alex assessment work unit 925
TRANSCRIPT
Notes to Assessor:
- A soundcloud account was unale to e used !or t"ese set o! assessments due
to Soundclouds automated copyri#"t pre$ention system% "is pre$ents t"e #roup !rom
sumittin# t"e work $ia soundcloud% - 'ri#inal (usic )iles o! *Ned +omposition%mp, & *.i$e /i!e 0ack o (usic .roup
0 can e !ound "ere:"ttps:11www%dropox%com1s1"533r"e9$k4,,i1documents-export-
235-32-%4ip6dl73 % "is is due to *Neds +omposition and *.i$e /i!e 0ack o (usic
.roup 0 ein# laced wit" copyri#"t in!rin#ement8 so it is unale to e uploaded to
umlr or Soundcloud and is only a$ailale t"rou#" t"e dropox link pro$ided ao$e%
Note: otained !rom Studio 0 on 13215%
- n!ormation on a!orementioned tracks
- Neds +omposition: - Producer: Ned8 - (ixer: Ned8 (ontel8 - ec"nicians: (att8 (ontel8 Alex
- .i$e /i!e 0ack o music .roup 0:
- Producer: .roup 08 - (ixer: .roup 0
to ma#netnwkc
Hi Magnet-Nwkc, 'ur automatic content protection system "as detected t"at
your sound C+omposition NedC may contain copyri#"t
content% As a result8 its pulication on your pro!ile "as een
locked%
>ou can dispute t"is report8 i! you elie$e t"e copyri#"t
content "as een mistakenly identi!ied or i! you "a$e
otained all t"e necessary ri#"ts8 licenses and1or
permissions to upload and s"are t"is material on
Sound+loud%
Please do so y !illin# out our dispute we!orm at t"e
!ollowin# link:
s:@3,59
! you would like to learn more aout copyri#"t8 please $isit
our copyri#"t in!ormation pa#e
%
"e Sound+loud +opyri#"t eam
D 233 - 235 Sound+loud /td% All ri#"ts reser$ed
(ana#e Noti!ications
Unit 9 (usic ProFect
% Gnow "ow to plan and set up recordin# sessions t"at encompass a $ariety o!
2% 0e ale to undertake a ran#e o! roles in t"e recordin# and production o! contrastin#
multi-track material
,% 0e ale to complete e!!ecti$e stereo mixes o! t"e multi track recordin#s
@% 0e ale to edit and master t"e material
Unit 25 (usic Production ec"niHues
% Understand manu!acturersI speci!ications !or a ran#e o! audio recordin# eHuipment
2% 0e ale to set up t"e eHuipment !or a recordin# session
,% 0e ale to capture audio sources usin# multi-track recordin# tec"niHues
@% 0e ale to mix multi-track recordin#s
TASKS
ask : RECORDING +reate a port!olio o! recordin#s s"owcasin# a $ariety o! multi-c"annel recordin# tec"niHues% "ese s"ould include !ull drum kit8 *direct input sources ass8 and1or electric #uitarB% Jocals are optional% >ou will e reHuired to deli$er at least piece per #roup memer8 to e uploaded indi$idually to your umlr sites% Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B
ask 2: MIXING Leli$er mixes o! all o! your recordin#s employin# appropriate tec"niHues8 includin# e!!ecti$e use o! compression8 eH8 re$er etc Unit 9 K .+, & @B Unit 25 K .+ @B% >ou will deli$er one additional mix o! a track pro$ided%
ask ,M RECORDING ANA!SIS Leli$er a written "ow toI #uide !or t"e use o! studio % "is will include dia#rams8 p"otos and potentially e$en $ideoB and a description o! all rele$ant studio eHuipment includin# microp"ones etcB and t"eir speci!ications !reHuency responses etcB% Also include si#nal routin# in!ormation !rom li$e room% )or t"e purposes o! #uidance8 would not expect t"is to e less t"an 533 words%
