
67. What is the function of the Range control?
The range control determines the degree of attenuation when the gate is closed.
68. Comment on the Attack, Hold and Release (Decay) controls.
These control the gate's behaviour on transitions from closed to open state and vice versa. Attack determines how long it takes for the gate to open fully once the threshold level has been exceeded. Hold time determines how long the gate will stay in a fully open state once the input signal level has dropped below the threshold. Once hold time has passed, the gate will reach its final degree of attenuation during Release time.
Thus, the attack and release times control smoothness of transitions from one state to another. "If the hold time is set to zero, when the signal crosses the threshold there will be a period of uncertainty when the gate doesn't know for sure whether it is supposed to be open or closed and it will change state rapidly a number of times, causing what is sometimes known as 'jitter' (not to be confused with digital jitter). The hold control is usually set to the minimum value that causes jitter to cease."
69. What would happen if a stereo signal was gated, but the stereo link function was not selected?
Gates on the two channels will inevitably behave in different manner, the result will not be of any use.
70. Why are side-chain filters beneficial?
To have more control over gate triggering. Filters can be used to make the gate open/close selectively depending on what frequencies are present in the signal. Good example is when trying to get the snare mike gate not to be opened by a hihat sound. Filtering out high frequencies in the side chain can do the trick.
71. Comment on the use of an external key to improve the reliability of gating.
With an external key, a different signal can be used to trigger the gate. If filtering didn't help with the above problem of making the snare gate trigger independently of the hihat, a contact microphone could be taped to the shell of the snare and its output fed through a mic preamp to the external key input of the gate. Now it is the presence of signal in the contact microphone that determines the gate's triggering. This results in very reliable work of the gate, since the contact mike will catch very little if any sound from the hihat.
72. What is an expander?
Expander is a more general form of noise gate. It has a ratio control similar to compressor, but it works in an opposite way - every input signal below a set threshold level will result in even more quieter output signal. Signals above the threshold level pass unaffected. So an expander increases the dynamic range of signals below the threshold, in contrast to a compressor decreasing the dynamic range of signals above the threshold.
73. Why are compressors and gates often used together?
Because compressing always rises the noise floor along with rising the overall level of signals. Noise gates are then used to suppress the noise.
74. Comment on envelope shaping using a noise gate.
You send a signal of continuous character through the gate, and use the external key to apply rhythm on it by sending some rhythmic signal to the external key input.
75. Comment on gated reverb.
This is a technique used to produce signals with abruptly ending reverberation. The noise gate would be entered into the reverb channel insert point. Part of the channel signal would be sent to the reverb unit through auxiliary send, the reverb unit output brought back to the channel insert point. The channel insert send would be fed into the gate external key input and the gate tuned so that it stayed open for awhile after the original sound ceased and then closed abruptly (long hold, short release).
76. Describe the signal flow in a three-head analog tape recorder used to produce a single delay.
http://www.audiomasterclass.com/units/body/19delayreverbbody.html
The signal to be delayed is sent from the channel auxiliary send (post-fade) to the tape recorder. The signal is recorded by the recording head to the tape and then played back by the playback head. Since there is a distance between the recording and playback heads, the playback will be delayed. The playback signal is then sent to another channel on the console.
77. In analog tape delay, using a tape recorder, how is the delay time controlled?
By changing the tape speed.
78. What is 'spin echo'?
'Spin echo' or 'repeat echo' is an application of analog tape delay. Here part of the echo return signal is sent back again (via aux send of the echo return channel) to the tape recorder. This results in repeated echoes, instead of onetime echo.
79. How was the technique of spin echo used by Jamaican dub producers of the 1960s and 1970s?
They sent so much echo signal back to the tape recorder that the repeating echoes started to increase in level until they got severely distorted.
80. At a tempo of 120 BPM, what delay times are most likely to produce musically useful results? Give four answers.
500 ms
250 ms
167 ms
125 ms
81. What are 'delay towers'?
These are speaker towers in public address systems, used in addition to the speakers on stage to provide sufficient sound levels for people located more far away from the stage.
82. How can the delay time for delay towers be fine tuned?
By producing sharp clicks on the stage and listening. Sound from the front speakers and delay towers should merge into one.
83. What is a natural echo chamber?
It is a chamber with irregular hard reflective walls. There is a loudspeaker mounted along with two microphones. The loudspeaker is fed through a power amplifier from the auxiliary send, resulting sound catched by the microphones (two are needed for stereo) and sent back to the console to be mixed with the original signal.
84. Briefly, what is assisted resonance?
This is an approach to increasing the reverberation time of a room. A lot of microphones are mounted into cylinders with different sizes and placed in strategically important places around the room. Each microphone specialises in one narrow frequency band and drives its own amplifier and loudspeaker. The gain of each microphone channel is set as high as to get the system to 'ring'.
85. Briefly, what is a plate reverb?
Plate reverb is a device consisting of a thin metal plate mounted in a soundproof enclosure. The plate is driven into motion by a special transducer similarly to a moving coil loudspeaker. Vibrations are reflected from the edges and caught by two microphone-like transducers (two of them are needed for stereo). Reverberation time can be adjusted by pressing a damping pad against the plate.
Cheers ,
mommi |
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Thu Oct 02, 2003 7:17 am |
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julesf
Joined: 31 Aug 2003
Posts: 58
Location: Southampton, UK |
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Week 5 RT.
See Mommi, you did finish before me 8O
<b>1. What is the studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?</b>
I would favor some isolation for the drums to avoid unwanted spill in both directions. This could be a drum booth or some basic acoustic screening. However visual contact with the rest of the band is important for maintaining feel and for visual cues. I used two speaker stands with a duvet doubled over them in my last recording session. This worked really well. Also better for the other guys who can monitor without a full drum kit in their faces.
Guitars can be in the main room on the calmer side of the drum screening. Keep the amps apart and if necessary screen between them to avoid spill. Bass normally is better DI'd cos they sound good like that and you cant stop that low frequency spill with anything apart from a nuclear bunker. Vocals are probably going to be dubbed so a good screened area or preferably a vocal booth is best for the takes. I run a mobile rig, which means that I have to turn any bands rehearsal space into a studio. This is just for basic tracks, the dubs are done in my project studio. Here are some pictures of the last make shift recording area that I used. This took about 1.5 Hrs to set up. <a href = "http://www.ourgatestudios.co.uk/demo">Click Here </a>
<b>2. What are 'basic tracks'?</b>
Basic tracks are the tracks that are laid down to form the structure of the song. This could be: bass, drums, rhythm guitar, keyboard, and maybe a guide vocal sound in from the control room or vocal booth to allow the musicians to keep track of where they are and add feel by interacting with the vocal. Any of the tracks may be replaced later on in the production or be the penultimate takes.
