In this Moment have a track called 'The Great Divide' which is off their album: 'The Dream'.
This track seems really complex with the way it was produced, especially with the vocals.
The vocals have many layers that comprise the lead vocal part.
This is done through the use of many harmonies, delay, reverb and other techniques. The vocal takes are also panned both left and right for different harmonies to create the effect that the artist/ producer was after.
The backing vocals are also layered and blended into the main song.
There are accents present by using and emphasising effect processing and layering. This heightens the importance of certain lines/ sections and adds production value to the track.
Have a listen here: http://www.youtube.com/watch?v=xPVjJU5LjKI
Monday, 27 February 2012
Sunday, 26 February 2012
Recording Acoustic Guitar
As i have learned how to use and decode the mid-side microphone technique, i have begun to experiment with it.
As stated previously in other posts, i have used it with a drum kit for the overheads. However, i wanted to use it on a variety of applications. My next target was an acoustic guitar.
I have previously used a spaced pair mic technique for this but i thought that i should experiment with others rather than sticking to just one.
As explained in a previous post, i set up the mics in the mid side format on two boom stands. The mics were positioned about 2m away from the front wall in a square room and dead centre width-ways.
The hole of the acoustic guitar was positioned inline with the mics but roughly 70cm away from it.
This allowed enough signal from both the room and the guitar to be recorded.
Once decoded, i used a little bit of compression to smooth out the dynamic range and a little EQ to brighten up the overall sound (to the artists choice). Reverb was also used to create ambience and add a little extra to the room. This was also automated for the crescendo in the middle 8. following the dynamics of the song. This also creates a slight illusion of double tracking, instead, its only one guitar/take.
I decide to duck the reverb completely on the last note and replace it with tape delay to give a sudden ending with the ambience. Compiled with a fade out, this worked really well and emphasised the ending with positive results.
The track is called: 'Kentucky Crossroads' and is by a good friend of mine: Sean De Burca.
The link to the track is as follows: http://soundcloud.com/phil-hutchins-prodctions/kentucky-crossroads
Sean's Facebook page can be viewed and liked HERE
As stated previously in other posts, i have used it with a drum kit for the overheads. However, i wanted to use it on a variety of applications. My next target was an acoustic guitar.
I have previously used a spaced pair mic technique for this but i thought that i should experiment with others rather than sticking to just one.
As explained in a previous post, i set up the mics in the mid side format on two boom stands. The mics were positioned about 2m away from the front wall in a square room and dead centre width-ways.
The hole of the acoustic guitar was positioned inline with the mics but roughly 70cm away from it.
This allowed enough signal from both the room and the guitar to be recorded.
Once decoded, i used a little bit of compression to smooth out the dynamic range and a little EQ to brighten up the overall sound (to the artists choice). Reverb was also used to create ambience and add a little extra to the room. This was also automated for the crescendo in the middle 8. following the dynamics of the song. This also creates a slight illusion of double tracking, instead, its only one guitar/take.
I decide to duck the reverb completely on the last note and replace it with tape delay to give a sudden ending with the ambience. Compiled with a fade out, this worked really well and emphasised the ending with positive results.
The track is called: 'Kentucky Crossroads' and is by a good friend of mine: Sean De Burca.
The link to the track is as follows: http://soundcloud.com/phil-hutchins-prodctions/kentucky-crossroads
Sean's Facebook page can be viewed and liked HERE
Monday, 13 February 2012
CD Standards
This is going to show what the standards are for CDs
·
Format:
Wav
·
sample
rate: 44100Hz - The number of samples that are recorded per second - measured in Hz. - Chris Bagwell. (1998). Audio File Formats FAQ Audio File Formats FAQ .Available: http://sox.sourceforge.net/AudioFormats-3.html. Last accessed 13th Feb 2012.)
·
Bit Depth: 160 kb's the number of points that are definable per sample. as the bit depth increases, the number of points that are noted, increases. For example: on an axis, a low bit depth would have a point on every value from 0-10. Whereas, a high bit depth, would have a point that can be noted on every number between 0 and 1000. 1 and 1000 in this case, are the same value but the accuracy of the points, increases.
All this basically means is that, the higher the bit depth, the higher the resolution of the signal. -
All this basically means is that, the higher the bit depth, the higher the resolution of the signal. -
· Nyquist –
Shannon Sampling Theorem: this is the theory of the conversion of an analogue signal to a digital signal. This is how many samples are taken per second. It is measured in hertz - Hz.
If the highest frequency component is stated as fmax, according to the nyquist theorum, the sampling rate must be 2fmax. If the sampling rate is lower than 2fmax, then not all o the signal will be represented properly. - Davin Matsuda. (2002). Nyquist Theorem. Available: http://searchcio-midmarket.techtarget.com/definition/Nyquist-Theorem. Last accessed 13th Feb 2012.
