RECORDING A

BAND:
ASSIGNMENT 2

Lesedi Moeng

Damelyn Menlyn
Due: 30 April 2023
Table of Contents

Task 1 ................................................................................................................................................ 3
Pre-production ................................................................................................................................ 3
Task 2 ................................................................................................................................................ 8
Production ...................................................................................................................................... 8

Postproduction ................................................................................................................................. 14

Task 3 .............................................................................................................................................. 15

Bibliography .................................................................................................... 19

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Glossary of Terms
Mic- is the shortened word for microphone

TS- shortened word Tip Sleeve

Mixer- console used to allow communication between devices

Amp- refers to the amplifier which is a devise used to increase the magnitude of a
signal

Clean- free of noise, distortion overhang, leakage, not muddy

Direct In Box- device used for connecting amplified instruments

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Task 1
Pre-production
Meet with the band to discuss their vision for the recording, focus more on the
arrangement, tempo and instrumentation of each section of the song. Waste no one’s
time by being prepared and getting it right at the source, spend time on the stuff that
matters when it comes to recording to make mixing later easier as a song is 80%
dependent upon recording and the 20% left is for editing to be made in the mixdown
stage of production. Be professional and make frequent contact with the band
members but more especially to their leader to discuss on the desired sound and mood
for the recording. Agree on the recording dates and times that accommodate the band
members availability. Sort out any minor issues that could be time consuming such
as messy cables around the studio or the placements of microphones beforehand.
Ensure the surrounding being recorded in is within an environment that brings the most
out of everybody including yourself.

But within the studio choose the space with minimal background noise and good
acoustics and to make extra effort if the room is not treated, set up proofing materials
like acoustic panels and bass traps to control reflections and unwanted noise.

Before further ideas are laid out, ask for a reference track if not make way to find one
or something related to the type of mix the bands want but also to use for comparisons
if there are further adjustments to be made. A suitable place should be the studio found
at school as it’s a public area that is known unless you know, or the artist don’t mind
going wherever else to record such as on location outside but to assure everyone
safety it would be better to record on the facility given by the school.

These are the equipment to be used without specifications:

An interface

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 Reliable computer and DAW

Direct Injection Box

Headphones

Monitors

On stage Monitors

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 Acoustic Guitar

Electric Guitar and Amplifiers

CABLES

A Tip Sleeve chord(multiple)

XLR cable (female and male) multiple

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 Snake Stage Box

MICROPHONES

Dynamic Mic and/or

Condenser Mic

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Guarantee the recording signal flow is not faulty in any manner by checking the cables
and signal line. From the sound source which could be signal from the microphones
connected or the other microphones connected to the band instruments such as the
drums and amped guitars as the inputs, and any preamps used. From then on it is
placed on a channel fader and bus master. Consider all these as of bus signal that is
connected to a computer Digital Audio Workstation as a processor sending off tape
signal through a line trim, then to a monitor fader on the stereo bus. Make use of a
multitrack interface to facilitate signal flow and allow routing for signal processing
during recording to record with more than two tracks.

Provide rehearsals to ensure the band is well prepared for the performance later to
come. Address any last-minute musical arrangements, tempo and transitions to iron
out potential issues before recording begins. Also provide chord charts or sheets to
guide the band through the songs chord progression, arrangement and structure.
These sheets allow for smooth communication and execution of musical ideas
between the engineer and band. But have contingency plans in place to address and
minimize any disruptions.

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Task 2

Production

Consider teaching the vocalist simple vocal recording techniques if they do not know
of how to use the mice when recording and the placement and distant from the mic
one must mind when recording. Before signal output is heard through the speakers it
must pass the power amp first. The signal heard is a result that will be put through the
recordings.

Within this first stage of production the music is written and arranged. To suit the mood
and energy of different sections of the song consider setting a consistent tempo for
each song to maintain rhythmic stability and groove. Samplers and synthesizers to be
used may be part of the programmed. Making sure you end up with a saved project
file containing audio tracks that all start from the same point. Making it easy to get
around the place should be priorities as the first step. Try sticking to a generic layout
with each mix project to clear headspace for making major mix decisions.

