Various Studio Views

Studio Equipment

• Console:

Soundtracs C4400 - 28-Mic Inputs x 12-Buss x 24-Monitor

Classic split input console. (1986)

 

• Monitors:

Tannoy - Super Reds HPD385A (Yes another classic)

Yamaha - NS-10's

Bryston B4 - Power Amp

Avatone Cube - Powered Monitor

 

• Computer & DAW Hardware:

MacBook Pro 2.8GHz Quad Core i7 15” with 16 Gigs RAM

1 Tera - Seagate 7200 rpm Firewire 800 External Drive

Viewsonic 19" 1980x1080 px External Monitor

Digidesign - 003 Factory (Console)

Focusrite - Clarett 8Pre X

Presonus - DigiMax FS 8 Chan Mic Pre

 

• Software:

ProTools 12.8.2

Waves - Platinum Bundle 9.7

Waves - SSL Series EQ/Comp

Waves - V Series EQ/Comp

Waves - IR1-V2 Convolution Reverb

Waves - Tune

Waves - Kramer - Ampex Tape Recorder Emulation

Slate Digital - VTM (Virtual Tape Machine)

iZotope - Ozone 8 Advanced

IK Multimedia - T-Racks CS Grand collection

IK Multimedia - SSL 9K 'White' Channel

IK Multimedia - Amplitude 3

IK Multimedia - SampleTank 3

Klanghelm - VU Meter (Proper)

Roxio - Toast 14 - CD/DVD Back-up

 

• Outboard Equipment:

RUPERT NEVE - Portico II Channel MicPre/Comp/EQ

2x dBX - 160x Compressor

Warm Audio - 1176LN Compressor

ART - VLA II Stereo Tube Compressor

TC Electronic M-300 Reverb & Delay

Korg SDD-1000 Delay

Tube works RT902 Tube Effects

Numark CD Player

 

• Microphones:

1x PELUSO 22-47 SE Large Diaphragm - Tube

3x RODE NTK Large Diaphragm - Tube

1x RODE K2 Large Diaphragm - Tube

2x RODE NT3 Pencil Condenser

2x RODE NT5 Pencil Condenser

3x AKG C451B Pencil Condenser

1x AKG D-112 Dynamic

2x CASCADE - Fat Head II - Stereo Pair - Ribbon

1x SENNHEISER - 421 Dynamic

1x SENNHEISER - 609e Dynamic

9x SHURE SM-57 Dynamic

2x SHURE SM-58 Dynamic

2x SHURE SM-58 Beta Dynamic

2x APEX 185 Condenser (Omni/Card)

1x APEX 435 Condenser Large Diaphragm

1x APEX - 127 Dynamic (bottom snare clip)

1x AUDUX - D6 Dynamic

1x EV - 308A Dynamic

 

2x Radial JDI - Passive D.I.

1x Radial J48 - Active D.I.

1x Paul Reed Smith - Active D.I.

 

• Headphones & Cue System:

4x SENNHEISER - HD280-Pro

1x AUDIO-TECHNICA - ATH-M50

ART HeadAmp6 Pro - with 6 more me inputs

 

• Studio Instruments:

Roland HP1700 electric piano.  76 weighted keys.

(MIDI & internal Speakers)

Fender Deluxe - Guitar Amp

Congas

Tambourine

 

• Miscellaneous:

Decca Tree - for orchestral recordings

Roland DR-660 Drum Machine (MIDI)

Vocal Pop Shield

Various Adapters

Clients in the studio

Client Media

Audio Engineering Course

COURSE DESCRIPTION & OBJECTIVES

This is a 10 lesson course, with each class running 4 hours.  It is taught one to one.

 

By the end of this course students will have:

An understanding of the modern computer based recording methods.

Techniques & tips for proper microphone, selection and placement.

Understanding the importance and workings of compression, equalizers, gates, reverb, echo.

Introduction to running of a session in the recording studio environment.

Introduction to Live Performance setup and sound mixing (F.O.H) - (if available)

1.

 

 

 

2.

 

 

 

 

 

 

 

3.

 

 

 

 

 

 

 

 

4.

 

 

 

 

 

 

 

5.

 

 

 

 

 

 

6.

 

 

 

 

 

 

 

 

 

 

 

7.

 

 

 

 

 

 

 

8.

 

 

 

 

9.

 

 

 

 

10.

Recording Input

Devices

 

 

Recording Interfaces

 

 

 

 

 

 

 

Outboard Gear & Effects

 

 

 

 

 

 

 

 

Recording Signal Flow

 

 

 

 

 

 

 

Playback, Overdubbing

& Mixing Signal Flow

 

 

 

 

 

Analog Mixing with a

traditional analog console

 

 

 

 

 

 

 

 

 

 

Digital mixing

(ITB - "In The Box")

with a computer.

