Finishing our movie trailers

This week we were instructed to put all final touches on our movie trailer projects. For me personally, a bulk of the work was in balancing levels between vocal over dubs and applying the proper type of reverbs to fit the particular scenes. After burning the project and listening to it in multiple systems, I feel that Ive gotten them to a pretty consistent level. As customary I waited to the end to incorporate any type of automation. I notice that since incorporating panning and automating volume in certain sections it has helped to fill out the piece and give a more realistic feel. While I feel that the project is pretty much completed I am still searching for spots to incorporate Reason (rewire) and structure free plug ins. I would also like to incorporate a little more ambient noises to help add dimension to the piece. As insisted by the instructor I experimented at various points using pitch shift to give the illusion of various types of motorcycles. After previewing other projects from the class I feel that my project is right where it should be.

John Vanderslice

Today we had a guest speaker, John Vanderslice owner of Tiny Telephone in San Francisco. Of the guest lectures I've attended this semester this was easily the most entertaining. John discussed everything from processors to studio etiquette, throughout detailing an intuitive process to owning and operating your own studio.

Vanderslice began his studio 14 years ago while studying Econ. however, he soon switched to studying the arts but found that the numbers didn't quit add up. To supplement his income he worked as waiter and consistently poured money into his company. While he went into great detail on various topics, one the most salient points for me was when he was describing the dilemma that his associate presented him with.

*At some point you have to choose, either your going to be an engineer or an artist its not realistic to try and do both.*

In the presentation he also touched on the importance of transparency & forming a web of connections. I personally noticed points when I allowed my personal issues hinder handling business and from this point forward plan to thoroughly exhaust connection and relationships. Another aspect i seen as amazing was that fact that he had staff of over 11 engineers which helps him to specifically cater to the artist that comes in. I plan on taking a tour of his facilities in the near feature.

Percussionist Alex Vittum

Today I viewed a presentation by Alex Vittum. Alex is a professional percussionist based out of the east that is heavily involved with creating instruments and processors.

Beginnings

*Graduate School @ Mills
*Under Graduate @ Eddington
*Met Dr. Waters around 2001 (working Cubase)

Currently

* Works as an elementary school teach
* Builds instruments and
* Records at a studio in the East Bay

During the presentation Alex talked about his method for creating...

* Prissim (through Max 5) then highlighted the three elements that were alterable Timber - (color), Amplitude - (volume) & Frequency - (Pitch)

Note: GUI - Graphic User Interface

Then he walked through the various module within Max 5. Many of the modules resembled the functionality of the xpand plugin in pro tools. The difference in Mr. Vittums approach was that his processing was happening on the fly through a midi controller located on his drum kit.
He also spoke on how he used feed back from the speakers located directly behind him to further alter the sounds produced from the kit.

Next he displayed a processor, that was combined digital and analog. He spoke on the different methods of use and showed a couple examples using the midi keyboard. He also highlighted that fact that everything could be either digital with the exception of patching

Structure Free

Structure Free is a plugin that must be placed on an aux track...

To find patches (to use within the plugin) select

Browser:
*App
**Digi-design
***Pro Tools Creative Collections
****Structure Free

Or simply select structure free from the patch list in the left section.

Note: We Experimented with the 60 Sync

Within each patch there is six smart tools knobs at the bottom of page
they vary depending what patch is chosen (each individual patch contains its own vol. / pan / filter)

Plugin allows you to combine multiple patches to create an all new sound (must set all channels to A1)

By pressing the word patch under STRUCTURE FREE you can choose from a list of options to:

Load New Patch
Add Patch
Duplicate
Remove Patch
Cut Copy Paste
Automation
Copy Samples to session folder

Note:
plugin allows you to combine mono and poly synths

Under Edit 1 mode

you can inact glide mode which allows you to glide octives by pressing the lowest and highest limits. Here you can also select mono or poly and glide type legato or just on (Some patches contain there own glides in the smart knob section)

in the Transpose section you can choose from octaves or semitone to alter the sound (you can also use pitch bend up or down a range of two octaves)

Edit 2 Mode

Gives 5 options for both filter and amplitude...

Attack
Hold
Decay
Sustain
Release

Vacuum (plugin)

*Most important elements in the entire plugin are the oscillator and the envelopes

NOTE:

Monophonic Synth (plays 1 note @ a time)

The plugin consists of various larger functions:

VTO 1 & VTO 2
*Range alters changes in pitch among 7 semitones
*using fine adjust by smaller increments
*VTO2 turns into low frequency oscillator
*switching from wide to (32/16/8/4)or 2 varies the degrees of fullness
*4 different wave types to choose from
-Tri = Triangle
-Noise = Random Whit Noise
-Saw = Saw Tooth Wave
-PWO = Pulse Wave

MIXER

VTO knobs 1 & 2 control the amount of each that is sent
Ringmod - hetero-dimes signal one as a sum and the other as the difference

VT HPF (Vacuum Tube High Pass Filter)
*cuts the low end in material off and only allows frequency at or above the the desired limit cut off*

VT LPF (Vacuum Tube Low Pass Filter)

*cuts the high end in material off and only allows frequency at or below the the desired limit cut off*

Note:
Out of tune back up vocals sound better then in tune ones.

Envelope 1
Changes shape over time

& Envelope 2
changes amp.

to be continued...

Boom (plugin)

In class we discussed in depth the methods and various ways to manipulate and use the boom plugin:

Each drum comes comes with 10 elements kick / snare / rim / clap / cl hh / open hh/ high tom / low tom / ride crash.

*Each one these comes adjustable vol / pan / pitch

There is two ways to manipulate any given pattern first by clicking on the matrix display below BOOM and secondly by click on the instrument name of your choice and using the pads below to build pattern (all come with three levels of velocity). This can also be done by manually switching pattern select to pattern edit.

Using the copy button bellow BOOM allows you to copy your current to a another pad.

NOTE:

clicking the 3 on the bottom switches beat to swing mode.
Plugin sends patterns to midi keyboard not pitches!!!

Hidden Feature

clicking on the third line beside the word BOOM (until the word boom pops up in the Matrix) allows you to create your kit with various elements from other kits.

Review Movie Projects

Before delving into this weeks lectures we first to a look at the current... progress of our trailers. After watching mine as a class I received these suggestions:

* Change Guitars - find a tone that works with material and switch progression.

** Switch Hits - coordinate the hits to match the action use one for the race scene and use another for other elements.

*** Audition Re-verbs - use reverb to make over dubs sound more realistic and use busing method to apply.

**** Fade Out - use function to gradually kill drums.

Note:

Raising music a semitone gives entire composition a different feel its recommended near the half way point to give renewed interest.

Expand 2 Plugin

Today we focused extensively on the Expand 2 Plugin. We covered various ways it can be used and manipulated.

Key Points:

Expand uses four slots (each slot can hold 1 of 500 synthesizers).

Note:

Holding command and shifting mouse allows you to move knobs in smaller increments.
Option click returns fader to default
Control click on any knob and select "learn midi cc" allows you to use midi controller (to disconnect select "forget midi cc"). This can be done to any mix, midi, or pageater, modulation, or effects setting.

