T 4.3 Introduction to The Studio - Studio A Manual

8/10/2019 T 4.3 Introduction to The Studio - Studio A Manual

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T4.3 Intro to the StudioStudio A Manual

Content

Studio A Diagram 2

Health and Safety 3

Equipment In The Studio 4

The Channel Strip 10

Suitable and Effective us of

Microphones

14

Recording a Drum Kit 17


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Studio A


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Health and Safety

When hosting clients in a studio, you must ensure that their health and safety is not put at

risk, if they are put at risk then: a) If they fall ill or are injured, they can blame the host

which will ruin your reputation and b) they may not perform to their best ability.

There are a number of factors you must pay attention to in order to keep your clients safe.

1) Ensure they know where the fire exits are

2) Ensure they know where the fire extinguisher(s) are

Studios are often, either poorly ventilated or do not have ventilation fans to reduce

background noise. Therefore, you must

3)

Inform them that smoking is prohibited inside the building

4) Aerosol can should not be used inside the studio

Another health factor that must be paid attention is the clients, and your own hearing. A

typical conversation occurs at around 60dB (decibels), A bulldozer at idle (not bulldozing) is

loud enough at 85 dB to cause permanent damage after one working day (8 hours).

Listening to an mp3 player with headphones can reach a level of 100dB, loud enough to

begin causing permanent damage after just fifteen minutes per day and a clap of thunder at

around 120dB can cause immediate damage. By regularly asking your clients if the audio in

their headphones (when in the live room) or from the speakers in the control room are too

loud or not, you can prevent them from loss of hearing.

5) Ask clients regularly if the volume is too much for their ears to handle

Some professional studios even have indicators that show when the surrounding noise

approaches a dangerous level using green, yellow and red lights.


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Equipment in the Studio

In order for you to understand how the studio works, you must know what equipment

there is, what it does and how to use it effectively.

Soundcraft Sapphyre

First thing you will see as you enter the studio will be the mixing console, in this case it is

the Soundcraft Sapphyre.

The Sapphyre is a 36 channel, in-line monitor type console, meaning it has as many

monitoring paths as it does input channels. All channels can be routed to the eight mix

busses or bypass them all together with their own tape send.

Each channel features a noise gate with adjustable frequency, threshold and release pots.

Each channel also has a four band equalizer, 6 AUX sends, a fader for the input signal and a

fader for playback.

Outboard Effects and Compressors

Next to the console, you will see a rack

featuring a selection of outboard

compressors, pre-amps, equalizers

and power supplies; these are all

accessible by assigning channels to

two of eight busses which are then

patched into the device via a bantam lead.

An outboard compressor is a piece of hardware, usually found in a control room. It offers

control over all compression parameters found on the standard Logic compressor.


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Patch Bay

A patch bay is often found on larger consoles which contain accessible jacks that

correspond to the various inputs and outputs

of every access point within a mixer orrecording console. Most professional patch

bays offer centralized input/output access to

most of the recording, Effects and

monitoring devices or system blocks within

the production facility.

Patch bay systems come in a number of plug and jack types as well as wiring lay outs. For

example, some prefabricated patch bays use inch phone configurations, as well as RCA(phono) connections. These models will often place interconnected jacks at the panels

front and rear so that studio users can reconfigure the panel by simply rearranging the

plugs at the rear access point. Other professional systems use a telephone-type (TT or mini

Bantam-TT) plugs that often require you to hand-wire the connections in order to configure

or reconfigure the bay.

XLRs and Stage Boxes

In the live room you will find a stage box, this is a small

box with a number of XLR inputs, XLR leads are usually

used to connect microphones to a mixing console or

audio interface, or connecting a console/device to

speakers.

An XLR lead is made up of three pins; Left, Right and

ground. Always make sure, once you have finished

using them, to coil them like so.

A Stage box will usually have between eight and

sixteen inputs and even a number of XLR outputs for

fold back speakers.

In the case of Studio A, each input corresponds with

a channel on the Soundcraft console, input one is

channel one, input two is channel two and so on.


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Audio Interface

When putting together a DAW-based system, an audio interface deserves careful

consideration. Some have a single, dedicated purpose and some are multifunctional. In

either case their main purpose is to act as a bridge between analogue and digital audio.

