Pre-Work Summary

Unit 9 & Unit 25

-

Alexander Appleton

Notes to Assessor:
- A soundcloud account was unable to be used for these set of assessments due
to Soundclouds automated copyright prevention system. This prevents the group from
submitting the work via soundcloud.
- Original Music Files of Ned Composition.mp3 & Give Life Back To Music Group
B can be found here:https://www.dropbox.com/s/h5100rhe9vkz33i/documents-export2015-02-18.zip?dl=0. This is due to Neds Composition and Give Life Back To Music
Group B being laced with copyright infringement, so it is unable to be uploaded to
Tumblr or Soundcloud and is only available through the dropbox link provided above.
Note: obtained from Studio B on 17/02/15.
-

Information on aforementioned tracks

Neds Composition:
Producer: Ned,
Mixer: Ned, Montel,
Technicians: Matt, Montel, Alex

Give Life Back To music Group B:

Producer: Group B,
Mixer: Group B

This is a copy of the email that was received for the takedown notice upon uploading of content.

SoundCloud <NO-REPLY@soundcloudmail.com
to magnetnwkc

01:34 (15 hours ago)

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Plan Summary
Unit 9 Music Project
1. Know how to plan and set up recording sessions that encompass a variety of
techniques

2. Be able to undertake a range of roles in the recording and production of contrasting

multi-track material
3. Be able to complete effective stereo mixes of the multi track recordings
4. Be able to edit and master the material
Unit 25 Music Production Techniques
1. Understand manufacturers specifications for a range of audio recording equipment
2. Be able to set up the equipment for a recording session
3. Be able to capture audio sources using multi-track recording techniques
4. Be able to mix multi-track recordings
TASKS
Task 1: RECORDING
Create a portfolio of recordings showcasing a variety of multi-channel recording
techniques. These should include full drum kit, direct input sources (bass, and/or
electric guitar). Vocals are optional. You will be required to deliver at least 1 piece per
group member, to be uploaded individually to your Tumblr sites. (Unit 9 GC 2) (Unit 25
GC 2 & 3)
Task 2: MIXING
Deliver mixes of all of your recordings employing appropriate techniques, including
effective use of compression, eq, reverb etc (Unit 9 GC3 & 4) (Unit 25 GC 4). You
will deliver one additional mix of a track provided.
Task 3; RECORDING ANALYSIS
Deliver a written how to guide for the use of studio 1. This will include diagrams,
photos (and potentially even video) and a description of all relevant studio equipment
(including microphones etc) and their specifications (frequency responses etc). Also
include signal routing information from live room. For the purposes of guidance, I would
not expect this to be less than 1500 words.
Task 4: MIXING ANALYSIS
Deliver a screen recording (or written piece if you prefer) explaining how you have
undertaken your 2 mixes including explanations and justifications of your use of eq,
compression, reverb, auxiliaries. (Unit 9 GC 1) (Unit 25 GC1)

Plan List:
- Upload music work
(Unit 9 GC 2) (Unit 25 GC 2 & 3)
- Make notes on the mics used for drum mic placement and why (such as
specs)

(Unit 9 GC 2) (Unit 25 GC 2 & 3)

- Make notes on choices of mic placement and reasons
(Unit 9 GC 2) (Unit 25 GC 2 & 3) Task 3
- Make notes on the choices of mixing techniques for produced track and
reasons why.
(Unit 9 GC3 & 4) (Unit 25 GC 4)(Unit 9 GC 1) (Unit 25 GC1)
- Make notes on the choices of mixing techniques for extra track and
reasons why.
(Unit 9 GC3 & 4) (Unit 25 GC 4)(Unit 9 GC 1) (Unit 25 GC1)
- Basic overlay of Studio 1 (What is each piece of equipments use and why
is it used)
Task 3
- Make notes on how signal routing for Studio 1 is set up.
Task 3
Task 1 - Completed 18/02/15 - Page 4
Task 2 - Completed 18/02/15 - Page 5
Task 3 - Completed 18/02/15 - Page 10
Task 4 - - Page 12
Task 5 - - Page
Task 6 - - Page
Task 7 - - Page
-

Task 1: Upload music work - (Unit 9 GC 2) (Unit 25 GC 2 & 3)

Track List: https://www.tumblr.com/blog/magnetop-nwkc

- Alex Composition
- Montel Composition
- Matt Composition
Track List: https://www.dropbox.com/s/h5100rhe9vkz33i/documents-export-2015-02-18.zip?
dl=0

Ned Composition Give Life Back To Music Group B

-

Task 2: Make notes on the mics used for drum mic placement and
why (such as specs) (Unit 9 GC 2) (Unit 25 GC 2 & 3)

