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Introduction:
In these blogs I will be writing about my own skills and knowledge in production and performance field and what I need to develop on. I will also dive into research on different music production aspects such as recording techniques, how to use studios, editing, mixing and tracking. I will also research differed aspects in the music performance field such as, live sound equipment, performance styles- visuals/musical, staging, song writing for performance and working with others.
Production:
Production skills I need to work on are skills such as, knowing how to work/use a recording studio, understanding the different levels how to work in one and the way a studio works such as equipment, set up, recording tracks. I also need to learn the different techniques on things such as editing, mixing and tracking, layering/ double tracking and the difference it makes when using these effects. The differences between mics and what one is used for which instrument, and how to set them up in the recording studio.
MICROPHONES:
The mics listed underneath, are the mics we used in the studio at college.
Condenser vs Dynamic:
A condenser microphone is more sensitive than a dynamic microphone, meaning it picks up a wider range of frequencies and subtle details, making it ideal for studio recordings and quieter environments, while a dynamic mic is more durable and better suited for live performances where sound isolation is important; condenser mics usually require phantom power to operate, while dynamic mics do not.
Key differences:
Sensitivity- Condenser mics are highly sensitive, capturing more subtle sounds, while dynamic mics are less sensitive and better and handling loud sound sources.
Frequency response- Condenser mics have a wider frequency response, capturing a boarder range of sound frequencies, whereas dynamic mics have a more limited frequency range.
Applications- Condenser mics are preferred for studio recording, voiceovers, acoustic instruments, and situations where high audio quality is needed. Dynamic mics are best for live vocals, drums, electric guitars, and situations with high ambient noise.
Durability- Dynamic mics are generally more robust and can withstand rough handling, making them suitable for live performances.
C1000:
The C1000 is a condenser microphone which is typically used as drum overheads. The AKG's original C1000s mic first launched back in the mid 80s, it gave the early generation of recording musicians a taste of the capacitor microphone sound. It also found its way into many live-sound applications, partly because it was rugged, and also because it could be run from battery, in a time when many budget live mixers couldn't supply 48V phantom power.
Overtime, as different mics were being released, the C1000 came around with a reputation for sounding slightly less open and bright than its counterparts, with a tendency towards harshness in the upper mids.
The gold-sputtered back-electret capsule is designed to cope with realistic levels of humidity, and where no phantom power is available the mic can still be powered by two AA batteries for up to 120 hours. There is a light that indicates when the mic is on, via switch, and the same light will continuously show when the battery is near dead.
Shure SM57:
These dynamic microphones are typically used to record snare drums, guitars, and amps. They are commonly used in live sound reinforcement and studio recording, becoming one of the best selling mics worldwide.
The SM57 is fitted with an XLR connector and is impedance balanced, which helps to minimize electrical hum and noise pickup when connected to a balanced input. The grille allows for closer placement to the source of sound.
Its a popular choice used by musicians due to its sturdy construction and ability to work well with instruments that produce high sound pressure levels, such as percussion instruments and electric guitars. Its used on snare drums, floor tom, rack toms and kick drums.
Audio Technical AT3525:
The AT3525 was an early black-electret condenser microphone, released around 1998. The mic had a relatively flat frequency response, and high max SPL and 156dB with the onboard -10dB pad enabled. A second switch on the mic body enabled a high pass-filter.
The AT3525 is a wide-range fixed-charge condenser microphone with a cardioid polar pattern. This mic is intended for use in professional applications where remote power is available. It requires 48V phantom power, which may be provided by a mixer or console. The cardioid polar pattern of the AT3525 is more sensitive to sound originating directly in front of the element that to sounds coming from the sides or rear.
Shure SM58
The Shure SM58 is one of the most popular dynamic microphones worldwide. It was produced in 1966 by the Shure Incorporated,it built a reputation among musicians for its durability and sound, and is still the industry standard for live vocal performance microphones. It is a directional microphone, it is subject to proximity effect, a low-frequency boost when used close to the source. The cardiod response reduces pickup from the side and rear, helping avoid feedback onstage. They are. wired mics, (with and without on/off switch) and wireless versions. A distinctive feature of the SM58 is its pneumatic suspension system for the microphone capsule. The capsule can be replaced if damaged, being surrounded by a soft rubber balloon, rather than springs, or solid rubber. the SM58 is un-switched unlike the SM58S that has a sliding on/off switch.