Although audio interfaces come in many shapes,

sizes and functionalities, they will usually be:

- Built into a computer but this may limit the

quality and functionality

- A simple, 2 input/output device

- Multichannel, offering multiple input/output

channels

Most audio interfaces feature a controller surface, providing a hands-on DAW operation.

These devices may be designed as hardware cards that fit directly into the computer;

others might connect via USB or FireWire. An interface might have as few as two inputs and

two outputs but on the other hand it might have as many as 24. It might offer limited

sample rate and bit depth options or it might be capable of handling rates up to 96 kHz/24

bits or higher.

One issue that can be raised when talking about audio interfaces is the issue of latency or

the build-up of delays (measured in milliseconds) in audio signals as they pass through the

audio circuitry of the audio interface. Latency can be experienced as short delays between

the input and monitored signal. If the delays are excessive they could throw the performer

off time. Because we now have faster computers, improved audio drivers and better

programming, latency has been reduced to such low levels that its not even noticeable.

Signal Levels

The signal level is exactly what it says; it is the amplitude level of the signal.

A 1 dB change is barely noticeable to most human ears. Turning something up by 3 dB will

double the signals level which wont increase the perceived loudness as much as youd

expect. Likewise, turning something down by 3 dB will only halve the signal.


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Direct Injection (DI)

Recording direct of direct injection (DI) allows the

signal of an electronic instrument to be directly

injected into a console, recorder or DAW withoutthe use of a microphone. This produces a cleaner

sound by bypassing the distorted components of a

head/amp. It also reduces bleed into other mics and

eliminating room sounds.

A DI box serves to interface an instrument with an

analogue output signal to a console or recorder in

the following ways:

- It reduces an instruments line level output to mic level so it can be inserted into the

consoles mic input.

- It changes an instruments unbalanced, high source impedance line to a balanced,

low source impedance signal that a console input requires.

- It can electrically isolate the audio signal paths between the instrument and the

mic/line preamp, reducing potential for ground loop hum and buzzes.

Usually the instruments output is plugged directly into the DI box, where its stepped down

in level and impedance. The output of the DI box is then fed into the mic pre of a console or

DAW.

If a dirtier sound is desired, some boxes will allow high level input signals to be taken from

an amps speaker output jack.

When recording a guitar, the best sound and lowest hum occurs when the instrument

volume control is fully turned up.


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VU Meter

Signal levels at an input, output bus, and other console level point, is often measured by a

visual meter. Meter and indicator types will often vary from system to system. For example,

banks of readouts that indicate console bus output and tape return levels might use VUmetering, peak programme meters or digital/software readouts. Its also not uncommon to

find LED overload indicators on an input strips preamp which give a quick and easy peak

indication as to whether youve approached or reached the components headroom limits.

The traditional signal level indicator for

analogue equipment is the VU meter. The

scale chosen for this device is calibrated in

volume unit or VU and is designed to display

a signals average RMS level (an average

loudness value during a certain time frame).

Although VU meters do the job of indicating

RMS levels, they ignore the short term peaks

that can overload a track. This means a professional console must often be designed so that

unacceptable distortion wont occur until around 14 dB above 0 VU (The standard

operating level for most consoles and mixers).

Noise Gate

A noise gate allows a signal above a selected threshold to pass through to the output,

however as the signal falls below the threshold, the gate effectively mutes the signal by

fully attenuating it. This allows the desired to pass through while background sounds,

instrument buzzes, bleed or other unwanted noises that occur between pause in the music

arent.

A noise gate can be useful when recording a drum kit, reducing bleed from other parts of

the kit.

The rules of attack and release also apply to gating, attack is how long it takes for the gate

to open and release is how long it takes for the gate to close.


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EQ

Parametric EQ

A parametric equalizer allows you to

adjust most or all of its frequency

parameters. Although the basic design

layout will change from model to

model, you will always be able to alter

the center frequency, bandwidth and q

factor.

Shelf EQ

A shelf equalizer allows the adjustment

of boost or cut to a frequency and all

other frequencies above or below it.


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The Channel Strip


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Suitable and Effective Use of Microphones

Purpose Microphone How to use +48V?