Microphones Used:
- Sm 57
- Sm 58
- Audix F9
- Audix F6
- Audix F2

Specifications:
Shure SM57 Microphone
Transducer Type: Dynamic
Polar Pattern: Cardioid
Freq. Response: 40Hz - 15kHz
Sensitivity: 1kHz
Response Curve:
Notes:
The Shure SM57 Dynamic Microphones is a high quality
microphone that is recommended for recording amps or acoustic
instruments due to their appropriated Freq. Response and
Sensitivity. The low response of sounds below 200Hz and above
10kHz means that most instruments and sound sources can use this
mic for recording. They are also very good at recording directed
sounds due to their Cardioid polar pattern, this means that the
microphone will pick up more response from the direct, in-line source
in front of the microphone while picking up much less of the
surrounding sounds nearby and no sounds from behind the mic. This is very useful for singling
out instruments or amps that it is
placed near to the microphone with
very little bleed from other sounds
nearby. Being a Dynamic
microphone means that the SM57
can take a lot more of a beating
from sound pressure compared to
condenser microphones which can
be damaged or break under high
sound pressure environments.
This is an effective microphone for
the use of drum recording due to
its qualities, we use the SM57 for
recording the top of the snare drum
since it is best suited for recording frequencies that are produced by the top of the snare drum.
The Cardioid pattern allows the microphone to also help prevent bleeding of other drum
instruments into the snare drum recording.
Shure SM58 Microphone
Transducer Type: Dynamic
Polar Pattern: Cardioid
Freq. Response: 50Hz - 15kHz
Sensitivity: 1kHz
Response Curve:

Notes:
The Shure SM58 Dynamic Microphone is described as one of the worlds best microphones for
Vocals, simply due to its rugged and versatile design, it has become quite an icon for vocal
microphones worldwide. The Freq. response of the SM58 is very similar the SM57, however
due to the SM58s design, it comes with a very effective pop-filter. This means high sound
pressure moments in singing or sounds will not distort the sound quality, picked up by the
microphone. Its cardioid polar pattern also makes it very effective for picking up directed vocals
with a some more bleed from the sides of the mic, due to its more forgiving globe design
compared to a pencil design of the SM57. With its pop-filter and dynamic microphone basis,
this microphone can take all the shouting and singing that can be thrown at it while still
performing at a high level of quality.
This is an effective microphone for the use of drum recording due to its qualities, we use the
SM58 for recording the bottom of the snare drum since it is best suited for recording frequencies
that are produced by the bottom of the snare drum. The Cardioid pattern and the Pop-Filter
helps prevent the loss in quality of the snares and high pressure sound waves from playing the
snare and also allows the microphone to also help prevent bleeding of other drum instruments
into the snare drum recording.

Audix F9 Microphone
Transducer Type: Condenser
Polar Pattern: Wide-Cardioid
Freq. Response: 40Hz - 20kHz
Sensitivity: 1kHz

Response Curve:
Notes:
The Audix F9 Condenser Microphone is best used and
recommended to be the microphone for recording Cymbals,
Overheads, Hi-Hats and being an Audience microphone.
The majoritively flat response for the wide frequency
response of the microphone allows it to capture sound of
rooms and areas with the capability to capture almost all
sound frequencies that are commonly found in its usage. It
also is very effective at recording Cymbals and Hi-Hats.
Since Cymbals and Hi-Hats do not produce a large amount
of sound pressure due to their shape and the materials they
are made of. Thier Wide-Cardioid polar pattern also helps
the microphone become a very effective
room/overhead/audience microphone.
This is an effective microphone for the use of room and
cymbal/hat recording due to its qualities, we use the F9 for
recording the whole drum kit and room since it is best suited
for recording the wide-range of frequencies that the drum kit
can produce. The Wide-Cardioid pattern allows, when
paired with another F9 to create a stereo effect of the drum
kit, where changing the pairs positions can dramatically
change the stereo effect of the drum as well as how dry/wet
the drum kit sounds.