After consideration for the selection of instruments to be used for the recordings, one
must make sure that the instruments to be used are tuned and set up correctly for later
use. The musicians rehearse with the instruments to be used and placements of
microphones and monitors to be used have to be accommodating for the room
recorded in. The channel strip on a mixer within the audio channels, assign each mic
output from the drums on set to the bass guitar and acoustic guitar, lead and backup
vocals. Position microphones strategically to capture the best sound for each
instrument and vocalist. Equipment to be used would be cables known as XLR or TS
(tip sleeve) can be used but I used an XLR connected from the mic to the interface
and the mixer. And made use of a TS cable connected from the guitar’s amps for both
the bass guitar and lead electric as a TS cable is unbalance and only have two
conductors The tip caries the audio signal while the sleeve acts as a ground. When
recording, the type of microphones used is way different compared to the microphones
used when performing for instance the cardioid microphones is usually swapped for
dynamic use when preforming as the mic would be in use for performance.

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A lot of mic stand would be in use as well as different types of microphones for the
different types of pick-up patterns and separate atmosphere. Ensure the acoustic
guitar is miked properly at a close distance of 9 cm away from the hole of the guitar
board. Connections will be same for the other electric guitars connected to amps.

If the guitar used has clear disruptive distortion, then making use of RMS meter to
control multichannel peaks and do track perceived loudness well if all tracks are
measured the same. By making use of a DI box for the guitar, connect the output signal
of the preamp and the actual guitar into the DI box, then straight into the mixer input
for a well-balanced mix. Especially because the wire and cables are separated by the
different rooms and may run for more than 20 feet, a DI box serves well within that
connection. The 2 electric guitars connected to their own set of preamps but share the
same DI box. The vocal recording are also separated within their own room and with
their own types of microphones. The backup microphone used can be dynamic
microphones for both the male and female backup vocals but for the lead, the
microphone best suited would be the AKG C414 XLII. For both the lead male vocal
and female lead vocal for quality tonal pickup

For vocals it is wise to make sure to record multiple takes to allow the band to give
their best performance and make it easier for the engineer to select from the best takes
later when mixing. To achieve a great mix, focus on the balance, EQ, ambience, and
dynamics which are basically the fundamentals to get the right mix. EQ allows us to
control the balance of each frequency band of the mix independently, we can ensure
that around the 50-60 Hertz the balance is dominated by the kick drum with the low
fundamentals of the bass guitar sitting behind it, but we can reverse that at 100 Hertz
and sit the bass in front of the kick for that frequency range and in doing that we stop
the waves from interfering one another but keep them booth audible at the same time.
All elements mixed end up as one stereo waveform once mixed and mastered and all
the separations between parts creates an illusion in the listener’s head. If the important
frequency is masked by the important frequencies of the other parts, then the mix will
be clustered and confusing to the listener and might be straining to separate the parts
and make sense of what they’re hearing. After recording all sessions, review the
recorded tracks and address any concerns and provide feedback to band members
and have discussions or additional recording that may be necessary.

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Within a room characteristic that has tons of reverb in a recording due to the nature or
treatment of the room. The smaller the room the less effect of the acoustics reverb as
we think of it becomes a type of EQ such as a controlled shape found on guitars. The
most obvious ways to capture and control the ratio between directed and reflected
sound is to move the microphone closer to or further from the source.

I would place one mic close to the sound source to pick up more direct sound such as
vocals (lead and background). Then place an ambient microphone to pick up reflected
sound and blend to mix later. But if you are recording the vocals off in different rooms,
we are forced to make use of a close mic to pick up more so direct sound signal and
make use of an artificial reverb if the room recorded in was limited to reflections.

Encourage the band members to deliver at their best capabilities, promise to give
some form of reward within the group such as a higher percentage within that specific
song if roles are swapped and all. When recording it is best to experiment with different
techniques and arrangements to capture sound and dynamics. When selecting the
mic for any instruments one must consider making decisions that are best suited for
the instrument timbre and the microphones pickup pattern.

And for an instrument such the piano the Sennheiser MKH 40 is the ideal mic to use
for its cardioid pick up pattern and as a spot mic for surround recordings and its wide
frequency response set up on a rally clamp and the two cardioid condenser
microphones are placed at a 45-degree angle.

Individually miked instruments such as bass amps often come with ‘direct out’ so you
can connect a Tip Sleeve (TS) cable from the guitar to the amp to have control in
certain parts of the recording and get a clear signal to record without any bleed
including a solo. The microphone chosen for the bass amp is the Shure SM57 as the
uniform cardioid pick up pattern isolates the main sound source while reducing
background noise and tonal pick up. By placing the mic in front of the amp and placed
upon a small mic stand in the middle of the amp, is best for amplified pickup from the
bass guitar. And the two channels on the mixer will be recorded from the Direct In box
and the microphone. The rhythmic element of the lead guitar makes it a priority within
the mix as it might be the most heard instruments and catchiest depending on the
song structure selection. And the same amp mentioned above, or a Marshalls amp
can be used to mike the guitar make use of the Shure SM57 once again.

