Professional Documents
Culture Documents
Studio Plan:
Control Room A:
that you do not eat or drink in the studio. Also Portable Appliance
Testing is carried out once a year to ensure that the studios are
safe to work in.
Equipment:
Audio Interface: An audio interface is a piece of hardware which
expands and improves the sonic capabilities of a PC or Mac. They
also give you the ability to connect, microphones instruments &
alternative signals to your PC or Mac.
DI: A DI is a device which is used in recording studios what it does is
convert unbalanced signals to balanced. The most familiar type of DI
Box is passive which in most cases is used to match line levels or
instrument sources such as guitars & keyboards and matches them
to the microphone input. Often they also have a ground lift switch
which can sometimes reduce unwanted hums & noise.
Patchbay: Patchbays are widely used to simplify connection of
various different devices which include: Microphones, electric or
electronic instruments, Effects (EQ, Compression etc) which
Equipment Specifications:
Soundcraft Sapphyre (Mixing Desk)
Mid-Frequency: N/A
High Frequency: 1 AlBeMET (Aluminium/Beryllium) Inverted dome
tweeter.
Frequency Response: 40Hz-30kHz (+/- 2dB)
Max Peak SPL: 115 dB
Amplifier Class: Class A-B
Power Output: 240W
High Frequency: 120W
Mid Frequency: N/A
Low Frequency: 120W
Input Impedance (OHMS) 10 K Ohm balanced
HF Level Adjust: -2B -1.5dB, -1, 0-5dB. 0dB, +0.5dB, +1.0dB LF
HF Shelf: -2dB, 1.5dB-,1dB- 0-5dB, OdB +0.5dB, 1.0dB
LF Level Adjust: -3dB @ 45Hz- 3dB @ 50Hz-3dB @ 65Hz
System Volume: (30dB - +6dB)
Auto Mute: N/A
Indicators: Power
Indicator Control: N/A
Input Connectors:
RCA:
N/A
:
N/A
XLR:
Balanced XLR
Ground Lift: N/A
AC Power Input: Selectable 100V, 120V 230V, 240V (50Hz-60Hz)
Enclosure Construction: 25mm MDF
Noise Gate:
The Noise gate can be inserted in the signal path by pressing
(GATE)IN and this generally located in the monitor path. Pressing
the CH button swaps the gate to the channel path.
Shelving EQ: Located just under the noise gate is the Shelving EQ
section of the channel strip. The HF section is a second order
shelving design which gives 15dB of cut or boost at a fixed turnover
frequency of 12kHz. The LF section provides 15dB cut or boost at a
fixed frequency of 60hZ, which is asymmetric which avoids VLF
(very low frequency) to be recorded.
Semi Parametric EQ: Just located under the Shelving EQ is the
Semi Parametric EQ with The HMF & LMF sections having a peak
boost/notch cut response at centre frequencies variable between
600Hz-12kH zand 100Hz-2kHz with the right-hand knobs. 15dB of
cut and boost is available on the left-hand knobs. All of the EQ
section HF/LF & HMF/LMF, can be switched In or Out with the EQ IN
switch.
Monitor Faders: The monitor faders control the overall level of the
mix that are sent to the monitors.
AUX: Their are 2 AUX sends which are provided. the AUX 1 is a
stereo send which is generally fed by the post-EQ pre-mute the
signals and tracks balance control, Pressing the POST changes the
source to post-fade. Aux 2 is normally a pre-fade mono sum of the
input signal. Pressing the {Post}3 switch makes it a post-fade
mono sum which routes the output to the AUX bus 3.
The Multicore will send the signal all the way through to the mixing
desk in the control room. Once the signals have been routed to the
mixing desk you can see what channels they are coming through
(this should be the same as the input they are plugged into on the
stage box unless there is an problem with one of the inputs) Doing
this you should be able to select the group outputs you want on your
individual channels for example select 1-2 and pan left to get 1 and
right for 2. then simply re-open Logic create a channel and select
the correct inputs, the signal should now be sent through to Logic.
Patch Bay:
Outboard Equipment:
Delay Unit DB-7 Roland Dep-5
Yamaha SPX90
Samson Power Strip
Samson S-Phone
Focusrite Platinum Twin Trak Pro
Alesis Compressor
Joe Meek SC2.2 Stereo Compressor
TL Audio Ivory Series
Mesa Rectifier Preamp.
Simple Recording:
A simple recording is done very simply, for example to record drums
you would mic up the kit as usual, connect the microphones to
different inputs on the stage box which routes the signal through
the multi-core into the mixing desk. Which then you shall select the
correct input channels on Logic.
DI Recording:
A DI Recording is done with no live instruments and can be done
using Pre-Amps.
Routing To The Compressor During Recording:
To route to the compressor during recording we use the patch bay
on the desk. Locate the patch strip for what channel you are
recording on. After locating the patch a Bantam lead would be used
to send the signal from the channel to the compressor, we would go
from ins send to the left side ins this is due to our signal being in
mono with the input being in stereo. We then use the compressors
left output to send back to ins return on the patch bay. Once this
this process for all the channels you will be able to start mixing
them on the desk.
Recording Drums:
To record drums you will first need to make up the mic up the kit.
The microphones you will be using are:
Audix F14 (Kick Drum)
Snare Top (Shure SM57)
Snare Bottom (Sennheiser)
Toms (Audix F10s)
Hi-Hat (Audix F15)
Overheads (Neumann's)
The correct microphone placement for recording is as follows,
The Kick Drum Mic should be positioned just inside the soundhole.
The Snare Top Mic should be positioned slightly to the side of snare
with the microphone pointing to the center of the snare
The Snare Bottom is positioned straight under the snape again
precisely pointing at the center of the snare.
The Floor & Rack Tom mic is positioned slightly to the side and
again is pointed at the center of the drum.
The Hi-Hat Mic is to be positioned at least 6 inches above the hat
with it pointing as close to the center as possible.
Overhead microphones are positioned directly over the drum-kit. The
Microphones need to be the same in height to avoid latency and as
close to each other as possible without touching each other. After
setting up the kit, you need to connect to the right outputs, and
then choose the right inputs for logic so
for example, the kick would be input 1 so on Logic you would set the
input as input 1 arm the track and then you should hear the kick
drum coming through.
Recording Drums:
Once all the necessary steps are completed you can set all your
drum channels to record as you generally would you will have a multi
channel signal which can then record to logic.