Many Hats q Performer q Recording engineer q

Many Hats q Performer q Recording engineer q Producer q Arranger q Composer q Copyist q Troubleshoot

Tools of the Trade q Recording q Compose q Arranging q Notation q Web Page q E-mail q Archiving

DAW Digital Audio Workstation

Software q Wave editing q Automated mixing q On-board FX q 3 rd party plug ins

Pre-amp q Mic needs to be amplified q Mixer q Dedicated pre-amp q A tube pre-amp uses vacuums tubes to amplify the sound. This can produce a warmer sound, often at the cost of distorting the audio signal. q A solid state pre-amp generally produces a cleaner sound q Phantom Power allows them to power condenser microphones

Audio Interface q Built in pre-amps q Digital / analog ins and outs q Bit rate 16, 24 q Bit rate - connection speed, transfer rate, channel capacity, etc. q Sampling rate - samples per second 44. 1 48 88. 2 96 176. 4 192 khz q USB q Firewire q Headphone jack

Hard Disk Recorders q Complete recording tool q Inexpensive q Portable q Limited editing q Limited FX

Monitoring q Headphones q Room doesn’t influence sound q Flat response q Inexpensive

Condenser mics q Requires phantom power q Large diaphragm has extended low end q Some guitars may sound too boomy q Use built-in bass roll-off switch

Dynamic q Works like a speaker in reverse q Great for miking guitar amps q Not recommended for acoustic guitar

Ribbon Mic q Ribbon microphones consist of a thin, narrow metal ribbon (usually aluminum) positioned between two magnets. q Smooth natural sounding, though a bit darker than condenser mic q Ribbons can be more fragile than other types of microphones

Omnidirectional q Equally sensitive to sound waves on all sides q Great for natural sounding recordings with an entire ensemble q Less desirable in live sessions when monitors are used

Cardioid q This pattern resembles a heart and is more sensitive on front and sides than on the back q Cardioid patterns diminish bleed when miking separate instruments in the same room

Hypercardioid q Narrower then cardioid q Pattern is highly sensitive in front and less on sides q Pattern lessens potential for feedback in live situations

Bi-directional or figure 8 q Pattern is sensitive on front and back but not on sides q Useful for recording two musicians facing each other

Stereo miking techniques q XY q ORTF q Spaced pair q Stereo mics q Matched pair q Two different mics

XY q Simplest and most popular q Typically angled 90 to 135 degrees apart q The wider the angle, the broader the stereo spread q Use directional mics – cardioid or hypercardioid

ORTF Office of Radio Television France q Two cardioid mics with capsules spaced 6. 69 inches apart and angled at 110 degrees q Designed to mimic human hearing – accurate image and good sense of depth

Spaced pair q Two identical mics placed several feet apart and aimed directly at sound source q Any polar pattern but each mic must use same pattern q Usually placed parallel to each other

Stereo mics q Some are simply two capsules in a single housing q Used to avoid the hassle of setting up two mics q Microphone bar

Two different mics q Create a more complex stereo picture of the guitar by using two different mics q One aimed below the strings to capture sparkle q The other set to omni –reproduces a broader, ambient sound

Matched pair q Two identical microphones set to either an omni or cardioid mode q Omni - too much room sound may interfere with recording

A word about acoustic pickups q Piezo pickups – usually sound thin, tinny an excruciatingly buzzy q Fishman q Taylor expression system q Combine with mic sound

Mic Placement 1. Matter of personal preference and taste 2. Generally use close miking between six inches and three feet 3. Moving a mic a few inches can change the character drastically 4. Proximity effect – low frequency boost when mic is placed very close to the instrument 5. Off axis coloration loss of high frequency response from sound arriving at the back or sides 6. Omni do not suffer from this phenomena

Guitar design

Martin q Invented modern steel string q Most imitated guitar design q Rich, woody sound, thick with texture q High notes sweet not sharp q Large Martins are tough to record q Be careful placing mics to avoid boomy, muddy sound q Suggest small diaphragm condenser

Gibson q Sound of the guitar depends on the era q Gibsons seemed to share a shorter sustain especially in the bass q The quick decay gives a punchy sound that is hard to get from other designs q Many blues players treasure these instruments

Taylor q Emphasized clarity instead of a thick texture q Each note comes through clean and well defined whether high or low q Recording engineers’ dream

Electric guitar q Can be recorded DI (direct interject) without a speaker and mic in the signal chain q Direct box q Transformer plug q FX stomp box

Electric guitar (con’t) q Close mic the amp q Point mic directly at the speaker about 2/3 the distance between the edge and center of dome q 1” to 2 feet away…listen q Use second mic to pick up room ambience – 3 feet to the length of room and may combine with other mic

Electric guitar (con’t) q If not sure and have enough tracks – record all mics and direct signals to separate tracks q Re-amp – record dry DI signal and send it back through an amp, FX box or software plug-in

EQ Equalization (EQ) is the process of changing the frequency envelope of a sound

EQ q Frequency. The specific frequency (in hz or khz) that is being boosted or cut. q Boost/Cut. The amount (usually in decibels) that the specific frequency is boosted or cut. q Q (Bandwidth). Q is the range of frequencies around the center point that is boosted or cut. Low Q settings indicate a wider bandwidth and are useful for gentle, sweeping EQ settings.

EQ q Parametric EQ is an equalizer which has controls for Frequency, Bandwidth or Q, and Gain.

EQ q A Low Shelf cuts or boosts all frequencies below the specified freqency. For example, a low shelf set at 250 Hz will affect all frequencies below 250 Hz. q A High Shelf cuts or boosts all frequencies above the specified frequency. A high shelf set a 12 KHz will affect all frequencies above 12 KHz

EQ q A High Pass (Low Cut) Filter is used to cut off frequencies below the set frequency q A Low Pass (High Cut) Filter is used to cut off frequencies above the set frequency.

EQ q Lose the mud q Cut at 80 hz or 100 hz if sound is boomy q Add body q Wimpy low mids punched up by boosting 250 hz and 500 hz

EQ q Tame the ring q Ugly mids can be diminished by cutting between 800 hz and 500 hz q Dead strings q Return the snap by boosting between 800 hz and 5 khz q Embrace the sparkle q Marvelous high end: boost between 10 khz and 12 khz

Compressor Control dynamics q The difference in loudness level between the softest and loudest sounds is reduced in order to make the audio audible in usual listening environments. q Your car

Resources q Monthly journals q Recording q EQ q Electronic musician q Mix q How to books q Mix bookshelf q Amazon q Web sites

Web Sites

www. Ransomed. Productions. com