Smart knobs on the top of the plug in allow you to toggle between manipulating individual synths or the entire plug in as one. In each slot you can alter level pan effects 1 or 2.

Note:

Pan pot = panoramic potentiometer
(was invented by Walt Disney)
tr/fine = transpose fine
hi/ low key allows you to assign each slot to part of the midi controller (the quick key is control click and pressing your desired key on the keyboard)
Using mod allows you to change undertones within a slot
Using arp allows you to arpegiate to a desired tempo

Note:

Using the latch mode within the plug in repeats any desired instrument

Markers and Automation

Today we discussed various ways to add, delete and manipulate markers. First we brought up the marker ruler:

* Select markers in ruler option window and press enter to create the markers.
(Note: Apple 5 brings Marker Memory Location Widow - in here there is a bevy of options to
help manage your markers / .#. Recalls memory location).

~ To edit markers double in edit window or in memory location window. Dragging marker up
deletes


Next we touched on the many possible ways to use automation:

* In the edit window choose track view selector (by default its set to waveform). Once you select the option you'd like to alter (vol., pan ect.) a line appears and you can use the pencil tool to draw freehand or varies shapes (the size of the shapes a determined by the grid value in the upper right window.

Automating Plugins

* To automate any point on a plugin use Ctrl/Apple/Opt. and Click on the knob you'd like to automate and select enable. You can use the auto button in the top of plugin and add your choice of options.

Next Class Session We Talk About The Expand 2 Plugin

Assessment Week (Pitch Shift)

This week was vary laid back in regards to work load. Because we were testing on Monday we only received instruction Wednesday. We covered a couple minor things much of which felt like review from other classes.

Grouping

1. Select all track you wish to group
2. Apple G (create group)

Shift + Apple + N (New Tracks)

Pitch Shift

1. Audio Suite
2. Pitch Shift
Select Pitch Shift
3. Choose dimensions to change audio


We then received a new homework assignment to help reinforce these techniques... I think it should be fun.

Midi Drums & Piano

This week we discussed using midi drums and pianos. I found the process very understandable and user friendly. We also had our first group assignments handed out and had organize time outside of class to complete the task. On a side note: I find that having the program at home allows for better understanding of many of the topics.

Getting Midi

Create New Session 24bit / 44.1k

1. Create two instrument tracks
*Select Plugins (Boom/Drums & Mini Grand/Piano
* Opt. 3 (step input)

2. Create one click track (marimba 2)
*After building track Opt. 4 allows you to further quantize if necessary

Quick keys

Opt. 3 = Quantize (step input)
Opt. 4 = Quantize (Midi/Audio)
Apple + or Apple N = New track
Opt. click fader = Unity Gain
ctrl. click on track tittle = Edit tittle options

Access Lost Audio

1. Window
* Workspace
*Digidesign Workspace
* Magnifying Glass
* Kind

MPA 306 Blog 09/06/10 - 09/10/10

Unfortunately, this week was cut short do to Labor Day. However, we were still able to cover an array of information in our one class session. I will highlight a few of the key points...

Accessing Audio Midi

App. / Utilities / Audio Midi / Select Audio Device {Digidesign M Box 2}

Saving Session

Create New Folder On Desktop / Save As / Select Folder / Save

Optimize Drive (for recording / mixing)

Options / Playback Engine Buffer Size/ Hardware Buffer & CPU Usage

Note:
For recording set buffer lower / For Mixing set buffer higher

Next we reviewed what each header at the top to of Pro tools did, for the most part the first 3 (File, Edit, View)were pretty similar to any processing program.

Note:
Use View to setup rulers...

Other Headers included:

Track: Controlled track specific commands
Regions: Controlled groups
Audio Suite: Special effect applied to actual audio
Setup: Control preferences

There were are an abundance of other quick tips and tricks however, these were just the most accessible and universal to my pro tools set up at home I plan to go in the midi lab Monday and further practice these techniques. In comparison to my understanding of the program last year I feel extremely more confident and prepared. I look forward to mastering this info and working on group assignments.

My 306 Blog 08/28/10 - 09/03/10

This week we discussed the basics in regards to starting (creating a new session) in Pro Tools. Before even beginning we were instructed to drag the pro tools le logo down to the menu bar so that it would be quicker and easier to access it in the future. Then we created a new blank session with the dimensions 24 / 44.1 and saving the file to the desktop (note: all info saved to the computer is deleted nightly therefor must be backed up to an external hard drive). Once in the program we created and armed a new track record audio in using sm57's and an xlr cable. After there was audio present on the track we practice with the mix knob... Fully counter clockwise showing non of the apparent audio and clockwise doing the opposite. It was established the best position for tracking was to a have it @ the halfway point.

Then we experimented with getting a midi signal in and getting sound:

1. Created a midi track and set to record
2. Using a midi controller record data in
3. Create new track
* under insert section
* select multi channel {plug-in}
* instrument
* minigrand

4. On the midi track (w/ data)
set input to ALL
set output to minigrand 1

My Introduction

This blog will serve as a medium between myself and the world. I plan to actively document and communicate the process of recording engineering and arranging the album "CANT AFFORD TO FAIL". Upon successful completion I will further document the procedures of copyriting, obtaining publishing, promoting and releasing an album independently. Aside from just addressing technical aspects of recording I will gradually introduce my research on Chess Records and give tidbits of information(as that will be the focus my senior capstone).

MPA 408 Lab 05/14/10 Completing our Mixes

Finally we have completed our mixes. With the help of multiple late night sessions and out of class meetings, we were able to finish up. Today we focused on the song "Understand" and after closely dissecting the music we found a couple discrepancies in the performances. So in using the elastic audio and other editing techniques we corrected the issue. We also went over the pictures from our photo shoot, and chose photos for the album cover. Then we solidified the group name and the album title. Since we have completed all our mixes, we discussed listening back through the album in its entirety individually over the weekend, and then reconvening on Monday, and fixing any unsatisfactory mixes.

For more blogs from this week check out:

MPA 408 Lecture 05/12/2010 Last class
MPA 408 Lab 05/10/10 Mixing out the box
MPA 408 Lecture 05/10/10 Reviewing Projects

MPA 408 Lecture 05/12/2010 Last class

Today was a very chill atmosphere, we took time and went over the albums of group C and D. After reflection on both pieces and hearing the progression of the class projects in total Dr. Drew allotted another week to work on the albums. He recommended that each group also handle the business aspect of the album credits as well. He stated that the final project should consist of a full blown website with promotions and complete album artwork and liner notes. At the end of class Drew discussed the stipulations associated with extending the deadline, and this required that we move up the final date to Sunday.

MPA 408 Lab 05/10/10 Mixing out the box

Our lab today was very simplistic, we worked on mixing the song Fuck You Later out of the box. Because we did an extra lab over the weekend, their was little we had to edit, so we began right away. After patching our processors, and doing a rough mix of the song we realized that their was digital clips left from artifacts in the music that we forgot to eliminate. Therefore, we apple F, and apple U all unnecessary areas. By the time we finished working on that composition there was little time left to approach another song out the box, so we went in and worked on tightening up any of the remaining tasks on other tunes. We also spoke with Nicole about possibly getting a late night session.