Wednesday, 8 February 2012
Colin Richardson on metal (guitars)
Great interview with Colin Richardson on how he records metal music - mainly guitars.
Some of the techniques are inspiring! The quad layering idea for a full sound etc!
http://www.musicradar.com/news/guitars/interview-metal-production-guru-colin-richardson-400260
Some of the techniques are inspiring! The quad layering idea for a full sound etc!
http://www.musicradar.com/news/guitars/interview-metal-production-guru-colin-richardson-400260
Monday, 6 February 2012
Mid-Side Technique
I experimented with the Mid-side technique in lectures today.
This technique can be used for many different applications from Drum overheads to acoustic guitars.
The technique involves using two mics, each with separate polar patterns. One set to Cardioid and the other to figure of 8.
We set up two SE Titans on mic stands as overheads for a drum kit.
The mics were set up in the way that the microphones were about 2-3m away from the kick drum and were pointing vertically one on top of each other.
The top mic was placed facing downwards directly over the bottom mic but not touching. The top microphone was set to the cardioid polar pattern and was facing the source.
The bottom microphone was set to the figure of 8 polar pattern and the pickup areas were perpendicular to the cardioid pickup area. An example of this is shown in the link: Click Here.
This creates a stereo feel to the mix but this can only truly obtained once it has been processed.
This is because, in order to obtain 'stereo' imaging, you need to be able to have a left an a right channel.
There are several ways to process the signal in order for this to happen - these include - digital processes and re-routing the signal back through the desk in a similar fashion to the digital option.
More than one digital option is available to use: track duplication (which is the process that we used and that i will explain) or the use of a plugin which does this for you. It is completely to your preference and there is no set way - everyone has their own way of working.
In order to obtain the stereo image, you have to duplicate the track in the Digital Audio Workstation (DAW) (such as Logic or Pro tools). The microphone track that had the figure of 8 polar pattern is duplicated so you had two identical channels. After two of them are present, you need to open up a plugin in either one of the channels (doesn't matter which) that allows phase inversion to occur. In Logic, this option is available in the 'Gain' plugin. Once the phase has been inverted, you notice a difference in sound - this is due to phase cancellation. In order to resolve this, you need to pan the tracks hard left and hard right. This eliminates phase issues and mix is back to the sound that you are aiming to get.
Once the two tracks have been panned, the process is almost over.
There is one final stage and that is bringing back the cardioid signal and blending it with the other tracks. This is all down to preference and taste - depending on how much room sound you want in relation to the source sound.
The drums sounded really full and defiantly benefitted from the technique.
It can take a while to get used to but it brings out a wider perception of the instrument at hand.
We used this process and compared it to the original two microphones before hand and there is a big difference! I would highly recommend experimenting with this technique!
This technique can be used for many different applications from Drum overheads to acoustic guitars.
The technique involves using two mics, each with separate polar patterns. One set to Cardioid and the other to figure of 8.
We set up two SE Titans on mic stands as overheads for a drum kit.
The mics were set up in the way that the microphones were about 2-3m away from the kick drum and were pointing vertically one on top of each other.
The top mic was placed facing downwards directly over the bottom mic but not touching. The top microphone was set to the cardioid polar pattern and was facing the source.
The bottom microphone was set to the figure of 8 polar pattern and the pickup areas were perpendicular to the cardioid pickup area. An example of this is shown in the link: Click Here.
This creates a stereo feel to the mix but this can only truly obtained once it has been processed.
This is because, in order to obtain 'stereo' imaging, you need to be able to have a left an a right channel.
There are several ways to process the signal in order for this to happen - these include - digital processes and re-routing the signal back through the desk in a similar fashion to the digital option.
More than one digital option is available to use: track duplication (which is the process that we used and that i will explain) or the use of a plugin which does this for you. It is completely to your preference and there is no set way - everyone has their own way of working.
In order to obtain the stereo image, you have to duplicate the track in the Digital Audio Workstation (DAW) (such as Logic or Pro tools). The microphone track that had the figure of 8 polar pattern is duplicated so you had two identical channels. After two of them are present, you need to open up a plugin in either one of the channels (doesn't matter which) that allows phase inversion to occur. In Logic, this option is available in the 'Gain' plugin. Once the phase has been inverted, you notice a difference in sound - this is due to phase cancellation. In order to resolve this, you need to pan the tracks hard left and hard right. This eliminates phase issues and mix is back to the sound that you are aiming to get.
Once the two tracks have been panned, the process is almost over.
There is one final stage and that is bringing back the cardioid signal and blending it with the other tracks. This is all down to preference and taste - depending on how much room sound you want in relation to the source sound.
The drums sounded really full and defiantly benefitted from the technique.
It can take a while to get used to but it brings out a wider perception of the instrument at hand.
We used this process and compared it to the original two microphones before hand and there is a big difference! I would highly recommend experimenting with this technique!
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