The Basics Of Modern Recording - Roland
The Basics ofModernRecordingMultitrack RecordingMultitrack MixdownCommon ConnectionsBalanced ConnectionsUnbalanced ConnectionsMicrophonesMic Pre-ampsPhantom PowerBasic Mic TechniqueBussingPre-fade and Post-fadeCorrect Input LevelsMonitoring EffectsEffects RoutingInsert vs. LoopThe CompressorBasics of EQVirtual TracksBouncing TracksTrack ManagementNon-Linear EditingUndoMasteringBackup
Introduction and Table of ContentsAudio recording has changed dramatically in recent years. Excellent digitalequipment with vast capabilities is now quite affordable. Technology has putbrand new, exciting features in the hands of a huge and growing number ofindividuals.Low cost and high technology has meant that many people are leapingdirectly to sophisticated recording equipment for their first recordingexperience. Others are moving across from digital sequencing - a verydifferent recording experience that will not necessarily prepare them for someof the issues of audio recording. Both groups need to grasp certainfundamentals to get the most out of modern recording equipment.This book is designed to introduce the basics of modern recording in a simpleformat, allowing musicians to ‘get up to speed’ quickly and easily.You may wish to read this book through completely, or jump to the page youneed. If you are new to the recording process, we would encourage you toread the entire book. Also, you may want to read through the glossary at theend of the book to become familiar with some of the terms that will be used.Basic Recording / Multitrack Recording . . . . . . . . . . . . . . . . . . . . . .2Basic Recording / Multitrack Mixdown . . . . . . . . . . . . . . . . . . . . . .3Common Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Balanced and Unbalanced Connections . . . . . . . . . . . . . . . . . . . .5-6Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-9Mic Pre-amps and Phantom Power . . . . . . . . . . . . . . . . . . . . . . . .10Basic Microphone Technique . . . . . . . . . . . . . . . . . . . . . . . . . .11-12Bussing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Pre-fade and Post-fade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Getting Correct Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . .15-16Monitoring Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Effects Routing / Insert vs. Loop . . . . . . . . . . . . . . . . . . . . . . . . . .18The Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Basics of EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20-21Bouncing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22Virtual Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23-24Track Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25-26Non-Linear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27-28Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Recording Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34-37The Basics of Modern Recording1
Basic Recording / Multitrack RecordingThe recording process, whether accomplished with a cassette recorder, digitalmulti-track recorder, hard disk recorder, or any other recording medium, isessentially the same. The goal is to capture sounds onto a master recording.To do this, recording engineers employ a two-step system:1. Multitrack Recording - the process of recording and overdubbingvarious instruments and vocals, each to its own “track.”2. Multitrack Mixdown - the process of simultaneously re-recordingthese multiple tracks down to one set of stereo tracks (the “masterrecording”) which can be reproduced by a typical playback system,such as a CD player or cassette deck.Multitrack RecordingMultitrack recording involves “stacking” multiple instruments and/or vocalson top of each other so that when any one of them is played back, all of themcan be heard in time with each other. This is made possible by recordingproducts that have the capability of recording many different instruments,each on its own “track.” Imagine the tape from 16 different cassette decks, alllaid side-by-side and glued together. This would give you a sixteen-track tape(actually 32 tracks, because cassette tape is stereo and has two tracks), withthe potential of recording a different instrument on each track.In other words, let’s say you record a drummer, a bass player and a rhythmguitar player playing a song, each instrument being recorded onto its ownindividual track of a multitrack recorder. Because they are all playingtogether, their notes are all “in time” with each other, so that upon playback itwill still sound like they are playing together, even though their instrumentsare recorded onto individual tracks. If you want to add a lead guitar to thesong, You will play the first three tracks so that the guitar player can “keeptime” with the other instruments while recording his guitar onto a fourthtrack. This process is known as “overdubbing.”Traditionally, recording engineers would record “rhythm tracks” first,consisting of drums, bass, rhythm guitar, keyboards and a “scratch” (to bereplaced later) lead vocal, all recorded together. Next, the engineer wouldbegin the overdub process, adding other rhythms, leads, background vocals,any other instruments, and finally re-recording the lead vocal. However,modern recordings are often created a single track at a time, beginning withsequenced instruments, drums loops, or even vocals.The point is that eventually all of your instruments must be recorded ontovarious tracks in time with each other. Once this is accomplished, themixdown process begins.2The Basics of Modern Recording
