AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 3 RT Music 2 |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
2. Describe the term 'basic tracks'.
3. Describe the term overdubs.
4. Describe the term 'guide vocal'.
5. Describe the term 'foldback'.
6. Explian how foldback set up?
7. Indicate the significance of 'spill'.
8. What is a 'track sheet' used for?
9. Comment on some recording techniques used for basic tracks?
10. How might you prepare and record a kick drum?
11. What type(s) of microphones might you use?
12. How would you prepare and record a snare drum?
13. Comment on the internal dampers found in some drums.
14. Describe how a snare drum can be recorded using two or more microphones.
15. Describe the tuning of drums, and toms in particular.
16. Comment on single-headed and double-headed toms.
17. Comment on the importance of good cymbals.
18. What type of microphone(s) could you use?
19. Comment on mic positioning for the hihat.
20. Comment on the positioning and phasing of drum mics.
21. How would you approach mixing drums?
22. What time of day is best for recording vocals?
23. How important is it for the engineer and producer to feel at ease with the singer?
24. Comment on microphone selection for vocals.
25. What is a 'pop shield'?
26. Describe the rehearsal process for recording a vocal.
27. Comment on the importance of foldback.
28. What can be done to ensure good foldback for the singer?
29. Describe the 'comping' technique of recording vocals.
30. What is a 'spin in'?
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
32. What are the possible remedies for out of tune singing?
33. How can a 'thin' voice be fattened up?
34. Describe some possible microphone positions for a piano.
35. Describe some possible microphone positions for an acoustic guitar.
36. Describe some possible microphone positions for an electric guitar.
37. What is DI?
38. Describe passive and active DI, and how a DI box is connected to the console.
39. How is a record player connected to a mixing console?
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
41. How are the mix signals separated to go to two consoles?
42. Where would the recording equipment and recording engineer be situated during the concert?
43. Onto what multitrack format would a live recording be made?
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
51. Describe the Decca tree system of miking.
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Mon Mar 22, 2004 6:40 pm |
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hoggs33
Joined: 09 Feb 2004
Posts: 55
Location: Nottingham, England |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
A live room where the actual playing of the instruments would take place – particularly the drums and vocals although there may be a separate ‘vocal booth’ for recording the vocals to isolate any external noise. There would then be a control room which would house the mixing desk, monitors and effects etc where the recording would be monitored and then mixed. The keyboards may sometime be in the control room and the guitars may also sometimes be recorded in the control room. Usually there would be a glass screen between the live room and control room so that the producer and engineer can see the artists and would be able to communicate via an intercom. If this is not possible there may be a video link.
2. Describe the term 'basic tracks'.
When recording a band it is possible to record each part individually but this sometimes results in loosing the ‘band’ feel. It is usual therefore in these circumstances to record the basic instruments that form the backbone of the song – the drums, bass, rhythm guitar etc all at the same time to get the feel of a real band playing together. Vocals and solo instruments would then be added after. This track of the basic instruments is the basic track.
3. Describe the term overdubs.
Overdubs are the other parts of a song such as vocals, solos etc that are added to the basic track. These are recorded ‘over’ the basic track one at a time.
4. Describe the term 'guide vocal'.
This is a basic vocal take – not the final recording – it is used as a guide for the singer to know where they are in the song. It is usually recorded with the basic track.
5. Describe the term 'foldback'.
Foldback allows the musician to hear what they are playing and what has been recorded – it is a basic mix of what has been recorded and what is being played during the session. The ‘foldback’ is not recorded.
6. Explian how foldback set up?
It is set up individually for each of the musicians depending on what they want to hear the most to help them, e.g a drummer may want to hear a loud click track above the other instruments. The signal is sent to headphones. It would be set up through one of the auxiliary sends on the mixing console preferably pre-fader. This way the sound through the foldback will be independent of the channel fader.
7. Indicate the significance of 'spill'.
Spill is sounds from instruments, outside noise etc being recorded on one of the tracks, i.e unwanted background noise – this could be noise from headphone if the foldback it too loud and spilling out of headphones. This results in unwanted background noise on the track and thus not having a cleanly recorded signal which could be a problem in the final mix as it cannot be eliminated – likely to be of great significance in quiet sections of a song where any spill would be more obvious.
8. What is a 'track sheet' used for?
This will include notes about the recording including the artists/band name, song title etc. It would also include other information such as which instrument is on each track, any editing and effects that have been applied and other relevant info such as mic placement etc. It is basically a full written record of the tracks that have been recorded.
9. Comment on some recording techniques used for basic tracks?
Each instrument would be recorded to a separate track although it is likely that the band would run through the song a few times first to get warmed up, particularly if they are new to the studio environment. During this time the foldback levels would be set so that each musician is happy with the levels. The basic tracks should be perfect so it may be that many takes will be needed – there is no point continuing with the overdubs if the basic tracks is not perfect. Any mistakes should be rectified at this stage. The drums would be mic’ed up using as many mics as practical. Bass would probably be input through a DI box and possibly the guitar although this again may be mic’ed particularly if a specific amp sound is required.
10. How might you prepare and record a kick drum?
It would need to be mic’d using a dynamic mic. There are some large diaphragm mics specifically designed to record kick drums. The kit should be checked for an excessive rattles that may spill and in particular check the kick pedal is not rattling or squeaking. The sound can be deadened by placing a pillow inside the drum if required. The mic should then be placed inside the drum (either by removing the head or through a whole in the front head) near to the rear head. There may be a bit of trial and error to get the exact sound right in terms of tuning, dampening and mic placement.
11. What type(s) of microphones might you use?
Covered this in the answer above. The mic however would need to be capable of handling high pressure sound levels, especially at low frequencies. They must also be able to pick up low frequencies.
12. How would you prepare and record a snare drum?
The drum would need to be tuned to the correct tightness for the required sound and the snare itself would need to be adjusted again to get the desired sound. The head may need to be dampened along withy the snare again in order to get the correct sound and prevent ringing and rattles. Mics should then be placed. The mic is generally placed between the hi-hats and small tom about 1 or 2 inches from the snare head. The diaphragm should point directly at the head. For a crisper tone a second mic could be added under the drum.
13. Comment on the internal dampers found in some drums.
Internal dampers usually comprise a small circular piece of felt that is controlled by a ‘dial’ on the shell of the drum. By turning the ’dial’ this presses the felt disc onto the underside of the snare drum head and helps to deaden the sound.
14. Describe how a snare drum can be recorded using two or more microphones.
As referred to above a second mic can be placed under the drum for a crisper sound.
15. Describe the tuning of drums, and toms in particular.
In order to get the best possible sound the drums need to be tuned correctly. Drums are tuned using a special drum key to loosen or tighten the tension rods around the head. When these are adjusted each rod needs to be adjusted the same number of turns in order to ensure an ‘even’ sound wherever the drum is hit. It is then a case of slowing tightening or loosening the tensions rods to both the top and bottom heads (where appropriate) in order to achieve the desired sound. Toms should be tuned individually then played one after the other to ensure they sit well together when a tom roll is played down the toms from small to large. The tension of the heads can be checked by pressing around the head and also by tapping with a drum stick around the head in order to ensure equal tension.
16. Comment on single-headed and double-headed toms.
Single headed toms only have a top head with the bottom left open. Double headed toms have heads to the top and bottom. Single headed toms give a louder more booming sound, whereas a double headed tom provides a duller more contained sound.
17. Comment on the importance of good cymbals.
Cheap or damaged cymbals do not have a bright sound that will cut through in a mix and poorly recorded sounding cymbals cannot be fixed in the mix with effects. You only really get one sound from a cymbal – no tuning available so it is important to get the sound right.
18. What type of microphone(s) could you use?
Small diaphragm condenser mic to capture the cymbals high frequencies.
19. Comment on mic positioning for the hihat.
The hi-hats generally provide part of the main groove so it is worth while spending some time to get the recording of them and mic position correct. You should ensure that the snare mic is picking up as little as possible of the hi hats by placing it properly and/or using a noise gate. The mic should then be placed about 3 to 4 inches above the hi hats and pointed down towards them.
20. Comment on the positioning and phasing of drum mics.
To avoid phasing follow the 3:1 rule – any mike should be placed at least 3 times as far away from another mike as it is to the sound source.
