1) The

monitor is run by a mac pro.

2) The small set of speakers is a pair of Yamaha sh5s ;
They a 2-way bass-reflex bi-amplified nearfield studio
monitor with 5" cone woofer and 1" dome tweeter. The
yamahas have a frequency response between 54Hz -

30kHz and they have a power output of 45W. The reason

for having the KRKs even though they are not the main
speakers they are good for hearing a different perspective on the mix.
3) The larger speakers are Adam
A77X and they are used as the main
speakers because they have 7inch carbon
fibre drivers active this is good because
less power is wasted. The A77Xs have a
frequency response between 38Hz and
50KHz and they have a power output of
150W.
4) This is a VOX night train it is
powered by vacuum tubes and it is a
guitar head.

5) The Amt8 is a straightforward eight-input, eight-output active midi

transporter which is an alternative to using a USB to connect a midi
device to the computer.
6) This is a talk back and monitor
interface, which allows you to talk to a
musician that is being recorded in another
room. Theres six rear-panel stereo inputs
(four balanced, two unbalanced sources),
balanced XLR outputs for three
loudspeaker pairs and a slave output.
7) This is a pre-amp for microphones however instruments such as
electric guitars or violins.
8) This is the universal audio Apollo quad and is a firewire 8-track audio
interface, which allows us to record up to 8 channels simultaneously.
The Apollo has 4 XLR inputs, which means 4 balanced inputs can be
plugged in, a mic rophone being an example.

9) This the focus rite sapphire 40 and this has 8 XLR inputs, this changes
analogue data to digital data and back to analogue when it comes out
the speakers.

10)S-phone Samson headphone mixer/amp and this takes one input and
splits it between 4 outputs and also powers them.

Microphones

Audix f2
The f2 is a dynamic microphone best used for miking
instruments requiring mid-bass and mid-high reproduction in
live and studio applications. Its hypercardioid pick-up pattern
helps to minimize feedback and isolate the instrument from
ambient sound coming from the room or other instruments on
stage. The frequency response is 52Hz-15KHz and is best used
on Live Stage, in a studio, Rack toms, floor toms, and Guitar
and bass guitar.

Audix f6
The f6 is a dynamic designed for instruments requiring bass reproduction in
live and studio applications. The f6's hypercardioid pick-up pattern helps to
minimize feedback and isolate the instrument from ambient sounds on stage, it
has a wide diaphragm and therefore is very good at capturing low frequency

information.The f6 has low impedance and balanced output

providing interference-free performance. The frequency response
is 14Hz-16KHz and is best used with Live Stage , recording - Kick
Drum - Kettle drum, floo r tom - Bass Cabinets, Leslie bottom.

Audix f9 condenser
This f9 is a Pre-polarized Condenser suited for instruments
requiring detailed reproduction in mid-high and extended high end
frequency ranges in live and studio applications. A wide cardioid pick-up
pattern paired with high sensitivity, allows close, overhead and distance
miking. With its low impedance and balanced output, the f9 has
interference-free performance. This mic operates on phantom power of
12-48 V a and The frequency response is 40Hz-20KHz. It is best used
with Cymbals, Overheads, Hi-Hats and an Audience mic.

Shure sm7b
The SM7B is a selectable frequency response cardioid
microphone that delivers warm and smooth audio
reproduction in close-proximity studio and vocal
applications, while shielding from electromagnetic hum; it
is a dynamic microphone. The frequency response is 50 Hz
- 20 kHz and is Best suited to Speech, Vocals and is Also
great for Electric Guitar, Snare, Toms, Bass Drum.

Shure sm58
The SM58 is an industry-standard, highly versatile cardioid
dynamic vocal microphone, tailored to deliver warm and
clear vocal reproduction. The SM58 is consistently the first
choice for vocal performances around the globe. The
frequency response is 50 Hz - 15 kHz, it is Best suited to
Vocals and for Speech.

Shure sm57
The SM57 is an industry-standard, highly versatile cardioid dynamic
microphone tuned for the clean reproduction of amplified and acoustic
instruments. The SM57 is ideal for sound reinforcement and recording
applications. The frequency response is 40 Hz - 15 kHz and is Best used for
Snare, Toms, Electric Guitar and
Brass.