Basic Recording / Multitrack MixdownMultitrack MixdownThe purpose of the mixdown process is to reduce all of your recorded tracksdown to two tracks (stereo) or even one track (mono). This allows your songto be played on conventional playback systems, such as cassette or CD players.Traditionally, multitrack recorders were connected to multichannel mixers, sothat each track has its own channel on the mixing board and can be processedindividually. In other words, the individual track outputs from a multitrackrecorder were connected to the individual channel inputs of a mixer, whichmerged all these channels down to a single stereo output. This stereo mixeroutput was connected to the stereo input of a master tape deck, whichrecorded the stereo signal.Along with merging many channels down to two channels, the mixerperformed other important processes, such as:- adjusting the frequency content of the instruments, called “EQ-ing.”- adding various effects, such as reverb, echo or chorus to the instruments.- adjusting the volumes of each track so that no single instrument is tooloud or too soft.These processes will be explained in greater detail later in this document.Today, all of these functions, including multitrack recorder, multichannelmixer, EQ and effects, can be found in a single unit. Furthermore, the masterrecorder may be a CD recorder, DAT tape, or hard drive. What is important isthat all of your song’s instruments get recorded, processed and mixed downonto some medium by which they can be heard by your audience.The Basics of Modern Recording3
Common ConnectionsInputsBefore you begin recording, you will need to connect your instrument ormicrophone to the input section on your recorder or mixer. You will probablynotice that there are a number of different connector types. Variations on theconnections include RCA type (the same connectors found on consumerstereo equipment), XLR (most commonly used for microphones) and 1/4-inch(mostly used for instruments).UnbalancedRCAUnbalanced 1/4-inchBalanced 1/4-inchtip, ring, sleeve (TRS)BalancedXLRMaster OutThese outputs are usually connected to your studio monitors (or their poweramplifier, if the monitors are not powered) or to the analog inputs of yourcassette or DAT machine.Monitor OutThe Monitor outputs are usually used in the same capacity as your MasterOuts (power amp, cassette recorder, DAT machine) but sometimes for thepurpose of sending a different mix out of the console. A common situationwould be for the Master Outs to be connected to a cassette deck or DAT forrecording the mix, and the Monitor Outs to be connected directly to thepower amp or studio monitors for listening to your mix.Digital OutA Digital Output is specifically made to send signal to another digital device.Their most common use is to send your master mix digitally to a DATmachine. The Digital Outs can also be used to connect to external effectsprocessing gear that has a Digital input.DigitalDigitalOpticalCoaxialAux SendsAux Sends are usually used for sending data out of your console to getprocessed by an effects processor (reverb, delay, etc.). You can also use AuxSends to send your mix to a different source, much like you would use aMaster Out or a Monitor Out, or as outputs for individual tracks to allow youto transfer your tracks to a different recorder.Aux ReturnsMany consoles have Aux Returns, which bring the signal back in from theexternal effects processor. These might also be used for just inputting a stereosource, such as a CD player, into your console.Phones OutWhere a pair of headphones would be connected to the console.4The Basics of Modern Recording
