HNC Sound Production
Recording and Mixing (SCQF level 7)
Unit Code: J01A 34
Sound Production: Recording and Mixing
Learning Outcome 1, Part 1
The track will be conceptualised, generated, performed, recorded, sequenced and engineered by myself utilizing instrumentation and recording techniques that I have developed prior to my time learning in the present studio. This prior experience will be refined through tested and learned studies in sound design.
The track length will be approximately 00:07:00, that being 7 minutes. There will be no tempo, although Protools can be set at 130bpm, as this is the default tempo that I set my DAW to.
Instrumentation will consist of 2 synthesizers, a sampler and a 4 track cassette recorder. Effects units will be provided by myself, delay and tremolo, with additional effects processing provided by the rack units in Eastlake 1.
The session will take place in the live room adjacent to Eastlake 1, the airlock and the stairwell or corridor leading to the recording studio. This is for practical, creative and technical reasons.
Preproduction of the track will be investigated and developed prior to the session. This could involve the generating of sounds on the synthesizers, gathering and recording of found sounds for the sampler, recording of 4 tracks on the cassette recorder. To collect all sounds together and develop them in their totality rather than disparate elements, each part should have its context within the framework of the track.
All instruments will be situated in the live room, with amplification routed through the isolated airlock, stairwell and one in the live room. Isolation and bleed will be considered and minimal, additionally supported by microphone placement and appropriate polar patterns.
Instrument 1, Arturia Microbrute Monophonic synthesizer, 100% Analog audio signal path, Steiner-Parker 2-pole multimode filter. The frequency range of the synthesizer is from 0.1Hz to 200Hz, producing high Sound Pressure Levels through the Ampeg Ba-112 Bass amplifier, itself running 50 watt at 8 Ohms. In my investigation of dynamic microphones, which can handle such high SPL, I have chosen the Shure sm57, which holds a frequency response of 40Hz to 15,000Hz, so capturing much low end and a top end curve at 5000Hz, tailing off at 10000Hz. The Tascam 4 track will be routed through the synth to take advantage of the analog filter, so the sm57, with its cardioid polar pattern will have to capture both the low end and highs. The bass synth will also be connected by Direct Input on CH1, capturing a clear signal that can be mixed with the microphone signal. The amp will be isolated in the airlock between the live room and control room of Eastlake 1. Connected to the synth in the signal path will be a time based effect, a delay pedal. The sm57 connects to CH2.
Instrument 2, Microkorg Analog Modeling Synthesis System. Programmed with high frequencies, detailed tones, connected to tremolo pedal, which is a modulation effect, run through the Vox VT120. The amp will be placed in the back stairwell, adjacent to Eastlake 1, to take advantage of the reverb of the space. The Neumann u87 has a flat frequency response from 70Hz to 5kHz and being a condenser, will be able to pick up such intricate tones of the space. It will need phantom power +48v. Cable length will be an issue, so a cable extender, for a balanced XLR will be required, so as to place the microphone at the top of the stair. The polar pattern should be set to omnidirectional. If no Neumann is available, substitute for Aston Spirit, a large diaphragm condenser +48v, set to omnidirectional and low cut filter at 80Hz, which will focus of the higher frequencies of the reverb. Health and safety precautions will be noted, as cable will need to be secured in the stairwell. Connect to CH3
The stairwell bottom will be captured with the Sennheiser md421 dynamic mic, the frequency range being 30Hz to 17000Hz, so capturing a wide frequency range on CH4. The md421 will be close to the amp and can handle a high SPL as the signal from the amp will need to reach the top of the stairwell and the null lying at the back end of the cardioid polar pattern. Cables required 2 balanced XLR, 1 balanced TRS and extender.
The sampler will be sequenced with field recordings that I have collected myself, playing over 64 steps. Output is via 2 ¼” balanced main outputs, connected via ¼” TRS to two amps, left and right side of the live room. If matching pairs of amps are not available, one amp set further back should suffice. The Rode M5, frequency response from 20Hz to 20kHz, small diaphragm condenser, set in stereo array with its cardioid polar pattern. Using the ORTF technique, other side other side, to capture a wide stereo image of the live room. Details in the higher frequency that are provided by the field recordings can be picked up by the Rode m5. Connect to CH5 and CH6 respectively.
The sounds were captured using a variety of microphones, choices based on my learning over the past months. I chose to use microphones based on what I thought of their appropriate targets and uses.
SM57 capturing bass synthesizer through amp. Active DI capturing at source.
