Nabih Mohamed Salah and Cruz SwanMohamed Shawki Kamel.
Communication Methods: Email Chain, Whatsapp Group, and Google Docs Project Planning Document.
PROJECT OVERVIEW: This project aimed to plan, record, and mix a simple multitrack recording. The initial idea was to develop the first project into project 2. However, upon brainstorming as a group it was difficult to adapt project 1 as a multi-track recording. The chosen piece is a pop track named "24K Magic" by Bruno Mars. The chosen instruments for this project are drums (12 channel miking) and bass guitar (DI).
Group Member Roles and Responsibilities:
Pedro Coelho Antunes and Nabih Kamel are responsible for setting up the microphones, amplifiers, and console, creating pro tools, tracking, and recording the instrument.
Cruz Swan is in charge of photographing the equipment used, positioning microphones, and documenting the recording session.
Tracing Schedule
The Audient studio was booked through the SAE supervisors on November 6th, 2021.
The recording session took place on November 13th, November 2021, from 9 a.m. to 5 p.m.
16th February 2021-Mixing in EMP Studio and Recording of Lexicon.
The reason why we chose the E902 microphone for the kick drum and the snare was its efficiency in capturing low frequencies. The E902 microphone is also well known for capturing loud instruments within a safe environment.
The reason why we chose to use the E905 and E935 microphones to record the snare drum was due to their cardioid polar pattern and their frequency response of 40 Hz to 18 KHz. In addition, these two microphones are also light in weight, which enables us to easily manoeuvre them into the correct position of capture.
We chose the beyerdynamic drum kit microphone set to capture the Hi-Tom, Mid-Tom, and Low Tom because of their frequency ranges. These microphones are specifically designed to capture acoustic drums, which means that they have a fast frequency response time, as well as the fact that they are able to capture a wide variety of frequencies from 20 to 200 kHz.
The reason why we decided to use the audio technical pro 37 microphone to record the high hats was its professional performance in studio recordings and its low-profile design. This is a microphone that is barely noticeable within this year's recording scenario but is great at picking up higher-frequency sounds.
The reason why we decided to use the AKG P170 to record the symbols was Jithu’s small-diaphragm size, which allows us as audio engineers to capture frequencies between 20 and 20,000 Hertz, and it also has an imperialist of juice at 200 ohms. In addition, this microphone has a reduction switch available which enables us to capture louder instruments at safe volume levels.
The Rode NT1A is a good microphone for all-around use, from vocals to recording instruments. This is because of the lack of a heavy-handed boost, which makes the sound well suited for a wide range of frequencies and harmonics.
The Blue Baby Bottle microphone was used to capture the front of the room. The reason behind this choice was due to its range of frequencies captured, allowing as many sounds and nuances to be captured as possible.
The Bluebird and AKG C414 microphones were used to capture an overall overview of the drum kit recording. The reason why the Bluebird microphone was chosen to capture the overall sound was due to its high pass filter and the -20 dB pads that it has available in order to capture louder sounds.
We chose the SM57 microphone because it was the only available talkback microphone available within the facilities.
Passive Direct Box: Works as a transformer to convert the unbalanced signal. A passive direct box can handle lower-level singles and enables audio engineers to eliminate unwanted background noise from amp recordings and captures.
Throughout this project, we faced quite a few challenges. An example of the challenges that we faced was with the Audient desk. We faced multiple challenges with the desks, such as routing channels and patching microphones from the live room into the console room. To overcome these issues, we approached the supervisors, and they were able to solve some of the problems. In addition, while recording the drums, we also faced issues with routing channels from the desk to the DAW. To overcome these challenges, we decided to not use routes one and six as they were malfunctioning. I needed to be more aware of what needed to be done to achieve the high distinction successfully within this project. I conducted in-depth research on the desk and found an alternative method to record.
Patch Panel & Lexicon FX Unit
Drummer & Drums Setup
Live Room Snake Patching & Connection
Drum Kit Close Up
Drum Kit Close Up - Overhead Mics
Cymbals Micing
Drums Mix DAW Mix (Panning, Volume Fader Preset, Grouping & Output)
All the different drum parts were recorded directly to Protools twice. I personally decided to use the first take for my final project mix as it was a cleaner and more accurate recording. In the second recording capture, the drummer was out of sync, which meant it would be more difficult to mix and master the project. In terms of FX used, all effects were recorded directly from the Lexicon unit that is present within the studio facilities.
