STUDIO MANUAL

Music Technology

TYPES OF CONNECTIONS AND CABLING USED IN THE STUDIOS

Balanced and Unbalanced Connections: The balanced connections uses three conductors; one for the positive and one for the negative phase of the signal and one for the ground. It protects it from humming and interference.

The unbalanced connections use two conductors; one for signal and the other for ground but they are likely to hum and interfere with the connectors; these are usually used by the consumers. Digital Connectors: Digital Connectors are also known as audio connectors are electrical connectors that are designed and used for audio frequencies.

Computer Connectors: Computer connectors are part of the cable that would be plugged into the port or the interface to connect to a device to another. It has a male side which would have the pins and the female side would have holes for the male part to insert.

Patch Leads: Patch Leads groups all of the inputs into one location on the Mesa. For example with keyboard instruments it can be connected without going around the rack or the instrument and trying to find the right jack.

DEFINITION EXPLANATION OF STUDIO EQUIPMENT/SIGNALS

Audio Interface: Is an external hardrive unit that is connected using a USB cable or FireWire. It takes all various audio inputs and converts them to digital data. Its like a soundcard where it handles all the audio input and output signals.

Signal Levels: They can be found in audio recording or a radio frequency communication where it measures the level of signal thats being received. It relates to signal-to-noise ratio which measures the radio between random signal level and noise and it can be used to send information.

Direct Injection: Direct Injection or DI box is a device that is used in recording studios which is connected to a high-impedance, line level, and unbalanced output signal to a lowimpedance microphone level balanced input with a XLR connector. It can be used on the electric guitar or bass to mixers mic input. It can match, balance and either active buffering or passive impedance matching and it can minimize noise, distortion and ground loops. It can take high impedance, unbalanced signal and converts them to low impedance which would balance the signal. For it to work with an instrument it needs to be connected with an XLR input.

Patch Bay: Patch Bay is a device that collects the inputs and outputs of all the instruments which connects all the equipment in the studio. It can be used for recording and broadcast studios. They route the connection of the microphones/preamps, compressors, EQ, amplifiers and other devices. The short patch cables for the jacks are put in the front; they also have jacks at the back of the patch bay to connect hardware permanently. When the jacks are inserted at the top they are routed to the outputs and the bottom are routed to the inputs.

VU Meter: VU or volume units measure the volume of a source of an audio. It doesnt tell you about the loudness of the sound through the speakers but it represents the volume of sound thats recorded off of tape. Some VU meters have a needle bouncing but others have a series of red and green lights. This means the display changes according to the volume of the incoming sound. For example when recording audio, the needle has to be pointing straight up. It would bounce both a little below and a little above.

Noise Gate: Noise gate gets rid of unwanted noise that is audible when the signal level is low. It is useful to remove background noise, crosstalk from other signal sources and also lowers the humming sounds. This works by allowing signals above the threshold level to pass unchecked while reducing signals below the threshold level. It gets rid of the lowerlevel parts of the signal, while it allows the necessary parts of audio can be used.

Parametric EQ: Parametric EQ/equalizers are multi-band variable equalizers that allow us to control their three primary parameters which are the amplitude, centre frequency and bandwidth. Each band is controlled and the centre frequency can be shifted and bandwidth can either widen or narrowed. They are also used in sound recording and live sound reinforcement. Another option of the parametric equalizer is the semi-parametric equalizer. This controls both the amplitude and the frequency but uses a pre-set bandwidth of the centre frequency.

Shelf EQ: Shelf EQ can either boost or reduce the energy at the set frequency. For example if

the frequency has maximum boost will be the most extreme frequency between 20 kHz for a high shelf and 20 Hz for a low-shelf. The turnover frequency would have 3dB less boost than the extreme frequency if the EQ was set to its maximum boost.

Outboard Equipment: The outboard equipment alters how a musical instruments sound. It can be used for live performances or recording studios. Its separates it from the effects applied by using the mixer or the audio interface. It has the typical early units like the Wah-wah pedal to produce phasing effects for the electric guitar. It can be also used on vocals using an echo effect or pitch transformation of the singers voice. Its designed to compress or expand the duration of sound and alters the speed of length of the original sound.

HEALTH AND SAFETY FOR WORKING IN THE STUDIOS

The following rules to apply to when working in the studios: You must carry out a noise risk assessment and assess the risk Then write, distribute and monitor a noise policy for the studio Control, reduce and monitor peoples exposure to noise in studios Performance noise should be kept down irrespective of the balance of the mixing desk Plan sessions and access to studio areas Clarify the responsibilities and confirm arrangements Ensure people have a hearing health check and provide hearing protection if needed in certain places Note down who exposes noise and provide feedback when needed Reduce monitor speaker levels in the control room Position people and equipment to avoid accidents of their own problems

Provide training, information and instructions to musicians and techies to be aware

DIAGRAM/PLAN OF THE STUDIO AREA/DIAGRAM OF CHANNEL STRIP

THIS IS THE FLOOR PLAN OF THE ENTRANCE TO THE STUDIOS

There are three fire exits as shown in the floor plan. The 1 st one is by the main entrance to the studios, the 2nd one is in front of the studio and the 3rd one is by the corner of the main doors. This is a floor plan of the inside of studio A equipment

Picture of Fire Alarm near the Studios

Health and Safety in case of Fire Emergencies: Fire Alarm in the corridor of the studio and the Fire Exit in front of the entrance door of studio A.