21. How would you approach mixing drums?
Start with the kick drum being solo’d and they built up the overall kit by adding one section at a time (snare, hi hats, toms etc.) to then get a good overall sound. The snare and kick would need to be centred as the backbone of the groove, with the toms possibly being panned from side to side. Finally apply any EQ or effects as necessary once the drums are in the overall mix.
A trick Jon Bonham of Led Zeppelin used for getting a ‘big’ drum sound was to play the cymbals quieter during the recording process so that the drum levels could be raised in the mix without the cymbals drowning everything else out – pretty cool trick for a huge drum sound.
22. What time of day is best for recording vocals?
Probably late morning and early afternoon as the voice is likely to tire latter in the day and not be warmed up early on. However different singers are likely to be better at different times of the day and if it’s J-Lo, Beyonce or Christina Aguilera – you do it when THEY ARE READY (GIRLFRIEND!)!!!!!! Whatever time of day that may be!
23. How important is it for the engineer and producer to feel at ease with the singer?
Very important! – the singer needs to feel at ease to give a good performance and not go off on a ‘diva strop’ as a the vocal can make or break a recording. The producer and engineer therefore need to strike up a good relationship so that any constructive criticism does not offend or upset the singer (or the singers ego!!!) to ensure the best possible performance.
24. Comment on microphone selection for vocals.
A dynamic mic could be used which sound best when placed close to the singers mouth to obtain a gritty effect. This would result in few high frequencies being picked up and results in a deep, bass-heavy sound – great fro rock and blues.
Large diaphragm condenser mics are the most common for vocals. These have the ability to clearly reproduce the entire audible frequency spectrum and to accentuate the low-mids slightly at the same time. They produce a nice warm, full bodied sound.
A small diaphragm condenser mic will create a much more bright or airy sound than a large diaphragm mic – not a first choice mic for vocals unless recording a female soprano voice.
A ribbon mic can be used for the ‘crooner-type’ sound – it adds a silky sound due a slight drop off in the high frequencies.
A stereo pair, a figure -8 mic or an omni-directional mic would be used for backing vocals when the backing singers are all singing together.
25. What is a 'pop shield'?
This is a screen or mesh (or pair of tights!!!) placed in front of the mic to stop plosives and rushes of air which can result in a popping sound from the b and p sounds which obviously detracts from the recording.
26. Describe the rehearsal process for recording a vocal.
The singers voice will need to be warmed up so the song should be sung through a few times during which foldback levels can be adjusted. This will also help to relax the singer. It is worth recording these ‘rehearsals’ as a good performance may arise when the singer is more relaxed. The levels and mic place position will be finalised also during the rehearsal stage.
27. Comment on the importance of foldback.
Foldback is crucial – especially for the singer so that they can here the music fully so as to sing in tune (unless of course you are recording Shaun Ryder!!!!!). The musicians also need to know exactly here thay are in a song and be able to hear what they want clearly to give a good performance, particularly in a song that may have a wide dynamic range.
28. What can be done to ensure good foldback for the singer?
Good quality headphones should be used. The foldback should also be discussed with the singer to ascertain which parts they want to hear and that the foldback mix is OK for them.
29. Describe the 'comping' technique of recording vocals.
Comping is recording multiple takes of the vocal performance and they using the best bits from each performance to get the best overall sound. This is fairly easy on a digital workstation where it is easy to edit and copy and paste the best parts to create the best overall vocal performance.
30. What is a 'spin in'?
This is copying a track from one multi-track to another – a technique used mostly with analogue recording when two analogue machines were used. A section may be copied to the second machine and then back to the original.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
A lyric sheet could be provided if they have difficulty with the words. It would be better to record the song in sections using the comping technique to put it all together. Rehearse a section and then record it and then move onto the next section and rehearse and record etc.
32. What are the possible remedies for out of tune singing?
Check that it is not the foldback that is throwing the singer off key or only have on ear in the headphones so the other can hear their natural vocal. Use pitch correction software if available. The foldback could also be changed in pitch to compensate the singers performance. If all else fails sack the singer and get one who can sing!!!!!!
33. How can a 'thin' voice be fattened up?
The vocal part could be double tracked or have the singer record a second track to mix in with the first. Try using a different mic or applying effects.
34. Describe some possible microphone positions for a piano.
To get a classic popular piano sound mics can be put inside the piano pointing at the strings. Two mics spaced apart about 20-30cm at a position between the music stand and the stick of a grand piano will achieve this sound. This does however result in a very bright sound. A fuller heavier sound can be achieved by positioning the mics about 50cm from the end of the piano pointing horizontally at the player. To achieve a sound similar to hearing a piano at a recital the mics should be pointed at the lid from a height no higher than the edge of the casing. The piano can also be recorded from underneath although this can result in pedal noise spilling over into the recording.
35. Describe some possible microphone positions for an acoustic guitar.
The mic can be pointed directly at the sound hole although this can result in a ‘boomy’ sound. To improve on this the mic should be moved so that it is not directly in front of the sound hole but points at it from an angle. Many engineers consider the sweet spot to be the fretboards, halfway between the point where the neck joins the body and the edge of the sound hole. This is usually good for a single mic. Often it is better to mic a guitar in stereo – a coincident crossed pair of mics will give a better sound than one mic. A lot is down to experimentation – there is no perfect formula.
36. Describe some possible microphone positions for an electric guitar.
In this instance the amp is mic’d, not the guitar. Dynamic mics would be best for the classic ‘electric guitar’ sound. A dynamic can however sometimes pick up hum from the mains transformer whereas a capacitor mic will not. Placing the mic near the centre of the amp cone will give a cleaner sound whereas placing it nearer the edge will give a more distorted sound.
37. What is DI?
This is direct injection – to DI an instrument means to connect it to the mixing console without using an amplifier or microphone.
38. Describe passive and active DI, and how a DI box is connected to the console.
An active DI boosts the signal to line level, increases the current drive capability and balances the signal to avoid interference being picked up in the cable from the DI box to the console. Some active DI boxes can be powered from phantom power avoiding the need for an internal battery. A passive DI box contains only a transformer and is connected to a mic input. The voltage of the signal is reduced by the transformer, at the same time reducing the output impedance and increasing the current capability.
39. How is a record player connected to a mixing console?
It would be connected using a pre amp as the signal from the stylus is not loud enough for recording so the pre-amp boosts the signal
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Minimum of one (obviously!!!!!) Two would be preferable – one for the live sound and one for recording
41. How are the mix signals separated to go to two consoles?
By using a splitter - a cable that splits off into two sections.
42. Where would the recording equipment and recording engineer be situated during the concert?
An isolated area away from the sound coming from the stage and probably monitored on headphones.
43. Onto what multitrack format would a live recording be made?
Digital or analogue depending on personal taste and what will be done with the recording after – e.g if it will require a lot of editing then digital may be better as it would be easier to edit.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Trumpet, Sax and Trombone (ah, brings back memories of ‘At the River’ by Groove Armada)
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two.
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
The violin and brass section would need to be separated as much as possible to avoid spill. An additional spot mic would be needed for the violin. A pizeo pick on the violins would cut unwanted spill out from the trumpets.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
The people involved obviously will ‘gel’ a lot better as they are used to working together – they will be more relaxed and know each others strengths and weaknesses. It should prove to be more cost effective as in theory the ‘unit’ should be able to produce quicker results as they are familiar with each other. They may even be able to come up with some ideas they have picked up from previous recording sessions as a group to help achieve better results. They are likely to sound much better as a unit than individual players put together.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
See answer to question 36 above.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
The microphone may have its own characteristics that colour – the speaker and cabinet may also have this effect which may not be picked up on a DI signal. As a DI signal goes straight into a console there is no transformation of the sound as is the case with a microphone – in this case the signal is transformed twice, first from an electrical form to acoustical by the loudspeaker, and then back to electrical by the microphone.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
The coil of a dynamic microphone acts as an antenna, thus it is sensitive to electromagnetic radiation emanating from an amplifier.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
It is unlikely that a bass guitar cabinet would be able to produce the full range of frequencies produced by a bass guitar however some of these frequencies cannot be heard by the human ears and so will not be missed anyway although the human ear can reconstruct the missing fundamental, given there is sufficient information in a form of overtones – This is called Fundamental Tracking.
