The microphones used and operated at Exeter College:
c1000 - 0:04
D112 - 1:06
SM57 - 2:43
NT2A - 7:00
RECORDING SESSION 1
Friday, 24/01/25
Session Role:
(Me) Phoenix Maunton (Producer/Engineer)
Madi Broedrich (Producer/Engineer)
Charlotte Tunstall (Performer - Drums)
Billy Phillips (Performer - Acoustic Guitar)
OBJECTIVES: For our first recording session in the studio we'd
Equipment: focus to get drums and bass recorded succesfully.
C1000 x2 (overheads)
AKG D112 (kick drum)
SM57 (snare drum)
D.I. Box (acoustic guitar)
XLR cables x5
Mic stands x3
Headphones x2
Headphone adaptors x2
Headphone leads x2
PLAN: Arriving to the studio, me and Madi will work on the setup of equipment with the drum mics and D.I. box whilst Charlotte and Billy set up their instruments. We will use the SM57 on a mic stand as it's a typical directional mic - angled towards the snare, the D112, as it's the designated kick mic - placed inside the kick and the two C1000s as overheads due to them being condenser mics with expansive capturing abilities - placed on stands equidistant from the centre of the kit.
Then we will input the acoustic guitar into the D.I. box as to not have bleeding in the mix and put that in the input next to the other mics inside. Then using an adaptor and a jack - jack cable to plug both headphones into the headphone inputs so that the other guitarist alongside the drummer can hear both the guitar being recorded and the click track from the Logic project being ran.
The sound engineers (me and Madi) will then connect the inputs on the loom into the corresponding outputs required. We will proceed with the same process for both headphones, having all levels be clear and balanced with Billy/Charlotte, once we have the levels balanced after soundchecks, we will try to get as many takes of drums and acoustic guitar as we can to then cut down to our favourite take before the cutting process later.
Downloading the project onto a usb stick to be managed later - clearing the studio.
RECORDING SESSION 2
Wednesday, 11/02/25
Session Role:
(Me) Phoenix Maunton (Performer - Electric Guitar)
Madi Broedrich (Producer/Engineer)
Charlotte Tunstall (Performer - Drums)
Billy Phillips (Producer/Engineer)
OBJECTIVES: After the complications that arrived with our
previous recording sessions, we had found ourself having
to re-record the drums before we'd move onto my guitar.
Equipment:
C1000 x2 (overheads)
AKG D112 (kick drum)
SM57 x2 (guitar and snare drum)
Mic stands x4
Headphones x2
XLR cables x5
Headphone leads x2
Headphone adaptors x2
PLAN: At the studio, me and Charlotte will mic up the drum kit using 2 C1000s as overheads, a SM57 on the snare and the D112 in the kick drum. They will mic up the amp too, with a SM57, being a directional mic. Connecting these all up to the inputs in the studio with XLR cables.
In the control room, the sound engineers will be connecting the inputs on the loom into the corresponding outputs - the same with the headphones, starting the volume low and using communication while increasing volume, to protect me and Charlotte from potential hearing damage. Using the memory stick from the week prior to add new tracks to our Logic Project, soundchecking to get levels right before the recording process. We will record in the studio along to the track we already have started - which we will hear through our headphones, to stay on time with the song. We will aim to record as many takes once more as to then cut to our best draft.
Downloading the project onto a usb stick to be mixed later - clearing the studio.
Risk Assessment:
Hazard
Severity
Risk
Person at risk
Prevention
Trip Hazards
Mild - Severe
( Falling may cause injury )
Cables
Bags
Music Stands, own equipment etc
Breaking Equipment
( Value of equipment)
Anyone who needs to move through the studio (musicians if they are stood or moving) - any studio wires getting caught - being a confined space with lots of electronics
Musicians will keep bags away to the control room on the other side of the studio where the producers will keep their belongings safe.
Cables will not be loosely thrown around and must be organised neatly - do not tangle cables with others and clearly show which is leading to your instrument/mic.
Music stands and any other equipment such as pedalboards should be alerted to the rest of the band.
Spillages
Mild - Severe
( Spillages may lead to falls and slips; same as trip hazards)
Damage to equipment via water damage - cables being around the studio and other expensive equipment
( Value of equipment)
Anyone who needs to move through the studio (musicians if they are stood or moving) as well as anyone who has equipment as assets such as venues and for example, the college with their equipment such as amplifiers and cabinets), particularly in the studio with cables etc. This may lead to fires from electrical bursts if not maintained well.
Musicians will keep drinks away - keeping anything containing water within their bags and placed in the control room.
Any drinks seen/left out should be promptly removed or returned to the owners bag.
Any spillages should be alerted if seen and any further sparking implications lead to people evacuating from the studio itself.
Exposure to high volumes
Moderate - Severe
( high volumes of 85dB and above can cause permanent damage to hearing)
This can vary for musicians due to exposure over time
Headphones used in the studio may damage hearing from sensitivity
Anyone performing with their instrumentation, particularly drummers and guitarists who are infront of the cabinet speakers and output where they receive their audio.
Anyone in the room who may not be a musician may be more likely to have less hearing damage preemptively - so may be more vulnerable too. Whoever has the headphones will be vulnerable too.
Musicians will play to a comfortable volume level . Musicians may also track the dB of the room to see if levels arise over 85dB etc.
The headphone sensitivity will be accounted for at the lowest volume setting then being slowly rolled up.