Instrument 1, Arturia Microbrute, was captured using the Shure SM57, which held up to the low bass frequencies and high SPL that was projected from the bass amp. When monitored from the control room, the clarity of the source was captured with detail, good gain structure and without distortion. Instrument 1 was also captured by DI, this allowed a clear signal to be captured alongside the live microphone signal, further adding to clarity and capturing the source clearly. The SM57 Dynamic microphone has a cardioid polar pattern, the null at the back of the microphone, which being setup in the live room on its own, with no other instruments, there was no bleed or background noise.
Aston Spirit setup in corridor to capture String Synthesizer through amp.
Instrument 2, Microkorg, labelled as Strings. The amp was set up in the corridor and captured with the Aston Spirit. The condenser microphone picked up great detail when monitoring. I noted that when I listened back to the recording, there was a lot of resonance from the corridor.
Rode M5 set in ORTF, capturing left and right side amps.
Instrument 3, sampler, captured with a pair of Rode M5, set in ORTF. This was to capture a wide stereo image, of two amps set left and right in the live room. When listening back to the recording, there is noticeable bleed coming from behind the source, the sound of the Strings set in the corridor. The door to the live room had to be left ajar, to allow cables for the synthesizer, microphone and amp to run out. This stopped sound isolation, resulting in the Rode M5 picking up bleed.
Sennheiser MD421 capturing tape machine through amp
Instrument 4, tape machine, captured with the Sennheiser MD421 and isolated in the middle live room, with a noticeable drumkit setup. However, this kit is not present on the recording, the MD421 being directed at the amp and the null facing to the rear.
Eastlake 2 was booked for me from 1300-1700. In that time, I was able to set up all instruments, microphones, cables and route all through the wall box into the control room. ProTools was set up with standard tracking and monitoring to enable a good recording session. My strengths as an engineer would be setup of instruments, microphone placement and routing.
Limitations of the session were my lack of practical experience in the studio, I did ask for help in setting up and routing. These limitations will decrease as my experience and confidence increase in the studio.
Sound Production: Recording and Mixing
Learning Outcome 2, Part 1.
Looking forward, plan your mix (500 words)
I want to respect the austerity of the source material in that I do not want to colour the recordings by way of too much EQ or dynamic processing. These sources were captured well and I want to draw attention to the functional and reduced simplicity of the sound. I approached the project as a study in the capture of sound and it has evolved into an investigation of resonance.
Using a spectral analyser, I was able to view the frequency range of the captured sounds. This will be used to plan my mix and how each part relates in the mix.
Bass DI frequency range
Bass track will be set in mono and centred. Some light time based effect by way of delay will be used to blur the musicality out of the track. The bass captured with the SM57 will be mixed and balanced in, giving the two tracks of bass a rich texture.
Sampler frequency range
In contrast with the bass DI, the Sampler track has more frequencies in the mid range. When mixing, I plan to have these mid range frequencies higher in dB, to place them forward in the mix. The bass frequencies can have their high ends rolled off with EQ, allowing the mid to high of other tracks to be mixed in the range of the master. As the source was captured in stereo, the 2 tracks will be panned left and right.
Strings captured with Aston Spirit
The string track presents a challenge to mix, as there are mid to high frequencies and resonance which can be described as “honky” in audio engineering language, although I am unsure whether this a bad quality. I will need to mix this track in relation to the others to decide on panning.
Tape machine captured with MD421
Similar to the string track, the tape machine threw out a lot of resonance. Balancing this in the mix with the strings will present a challenge, as I predict too much resonance on various tracks will clash and fight in the frequency range of the master.
My investigation of resonance has drawn me to 3 tracks that I have referenced. These tracks use the space they were recorded in to bring attention to the resonances of the space and a physicality of the sound.
CM von Hausswolff uses electroacoustic music to explore the resonances of a space. This interaction between the space and the track is critical to giving the piece context.
Alvin Lucier – I am sitting in a room
Alvin Lucier explores the relationship between voice, space and resonance.
Janet Cardiff’s The Forty Part Motet
An emotive exploration of sound. Moreover, setup of speakers in a space and how that affects the piece.
http://www.martincreed.com/site/works/work-no-200
Whilst not directly related to sound, Martin Creeds Work no. 200 translates an intangible idea into a physical piece, which was an initial concept I started with when approaching the assignment. How could I capture a physical space through sound?
First Mix Session
First mix window, documenting levels, panning, inserts of eq, dynamic processing and time based effects.
Arrangement window.
The mix is now ready to master. The stereo .wav will be opened in a new session and mastering by way of eq and compression will be applied. Next, the track will be bounced out to format and named according to AES standard.