51. Describe the Decca tree system of miking.
Since its conception the Decca Tree has been used widely for large scale recordings and is a favourite among film score mixers because of its ability to maintain excellent imaging and separation. It was ‘invented’ by engineers Roy Wallace and Arthur Haddy at the Decca Studios in London – first used in March 1954. The basic concept was a T Shape steel array with microphones attached to each of the three ends. The whole thing was then suspended from a large studio boom, above and slightly behind the conductor’s podium. When Arthur Haddy first saw it his comment was that ‘It looks like a bloody tree’ and the name stuck. Refinements were made over the years to how it is known today – three omnidirectional microphones (Neumann M50’s). |
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Fri Mar 26, 2004 4:29 am |
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iNSTiNCT2765
Joined: 05 Nov 2003
Posts: 60
Location: Denmark |
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 Recording Techniques – Week 3
1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
It really depends on the way the band is planning on recording. If they are planning on ‘jamming’ together then there should be enough separation between the different instruments so they don’t get recorded into the different microphones. But if each member is going to be recording their particular part separately then smaller booths or ‘forts’ don’t have to be made in the main recording room. This is where the drums usually are recorded. The guitarist can play his part from the control room with the amps in a separate room. The same thing goes for bass and keyboards.
2. Describe the term 'basic tracks'.
This could be the basic rhythm of a song. A drum track with maybe a baseline could be an example of this. It gives you the general groove and direction in which the song is going. It can be used to write the vocals or even record them. This is recorded in pre production.
3. Describe the term overdubs.
After vocals are recorded, some words or phrases are recorded again on top of the already recorded vocals to emphasize them. This is called overdubs. Another way to overdub is overdubbing an instrument like a guitar. This means the guitarist plays the same loop a couple times. The takes are then put on top of each other to get a thicker, bigger sound. Overdubs are also the music you record over the basic tracks when you’re building your song up.
4. Describe the term 'guide vocal'.
The guide vocal is the vocal you hear in the headphone mix when recording overdubs so you know when to speak, sing, rap, and play or whatever you are overdubbing. Turning the guide vocal down in the mix while overdubbing might be a good idea so the artist can still hear their own voice or instrument while they overdub.
5. Describe the term 'foldback'.
This is the headphone mix you hear while recording your vocals. You can hear the backing track and also your own voice.
6. Explain how foldback set up?
This is bussed out to the headphones on a separate bus than the recording bus because while you are hearing your own voice and the track being played while recording, it is only the vocal that is being recorded.
7. Indicate the significance of 'spill'.
For example, when recording a drum kit, if there isn’t enough separation between the mics or if they are positioned wrong, a spill could occur. This is when sound that should be picked up by a specific mic is also being picked up slightly by another mic (i.e. the bass drum can also be heard through the mic that is recording the snare drum).
8. What is a 'track sheet' used for?
These are pieces of paper used to keep track of everything you record when working on a song so you won’t get too confused in the long run when the amount of tracks start reaching the high numbers. Keeping a track sheet of what is recorded on each channel and the EQ and Effects settings is a good idea so you can come back and reproduce the settings at a later point if necessary.
9. Comment on some recording techniques used for basic tracks?
When recording basic tracks, for example, when recording a drum groove, depending on the sound your going for, it is always a good idea to over-mike the kit. Then there’s always the possibility to remove tracks from all the ones recorded later on if it is necessary but it will be difficult to get the same sound again if the kit sounds too dry or thin and you have to record it again cause you didn’t get enough ambience or what not.
10. How might you prepare and record a kick drum?
To prepare for recording the kick drum, check the bass pedal and make sure it’s firmly attached. It is also important to get the sound isolated. If the microphone is placed inside the kick drum through the front, then placing a chair there and a couple of blankets over it to cover the front end of the drum should do the trick. You can then record it with the rest of the kit, avoiding spills. Compression and EQ’ing can be used when recording the kick drum.
11. What type(s) of microphones might you use?
Dynamic microphones with large diaphragms, like the Shure Beta 52A are a good choice for recording kick drums.
12. How would you prepare and record a snare drum?
The snare drum should be close-miked. The microphone should be placed 1-2 inches above the snare rim on the opposite side from the drummer and aimed in towards the drum and away from the hihat to avoid spills. Compression should be added to the signal when recording to avoid clipping. A dynamic microphone is the best choice for recording it.
13. Comment on the internal dampers found in some drums.
They affect the tuning of the drums because they apply pressure to the rear of the skin
14. Describe how a snare drum can be recorded using two or more microphones.
You can add another microphone to the bottom head of the snare drum to get some added snap.
15. Describe the tuning of drums, and toms in particular.
Drums are tuned by adjusting the tightness of their skin. The sound the drum produces should come at a steady pitch if it is tuned correctly. By changing the pitch of the drums, you can get a different feel in the track completely so it’s always good to experiment. Toms often produce excessive ringing. To prevent this, pieces of paper tissue can be taped around the edge of the toms using gaffa tape.
16. Comment on single-headed and double-headed toms.
Single-headed toms only have one head, which is the top head while a double-headed tom has a top and bottom head. You have to make sure that double-headed toms are tuned to the same pitch.
17. Comment on the importance of good cymbals.
A good cymbal sound should be clean and crispy. Don’t expect the cymbal sound to be fixed in the mix so having good cymbals is key.
18. What type of microphone(s) could you use?
Condenser microphones are the best choice for picking up the wide frequency range of the cymbals. They are recorded through the overhead mics, which are placed behind the drummer, about six feet up and aimed down at the cymbals.
19. Comment on mic positioning for the hihat.
The upper cymbal can be close-miked with a condenser mic about 3 inches away and pointing away from the snare drum to avoid spills. To get a crisp, hissy sound, the mic can be placed at the edge of the cymbal and to get a more metallic sounding hihat, the mic can be aimed closer to the middle of the cymbal.
20. Comment on the positioning and phasing of drum mics.
Besides miking the separate drum parts, it is also good to capture the ambience of the room by placing a couple of microphones at some distance from the kit. Phase can occur when two microphones pick up the same signal but one of the mics picks it up at a slight delay. You can easily identify phasing when you hear it… sounds weird as hell! To fix this, try to get really good separation between the different mics recording the parts of the kit. It’s good to follow the 3:1 rule, which states that the mic should be at least three times further away from any other mic than the source it is recording.
21. How would you approach mixing drums?
After getting all the drum parts recorded down on the hard disk, I would turn down all the tracks and bring up the kick drum to about –3dB. Then I’d bring up the snare to a competing level by ear. The snare and the kick would be centred and the hihat could be also but panning it a little bit to the left or right sounds good too. Basically the layout of the drum kit should also be portrayed in the stereo image when mixing the drums. So the toms should be panned from left to right and the cymbals too should be panned to the far right.
22. What time of day is best for recording vocals?
Recording vocals has nothing to do with the time of the day, except if it’s at home, without a soundproof booth. If that’s the case, then you might want to take the neighbours and family members into consideration before you start recording at 2 in the morning. If you have a booth and nobody’s bothered then it’s really up to the engineer/producer and artist what time of day they want to have a recording session.
23. How important is it for the engineer and producer to feel at ease with the singer?
To get the best performance out of a singer, its usually best that they feel comfortable so they can concentrate on the singing instead of having nervousness or tension holding them back.
24. Comment on microphone selection for vocals.
When choosing a mic for vocals, the choice can depend on many factors. If you have access to many mics then it could be beneficial to test out different types with the vocalist singing to see which one gives the sound your looking for and fits best with the specific track. If you’re on a budget and can only afford one or two mics then a good condenser microphone should do the job.
25. What is a 'pop shield'?
This is the piece of nylon you place between the microphone and the singer to prevent plosives. They usually come in circular forms and attach to the mic stand.
26. Describe the rehearsal process for recording a vocal.
After getting the singer into the booth, you tell them to rehearse the song a couple of times by going through a couple of test runs with foldback and everything but you won’t record the performance. Of course, you can always record the vocals anyway because they may turn out to be worth using.
27. Comment on the importance of foldback.
This is important so the singer can hear the take right after they have recorded it and evaluate and comment on it right from the booth. The mix of the track that they get through the headphones can also be mixed to their need. If having the drums a little bit lower than the melody will help them perform better, then it can easily be done for the foldback.
28. What can be done to ensure good foldback for the singer?
Simply ask them how they prefer the mix to sound in their headphones. Maybe they don’t want to hear their voice too loud so you just turn it down. Maybe they want the drums up loud because they are having trouble following the rhythm. The best thing to do is to ask the singer and encourage them to speak up if they don’t feel the mix.