MPA 408 Lecture 05/10/10 Reviewing Projects

With the end of the semester drawing near, this lab was used to review our current standing in regards to the completion of our album. To do so, the professor listened through to two of the groups albums and gave suggestions as to how they can complete them in a timely fashion. After checking in Drew went over the information that will be needed to complete the assignment. He also, pointed out that the album should be mixed, mastered and available for sale by Friday. Then we went over what would be required information to know for our final. He also pointed out that this was not yet the assessment week, and that everybody was still required to show up for class.

MPA 408 Lab 05/07/10 Mixing out the box

After nearly four months of building, organizing, and recording these songs, we finally reached the mixing phase. At the start of our session, we discussed a couple preliminary topics regarding our album. We each person in the group specific duties, in regards to getting ready for our cd release. It was decided upon collectively that we would use a digital release platform for promoting and selling our album. Based on this decision, we delegated one another positions that we thought each person could best fulfill. My job within the release is to set up pages on two or three social networks to help promote the awareness of the project. For this I decided that facebook, twitter, and myspace would be the most prevalent sites to attack. I will discuss more about this in a later blog. To begin mixing we chose Loving you Always, collectively this was decidedly our strongest song, and therefore would be the most exciting to mix. When we first began doing it, I was quite discouraged by the sound of the record. When we had worked on it in the pre production phase, it felt more spacious and fun loving, however when listening to it in the studio it just sounded cluttered. So after touching up on a couple EQ points within the mix, we began subtracting and eliminating portions of the music to help develop dynamics throughout the song. After this was done, the song once again took on a life that I had previously fell in love with. Next we worked on the song Eastern Blues, and because Josh had previously done a great deal of tweaking the tune at home, this song took far less time in the mixing process. Originally I thought that the extended time in the studio, (the extra two hours) would help us to do knock a couple mixes out, however I was taken back by the amount of time that each song took. Once the lab culminated, we discussed coming in over the weekend to help get ahead considering semester ends in the next two weeks. Hopefully we can find the time.

For more blogs from this week check out..

MPA 408 Lab 05/3/10 Preliminary Mixing
MPA 408 Lecture 05/5/10 In Class Mixing
MPA 408 Lecture 05/03/10 Mixing class projects

MPA 408 Lecture 05/5/10 In Class Mixing

Today I learned a valuable lesson...while in class our group was instructed to bring up one of the songs that weve been working on for our compilation album. As a group we decided to choose a song that we felt could benefit the most from an outside perspective, so we chose "Fuck you Later". Unfortunately we didnt make our intentions for the song clear before playing the rough version, so when the instructor heard the song he was clearly perplexed by our choice of vocals. After somewhat explaining our vision he then gave us a to do list to help improve the tune. Some of the key points he illuminated upon was to use elastic audio in attempt to make the vocals flagrantly out of tune, rather than approach it in the manner in which we did. He also touched on the need to fix certain points within the song, musically to help it sit better within the pocket. After reviewing the professors notes the group came to a consensus on how to approach the song. We decided to autotune as much as possible and elastic audio other aspects of the composition. Hopefully we can achieve a Biz Markie feel (Just a Friend) once its all done.

MPA 408 Lab 05/3/10 Preliminary Mixing

With our lab session today, we completed nearly all preliminary mixing, then assured all screen shots for each song, and internal and external routing was set up. We placed choruses, and did various other clean up activities to assure that we would be ready to begin mixing out the box on our next lab session. To help give a unity feel throughout the album, we went through and applied the same compression EQ and reverb to all of the albums drums. Then we attempted to find a universal EQ point for all of my vocals throughout the album. Unfortunately we ran out of time before we could delve deeply into this process. To assure that we complete all necessary steps for completing the album before the semester ends we discussed booking extra time in the studio.

MPA 408 Lecture 05/03/10 Mixing class projects

Before delving into the studio, we watched one of the remaining presentations, from a couple weeks ago. The presentation was on Brian Eno, a few aspects about him, that I gathered from the presentation included his list of collaborators, which included U2, Talking Heads, David Bowie, Robert Fripp, and many others. A few of his listed influences included Chuck Berry, Little Richard, and Bo Diddley. One of the key aspects that we found interesting was that he was more interested in the process of sound and recording rather than the musicianship of the art itself. One of his important contributions to music included his album "Music for Airports". In discussion about the album we described how the music had to be non evasive, either higher or lower than the vocals. One of his other important contributions was his oblique strategy cards, of which he collaborated with Peter Schmidt. Once the presentation was over, we went in the studio, and continued mixing in the lab.

MPA 408 Week Of 04/26/10 - 04/30/10

In comparison to our previous months and weeks in class, this week was an extreme break in workload an information. In class we discussed a multitude of ways to organize our information and increase workload, using the snapshot method (enter twice). Then for the rest of the week, we practiced using these skills and having Dr. Drew mix a few of our songs. In doing his mixing demonstration he reitterated the point of mixing (by the octave). I felt that I got a better grasp for the aptitude of the other groups in our class in regards to their current progression within their prospective group albums. At points within our own progression I felt that we were hitting intellectual walls compositionally. However, after filling out some of our classmates work thus far I feel that we are right on par with where we should be. The composition that struck me the most was group C's song. Musically I found that they had organized and arranged quite the respective arrangement, however at certain points it was thrown off by the organization by the vocalists approach. After observing their track it made me take a more introspective look at my own delivery on some of our tracks.

In the studio this week we simply applied teachings from class. Within our two lab sessions we were able to successfully organize screen shots for all of our songs except for one. Because the setup process was so simplistic, the group used the time to lament important aspects of our distribution process for the group album. This week I finally feel like we are recovering fully from the spring break.

MPA 408 Lab 04/23/10 Finishing Vocals!

Finally we've come to the end of tracking. Today we extended time in the studio, which we used to completely finish all tracking. First we went through and put the final touches on all lead vocals, then once we were satisfied with our takes, we moved on to ad libs. We learned a valuable skill about handling interpersonal issues today. It seems that the pressure that we were putting on Shannon seemed to give her an uneasing feeling about the session. So after a five minute sabbatical we came back and tried a different approach. Later in the session I was given the opportunity to go and place any last minute alterations that I seen fit for the project. At this point I went through each track and added a bunch of extra sound effects, much of which will probably get edited out in the mixing phase. Once all the recording was complete for the day, we discussed album concepts once again, and possible mass production options. I look forward to beginning the next phase of the album.