 

DAW applications and

A/D - D/A Interfaces

 

 

 

 

 

 

 

 

 

 

 

 

Final "Mixdown"

Mastering standards

 

Exporting for different

file formats.

 

DAW tips and tricks

Choosing a DAW.

- Microphones - Different types.  Phantom Power, Polar Patterns.

- Line Levels  & D.I. Boxes - How they work . (Passive & Active - power)

- M.I.D.I. - How it works

 

- Mic pre-amplifiers - Phantom Power in circuit diagrams.

- Line Inputs

- Professional Levels & Consumer Levels (VU, dBu, Vac)

- MIDI Inputs

- Balanced & Unbalanced cables

- How to properly wrap cables

- How to ‘zero’ a mic stand

 

- Equalisers - [Bell, Shelving, HP, LP.  Q of the equalizer]

- Compressors - [Ratio, Threshold, Attack, Release, External Trigger]

- Dynamic Compression [Frequency dependant compression]

- De-Essers - [Threshold, Frequency, Attenuation]

- Noise Gates [Attenuation, Threshold, Attack, Hold, Release, Bandpass EQ]

- Reverbs - [RT60, Halls, Plates, Chambers, Non-Lin, IR’s]

- Delays/Echos, [time ms, feedback, ping-pong, HP, LP]

- Modulation (chorus, vibrato, harmonizers, panning)

 

- Block diagrams of analog consoles, in relation to a digital workflow.

- Mic Pre Amps

- Equalizer (EQ)

- Insert points (additional discussion in lesson #6)

- The Patchbay

- Grouping/Bussing routing

- Record routing inputs to DAW channels

 

- Block diagrams of analog consoles, in relation to a digital workflow.

- DAW Playback routing

- Cue mixes to musicians

- Effects Sends & Returns

- Mix groups & busing

- Master Faders

 

- Mixing a song the traditional analog method. (used in all music mixing until

   about 2010). ** Still used by most “big time” mixers.

- Setting up order of channels on the console.  Fill out the ‘scribble strip’ on the

   console.

- Using the console EQ to “improve” the recorded instruments.

- Using “channel inserts” to plug in various gear in the “outboard” rack.

- Setting up “Aux Sends & Returns” to add various external reverb & delays in

   the “outboard rack”.

- Setting up “Groups” to consolidate instrument groups.

- Show how the traditional patchbay works & how it relates to the (?modern?)

   DAW mixing method.

 

- Setting up order of channels on the screen. Label each ‘scribble strip’.

- Setting up [Source - inputs] and [outputs] for each channel strip.

- Creating - Group buses or VCA’s and a Master Fader.

- Labelling - “Marker” Cues.  I.E. Verses, Choruses, Bridges, Solo’s, etc.

- Using “Inserts” to install various plug-ins.  I.E. EQ’s, Compressors, Gates, etc.

- Demonstrate - setup of “Dynamic EQ” / “Frequency Dependant Compression”

  plugin.

 

- Setting up “Aux Sends & Returns” to add various external reverb & delays effects.

- Tracks that are MIDI files, need to have at V.I. (virtual instrument) inserted, to be

  able to hear the performance.

- Demonstrate setup of “SIM’s” (simulation) plugin’s for guitar and bass.

 

- Discuss “Latency” and it’s various issues in the digital A/D - D/A plugin

   processing world.

- Discuss “Nyquist Frequency”.  Sample rates (44.1khz, 48khz, 88.2khz, 96khz).

   Bit depth (16 bit, 24 bit).

 

- Choosing your export  > File format, sample rate & bit depth.

- Discuss the purpose of ‘Mastering’.

- Exporting for different file formats (.wav, mp3) and various mastering level

  standards (RMS, PEAK, LUFS).

- Backup and storage of your projects.

 

- Sound-replacer.  To fix poor drum sounds, or performances.

- Warp Clips.  To fix timing issues of a performance.

- The ‘Tuning’ App - [hand tuning] - To fix tuning issues.

- Cut & Paste.  To save client costs during recordings, or provide consistency.

- Work in Grid mode, based on the tempo of the song.  Allows for quicker song

  arrangement changes, etc.

 

- Computer choices, based on CPU, RAM, Screen (pixel) sizes.

- External Hard-drives.

- Choosing a DAW.  ProTools, Logic, Studio One, Cubase, etc.

- Choosing a AD/DA Input interface.

- Dongles - iLOK used by most software companies for piracy protection.

Contact Information

Summit Recording Solutions

Goodyear Road

Qualicum Bay, B.C.

V9K 2A3

 

1-250-757-9906

summitsound@bcsupernet.com