Musings from a Matchbox

Having worked on this task as a piece called “Whisper Not”, I ended up with an unsatisfactory result, in that the takes that I had recorded could have been better and required a lot of chopping and changing, which would degrade the quality of the finished project. In this event, I decided to start again with a new piece. I recorded a gospel choir, accompanied by piano, contrabass and drumkit. Firstly, I recorded the intstruments, as a basic starting point and as a guide for the vocals to be added later. This I did by using Rode NT1As, an SE Z3300As, 2 Oktava MK-012s, and Shure SM58s.

After the instruments, I recorded the choir using 2 SE Z3300As in Blumlein configuration, two Oktava MK-012s in AB and the soundfield microphone suspended from the ceiling. 

I have included diagrams on paper with my CD. 

The mixing mainly involved Equalising and balancing the many different signals together. I stripped the silence out of the vocals and kick drum, as they had picked up other sounds such as the headphones and the snare. I then compressed many of the tracks through submixes and put an overall reverb on the master track.

This week we saw how to create and compared the results of more microphone techniques. We created the Blumlein Pair, Phased Array, OCT and Decca Tree. I think that we would be able to better compare these different techniques with a larger room, and possibly multiple sound sources placed around the microphones, to get a true feeling for each technique in different positions.

This week we went over more of the microphone techniques we will use for the recording task, including NOS, DIN and M/S. NOS configuration involves two cardioid microphones facing outwards at 90 degrees, and with a space of 30cm between the heads. DIN is similar to NOS in that the microphones are angled at 90 degrees, but instead they are spaced 20cm apart. M/S, or Mid-Side, uses one cardioid microphone, pointed at the centre of the sound source, and one figure-8 microphone placed facing 90 degrees from the cardioid. This enables sound to be picked up from the front by the cardioid mic, and the left and right by the figure 8.

This week, we began training for Task 3. The session consisted of Gareth playing improvised clarinet while we improvised microphone positions. The task requires us to create 9 recordings, three of three instruments. We will use AB microphone positioning for one of each three recordings, as well as two other established positions, or one established and a new creation of our doing.

Due to unforeseen consequences, apparently involving a bicycle, Gareth was unable to give this week’s lecture. We discussed with Tom Hall many subjects including microphone frequency responses, the polar patterns of different microphones and which situations would be best suited to which microphone. I also read the brief on the next task, Stereo Mic Technique.

This week, we went over the process for recording the script between two characters again, and discussed some details about how the final submitted piece should be created. Specifically, we discussed microphone patterns (cardioid, super-cardioid/figure-of-8 and omnidirectional) and which would be better for certain recording situations.

Also, we examined in close detail all the settings and results possible using Logic 8’s Channel EQ, Compressor and De-esser.

This week we looked at and demonstrated how to accomplish Task 2, to record a scripted conversation between two people playing Q and Bond. We discussed the best ways of recording two people in the same room and how to do it using the equipment provided. We were introduced to the set up in the two rooms, and how the studio box/snake is wired.

This task shouldn’t be too taxing, as we are to keep to a set of instructions as with the previous task, however it is important to get a good quality raw recording to start with, as it will ensure that the end result is of the best quality possible.

Last week, we looked at the workings of ProTools and the recording set-up in Hel033/029. I learnt about how to control the fixed microphone and camera in Hel029 from the desk in Hel033, and how to record sound using them. I also learnt about ProTools itself, the similarities and differences between it and Logic, some of the key commands, how to edit and record audio within it. Also, I was introduced to the hardware used in the room, and how to patch in ProTools to record from Hel 029.

Today, I realised what I mentioned below about Logic 8 being the best thing since sliced bread (and actually slightly better for audio). However, some little things really annoyed me. Trying to get my automated volume to go down to -20 proved to be impossible, as it always reverted to -19.8 or -20.3. But that was pretty much my only problem.