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Live Recording
MUSPRA215
Session:
Abive: Digital Audio Workstation, Behringer Eurodesk MX9000 with sound isolated
room in backdrop
For this session we used a DAW [Digital Audio Workstation] running Logic, and a 24
channel Eurodesk mixer. We chose Logic because it is an incredibly stable and flexible
software programme that in my opinion, works equally well in live sound recording,
and sequencing. The mixer used was a 24 channel Eurodesk MX9000. I used this
mixer to set the levels from the sound check and to control the master fader. This
mixer has Pan balance and Hi/Low/Mid boost settings on each channel strip.
However, I chose to use software plug in effects in Logic instead. I did this as it gave
me greater flexibility in the mixdown phase later in Logic. If the channel were to have
effects on it already, these may conflict with changes made in post production, or add
additional post production work to compensate for these effects.
I used the Eurodesk to set the levels for each instrumental track in the sound check,
and to control the overall master volume. This was to prevent peaking later on in the
recording, and to do my best to keep the levels at a similar range to make Logic post
production easier. The mixer has hardware equalization settings such as frequency
boosts, reverb and pan on each channel strip, but I did not use these as recording a
mix would give me more flexibility later on in Logic. I found the mixer generally easy
to use, but did discover that musicians seem to play even louder later into the track
than they had in the sound check, possibly as they got into the music more. This
meant I had to keep turning faders down, as the track progressed.
Equipment Used:
Shure SM58
This was used on vocals. Usually, we would be using condenser microphones, such as
a Neumann for vocals, as they have a larger polar footprint [they can pick up more
sound in room, and therefore can better capture the subtleness of a vocalist’s
articulation], in this case however, this would have been a problem, as the vocals were
not in a completely isolated booth, and instrumental bleed would have taken up a
large portion of the frequency range. This is why we used the SM58 instead. The
Sm58 is dynamic microphone, not a condenser, with a smaller footprint. This meant
that it picked up more of the sound which would be coming from one direction [ie.
Abdul (the rapper)’s mouth]. The SM58 is also more mobile and allowed Abdul the
freedom to move around, as a rapper he is energetic in his performance.
Specified Criterion:
I will now attempt to argue how I have hit the specified criterion for the module.
c. Use of a variety of microphones for different applications (e.g. vocal and instrument);
Each musician playing on this track had at least one microphone close miced to his
instrument. The vocalist also had a microphone.
STRENGTHS
I believe I have created a rap track with a well-produced, prominent vocal line. I tried
to copy the style of production I have observed on Eminem's tracks. I created 2 vocal
tracks with the same audio recording, pitch shifted one by a semitone and then
panned one to the left and one to the right. This creates a harmonic dissonance on
the vocal track, delivered in stereo, which I think makes the vocals more aggressive
sounding.
I also argue that I have created a strong snare sound by greatly compressing the
bottom snare microphone. This emphasizes the sound of the ball bearings under the
drum skin. I also used EQ to bring out higher frequencies on the top microphone
snare, trying to make it sound as sharp as possible.
WEAKNESSES
There is significant bleed on many of the tracks, such as the hi-hat overheads and
especially the vocal recording, if you solo the vocal tracks you can clearly hear other
instruments. I found it hard to engineer it out due to the rapper’s vocal frequencies
occupying a wide frequency range. A solution could have been keeping the rapper
behind the vocal isolation screens. Also, the volume of the vocalist’s voice varies, even
when normalized in Logic, possibly due to his microphone placement changing in
distance from his mouth. This is troublesome to work with because find it hard to
enhance his voice without engineering the bleed too much.