29. Describe the 'comping' technique of recording vocals.
This means compiling one vocal from different takes of the same vocal part or verse. Picking different parts from the different takes to make one final vocal. You can go through the verse phrase by phrase, listening to each take and then pick the best one and go on to the next phrase and so on until you have compiled a final version of the verse. It is best to keep the takes limited to the three or four best and deleting the rest so it doesn’t get too confusing when it comes to comping.
30. What is a 'spin in'?
When you have something recorded on tape and want to record it to another position on the tape, you need to record it over to another tape and then back on to the original at the desired point. This is a spin in.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
By recording the song in sections. Start from the beginning and work through the song bit by bit, rehearsing and recording as you go along.
32. What are the possible remedies for out of tune singing?
Singing lessons would be a good start, but if you’re already in the studio and have the vocals down on harddisk and only after, find out that some notes are out of tune, tuning software could be a good help here. Something like Antares Autotune is good for tuning out of tune vocals.
33. How can a 'thin' voice be fattened up?
If you record the same verse twice and then turn one of the tracks down a bit, it fattens up the voice.
34. Describe some possible microphone positions for a piano.
A way of miking a piano is using a stereo microphone or two mono mics pointed a little outward from each other and placing them on a boom about 4 to 5 metres away and 4 to 5 metres up from the piano. Make sure it’s a grand piano and its open. This should also be done in an acoustically good room.
35. Describe some possible microphone positions for an acoustic guitar.
Place a mic at the 12th fret and another at the bridge at approximately the same height..
36. Describe some possible microphone positions for an electric guitar.
You can place one mic, preferably a dynamic, pointing towards the amp cabinet. Having it close to the cabinet will give a very detailed, distinct sound while moving it back will capture more of the room and give a more ambient sound.
37. What is DI?
This stands for Direct Inject and an electrical instrument can be plugged into this input and recorded without the aid of a microphone.
38. Describe passive and active DI, and how a DI box is connected to the console.
A DI box is a device, which an instrument with an electrical audio output can be connected to so it can be connected to a mixer through a mic or line input. The box performs level and impedance matching to eliminate hum and distortion while bringing the signal to an acceptable level.
The passive DI box contains an audio transformer, requires no external power and is simple to use but good passive DI boxes are usually expensive.
The active DI box contains an amplifier and need to be powered by either batteries, a wall outlet of phantom power from the mixer but they usually have more headroom and are less likely to distort in the low end than the passive DI box.
39. How is a record player connected to a mixing console?
I connect my record player directly to a couple of RCA inputs on my mixer. My record player has a built in amplifier.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
I couldn’t find anything on this, but I’m guessing one would be sufficient if it has enough inputs.
41. How are the mix signals separated to go to two consoles?
By the use of a splitter so the signal from each microphone is split into two signals.
42. Where would the recording equipment and recording engineer be situated during the concert?
In the middle of the venue to get an accurate account of the mix.
43. Onto what multitrack format would a live recording be made?
It would probably be recorded down on digital multitrack like a harddisk recorder or ADAT multitrack.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Three types of instruments you would find in a brass section for pop music are trumpets, saxophones and trombones.
45 (a). What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
This would probably be two. But if was to get each instrument separately in stereo then there would be 10 microphones needed for the instruments and maybe a couple more to capture the ambience.
45 (b). A producer has the idea of combining a violin with the brass section referred to in part (a) and recording them all at the same time. Explain how this would be achieved.
Miking the violinist separately from the brass section and trying to capture that performance with good separation could achieve this. Maybe the violinist could be separated completely from the brass section and given a foldback through headphones and then he/she could follow along and the separation would be optimal for later mixing.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians?
The main advantage here is stated in the question…. they regularly work together. That right there eliminates the whole ‘getting used to’ when you have to perform with people you haven’t worked with before. You have a personal ‘vibe’ since you’re more likely to have an understanding of how the others play.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
At the centre of the drives cone the sound would be filled with more high-end and more transient detail but fewer lows. At the edge the sound would be warmer and more powerful. Therefore, it’s normal to blend the two characteristics by angling the mic off axis about 30-60 degrees from the center of the cone.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
Because the DI signal will have no colouration unlike the other signal which will have colouration from the amp cabinet and the microphone.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
When a dynamic microphone is placed close to a sound source, it has a tendency to exhibit a bass proximity effect, meaning it boosts the bass. This in turn, creates hum and since the connection is unbalanced, there is no cancellation. Capacitor microphones need phantom power and are connected using three pin XLR cables to create a balanced input. Two of the wires in the cable are then put out of phase cancelling any hum or noise coming from the cable.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
No it would not because the cabinet cannot fully replicate all the frequencies of the bass guitar.
51. Describe the Decca tree system of miking.
This is used in recording an orchestra and involves placing three microphones a bit behind the conductor’s head, 12 to 15 feet up in the air and angled down about 30 degrees. The center mic aimed to the center of the orchestra and the other two aimed left and right about 45 degrees from the center. To capture the room ambience and give a good stereo image, two microphones are placed further back in the room in the far left and right edges of the orchestra.
Last edited by iNSTiNCT2765 on Mon Mar 29, 2004 12:37 am; edited 1 time in total |
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Sat Mar 27, 2004 2:07 am |
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SNG4HIM
Newbie
Joined: 11 Nov 2003
Posts: 5
Location: Maryland, USA |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
In a studio, I would first try to split the instrument recordings from the vocals. Instruments in a same room environment, would need to be far away from each other as possible with all mics separated and pointed 180 degrees from one another, as much as possible to not pick up the other instruments on other mics. Instrument positioning would be focused on separation with compromise only happening if the artists had to absolutely have certain instruments in a particular position for viewing one another when playing for cueing one another. If vocals are required by the band to be recorded at the same time, I would still separate them completely and do my best in a mix to everyone's headphones and hopefully have glass or live 2-way video for them to be able to cue from one another if needed.
2. Describe the term 'basic tracks'.
The basic tracks would be the recording of the instruments that provide the 'foundation' to that particular song. These would be the bare bones instruments needed so other artists could perform their recordings with just those in the headphones.
3. Describe the term overdubs.
They are simply other recorded tracks added to the basic track/mix before doing a final mix down.
4. Describe the term 'guide vocal'.
Some songs cue a lot off of the vocals. Depending on the song vocal requirements, this is the basic vocal track that is meant to be recorded (not perfectly) to be used as a guide for all the other musicians and vocal singers (backups) if needed. The final vocal track would be normally recorded separately after the instruments' recordings and basic mix is completed.
5. Describe the term 'foldback'.
It is simply what is sent to the musicians headphones while they are recording. It could be something to help them with timing, beat, or pre-recorded song itself. Even a demo of the song could be sent if the band were going to reproduce the song exactly as the demo.
6. Explain how foldback set up?
I just pick the tracks to playback through the person's headphones while either muting the other tracks or removing the other tracks (less processor requirement) from the multi-track and then record on separate track(s).
7. Indicate the significance of 'spill'.
Spill would normally be referred to when talking about the headphones and having spill (sound) leak out of the headphones and actually heard on the recorded track. That's why professional studio monitor, closed headphones are preferred for studio recording and very important to get a 'clean' recording.
8. What is a 'track sheet' used for?
Track sheet, or other form of note taking, is very important, not only for historic purposes, but to be able to reproduce the recorded environment as much as possible when several sessions are required. Holds lots of data such as effects settings, equipment settings, mic placement, etc. I go further and try to write down the temperature, humidity and weather conditions for that day, along with anything particular about the performers such as 'headcolds' for singers, brand new strings used for guitarists, etc.
9. Comment on some recording techniques used for basic tracks?
First, I would do a couple takes of the entire band performing the entire song and use these recorded tracks for a beginning to feedback through headsets if needed. Additionally, any tonal metering (metrenome), etc, could be recorded as well to ensure that track is separated from the other music if it would be needed for the drummer. Once some basics are recorded, and those other itmes that the individual artists may want recorded first so they could hear 'whatever' through their headsets, then the basic tracks could be done separately for each instrument if possible. If two band members absolutely have to play at the same time, then they would be placed at opposite sides of the sound room with mic's positioned 180 degrees from each other to gain as best track separation as possible. Once all the basic tracks are recorded, then the rest of the recording can proceed.