For more blogs from this week, check out:

MPA 408 Lab 04/19/10 Tracking Vocals Still...
MPA 408 Lecture 04/19/10 Compressing Out The Box
MPA 408 Lecture 04/21/10 Elastic Audio

MPA 408 Lecture 04/19/10 Elastic Audio

Drum replacement
1. Create new audio track below desired drum track

• Copy the track down
• Highlight preferred parts
• tab to transient

Note (quick keys)
Apple + or - moves highlighted region right
option + or - moves highlighted region left
Apple U = strip silence
Apple C = copy
; goes down to track below
p goes up to the track above

Elastic Audio
to use elastic audio choose from the five preset settings
polyphonic
rhythmic
monophonic
vair speed
x form

Note after creating event markers
option click removes markers
double click adds markers

MPA 408 Lab 04/19/10 Tracking Vocals Still...

Just as we have been doing for the past two weeks, we continued tracking vocals. After being unavailable to record due to illness, Shannon began laying vocals. Our setup remained the same as previous vocal sessions. We used the CM7 mic, patched in through the neeves, and then into pro tools. Once the recording session was prepared, we started tracking Shannon's tune "Understand". Unfortunately I had to leave a little bit early, because I had a prior engagement. But I was told that the session stalled out shortly after because Shannon's singing voice got tired. We rescheduled a four hour session for Friday, it is our goal to finish all vocals by that point.

MPA 408 Lecture 04/19/10 Compressing Out The Box

New Headphone Setup

1. Create 4 Aux stereo tracks
2. B1, B2, B3, B4 Out
>Patch channels to 1,2,3,4
>patch channels to room
3. In send section send buss's to each channels in

hp Drums - bus 1-2 input
hp Bass - bus 3-4 input
hp Guitar - bus 5-6 input
hp Vox - bus 7-8 input

Memory Locate

1. To Select a screen shot press Enter (on numeric keypad)
2. When dialogue screen pops up select parameters you want to save
3. To access screen shots press Period # Period
. 1 .

note: To bring up select window press Apple 5 then, to select options use the arrow in the top right corner.

Parallel Compression

1. Patch Protools out in to Line 1 inputs
2. Place all faders @ Unity Gain
3. Activate Line 1 at top of channel & Turn up pot
4. Remove mix master button in main console strip
5. Select Group 3-4 @ Top of channel
(and remove mix button also @ top of strip)
6. Pan group

7. Repeat grouping process for Group 5-6
8. Patch Group 5-6 insert send to disstresors & Return signal
9. Turn up dry signal (Group 3-4) then turn up compress signal (Group 5-6)

2 Stage Compression

Cont. process...

10. Send Group 3-4 through Millinia using insert then...
11. Return to two new channels on the board
12. Patch new channels in to Group 5-6

MPA 408 Lab 04/16/10 Lab Canceled

My group decided to reschedule our lab time since more than half the group was unavailable. Therefore I used the time to practice some of the techniques we've discussed during class...

For more from this week check these blogs:

MPA 408 Lecture 04/14/10 Automation
MPA 408 Lab 04/12/10 Tracking Vocals cont.

MPA 408 Lecture 04/14/10 Automation

Today we covered the whole array of automation, from Real Time (writing) to Auto (graphic setting).

To begin the process we click Apple 4 To bring up the Automation Window

Then we went through each button in the window... most were self explanatory. We established early in the process that in order to write automation, the channel that was being automated must be set to automate the same feature. For instance if the Automation Window Pan is lit then the channels Pan must be opened as well. Same goes for all other desired functions.

Note

This feature is most common amongst Volume, Panning and EQ. Plus sign on left hand side of channel displays automation in their own track view.

Quick Keys:

Apple C (or c) = Copy Highlighted Region
Apple D (or d) = Duplicated Highlighted Region
Aple. + Option + Ctr. = creates new Automatable send On desired channel.

When groups are highlighted then all automation applies to the group. If You would like to automate a single channel then you must deselect the group.


Note

To copy Automation from one section to another (pan to volume), Select edit in the top menu. Copy Special. Paste!!!

MPA 408 Lab 04/12/10 Tracking Vocals cont.

Today's lab center a great deal around wrapping vocals (or at least my portion of them). Throughout the process of recording this album thus far, much of the music has been traditional. By traditional I mean it in the sense that there was something that I could reference it to or somewhere I could find a similar song to help me get started. However, this changed a great deal in conceptually approaching Josh's song. Perhaps it was the sped up tempo of the choruses or the extremely slowed ebo intros in the verses but, the exact reason for the complexity is beyond me. Non the less I took a little time out over the weekend to pen my ideas for the piece, after playing both the concepts for the group they chose the one that best fit the albums current fell. Then we dissipated and Josh and I sat down and delved further into the song. He explained in a very impassioned way about how he really wanted highlight the Ebo... and how i should sort of dance around it. Then we sat down and choped down the amount of actual words that I would be saying within the verses. After our sit down we began to track the lyrics in the same fashion that we did on Nicks Tune (punch Ins). Upon the listen back I started understand Josh's vission and appreciated the song more due to slight changes we enacted. Unfortunatly, Shannon couldn't make lab so we didn't get to hear the song in its entirity however, it is in strong contention for my favorite group song!!!

MPA 408 Lab 04/09/10 Working On Our Day Off

Furlough Day... Fortunately, we were still able to go around the red tape and get to work. After being informed that vocals should begin winding down within the next couple days, I pitch the idea of still holding our lab session (if it were at all possible). After, making a few calls Nick returned with a positive verdict. Regarding setup we continued with the same arrangement that we've been using all along (CM7 / makeshift mic booth). Because Shannon was unable to attend the impromptu Lab i use the entire time to knock my remaining contributions. This included 3 verses on one of Shannon's songs (Take You To Another Level) and 1 verse on the other (Understand). Next we tried an experimental approach to lacing lyrics on Nicks Tune, to help facilitate the process we recorded the verse in takes (live comping? a technique often employ at home on pre production material). Once recording culminated we went back and looked over the album material thus and found aesthetics for improving. I believe we were in and out in about 2 hours flat, it was a very productive lab.

For more post from this week check out:

MPA 408 Lecture 04/07/10 Presentations cont.
MPA 408 Lecture 04/06/10 Presentations (make up class)
MPA 408 Lecture 04/05/10 Presentations
MPA 408 Lab 04/05/10 Tracking Vocals cont.

MPA 408 Lecture 04/07/10 Presentations cont.

We held our final day of presentations today which saw displays from AJ (covering the Beatles), Lucas (San Francisco recording studios of the 1960's), Matt (Trident studios), and Sean (Abby Roads). Due to time restraints, each person had to condense their presentations a great deal. Therefore they were only permitted enough time to touch on key points and innovations.
Beatles: started with two track recordings, encouraged leakage of their music to give it a more live sound, I particularly found it interesting that they ruled the number one billboard charts for nearly a year, until their follow up album was released. The last real group album was the white album.
San Francisco recording studios of the 1960's: Origional Coast Records, Commercial Records, Columbus Records, Golden State Records, Misc. Recordings, New San Francisco Coast, Pacific High Recordings and Wally Heider Recordings.
Trident Studios: established in 1967. It was ranked one of three best studios in England. Recorded the highest selling single, "Hey Jude". The most interesting tidbit of info that I picked up was the idea that the studio was able to completely lose a grand piano.
Lastly, we looked at Abby Roads studios, much of the information here had already been covered in previous presentations. Sean spoke in great lengths about the Beatles, and George Martin. He also stated that it was here that Flanger and ADT were established. All in all, it was a pretty info intensive class. I look forward to the prospect of placing these presentations online so that I can later revisit and take my time to absorb the info better.