Neumann tlm 102
The TLM102 is a condenser microphone suitable for use with loud instruments
such as drums, brass instruments and guitar
amplifiers, but it was conceived primarily as a vocal
microphone the frequency range of the TLM102
extends from 20Hz to 20kHz and is used for vocals
and speech as well as acoustic instruments.
Plosive is when are particles hit the mics diaphragm
causing distortions.

Multi-track recording drums

First of all I moved the drum kit to the middle of the
room, I did this so the sound I would get from the
drums is a wider and more roomy sound in
comparison to if the drums were in the corner of the
room. Also to add on to my roomier sound I placed a
room mic in the corner of the room to capture the
full room, the sound room mic I wired to input 4.
The typical drum kit consists of a kick drum, snare, a
rack tomb, a floor tom, a hi-hat, and a couple of
cymbals (a crash and a ride).

The most natural sound can be obtained with a high-quality

condenser mic positioned overhead and either in front of or
behind the kit. For this I decided to use an audix fm either
side of the dum kit this is because they are good for mid-high
and extended high end frequency ranges in live and studio applications, giving
me the best over all drum kit sound. When putting up these microphones it is
important to have them equal distance from the centre of the kit which for me
was the snare drum. I then plugged the mics in using a xlr cable; I put the left
overhead on input 15 and the right in input 14.

The size and repetitiveness of the pressure wave emanating
from a kick drum makes this a relatively tough job for any
microphone to withstand. For that reason I used an audix f2
for the kick drum The f6 is a dynamic microphone designed
for instruments requiring bass reproduction in live and
studio applications; it has a wide diaphragm and therefore is
very good at capturing low frequency information. For the
kick drum on one of my tracks I used a sub bass mic, the
reason I only used it one of my tracks is because for a drum
and bass track I desired a more bass heavy sound to a softer
sound. I wired the kick drum sub to channel 2 and the f6 mic
to channel 3.


A dynamic mic is often the more attractive option, since it is more
robust (the drummer might accidentally hit it) and it has a restricted
transient response compared to the condenser mic. a transient is an
abrupt or sudden change in level. We associate transients with sharp,
harsh sounds like cymbal crashes or a hard-strummed acoustic guitar.
A microphones ability to accurately capture these transients is known
as transient response. For this reason for the top of the snare I used
an sm57, which was plugged into input 10 and a sm58 for the bottom
of the snare, which was channelled up to input 11.


The tom-toms are best miked up like the snare drum, with
dynamic mics positioned just over the rim looking at the
centre of the head. The rear null of the mic should be angled
right into the centre of the drum to allow it to pick up the
best sound. I used an audix f2 for both the floor tom and rack
tom theyre best used for miking instruments requiring mid-
bass and mid-high reproduction such as toms. The floor tom I
wired up with input 12 and the
rack tom I wired up with input 13.



Once the drums are all plugged in I had someone on the drums with the
headphones on testing each drum to check each of the inputs were getting
signal, to communicate with the drummer in the recording room I used the talk
back and monitor interface, which allows you to talk to a musician that is being
recorded in another room when they are wearing the headphones. With all my
mics placed, plugged, phased and working properly with all signals coming
through I made sure the levels wasnt too loud so there would be no popping
or distortions in my recording. I allowed the drummer to have some time
practicing on the drums to get use to the kit and the part they would be
playing then I was ready to record.

In both my tracks I also recorded

guitar, I could have used two
microphones for this and recorded
the body and the neck of the guitar to
get the sound of the strings, however
I chose only to have a microphone at
the body of the guitar to get a softer
less scratchy sound. Before even
thinking about recording you must
completely tune the guitar, you can
do this by using a guitar tuner. For
my guitar recording I used a midiroom, and first of all I placed my mic
stand facing the guitarist and the mic
pointing to the body of the guitar; this
also reduces background noise. I
make sure the microphone isnt too close to the guitarists hands as he
could hit the mic so and cause interference in the recording. I plugged the
microphone into the midi-keyboard using and xlr cable, I used a sm58 for
this job as it has a good frequency range in the mid frequencies and would
get the best sound for my guitar piece.