Balanced and Unbalanced ConnectionsWhen dealing with the various connections discussed in the previous section,there are two main issues to consider: impedance and balancing. Theseconcepts are important to understand in order to record each piece of gear atits best possible quality.ImpedanceImpedance, also known as resistance, refers to the electronic hardware’sinherent resistance to the flow of an AC circuit. In other words, all electroniccircuits, including cables, have a natural friction-type resistance to the freeflow of electricity, in the same way that a runner encounters resistance fromthe wind. A runner is stronger when he or she runs with little resistance fromthe wind. In the same way, a low impedance audio signal is stronger than ahigh impedance signal because it encounters less resistance.For practical purposes, impedance between various pieces of gear shouldalways match. Connecting an output that expects a high impedance inputinto a low impedance input can cause problems because too much current isbeing sent. For example, a low impedance microphone should be input into alow impedance mixer input. If you need to connect two devices with differentimpedances, you should use a matching transformer to convert the impedanceof one of the devices so that they match.Impedance TypesHi Impedance: A circuit whose impedance rating is 1,000 Ohms or greater.Low Impedance: Any circuit whose impedance rating is 600 Ohms or less.Balanced vs. UnbalancedGenerally, inputs and outputs of audio gear are either balanced or unbalanced.Balanced cables use an extra wire as a shield to help prevent noise from beingpicked up along the length of the cable run. Generally, quarter-inch cables andRCA cables are unbalanced, and XLR or stereo quarter-inch cables arebalanced (three connecting pins instead of two).Every piece of gear has either balanced or unbalanced ins and outs. If you areconnecting a balanced output to a balanced input, you should use a balancedcable. The connectivity issues can be summarized as follows:- Unbalanced in/out connected to unbalanced in/out - may as well use anunbalanced cable; using a balanced cable will not hurt but the extra wirewill not be used and nothing will be gained by using it.- Unbalanced in/out connected to balanced in/out - same as previous.- Balanced in/out connected to balanced in/out - should use a balancedcable; using an unbalanced cable will render the connection susceptibleto noise, particularly on cable runs over 10-15 feet.The Basics of Modern Recording5
Balanced and Unbalanced (continued)It’s helpful to note that balanced vs. unbalanced is usually, but not always,related to impedance. For example, XLR cables are almost always lowimpedance, but quarter-inch cables can be either balanced or unbalanced andeither low or high impedance.Also, if you are connecting a balanced output to an unbalanced input over along cable run (10 to 15 feet or more), it’s a good idea to use a balanced cablefor the majority of the cable run and a direct box or matching transformerright before you connect to the unbalanced input. That way you can takeadvantage of the higher noise rejection capability of the balanced cable.Balanced LineAn audio circuit consisting of three wires: High ( ), Low (-), and a shieldconnected to Ground. The High and Low wires are an equal potentialdifference from the Ground. This is a common design used to help preventnoise and interference for lengthy cable runs.Balanced 1/4-inchtip, ring, sleeve (TRS)BalancedXLRUnbalanced LineAn audio circuit consisting of two wires: High ( ) and Low (-). The High wirecarries the signal while the Low wire is connected to Ground. The groundconductor serves as a shield around the other conductor. Because the Highand Low wires are not at an equal potential difference to the Ground, they areconsidered “unbalanced.”UnbalancedRCA6Unbalanced 1/4-inchThe Basics of Modern Recording
MicrophonesGenerally speaking, there are two ways to get a signal into a mixing console,which makes it available to be recorded onto your multitrack recorder. The firstway is very simple: direct line input. Direct line input refers to a connection,usually via common guitar-type 1/4” cable, from the output of an electronicinstrument to the line input of your mixing console. This is the common methodfor inputting signals from keyboards, drum machines, sound modules and guitaror bass amps (via direct or line out from the back of the amp). If your mixingconsole does not have 1/4” line inputs, you can use a Direct Box to translatethese line outputs into microphone inputs for your mixer.The second way to get signal into your mixing console is to use microphones,which connect directly into the microphone inputs of your mixer.Microphones are typically used to record vocals, all acoustic instruments, suchas acoustic piano or guitar, and quite often guitar and bass amps. Howdifferent types of microphones should be used to record various types ofinstruments is probably the most critical and difficult aspect of a recordingengineer’s job. Different microphones sound different, and how they ar ecombined, along with how they placed, what angle they are placed at, and thedistance from the instrument at which they are placed, are all importantfactors. Ask ten engineers and you’ll get ten different views on micingtechnique. Although teaching micing techniques is beyond the