Multitrack Blog

This week we managed to get recorded both keys and backing vocals, we structure the entire lesson to recorded keys as the priority.

In order to record the keys we had to set up 2 Di boxes that allowed the keys to be processed through left and right inputs. we made sure that we used playlists when recording so that we can swap and change parts for the mixdown in the case of any bum notes.

Once both rooms where set up for the session we started to recorded the keys. we ran into some problems this week on the desk as some people in particular where constantly on the desk and some where not at all and the session became quite tense. however this did not top progress.

After the keys where recorded we quickly got the backing vocals recorded in using the smae placing as the prvious week. we once again applied the proximity effect. there was some communication issues throughout the process however everything was recorded just on time for the end of the session.

This week we got started recording the vocals. we used all the same foldbacks and guide track as we had the previous week.

In order to get the best sound for vocals we recording in the dead room using a AKG 414 condensor Mic. we used this mic because if gives a good sound for both male and female vocals.

We made sure to use pop sheilds in order to erase as many of the plosives we possibly can. we also used the proximiy effect to try and get the best sound and even more so reduced plosives. by oving vocalists off axis we managed to get the sound of their voices clearer and with less popping sounds. if we had more time this week then we would have experimented more with the positioning of the vocalists and the mics.

We had a small problem with the board at one point where it would not solo a track with leaked noise however we later realised this was because solo in front was selected on the board.

This week in the session we worked on recording the bass.

In order to get a better chance of a decent bass sound we recorded the bass using both a Amp (mic with a condenser) and a DI (direct input) box. we used the DI box as a signal splitter, this allowed us to have a raw signal recorded into protools aswell as a raw pickup amp recording.

Using a Di box as a seperate signal was like having a safety feature. it also gives us the option to create a re-amp situation or replicate an identical performance if we desparately needed to.

After we set this up we reopened the guide track from the previous week (drum tracking) in order for the bassist (George) to have the guide to record to. this was setup using the foldback sysem created in the previous week.

We setup and SM57 mic in the live room so that we could use the talback feature and mic to communicate with George. In the studio we set the levels of all the pre-recorded drums and live track for Georges headphones and made sure that George was happy with these levels. We then tested with George playing the bass to make sure he could hear everything at the correct levels. We then recorded the bass.

Positives of this session was that we where once again finished on time in the session and got a good and decent sounding recording of the instrument for the mix.

negatives this session was that we had a problem with background sound from the amp annd the DI box. After spending alot of tie as a group trying to figure out the issue it was finally resolved. we spent a fair bit of time sorting through different wires and instrument and even ports to the dsk in order to figure out the problem. Eventually we resorting to trying a different DI box and as it turned out that was the issue. To solve this we swapped ver the DI box and reset the levels. we where then able to record a decent bass rack

Overall the session when well and only with the one complication, we now know to make sure that is one of the first things we check.

 

This week my group was doing the drumtracking for the track we are recording which is Aeroplanes by B.O.B and Hayley Williams. we used a standard Mic Setup using mics on the kick, snare, high hat, rack tom, tom and 2 overheads.

On the kick drum we used an AKGD112 dynamic mic.

On the snare top and rack tom we used Audix D2’s.

On the other tom we used an Audix D4.

On the snare bottom we used a SM57, this allowed us to capture the sound of both snare heads for a more accurate sound.

we used dynamic mics on these because they have a large diaphragm and can tolerate high SPL’s.

For the High Hat and both of the Overheads we used ADX51 Condenser mics. we used these particular mics as we did not have enough room to use AKGC414 mics, nor did we have the time to set them up to their best. The use of condenser mics was ue to the fact they are broadspectrum. this allows us to capture a flat  and more condensed sound, hence the term ‘condenser’.

during the recording process we had 3 people playing a ‘Guide track’. The group in the studio used foldbacks in order to allow us o hear the drummer (Warren) and ourselves through our headphones and to allow Warren to hear us and himself through his headphones. Foldback A fed through to the Drum booth and the live room and Foldback B fed throught to the Dead room.

Overall the weeks session was a complete success and we have everything we need in order to allow a hopefully smooth process throught the rest of the recording.

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