The difference between the SM58 and SM57 is the grille. The SM58 is intended for live vocal performances, which tend to put the microphone much closer to plosives. These can stress the diaphragm and distort sound. The rounded grille of the SM58 is lined inside with a thin layer of reticulated foam (open-cell foam) to serve as a pop filter.
Rode M5 (with clips
The rode M5 is a high-quality matched pair of small-diaphragm condenser microphones designed for performance in a wide range of recording applications in the studio or on stage. It features a 1/2 inch gold-sputtered cardioid condenser capsule with very low noise and a full frequency response, the M5 is equally at home on range of acoustic instruments. It includes microphone clips. These mics have low self noise and can be phantom powered from a 24 or 48v source. They give of a clean and detailed sound, leaving it love among musicians worldwide.
AKG D112:
AKG D112 mics are typically used for the kick drums. The AKG D112 is a large-diaphragm cardioid dynamic microphone featuring a high SPL capacity ideal for miking drums and other high SPL applications. It's suitable for use in studio environments as well as in a live setup.
The frequency response of this mic is specifically tailored for kick drums and comes with a wide frequency bandwidth ranging between 20Hz-17000Hz. The lows have a powerful response that delivers a resonant/deep and punchy bass.
Sennheiser e604
The Sennheiser e604 is a cardioid dynamic microphone, it is a small and compact dynamic drum and brass microphone that is compatible with snares, toms and percussion. It has a clip feature that allows it to clip onto the instrument with a tough, reinforced housing and clamp. The e604 is able to transmit high SPL's without any distortion and has very low sensitivity to impact and handling noise.
D.I. box
D.I. (direct) box is an electronic device typically used in recording studios and in sound reinforcement systems to connect a high output impedance unbalanced output signal to a low-impedance, microphone level, balanced input, usually via an XLR connector and XLR cable. DIs are frequently used to connect an electric guitar or electric bass to a mixing consoles microphones input jack. They are typically metal boxes with input and output jacks and, for more expensive units, 'ground lift' and attenuator switches. DI boxes are extensively used with professional and semi-professional PA systems, professional sound reinforcement systems and in sound recording studios. Passive DI boxes first appeared in the United States in the middle 1960s, most notably in Detroit at radio stations and recording studios like Motown. These DI boxes were custom made by engineers likeEd Wolfrum and his Wolfbox' and by concert sound companies to help amplify electric musical instruments. These boxes typically contained an audio transformer with a turns ratio from approx 8:1 to 12:1 to helpwith impedance bridging from the high output inpedance of an instruemnts pickup to the relatively lower input impedance of a typical mixing consoles microphone preamp.
On the left is a list of the microphones we use in the college studio, and the same ones I wrote about above.
Polar patterns:
a polar patterns is the space around a microphone where it picks up sound or is the most sensitive to sound. These patens can be visualised in three-dimensional space. The different patterns play a role in determining their best use.
Cardioid: The cardioid polar pattern, a heart shaped response, is the most common directional pattern, prioritising sound capture from the front and reducing sound pickup from the sides and rear. This makes it ideal for isolating a single sound source and minimising background noise.
The cardioid pattern is most sensitive to sound directly in front of the microphone (0 degrees) and least sensitive to sound coming from the back (180 degrees). Its directional nature allows microphones to focus on a specific sound source, such as a vocalist or an instrument, while rejecting unwanted ambient noise or sounds from other directions. Its well suited for live performances, studio recording, and podcasting where isolating the primary sound source is important. Examples are the Shure SM57 and Rode NT1.
Super cardioid: A super-cardioid polar pattern is a microphone pattern that picks up sound from the front more than the sides or back. Its a variation of the cardioid polar pattern, but with a narrower pickup angle.
Super-cardioid microphones are good for isolating a sound source from background noise and other instruments. It can also be more resistant to feedback than cardioid microphones. Super-cardioid microphones can have higher gain before feedback, which is useful in live situations.
However, super-cardioid are slightly sensitive to sound sources directly behind the mic, and the user needs to maintain a more consistent position directly infront of the mic.
hyper-cardioid: A hyper-cardioid polar pattern, a highly directional microphone pickup pattern, is characterised by a narrow, focused front pickup area with a smaller rear lobe, offering superior rejection of sounds from the side and back compared to cardioid or super-cardioid patterns.
