Pre Production - Equipment List

I have decided that for my honours project recording, I will use the following recording setup:

• 1. Hi-hat Mic - AKG C1000
• 2. Snare mic Top - Shure SM58
• 3. Snare Mic Bottom - Shure SM57
• 4. Kick Drum Mic - AKG D112
• 5. Rack Tom Mic - Shure SM58
• 6. Floor Tom Mic - Shure SM 58
• 7. Overhead Right - Neumann U87
• 8. Overhead Left - Neumann U87
• 9. Guitar 1 Mic 1 - Shure SM57
• 10. Guitar 1 Mic 2 - AKG 414
• 11. Guitar 2 Mic 1 - Shure SM 57
• 12. Guitar 2 Mic 2 - AKG 414
• 13. Bass D.I. - XLR to wall box
• 14. Bass Mic - AKG D112

I have also considered that this means I require an extra 2 input on top of what is available in the studio, so have decided to record the bass tracks on an independent recording device, such as a laptop with recording software and external sound card.

This microphone arrangement and microphone selections I have made are based on practice based research (i.e. previous recording sessions I have been involved in), conversations with my peer (Daryl Robertson) and this e-book.

N.B. - These microphone choices are all best case scenario and ACTUAL mic choice may be dependant on availability as I do not have the money to buy or rent equipment.

Pre Production - Second Mix Jam 1

I have completed the second mix of Jam 1.

These are the revised settings for the drum compressor.

These are the revised settings for the Drum E.Q.

These are the revised settings for the bass Compression

These are the revised settings for the Bass EQ.

These are the revised settings for the guitar EQ

I also added some automation to the guitar track, to give it more impact when the other instruments kick in. I also boosted the level during the solo to make it stand out better for the rest of the mix.

I also added a master fade to the end of the track to cause the track to gradually fade out, giving it a neater ending than it initially had.

I also tried strip silencing the drums on the recording, however the spillage from the guitar and bass caused this to sound unnatural and cause dramatic rises and dips in volume.

Here is the new version of Jam 1

Pre Production - Second Mix jam 2

I began with Jam 2 as less work was needed on this one than was needed on Jam 1.

I initially attempted to strip silence the drum track as detailed in the previous post. However, as i had expected, the drum sounded overly unnatural. I then attempted to use a tighter noise gate but this had much the same effect, so I removed it from the session.

I then addressed the "tinny" cymbals, by finding the problem frequencies and pulling them down as much as possible within the E.Q. This proved relatively effective, although the cymbals are still a little to prominent in the high end of the audio spectrum than I am happy with.

I tried using a limiter to boost the drum rather than a compressor/limiter, however I decided this ultimately gave me less control and reverted to the original plug in.

I also generally boosted all the levels of the instruments, as can be seen on the digital PPM meters (the green and yellow bars) in this image. This was done to address the general quietness of the track, however I think once I am pleased with the mix I will attempt a basic master of the track which will aid in addressing this issue.

I then went through the track, adding a little automation, dropping the levels of the guitar when the drums and bass fall back in the recording, as I felt this provided a nice dynamic shift within the track and made it more pleasant to listen to on the whole.

Here is the second mix of Jam 2

Pre Production - Analytical Listening

I have began listening through the recordings of the tracks, listening for faults within the mix when compared to "The Insider", a track of the FoxBeef, Table For One E.P. as I said I would in the previous post.

I chose "The Insider" as it was initially written as a jam, and roughly recorded, which I felt made it the most fitting to the types of recording I have done.

Jam 1

• To quiet by comparison
• Cymbals very "tinny", needs high end pulled out of the E.Q.
• Drums generally to quiet
• Bass slightly to thin, E.Q. need to be altered
• Guitar also to think, although to a lesser extent

From here: I intend to alter the E.Q. on all instruments to try and remedy the faults I have highlighted. I also intend to increase the compression on the drum track to try and make the kit (particularly the kick and snare) more prominent within the mix. I am also going to experiment with more fully strip silencing the drum track, which may sound a little unnatural but I feel this may actually improve the sound of the track as a whole given the style of music which has been recorded.

Jam 2

• To quiet by comparison
• Cymbals very "tinny", needs high end pulled out of the E.Q.
• Drums generally to quiet
• Bass sounds good, full and rich, sits well within the mix
• Guitar also sound well rounded

From here: I intend to make the noted corrections to the drums. I am also going to experiment with strip silencing the drums more fully, by which I mean trying to isolate every individual hit. I expect that this will sound unnatural given the manner in which the drums were recorded as well as the style of music, however it could alternatively give a much tighter drum sound which is always desirable.  

