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!!!