ask @: MIXING ANA!SIS Leli$er a screen recordin# or written piece i! you pre!erB explainin# "ow you "a$e undertaken your 2 mixes includin# explanations and Fusti!ications o! your use o! eH8 compression8 re$er8 auxiliaries% Unit 9 K .+ B Unit 25 K .+B
Plan /ist:
- Upload music work Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B
,
Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B - (ake notes on c"oices o! mic placement and reasons
Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B ask , - (ake notes on t"e c"oices o! mixin# tec"niHues !or produced track and
reasons w"y% Unit 9 K .+, & @B Unit 25 K .+ @BUnit 9 K .+ B Unit 25 K .+B
- (ake notes on t"e c"oices o! mixin# tec"niHues !or extra track and reasons w"y%
Unit 9 K .+, & @B Unit 25 K .+ @BUnit 9 K .+ B Unit 25 K .+B - 0asic o$erlay o! Studio W"at is eac" piece o! eHuipments use and w"y
is it usedB ask ,
- (ake notes on "ow si#nal routin# !or Studio is set up% ask ,
ask - +ompleted 13215 - Pa#e @ ask 2 - +ompleted 13215 - Pa#e 5 ask , - +ompleted 13215 - Pa#e 3 ask @ - - Pa#e 2 ask 5 - - Pa#e ask O - - Pa#e ask - - Pa#e
- Ta"k #$ %&load 'u"ic wo(k - )%nit * + GC )%nit . + GC / 0
rack /ist: "ttps:11www%tumlr%com1lo#1ma#netop-nwkc
rack /ist: "ttps:11www%dropox%com1s1"533r"e9$k4,,i1documents-export-235-32-%4ip6 dl73
- Ned +omposition - - .i$e /i!e 0ack o (usic .roup 0
- Ta"k $ Make note" on t1e 'ic" u"ed 2o( d(u' 'ic &lace'ent and w13 )"uc1 a" "&ec" )%nit * + GC )%nit . + GC / 0
@
Speci!ications:
S"ure S(5 (icrop"one ransducer ype: Lynamic Polar Pattern: +ardioid )reH% <esponse: @34 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
Notes: "e S"ure S(5 Lynamic (icrop"ones is a "i#" Huality
microp"one t"at is recommended !or recordin# amps or acoustic instruments due to t"eir appropriated )reH% <esponse and Sensiti$ity% "e low response o! sounds elow 2334 and ao$e 3k4 means t"at most instruments and sound sources can use t"is mic !or recordin#% "ey are also $ery #ood at recordin# directed sounds due to t"eir +ardioid polar pattern8 t"is means t"at t"e microp"one will pick up more response !rom t"e direct8 in-line source in !ront o! t"e microp"one w"ile pickin# up muc" less o! t"e
surroundin# sounds neary and no sounds !rom e"ind t"e mic% "is is $ery use!ul !or sin#lin# out instruments or amps t"at it is placed near to t"e microp"one wit" $ery little leed !rom ot"er sounds neary% 0ein# a Lynamic microp"one means t"at t"e S(5 can take a lot more o! a eatin# !rom sound pressure compared to condenser microp"ones w"ic" can e dama#ed or reak under "i#" sound pressure en$ironments%
"is is an e!!ecti$e microp"one !or t"e use o! drum recordin# due to itIs Hualities8 we use t"e S(5 !or recordin# t"e top o! t"e snare drum since it is est suited !or recordin# !reHuencies t"at are produced y t"e top o! t"e snare drum% "e +ardioid pattern allows t"e microp"one to also "elp pre$ent leedin# o! ot"er drum instruments into t"e snare drum recordin#% S"ure S(5 (icrop"one ransducer ype: Lynamic Polar Pattern: +ardioid )reH% <esponse: 534 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
5
Notes: "e S"ure S(5 Lynamic (icrop"one is descried as one o! t"e worlds est microp"ones !or