Pre Production - General Planning

The next step in my pre production process will be to listen to my recording analytically, to highlight obvious shortcoming which I must rectify within the mixes.

To do this, it will be beneficial to compare the mixes to pre-existing music in a similar genre. In the case of my mixes, I intend to use tracks from the FoxBeef, Table for One EP.
I have chosen this band and these recordings as:

• This is the band I will be recording for my honour project in February
• Members of this band are present in these practice recordings I am mixing.
• Stylistically, their are many similarities between this band and the practice recordings I have made.

I will makes notes based upon this analytical listening which will be posted on this blog, before carrying out further mixing on the tracks until I am happy with the results.

Pre Production - First Mix Jam 2

I have completed a first mix of the second clip from the session I have chosen. The following images detail the process.

First I selected the audio which I intended to mix as my second track.

I then made the mono drum tracks inactive as I intended to use the stereo version of the same audio and having both would have been pointless.

I then strip silenced the drums as I did in the previous session. Generally, when strip silencing drums, each hit is isolated to prevent spillage from other parts of the kit and make the drums sound much tighter. However, as all of the drums were being recording simultaneously this would have made the drums sound jerky and unnatural, although I am likely to fully strip silence the drums when I do my full recordings for my honours project.

I then added compression to the drums, as they were relatively quiet within the mix as this provided me with greater control over their volume.

I also added EQ, to reduce the harshness of the cymbals (which sounded slightly tinny) and to fatten up the sound of the kick drum and snare, as these are the key elements of the drum kit.

Finally, I added a noise gate, which did more or less the same job as the strip silencing but was able to do it digitally and to a much finer degree than I was able to do manually.

I then moved onto the bass, where I added a compressor to give me better control over the volume of the track.

I also added an EQ to the bass track, allowing me to reduce the "boominess" and fret click and buzz of the instrument, whilst boosting the bass where its sound was richest in order to give it  a warmer tone.

I then moved onto the guitar, where once again I used compression to boost the overall volume of the track. I did not do this in the previous session as the distortion on the guitar made it unnecessary by boosting the volume of the guitar considerably.

I then applied an EQ to the guitar track, cutting away a lot of its low end frequencies on order to prevent it from competing with the bass, as well as pulling down many of the mid frequencies to improve the clarity of the instrument, as well as giving the guitar a "twang" type tone which I felt complimented the style of music being played.

I then topped and tailed the guitar and bass tracks. This means I removed any additional noise from the beginning and ends of the tracks, such and fret clicks, finger noise or amp hum. I also added short fades to prevent "clicks" in the session where the tracks started.

Here is a link to the first mix of Jam 2

Pre Production - New Track

This is the alternative clip from the recording session i have decided to use.

DM Session Jam 2

Pre Production - Mix 1 Pictures

Strip silencing as detailed in the previous post. As can be seen, I first attempted to use a feature of Pro Tools to strip silence, however this was not accurate enough so resorted to doing so manually.

Apply EQ to the drum track

Applying Compression to the drum track.

Applying Noise Gate to the drum track.

Applying EQ to the bass.

  Applying Compressor to the bass

 Setting the faders in the track.

After re-listening to the mix, I have decided to go back to the original session and choose a different piece of music from the session for the second track I mix, as 2 pieces of music which are stylistically dissimilar may provide me with a better interpretation of what will be required for my proper honours project recordings.

Pre Production - First Mix of Test recording

I carried out a first, rough mix on the first of the 2 test recording I provided a link to in the previous post.

This largely involved strip silencing the drums, meaning remove strips of audio where the drums are not heard on the track, leaving the drums isolated on their own track. This was done to a lesser extent than usual and the drums were not broken down into isolated elements i.e. kick drum, snare, toms, room mics etc.
I also applied EQ to the drums, to try and fatten the sound, as well as removing some of the spillage from the guitar and bass, although some what unsuccessfully, although as these elements are being played along at the same time at a much louder level, they are masked making this unimportant.
The drums were also compressed, boosting the lower sounds whilst preventing the louder ones from peaking and distorting, as they were recorded at a comparatively low level when contrasted in the other recordings and this allowed them to sit more prominently within the mix.
A noise gate was also used, fulfilling a similar purpose the the strip silencing, although slightly less accurately.