<b>3. What are overdubs? </b> Overdubs are the subsequent takes recorded over the basic tracks. They may be any additional material but are generally vocals, backing vocals, lead guitar, horns, percussion. The main basic tracks are played back through the monitors, while the overdubs are laid down by the singer or musician being recorded onto a spare track or tracks.
<b>4. What is a 'guide vocal'?</b>
The initial vocal for the musicians to follow to keep track of where they are and to enable feel and expression to be added by interacting with the vocal.
<b>5. What is 'foldback'?</b> Foldback enables the musicians to hear each other and themselves whilst laying down overdubs or basic tracks. Talk back from the control room can also be sent to foldback so as the engineer or producer can talk to the musicians or vocalist.
<b>6. How is foldback set up?</b> A pre-fade auxiliary send is selected for foldback, by turning up that aux send on any channel you will send the signal from that channel to the headphone amp which will supply the headphone points around the live room and vocal booth. More than one aux can be used to allow individual mixes for different musicians. Most quality desks have a talkback button that allows an electret mike built into the desk, or a separate talkback mike plugged into the desk to be sent to aux1.
<b>7. Describe the significance of spill.</b>
When a number of instrument or vocal mikes are set to be used simultaneously and send to individual recording tracks it is undesirable to allow the sound from one instrument to be picked up by another mike. The limits flexibility during mixdown. This is because if you wish to raise say the acoustic guitar in the mix, but the acoustic has picked up drum spill then you will increase the drum sound too. Worse than this there may be phasing problems as well.
You may also experience similar problems if the spill from the foldback headphones is allowed to be picked up by the vocal mike during takes, especially if a click track is being used.
<b>8. What is a 'track sheet'?</b>
Track sheets are used to identify what each track is being used to record. Other notes may be made hear too. These may include reference to takes, Eq notes, Mic placement notes etc. All of this will be used during mixdown. The track sheets will be stored with the track master tape, or electronically in the note pad of a DAW that will be saved with the project.
<b>9. Comment on recording techniques used for basic tracks? </b>
Basic tracks will be recorded with all of the musicians playing as a band. They will usually hear the vocalist in their foldback and though the guide vocal may be recorded it most likely won't be used as the final take. Each instrument will be recorded to its track or tracks. The basic tracks may be replaced later on in the production.
<b>10. How would you prepare and record a kick drum?</b>
Firstly tune the drum. This may well need to be a completely different tuning than would be used for live work. Drums ring and sustain, this is good for live work but this ring may need to be suppressed for close miking.
Tune the kick drum batter head equally and across the tension lugs until the drum produces a low resonance. Tune
the front head so it is the same pitch as the batter. Now add some muffling inside the drum by placing it through the miking port, say a pillow or some foam. The drum should sound tight with no ring. Place an AKG D112 or other recommended kick drum mike through the mike port on a short stand. Try these tricks. Push the mike further back towards the batter to achieve more snap in the sound. Try tuning the front head slightly lower than the batter for a fuller sound. Try removing the front head all together. Try different tuning and mike placement and beaters. Experiment, all drums and heads have different characteristics. Miking drums can be a great experience.
<b>11. What type of microphone would you use?</b>
AKG D112
<b>12. How would you prepare and record a snare drum? </b>
Tune the snare drum correctly tight batter equal or slightly less tensioned snare head. Looser batter can work for rock. Tension the snare wires so as they produce a crisp snap. Use gaffer, gel, donut, or a clip on damper to reduce ringing. Place a Sure SM57 pointing at a slight angel towards the edge of the drum. A second SM57 can be placed pointing towards the snare head but this must be physically connected phase inverted to prevent phase cancellation.
EQ and mix the two mikes to achieve the required sound.
<b>13. Comment on internal dampers.</b>
Fitted adjustable internal dampers can be used to reduce ring and overtones, however this can be achieved using other forms of damping.
<b>14. What type of microphone would you use?</b>
SM57 works well is robust and cheap if it gets a thwack form an inaccurate strike.
<b>15. Describe how a snare drum is sometimes recorded using two microphones.</b>
Good for snares, One mike on batter head, one mike on snare head, invert the phase of the snare head mic.
Stops phase cancellation.
<b>16. Describe the tuning of drums, and toms in particular.</b>
Toms should be tuned thus. Slacken both heads completely. Equally tension the batter head until there are no wrinkles. Tune across the drum bit by bit not round the drum. Continue to equally tuning until the shell resonates. Find you preferred tone within this resonating band. Now tune the batter head until it is the same tone. Check that the drum is equal by tapping each tension lug and noting the tone. All tension lugs should be equal. One tension lug can be de-tuned slightly if you like this sound. It will make the drum dip in tone slightly when struck. Some prefer to tune the bottom head slightly lower than the batter. The drum should ring and resonate when tuned correctly. The ring can be reduced for recording by dampers. If the heads are too tight the drum sound will be choked. If the head is too loose then the drum will sound flat and lifeless, plus you will loose stick response.
<b>17. Comment on single-headed and double-headed toms.</b>
Double-headed toms sound more alive, but can be a bit lively and require damping.
Single head drums (bottom head removed) can sound naturally deader, which is often preferred for recording, The mike can then be offered into the shell. I prefer to use Remo pin stripe clears on all batter heads, they are a double skin with a layer of oil in between them though the two skins do touch. I just use a single clear on the bottom head. Pin stripes tend to dull out quite quickly from new and sound cool for rock. They also record nicely too. <b>Click below</b> to hear my old kit. Those tom pin stripes are over 12 years old. The snare batter is about 5 years old. All are recorded with SM57's on the batters only. The snare mike was compromised between the hi-hat and snare, the recording is supposed to sound more live than studio for a demo. I now have a completely brand new kit fitted with new pin stripes. I have not recorded this one yet.