Audix F6 Microphone
Transducer Type: Dynamic
Polar Pattern: Hypercardioid
Freq. Response: 40Hz - 16kHz
Sensitivity: 80Hz

Response Curve:
Notes:
The Audix F6 Dynamic microphones are best recommended to be used to capture the sound of
the Kick drum on a drum kit. This is due to its modifications that allow it to capture near subfrequencies of sound and its frequency responses allow it to capture more lower sounds than
standard microphones. Its large size and design allows it to capture the whole kick sound when
placed inside the kick drum itself. This is very useful if you wish to capture the noise of the skin
being hit when recording your kick drum for more attack on the kick recording. Its hypercardioid
pattern means that it will almost only receive sound thats directed at the microphone along its
linear length. This effectively prevents bleeding from other parts of the drum kit, itself.
This is an effective microphone for the use of kick drum recording due to its qualities, we use
the F6 for recording the kick drum kit since it is best suited for recording the low frequencies of
the kick drum that it can produce. Being a large dynamic microphone means that it is capable of
coping with the huge amount of sound pressure that is created when playing the kick drum
making it a recommended choice for recording.

Audix F2 Microphone
Transducer Type: Dynamic
Polar Pattern: Hypercardioid
Freq. Response: 52Hz - 15kHz
Sensitivity: 1kHz
Response Curve:
Notes:
The Audix F2 Dynamic microphones are best
recommended to be used to capture the
sound of any instrument or sound that is midbass or mid-high. This means it can record
live stages, rack and floor toms, conga
drums, guitar and bass as well as brass
instruments. This makes it a very versatile
microphone with its multitude of uses.
This is an effective microphone for the use of
recording the tom drums, both rack and floor
toms due to its qualities. We use the F2 for
recording the toms since it is best suited for recording the low and mid range frequencies that
the toms can produce. Its hypercardioid pattern means that it will almost only receive sound
thats directed at the microphone along its linear length. This effectively prevents bleeding from

other parts of the drum kit, itself.

Task 3: Make notes on choices of mic placement and reasons

(Unit 9 GC 2) (Unit 25 GC 2 & 3) Task 3

An example of what a micd up drum kit looks like.

With the Kick the F6 is used and is placed just inside of kick drum to capture a decent
balance between the noise of the beater head hitting the skin and the resonance of the
drum afterwards. This can be changed to have the mic more inside for a higher attack
response or to have the mic outside of the drum to have a more timbral effect on the
recording, however too much on either can leave a very muddy recording of the drum.
With the Snare top, we use the SM57 placed at the top of the drum by the edge of the
drum. the head of the microphone is then positioned to point towards the snares central
focal point to capture as much sound as possible. Pointing the microphone towards the
edge of the snare creates a more resonant sound. This can be troubling where the
resonance can interfere with other frequencies and would require careful EQ pruning to
balance out the sound.
With the Snares on the snare drum we use the SM58, its pop-filter comes in very handy
for the large amounts of sound pressure that will be given off by the drum bottom. The
microphone is pointed towards the snares themselves, usually about a few inches away
to capture all the sound of the snares equally as well as some accompanying snare

10

drum sounds. This sound can be inverted to change the sound of the recording and
make the snare drum feel more fuller.
With the Rack Tom and the Floor Tom, the microphone position is very similar to the
snare head microphone due to its position and location on the drum itself. We use the
F2 microphones to record the Toms due to their frequency response ranges. Issues with
recording the Toms is that if the microphone is too close to the Tom it can pick up
resonances when recording, which ends up making the toms sound muddy in quality
and can ruin a good mix.
With the overheads, there are a multitude of ways that they can be arranged around the
drum kit, it is very dependant on what the producer is looking for in sound and how
many overhead mics are available. The arrangement that we decided to use was the
spaced pair arrangement due to its wide stereo and balanced wet/dry sounds for the
drum, albeit slightly more dry than wet sounding. Appropriate arrangement of overheads
is key to a good sounding drum kit mix.

Task 4: Make notes on the choices of mixing techniques for

produced track and reasons why.
(Unit 9 GC3 & 4) (Unit 25 GC 4)(Unit 9 GC 1) (Unit 25 GC1)
This is the equalisation of the kick, snare drum, the snares of the snare drum and the
overheads EQ (shared across both overhead EQ). With the EQ of the drum kit i have
hollowed out a small notch in the low frequencies to allow the kick drum to come
through clearer, i have also notched out some mid frequencies for the kick drum to allow
the instruments and the snares to come through clearer and prevent muddiness from
the kick drum. With the snares under the snare drum i raised some lower frequencies
11

since i wanted the snares to sound fuller but also take advantage of sound bleeding
from the kick drum. Since the snares will be phase inverted, this means that the snares
and a small amount of the kick drum will become more fuller with its sound. I lowered
the high frequencies of the overheads to allow the instruments that cover that frequency
range to not become muddied with the hat and cymbals of the drum kit. The lower
frequencies were raised a tad to allow the drum kit to still have a presence in the mix.