I then added EQ to the guitar, which had been recorded whilst distorted, causing it to sound muddy within the recordings. I made the guitar clearer, as well as reducing its occupation of the lower frequencies where it was competing with the drums and adding a low pass filter in an attempt to remove amp hum which was present on the track.

EQ was also necessary on the bass, which had been played in a violent manner which had caused a buzzing sound on the fret board which was present in the recording. EQ was able to limit this but could not eliminate it entirely. EQ was also used to generally fatten the bass sound, allowing it to more fully occupy the lower frequencies of the audio spectrum.

I have taken screen shots showing each of these processes being carried out however i am having difficult uploading them at present.

Here is the first mix which I have just detailed. Further work will be needed, however there is a noticeable difference between this and the unmixed version.

First Mix of Jam 1

Pre Production - Pre Mix Process

The first stage of the mixing process was to import the session data from the drum recordings so that it was in the same pro tools session as the guitar and bass recordings.

From there, it was necessary to synchronise the recordings from both sessions, ensuring the appropriate drum recording was playing alongside the appropriate guitar and bass recordings. Whilst this is not difficult, it is frustrating and time consuming, and is something I am hoping and planning to avoid having to do on my actual recordings.

It was then necessary to go through the session and remove unimportant recorded material, such as discussions within the studio or moment where no-one was playing or the musicians were not playing as a band, making the session data useless to me.

From there, the remaining session data was listened to and the poor quality performances were removed.

The remaining recordings were put on there own tracks and listened to individually in order to decide which would me mixed.

In the end, 2 recordings of a "loose jam" played by the band were selected to be mixed for pre production, as they were the best performances from the session.

DM Studio recordings (unmixed)

Update

Have been unable to do any worth while work for the last week or so as my computer has been unusable, however, this has now been remedied and today I have done the first few steps towards creating the media i will hand in as part of pre production.

Project Proposal

I have complete a (hopefully) final draft of my project proposal which I intend to email to Robin in the hopes that he can give me some critical feedback, below is the proposal as it is at present.

1. Abstract (Approx 250 words)

The aim of my project is to carry out recordings of a live band within a studio environment in order to determine how tracks of this sort are perceived in contrast to conventionally executed recordings. The first stage of this project will be to look into both live and studio recording techniques, in order to determine which of these are applicable to my project. I will also carry out research into music producers and engineers who use or have used recording practices similar to those I am attempting to employ, such as Steve Albini who employs a more artist based recording practice (S. Albini, 2011). I will the write a literature review based upon the information I find on these producers and engineers in order to determine what particular recording practices and techniques may be applicable to my project. From this stage, I will execute the practical part of my project. This will be a 3 track EP of musicians performing live, being recorded simultaneously within a studio environment. This will then be contrasted against, pre existing, conventionally produced recordings of the same musicians, performing the same songs. This will be achieved by asking members of the public to complete listening tests, involving the 2 different versions of 1 of the songs, before completing a questionnaire which will aim to determine which version they preferred as well as providing an insight as to why this was the case. These results will then be used towards completing a dissertation which will discuss the process by which the recordings where created as well as collating all the results to conclusively determine how people perceive a recording of this and why, which will in turn allow us to establish whether or not this is a method of recording which could be applied in a professional capacity in the future.

2. Project Aim and Objectives

The aim of my project is to carry out recordings of a live band within a studio environment in order to determine how tracks of this sort are perceived in contrast to conventionally executed recordings. Objectives: To research recording, mixing and editing techniques within both live and studio recording environments and evaluate the practical applications of these in relation to my project. Research musical performance, studio recording, live recording, perception of music as well as looking at commercial examples where similar techniques have been used and the engineers and producers responsible. Write a literature view based on published works in a similar field to my own research To execute a recording of a full, live band, simultaneously within a studio environment and then produce a mix of this track. Set up microphones and recording equipment according to plan. Carry out several recordings, to permit me to choose the best performance by the band to mix Mix the recordings using conventional mixing techniques, whilst avoid editing the session data. To develop a survey based around this recording, in order to establish peoples perceptions of recordings of this sort. Research survey types in order to determine which can be most effectively applied to my project. Develop a survey based on my research in the area which will allow me to determine peoples perceptions of my recordings when compared to a conventionally carried out recording. Carry out this survey on as wide a variety of people as is possible in order to collate the most accurate results possible. Use these results the thoroughly answer the research question.