MPA 408 Lecture 04/06/10 Presentations (make up class)

Today we had an impromptu class session to make up for one of next weeks classes. The class span was from 9:00pm to 11:00pm, unfortunately I was pretty much dead by the time I arrived, Since Tuesday is already my longest day. We covered three different presentations, first James did his presentation, and he covered analog to digital conversion. A couple key points he illuminated upon surrounded the nyquest thereom, sample rates, and a number of different ways to transfer information via chords. Next, Chad went into detail about Phil Spector, he touched upon a number of his personal situations and many of his technical concepts. The thing I found most interesting was the fact that he was inbred. Usually when you hear about the children of incest its usually some type of horror story, however this time it proved to be a some type of amazing concoction. Lastly, I did my presentation, on Chess Records. After being corrected on certain aspects of my research I went back and reread my sources and understood how I might have gotten confused.

MPA 408 Lecture 04/05/10 Presentations

We continued our in class presentations today and covered three more topics; Live Sound Reinforcement, Microphones and studio (pricing and setup). First Danny illuminated the technical dilemmas and pertinent information that goes along with mic'n and recording venues. He touched on the perception of volts (potential electric force) vs ohms (the resistance of electric force), current flow (direct current, ect.) and attenuators. Next Andrea took center stage and covered an array information on a handful of near by studio's. The most pertinent info I picked up was the importance of comfort-ability in the recording arena. While each studio boasted its own go to equipment and DAW's the universal theme in each arrangement focused a great deal on the performer. Lastly, Nick covered mic's and their perspective uses in regards to their polarity patterns. Much of the info was useful review...

MPA 408 Lab 06/05/10 Tracking Vocals cont.

Today was another session devoted to recording Vocals. Once again we used the the same the setup, Cm7 inside the midi-lab with a make shift vocal booth. In regards to engineering we took turns manning the boards for each of our perspective songs. We began with Nick Song since it was the most vocally intense, however this time around we nixed the idea of using loop recording. For the most this proved to be a much better approach. Considering we not only worked on that song but we also finished Shaun's song and cleaned up my two as well. After all tracking was complete we delved into deeper conversation on the album arrangement and artwork. Then we setup a check list of our outstanding work, as it currently stands we need to complete 3 more songs before the tracking is all done...

MPA 408 Lab 04/02/10 Tracking Vocals

Today we continued on our path of recording vocals. To do so, we used the wounder cm7 patched through the neeves, then into Protools. Inside the midi lab we used a makeshift booth, that had already been setup. For the most part the studio session preceded extremely smooth, however at one or two points we ran into slight setbacks. The first affliction that we encountered regarded editing. For some reason the system would not let us execute fades or clips, so to override the issue we copied the session to the desktop, then re-opened the files and continued our work. The next issue that arose involved receiving feedback in the microphone. Because the cm7 was extremely sensitive we had to mute out the kick drum to avoid feedback bleeding through.

In regards to our work ethic as a group I feel that we are still proving to be extremely productive. Therefore allowing for me to take a more active role without compromising the position of the project. Techniques that we experimented with today included signal generating and loop recording. One important tidbit I picked up was about the dangers of using this method, after allowing Shannon to loop record a number of parts in the composition (that we were recording today) fatigue began to set in. Had we stopped when we had elicited a great take this may not have happened.

For more blogs from this week check out:
MPA 408 Lecture 03/28/10 Presentations
MPA 408 Lab 03/28/10 Tracking Vocals

MPA 408 Lab 03/28/10 Tracking Vocals

When we arrived at the studio today the previous group had already constructed a make shift booth, there fore eliminating the need to build our own new one. To track vocals we used the Wunder CM7 in the midi lab, patched directly through the board to Protools. Considering the fact that we've been working on these songs for months now I felt the recording process went extreamly smooth. We began with Shauns toon "lets take a trip" which we had to alter slightly, because of a misunderstanding in format. When I wrote my portion of the composition it read as sort of a letter, however once it was converted to the new version of the song it felt incomplete. To mediate the situation i restructured the form and in the end the song benefited a great deal. Next we moved on to "Fuck U Lata" unfortunately we didn't finish the entire song, however if we continue at this pace i feel we can complete vocals in about a week or two.

MPA 408 Lecture 03/28/10 Presentations

George Martin
Drayton Park, England 1/3/96

As a child discovered he had perfect pitch
Later decided to join the Navy (DNE) which lead to his first gig on BBC

Met Eric Harrison & Sidney Harrison on a fluck

First job EMI (electric musical Industries)
Eventually becoming the head of Parlophone1955 at only age 29 (a subsidary lable of EMI)

One of his biggest mistakes passing on Paul Steel

George Signed his first big (Beatles) group to Parlophone
Aided them in the first major hits doing covers of already official hits

1963

He created double tracking using a wind up piano
initiated bouncing audio, by manipulating a 4 track machine

Yesterday (first song to use other musicians on a Beatles Album

1966-1967

Experimental Phase
*strawberry field* Intended for Sgt Peppers although never made.

*within you without you* George Martin began experimenting with Indian and animal instrumentations

MPA 408 Lab 05/19/10 Finishing Instrumentation

We focused on finishing all instrumentation today (aside from vocals). Fortunately there was only piano left to track, so the session went pretty fast. As far recording, we went with The Wonder in cardioid through the Neives. During tracking we experimented with loop recording and After lacing the on Understand & Speed of Dreams, we shut down shop for the day. The remaining 45 minutes or so..., we re-reviewed the material from the midterm. I still feel as though I simply had a brain lapse when it came to crunch time because everything we covered felt like second nature. However, I am devoted to improving upon my skills so I recently ordered ram so that my computer is strong enough to with stand the demand of Protools. Aside from reviewing and recording we discussed the possibility of getting together over the break to discuss the progress of the album thus far. I feel excited about the prospect of mixing coming up and apply the principle that we've been learning to our projects...