12

This is the EQ of the Piano, Guitar and the Bass of the mix. With the Piano i completely
dropped the low frequencies to allow the drum kit and bass to come through. I raised
the mid frequencies since the piano is covering the mid frequency ranges. I also
lowered the high frequencies of the piano EQ for the guitar to come through. With the
Guitar, i dropped the low frequencies to allow the drum kit and bass to come through
clearer, however instead of lowering the mid frequencies for the piano i kept it fairly flat
since a lot of the resonance of the guitar come through in the mid frequencies in this
composition, also because i felt like it was a nice touch to have that particular sound
come through still. I did raise the higher frequencies to help the guitar come through
clearer. With the bass all i did was lower the high frequencies to allow the guitar to come
through clearer, other than that, i left the bass fairly alone.

This is an effect i put on the snares to allow the snare drum to sound more fuller. Since
there is two mics recording one of them needs to be phase inverted, usually it is the

13

snares that is inverted to allow both the waveforms of the snare top and snares to not
cancel each other out.

14

With the piano and guitar, i routed them to a separate bus before going to the main
output. On this bus i put a reverb effect on, this makes the piano and the guitar sound a
lot more dominant and creates a nicer, wider tone to the guitar and piano which helps
open up space the centered sounds of the drum kit and the bass.

Task 5: Make notes on the choices of mixing techniques for extra

track and reasons why.
(Unit 9 GC3 & 4) (Unit 25 GC 4)(Unit 9 GC 1) (Unit 25 GC1)

15

This is the Intro guitar taps EQ, on Guitar 1 the high frequencies were cut off since it
was a guitar which didnt utilise the high frequencies, so we opened them up to allow
other instruments and sound through clearer. On Guitar 2 a small area of a frequency
was lowered to allow other frequencies through. On the Intro taps Guitar the high and
low frequencies were lowered to balance the EQ of the mix same with the Intro PC 1
guitar.

16

This is the Drum kit EQ. The kick was lowered and raised on multiple areas mainly to
help emphasize the kick but to help flatten the tones of the other parts of the drum kit.
The Snare bus had low frequencies cut while slightly raising some frequencies to flatten
other parts of the Drum kit as well as balancing out the sound of the snare bus. With the
overhead bus the lower frequencies and high frequencies were cut to open up
frequencies for other instruments to come through clearly. With the drum bus only a
small part of the frequencies was lowered, since the drum kit sounded correct in our
groups opinion.

17

To help make the guitar and the guitar taps at the intro of the song sound fuller and
wider, but also to stop it from clipping and being too loud in the composition through the
effective use of compression. With this we did, in our opinion, made the guitar taps
sound very close to the original source.

Task 6: Basic overlay of Studio 1 (What is each piece of equipments

use and why is it used) Task 3

18

List of equipment in the Studio:

-

1. Adam A77X
2. KRK Rokit 5
3. iiyama E2773HDS Monitor
4. Novation Impulse 49
5. SPL 2381
- 6. Focusrite ISA One
- 7. emagic Logic Control
- 8. Macintosh Computer
- 9. Saffire Pro 40
- 10. Octopre Mk. II
- 11. S-Phone Headphone
Mixer/Amp
Adam A77X
Use: Speaker Pair
Frequency Response: 38Hz - 50kHz
19

Frequency Response Chart: N/A

Why:
The Adam A77X Speaker is used for Studio 1 as a speaker pair. According to online reviews
and reports by trustworthy sources (soundonsound), say that the speaker is of very high quality
and reliability. It is well suited to heavy usage and highs and lows, it comes with sub woofers
and tweeters to support the high and low frequencies. However from personal experiences, the
speakers do seem to be coloured to a lower frequency while remaining fairly flat in other
frequencies.

KRK Rokit 5
Use: Speaker Pair
Frequency Response: 45Hz - 35kHz
Frequency
Response
Chart:
Why:
We use the
KRK Rokit 5 Speakers as a
second speaker pair for studio 1.
However in personal opinion i
think that the use of KRK Rokit 5
is not needed for studio 1 if only
for directional sound. It seems to
have a shaky response to midtones and due to the fact it does
not come with any speakers that
support the mid-ranges, but come with a subwoofer and a tweeter for the highs and lows. Since
the A77Xs support the lows and highs in studio 1, i find that they are really not necessary.
However, having a second speaker allows for a more fuller sound when reviewing your
compositions which is very valuable.
iiyama E2773HDS Monitor - Standard Monitor, used to view information supplied by the
Macintosh computer.