3. Rationale

Historically, music was recorded as a live performance, with all musicians simultaneously playing the music in a studio or live environment, whilst being recorded directly on to tape. This was changed with invention of multitrack recording, which arguably can be traced to Ampeg's “Octopus” in 1957, which was built to the specifications of Ross Snyder and owned by guitarist, Les Paul, (R.H. Snyder, 2003). Since this, it has become more common practice to record each element of the band separately. This allows each instrument to be isolated, allowing the producer to adjust or even correct the sound creating during the recording without affecting the rest of the song as a whole, over a long period of time, as is detailed by Richard Buskin when discussing the role Bill Bottrell played in the recording of Michael Jackson, Black or White (R. Buskin, 2004). There are few producers who do not follow this practice of recording each element of the track in isolation. One such example is Steve Albini, a musician turned sound engineer, best known for his work with The Pixies, PJ Harvey and Nirvana, who tries to bring his experience from recording as a member of a band to his practices as an engineer (A. Young, 2004). Albini states “as much as possible we try to have it be like a natural normal experience for the bands”, by which he means that bands generally play live and as a collective and have a general set up, and comfortable placement when playing in relation to one another (S. Albini, 2010). It could also be derived from this statement, that since bands rehearse as one and perform as one, that having them record as separate entities is counter intuitive to the musicians, and may actually impede their performance. This project aims to deviate from the conventional modern recording methods, of complete isolation of every element, as much as is practical. Instead, the project recordings will lean more toward historical recording methods or even those of Steve Albini, however, the project will be using digital equipments, which is not the case in either of these examples. The recordings will subsequently be used to determine how people perceive recordings of this sort when compared to conventionally carried out, modern recordings. The recording should make it possible to determine if this is a viable way of recording within a studio, as it has many practical benefits which conventional modern recording processes do not. For example, recordings of this sort span over a shorter period of time, making it a more efficient recording practice, and also favour the general performing practises of the musicians involved, rather than simplifying the job of the producer at the mixing stage. However, it is also possible that since the average listener is used to the accuracy and precision which is generally present in a studio recording, the recordings produced using these some what unconventional methods may be deemed bad recordings, thus suggesting that this form or recording practice is not plausible in a professional environment.

4. Project Methodology

In order to meet the aim and objectives I have mapped out for my project, a practice-based methodology will be utilised. This will be done by applying a certain principle or set of principles to a type of recording, and then surveying peoples responses to such a recording when contrasted with a recording carried out in a conventional manner. The project proposer shall maintain a research diary, most likely in the form of a blog, which will detail any information they have found which they believe to be beneficial to their project, whether as grounding for an argument or as a technique which will have practical applications within their project. The research contained within this diary will focus largely on Musical Performance, Studio Recording, Live Sound, Live Recording, Perception of Music as well as looking at commercial examples where similar techniques have been used and the engineers and producers responsible. This research will then go on to inform the project proposers literature review and project as a whole. It will then be employed by the project proposer in order to make a clear plan of the recording session including a floor plan of the space as well as detailing specific microphones and their placement in relation to each source sound. The project proposer will then carry out the practical part of their project, a multitrack recording session where all the musicians are performing live, simultaneously, in the same space, with the exception of vocals, which will be recorded separately out of practicality. Multiple recordings will be carried out in order to ensure that the best possible recordings are mixed for final submission, however all unused data will also be submitted as evidence of this. The recording session will also be documented in photographs, which can be used for referencing as part of the dissertation which will be based upon the project, as well as at the exhibition of the honours project at the end of the year. The proposer will then select which recordings to use for the EP they intend to submit for their honours project based on the performances recorded on each. These will then go through a series of mixing stages until the project proposer is satisfied with the sound, however all iterations of the mix will be submitted as supporting evidence. The project proposer will also design a simple questionnaire which will aim to encompass a variety of possible takes on the recordings. This survey will them be employed as part of a listening test, which will be carried out on as wide a variety of people as is possible, in order to establish whether the recordings methods used by the project proposer produce a more favourable recording than conventional recording methods. These results will then be collected and analysed by the project proposer and collated in such a way that they can be used and clear and concise quantitative research method which can then be employed to thoroughly answer the research question the project proposer has set for their project.

