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 2018.4
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 4
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 - e609 Dynamic
1x SENNHEISER - e906 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)
Congas
Tambourine

• Miscellaneous:
Decca Tree - for orchestral recordings
Roland DR-660 Drum Machine (MIDI)
Vocal Pop Shield
Various Adapters

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. Recording Input Devices

    - 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

  • 2. Recording Interfaces

    - 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

  • 3. Outboard Gear & Effects

    - 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)

  • 4. Recording Signal Flow

    - 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

  • 5. Playback, Overdubbing and Mixing Signal Flow

    - 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

  • 6. Analog Mixing with a traditional analog console

    - Mixing a song the traditional analog method. (used in all music mixing until about 2010). ** Still used by most “bigtime” 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.

  • 7. Digital mixing with a computer (ITB - "In The Box")

    - 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.

  • 8. Continue ITB mixing

    - 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.

  • 9. Continue ITB mixing

    - 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).

  • 10. Final “Mixdown”. Mastering standards. Exporting for different file formats. DAW tips and trick and choosing a DAW.

    - 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