Hyper-cardioid microphones are known for their exceptional directionality, making them ideal for isolating a specific sound source, especially in noise environments. The pattern resembles a cardioid shape with a tighter, more focused front pickup area and a smaller rear lobe. Hyper-cardioid microphones have null points (areas of sensitivity) at approximately 110 degrees and 250 degrees relative to the microphones axis.
Omnidirectional: An omnidirectional polar pattern is a microphone's sensitivity to sound from all direction, or 360 degrees radius. This means that the microphone is equally sensitive to sound regardless of its orientation to the sound source.
Its used in settings such as studio recordings as its ideal for capturing a natural, open sound. Lavaliere microphones, the user can move their head without worrying about being picked up by the microphone.
This patterns sounds particular open and natural, and it doesn't need to be pointed in any particular direction to capture the source sound. However, it's prone to feedback, pick up ambient noise, can't easily separate channels, and not suitable for rejecting background noise or monitoring feedback on-stage.
figure 8: A figure 8 polar pattern, also known as bidirectional, microphone picks up sound equally from the front and back, while rejecting sound from the sides, making it useful for recording in situations where are two sound sources opposite each other or for maximising side rejection.
This pattern is characterised by it's sensitivity to sounds coming from the front and back of the microphone, while being insensitive to sounds from the sides. It's ideal for capturing two people speaking into opposite sides of the microphone, such as in a conversation or interviews. It's good for isolating sound sources in environments with ambient noise or when there's unwanted noise coming from the sides.
The figure-8 polar pattern is designed to minimise sound from the sides, creating 'null' or 'dead' zone along the sides.
shotgun: A shotgun microphone's polar pattern is a tight lobar pattern that's highly directional. This means it picks up sound from the front of the microphone, while rejecting sound from the sides and back. These mics are also known as 'interface tube' microphones. They have a long, narrow tube with slits that capture sound. Off-axis sounds enter the tube at different times, so they arrive at the capsule out of phase. This causes the sounds to partially cancel each other out. The longer tube, the tighter the polar pattern and the lower the frequency at which it's effective at reducing off-axis sound.
These mics are ideal for situations where you want to capture a specific sound square, such as in film and T.V.
Audio interfaces: An audio interface is a device that connects your computer to musical instruments, microphones, and other audio equipment, allowing you to record, play, and process sound with your computer. It acts as a bridge between the analogue and digital worlds of audio. Its central role is to convert these external ('analogue') signals into a format that your chosen DAW can understand. From here, you can save, manipulate and export the sounds through editing and processing. Once this is processed by the computer, it also routes this audio back out to your monitor speakers. We'll take a look at this in a bit more depth further on. Audio interfaces are needed for high quality recording and monitoring. Its two key components are the converts and preamps, which perform different functions, but both enable you to listen and record in greater accuracy and detail. Preamps are involved in making tracks containing singing or instrumentals, it allows your computer to process the recorded signal, and capture high quality recordings. The external signal, or the sound you are recording, is boosted by an in-built pre-amplifier, a necessary process as the electrical signals coming in via inputs are very weak. The convertor on the other hand is responsible for codifying the signal into a binary code that your computer can read. Your computer's sound card (containing another convertor) is not designed for high-end audio processing.
Setting up an Audio Interface: You will be connecting your interface to your computer either via a USB port or Thunderbolt cable. Its also most likely it will be powered by this connection too, so when its plugged in, check for a light to see if its switched on properly. Connect your interface to your monitors via output cables, then connect your interface to your computer. Adjust your computer/DAW audio settings to the audio interface device. Connect your microphone via input then record a dummy track via this selected input channel. Playback the audio to see if it working the adjust the input gain on audio interface as required.
This is a pop filter infront of a microphone
Vocal recording/editing:
Vocal recording in a studio involves capturing an artist's voice to produce a playback that sounds similar to original performance. It can be challenging part of the music production process. Vocal recording is capturing the voice of the artist in the most effective and efficient way so that the play-backwill be as true sounding to the
Equipment needed are things such as microphones, audio interface, headphones, and pop filter.