For more blogs from this week check out:

MPA 408 Lecture 03/15/10 Comping w/ Playlist

MPA 408 Lab 03/15/10 Lab Canceled (Midterm)

MPA 408 Lecture 03/17/10 Parelel/Serial/2Stage Compression

MPA 408 Lecture 03/17/10 Parelel/Serial/2Stage Compression

PARALLEL COMPRESSION (setup) (example on drums)

Step 1

Bus audio on all drum chanels (bus 1-2) to specific channel (Aux)
Set output for all drum channels to (bus 3-4) an output channel

Step 2

Create 2 Aux channels
One with input as (bus 1-2) output A 1-2
Another with input as (bus 3-4) output A 1-2

Step 3

Place desired compression and A/B
mix both channels together

SERIAL COMPRESSION

Step 1

Set all drums to output channel bus 1-2

Step 2

Create aux channel with input (bus 1-2) output A 1-2

Step 3

Place an EQ/Gate/Compressor/Compressor

on compressor 1 place intense ratio (6:1)
on compressor 2 place relaxed ratio (3:1)

2 STAGE COMPRESSION

Step 1

place send on all drum channels (bus 3-4)
set output for all drum channels (bus 1-2)

Step 2

Create 2 new aux channels
set one as input bus 3-4 output bus 1-2 add compression
set other as input bus 1-2 output as A 1-2 add compression

MPA 408 Lab 03/15/10 Lab Canceled (Midterm)

Unfortunately our lab today was canceled so that we could perform our midterm assessments. After visually studying parameters and settings, I failed to study the basic setup. I was asked to perform roughly 5 or 6 operations that we have covered in the past month and a half of schooling. Although I felt that I was mentally prepared it seems that being mentally and physically prepared are two different things. The first operation I was called upon to setup was applying verbrato to a vocal track, and this seemed extremely easy. I went to the plug in section selected RTAS, and pressed short delay, then adjusted the parameters to the point where it was noticeable. For the next operation I was told to display audio double tracking, and while I felt I knew exactly what to do (create stereo aux channel/ bus audio/ set parameters) it seemed the pressure of having someone observing your every move threw me off.

Throughout the process I was asked to perform a couple more operations and somehow I continued to draw blanks. Before I could complete the whole assessment Drew highlighted the fact that it wasn't going very well, and after a brief discussion I was offered an opportunity to vindicate my abilities by retaking the test at a later date. We then covered the aspect of grading, and Dr. Waters asked what grade it was that I felt I deserved. While I admittedly dropped the ball, I couldn't bring myself to offer up any grade that would prevent me from passing. The resolution that I personally came to was to go purchase the program for myself, because although it is offered in multiple computers at school I am most efficient and comfortable working within my own confines.

MPA 408 Lecture 03/15/10 Comping w/ Playlist

Today was focused on learning about how to use Loop Recording in Protools. Basically, it was said that protools allows you to view, edit and audition a track play list within its new PLAYLIST VIEW channel. (A playlist stores the original or placement of multiple regions in time). To set up this process we followed these steps:

Step 1 Check Preferences

* Link Record and Play fader
* Latch " "
* Automatically create new playlist when loop recording

Step 2 Loop Section

After creating a new track (opt. L) to select loop section

Note: Quick Keys

Shift M - Mute Channel
Shift R - Record
Shift S - Solo


Step 3 Record

numeric keypad (on right side) #5 Loop Record
numeric keypad (on right side) #4 Loop Play

After successfully recording you takes, drag the top take down to a playlist channel (and use the open channel to create the new perfect track (of clips)

Step 4 Audition

Where it says waveform on the left hand menu switch it to playlist. Then, solo the take of your choice.

Step 5 Build New Track

Highlight the best portion of each take (to toggle up and down between takes press ctr. p or ctr. ;) and press the up arrow to build new track from clips.

Step 6 Consolidate New Track

After gathering all necessary clips consolidate audio (from the drop down menu up top select track and scroll down to consolidate audio. Then Name take something memorable...

MPA 408 Lab 03/12/10 Tracking Brass & Piano

Once again a we were treated to a lab session of epic proportions. We began our lab recording AJ on trumpet, to do so we set up two of the partition walls and place a Royer in the corner (directly in front of the horns opening). Then patched the line through the Neives. I found that the experience of working with AJ was just as satisfying as our session with Lucus. In regards to his craft he was extremely on top of his playing almost to level of perfectionism. He too displayed a gifted knack for instrumentation and figuring out what it was that he needed play in order to leave room for future instruments. After lacing the trumpet we moved on to Nick with the bass clarinet. Although, in the beginning I did not really understand where these added instruments would fit I went along and the song benefited great deal for doing so. Lastly we brought out the Wunder Mic and recorded almost all the needed piano spots for the album. Once everything was recorded for the day we spent our remaining time in the studio going over the midterm Due to fact that our Monday lab is canceled we plan to make up this day tomorrow...

For more blogs from this week check out...

MPA 408 Lecture 03/10/10 Reviewing Our Presentations
MPA 408 Lab 03/08/10 Aux. Percussion
MPA 408 Lecture 03/08/10 Preparing Our Presentations

MPA 408 Lecture 03/10/10 Reviewing Our Presentations

Today's class was devoted to beefing up our upcoming presentation and preparing for the midterm. We took time to review each persons current progress and (to give and receive) advice on what direction we should head into. After a quick review of my paper I was told that i should spend a little more time on highlighting key artist (namely The Rolling Stones) and also to explore the bigger picture of exploitation that was going on. Once the Q&A portion was complete we went over the midterm. Based on the information we we're given the midterm is said to cover: Reverse and natural reverb, applying gates, eq's and comprehension of the out board gear in the studio. The most important lesson on display today came when trying to place vibrato on a demo audio track. It seems the person at the helms had placed the exact dimension that we had got from a previous lecture however, Dr. Waters emphasized the point that those were simply dimensions similar to presets and that we our selves should be that barometer for whether an effect is evident or not.

MPA 408 Lab 03/08/10 Aux. Percussion

WOW!!! Today had to be one of our most effective and productive days to date. As set by our production schedule we began aux instrumentation, to do so we employed the efforts Lucas. This would prove to be one of our more wise decisions. We began with Fuck U Lata as a jumping off point, initially our only intention was to add the Congo drum as it was in the demo version. However, after listening through Lucas advised switching rhythms at certain points to help give the arrangement more diversity. Then once that portion was complete he brought out his tambourine to swag out the choruses a little more. What I found most entertaining (about this lab) was witnessing Lucas mind go to work.

Throughout our session I notice a number times were we would state what we felt the song needed and he'd play exactly what was requested, then go back in and comp what he just did and come up with a whole another idea to make everything feel cohesive. One specific point that this happen at was on the song Loving You Allways. We requested a simple triangle and he ends up adding that (triangle), a shaker and this wild ass cymbal roll it was down right awesome. Aside from adding aux percussion we took this time to correct the ride on Shaun's track. For our setup we used two of the mic booth walls and a 414 in the corner. Because we were unsatisfied with the pick up we patched the mic to through the Neives. . In the closing minutes of our session, almost as if it was plan AJ and Danny walked in. It was great because our last day for aux instrumentation is Friday and we hadn't yet locked in any players for our brass quartet. I guess that's it till next time...

