AE-240 Spring 2014
Week-9: Jason Peterson
Week-8: Honky Tonk
Week-7: Ross Kleiner and
Thank you all for your help on this recording
project! You all pitched in and got the job done - and done well,
I might add. This is by far, the best Studio D recording EVER!!!
I need you to e-mail about your participation
in this session in as much detail as possible.
The cover song links are below. You
will have to e-mail me
for the original material as per Ross's request to not post it on FB.
Feel free to thank Ross - and friend him and his band mates - THEY made
Week-6: 24 track Mix
Session in Studio-3D
We covered alot of territory...
Studer A-827 basics, including
alignment and remote control
Room modes (constructive and
destructive), finding bass holes and bumps, and the
When mixing, the emphasis should
be on, uh, 'MIXING,' and not EQ-ing yourself into a sonic sand-trap.
Sure, EQ to 'fix' the most egregious tracks - filtering (removing) over
boosting - but focus your attention on dynamics.
I demonstrated the importance
of POLARITY as it affects
I have always felt that Trident
mid-range EQ is too broad to cut drum rings and too narrow to boost instruments
other than drums. I know what I like to use in terms of Q and i am
in the process of do a little research to correlate musical
bandwitdth - in octaves - versus Q and Quality Factor by RANE.
That article includes an Excel Spreadsheet. Another link (below)
has a calculator.
Click on the image to link to the online
HINT: You'll have to scroll
down to find it.
Enter data on either side of the < --
The comparison is currently ‘frozen’ to
show that 1/3 octave bandwidth is a “Q” of nearly 5, which is a too wide
to cut (a drum ring)
and too narrow to boost (vocal, guitar,
For more ‘musicality,’ try offsetting two
Series-80 mid-band EQsinstead of using just one, see pastel inset (left).
Trident A-Range, courtesy Geoff
I applied these concepts
to our rough mix of LIFE IS A CARNIVAL. The mix translated well on
several systems, fromt he mono tape machine speaker to the tech room stereo,
my minivan, MMI studio B, my car and my control room. The only thing
I woudl have liked to do is EQ the fuzz guitar at the end and feature it
Week-5: OD in the Atrium!
do the class eval survey
on your iPad and let me know ASAP that you did. Keep in mind that
I have 2 hermit crabs, one tarantula and 4 tropical fish to feed...
get your emails up to date and
consider your mid-term 'exam' to be an overall assessment of the
first six weeks - as in, I am prepping you to start writing for week-6
sooner than later.
I was truly surprised that
we didn't get kicked out of the Atrium and was totally expecting to move
to Studio D. It was a great experience for me and I hope you also
enjoyed the process. It was an interesting combination of live performance
and overdub - with an emphasis on dynamics and placement. In the
end - the mix - reveals interesting textures and I am curious to know what
you think about how the mixes play. How would you describe the sound
we got: lo-fi? vintage? I know it's not 'modern' by mass-produced
military-industrial-complex pop standards, but does it approximate a modern
Sadly, the mixes to tape
were too hot - my bad, as I set the levels. Like our test recording
in the atrium, we should have listened back before proceeeding. While
the track didn't need compression (to bring out even more ambience), a
little peak limiting would have helped.
That said, I ran off the
first two mixes to CD - let's call them OD-1 and OD-2a - just as Graham
had done to tape. I then made some adjustments and ran OD-2b - using
a slightly different EQ on the OD and the bounce. On the second performance,
Kevin was either a little further from the mic or not singing as strongly,
so it was a bit of a struggle to have the voice be forward enough without
completely washing out the mix in Atrium Ambience.
I know we didn't achieve
'perfection,' but I hope everyone gained a heightened awareness of how,
in essentially a live 'one-mic' recording, the extra effort makes a big
difference. Sure, more tracks and more mics would have given us more
control, but there is an energy with everyone playing together and working
to achieve a balance.
Below are the mixes, raw
and procesed, including the end jam. Please listen to all, hopefully
on multiple systems, and report.
Week-4: FLanging exercise
and Bass Overdub
is a familiar sound that has been used to enhance the 'emotional' impact
of a song since 1959. It is the result of two identical tracks on
two tape machines that start a few milliSecons (mS) slightly out of sync.
The sound will appear to come from the machine that is leading. The
leading track is gradually timeshifted into sync - in the analog domain
- by dragging a finger on the tape reel flange of that machine until the
3D image pans to the opposite machine, literally 'panning with time.'
We will record the two tape tracks in 'stereo,' but played back in mono.
The resulting 'Flanging' effect is technically called comb
We can use the flanging technique
to fly in and manually sync overdubs. That was the plan for Week-4
but the CDs made for class didn't play in the CD player.
For future reference,
any CDs brought to class have to be "REDBOOK,"
as in, formatted to be playable like a commercially released music CD.
What I got from both Graham and Andy were DATA discs.
We opted instead to use the
flanging effect for the song, overdub a Nashville
Tuned Acosutic Guitar, bounce to mono and then overdub bass.
Austin Jones, from last quarter, was kind enough to sit in.
After everyone left, Steve
helped clean up the room and they he whipped out his harps - I liked what
he was doing, so we set up again and did a test recording. I'd like
to include that as part of our Atrium overdub next week.
Please listen to both raw
and 'proc,' versions and include thast in your weekly report. 'Proc'
is what I call 'mastering.' I thought the track sounded pretty good
and I applied a gentle, 4-band processor to sweeten it up a little.
See what ya think...
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source. The 664A does not, because it utilizes the Electro-Voice patented
Variable-D® principle. Therefore, the 664A will more accurately respond
in those situations that demand the talker, singer, or instrument to be
close to the microphone
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CAKE Song, sans Bass. Andy and Graham will recut the bass and
then provide a CD with the track panned to one side and the bass on the
other. one Week-4, the CD will be bounce to 2-track tape and then
flown into the 4 track, using the same technique used to create flanging.
After everyone gets a shot at that, we will bounce and overdub.
Week-2: Basic Editing Part-2
Digital Vs Analog
At left, are two identical mixes,
one went directly to CD (digital) and the other to analog tape.
Import both of the files below into a
session and alternately solo each one. listen carefully on headphones
and try to describe the differences.
Week-1: Basic Editing Part-1
Full immersion into tape recorders, basic
layout key components and functions. Please refer to class
index page for various articles and sound samples from previous class,
INCLUDING the RCA
Reference Recording Manual from 1940.