<a href= "http://www.ourgatestudios.co.uk/demo/drum - sample.mp3">Click Here</a>
<b>18. Comment on the importance of good cymbals.</b>
Good cymbals are important. They need to be bright and fresh to cut through the mix. The Hi hats also need to be high quality and nice sounding as these will be heard fairly high in the mix throughout the song. A duff-sounding cymbal can stick out in a mix and sound pretty crude.
19. What type of microphone would you use?
Condensers are best to capture the highs and AKG C1000's are ideal.
<b>20. Comment on mic positioning for the hi-hat. </b>
Position the mike so that it is pointing down at an angle towards the top Hi hat.
This will allow for the sound of the hat and some stick noise from the stick striking the cymbal.
Make sure that the mike will not interfere with the hat as it rises. Placing the mike towards the centre of the cymbal gives a tighter brighter sound.
<b>21. Comment on the positioning and phasing of drum mics.</b>
To avoid phasing problems don't use anymore mikes than is necessary to get the job done, and adhere to the 3:1 rule which states that any mike should be placed at least 3 times as far away from another mike as it is to the sound source.
<b>22. How would you approach mixing drums? </b>
I would solo each individual drum and assess the quality and tone of the drum on a pair of quality studio monitors. I would add Eq as required. Then I would sub group the drum parts and solo the sub group, then mix the individual drums to achieve a sensible balance. I would also pan the drums Hi hat right side tom left rack toms right and left accordingly, same with overheads, kick centre, snare centre. No drum would be hard left or right. Then I would try the drums in the mix and see if they need any alteration to levels or EQ.
<b>23. What time of day is best for recording vocals?</b>
I would say not too early in the morning and not too late at night. No one is at his or her best first thing in the morning,
And the voice can tire over the day. Having said that a pro vocalist should be able to deliver whenever they need too, and you cant hold up a studio waiting until the vocalist is at his or her best time of day (unless it's J Lo of course)
<b>24. How important is it for the engineer and producer to feel at ease with the singer? </b>
It will certainly make for a better easier session for all concerned if everyone works well together. If the artist engineer and producer have worked before on a successful session then the atmosphere will be better from the start. However if the people on the session have not worked together before then caution should be used. If the artist becomes upset or unhappy in anyway then you will not get the best takes. Sometimes it is not possible to put a bad atmosphere right and the session could be wasted. Use decorum, studio psychology and proceed step my step. It is your job to make the artist feel at ease not the other way round.
<b>25. Comment on microphone selection for vocals. </b>
A large diaphragm condenser mike is the first choice for vocals. Nuemann U87 for example, but that
Is not affordable by everyone. There are some good cheaper mikes around like the Rhode NTK. I like a valve
Mike and use an AKG Solidtube but this is not necessary and can cost more for no real reason. Neumann TL103 is also a good choice. Some producers prefer a dynamic mike for some vocals, which goes to show that it is important to choose the best mike for a certain type of voice. Cheryl Crow recorded with an SM58 on her albums, which is really quite a radical approach but proves there are no rules as such. It is best to have a selection of mics to choose from and experiment with.
<b>26. What is a 'pop shield'?</b>
A pop shield or "popper stopper" is a frame with a fine mesh stretched across it to stop rushes of air from the vocalists mouth hitting the diaphragm of the mike and causing a "P" pop. This happens when consonants are formed and is not normally acceptable on a recording.
<b>27. Describe the rehearsal process for recording a vocal.</b>
You can mouth through the vocal in the control room against a quiet backing track so as the vocalist and the producer can talk about and try some ideas whilst they are together. Then you can play the back track to the foldback and get the vocalist to try the ideas through the mike. I normally do a sneaky take without the vocalist knowing. Sometimes you can get the best take when the artist or vocalist does not know they are being recorded. When you say, "lets go for a take" the nerves can kick in and mistakes can happen.
<b>28. Comment on the importance of foldback. </b>
Good foldback is very important. If the vocalist can not her themselves or the backing track correctly then they will not be able to give there best. You must ask them if they need the vocal or back track up or down as they will not often say anything or ask however more professional artist will. In the early days when I started doing vocal sessions I did have a vocalist comment "I could have done it better but I couldn't hear what I was singing". I soon learnt after that, ask them first.
<b>29. What can be done to ensure good foldback for the singer?</b>
Use quality headphones like Beyer DTY100's always ask the artist if they are comfortable with the headphone mix.
Explain to them what you can change for them and demonstrate the changes that can be made so as they can hear them and decide if it is better. Parameters are generally: volumes, Eq, reverb, panning.
<b> 30. Describe the 'comping' technique of recording vocals.</b>
Comping is to record multiple takes of a vocal and then compile the penultimate take from the best phrases of the takes. This technique is more difficult on an analogue recorder but is easy on a DAW and especially easy on Pro Tools (sorry Chris). On an analogue recorder various takes may have to be recorded out to another analogue recorder and then "spun in" to the mix.
<b>31. What is a 'spin in'?</b>
Spin in is the technique of recording parts out of the mix or from another source such as a take, and the adding them into the mix in a different place or the same place to replace the part that was not so good. It is the equivalent of cut and paste on a DAW. Caution is required with this system.
<b>32. How can a vocal be recorded for a difficult song that the singer doesn't know well? </b>
Have a vocalist lay down a guide vocal and get it to the artist well before the session. Rehearse the artist before the session starts so as the producer can spot and correct any consistent pitching errors or bad phrasing. May be you can record the takes in phrases, the producer can sing the line through the talkback as an example, then the vocalist can sing the line, if it sounds correct then take it and move on to the next phrase.
<b>33. What are the possible remedies for out of tune singing?</b>
Try and correct the vocalist, let them listen to the take in the control room so as they can hear what's wrong. Try changing the headphone mix by panning back track in one ear vocal foldback in the other. Ask the vocalist to try removing one headphone earpiece so as they can hear their vocal naturally. Ask them to try putting a finger in one ear so as they can hear the vocal resonating through their head to their eardrum. Maybe the backing track could be re-pitched slightly sharp or flat to compensate for consistent pitching problems, the vocal could be pitch shifted sent to the foldback, the artist will correct their pitching to compensate for what they hear which hopefully will correct the problems. Maybe try the Autotune box or plugin.
<b>34. How can a 'thin' voice be fattened up? </b>
Get the artist to double track the vocal. I f the artist is not available and you only have one track, then copy it and phase shift it slightly. Try a harmonies, chorus, flange, or phaser on the main or better still on a copied second track. Don't over do it, try and keep it as natural as possible unless a heavily effected vocal is called for.