MPA 408 Lecture 03/08/10 Preparing Our Presentations

Our lecture for today's class consisted mostly of advice. Dr. Waters did a broad overview of what is expected for our midterm presentation. Like many other assignments that are presented in school, this task originally sounded like a monstrous activity. However after he verbally broke down what exactly was expected it became ten times easier to approach. Since the class was divided in half to help prepare for the activity portion of our midterm that's coming up. I used my time to attend the computer and begin my research on Chess Records. In the time span allotted I was able to successfully lay out my foundation and build my outline. Personally I feel extremely comfortable in the aspect of presenting, I more so look forward to Wednesday and reviewing what we will be asked to perform in our one on ones. Unfortunately we did cover any new info (as it pertains to recording) but, here is what I took from class:

CHESS RECORDS

Headings

1. Biography

a. Who

b. What

c. When

d. Where

e. How

2. Notable Artist

a. List of Established Artist

b. List of Unknown Artist

3. Most Significant Recordings

a. List of Most Successful Recordings

b. Why Or Why Not Certain Songs Worked @ The Time

4. Opposition (or Hurdles They Over Came)

a. Acceptance

b. Race Issues

c. Approach

d. Ethics

5. Signature Sound

a. Description of The Sound

b. Techniques in Recording

6. Personal Interviews

a. Videos of Artist (or Founders) speaking About the Company

b.

7. Reflections

a. Place In History

b. Effect on Music On Music Today

c.

8. Closing Remarks

a. Brief Overview

I believe the most effective way for me to display this info would be in the form of a Power Point Presentation. I Project that each section should take approximately 2 to 3 minutes. If done so efficiently this should allow at least 3-4 minutes for displaying audio and video recordings.

MPA 408 Lab 03/06/10 Finishing Guitar

In this session we continued where we had previously left off, tracking acoustic guitar. As far as our mic’n’ technique we replicated the same setup (a Royer facing body of the guitar and an E22 facing the neck) to help give our compositions continuity. One bonus I notice early in lab was that Nick had re-engineered his bass line on the song Fuck U Lata; this helped to give the instrumentation a more swingy feel allowing Shaun Day to find his pocket easier. After finishing up acoustic we went back to electric guitar to fill in some gaps that had previously gotten overlooked. Once again the set up was the same as the electric guitar arrangement that we had done just a week earlier.

Another high point that occurred in today’s lab came when we were treated to guest solo by Chad. On the song Eastern Blues (working title) Chad brought out his EBO and began belting out chords with so much sustain it felt as though the guitar was singing to you, pretty awesome… I found the fact that we weren’t as rushed by time constraints helped us to take our time and capture the take that we were looking and not just the one that fit. In reference to our production schedule we are exactly at the point that we should be. This means if all things continue to progress properly we should finish all instrumentation by next week!!!

MPA 408 Lab 03/05/10 Lab Canceled

Unfortunately there was an event going that required the use of room 100 and the studio so we could not record today. However, I was informed that we would be able to make up the session over the weekend so until then...

Check Out These Blogs:

MPA 408 Lecture 03/03/10 Thomas Dowd
MPA 408 Lab 03/1/10 Tracking Guitar cont.
MPA 408 Lecture 03/01/10 EQ'n' By Octaves cont.

MPA 408 Lecture 03/03/10 Thomas Dowd

A Disscusion about Thomas Dowd

Side note:
I observed a wealth of information from documentary we watched in class today. There was a lot of talk about Thomas Dowd as an accomplished engineer however, there was just as much focus put on him as a person.

* Contextualize the time and culture that Dowd was working in. Include the problems and conflicts he faced early in his career.

Thomas Dowd began his career (one that would expand more then 40 years) in the early part of the 1950’s. He was born into quite the musical family having a mother whom was a renowned opera singer and father who was stage manager. Before obtaining recognition on a large scale he face a number of minor setbacks. He started his foray into music as a pianist at only 6 years old. When trying out for band he was told they didn’t need a piano player so he switched instruments just to join. Later he would go on to get inducted to the Columbia State band while still in high school. Dowd was so proficient at technology that he was employed at 16 to help develop the A bomb. …Fast forward a bunch of Years and he would he first real flood of opportunity after engineering on the hit Baked A Cake.

* Talk about the people he worked with and the significance of those people.

His list of collaborators and associates was very extensive. So much so that I couldn’t write all the names down fast enough. With that I said I did catch a handful of key players such as Erick Clapton, Ray Charles, Aretha Franklin, Charlie Parker & John Coltrain. The accolades accumulated by these individuals are already well documented but what I found more interesting was what they had to say about the Dowd. Ray Charles assert at one point “to be a good engineer you need to be able to hear what its that you want to hear.” and he felt that of all the people he’d worked with Thomas had that ability. Then their was Erick Clapton who said “ …I’d rather work with him at helms over anybody else including myself.”

* Discuss his views on the things that are of the utmost importance in the industry of making records.

In the closing section of the video Dowd summed up what he felt the bigger picture of music really was. He said that when all the illusion of stardom had dissipated and the money was gone he was left with only friends. Friends that began as collaborators over the love of music and ended up being life long confidants. The real reward was building connections.

Side note: Key Lines
In the studio the engineer is the therapist, psychologist, father figure ect...
Your role is making the artist feel comfortable.
Everyone in the room is there for the star!!!

MPA 408 Lab 03/1/10 Tracking Guitar cont.

As scheduled we continued on our path of tracking guitar. We used the same setup as the previous session (with a Royer and E22). After we completed all needed electric guitar we moved on to acoustic. In lacing the acoustic accompaniment we used the same mics, placing the E22 on one side of Shawn and the Royer on the other. Then patching them through the to the and then out into Protools. Unfortunately time restraints did not allow for us to finish us much as we had originally planed for. In the last quarter of our session Dr. Waters came in to illuminate on a concept that we had previously covered. He used the analogy of building a house and explained how everything would fall apart unless we had a stable foundation. This explanation was used in reference to the track Fuck U Lata. It seems that the drums were built in the rhythmic patern of swing and the bass was hybrid of swing and straight. So by the time it came time to record the guitar the track started to falter in certain places... As a result Drew recommended manually fixing the points of indecision or re-tracking the bass to correct the issue.

MPA 408 Lecture 03/01/10 EQ'n' By Octaves cont.

Unfortunately, I missed the first ten minutes of class today due to a situation I encountered with my vehicle. However, upon arrival a fellow classmate clued me in to what was going on. It turns out that I had only missed a handful of info on the effects of altering the frequency range at 1.5 k. there was a notable difference the presentation this time around instead of applying the principles to isolated instrumentation they were applied to 2 tracked audio waves. These were the results:

+1.5k ~ adds fullness

+ 3k ~ increasing volume here illuminates pluck of electric bass and adds attack on low end piano, snare and drums. Other aspects affected with an increase in this range would include increase on clarity, hardness of vocals.

-3k ~ a reduction in this range would result in an increase in breathy soft sound and would highlight out of tune vocals, guitars, ect..

note: 3k is also the cut off point to simulate telephone effect.

+ 5k ~ around here it increases the vocal presents and brings up the snare.

-5k ~ a deduction would help to get rid of the fake guitar sound created by synths.

Note: Increases of 2 db or less are generally unnoticeable. It is until about 3dbs that the difference become audible (as demonstrated in a class example).

+7k ~ adding db’s here raises finger on guitar, attack on drums and sharpness on synth guitar and piano.

Note: filter w/ low pass gives an AM Radio effect .

-7k ~ reduces on S sound on vocals (from here to about 10k)…

+10k ~ playing in this area would allow you to alter brightness of vocals and guitar. Here you would be able to make vocals feel more aggressive and cymbals sound harder.