10. How might you prepare and record a kick drum?
First, kick drum qualities are different based on materials and heads used. Along with some drummers preferring to use specific mic types, etc. So the first important step would be interaction with the drummer to ascertain their preferences if any, their willingness to try different things, and the overall sound that the drummer (and/or other band members) are looking for in the kick drum for a final sound, not to mention the tuning of the drum. Based on desired sounds, the sound room acoustics, type(s) of mic's used, dampening to achieve the desired sound, etc, then trial and error could be done on short recorded bits until the exact desired recorded sound is found. There are several dampening methods along with several mic placements and whether or not the sound of the kick is best with the outside head on or off. Once the desired recorded sound is found, all specifics are recorded on the track sheet and recording can begin.
11. What type(s) of microphones might you use?
Usually a large diaphram dynamic mic that is designed for drums that can handle low frequencies and punches.
12. How would you prepare and record a snare drum?
Much like the kick drum... depends on desired sounds, desired resonance, etc. Mic's usually place about 1 inch from head on a 30-45 degree angle, along with a secondary mic that could be placed directly 90 degrees to the head. If desired, another mic could be placed a little farther away and/or under the drum for overall sound resonance, especially since sounds can change when drums are hit in the center and/or on the side of the head.
13. Comment on the internal dampers found in some drums.
Some internal dampers can be adjusted outside the drum while others are set inside the drum. Basically allows different pressures to be applied to the head.
14. Describe how a snare drum can be recorded using two or more microphones.
Covered this in Q12 above.
15. Describe the tuning of drums, and toms in particular.
I personally leave drum tuning up to a professional who comes to do that on my studio set, Pearl Export 20th Ann. Edition. Although not the most expensive, they do produce a very good sound and have great tuning capabilities. They use rods along the sides that are tightened equally and across from one another and although the tension should be about the same on all rods, should be slightly modified to ensure the head reproduces the exact same frequency sound and resonance when tapped approx. 1 inch from the rim, all the way around the head. Obviously, the bottom head is just as important to start with, but the head is where the final tuning adjustments are made. I've found that tuning is done either small to big, or big to small, depending on the difference of frequency range desired between the toms. Normally for recording, dynamic range between toms should be slightly exaggerated, but again, depends on the artists overall desired sound, resonance and effects they are looking for. Some dampening can be done, like moon gel, but tuning needs to be checked once dampening is applied. Lastly, when the drummer hits the toms with the same force in the piece to be recorded, you need to check the resonance from the snair to ensure it is either not effected, or is effected only if the drummer desires the snare resonance when the toms are hit (usually not the case). Additionally check resonance on all other drums in the kit to separate resonance as much as possible while still having the desired sound, tuning and resonance of the drum that was hit.
16. Comment on single-headed and double-headed toms.
Single has one head on top, nothing on bottom. Less control of sound and resonance. Double has a head on the bottom, much more control of the sound but not as loud and possibly punchy as no bottom at all. Best to have double-headed because the bottom can always be taken off if desired to obtain a specific drum sound for a specific piece.
17. Comment on the importance of good cymbals.
There is no tuning or 'fix in the mix' capability. What you hear is what you get. That says it all.
18. What type of microphone(s) could you use?
This can be a personal preference as well, but cymbals and hihat works in the upper frequency ranges (around the 16 KHz +-) so the mic should be sensitive enough to pick up those high frequencies.
19. Comment on mic positioning for the hihat.
First, mic positioning is important for the hihat as it is a primary instrument to the drummer, just like the snair. Try to separate sound capture from the other mics, especially the snair as much as possible. Overall placement can either be pointed directly down, or up from underneath, along with a mic on the side if desired for separate track capture.
20. Comment on the positioning and phasing of drum mics.
Mics should be at minimum, more than 3 times farther from any other mic than the distance to the recorded instrument. Additionally, if possible, mic heads should be as much opposite from one another as possible as 'rear' sounds to mics are pretty much not picked up.
21. How would you approach mixing drums?
First, I would have the drummer play the piece normally, trying to capture (record) everything on separate tracks as much as possible (DAT machine if available). We could then listen to the results, listen to separate tracks and judge which ones have bleed and/or spill and try to make adjustments only if the overall 'sound' is not the deisred sound to capture. I always start with an overall recording session because you just never know if the first few attempts will capture what is desired/needed so you can move on and not waste time trying to go beyond 'perfect'. If not, then take each track one at a time and make adjustments to mic placement, tuning, positioning, etc, and try again. If needed, then do the piece several times with only the most separate mics (like snair and floor tom) being recorded, while other takes, focus on one, or two mics being active until all drums are on separate tracks. Then make a copy of everything on the computer so the original recordings are not destroyed, start applying very small effects to separate tracks if desired along with amplitude adjustments, mix down and apply final effects and amplitude adjustments if desired or needed after a final mix down of the drums.
22. What time of day is best for recording vocals?
I have found that it depends totally on the vocalist. Each person is different and I trust their personal judgement as to what time of day and if they are in a healthy state to record vocals. Besides, for some desired vocal effects, the artist may want a specific part to be raspy or more harsh, so those parts could be recorded when their voice is most like that, maybe very early morning hours or after an event where the vocalist has done a lot of screaming. Depends on the vocalist and desired sound.
23. How important is it for the engineer and producer to feel at ease with the singer?
Very important to feel at ease with all the band members. A good relationship is what makes recording several sessions and tracks bearable. Hopefully everyone involved knows how to 'compromise' and be flexible.
24. Comment on microphone selection for vocals.
Really depends on the vocalist, desired sound to be captured and the recording equipment. Normally I use different dynamic mics and condenser mics if available, along with any mics the vocalist might have, on different tracks. I can then work with the vocalist and after listening to some practice recordings, I can get a better feel for the desired sound of what the artist likes most that represents their personal voice best. Then we go with that mic and maybe another one or two mics for additional backup track(s) recorded in the same session.
25. What is a 'pop shield'?
A round plastic holder that stretches a mesh (like a stocking) and is placed between the vocalist and the mic. Placement varies depending on who is recording, but I prefer to have the shield at about 60-75 degrees and not directly up and down which seems to catch pops better as the mesh is then a little thicker for the voice to go through when it is angled like that.
26. Describe the rehearsal process for recording a vocal.
Rehearsals are both for comforting the singer in the environment and for adjustments to recording equipment, room, etc, whatever is needed. Run through at least one time (preferably more) for equipment adjustments. Then a short break for the vocalist to relax their voice, refreshment, etc, then start recording sessions. Some vocalists really do NOT like to sing several takes if some of the notes of the song stress their voice and wears it out. Here is where compromise and consideration for one another and their respective jobs come into play.
27. Comment on the importance of foldback.
It is vital. If they're not comfortable with what they are hearing, at the right volumes, they will compensate and the recording session could be too hot, not hot enough, or their voice will be out of tune/wrong pitch.
28. What can be done to ensure good foldback for the singer?
Practice, practice, practice and good communication with the vocalist.
29. Describe the 'comping' technique of recording vocals.
Comping is just taking several takes of a recorded voice in the same session and splitting portions up to get an overall "best" vocal track.
30. What is a 'spin in'?
Copying a single track to another multi-track.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
Record it in parts. Rehearse small portions (I personally record the rehearsed takes as well), then record those portions.
32. What are the possible remedies for out of tune singing?
If the vocalist just can't hit a note right then I use pitch correction software which has done amazing corrections.
33. How can a 'thin' voice be fattened up?
Usually several takes, mixed together and/or just some good old reverb, delay and/or chorusing can fatten it up, but being careful to not make the chorusing freq differences too great which will make the 'sound' appear a little off pitch.
34. Describe some possible microphone positions for a piano.
Like all other instrumentjs, pianos are of different varieties, designs and quality. Not to mention what mic's are available. This would be a trial and error to get the best overall sound. I would start with trying to capture sound bounced off the lid of a grand piano and mic placements at different sides of other styles of piano's, trying to capture the overall sound while not accentuating any frequencies like the lows or highs of the piano.
35. Describe some possible microphone positions for an acoustic guitar.
Depending on the quality and design of the guitar, and the freedom of movement needed by the player, I usually have a minimum of two microphones for acoustic guitars. One as close as possible and pointed at the hole, slightly angled and not far enough away to only pick up slight spill over of the plucking/stroking of the strings, while the other mic is a bit farther away for overall sound and resonance pickup.