ANNOTATIONS OF STUDIO A EQUIPMENT SETUP Inside view of Studio A

Studio equipment layout inside of studio A

CHANNEL STRIP/ FADER: They are 36 channels on the mixing desk. Channels 1-23 are used for playback (left side) Channels 24-36 are used for recording (right side)

PLAYBACK

RECORDING

THE CHANNEL STRIPS

TAPE RETURN MEANS TO PLAYBACK OR TO MONITOR

TOP PART GAIN-PICKS UP INSTRUMENTS OR VOCALS

Phantom power-gives the mixer more power

Line Input-acoustic instrument

Phase-reduces over-all volume

Low Cut-cuts below 100Hz e.g. kick drum or bass

Noise Gate-excludes un-wanted noise. If there is no noise gate it can cause feedback.

Hold-how long it takes the gate to close.

EQ High frequency is known as shelving

EQ Low frequency below 80 Hz gets cut.

Semi-parametic is to choose the frequency and then cut/boost the track.

Auxiliary-controls the sound levels on each channel: 1- Headphone AMP 2- AUX 1+2 sends signal to headphones 3- Reverb Unit

PRE-FADER Level (PFL)

Top Fade-recording

SOLO

CUT/MUTE
Bottom fade-Playback

Mute Group-M1, M2, M3,M4

Talk Back mic-allows us to communicate with the artists. Always turn down the master. Press mix to hear mic. Group output-sends to the computer

Channel Fader Diagram

MIX-SENDS TO THE MAIN MIX PFL

Cut/Mute

1-2 3-4 5-6

7-8

BNCE (Bounce)

XFX

REV (Reverse Fader)

TYPES OF MICROPHONES
There are different types of microphones that are used in the studios. These are: Dynamic Microphone: It has an advantage of the electromagnetic effect. When the magnet moves past a wire, the magnet will induce its current to flow in the wire. Its diaphragm can move either a magnet or the coil when the sound waves hit the diaphragm. An example of a dynamic microphone is the F14 Audix-Bass Drum-Dynamic mic (large diaphragm).

Condenser Microphone: Its a capacitor with one plate moving in response to the sound waves. This type of microphone would need a small battery to provide a voltage across the capacitor at times. An example of a condenser microphone is the 3 neumann Mics- 1 large diaphragm and the F15 HIGH HATS-CONDENSER MICS

Pencil /Overheads Microphone: These are used in sound recording and live sound reproduction to pick up ambient sounds and the overall blend of the instruments. They are mainly used to record a full drum kit as a stereo. When positioning them they are angled at an XY 90 degree. An example of overheads microphone in the studio is the 2 pencils condenser (LM184)-overhead.

HOW TO ROUTE SIGNAL FROM THE LIVE ROOM TO THE DESK THEN TO THE COMPUTER VIA AN EXTERNAL COMPRESSOR?
Routing signal from the Live Room
Inside the Live Room, the condenser microphone is set up and one end of the XLR is inserted in the microphone and the other is inserted into the stage box at its chosen channel input which is input 1.

XLR FEMALE INSERT

CONDENSER MICROPHONE

XLR MALE INSERT

STAGE BOX

The Live Room

CHANNEL INPUT (1)

Routing signal from the Control Room

STAGE BOX MIXING DESK CHANNEL

OUTPUT ASSIGN

GROUP OUTPUT 1

SOUNDCARD PATCHBAY- TOP RED ROWINPUTS, BOTTOM BLUE-OUTPUTS

SOUND CARD

COMPUTER

COMPRESSOR, SIGNAL INTERRUPTED BETWEEN GROUP OUTPUT AND SOUNDCARD IN

GROUP OUTPUT

COMPRESSOR IN

COMPRESSOR OUT

INPUT 1 (SOUNDCARD)

Routing signal from the Computer to Monitors

COMPUTER

SOUNDCARD

SOUNDCARD PATCHBAY (BOTTOM ROW BLUE)