20

Novation Impulse 49
Use: MIDI Keyboard
Features:
- Velocity sensitive drum pad
- Knobs, faders and buttons that work with most music production software
- UPnP Supported
Why:
We use the Novation Impulse 49 as
the main MIDI input device in studio 1.
We need a min MIDI input device for
studio 1 as it is easier to input MIDI
signals into a composition by
keyboard compared to guesswork
with the mini keyboard on the side of
Logics Piano roll window. Also this
can be used to modify sounds with its
integrated faders and controls. This
can be very useful for adventurous
producers.

21

SPL 2381
Use: A Talkback and Monitor Controller
Features: Multiple inputs and outputs to headphones and speakers to allow the
controller to talk to performing musicians and control the the sound levels of the output
levels in the studio, such as Talkback, Cue and Volume.
Why:
We use the SPL Talkback Controller as a way of communication between people where
the soundproof rooms prevents us from communicating to performers/musicians on the
other side of the glass windows of the rooms. This makes it very crucial for recording
purposes and with the built in microphone, it means less cables have to be used to mic
up a microphone in the control room. Also it allows the producers in the control room to
co-ordinate the performers without having to travel distances and use up precious time.
Since it also acts a master volume control for multiple speaker outputs, it is considerably
more reliable and in opinion, better as a choice of physical volume control with no
latency.

22

Focusrite ISA One

Use: Direct Input for instruments to record in Studio 1
Features:
- Built-in Microphone Pre-Amp
- independant DI Routing
- Changeable impedance for microphones
- Headphone output with control
- Insert point for extra processing between DI or Pre-Amp
Why:
We use the ISA One as a Direct
Input for instruments for when we
do not want to have a microphone
record the instrument through an
amp. Also it allows us to control
its input signal before reaching
the soundcards. This can be very
useful, especially if the instrument
produces very powerful signals. It
can also be used for standard
XLR microphone recordings if
needed. Other than that it is a box
that allows analog signals to be
converted into digital signals.

23

Emagic Logic Control / Use: Fader Board / Why: N/A (never used it)

Macintosh Computer / Use: Digital Audio Workstation

Saffire Pro 40 (Top Sound Interface) Octopre Mk. II (Middle Sound Interface)
Use: Sound Interface
Features:
- 8 Preamps with inputs
- A-D & D-A Converter
- 2 Separate Headphone Buses (only for the Saffire Pro 40)

Why:

24

We use the Saffire Pro 40 Sound Interface and the Octopre Mk. II for Studio 1 because
it is a very good, high quality hardware that is able to handle up to 8 pre-ampd inputs.
That is enough to mic up an entire standard drum kit each. It comes with volume levels
for adjustments to the recording of the sound before it enters the DAW and recorded,
this allows the signal to be of high quality and lets us reduce the volume to prevent
clipping and reduction of quality of the recording when in post production.
These sound interfaces in studio 1 are hooked up to input channels 1-8 (Saffire Pro 40)
and input channels 10-18 (Octopre Mk. II) which is wired to Stagebox 1&2 in Studio 1
Live Room.

S-Phone Headphone Mixer/Amp

Use: In conjunction with SPL 2381 Talkback Controller
25

Features:
- 4 Headphone/Mixer Amplifier Channels
- LED Metering on each channel and master
- 2 band EQ on each channel
- 3 Headphone outputs per channel at maximum output, regardless of
impedence
Use:

We use the Headphone Mixer/Amp with the SPL 2381 Talkback Controller to be able to
talk to our performers/musicians. In a sense, it is just a routing for the SPL 2381
Talkback Controller.

Task 7: Make notes on how signal routing for Studio 1 is set up. Task
3

26

Known Routing:
Stagebox 1
I/1 - Channel 1
I/2 - Channel 2
I/3 - Channel 3
I/4 - Channel 4
I/5 - Channel 5
I/6 - Channel 6
I/7 - Channel 7
I/8 - Channel 8
I/9 - N/A
I/10 - N/A
I/11 - N/A
I/12 - N/A
H/1 - Headphone Mixer
H/2 - Headphone Mixer
H/3 - Headphone Mixer
H/4 - Headphone Mixer
Stagebox 2
I/1 - Channel 11
I/2 - Channel 12
I/3 - Channel 13
I/4 - Channel 14
I/5 - Channel 15
I/6 - Channel 16
I/7 - Channel 17
I/8 - Channel 18
I/9 - N/A
I/10 - N/A
I/11 - N/A
I/12 - N/A
H/1 - Headphone Mixer
H/2 - Headphone Mixer
H/3 - Headphone Mixer
H/4 - Headphone Mixer
Vocal Booth
I/1 - Channel 9
I/2 - Channel 10
H/1 - Headphone Mixer
H/2 - Headphone Mixer

27