2. Agenda 1. Brief History of Studios and Audio Engineering 2.
ATRiuM Studios and Design Control Rooms Live Rooms 3. Studio Layout
4. Terminology 3. 1. Brief History of Studios and Audio Engineering
4. Columbia 30th Street Studios, NYC This is the live room at
Columbia 30th Street Studios in New York. The four grand pianos
give some idea of the space. Miles Davis's masterpiece, "Kind of
Blue," was recorded at 30th Street, and so too, just a couple of
months later, was Dave Brubeck's album "Time Out." 5. Studio
Stories by David Simons In his book Studio Stories, David Simons
suggests that the success of those two records owed something to
how they sounded, something that wasn't just a function of the
quality of the recording equipment. There was the sympathetic
resonance of the studio's unvarnished wood floor and the distant
reverberations reflected by its towering architecture. 6. Audio:
Take Five - Dave Brubeck Quartet "To hear 30th Street is to hear
drummer Joe Morello's snare and kick-drum shots echoing off the
100-foot ceiling during the percussion break in Dave Brubeck's
great 'Take Five. Studio Stories, David Simons 7. A number of other
great albums and artists recorded at 30th Street........ 8. Motown
Studio A Similarly, it takes only a few seconds to recognise a
classic Motown recording. Much of that is due to the inventive,
custom electronics that Berry Gordy Jr. had made for his studio.
But it is also thanks to the funky fidelity unique to "the pit," a
concrete- block room where most of the label's hits were recorded.
9. Studio Stories by David Simons "The secret of the so-called
'Motown Sound' was room identity," Hank Cosby once told an
interviewer. A producer, songwriter and saxophonist for the label
in its heyday, Cosby said: "The drums sat in the same place for
years; nothing was ever disturbed. If you moved any of the
instruments a couple of feet in either direction it would have
changed the sound completely." 10. Audio: Martha Reeves & The
Vandellas - Nowhere To Run. Recorded at Hitsville U.S.A. (Studio
A); October 21, 1964 Microphone positioning was also fixed. Note
the hanging mics! 11. Rockfield Studios, Monmouth 12. Real World
Studios, Wiltshire Then, of course, there is the technology. 13.
regardless of the music we listen to, the media we use or the
location we choose, what we hear has been tempered first and
foremost by the technology used to record it and the technical and
aesthetic decisions made in the studio. Engineering the
Performance: Recording Engineers, Tacit Knowledge and the Art of
Controlling Sound. Susan Schmidt Horning, 2004 14. 2. ATRiuM
Studios and Design 15. How would we best describe the studio
facilities at the ATRiuM? ATRiuM Studio Design 16. An In house
Production facility capable of handling an array of recording
projects. these include: Commercial music recording
(pop/rock/classical) Film music recording Film/tv post production
sound Surround sound Radio broadcast and recording Audio mastering
ATRiuM Studio Design 17. Control Rooms 18. Here at the ATRiuM we
have 8 control rooms. Room Application CB201b Soundcraft Studio
Mixing/Mastering/Surround sound mixing CB202 Audient Studio 1
Recording/Mixing CB204 Audient Studio 2 Recording/Mixing CB301b
Control 24 Recording/Mixing /Surround Sound CB302 SSL Duality
Recording/Mixing CB303 Gus Dudgeon Suite (MCI Console) - Classic
Studio CB401 Digidesign Pro Control Post
Production/ADR/Mixing/Surround Sound CB402 Digidesign Control 24
Recording/ADR/Post Production/Surround Sound Control Rooms 19. Pre
amps Outboard Two track Audient ASP Console Patchbay Apple Mac
Outboard Audient power supply Pro Tools Mid field Monitors Audient
CB202 Near field Monitors 20. Audient CB204 Mid Field Monitors
Mackie Control Outboard Near Field Monitors Patchbay Audient Desk
Pro Tools 21. Live Rooms 22. CB201 is generally described as being
bright Live Rooms Spaces of different sizes offering different
acoustic properties. 23. CB401b is generally described as being dry
and warm Spaces of different sizes offering different acoustic
properties. Live Rooms 24. Studio Layout 25. Regardless of
equipment, studio configuration is basically the same in all
studios. Studio Layout 26. Studio Layout 27. Studio Layout 28.
Studio Layout 29. Studio Layout 30. Studio Layout This is known as
the recording path or channel path 31. Studio Layout This is known
as the monitor path or tape return path 32. Studio Layout 33.
Studio Layout 34. Studio Layout 35. Studio Layout 36. Terminology
37. Terminology Microphones Of which there are many different
brands (Shure, AKG, Neumann) and designs (dynamic, condenser and
ribbon). D.I. Boxes Direct injection boxes for line level sources
i.e. bass, keyboards, mixers. 38. The cables we use to connect
microphones are called XLR. These are balanced connections which
reduce interference. Terminology 39. Tie Lines 24 balanced lines in
the Audient studios 6 returns for foldback/headphones Terminology
40. Mixing Desk Audient ASP8024 for 1st year Audio Engineering
Soundcraft Ghost Terminology 41. Recording Stand Alone Hard Disk
System (IZ Radar) Computer Based Hard Disk System (Pro Tools)
Terminology 42. Monitors or Speakers In both Audient Studio we have
Avantone Mixcubes. The main monitors in Audient CB202 are Adam S3.
The main monitors in Audient CB204 are Genelec 1040. Terminology
43. Outboard Processing Compressor Gate EQ Effects Reverb Delay
Chorus Phaser Terminology 44. Two Track CD Recordable Digital Audio
Tape (Dat) Computer Based System (Pro Tools) Terminology 45.
References References Engineering the Performance: Recording
Engineers, Tacit Knowledge and the Art of Controlling Sound. Susan
Schmidt Horning, 2004. http://realworldstudios.com Abbey Road and
the Day Studio Music Died.
http://online.wsj.com/article/SB10001424052748703444804575071351719588986.html
Studio Stories - How the Great New York Records Were Made, David
Simons, 2004, Backbeat Books http://www.stuartjones.org Audio
Martha Reeves & The Vandellas (1964) Nowhere To Run [CD], U:
Motown Dave Brubeck (2007) Time Out [CD], US: Columbia Records. 46.
An Introduction to the Recording Studio
[email protected] www.stuartjones.org