3:1 rule
Microphone placement: When setting up a vocal microphone you want to make sure there is plenty of space around your microphone so its not picking up reflections of the singer bouncing off the walls and back into the microphone. Furthermore its about isolating the microphone from the space around it. Shock mounts aka. 'baskets' come with many condenser microphones as a way to decouple the microphone from the floor. Doing this eliminates low-end rumble and environment noise from travelling up the microphone stand and into the capsule. Try and keep your mic pointed away from any other sources that can create noise.
The height placement of the microphone can give you dramatically different results, such as having it a few inches in either direction rather than having it placed straight on to the singers mouth. By placing the mic slighting higher than a singers mouth (such as having it hang from the celling), you are able to subtly nudge them to open their airways by tilting their head back as they sing. Inversely, placing a mic slightly below a singer's mouth can bring out more of their chest voice. This can show how the placement of your microphone can change the sound of your vocals.
Pop filters are another essential, they eliminate plosives- bursts of air from a singer's mouth. These plosives are usually a result of hard consonants where strong, transient sounds are made. The attack of these sounds can often hit the microphone of the capsule so hard that they clip the preamp and distort your signal- not something wanted when recording. By placing a pop filter between your singer and the microphone, you can both space out and create a clearer, more consistent sounding vocal performance in the process.
Recording/micing drums: A technique for recording drums is called the 'Glyn Johns' technique. This technique uses a small number of microphones to create a full stereo image of the drum kit. Its minimalistic approach that's good for beginners and those on a budget.
How it works: Overhead mics- Place one overhead mic directly above the snare drum and another slightly to the right of the floor tom. Both mics should be equidistant from the snare drum. Side fill mic- place a second overhead mic near the floor tom, facing the high-hat. This mic captures the kit from a different perspective. Kick drum mic- place a mic in front of the bass drum. Snare drum- optionally, place a close mic to the snare drum.
Benefits: The Glyn John technique creates a big, punch drum sound. Its a good option if you dont have many mics or inputs on your interface. This technique has been used by many artists such as The tolling stones, Led zeppelin and The who.
When recording drums, you should record them in a quiet space to avoid ambient noise, check the phase alignmet. And use noise gates, compression, and equalisation to improve the sound.
Recording/micing guitars: Micing a guitar involves choosing a microphone and placing it to capture the guitar's sound. The type of microphone and its placement can depend on whether the guitar is acoustic or electric, and the desired sound.
Acoustic guitar: Placement- A common starting point is where the neck meets the body. You can also try placing the mic slightly above or below the guitar. Distance- The distance between the mic and the guitar can vary, depending on the desired sound. Microphone type- A large-diaphragm condenser microphone can produce a balanced sound. Sound- If the guitar sounds boomy, move the mic away from the body. If it sounds thin, move the mic closer to the body.
Electric guitar: Microphone type- A dynamic microphone, like the Shure SM57, can produce an in-your-face guitar tone. Placement- Place the mic close to the speaker/amp cloth to minimise room ambience. Multiple microphones- using multiple microphones can expand the sonic palette. You can mount the microphone on a stand or boom arm. You can record each microphone onto its own tracks for mixing.
Pre-production is the planning phase that happens before recording begins. Its the process of developing and refining musical ideas into a demo recording. It's a planning stage that helps artist establish the creative foundation for a song before recording. What happens during this process is, the artist will create a rough draft/ demo for their song which then the artist will use it to improve any of their musical ideas. The musician will then prepare any materials they will need throughout the recording session, and set goals they will want to achieve. Pre-production is key for artist as it can help reduce the money and time spent in a recording studio, and can help artist to enter the recording phase with more promising ideas already established.
EQ (equalisation) is a technique used in music to adjust the volume of specific frequencies in a sound used during the mixing process of a song. Its a key part of music production, helping to balance the mix of different instruments and elements. EQ adjusts the amplitude of specific frequencies in a sound, this can help to fix imperfections in a sound/song. EQ can cut unwanted frequencies such as the bass in drums or guitar when they are unwanted if a bass is present in a song, or it can boost any frequencies. It also helps balance out sounds so they can work more smoothly together.