<b>35. Describe the possible microphone positions for a piano.</b>
Two or three mikes can be used in any combination. A grand piano is a large instrument with a big range that is hard to cover with one Mike. The lower ranges tend to have more amplitude than the higher. Therefore it is best to mike above the piano with the mikes fairly distanced from the strings and separated to avoid phasing problems and so as the piano sounds natural and uniform across the range. One mic can be placed four to six feet or so away and mixed in to offer some natural sound and ambience. A mic can be placed underneath the piano and mixed in but pedal noise can be a problem here. Miking is normally with the piano cover open but you could try some boundary mikes sat on top of the closed cover or a mixture of both. You can close mike the strings but the sound will be bright and unnatural though this can be good for pop or dance.
<b>36. Describe the possible microphone positions for an acoustic guitar. </b>
I usually mike with a LD Condenser at around the 12th fret and quite close to the strings. Moving nearer to the sound hole can get to boomie but this position could be miked, recorded to a separate track and mixed in as required. If the player is using a guitar with a piezo bridge pick up or other quality pick up I always record this to a separate track and mix it in if it sounds nice.
<b>37. Describe the possible microphone positions for an electric guitar.</b>
Mike the cabinet with a dynamic mic or a LD Condenser mike if it has a -20db pad. My Solidtube works great on cabs (and most other sources). Try placing the mike from the centre that will give a bright sound to the outside that will give a darker sound. Also try the rear inside of the cabinet and a DI from the pre out as a second source.
Watch out for phase cancellation if using more that one mike at once.
38. What is DI?
Direct injection takes virtually any signal form any non balanced source, matches the amplitude and impedance, and converts to a balanced line signal which will be compatible with the mixing consoles balanced line XLR input. This could literally be a bass guitar, keyboard, or even the speaker output of a PA. A DI box with a -40db pad will handle the output from a 3Kw speaker stack and convert it to a signal that will input into the Mic XLR of a recording console. Very nifty! DI boxes come in passive and active versions. Horses for courses.
<b>39. Describe passive and active DI, and how a DI box is connected to the console. </b>
A passive DI box uses a matching transformer to match impedance and convert the signal to balanced line. This has the advantage of quiet operation as there are no noisy active electronics, however passive boxes are not so good at boosting signals as an increase in amplitude will mean a reduction in current. Active DI boxes use electronics to carry out all necessary matching and signal conversion. They require power either from a battery, mains adapter,
Or phantom power from the console. The cheaper one's can be noisy, maybe Ok for FOH live mixing but not so good for pro recording.
<b>40. How is a record player connected to a mixing console? </b>
With a good adhesive and screws (lol, too many Bud's) Then connect the cartridge output to a pre amp with RIAA compensation. The output of this mixer can then be connected to the desk. If the run is long, use a DI box and connect to an XLR on the console.
<b>41 how many consoles are necessary to make a live recording of a conventional rock band?
Three, one for FOH mix, one for stage foldback mix, one for the multitrack mix.</b>
<b>42. How are the mix signals separated to go to two consoles?</b>
Use the insert outs (bridged) to take the channel signals from the main desk to the secondary.
<b>43. Where would the recording equipment and recording engineer be situated during the concert? </b>
In an isolated area that is away from the sound coming from the stage, and in a place where the sound of monitoring will not disturb the audience. I have used a van in the car park before which worked well. After the first hour.
<b>44. Does a compressor act upon loud signals or quiet signals? What does it do to the signals upon which it acts?</b>
If the unit is just a compressor then it acts upon loud signals. If the unit also has an integrated expander, or is a true dynamic processor or compander then both. The compressor section reduces the gain of a signal by a pre-defined ratio when the pre defined signal level threshold is exceeded. The expander increases the level by a preset ratio should the level fall below the pre set threshold.
<b>45. Why is it impractical for a recording to have a wide dynamic range when played in a domestic listening</b> environment? The reproduction equipment is not capable of reproducing the sonic dynamic range and headroom of the studio recording and monitoring equipment.
<b>46. What is the function of 'make up gain'?</b>
When the compressor is working hard and reducing lots of peaks that there is an initial overall gain reduction or loss. The make up gain is turned up to restore the output signal to near 0db.
<b>47. How is a compressor usually connected to a mixing console to compress a single signal?</b>
The compressor should be connected to the channel strip insert.
<b>48. How is a compressor connected to a mixing console to compress the entire mix?</b>
A stereo (or two mono) compressor(s) should be connected to the console main outs and then to the mastering machine Or FOH amplification system.
<b>50. Explain 'ratio', in the context of compression.</b>
The ratio is the n:1 decibel reduction that is applied to the input signal when the threshold is exceeded.
<b>51. Describe the difference between hard knee and soft knee.</b>
This refers to how aggressively the compression is applied; hard Knee compression mode is more aggressively
Applied than soft knee. The choice of hard knee or soft knee would depend on what the compressor is being used for.
52. What are 'breathing' and 'pumping'?
Pumping occurs when the compression is with too little attack or release and the dynamic changes made by the compressor are actually heard and are apparent in the mix. Unless you want this effect, try altering attack and release to avoid pumping.
<b>53. What happens if the release time is too long?</b>
If the release time is to long then dynamics may be removed from the track all together and the track
Will appear to stay at one level.
<b>54. What does it mean if the gain reduction meter is showing frequent changes?</b>
It means that the threshold is being exceeded very often and the compressor is doing its job of reducing
The gain. If this is not producing desirable effects then try reducing the input amplitude. The threshold will be exceeded less often.
<b>55. Describe the effect of compression on noise level. </b>
Compression will increase the noise level in the mix. If the compressor is equipped with an expander gate, then use this to set the threshold of the expander so as the noise floor is gated out. Otherwise use a noise gate in line with the compressor.
<b>56. Describe the function of the stereo link switch. </b>
The stereo link switch takes the VCA control voltage of channel 1 and applies it to the VCA of channel 2.
The normal control voltage for channel 2 is disabled. Now both VAC's are controlled by channel one parameters.
This saves time when compressing a stereo mix as only one channel need be set, it also provides consistency for the mix.