OUTPUT 1

MIXING DESK TAPE RETURN 1

CHANNEL 1-MONITOR FADER

MASTER FADER

MONITORS

3 DISTINCT STUDIO ROLES

Mastering Engineer Job Role: To edit songs in proper order Sorting out the spaces between songs Crossfading between songs Fading in and out songs to a perfect digital silence Fading out songs earlier or fading in songs that have weaker starts Going through each songs individually so it sounds the same as the others in terms of volume and EQ Adjusting volume of sections of a song e.g. the guitar solo for the intro and acoustic guitar are too loud Doing dynamic process so that the finished production plays back at the proper volume Doing dynamic processing so the lower-powered playback systems doesnt distort the medium-loud levels Sorting out EQ levels to make changes in the mix like bringing vocals up and bass down Removing clicks, pops and glitches that occurred during the recording. Editing two or more mixes of the same song to assemble the perfect mix. Editing the song in sections to either shorten it repeated or lengthens it. Adding ambience to broaden and deepen the stereo field. Reverse or replace unpleasant words for a radio version of the song Adjusting the EQ so it matches the major label releases.

Record Producer Job Role: They help the artist by coaching and working with them to get the recording that they need. They have to assist the audio engineers with the mixing and recording process They also carry out other job roles like an arranger, composer or songwriter so they can be fresh ideas to the tracks. They take full responsibility of the creative mix. Usually the laise with the sound engineer who would focus on the technical aspects of recording and the producer focuses on the overall projects marketability like ensuring that the business is successful and they kept within their budget. At times they help find contacts to help promote the artists music and advice they on publishing and royalties and other aspects of the music industry. They work in different ways e.g. some could take full control of the project; others would work with other artist, musicians and technicians as a creative partner to produce the best track possible. They oversee all the process of the recording session from the planning of the sessions to the finished product. They have to provide instruments, scheduling studio time, handling funding, costs and negotiations They need to create quality sounds that match both the musicians and producers plans.

Composer Job Role: They create music that can be performed for voices, groups of musicians or soloists. Their compositions can be done in different styles such as opera, blues, big band and soul They also create music for films, radio, computer and any other media.

 Some composers may use electronic tools like computers and synthesizers to help them write. They need to be aware that there are possibilities and limitations of each instruments and human voices. If they working for film productions they need to be able to compose in different styles and improvise and create themes to meet deadlines. They need to listen to instructions and translate their vision to musical terms. Develops the pattern of harmony and applying knowledge of music theory Transcribe or records musical ideas to notes on a scored music paper. Creates original music They use synthesizes for the melody of the musical scores for the band They file appropriate compliance reports with regulatory agencies

PROCESS OF DRUM RECORDING

1) Setting Up the Drum Kit:

The drum kit is already set up. So we just need to mic it up. We get all the drum microphones from the cupboard like the F14 Audix, LM184 First we the kick drum-using the F14 Audix and placed it inside of the bass drum and then connected it with an XLR and put it into the stage box in input 1. Then we did the snare-using the Shure SM57 dynamic and we plugged it in the stage box in input 2. Then hi-hats- using the F15 Audix and positioned it on the tip of the hi-hat and plugged it into the stage box in input 3. Overheads- using the 2 pencils condenser (LM184) - these we positioned at an XY angle over the crash symbols and then they plugged into the stage box in input 7 and 8.

2) Routing and Sorting out Signals: As you seen from the diagram of how to route signal from the live room to the compressor we did this process again. Then we are going to sort out the channels on logic. We also sent signals from the patch bay to the computer. During this process we had a bit of difficulty using the patch bays because we kept putting the patch leads in the wrong inputs.

3)

Drum Mic Channel

Once we set up the drum mics we need to ensure that we have signal coming through the mixing desk. We check where all the inputs on the stage box and then we go into logic and set up audio channels and then go on to the mixer and one by one we choose the inputs and rename the channels so we know which one is which. Rich, who would play the drums for us, would play continuously so we can sort out the levels that are coming through logic which enables up to sort out the levels on and the main mixing desk. KICK-INPUT 1 TOP SNARE-INPUT 2 BOTTOM SNARE-INPUT 3 RACK TOM-INPUT 4 FLOOR TOM-INPUT 5 HI-HAT-INPUT 6 OVERHEAD (LEFT)-INPUT 7 OVERHEAD (RIGHT)-INPUT 8

4) Recording and Sampling My group task was to record a drum kit using 3 channels at the same time. We experiment the overheads and the kick drums by recording them.

XY

RECORDING FROM BOTH SIDES!

Aiming at snare

XY Overheads

Sampling Kick Drums-Mic Positions #1

#2

#3

Snare With/without snare rim shot

Reversed S7 & S8

HI Hat-open, closed, middle

Rack Tom

Then we did some sampling use all the parts of the drum kit. All had their own channel so that it would be easy to edit on if there were mistakes made after the recording. Also we did a full run through as a full drum recording as well as just hitting each part of the drum as a signal test. Also added vocals from our tutors. We had to do a multi-track by testing out the mics for our drum recordings.

We also did Signal Test with different instruments-we did a least 2 takes with each instruments and then added some vocals (which our tutors volunteered to do).

We also did drum samplings and made our own library of samples