Grouping and Mixing Out The Board

After covering the spectrum and displaying how to manipulate these ranges in Protools we then did it out the console.

1) Send audio A1 & A2 out to line input 39 & 40

2) Group channels and patch to Protools A3 & A4 In

3) Compress line In 1 and group (13 & 14)

4) Adjust all faders to unity gain

5) Pan all odd pots hard L and all even pots hard R

6) Set Protools channel to A3 & A4 Input

7) Solo and arm track

8) Record…

Then A B to hear differences!!!

MPA 408 Lab 02/26/10 Tracking Guitar

Aside from the setup, which included a Royer (isolated) about four feet away and an E22 off axis. Today proved to be an extremely easy day in the studio. We set out to complete at least 2 songs and walked away with a foundation for four. I felt personally that the pace we worked at was quite expedient and Shaun Day proved to be well rehearsed. On the engineering side we took turns at the helm for each of our prospective compositions in my opinion this helped to elicit the exact sound that was desired in each persons mind. It also helped with productivity the fact that only one of todays arrangements needed consecutive strumming, for all of the other songs we just punched in at the necessary points. One thing I've started to notice on a major scale was the fact that most of the songs are starting to take on identities of their own. Although they're all based on tracks that have been done already the connection to the original is audible but the whole feel is on another plane. At this point we are slightly ahead schedule and I believe we should stay on pace as long as nothing catastrophic happens.

For more blogs from this week check:

MPA 408 Lecture 02/24/10 EQ 'n' By Octaves

MPA 408 Lab 02/22/10 Tracking Bass cont.

MPA 408 Lecture 02/22/10 RTAS Medium Delay 2

MPA 408 Lecture 02/24/10 EQ'n' By Octaves

Today we touched on two essential weapons for the production engineer today, the ability to eq. using microphone (and mic placements) and the notion of equalizing by octaves.

Mic's as EQ's

Basically we were displayed a diagram of the polarity pattern of a microphone (namely a SM57). The diagram stated that pick up pattern on dynamic microphones had its greatest effect for full range pick up at the tip (the 180%) point. Therefor each shift in the mic would result in a percentage of low end roll off. In the event that you set up mic facing the opposite direction of your objective there would be 100 db difference in the pick effectively soaking up more high and less low. This was discussed as a viable way of recording snares.

EQ 'n' By Octaves (a brief synopsis of key points)

To set up a template that we could apply this concept too we record a short expert with drums, bass, piano and vocals.

Bass RE20

Snare Sm57

OHL 4050

OHR 4050

Piano 414

Bass Millinia

Vocals 414 (through Distress-ors)

Input: 4.5

Attack: 2.5

Release: 3.5

Output: 5.5

Once we were done recording we experimented with various eq'n' variations these were the results:

50 Hz ~ An increase at this adds fullness to the bass drum & bass while a deduction takes out the boom'e'ness of the bass

100 Hz ~ increasing in this range gives a harder sound (more punch on the end)

and adds body to a snare. Decreasing the bass down here gives room

for kick to stand out. This range is also used to add fulness and reduce

boom'e'ness.

200 Hz ~ adds fulness to vocals because it deals with the fundamental. However, in the it kills the attack. Removing db's in this area takes out the gong on cymbals and removes muddiness in vocals.

400 Hz ~ increasing this range on the bass adds clarity while removing this range on snare removes ambiance

note: shifting the shelf dimensions in the 500 Hz arena creates a telephone effect.

lastly we talked about:

1.5 kHz ~ it was displayed that complimentary chords were brought out when this range was increased. It was also said that a reduction here removes the cheap sound of cheap guitars.

MPA 408 Lab 02/22/10 Tracking Bass cont.

In lab, we zeroed in on finishing up all the necessary bass parts that we hadn't yet gotten too, and then retouched other tracks that were still in the looping phase. To my surprise Nick had already straightened out the issue that plagued the recording process last week by finding a more suitable loop for Loving You Always (the song with the clipping problems). All and all I found this session ran rather smooth. The only the only real problem that arose came in the form technological issues. First the system wouldn't allow for writing edits (so we discussed the various possibilities for getting around this aliment. We finally decided to save to the hard drive (of course transferring our work afterwards) at which point it allowed us to continue editing. In recording the bass in we followed the same technique as usual going through the Millinia, the only notable difference was that Nick brought in his foot pedal so he was able to augment the sound in some pretty crazy ways. For one of the songs we worked today I originally used an Arp synthesizer, however with his kit he was able to find a saw that pretty closely replicated the sound. Next lab we start guitar!!!

MPA 408 Lecture 02/22/10 RTAS Medium Delay 2

In today's class we looked at 5 different effects that could be achieved using the RTAS (med. delay 2) plugins. To demonstrate what was going we mic'd up a SM57 and recorded James Meter singing a tune into Protools. This vocal rift would go in to stay embedded in my head for hours after class. First we were shown the vibrato effect.

Note: Vibrato was explained as the modulation of pitch. It bit he illusion of everything being in tune (when played within a close vicinity).

1.) Vibrato (used on either leads or back ups) apply RTAS Medium Delay 2 and set to the following dimensions:

Mix - 100%

Delay - 3 - 8 ms

Modulate - 20%

Feedback - 0%

Rate - 1 - 3 Hz

Note: ADT - is used to thicken up weak delivery. Gives the feel of a more prominent sound.

2.) ADT (Audio Double Tracking) take the main vocals and aux. stereo. Bus out to 1 & 2 (@ 100%) apply RTAS Medium Delay 2and set to the following dimensions:

Mix - 100%

Delay - 20 - 50 ms

Modulate - 40%

Feedback - 0%

Rate - 1 Hz

Note: Chorusing an effect that simulates multiple individuals singing the same thing.

3.) Chorusing (mostly used on back ups) apply RTAS Medium Delay 2 and set to the following dimensions:

Mix - 20 - 70%

Delay - 20 - 80 ms

Modulate - 10%

Rate - 1 Hz

Feedback 0 - 2%

4.) Multi (create an aux stereo channel) apply RTAS Medium Delay 2 and set to the following dimensions:

L Mix - 40% R Mix - 50 %

L Delay - 25 ms R Delay - 75 ms

L Modulate - 9% R Modulate - 12%

L Rate - 1 Hz L Rate - 7%

L Feedback 0 R Feedback - 0%

5.) Flanger apply RTAS Medium Delay 2 and set to the following dimensions:

1. Wet Dry - 50/5o
2. Delay 0 - 20 ms
3. Depth - Over 25%
4. Rate Sync to Group
5. Feedback -

6.) Multi 'n' (out the box) apply the following patches:

A) Sent vocal track out A1 from Protools into the multi section on the mixing console

B) Used the returns and sent them into channels on the board 38-40

C) Next we placed aux sends on the board

A1 - XPX paned hard L echo return 1

A2 - Lexicon paned hard R echo return 2

A3 - echo return 3-4

Note: Ran into a slight hiccup in the process because aux master volume was down.