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Module 06
Recording Software
In this module you will learn about the principles of hard disk recording and the processes of recording
that are carried out with software. You will additionally learn about the problems of hard disk recording,
and their solutions or workarounds.
Learning outcomes
To understand the requirement for hard disk recording and its advantages over analogue and
digital tape recording.
To understand the problems and limitations of hard disk recording and how they are handled.
To know the vocabulary of hard disk recording; the terms and expressions that are in common
professional use.
To be able to perform the basic functions and processes of hard disk recording.
Assessment
Formative assessment is achieved through the short-answer check questions at the end of this
module.
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Audio Masterclass Music Production and Sound Engineering Course
Module 06: Recording Software
Module Contents
Learning outcomes 1
Assessment 1
Recording software 3
Inputs, tracks, outputs 6
Session files 8
Disk media 9
Storage and archiving 12
Operation 13
Reliability of recording 14
Virtual tracks 14
Editing 15
Slipping and spotting 15
Fades and crossfades 16
Bouncing 19
Library 19
Plug-ins and latency 20
Check questions 22
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Audio Masterclass Music Production and Sound Engineering Course
Module 06: Recording Software
Recording Software
Tape recording had a long history of success from the
1940s to the 1990s. Even though tape still survives -
analog tape is a medium with its own sonic character
that is often considered desirable; DTRS and DASH
recordings still exist in archives - it is clear that in
almost every way imaginable, disk recording is
superior and has now become almost universal. (Its
worth pointing out that digital video tape will be around
very much longer simply because of the requirement
to store such a great bulk of data).
The entire system is a known quantity to the DTRS tape - used to record digital audio
manufacturer, who can guarantee performance before hard disk systems became widely
If there is a problem, you simply contact the used.
manufacturer for the solution.
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Audio Masterclass Music Production and Sound Engineering Course
Module 06: Recording Software
AMS-Neve AudioFile
Fairlight Dream
IZ RADAR
Digidesign Pro Tools
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Audio Masterclass Music Production and Sound Engineering Course
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Audio Masterclass Music Production and Sound Engineering Course
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Audio Masterclass Music Production and Sound Engineering Course
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Session files
With a conventional tape recorder, you would start a
session by taking out a new reel of tape and loading it
on the machine. There has to be an equivalent to this
in disk recording.
Project title
Audio files used
Edits
Track assignments
Mix and plug-in data
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Audio Masterclass Music Production and Sound Engineering Course
Module 06: Recording Software
Disk media
The choice of disk media isnt as tricky as it once was.
There used to be the problem that hard disks needed
to recalibrate themselves every so often to account
for the heating and expansion due to friction of the
disk platters, but the manufacturers have now mostly
found workarounds to this. It is still necessary for a
disk to achieve a certain level of performance, and the
rotational speed of the platters should ideally be at
least 7200 revolutions per minute, preferably 10,000
rpm. Most modern disks will be capable of simultaneous
record and playback of at least 24 tracks. Note that
the very small disks used in laptop computers may
have a rotational speed of only 4800 rpm so either
the track count will be low, or the recording software
may recognize that the disk is not qualified and refuse
to use it.
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Operation
The process of making a hard disk recording of a
conventional rock band on a system such as Pro Tools
would go something like this:
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Audio Masterclass Music Production and Sound Engineering Course
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Reliability of recording
There is often a greater question mark over the
progress of a disk recording than a tape recording.
An engineer recording a live event on tape can be
almost guaranteed that the recording will be made
successfully. There is always a doubt with a disk
recording system that the recording will suddenly
cease, accompanied by an error message, or that when
the recording is stopped it will be found that there is
no audio on the disk. This will change in time.
Virtual tracks
All tape recorders, as said earlier, have the same
number of inputs, tracks and outputs. Disk recorders
often have no such fixed relationship. Further than
that, beyond the limit of the number of tracks that are
replayable simultaneously, many disk recorders can
store additional so-called virtual tracks that are in
synchronization with the regular tracks, but cannot be
allocated to an output. Real tracks and virtual tracks
can easily be exchanged. As systems become capable
of replaying more and more tracks simultaneously,
the relevance of virtual tracks will decrease.
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Module 06: Recording Software
Editing
Whereas multitrack tape recorders only deal with
continuous tracks, a track recorded on a hard disk
system can be split into a number of regions. Typically,
this would be to separate out useful audio, and junk
audio that should not be heard. When the useful
regions are separated out, the junk audio remains
on the disk, but is silenced. This can be extended to
audio that might be useful; you can silence a segment
of audio that you dont think you will need, and then
retrieve it if you realize that you do. Trimming the
start and end points of regions (topping and tailing) is
a common activity.
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Bouncing
The term bouncing in multitrack recording normally
means mixing together similar tracks, such as backing
vocals, onto fewer tracks to free up the original tracks
for further recording. However, in a disk system,
bouncing can mean conventional bouncing, or it can
mean mixing. There no need to record a mix to a
separate medium such as DAT, it can simply be bounced
to disk as a stereo file. In some systems, bouncing can
take place faster than real time, although arguably
real time bouncing is better for the proper functioning
of mix automation and plug-in effects, and real time
bouncing offers the chance of listening to the mix,
just to make sure that it is correct.
Library
Disk recording systems have a store of audio material
categorized in several ways:
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Check Questions
Do all hard disk recording systems require a personal computer to work?
What is the advantage of a hard disk recording system that does not require a PC?
List four common problems of hard disk recording systems that require a personal computer.
Where would you commonly expect to find an AMS-Neve AudioFile system?
How is the IZ RADAR marketed, according to the text?
The text mentions that it is useful to learn the Yamaha way of standalone hard disk recording
system operation. Why is this?
If a traditional analog tape recorder has 24 tracks, how many inputs and how many outputs
does it have?
Would it be possible for a hard disk recording system to have 2 inputs, be capable of 32 tracks,
and have 2 outputs?
What information does a session file contain?
Does the session file include audio data?
Would you expect a session recording on one manufacturers system to play on another
manufacturers system?
Would you always expect a session file to play correctly on another system by the same
manufacturer?
Why is the rotational speed of a hard disk important?
List five advantages of FireWire interconnection over other bus systems such as SATA and
SCSI.
Which is generally preferred for audio - FireWire or USB?
What is fragmentation?
What is the problem in archiving a multitrack recording to DVD-R media?
According to the text, what are the advantages of hard disk recorders over taped-based
recorders, either analog or digital?
What are virtual tracks?
When a region of audio is edited and some removed from the screen, what happens to the
audio material that is removed?
What is the meaning of edit density?
Briefly describe Slip mode.
Briefly describe Shuffle mode.
Briefly describe Grid mode.
Briefly describe Spot mode.
According to the text, what is the profile of a fade?
Describe the two ways in which a hard disk system can perform a crossfade.
What is bouncing?
What are plug-ins?
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What is latency?
Why does a DSP-based system have lower latency than a host-based system?
What is delay compensation?
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