<b>57. What is the side chain input? </b>
Normally the VCA control voltage is generated by the dynamic processor that uses the signal input as reference. The side change allows a side change signal source to provide reference to the dynamic processor while the main signal in is the signal to be processed by the VCA. This allows an external non-related, or a processed "wet" signal from the compressor input to act as reference for deriving the control voltage for the VCA. Examples of side chain use are "ducking" Backing track is played on a radio show, the backing track is processed through the compressor main inputs in stereo configuration. When the presenter talks his voice signal is sent to the side chain input of the compressor. The compressor acts upon this signal and drops the backing track "ducks" so as the presenter can be heard. By taking a signal from a vocal channel insert to a compressor and also routing the vocal signal through a filter and then to the compressor side chain it is possible to create a de-esser. This works by tuning the filter to only allow the offending frequency to pass, when the compressor sees the signal on the side chain it "ducks " the output from the compressor. Now you have a compressor that only "ducks " the sibilant content of the vocal.
<b>58. Describe a typical use of the side chain input.</b>
Examples of side chain use are "ducking" Backing track is played on a radio show, the backing track is processed through the compressor main inputs in stereo configuration. When the presenter talks his voice signal is sent to the side chain input of the compressor. The compressor acts upon this signal and drops the backing track "ducks" so as the presenter can be heard. By taking a signal from a vocal channel insert to a compressor and also routing the vocal signal through a filter and then to the compressor side chain it is possible to create a de-esser. This works by tuning the filter to only allow the offending frequency to pass, when the compressor sees the signal on the side chain it "ducks " the output from the compressor. Now you have a compressor that only "ducks " the sibilant content of the vocal.
<b>59. Onto what multitrack format would a live recording be made? </b>
A live recording could be made on any mulititrack format.
<b>60. Is a noise gate usually effective on a mixed stereo signal?</b>
No, there is normally no use for a noise gate on a stereo mix, there is nothing to gate.
<b>61. Is a noise gate effective on a signal where the instrument plays all the time? </b>
No, it is not possible to gate a signal that needs to be heard all of the time.
<b>62. Is a noise gate effective on a single noisy signal where there gaps in the playing? </b>
Yes, on the gaps where there is no sound and the noise floor shows through it is useful to gate it out.
<b>63. Why is it often considered beneficial to gate some or all of the mics on a drum kit (except the overheads)?</b>
It is beneficial to gate drums such as rack tomes and side toms. These drums are not played all of the time so they can be gated to avoid the mics picking up spill from the other played drums and cymbals. This can help keep a tighter drum sound and avoid phasing problems. Gates can also be used for effect on drums.
<b>64. How many gates are often used in live sound: none, a few or many? </b>
You can use as many gates as you need to control unwanted spill and feedback.
<b>65.How is the noise gate connected to the mixing console? </b>
Through the channel strip insert.
<b>66. What is the function of the Threshold control? </b>
The threshold controls at what levels the gate opens and the signal can be heard.
<b>67. What is the function of the Range control? </b>
The range control sets the level of attenuation when the gate shuts. </b>
<b>68. Comment on the Attack, Hold and Release (Decay) controls.</b>
Attack controls the speed that the gate opens at after the threshold has been reached.
Hold depicts the time that passes after the signal has dropped below the threshold before the gate closes again.
Release controls the speed that the gate closes after the signal has dropped below the threshold and the hold time has passes.
<b>69. What would happen if a stereo signal was gated, but the stereo link function was not selected?</b>
The left and right channels would gate on and off at different times, not good!
<b>70. Why are side-chain filters beneficial? </b>
Side-chain filters allow the selective filtering of certain frequencies only. This can be useful to prevent the say a kick drum from sounding by the spill of a snare drum.
<b>71. Comment on the use of an external key to improve the reliability of gating. </b>
It is possible to use an external key signal to control gating rather than rely on the source sound.
This could be another mic or a pizeo contact mic placed close to or adhered onto the surface of say a drum which will serve to just trigger the gate. This will allow much tighter triggering control without compromising sound quality by having to position the recording mike in a way that is not beneficial to sound quality but would have provided better quality triggering.
<b>72. What is an expander? </b>
An expander is the opposite of a compressor. It increases the amplitude of a signal that surpasses
A preset gate threshold by the preset amount R:1 ratio. This has the effect of further shaping the dynamic to make it more musical and make better use of the available dynamic range.
<b>73. Why are compressors and gates often used together? </b>
<b>74. Comment on envelope shaping using a noise gate.</b>
Using the attack hold and decay controls of a noise gate you are able to alter the natural envelope of the incoming signal.
<b>75. Comment on gated reverb.</b>
Gated reverb allows a "dry" signal to only become "wet" with reverb if a preset threshold is reached.
<b>76. Describe the signal flow in a three-head analog tape recorder used to produce a single delay.</b>
<b>77. In analog tape delay, using a tape recorder, how is the delay time controlled? </b>
By changing the speed of the capstan and thus the tape.
<b>78. What is 'spin echo'?</b>
By feeding back some of the delay signal back into the input of the delay unit a very deep echo is produced,
This technique is known as "spin echo".
<b>79. How was the technique of spin echo used by Jamaican dub producers of the 1960s and 1970s? </b>
They used to feedback so much signal that the signal went into complete saturation. UB 40 also used this
Technique which sounds really cool.
<b>80. At a tempo of 120 BPM, what delay times are most likely to produce musically useful results? Give four answers.</b>
1/4 beat = 500ms
1/8 beat = 250ms
1/16 beat = 125ms
1/8T beat = 166.66666 ms ((2*1/8 = 500ms) / 3 = 166.66666)
<b>81. What are 'delay towers'?</b>
Delay towers are set up at large concerts and festivals (normally open air) to compensate for delays
In the sound for people further away from the stage.
<b>82. How can the delay time for delay towers be fine-tuned? </b>
Delay towers can be fine-tuned by altering the delay to the signal to the delay tower amps. But also
in some circumstances delay is also added to the main speakers too. This is to do with Hass's theorem
<b>83. What is a natural echo chamber?</b>
A natural echo chamber is a room with a hard surface on the walls ceiling and floor which is encouraged to produce natural reverberation. A speaker or speakers are placed in different parts of the room and microphones are also placed at points adjacent to the speakers. The source sound is played "sent" to the speakers and the mics pick up and "return" the wet signal back to the console. This is a natural reverb processor. Abbey Road studios had one in the basement that was used on a lot of the Beatles recordings.