Kick Drum Dynamic mic with

a large diaphragm,

these are usuallyfairly bulky

microphones

Place facing into the hole in the

front

skin of akick

drum

capturing both the attack on the

first skin and the resonance of

the second

No

Snare Drum 2xShure

SM57/SM58,

dynamic mic, often

used for live vocals

1stMic) Place at the edge of the

snare pointing towards the

centre of the skin

2nd

Mic) Place directly under the

centre of the drum, about an

inch

away from the snare

Remember to reverse the

bottom mics phase, because

the two snare mics are facing

each other, the diaphragms

pulse the same way, losingclarity in the sound

No

Hi-Hat SM57/SM58,

dynamic mic

Place

pointing

down

towards

the edge

of the bell

No


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Rack Tom Medium sized

dynamic mic, with

a diaphragm

smaller than a kick

mics but bigger

than an SM57s

Place at

the edge

of the

tom

pointing

towards

the centre of the skin

No

Floor Tom Medium sized

dynamic mic, with

a diaphragm

smaller than a kick

mics but bigger

than an SM57s

Place at

the edge

of the

tom

pointing

towards


No

Drum Overheads 2xinstrument

condenser

microphones

There are two main

configurations for placing

overhead mics.

1) Stereo Pair: both

equidistant from a

specific point of the drum

kit

i.e.

the

snare drum, producing an

overall narrow sound

2) Coincident pair: position

the two microphones in a

V

shape pointing away from

each other

Remember to pan overhead Left

to the right and overhead Right

to the left

Yes


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Vocal Studio vocal

condenser mic

such as a Rode

NT1A

Set up

with a pop

shield and

position

about an

inch away

from the vocalists mouth

Yes

Guitar Electric) SM57

Acoustic) Studio

Vocal condenser

mic

Electric) Position about half an

inch

from

the

edge of

the

guitaramplifiers speaker cone

Acoustic)position facing the

centre of the neck of the guitar

for a sound rich in high

frequencies, position facing the

bottom of the neck of the guitar

for a sound equally balanced

withbass,

middle and high frequencies and

position facing the centre of the

body of the guitar for a sound

bass frequencies

No

Yes


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Recording a Drum Kit

Often a band or artist will rely on their drummer to get them through a track; therefore you

need to get them recorded first and well. For a successful and good sounding recording,

you will need: a dynamic microphone with a large diaphragm for the kick drum, two orthree dynamic microphones with medium sized diaphragms depending on how many tom

drums the kit has, three dynamic vocal microphones i.e SM58/7, two condenser instrument

microphones, sufficient mic stands and sufficient XLR cables.

Kick Drum Dynamic mic with

a large diaphragm,

these are usually

fairly bulkymicrophones

Place facing into the hole in the

front

skin of a

kickdrum

capturing both the attack on the

first skin and the resonance of

the second

No

Snare Drum 2xShure

SM57/SM58,

dynamic mic, often

used for live vocals

1st

Mic) Place at the edge of the

snare pointing towards the

centre of the skin

2nd

Mic) Place directly under the

centre of the drum, about an

inch

away from the snare

Remember to reverse the

bottom mics phase, because

the two snare mics are facing

each other, the diaphragms

pulse the same way, losing

clarity in the sound

No


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Hi-Hat SM57/SM58,

dynamic mic

Place

pointing

down

towards

the edge

of the bell

No

Rack Tom Medium sized

dynamic mic, with

a diaphragm

smaller than a kick

mics but bigger

than an SM57s

Place at

the edge

of the

tom

pointing

towards


No

Floor Tom Medium sizeddynamic mic, with

a diaphragm

smaller than a kick

mics but bigger

than an SM57s

Place atthe edge

of the

tom

pointing

towards


No

Drum Overheads 2xinstrument

condenser

microphones

There are two main

configurations for placing

overhead mics.1) Stereo Pair: both

equidistant from a

specific point of the drum

kit

i.e.

the

snare drum, producing an

overall narrow sound

2) Coincident pair: position

the two microphones in a

V

Yes


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shape pointing away from

each other

Remember to pan overhead

Left to the right and

overhead Right to the left

Your final layout should look a bit like this:

Documents

T 4.3 Introduction to The Studio - Studio A Manual