36. Describe some possible microphone positions for an electric guitar.
Here, it is all about the amp used and sound produced by the amp, along with the type and quality of the mic's. Normally, at minimum, use two separate mic's, one very close and slightly off center of the amp speaker(s), while the other a bit farther away for overall sound and resonance/effects capture. If air pressure from speaker movement, etc, is captured, then back the mic off a bit. Practice, practice, practice.
37. What is DI?
This is a direct connection to the mixing console and/or recording equipment. No amp, speakers, etc, are captured.
38. Describe passive and active DI, and how a DI box is connected to the console.
Active DI has power and can adjust signal strength while passive just passes the signal along and has no power to it.
39. How is a record player connected to a mixing console?
Depends on the mixing console ports and availability, and the output capability of the record player. Extra signal power may be needed to avoid too much gain adjustments.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
Two. One console should be focused on the live performance, while the other would be focused on the recorded signals being captured.
41. How are the mix signals separated to go to two consoles?
A splitter, if possible, two snakes.
42. Where would the recording equipment and recording engineer be situated during the concert?
Recording would be done if possible, in an area where spill is reduced using headphones, but nice if possible to be able to communicate in some fashion to the other person on the other mixing console.
43. Onto what multitrack format would a live recording be made?
Depends on practice sessions and if all levels are already known. On the 'safe' side, it would be analog to tape as tape provides an extra saturation capability for signal strengths of 0 db and higher where a digital recording device would be 'immediate' clipping.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
Saxaphone, trombone, trumpet.
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two.
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
Depends if he wants the overall sound to be captured or if all instruments to have their own tracks are desired. Positioning of musical instruments, mic's and mic gain would be critical for recording to separate tracks to avoid spill.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians
They know each other, the personal dynamics are usually already taken care of, and they learn to cue from one another during performances if needed. They already know their strengths and weaknesses and can communicate that up front if it will effect recording in any way.
47. When micing an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
Center would be the high freq's while the edge would be lower freq's.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
Different signals captured and resonance/proximity of signals.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
Electronics differences between the mics and interference where a capacitor will not induce electronic interference.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
No. The 'lowest' notes are usually such low frequencies which will actually pass thorough the cabinet walls to some extent, which that in itself shows that the actual sound can not be 'accurate' in reproduction.
51. Describe the Decca tree system of miking.
A triangular positioning of microphones in front of the performing instruments and vocals to better capture overall sound qualities at different, but close proximities. |
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Sat Mar 27, 2004 4:55 am |
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griff505
Joined: 23 Feb 2004
Posts: 68
Location: Bristol |
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
- A drum kit would be set up in an open fronted booth, facing a centre point, and facing the control room.
- Any number of guitarists could then be set up in their own open fronted booths on the right side of the drummer, also facing the centre point.
- Keyboards could be set up in-between the guitar booths and the control room, facing away from it, again looking towards a centre point.
- The bass player would be situated in an open fronted control booth to the left of the drummer, again facing the centre of the room.
- The singer could be set up at the centre point of the room.
- The control room could be set up opposite the drummer, in an enclosed, soundproofed room.
(Based of the layout used at the Pathe Marconi Studios in Paris when used by the Rolling Stones in 1981, as shown in the April 2004 Sound on Sound).
2. Describe the term 'basic tracks'.
- When laying down the basic tracks, the framework of the song is recorded. The producer will know in advance the exact arrangement of the song and how fast it will go, and the band will be able to start playing from places in the middle of the arrangement in case that becomes necessary.
- Basic tracks are sometimes called "rhythm tracks" they aim to set up a solid rhythmic foundation for the rest of the song to be built upon, and for that reason are often played over a click track or with a metronome.
3. Describe the term overdubs.
- An overdub is when tracks are played back while others are recorded. Overdubs can take place to add to the ‘basic tracks’ or correct any mistakes made on the basic tracks. On a digital system there is no limit to the amount of overdubs that may be performed by a band or artist.
4. Describe the term 'guide vocal'.
- Usually a guide or scratch vocal is recorded as part of the basic tracks. This is not intended to be a final vocal; it is just used as a reference so you can tell where you are in the song while playing, and is usually erased when the vocals are recorded later
5. Describe the term 'foldback'.
- Studio - The system by which a performer in a studio may hear their performance through headphones, it allows the musician to hear the recorded signal while they are playing. It allows the musician hear timing queues (click track), as well as other tracks in the composition. The foldback signal therefore acts as an aid to recording. Playing foldback through headphones ensures that it isn't picked up on any recording microphones. The simplest foldback case is when you're just recording yourself. Using monitors during recording could lead to the foldback signal being record onto the new track.
- Live - Foldback (the monitor system) comprises onstage speaker systems which enable the artist to hear their own performance, as well as other instruments and/or vocalists to varying degrees as controlled by the 'monitor engineer'.
6. Explain how foldback set up?
- Studio - A simple foldback case is when you're just recording yourself, using headphones and some routing from your sequencer to your mixer to feedback the sound of your instrument and the click track. A singer can be recorded on a computer, while the backing track is playing from the computer into the mixer and into the headphones. The singer can also hear their own performance though the headphones. It can be applied for the other members of the group also, and each will want a different mic to the headphones to help them get the best performance.
- Live - Foldback is set up individually for each performer depending on which sounds they want to hear most pronounced. The sound will be routed to onstage monitors found in front of the performers (sometimes the drummer will wear headphones, if playing to a click or sequenced track).
7. Indicate the significance of 'spill'.
- Spill is the sound picked up by a microphone that does not originate with the source intended to be recorded. For example an acoustic guitar is being recorded in a studio at the same time as drums are played; the sound of the drum kit may ‘spill’ over into the microphone recording the acoustic guitar. This may happen when the basic tracks are being laid down and can be problematic for the recording engineer. If during the basic tracks the guitarist gets his part spot on, but the drummer is out of time and the sound ‘spills’ into the microphone recording the guitar, the recording may not be usable. The engineer may be able to rescue the recording with careful use of eq however.
8. What is a 'track sheet' used for?
- A track sheet is used to record information about the recording session. Each song will have its own sheet and each track will have its own row of information including what is on that track, mic placement, EQ, effect and amplifier settings. This allows the engineer to reproduce the sound (or at least get close) at a later time if they need to.
9. Comment on some recording techniques used for basic tracks?
- One piece if advice I keep reading about recording basic tracks is the importance of creating the most comfortable environment for the performers, not making the players feel anyway under pressure.
- Microphones will be set up to get the best sound recorded and the engineer will work hard to get the positions as good as they can, while still allowing the groove of the band to be captured. Advice I read said to always use as many mics as you can because you can take away from what you record but you cannot add to it.
- Each instrument should be recorded to separate tracks, and where possible each microphone can be recorded to separate tracks also.
- As the basic tracks are the framework of the recording many takes will be carried out where any mistakes or problems with the track will be ironed out before any overdubs are made.
10. How might you prepare and record a kick drum?
- The resonant head will often have a hole in it to allow muffling of either the batter or resonant heads with pillows of blankets.
- The kick drum should be serviced regularly to minimize mechanical noise, and the pedal mechanism oiled.
- Method 1 - Microphone placement is very important as the impact of the beater will create noise with little low-frequency content, and this is most audible at the point of contact. If the microphone is positioned too close to this it will pick up the sound of the beater and little else. To increase the low-frequency content the mic should be moved to a point midway between the batter and resonant skins and still on the mid-axis of the shell. This should achieve a good balance between impact noise, pressure and depth.
- The amount of bass sounds can be adjusted by very small movement of the mic towards or away from the back of the shell.
- Method 2 – A boundary microphone can be inserted into the shell of the kick drum, this is a pressure transducer with a hemispherical response, with excellent low frequency reproduction.
- Place inside the drum spillage from noise outside is minimized.
- Method 3 – A microphone can be placed outside the shell of the kick drum, a method used by many jazz players for a more natural and fuller sound. The mic is close to the resonant skin and the resulting sound is therefore big and bassy.
11. What type(s) of microphones might you use?
- Method 1 – Recording - A large-diaphragm condenser should be used to transduce the sharp, loud attack of the drum, ideally the microphone will have the option of 10 or 20 dB attenuation, e.g. AKG D550.
- Studio - A dynamic mic is most commonly used, e.g. AKG D112, EV RE20.
- Method 2 – A boundary mic, e.g. AKG D112, Audio-technica ATM 87R, Neumann KM184.
