studio enginerring
TRANSCRIPT
Studio Engineering/Assessment 1
Harry Saunders, Matt Mitchell, Ollie Milnes, Will Sharp, Will Riman
Planning
• The band used was Harry’s band• Had a demo recorded and mixed from the band which• Made a note of aesthetic use of effects• We planned on how to recorded each part (drum
mic’ing and what rooms to use etc) but did not plan on doing a mix at the session.
• We set out to create a version of the song that sounded similar to the demo provided but in a clearer and better quality.
Recording techniques
• Drums: subkick, blumlein overheads, room mic
• Guitar: C451 pair parallel on/off axis, mic behind amp cone
• Bass: amp mic/DI blend, recorded with bassist in room for comfort
• Vox: FLEA vox mic/ Stereo room mics, 3 acoustic shields around singer
Beneficial techniques
• Bass – DI and amp allowed for better tone.• Sub kick and blumein allowed for more
presence and a more defined rhythm section• Vocals – 3 walls of acoustic panels, vocal mic
and room mic allows for control of sonic space and tone blending.
• Overbubs allowed use some more creative space when mixing.
Problematic techniques
• Trouble mounting stereo overheads lead to loss of time.
• Additional overdubs on vocals needed.• Pre production scheme, mic research.• Not enough time for creativity. • Guitar through wall caused time issues.
Research
• Harry being in the Band (FUR) we had an idea on how we wanted it to sound, Stylistically and aesthetically.
• We planned our guitars to fit the genre of which we were aiming for (Clean Tone, ¾ guitar ballad, Sit under reverb vocal. Similar to Bands like Peace, Mac Demarco and the Magic Gang)
• We wanted to sound that didn't’t sound too over produced and had a more natural feel to it. This allowed the band to co-exist in the same sonic space with no one over powering nor floundering in the mix.