1.
Abstract (Approx 250 words)
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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.
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2.
Project Aim and Objectives
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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:
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3.
Rationale
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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.
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4.
Project Methodology
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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.
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5.
Outcomes and Deliverables
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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
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6.
Expertise and Experience of Project Proposer
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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.
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7.
Timetable
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8.
Ethics and Risk Assessment
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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.
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9.
Resources
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10.
References
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Saturday, 3 December 2011
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.
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