Unit 12: Audio Production Process and Techniques
12.1 Understand characteristics of different acoustic environments in relation to recording sound.
1.1 Describe characteristics of different acoustic environments in relation to recording sound with some appropriate use of subject terminology.
When recording sound it is important to know what you want the outcome to be. The environment within which a sound is recorded will make an impact on the result by imparting a particular character.
For the end product to be suitable it is essential that you choose the correct environment to record in that fits your target needs appropriately. For example if I was to record a simple clap in the following rooms, a hall, an average sized living area or a vocal booth then the result will be very different for each of them. The hall will naturally produce reverb in addition to the original sound and this is due to its large area and its material, the reflection from the walls is what causes this effect. Whereas if you were to record the same clap in an average sized living area then this will impart a different character which will be less noticeable. The size of the room and the materials in this area for example chairs, carpets and curtains will absorb some of the reflection of sound.
A common use of halls, churches and big spaces is for the recording of choral and orchestral performances and this is because we are used to hearing this kind of music in this context. Whereas when recording a contemporary band this location would be less desirable because it would sound very different to how we are used to hearing this type of music. It is common to record a band in a recording studio because this area is more suited to this type of music in comparison to a hall where the sound will have an effect on the end result in a completely different way.
12.2 Understand conventions in audio production and postproduction.
2.1 Describe conventions in audio production and postproduction with some appropriate use of subject terminology.
A conventional technique that is often used during the production of recording sound is the use of different microphones. These can contribute to the end result. Two types of microphones that I work with are Dynamic microphones and Condenser microphones these can both be used for doing different jobs.
Dynamic microphones, such as the SHURE SM57, are able to pick up a natural sound. When recording music at DCAS we often use this type of microphone for the use of electric guitar amplifiers and acoustic guitars, as well as snare drums. They're also resistant to a high volume of sound, which makes them perfect for onstage recordings.
Condenser microphones have greater appeal because they have good sensitivity at all frequencies which can be helpful during vocal recordings. A pop shield filter is required to protect against noise caused by the vocalist's breath hitting the microphone. This is because of its ability to react to more subtle sounds.
Conventional techniques used during the postproduction can take the sound you recorded and give it character or space. The effects used to create this is reverb, this can be done during the mixing stage. Reverb has the ability to make a sound that for example has been recorded in a studio sound like it was recorded in a different environment like at a live gig or in a church. It can also give certain instruments or vocals a place in the room, for example if you listen to Jess Glynn you will notice that the vocals are up front and centre on most of her songs. This effect is conventionally used in a lot of pop music these days as the competition between artists are growing rapidly. Here is an example to one of Jess Glynn’s current songs:
12.3 Be able to capture and record sound from different sources
3.1 Produce recorded sound from a variety of sources with some assistance.
On January 16th a client called Sophie had a recording session booked in our studio at DCAS and this was to record her EP. Her intentions were to record all 8 of her original songs using vocals and an acoustic guitar. Throughout my apprenticeship I am continuously looking to progress as a sound engineer so after many training sessions in the studio with my line manager the plan was to run the recording session myself with Martyn there for support and guidance if needed.
As I had a rough idea of the equipment she may need I prepared the room with microphones and all the cables to send the signal through to the control room and also prepared the headphones so that we would be able to communicate between the two rooms, it is important to be able to adapt the way you work considering who your client is so it is better to not over prepare the room.
Firstly when Sophie arrived we sat down and discussed how many songs she had, wether she preferred to stand or sit, record the vocals and guitar at the same time or separate, and other elements that would contribute to the session running smoothly. Another key element to consider when recording a client is to make sure they are comfortable and relaxed, this will ease the pressure and help them to deliver a better performance and also create a better relationship. As her decision was to record the vocals separate we decided to record the guitar first so that she had something to sing on top off.
We recorded the guitar through three separate sources, these being two condenser microphones, one placed at the base of the guitar and one at the neck. This was to gather as much raw material as possible and this is also useful for the mixing process. The third source was a DI. This was used to create a clean sound that would contribute to the end product. Here are some samples of the sound that was produced by each source.
LEFT GUITAR
RIGHT GUITAR
We recorded Sophie’s vocals through a Neumann TLM 103 condenser microphone in our vocal booth because we wanted a clear and accurate representation of her voice. The vocal booth provides a reflection free environment which is useful for the mixing process as it allows room to add a .
VOCALS
Below is a screen grab taken during the recording process, here you can see that I have organised each track along the top of the clips and down the left hand side you will find that I have named each section by its correct form.
12.4 Be able to mix and edit recorded sound
Produce mixed and edited sound tracks working within appropriate conventions and with some assistance.
A current project I am working on with Martyn is an EP for a singer song writer, looking to record and mix a series of songs for an album. For this project I personally don't think the songs needed any major editing other than topping and tailing the chosen takes, removing any background noise at the start or end. During the mixing process it is useful to have a routine that can contribute to creating a better work flow whilst working on a track. Personally I like to start with mixing preparation and throughout this stage I would prepare my project appropriately. This involves naming all tracks accordingly, colour coordinating the individual instruments and splitting up the song into sections e.g; intro, verses, chorus, bridge and breaks. I then move onto finding a balance between each part of the song this is an important part of the preparation process as it gives it structure and provides balance to the song. This can also contribute to the mixing process where you might want to bring out an instrument thats usually quiet and make it loader in the chorus etc. It can also give the artist a signature sound.
As Sophie was present at the time of mixing it gave her more freedom to voice what she wanted and in this case she suggested she wanted the vocals up front. As we used two microphones to record the guitar on the left and on the right we decided to use a conventional technique of panning the left mic to the left and the right mic to the right and this gave the performance more atmosphere.
My next task would be to move on to equalisation. This is an essential tool that can be used on individual elements of the song and is done to remove any unwanted frequencies that have been produced by the instrument. It can also be used as an effect to change the sound of the instrument completely. For example a kick drum has many low frequencies so if you removed them and increased the higher frequencies than it would take away all the original character. It is important to use this appropriately and in the right amount or you can often loose sight of the original sound.
I would then move onto the next step which was to add any effects either requested by the client or something you think will sound nice. In Sophie’s case she didn't know specifically what she wanted so we suggested adding a small amount of reverb to make the vocals feel like they are in a specific space. Reverberation is a conventional technique used in the mixing process as artists are often recorded in rooms that have no character or spacial effect. Another effect that is used often when mixing is compression, now this can be used on any instrument but is often found on vocals and this is due to its large range of dynamics. It is important that these levels are balanced out and this is done by adjusting the threshold and ratio on the compressor. These are all typical conventional features that are used throughout the mixing process.
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