Mixing in music is the process of combining multiple audio tracks to create a balanced song. It involves adjusting the volume, frequency, and other characteristics of each track. Mixing works through the process of: identifying the most prominent element, usually lead vocal or primary instrument. You then adjust the prominent element by setting the fader so the element is audible but not overpower, (usually around -6dB). You then gradually bring in the other instruments, tending to start with the kick and bass then by whatever is most important in the song. You then move onto changing frequencies of the elements, i.e. removing bass from drums and other instruments so the bass comes through more clearer. Then you can begin to pan the instruments, so it fills the empty space in the song.
EQ tab on logic pro.
Below is the process of mixing a song I made with my band.
performance:
Acoustic Diffusion Technology (ADT): ADT is a technique that spreads sound waves throughout a space to improve the sound quality. Its often used in concert halls, recording studios, and home theatres.
How it works: Sound waves bounce off flat surfaces at the same angle they hit, sound waves reflect off uneven surfaces at multiple angles, spreading the sound out. This makes it harder for the brain to pinpoint the source of the sound. Benefits: improves sound quality, Can make a room sound larger, Can reduce distortion, And can make a room sound more natural.
Types of diffusers: Skyline diffusers- A common type of diffuser made from wood pieces cut to different lengths and arranged in parallel. Quadratic-residue diffuser- A type of diffuser that can exaggerate issues in a room if low-frequency issues aren't managed. Primitive-root diffusers- A type of diffuser based on a number theoretic sequence. Factors to consider: the type of room and what its used for, the amount of low-frequency issues in the room, and the reverberation time in the room.
Song-writing techniques:
Song-writing techniques include using the rule of three, writing a hook, and choosing a song structure.
The rule of three: present music, repeat it, and then vary it. Write a hook: write a memorable chorus or hook for your main instrument. Choose a structure: decide on the structure of your song, including the verses, bridge, and chorus. Play the rhythm and cadence: Adjust the rhythm, structre, and candence of your words to fit your melody. Balance structure and spontaneity: Strive for a balance of structure and spontaneity in your lyrics. Make a memorable melody.
PA/Live sound equipment is a combination of speakers, microphones, amplifiers, and mixers that is used to make sound audible to a large group of people. Components of a PA system include, microphones- Dynamic mics are strong and portable, while condenser mics are more sensitive and detailed. Amps- increase the signal strength from the mixer to power the speakers. Speakers- passive speakers don't have built in power supply, so they need to be powered by an amplifier. Mixing console- combines and modifies multiple sources, such as mics.
Uses of a PA system are places such as Live events, i.e concerts, lectures, performances, and speeches. Public announcements, i.e updates, reminders, and safety alerts. Public venues, i.e schools, churches, stadiums, and conference halls. And public transport, i.e buses and trains.
A PA system works by converting sound waves from a microphone into electrical signals, amplifying those signals through a mixer and amp, and then projecting the amplified sound through speakers to a wider audience. Essentially making a person's voice louder and clearer across a larger area. The mics captures sound waves from a speaker or performer, transporting them into electrical signals. The mixer allows audio engineer to adjust the volume levels of different mics, add effects, and route the signals to the amp. The amplifier boosts the electrical signal from the mixer to a higher power level, enabling it to drive the speaker effectively. The speakers convert the ammplified electrical signal bacl into audible sound waves, projecting them to the audience.
live streaming is the simultaneous recording and broadcasting of content in real-time, much like a live TV event. You broadcast live video out to viewers on the internet. In the music industry, a musician will perform live for an audience online. Benefits of this are factors such as global reach, where musicians can connect with fans around the world. Virtual concerts, where musicians can host concerts even when its not practical to have a physical audience. Rehearsals, fans can get a behind the scenes look at the creative process. And finally, online radio shows, where listeners can engage with musicians in a communal experience. Live streaming allows artist to communicate with their audience in real time.
Equipment need would be a computer or smartphone, a live streaming app such as YouTube, tiktok, twitch etc., Music production equipment, a webcam, and a strong internet connection.
Artist who have live streamed performances are musicians such as Niall Horan, where he performed 3 of his song on a live stream on Instagram from his own home, doing an acoustic set.
This is Niall's live stream he did on Instagram to then upload onto YouTube.
This is a live stream I did with my college band for original song writing, we did a session in the CCI TV studio to perform our original songs and had it live streamed onto YouTube.
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