- Method 3 – A mic with a tight polar pattern and excellent off-centre rejection
12. How would you prepare and record a snare drum?
- To minimize rattle and spillage from the toms it is essential that all the snares are pressed equally tightly to the head.
- Condenser mics give a more transparent reproduction and capture the rich sonic detail of brush playing in the studio, with dynamic microphones being preferred on stage.
- The mic should be placed near the edge of the shell about 3-4 cm above the level of the batter head and inclined downwards at an angle between 30 and 45 degrees. Tilting the mic towards the centre of the skin will increase bass sounds while moving it towards the edge will result in a more trebly sound.
- Because of the sound created by the hi-hat next to the snare directional microphones with excellent rejection of off-axis sound must be used. The mic must be positioned so that the ‘blind spot’ is offered to the hi-hat (cardioid = 180 degrees off axis / hypercardioid = 135 and 225 degrees off-axis).
13. Comment on the internal dampers found in some drums.
Internal dampers can be found inside some drums. They consist of pieces of felt attached to a mechanism used to adjust their position. The tighter the dampers are pressed into the skin of the drum the more the sound is deadened.
14. Describe how a snare drum can be recorded using two or more microphones.
- If the sound is lacking frequency content a second cardioid microphone should be placed beneath the resonant head, with the phase reversed to avoid low frequency cancellation, and frequencies below 400Hz minimised to avoid spillage from the kick drum.
15. Describe the tuning of drums and toms in particular.
- With the drum removed from the kit the bottom skin must be pulled nice and tight usually at a higher pitch than the top skin.
- To tune a skin evenly you must put your finger in the centre of the skin and tap the outer part near each tuning point. Each point produces a slightly different note each point must be tuned so that they all produce the same note.
- This procedure is repeated on both top and bottom skins, and on toms each drum must be tuned relative to the other drums so that the high toms progress down to the low toms.
- When mounted back on the kit each drum should produce on pure note.
16. Comment on single-headed and double-headed toms.
A single-headed tom is one where the resonant head has been removed to allow a microphone to be directed into the shell from below in the belief this will remove spillage. However this practice has largely been abandoned as it usually results in severe resonance problems that can only be held in check through massive treatment of the head with duct tape, causing the tom to sound like cardboard!!! Therefore double-headed toms are preferred.
17. Comment on the importance of good cymbals.
The sound produced by a cymbal is dependant on its construction; therefore good cymbals are essential to a good sounding recording. Cymbals are made of an alloy of copper and zinc, and the sound is dependant on the quality and composition of the alloy. Also the diameter, thickness and shape of the cymbals have an impact on the sound. For example the thickness of a crash cymbal is important in controlling the attack of the sound it produces, a thinner cymbal is preferred to provide a faster attack.
18. What type of microphone(s) could you use?
Cymbals produce a very complex sound with a frequency range covering the entire range of human hearing; therefore the only mic worth considering will be a condenser. Cymbals are often recorded using overhead microphones in a stereo configuration. A good microphone to record drums will be a large or small condenser with high resolution and good transient response, e.g. snare = AKG c1000s (tight hypercardioid) / overhead = Neumann KM184 (cardioid).
19. Comment on mic positioning for the hihat.
A good place for the mic is between the centre and circumference of the top cymbal, and about 12 cm above the hi-hat and pointing towards it. A microphone with a tight hypercardioid polar pattern will help to reduce spillage from the snare, and a high pass filter will help reduce low frequencies from other parts of the kit.
20. Comment on the positioning and phasing of drum mics.
- Phasing are easily eliminated by digital recording techniques which allow individual tracks to be moved forwards or backwards in time until the synchronisation is perfect. This can be made easier if before the performance begins someone claps their hands together, this can then be lined up once the recording is complete, and the tracks will be synchronised as a result.
- The problems of phasing can also be helped by recording one of the two snare microphone out-of-phase, if a two microphone technique is being used.
- Microphones should not be placed to close to cymbals and comb-filtering manifesting as a phasing effect can happen; overhead microphone placement overcomes this problem.
21. How would you approach mixing drums?
- The drum mix must pay respect to the other parts of the song and the style of music.
- Panning - Kick and snare – Centre. Toms - can be panned around centre (10 and 2 on a clock). -Overheads - can be panned much harder, even a total left/right.
- Listening on a set of headphones will show potential distractions in a clearer way, often more revealing then a set of monitors
- Kick Drum - A kick has a lot of low-mid frequencies which may muddy the sound. A cut in the 250-500Hz area will help to solve this problem. A powerful thump can be achieved with a boost in the 75-150Hz area. This cut and boost tends to work together nicely but the amount of EQ is dependent on your successful mic placement.
- Snare Drum – The lows should be rolled off below 100 Hz. For more body or a fatter sound a boost should be applied around 100-300Hz. For more attack a boost around 3-5 kHz can be applied. A boost at 6 kHz can be applied to for some more air.
- Hi-Hat - A roll off at below 200Hz any rumble in the hi hat mic. To create a thicker sound a boost should be applied at 300 - 600 Hz. A thinner sound can be achieved by applying a boost at around 6-7 kHz. Cutting at around 1.5 cleans some of the metal sound and results in a cleaner hi-hat.
- Toms - A cut around 250-500Hz and a boost at 3-5 kHz increases the attack of the toms.
- Overheads - A cut below 150Hz is welcomed as the overheads are not intended to add any punch to the recording. A cut at 300-400Hz eliminates any spillage from the snare. A boost at 80Hz will add deepness in the toms. A boost at 6kHz gives more of a strike to the cymbals, and a boost at 15KHz adds a nice sheen to the cymbals.
- Levels should be set to allow the drum kit to sit naturally in the mix, and compression, reverb and gating can be applied as required.
22. What time of day is best for recording vocals?
The best time for recording vocals is neither too early in the morning nor too late in the day. Singers need a lengthy warm up session before they can sing at peak performance. This warm up to takes as long as an hour before the voice achieves real depth and fullness of sound. It is also important not to over stretch the voice during the warm up and wear it out. Therefore early morning would not give the singer enough time to warm their voice; also too late in the day may mean that the singer’s voice will have tired
23. How important is it for the engineer and producer to feel at ease with the singer?
Very important, as under the pressure of being in a studio even good singers can perform badly, good relations with the producer will help calm the singer and help lead to the best performance.
24. Comment on microphone selection for vocals.
- Studio – Usually a large diaphragm condenser is used such as the AKG C414 which has been attenuated slightly from 2 to 3 kHz to remove a certain degree of hardness and aggression from the voice. An intimate vocal sound is achieved by placing the mic at a distance of between 15 cm and 30 cm from the mouth. Bass cut should be applied if available.
- Live – Cardioids or hypercardioids should be chosen as they do not pick up sound 180 degrees off axis and therefore do not produce feedback when used near monitors, e.g. AKG C900m.
25. What is a 'pop shield'?
A pop shield is a piece of nylon fabric stretched over a ring and is completely transparent acoustically. The only thing the nylon absorbs is sudden increases in pressure caused by breath noises and ‘p’ sounds. They also help keep the correct distance between the singer and the microphone.
26. Describe the rehearsal process for recording a vocal.
A warm up can take as long as an hour for the voice to achieve real depth and fullness of sound. The voice must not be pushed too hard during the warm. Experienced vocalists will have their own warm up routine, which they will probably want to carry out in private; a space should be set up for them. An inexperienced singer, or one who has not yet recognized the need for a warm up, will need a certain amount of coaxing. Once the voice is fully fit, or perhaps a little earlier, you can start rehearsing the song. During the rehearsal different microphones can be tested to figure out which best suits the vocalist. The record button may be pressed during the rehearsal just in case the vocalist nails the vocal when they are under less pressure.
27. Comment on the importance of foldback.
Foldback is important to the vocalist so that they can sing in tune and come in at the right time, a mix will be set up just for the vocalist so they are happy with their timing and pitch.
28. What can be done to ensure good foldback for the singer?
The engineer will set up a mix then ask the vocalist if they would like anything made louder or quieter, particularly their own voice. Good headphones should be used, preferably closed back headphones which will prevent any sound spilling into the vocal microphone.
29. Describe the 'comping' technique of recording vocals.
The comping technique is a method of compiling the best parts of different vocal takes to make the final vocal track. This allows the engineer to use part of a vocal that is good in places, and has been made easier with the development of digital editing techniques. Sometimes different sections of the song will be recorded with different microphones and compiled using the comping technique at the editing stage.