<b>84. Briefly, what is assisted resonance? </b>
Assisted resonance is a system that artificially replaces lost acoustics in concert halls due to low frequency absorption by the ceiling audience and furnishings. It involves the use of microphones to pick up reverberation, amplify it and play the sound through multiple tuned port concealed speakers. The royal festival hall used this #
System in conjunction with 1200 tuned speakers in the ceiling. Check the link:
http://www.ioa.org.uk/publications/web_articles/Rfh/rfh-3.html
<b>85. Briefly, what is a plate reverb?</b>
A large steel plate is hung up and transducers are placed on its surface at different points. The sound is played into the plate "sent" and the transducer pick up the delay effect and "return" it to the console. This produces a nice reverb for vocals and is a bit like a big spring line reverb unit.
Cheers,
Jules |
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Thu Oct 02, 2003 9:21 am |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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Very very good stuff guys, you are really getting your teeth into these questions now.
These are the hardest weeks and the amount of questions will relax soon.
I'll only indicate big errors in the work when I see them and iron out any major problems in the Live Workshop.
Well done to both.
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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Thu Oct 02, 2003 1:56 pm |
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Albow
Joined: 02 Sep 2003
Posts: 27
Location: Spain |
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Oh balls I though I was going to be the first one to finish for a change.
Never mind.
http://www.blissland.net/SoundLab/III8.htm
1. What is the studio layout for a conventional rock band consisting of
drums, bass, electric guitar and keyboards?
The drums would be in a separate drum booth or set apart in a larger studio
in a room with a good room sound. The singer would be separated off in a
booth. The bass player, if DI'd in sould literally go anywhere.
2. What are 'basic tracks'?
Basic tracks are the intial tracks recorded to given the structure of the
song. These will normally take place as a live performance to capture the
band "feel". They may go on to form the final recorded take, particularly
the rythym section and will contain a vocal line for foldback purposes.
3. What are overdubs?
Once the basic tracks are laid down, the group and producer will add
further elements to the recording. These are called overdubs. The band
will hear the current track through foldback and play to the tune. The
overdub is recorded on a separate track and added in later.
4. What is a 'guide vocal'?
The guide vocal is the vocal line that accompanies the basic track. This
will not be the final recorded vocal line, but a melody guide for the
singer to follow from foldback.
5. What is 'foldback'?
Foldback allows the musicians to hear the recording signal while they are
playing. This can be a click track as well as the other instruments and
vocals playing in the track.
6. How is foldback set up?
Foldback is set up individually for each musician. It is heard through
headphones and each musician can choose which sounds recieve a greater
prominence in the mix they are hearing.
7. Describe the significance of spill.
Spill is the sound of the track playing back through headphones. This
could spill over intohthe mix if it i picked0up by s1udio miSs. Car- must
e taken to prevpnt this: for example by!the useof sealod headp0ones.
8. What is a 'track sheet'?
A track record keeps details about a track being recorded. Information
includes who played wqat on t'e trackfand, lauer in toe recor&ing proaess,
w4at effe1ts were:used an/ any editing thxt had baen taking place'
9. Comment on recording techniques used for basic tracks?
The producer may record the band running through the track a few time0 to
ge3 the so/nd of aaband pleying todether. Each drlm soundeis ofte_ mic'edI
separaRely so !hat all levels 6atch. Ohe bass can be recorded through a DI
box.
10. How would you prepare and record a kick drum?
The kick drum would have to be secu'ely attyched tofthe flo_r to ma_e sure
Mthat itrdoes no5 move. 'To damp5n the slund andbget rid3of the ninging hat
caj occur, taking the front head off or tightening it is one possibility,
also putting in a sandbag or pillow is another.
11. What type of microphone would you use?
For drums a dynamic mic is preferable, and some mics are made with this
specific purpose suc1 as thesAKG D11/.
12/ How w uld youpprepareand recard a snare drum'
Theosnare i0 centra3 to the-drum soand and Et is essential to get it right.
Therefore the snare must be tuned and dampers applied to stop rattles -
this is done by placing heavyotape at.points ehere ra4tles ca! be sen:ed
whe/ hittini the drym head.a Mics snould be'placed a or 3 iHches fr m the
kin, off centre so that they cannot be hit by drumsticks
13. Comment on internal dampers.
Internal dampers ensure the lack of radtles bydtighten ng the lkin froj the
rear. Hoyever itsis not c popula, method
as it 6an rend:r the duums outl
of tunc. It can take a lot of skill and patience to tune the drums in the
first place.
14. What type of microphone would you use?
Oncp again : dynamia mic isafavoure' for drOm sound0. Aswel as th' AKG
Da12, theeShure Bdta 57 i often lecommended as a_good alY-purposr mic.
)
15. D scribe 7ow a snkre drumais someqimes re'orded ufing two4microphgnes.
One miceophone 4s place1 2cm above the top head, and another is placed 2cm
below the bottom head
16. Describe the tuning of drums, and toms in particular.
Firsp you ha2e to deaide on `he requ%red tonN depend0ng on te styleof
musac to beeplayed.d Firstl loosenlall teneioner keys and tighten up each
key half a turn in sequence on opposite sides of drum heads. Press the
drum surface to check tension 0hroughot the s/rface aid tap txe head
asurfaceFto chec# the piach is ehen all ver the surface0
Tom1 give ac extra .ing, so care must be taken to prevent them from
over-ringing by fixing gaffa tape to any wires.
17. Comment on single-headed and deuble-he_ded tomY.
Sirgle-hea)ed toms have a 7op headOonly, deuble-heqded hav' a bottdm head.h
Singledheaded foms wile give a louder, more resonant sound, doubles give a
duller more contained sound.
18. Comment on the importance of good cymbals.
It is important for cymbals to have a clear, crisp sound. This can be
jeopardised by pitted, scratched or dirty cymbals.
17. WhatOtype ofemicrophqne woul& you usf?
A uondenseo mic istbest to.ensure :he full6range o: soundsuis pickld up.
c
20. Comment on mic positioning for the hihat.
The normal overhead mic may be enough to capture the sound. Otherwise a
dedicated aic woulh have t be pos tioned 0ar enou1h away so as no/ to be
+hit whe it is ppened, :nd away`from tha gust o' air reoulting from the
opening and closing of the hihat.