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The amplifiers connected on the bass and electric guitar are connected between the
mixing console and the interface to produce sound through the monitors. The vocals
microphones are connected directly to the stage snake mic input channel strip. And
the same could be done with the guitars microphones and the bass with the DI. Which
proceeds all the way through to the mixer from wherever it positioned at on the area.
In between all of that and the computer being used stands the interface, connected as
outputs with a 3.5mm plug into the stereo line, to the mixers input to the speakers.
While the headphones to be used are connected on the mixers headphone socket.

When recording drums, make use of the microphones you have at best, 3 can be the
minimum mics to use but if one can afford to place more microphones for the entire
set of drums depending on how big the drum set is, then go all for it. To make the
recording as stereo sound as possible, make placements of the mics from the
overhead, which is placed 75 - 101cm away from the snare. The second microphone
is also placed 75- 101cm away from the center right of the snare to avoid phase
cancellation between the microphones connected and recorded. The sensitivity of the
hihats and cymbals requires a mic that is durable and best for high frequency pickups.
Making use of a pedco clam will be of great help to attach the mic right under the
cymbals.

The mic that is best suited for recording the overheads, snares & tom altogether would
be the Neumann KM84, cardioid pencil condenser microphone which is known for
having an exceptionally flat frequency response and its ability to maintain its cardioid
pick up pattern across the frequency spectrum. Guarantee to pan the overheads and
other mics to the preferred sound levels as you’re recording, and the band is
rehearsing. But recording them separately, then the hi hat mics record with the Shure
SM58. The tom mics can be recorded with the Sennheiser E 604 dynamic mic that is
close to the attack, tough and easy to handle and provides a forceful sound open and
clear in the lows. For the best outcome for pick up in the kick drum, one can make use
of the Shue BETA52A, which is a dynamic cardioid vocal microphone which provides
great attack and punch with a frequency response tailored for unidirectional dynamic
use. Stick the dynamic mic in halfway in and halfway out for nice isolation.

Considering the microphones mentioned are already enough to have more control of
the drum kits sound adding more microphones to the other parts of the drum such as

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the top snare can be a Shure B56A and the bottom snare with a Shure B57A to capture
the bite of the snares.

The main vocal should make use of the AKG C414 XLII which has a classic C12 sound
for recording lead vocals and solo instruments in studio and on stage, the multi pattern
condenser microphone offers 9 polar patterns for the perfect sonic capture for every
application (bidirectional, omni directional & unidirectional.

Starting the mix on the song recorded with the band all the open faders/ pan center/
and EQ are off. Start heavily with the rhythm of the song with the kick and vocals after
along with volume levels, compression and EQ and whatever is audibly intelligent.
Consider being the translator between the band’s instruments and vocals to achieve
clarity within the width, depth and dynamic range as the song must breathe as well.
When mixing don’t forget to focus on the most important part of the mix which are the
mids, which most frequencies are mostly unbalanced and by making them balanced
and full, you have done your job as an engineer to create a stereo image for the
listener.

When getting to the final of the layout structure of the song one must make decisions
surrounding the layout. Application of processors, equalization, compression, multi-
band compression, upwards expansion, harmonic enhancers, stereo-width
enhancers, loudness maximizer which are the peak limiters. Analogue simulation plug-
ins (tape saturation emulation. The rule to the equalization is to equalize sections with
one reason in mind, which is to remove all frequencies below 80Hz on all instruments
except for the bass and kick as they are the supporting structures. Frequency
imbalance as the equal loudness dictates distortion in human hearing and after
listening too long one gets fatigued so make sure to step away from the mix to get a
clearer perspective and get back on it to be done.

Mixing standards are considered with regards by use of EQ and compression to shape
the overall tonal balance of the recorded audio. When mixing, cut the most prominent
frequencies of lead instruments from other backing instruments to create a frequency
window for leads when applying eq.

Make use of effects and signal processors such as a compressor which is a tool used
to control the dynamic element of sound by volume control, turning down the volume
when signal gets too loud. Usually applied on instruments that has a very loud attack

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and very quick decay and the body of sound. But by reducing peaks it allows for the
increase of the level of the instrument in that channel which can be better balanced in
the mix without having to push the fader above the rest of the mix. Make use of
parameters such as ratio, threshold, attack, release & make-up gain found on a
compressor.

