Multi-Track recording
Multi-track recording is a fundamental process in audio production, Bringing a recorded performance into the Digital realm. It allows integration of various sound sources, providing musicians and engineers with a powerful tool to craft audio compositions. It involves recording and overdubbing multiple sound sources, each contributing to the final audio mix. For this task i was assigned to perform a range of roles to make an synchronous multitrack recording with a range of instruments. I would then create Loops with my multitrack recordings and with the loops i would create an imaginary production.
Setup of Equipment
In order to record my performances i would need to setup the neccesary equipment needed for capturing audio.
My initial starting point would be setting up the instruments, ensuring cables, condition and the environment is ready and in good condition for use. i would also ensure the performer is prepared and comfortable as this enables me to captuire the best performance takes
Drums
Although a drum set usually consists of 5 pieces When recording the drums we require various microphones to capture the best possible audio. The placement of the microphones also play a crucial role as the microphones also capture the sound of the environment the drums are in. Recording studios are meticulously designed to capture high-quality recordings from the aid of acoustic treatment handling reflections, reverberation and also diffusion. Drums are checked for any defectiveness and damage prior to performance.
Microphones
Microphones are essential tools for recording audio, capturing sound waves and converting them into electrical signals. There are various types of microphones, each with distinct characteristics that influence the way they capture sound. Capsules are at the heart of every microphone acting as the primary component responsible for capturing sound. They come in various types and forms each catering to a specific recording needs.
Dynamic Microphone capsules are durable and excel in high SPL environments, making them suitable for live performances.
Condenser capsules offer high sensitivity and accurate sound reproduction, making them a popular choice in studio recording for vocals and instruments.
Ribbon capsules provide a warm and vintage-like sound, ideal for capturing delicate or complex audio sources. (caution should be taken when using Ribbon microphones prior to use it is good practice to check if the ribbon microphone in use is passive or active before engaging phantom power.
The placement of microphones is crucial for quality recordings . When positioning microphones it is important to consider the sources proximity, the microphones polar pattern and other various factors such as phase checking.
Mixers and recording mediums.
Mixers and recording mediums play a pivotal role in the audio production process, determining the quality and bringing versatility to a recorded sound. There are various types of mixers and recording mediums available, each with its unique characteristics and applications. Analog mixers offer a warmth rich saturated sound with character whilst digital mixers and audio workstations (DAWs) offer pristine quality and provide extensive signal processing capabilities for manipulating and editing recordings with precision.
Outboard equipment.
Outboard equipment, including effects units, compressors, noise gates, and equalizers, are essential tools in audio production, enabling engineers to shape and enhance the sound or manipulation of recorded material. These devices are typically external to the main audio mixer or workstation and provide additional processing options to craft the desired audio characteristics. There are two main types: analog and digital. Analog outboard gear includes devices like compressors, equalizers, and effects units that manipulate audio using analog circuitry, while digital gear uses digital signal processing technology and algorithms for control of effects.
Recording/Signal Flow
Audio signal is captured by the microphone and the signal enters the mixing desk (SSL Duality Delta console) where it encounters the preamp, a crucial stage for boosting the signal's level and preparing it for further processing.
After the preamp, the signal progresses to the channel input stage on the SSL Duality Delta where additional adjustments can be made to the gain and input settings
From there the signal flows through the dynamics processing stage where the SSL Duality Delta's advanced dynamic controls take place such as compression and gating which can be applied to shape the signal/audio.
Following dynamics processing, the signal advances to the EQ and filter stage on the SSL Duality Delta. This stage allows precise tonal adjustments and filtering, shaping the sound to perfection.
After the EQ and filter stage, the signal can be directed to the cue+fx output stage, where additional effects or monitoring options are available. Additionally, the signal can be routed to group or bus channels for collective processing.
The signal reaches the channel output and pan stage on the SSL Duality Delta. Here, it combines with other channels in the mix, allowing engineers to finely balance the audio.
With all equipment ready for recording and the mixing desk ready, i began the task of performing and recording audio with instruments.
Creating Loops & Imaginary production
My workflow for this task starts off by loading the drum sounds into the Akai MPC software which communicates with my Akai MPC MIDI controller which in turn enables me to have full control in manipulating a sound. I would then seperate the sounds by slicing them and assigning them each to a pad on my Akai MPC controller. I would also fine tune my sounds for better performance when i press a pad on my controller. With all this finally done i am now ready to begin recording performances to compose my loops.
With my palette of sounds ready i was ready to begin the task of creating a loop library and an imaginary production with my loops. My workflow and approach for this task was to start with a melody or chords which i played on the keyboard and after began fine tuning the perfomance by slight quantisation, lowering the octave of some notes to create a more full melody and lastly by adding extra notes or changing notes to create my final performance. the instrument/software used for this task was XLN Audios Mark one which is an electric piano. the genre and inspiration of my production came from this piece i created and it inspired me to aim for a soul style of song to produce. From this point i had an objective and target meaning my sound selection should suit the style i was aiming for.
With the 1st piece i had created i was able to copy the lower notes of the chords to create a bass piece by placing the MIDI information into a Bass instrument and fine tuning the MIDI notes to give a "human feeling" by slightly offsetting the timing of the notes played. i would also make this monophonic so the notes dont overlap
After having a foundation of my song to build upon i next improvised a melody on the saxophone to accompany the soulful piece i created. i wanted to keep on the lines of soulful music and this piece fitted perfectly as it accompanied the feeling of the song.
I then focused on working on the drums recorded in the studio session, layered onto my Akai MPC controller ready for recording a performance. I was able to form a drum style to match the previous loops i had created and recorded my performance. I would mute the saxophone as it was distracting and would suit for a later point if i was to use it.
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Once i had composed more than 45 seconds i would cut each track of my composition at a time that they would loop seemlessly an export the stems as my loops for this task.
Imaginary production
Due to how i planned my efficient workflow i was able to continue in producing my imaginary production by arranging my loops in the form of an intro, verse and chorus. with an arrangement the imaginary production has a journey rather than being just loops. i would add some effects on my master channel for transitional effects so the listener would be attracted to what they hear. My final stage would be assigning each track to a mixer channel and begin gain staging my sounds for good levels and for a 1st revision mix.
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Once i had composed more than 45 seconds i would cut each track of my composition at a time that they would loop seemlessly an export the stems as my loops for this task.