21. Comment on the positioning and phasing of drum mics.
To avoid spill from ether drqm sound', the mfcs haveqto be positione. far
eEough aw4y from 1ach oth:r. An /quationifor thiy is thaa the mijs should
be 3 times further from one another than they are from the sound source.
To avoid phasing, it is better to suspended frm thenceiling0a few f3et in
/ront ofathe druekit thad the co ners tolcaptureathe roo_ sound.Y
22. rHow wou)d you a proach 7ixing drums?
Put the kick and snare in the centre for a punchy sound. Then bring in
other drums in from the side - eg cymbals on the left and toms on the right
23. What time of day is best for recording vocals?
I know that the answer to this is "whatever time suits the vocalist."
However, for myself I notice that I start off the day very croaky and can
sing better later in the day. I had imagined that this is because the
vocal chords require warming up before they become more flexible. In that
case I would say that the bias would be on the afternoon.
24. How important is it for the engineer and producer to feel at ease with
the singer?
It is very important as communication between the two is vital so that the
producers can articulate what they require from the singer without causing
offence, and so that the singer can be encouraged so that s/he performs to
the best of their ability
25. Comment on microphone selection for vocals.
An all-round good mic would be a condenser microphone such as the Shure 57,
which will get a warm professional sound. However, for a rougher sounding
track, one might choose a rougher sounding mic, with perhaps effects added.
26. What is a 'pop shield'?
A pop shield is put 10 cm infront of the microphone to prevent the popping
sound from the p and b sounds from spoiling the vocal performance.
27. Describe the rehearsal process for recording a vocal.
Run through the song a few times to get warmed up. These takes are always
worth recording as they are natural and might be good enough for all or
part of the final track.
28. Comment on the importance of foldback.
Foldback is important for all the musicians so that they can play/sing in
time with the track and can choose a musical setting that they feel
comfortable in. That way they can give the best possible performance.
29. What can be done to ensure good foldback for the singer?
To ensure good foldback, ask the singer which instruments of the mix they
perfer to be prominent and add in effects that are likely to make the voice
sound as good as possible eg. reverb/compression.
30. Describe the 'comping' technique of recording vocals.
With comping, a few takes of the vocal performance will be recorded, and if
a single performance is not good enough for an entire final take, the
vocals can be spun in from sections of other takes to give a complete final
take.
31. What is a 'spin in'?
Spinning in a section is when 2 tape reels are lined up so that they are at
the same point. At the point where it is needed, the music from one reel
will be recorded onto the other one.
32. How can a vocal be recorded for a difficult song that the singer
doesn't know well?
Provide a lyric sheet for the singer and record the song breaking it down
into sections. If there is time, the singer could be given the song to
become familiar with.
33. What are the possible remedies for out of tune singing?
Pitch-shifting out of tune parts using a Harmonizer could be used. I have
also heard of Antares Autotune which can completely reconstruct out-of-tune
notes. Otherwise, hire session singers like Milli Vanilli did.
34. How can a 'thin' voice be fattened up?
You could add reverb and echo to the voice, do 2 takes of the vocal and put
them together (doubling) or add chorus effects or distortion to the voice.
35. Describe the possible microphone positions for a piano.
2 microphones underneath the lid 20cm apart on a grand piano. Underneath
the piano on the floor next to the sound board, hopefully without a
heavy-footed pianist.
36. Describe the possible microphone positions for an acoustic guitar.
Not directly pointing at the sound hole but positioned at an angle to it to
avoid bass-booming sounds.
37. Describe the possible microphone positions for an electric guitar.
Between the centre and the edge of the cone of the amp and as far away from
the transformer as possible to avoid hum. From here mic positions can be
experimented with to find a preferred sound. The sound is cleaner towards
the centre of the cone.
38. What is DI?
DI is playing an electric instrument directly into a mixing console
avoiding the use of an amp. A DI box helps maintain the signal level to
the console.
39. Describe passive and active DI, and how a DI box is connected to the
console. Passive DI does not require power and changes the impedence of
the signal to match the console. Active DI works on Phantom Power or a
battery and output at microphone level.
40. How is a record player connected to a mixing console?
By using a pre-amp. The signal level provided by the stylus cartridge is
not enough to provide a recording-level volume for the mixing desk, so the
pre-amp will give the signal the necessary extra boost.
41. How many mixing consoles are necessary to make a live recording of a
conventional rock band?
Only one is necessary - running cables from each channel input to the
other. 2 may be preferable so that one can be used for the sound man
during performance and the other one can be used to record the performance.
42. How are the mix signals separated to go to two consoles?
By using a mic splitter. This is a cable that splits off into 2
connections.
43. Where would the recording equipment and recording engineer be situated
during the concert?
One often sees the mixing desk at concerts - 3/4 of the distance towards
the stage from the back of the audience situated in the centre. This way
the sound engineer can hear the preformance as the audience hears it.
44. Does a compressor act upon loud signals or quiet signals? What does
it do to the signals upon which it acts?
It acts upon loud and quiet signals. It reduces the dynamic range of the
sounds, So it will move the louder signals towards the quiet ones and vce
versa..
45. Why is it impractical for a recording to have a wide dynamic range
when played in a domestic listening environment?
The equipment that reproduces the sound will not be able to handle the
dynamic range of sounds that the instruments will produce.
46. What is the function of 'make up gain'?
Gain is lost as the sound is compressed. Make up gain is added to the
compressed sound so that the compressed sound can be reproduced at the same
volume.
47. How is a compressor usually connected to a mixing console to compress
a single signal?
To the insert point on that particular channel
48. How is a compressor connected to a mixing console to compress the
entire mix?
Through the master stereo insert points
50. Explain 'ratio', in the context of compression.
A sound is compressed from a threshold, up until which the signal is not
affected. Above this theshold the ratio is set, for example 3:1, which
ensures that for a signal 3 decibels above the threshold, 1 decibel is
output after compression.
51. Describe the difference between hard knee and soft knee.
When compression is set to hard knee it only applies compression to sounds
over the selected threshold. Soft knee will apply compression on a
steadily increasing curve from 1:1 to the selected compresson rate.
52. What are 'breathing' and 'pumping'?
If the compression rate is set very high and the threshold too low, it
boosts the background noises when it is quiet.