The minimum and kinds of plugins could be instrumental plugins, as well as EQ, which
is used mostly when mastering to boost or cut in decibels of particular frequencies
when the sound is too harsh Use of a limiter within the mix is to keep signal peaks
from passing a preset level like a ceiling. Where a compressor reduces dynamic range,
limiters affect the loudest peaks of a signal. Also apply a noise gate which removes
unwanted noise and helps to clean up drum tracks with too much bleed. Another
effective effect to be used can be delay which may be very subtle in the mix but this
type of processors include echo, chorus, flanging and reverb. Which the most used
would have to be reverberation which is a series of multiple reflections that makes the
original sound persist and gradually decays. Utilize automation to dynamically adjust
volume levels, panning and effect parameters throughout the song as automation
transitions build tension and create interest in the mix. Not forgetting the gate which
allows or disallows sound to pass through.

As an engineer equalizers use are there to help balance the overall audio signals
frequency spectrum used on digital consoles. And knowing how and when to use EQ
is a vital skill to have as the engineer. Brighter instruments must sound closer to front
and keep the depth of field in mind when applying equalization. The process of
overdubbing is to try and achieve a near perfect performance due to the option to re-
record a specific performance multiple times and if overdone then it can be a
disadvantage if you don’t know what to do and makes it sound unnatural. One deals
with issues such as tempo and timing issues in this stage.

When mixing, consider the performance of the band being on a stage as the vocal
lead is in front surrounded by the backup vocalists and instrumentalists. So one can
use the same analogy in the mixdown. Vocals being not being buried but present in
the beat same with the instruments.

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Postproduction

In this stage of the mix, enhancing the song further by using spatial stereo imaging
techniques to increase the width and spatial elements. The plug in used on the
recording would be effective in creating a balance and immersive soundstage.
Mastering is the final step which involves cleaning up an audio by making volume
adjustments such as removing noise in the beginning of the track. The song order
when there is more than one song combined like for an album. The order of things is
to prepare then move on to production, post production editing, mixing & mastering
then to deliver the whole song.

The aim is to have equal playback level with the same tonal balance and consistent
sounding all throughout. Export the final mix and use the mastering tool to further refine
the sound by making use of processing that allows one to optimize dynamics. Balance
level of volume and EQ and apply effects to create a polished mix. With the rough mix
is on hand make use of it by using the reference track as a sonic compass. Then import
the recorded multi-tracks, I usually organise my sessions with the music up top, bass
then drums followed by vocals and in the vocals order them in the form of the important
to the least. Create a template that will make it easy for the application of treatment on
a mix.

Create a final master file that meets technical specifications for distribution. Listen to
the mastered mix on different playback systems in different environments to ensure s
variety of listening experience. The full processed recording is to be used for multiple
outlets such as live performances and mp3 wave files send to streaming services to
be sold. And remember for most artist that make it a living they may make use of more
than just recording as they could lease out some of their work to local and perhaps
globally, especially more especially on the producer side. Embed the meta data such
as song titles, artists names and album info into a mastered audio file. Compare your
final mix to reference tracks from similar bands to ensure it meets industry standards.
If the song is a single, then roughly around 8 version of a single song should be made
after the process of recording.

1. Radio edit
2. Album version
3. Extended mix

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 4. Acapella
5. Acoustic version
6. Instrumental
7. Radio edit (that is clean and contains no vulgar)
8. & Lastly a live version of the track.

Then after the mastered song will be rendered to a commercial-standard, single stereo
track which can be used for reselling, broadcasting and duplication.

Task 3

These next mentioned are steps to help guide considerations when planning a
recording session. Set up microphone stands, pop filters and any other accessories
for easy access, don’t forget to tune instruments and warm up vocals before recording
to ensure optimal performance quality.

The create a detailed session plan outlining the recording process including setups,
tracking, overdubs and any additional production elements. Pre session planning is
vital and the review of arrangements of instrumentation to be recorded. Ensure room
preparation and mic selection and placements. Use the microphone to experiment
placement to capture the desired sound adjust the balance, angle and proximity to the
source. It would be best to set up studio monitors in the control room for accurate
playback and monitoring of the recording. Provide headphone mixes for band member
and to adjust levels to individual monitoring needs.

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Planning a recording session months or days ahead is crucial to ensure a smooth and
successful outcome of the whole event to take place. Having a clear objective and
understanding of the outcome helps guide all minor decisions and major too. Stick to
the schedule to maximize efficiency and productivity as that’s the most essential skill
to have as engineer.