30. What is a 'spin in'?
A ‘spin in’ is a term carried over from the time when analogue equipment was most popular in studios. It involves the recording of one piece of sound from one piece of tape to another and then recorded back to the original tape at a different point. The results of this technique are still desired although it has been made much less tricky due to the ability to cut and paste on digital systems.
31. How can a vocal be recorded for a difficult song that the singer doesn't know well?
By using a rehearse – record technique where the song is split into segments which are rehearsed then recorded individually, then put together using the comping technique.
32. What are the possible remedies for out of tune singing?
- Setting up a foldback which allows the singer to sing in tune.
- Use an auto-tune plug-in to correct it, however this cannot work miracles. If the singer is completely off key for the duration of the track then there may be no remedy other than to get another vocalist.
33. How can a 'thin' voice be fattened up?
- By double tracking the vocal, i.e. recording the same vocal on two different tracks.
- By using effects such as a tube gain maximiser.
34. Describe some possible microphone positions for a piano.
- The technique employed depends on the application and the musical genre.
- Obtaining a well balanced recording of a piano takes a great deal of practice. The area just in front of an open piano lid is very sensitive to even a light microphone adjustment; therefore an alternative, less problematic placement is desirable.
- The microphone can be raised until it is almost above the instrument, and aimed towards the strings of the middle register. One of the best ways to capture the piano is using the MS technique whereby two microphones are placed at right angles, with the M (cardioid, omnidirectional, or figure of eight) aimed at the centre of the piano, and the S (figure-of-eight) at right angles to it with the in-phase end of the figure-of-eight pointing to the left.
- In large / reverberant rooms additional spot microphones are needed.
- Large-diaphragm condenser microphones are often used for the lower register and small-diaphragm microphones used for the mid-range and treble.
35. Describe some possible microphone positions for an acoustic guitar.
- A contact mic such as the AKG C411 can be attached to almost any point of the guitar.
- A small-diaphragm microphone can be pointed at an angle towards the bridge of the guitar. This produces a balanced sonic image as it is from the bridge that the soundboard derives its movement.
- The sound of the strings can be recorded more prominently by pointing a microphone between the sound hole and the neck of the guitar, where the neck overlaps the body., with the bass sound able to be increased be moving the mic towards the sound hole, or reduced by moving it away from the sound hole.
- These two techniques could be combined, using a large-diaphragm at the neck and a small diaphragm at the bridge.
36. Describe some possible microphone positions for an electric guitar.
- The classic mic used on a guitar cabinet is the Shure SM57, a dynamic microphone which can handle very high sound pressure levels. A large-diaphragm microphone will produce a more natural and transparent guitar sound however.
- The sound recorded will depend on where the microphone is pointed. The sharpest and most penetrating point source will be in line with the centre of the loudspeaker diaphragm, and the treble will decrease as the microphone is moved towards the circumference.
- If there is a bass roll-off filter on the microphone it should be used.
37. What is DI?
‘Direct Injection’ – an instrument is plugged straight into the recording console without the use of a microphone.
38. Describe passive and active DI, and how a DI box is connected to the console.
- A DI box is connected to the console using a 1/4“ or XLR input.
- Passive - This contains just a transformer, it does not require a power supply. Its role is to convert the fairly high output of the instrument to a lower output suitable for feeding microphone lines.
- Active – The transformer is replaced with an electronic circuit which presents a constant very high impedance to the instrument and provides a constant low-impedance output. The presence of electronics allows for other features such as switched attenuation values and high and low filters. It is powered either by batteries or by phantom power.
39. How is a record player connected to a mixing console?
Consumer sound equipment operates at a considerably lower nominal line level (-16 dBu) than +4 dBu, which results in too low levels into the professional equipment. Therefore a preamp is required to boost the signal.
40. How many mixing consoles are necessary to make a live recording of a conventional rock band?
It can be done on one, although two or three are preferable to mix the live sound, the recorded sound and foldback levels.
41. How are the mix signals separated to go to two consoles?
By using a splitter box which isolates the two consoles and maintains suitable impedance for the microphone.
42. Where would the recording equipment and recording engineer be situated during the concert?
In an isolated area away from the sound mixed for the live performance. Sometimes a mobile recording or outside broadcast van is used.
43. Onto what multitrack format would a live recording be made?
Hard disk / ADAT / Tape.
44. Name the three types of instrument you would be most likely to find in a brass section in pop music.
- Trumpet
- Trombone
- French Horn??
- (NOT Saxophone = WOODWIND you blow on a reed)
45. What is the minimum number of microphones that can be used to record a five-piece brass section in stereo?
Two
46. A producer has the idea of combining a violin with the brass section referred to in part b) and recording them all at the same time. Explain how this would be achieved.
The violinist could either be isolated from the brass section and recorded with a large diaphragm condenser, or use a pickup which would not record much spillage from the brass section.
46. What is the main advantage of hiring a brass section comprising people who regularly work together, as opposed to hiring individual musicians?
The advantage is that they already know how each player plays. There will be no time wasted as the players will gel immediately. Not only will it save time, it will also probably result in a better sounding recording.
47. When miking an electric guitar cabinet, what difference would you expect in the sound quality from the centre of the drive unit's cone and the edge of the cone?
The sharpest and most penetrating point source will be in line with the centre of the loudspeaker diaphragm, and the treble will decrease as the microphone is moved towards the circumference.
48. Why does a DI signal from the loudspeaker output of a guitar amplifier sound different to a microphone placed in front of the cabinet?
A DI signal will sound different as it involves and electrical signal being fed into the mixer without it being turned into sound. This loses the aggressive quality of the sound that you get when the amp is driven at the right level. When the amp is recorded using a microphone the strings are transduced into sound before the microphone converts it back to an electrical signal where it adds its own characteristics.
49. A dynamic microphone placed close to a combo amplifier may pick up hum, whereas a capacitor microphone will not. Explain the reason.
A dynamic microphone may pick up hum from the mains transducer of the combo amp, careful placement can avoid this if the mic can be placed as far away from the transformer as possible while still picking up the desired sound from the combo. The problem will be avoided completely by the use of a capacitor microphone.
50. Would a bass guitar cabinet normally reproduce accurately the fundamental frequencies of the lowest notes of the instrument?
No, the lowest frequencies of a bass would not be amplified by a bass cabinet, although these would be frequencies below the lowest sounds a human can hear anyway.
51. Describe the Decca tree system of miking.
The Decca Tree technique arranges three omni directional mics, where a centre mic is placed slightly forward of the two outer mics to stabilize the centre image and avoids the hole in the middle often created by stereo pairs. Sometimes a pair of omni outriggers is used as well as the tree; they are placed towards the wide sources of the orchestra to support the extremes of the sound stage that are a distance from the main tree. |
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Sat Mar 27, 2004 6:44 pm |
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albertom
Joined: 21 Jan 2004
Posts: 22
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1. What could be a typical studio layout for a conventional rock band consisting of drums, bass, electric guitar and keyboards?
A typical studio layout should be in a big room with acoustic separations so that you can record the drums simultaneously with the guitars to have a solid basic track. Another technique is to record the guitar in a booth separated from the drums to avoid leakage. The bass and keyboards can be put directly thru a DI box in the console.
2. Describe the term 'basic tracks'.
Basic tracks are the foundation of the album being recorded. It’s the first recording that consist of a bass a guitar and drums (sometimes vocals so it can be easier). This track is what later on will be overdubbed. They should be solid but not sterile. If The overall feel of the track is what is most important.
3. Describe the term overdubs.
Overdubs are tracks that the musicians record after the basic tracks. By listening to the foldback mix they can easily record and re-record their tracks.
4. Describe the term 'guide vocal'.
It’s a fist draft vocal recording usually recorded in the basic tracks so the musicians have an idea of what the voice should sound like in the final track.
5. Describe the term 'foldback'.
Foldback is the technique used so the musicians can hear the basic tracks, other musicians, or themselves via headphones. The foldback is adjusted for each musician needs, for example if the singer wants to hear the guitar louder than the drums the engineer makes the correction.
6. Explian how foldback set up?
First you have to create a separate mix for the foldback on one (or two for stereo Monitoring) mixer Auxiliaries. However if you send the mixer Master outs (or mixer headphone socket) direct to the Foldback amp both the engineer and the sing | | | |