scope of thisdocument, it is helpful to understand some basic differences betweenmicrophones. This will allow you to begin to experiment knowledgeably,which is how all engineers have learned about micing.Types of MicrophonesMicrophones, like speakers, are transducers. Transducersare devices that convert one type of energy to anothertype of energy. Microphones convert acoustical energyinto electromagnetic energy. How this conversion isdone defines what type of microphone it is.The most common type of microphone is the dynamic(or “moving coil”) microphone. Dynamic microphonesuse a coil wrapped around a magnet, which vibrateswhen sound hits the thin diaphragm attached to it. Thisvibration results in voltage waveforms which areanalogous to the acoustic waveforms which come intothe microphone. Your recorder is then able to recordthese voltage waveforms.Dynamic microphones are generally very sturdy,relatively inexpensive and can handle high levels ofThe Basics of Modern Recording7
Microphones (continued)sound. Therefore, they are very useful as the “workhorse” microphones foryour studio. Try them on drums, background vocals, guitar and bass amps,and just about anything else. However, dynamic microphones often do nothave the frequency response needed for some critical applications, such aslead vocals, cymbals or overhead drums. If you have a condenser microphoneavailable, use it for these types of applications.Ribbon microphones are a less common type of microphone, which use aribbon suspended in a magnetic field rather than a coil. Ribbon microphoneshave somewhat more high-end frequency response than dynamicmicrophones, but have traditionally been more fragile as far as handling andsound pressure level. Therefore, they are commonly used for instrumentswhich have a higher-range frequency content, but aren’t too loud, such asorchestral instruments, hi-hat or vocals.Condenser microphones simply use two plates, one of which vibratesaccording to sound hitting it, with a magnetic field between them. Condensermicrophones typically have a very wide frequency response along with a veryrealistic, transparent sound. However, condenser microphones require aseparate power supply and are often many times more expensive thandynamic microphones. Therefore, most small studios will buy one or two ofthese and only use them for critical applications, such as lead vocals, roommics, cymbals or acoustic instruments.Polar PatternsEach microphone has a distinct polar pattern, also called a pickup pattern. Thisdefines the area around the microphone in which the microphone will “hear”sounds. It is important to know the polar pattern of your microphone so youwill know how to place it effectively. For example, if your microphone onlypicks up sound right in front of it, you’ll need to place it directly in front ofyour instrument.Most microphones have a cardioid pickup pattern. Thismeans that it will pick up sound directly in front of it, andto a lesser extent along each side.Hypercardioid microphones will pick up soundin front from a greater distance, but less along thesides.CardioidSupercardioid microphones will pick up even agreater distance in front and almost none alongHypercardioidthe sides.8SupercardioidThe Basics of Modern Recording
Microphones (continued)These microphones, also known as directional microphones, are perfect forpreventing leakage. Leakage is the undesired pickup of instruments other thanthe one you are micing. For example, placing a directional microphone onyour snare drum prevents the pickup of the hi-hat sound.Other microphones, called omnidirectional microphones, pickup sound from all directions. These microphones are good forpicking up the ambiance of the room, as with overhead drummics, or for recording entire string sections or choirs.OmnidirectionalAnother type of microphone is a bidirectional microphone.These microphones pick up sound on either side, but not fromthe front or back. There are typically used by placing thembetween two instruments so that both can be recorded togetherwhile maintaining separation between them.The Basics of Modern RecordingBidirectional9
Mic Pre-amps and Phantom PowerA pre-amp is a type of amplifier found on the input section of manyconsoles, or as a stand-alone piece of outboard gear. The main purpose of thepre-amp is to boost the microphone level signal (-50dBm) up to a line levelsignal, which is what most consoles operate at. This provides you with greatercontrol of your signal level and provides a certain amount of isolation fromoutside
of the issues of audio recording. Both groups need to grasp certain fundamentals to get the most out of modern recording equipment. This book is designed to introduce the basics of modern recording in a simple format, allowing musicians to ‘get up to speed’ quickly and easily.
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