This project was to plan, record, and mix the chosen track. We, as a group, decided to choose 24K by Bruno Mars, which was a track that we thought best represent and demonstrated our skills in a studio environment. I was successfully able to plan and execute the final project. Through this process, I was able to successfully collaborate with different team members in my group in order to produce the final outcome. Due to multiple issues that we as a group faced throughout the recording day, I personally found this project quite challenging in comparison to project one. I was personally in charge of connecting all the different mics to the room stage box, along with mixing, recording, and mastering the project. We, as a whole group, decided to delegate roles that would best suit each of the members' strengths. I personaly think that the recording and the mixing process went really well, apart from the routing and patching issues we faced with the desk in the studio session. At first, the desk routing system was not working, which meant that, at first, we were unable to individualize each individual microphone that was recorded. To overcome this, we decided to move our microphone channels across to an empty channel where they were not facing routing issues.
This project not only taught me about the various features of the Audient mixer, but it also taught me about the various ways in which I can successfully apply the Lexicon effect unit to a mix. While bouncing down my mix and project, I also faced issues with the library directory, as it was not allowing me to bounce down the final mixed recording. In order to overcome that, I searched online for alternative options and also tried to find videos of other people who had faced the same issue as I did in order to conclude a solution. I was finally able to find a solution to the issue by changing the directory location. I was then able to successfully bounce down on my mix.
This project allowed me and my group members to learn a lot of different things. An example is the way in which the audio desk works, the different input routing settings for the DAW software, and finally, the best way in which we can mic up and record different parts of a drum kit. At times, I personally face a lack of commitment from the other team members in my group. Therefore, as a resolution for future projects, I will be requesting to work alone. Instead of developing this project, I would like to collaborate with a film student and record a multi-user podcast that fits the spec brief.
Out of the whole experience of Project Two and all the skills that we have learnt and developed, I personally think that I have strongly enhanced the following skills:
Time Management: I was personally able to successfully brainstorm, plan, produce, and mix the final product within the given time frame despite all the issues I faced throughout the process.
Communication and Collaboration Skills: In terms of communication and collaboration skills, I personally think I was able to find different methods that were efficient to communicate with different group members in my team and also collaborate successfully in order to produce a final outcome.
Problem Solving and Critical Thinking: One of the transferable skills that I personally feel that I have demonstrated within this project is problem-solving and critical thinking. Throughout the recording and mixing process, I was required to come up with different solutions to resolve problems that raised throughout. Furthermore, in terms of critical thinking, I also feel that I have successfully demonstrated this skill in the planning phase of this project and through considering a plan B at all times as a backup.
White, P. (2021, November 1). Rode NT2000 & NT1A. Retrieved November 18, 2021, from https://www.soundonsound.com/reviews/rode-nt2000-nt1a.
Microphone. Sennheiser. (n.d.). Retrieved November 18, 2021, from https://en-ae.sennheiser.com/instrument-microphone-kick-drums-bass-guitar-tuba-bass-e-902#:~:text=The%20cardioid%20e%20902%20is,your%20bottom%20end%27s%20best%20friend.
Hollen, J. L. (2021, November 18). Audio Technica AT2020 Review - is this microphone any good? Old. Retrieved November 18, 2021, from https://oldtimemusic.com/audio-technica-at2020/.
E935 vocal stage microphone features ... - full Compass. (n.d.). Retrieved November 18, 2021, from https://www.fullcompass.com/common/files/3282-e935SpecSheet.pdf.
Beyerdynamic TG D58c cardioid condenser clip-on drum microphone. Sweetwater. (n.d.). Retrieved November 18, 2021, from https://www.sweetwater.com/store/detail/TGD58C--beyerdynamic-tg-d58c-clip-on-swivel-top-condenser-drum-microphone.
AKG p170 small-diaphragm condenser microphone. Sweetwater. (n.d.). Retrieved November 18, 2021, from https://www.sweetwater.com/store/detail/P170--akg-p170-small-diaphragm-condenser-microphone.
2021's Best drum mics: Top 10 microphones for the money reviewed. Drum Center of Portsmouth. (1969, March 1). Retrieved November 18, 2021, from https://www.drumcenternh.com/news/best-drum-mics.