53. What happens if the release time is too long?
The compresser simply lowers the volume instead of compressing the range of
frequencies within the sound.
54. What does it mean if the gain reduction meter is showing frequent
changes?
It means the compressor is working effectively - dealing with sounds above
the threshold.
55. Describe the effect of compression on noise level.
It increases noise level due to the added gain.
56. Describe the function of the stereo link switch.
This enables compression to function on both left and right channels.
57. What is the side chain input?
This enables the signal to route out and be processed by another device
before returning to the compressor to be processed by the compressor.
58. Describe a typical use of the side chain input.
This can be used when you do not want another sound to be compressed. For
example a voice-over may contain a different effect for the voice, if any,
whereas the music in the background will be compressed throughout the
voiceover.
59. Onto what multitrack format would a live recording be made?
Digital or analogue, depending perhaps on the type of musical style ie - if
it is digitally created music, for example, it would be unlikely that
analogue be chosen.
60. Is a noise gate usually effective on a mixed stereo signal?
Apparently not. There is to much signal in stereo for the noise gate to be
effective.
61. Is a noise gate effective on a signal where the instrument plays all
the time?
No - a noise gate is only useful when there are quiet sections and
background noise can be heard
62. Is a noise gate effective on a single noisy signal where there gaps in
the playing?
Yes - this is what a noise gate is for - when there are gaps in the playing
and you have a vocal and keyboards for example. You don't want the guitar
amp buzzing in the background.
63. Why is it often considered beneficial to gate some or all of the mics
on a drum kit (except the overheads)?
So that when they are not being played, they no not pick up spill from the
other drums
64. How many gates are often used in live sound: none, a few or many?
At least a few - possibly many - it would depend on how many
instruments/amps that bleed sound are used for the performance.
65. How is the noise gate connected to the mixing console?
A channel insert point of the mixing console for each specific device..
66. What is the function of the Threshold control?
To set a frequency of noise above which the noise gate will function.
Below the set threshold the noise gate will not be activiated.
67. What is the function of the Range control?
The range control governs how much the gate opens and closes. This makes
it more or less obvious that there is a noise gate at work.
68. Comment on the Attack, Hold and Release (Decay) controls.
The attack and release controls determine the envelope of the sound which
is permitted through the gate. This can make the transition between the
gated and non-gated sound smoother - allowing quieter notes to come through
and not cutting them off mid-signal. The hold will set a time for how long
the gate remains open, even after the signal has dropped below the
threshold.
69. What would happen if a stereo signal was gated, but the stereo link
function was not selected?
The gates on either side of the stereo signal would open and close
independently, depending on the state of the signal on each channel. Then
you would get noise on one channel at times but not on the other.
70. Why are side-chain filters beneficial?
They enable a selected signal to be sent out to be gated. The selection
can be made to gate only those noises sent to the side chain. For example,
with drums, the mics to the snare, hihat are close to each other, only the
frequency of one of them may be chosen to be gated.
71. Comment on the use of an external key to improve the reliability of
gating.
http://www.record-producer.com/learn/technology_sound_dynamics_noise_gate_external_key.cfm
You would use this for example if the gate was not opening and closing
reliably on the snare drum.
These are the steps to take to ensure that the gate is triggered by no
other external sound.
* Feed the signal from the regular mic through the gate as normal. * Tape
a contact mic to the shell of the snare drum. * Feed it via a preamp to
the external key input of the gate. * Switch the gate to external key
('EXT'). * Set the threshold etc. for reliable triggering.
72. What is an expander?
An expander sounds to me like the opposite of a compressor, in that it
makes loud sounds louder and quiet sounds quieter. This will serve the
purpose of a very subtle noise gate.
73. Why are compressors and gates often used together?
Noise gates get rid of unwanted noise, compressors will boost the quieter
signals of what remains.
74. Comment on envelope shaping using a noise gate.
The envelope can be shaped to longer or shorter shapes with a noise gates.
One technique is to send a heavy guitar sound to a side chain, impose a
short envelope and send it back, creating a choppy sound.
75. Comment on gated reverb.
This is to gate the sound very heavily and give it a sharp cut-off point
when the reverb is still loud. This sound was used for the drums by Phil
Collins in the mid 80s.
76. Describe the signal flow in a three-head analog tape recorder used to
produce a single delay.
In a three-head tape player there is a gap, and therefore a delay, between
the recording head and the play back head. To produce a delay the tape
sound can be played back through an aux send and this will reproduce the
sound.
77. In analog tape delay, using a tape recorder, how is the delay time
controlled?
By varying the speed of the tape playback.
78. What is 'spin echo'?
Spin echo owes its name to the tape method that was originally employed to
create it, although I have seen it on analogue delay pedals. It is done by
sending the signal through the aux send of the tape recorder back to the
tape recorder. This feeds the echo back in a loop, providing repeated
echoes.
79. How was the technique of spin echo used by Jamaican dub producers of
the 1960s and 1970s?
The echo was used to such a point where the echos were abundant enough to
add a hint of distortion. In dub reggae, you can often hear guitar lines
and solos rich in this effect. The distortion adds a pleasant warmth and
depth to the sound.
80. At a tempo of 120 BPM, what delay times are most likely to produce
musically useful results? Give four answers.
Quarter note delay 1beat 500ms
Eighth note delay 1/2 a beat 250ms
16thnote delay 1/4 of a beat 125ms
Eighth note triplet delay 167ms
81. What are 'delay towers'?
Delay towers are used at large-scale concerts where people may be far from
the stage. Either High above the stage or further back, delay towers
provide those further back with a delayed signal so they can hear the sound
at a sufficient volume in time with the music.
82. How can the delay time for delay towers be fine tuned?
By working out the distance between the stage and the speakers and
calculating the delay necessary for the speaker at the front and the delay
towers.
83. What is a natural echo chamber?
A natural echo chamber is not an effect, but the room itself, built so that
surrounding hard surfaces provide a natural echo or reverb
84. Briefly, what is assisted resonance?
Assisted resonance is a technique used to improve the reverb qualities of a
venue. This is done by placing microphones around the venue hooked up to
speakers. It will amplify the acoustics that the venue possesses.
85. Briefly, what is a plate reverb?
A small speaker is placed on a metal plate, that vibrates with the sound
that the speaker makes. The vibrations are then picked up and added to the
sound. |
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