5. Outcomes and Deliverables

Outcomes 1: 1.1.1 Research Diary in form of a blog 1.1.2 Floor plan for recording session 1.1.3 Equipment list for recording session 1.2.1 Literature Review 1.3.1 Research Diary in form of a blog Outcomes 2: 2.1.1 Visual Record in form of a photo log 2.2.1 Data disk containing unused session data. 2.3.1 Unused mixes, with brief evaluations explaining why they were not used. 2.3.2 Screen shots of the D.A.W showing the mixing in progress. 2.3.4 The final mix of each track Outcomes 3: 3.1.1 Research diary in form of blog 3.2.1 Example of the Survey 3.3.1 Collated Survey Data 3.4.1 Dissertation

6. Expertise and Experience of Project Proposer

The project proposer has previous experience in recording in studio environments, and therefore already has a good knowledge of using recording equipment and D.A.W's (digital audio workstations (Pro Tools in particular)) to record music. The project proposer also has a good understanding of microphone placements and types, and the effects this will have on the sound which is recorded. Also, the project proposer has previous mixing and editing experience, both in and out of higher education, once again using D.A.W's rather than analogue equipment. Also, as the project proposer is both a musician and a creative sound production student, they have a good knowledge of musical instruments and related equipment, such as amplifiers, which will be beneficial during the post production and production process.

7. Timetable

No. Start Date End Date 1.1 30.09.2011 12.01.2012 1.1.1 30.09.2011 12.01.2012 1.1.2 09.12.2011 23.12.2011 1.1.3 09.12.2011 23.12.2011 1.2 19.11.2011 12.01.2012 1.2.1 19.11.2011 12.01.2012 2.1 01.02.2012 15.02.2012 2.1.1 01.02.2012 15.02.2012 2.2 01.02.2012 15.02.2012 2.2.1 01.02.2012 15.02.2012 2.3 15.02.2012 29.02.2012 2.3.1 15.02.2012 29.02.2012 2.3.2 15.02.2012 29.02.2012 2.3.3 15.02.2012 29.02.2012 3.1 12.01.2012 01.02.2012 3.1.1 12.01.2012 01.02.2012 3.2 12.01.2012 01.02.2012 3.2.1 12.01.2012 01.02.2012 3.3 01.03.2012 01.04.2012 3.3.1 01.03.2012 01.04.2012 3.4 01.04.2012 20.05.2012 3.4.1 01.04.2012 20.05.2012

8. Ethics and Risk Assessment

The main risks which will be related to the project will revolve around basic health and safety issues related to working in a studio environment such as laying cables and dB levels. To avoid injury, an effort will be made to lay these cables around the edges of the room or otherwise out of the way to avoid them being tripped over. Where this is not possible, they will made clearly visible to avoid injury. Also, due to the likeliness of the musicians being exposed to high dB levels, I will be insisting that ear protection is worn at all times during the recording process. It will also be important to ensure all equipment is carefully placed and used correctly in order to avoid damage to the equipment or injury to anyone involved in the recording process. The only ethical concerns relation to my project revolve around my being able to actually complete the project. This is dependant on me being able to find an appropriate recording space and is also dependant on the band I am intending to record being available for the recording session. In the event that either of the fore-mentioned possibilities become a problem, I have laid out basic contingency plans. If I am unable to find a suitable studio, or am for some reason unable to use a suitable studio I will book time in the universities studio and record here instead. If the band I intend to use are unable to participate in the recording session, I will simply offer the slot to another band, as I know several, and since I will be funding the recording session any of them would be willing to do it.

9. Resources

A powerful computer running a D.A.W. (Digital Audio Workstation), preferably Pro Tools. A mixing desk with a large number of independent channels which will allow me to record a large number of inputs simultaneously. (I estimate a minimum of 14). A studio space in which to record. Amplifiers and instruments. A variety of microphones of different types and sizes for various applications.

10. References

http://www.aes.org/aeshc/docs/sel-sync/snyder_sel-sync.pdf http://www.soundonsound.com/sos/aug04/articles/classictracks.htm http://inmyroom.org/writing/albini.html http://wn.com/Steve_Albini_talks_about_some_of_his_recording_techniquesmp4

Pre Production - DM Studio Photos

The following is a series of images documenting the layout of the DM Studios recording space which I intend to use to record my project. (the quality of these pictures is not brilliant, I will be taking more on the day of recording).

This is an image of the desk in the live room, which will not be used for recording but may be used as a means of foldback monitoring via headphones, to allow the band members to hear everything clearly without adding further noise to any of the signals.

The drumkit and rise in the live room, which will be used if I am unable to attain a better one.

The wall box which feeds to the studio, with 16 inputs and 4 outputs.

1 of 3 guitar amps available in the room, at least 1 of which will be used for recording.

The bass amp, which is unlikely to be used but is in the location which the actual bass amp is likely to be placed.

an alternative guitar amp.

an alternative guitar amp.

The studio recording desk.

The studio monitors. (above and below)