The layout of the studio used is basically like the one portrayed on the image above
except with the touch of reality into it rather than a 2D drawing. When recording the
band, I had to make use of the studio monitors for use to be able to hear signal being
output from either room. Remember the rooms recorded in are different based upon
the fact that they are also treated in different manners for room reflections and reverb.
All the mic connected are considered inputs connected to the mixer but a laptop that
is connected to an interface to allow for communication and control between the Digital
Audio Workstation and the connected instruments and vocals. Remember the mixer
is considered the heart of the whole connection. Patch bays and snake adapters could
be used to add-on more inputs as needed to reduce clustered connection to the mixer.

Most connections from sound sources are mostly recorded through the interface but
are somehow limited for space so more of the space can be found on the mixer. Guitar
amps for both the bass and rhythmic lead guitar relates to a TS cable from the guitar
to the amp with a Di box in between that connection to the interface.

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Along with instruments that are miked such as the acoustic guitar used, and the mic
placed on the amp and any more of the vocal microphones. To allow me as the
engineer to hear playback, I connected stereo headphones along the connection to
the mixer for me to have control that the audience won’t have for the performance. A
rhythm machine is connected for the drummer or the guitarist.
Monitor speakers can be used instead of headsets in a controlled environment. The
keyboard signal also factors as in input on the mixer as it miked as well. Get a laptop
that is best optimal for such heavy use of processing. Assure the connection line has
no faulty setups and is in for optimal use.

In this stage when planning a recording session ensure clear communication between
band members, engineers, producers, and any other person involved ensure everyone
is on the same page. Evaluate the gear needed for the recordings including
instruments, amplifiers, cables and recording software. Any specialized effects
processers must be considered as additional gear to be used. Make selection on a
suitable recording environment with good acoustics, minimum background noise and
sufficient space for recording instruments with acoustic treatment. Isolation booths are
vital for the recording of different capturing pick up patterns and high-quality audio.
Ensure no time is wasted when recording by conducting rehearsals especially in the
pre-production preparations. Accommodate on the availability of all members and
allocate sufficient time for soundcheck, recordings, breaks and postproduction tasks
to avoid scheduling conflicts as well. Try as hard to meet the artistic vision of the band
effectively.

To increase the stereo from the recording of a band a technique such as the XY stereo
technique which is where I placed two cardioid microphones typically at a 90-degree
angle closely together with their capsules. Resulting in a coherent phase of the
waveform that minimizes phase issues and comb filtering. I used this method mostly
for the vocals but more especially the backgrounds and some of the mics place on the
instruments. Another technique use was the Spaced Pair (AB) Technique which the
two omnidirectional (on the drums) or cardioid mic (for the ambience) are spaced apart
at a distance wider than the original source.

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This technique is more useful for application when setting up drum overheads. Mostly
to capture the overall sound of the band in larger acoustic environments. Don’t forget
the most important technique used which is the Mid-Side Technique which allows one
mic to capture the mono signal or mid signal through a cardioid mic and another
microphone that captures the stereo signal from both the left and right sides but not
the center.

In a nutshell the process of recording starts with an idea and implementation on such
involves getting to know how to record in the best way possible for desired high quality
audio outcome. The process in between recording and processing requires a lot of
decision making and it would be best to be well educated on ways to execute best.
Any minor issues that need to be addressed is done so as you go. The outcome that
shall be heard would be the results of the effort put in, so if both the band members
and engineer work best, I can assure you effective use of time management. If you
struggle don’t be prideful to ask for help, there may be another member who has had
to deal with such an issue. But remember that whatever work produced is useless if
no one there is serious at all. Then expect the outcome to sound in the same manner.

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Bibliography

Senior, M. (2019). Mixing Secret For The Small Studio. New York & London: Routledge
Taylor & Francis Group.

Barlett, J. B. (2019). Practical Recording Techniques. New York & London: Routledge.

Jones, G. D. (1989). Sound Reinforcements Handbook. Milwaukee: Hal.Leonard

Corporation.

Keely, E. (2018, February 01). Masteringbox. Retrieved from Masteringbox.com:

http://www.masteringbox.com/learn/recording-a-live-band

Miller, R. (2019, June 12). Housefoxstudio.com.au. Retrieved from House Fox Studios:
http://housefoxstudios.com.au/blog/band-tips-preparing-for-a-
session?format=amp

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