Jocals8 simply due to itIs ru##ed and $ersatile desi#n8 it "as ecome Huite an icon !or $ocal microp"ones worldwide% "e )reH% response o! t"e S(5 is $ery similar t"e S(58 "owe$er due to t"e S(5Is desi#n8 it comes wit" a $ery e!!ecti$e pop-!ilter% "is means "i#" sound pressure moments in sin#in# or sounds will not distort t"e sound Huality8 picked up y t"e microp"one% tIs cardioid polar pattern also makes it $ery e!!ecti$e !or pickin# up directed $ocals wit" a some more leed !rom t"e sides o! t"e mic8 due to itIs more !or#i$in# #loe desi#n compared to a pencil desi#n o! t"e S(5% Wit" itIs pop-!ilter and dynamic microp"one asis8 t"is microp"one can take all t"e s"outin# and sin#in# t"at can e t"rown at it w"ile still per!ormin# at a "i#" le$el o! Huality%
"is is an e!!ecti$e microp"one !or t"e use o! drum recordin# due to itIs Hualities8 we use t"e S(5 !or recordin# t"e ottom o! t"e snare drum since it is est suited !or recordin# !reHuencies t"at are produced y t"e ottom o! t"e snare drum% "e +ardioid pattern and t"e Pop-)ilter "elps pre$ent t"e loss in Huality o! t"e snares and "i#" pressure sound wa$es !rom playin# t"e snare and also allows t"e microp"one to also "elp pre$ent leedin# o! ot"er drum instruments into t"e snare drum recordin#%
O
Audix )9 (icrop"one ransducer ype: +ondenser Polar Pattern: Wide-+ardioid )reH% <esponse: @34 - 23k4 Sensiti$ity: k4
<esponse +ur$e:
Notes: "e Audix )9 +ondenser (icrop"one is est used and recommended to e t"e microp"one !or recordin# +ymals8 '$er"eads8 i-ats and ein# an Audience microp"one% "e maForiti$ely !lat response !or t"e wide !reHuency response o! t"e microp"one allows it to capture sound o! rooms and areas wit" t"e capaility to capture almost all sound !reHuencies t"at are commonly !ound in its usa#e% t also is $ery e!!ecti$e at recordin# +ymals and i-ats% Since +ymals and i-ats do not produce a lar#e amount o! sound pressure due to t"eir s"ape and t"e materials t"ey are made o!% "ier Wide-+ardioid polar pattern also "elps t"e microp"one ecome a $ery e!!ecti$e room1o$er"ead1audience microp"one%
Audix )O (icrop"one ransducer ype: Lynamic Polar Pattern: ypercardioid )reH% <esponse: @34 - Ok4 Sensiti$ity: 34
<esponse +ur$e:
Notes:
"e Audix )O Lynamic microp"ones are est recommended to e used to capture t"e sound o! t"e Gick drum on a drum kit% "is is due to its modi!ications t"at allow it to capture near su- !reHuencies o! sound and its !reHuency responses allow it to capture more lower sounds t"an standard microp"ones% tIs lar#e si4e and desi#n allows it to capture t"e w"ole kick sound w"en placed inside t"e kick drum itsel!% "is is $ery use!ul i! you wis" to capture t"e noise o! t"e skin ein# "it w"en recordin# your kick drum !or more attack on t"e kick recordin#% tIs "ypercardioid pattern means t"at it will almost only recei$e sound t"ats directed at t"e microp"one alon# itIs linear len#t"% "is e!!ecti$ely pre$ents leedin# !rom ot"er parts o! t"e drum kit8 itsel!%
Audix )2 (icrop"one ransducer ype: Lynamic Polar Pattern: ypercardioid )reH% <esponse: 524 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
Notes:
"e Audix )2 Lynamic microp"ones are est recommended to e used to capture t"e sound o! any instrument or sound t"at is mid- ass or mid-"i#"% "is means it can record li$e sta#es8 rack and !loor toms8 con#a drums8 #uitar and ass as well as rass instruments% "is makes it a $ery $ersatile microp"one wit" itIs multitude o! uses%
"is is an e!!ecti$e microp"one !or t"e use o! recordin# t"e tom drums8 ot" rack and !loor toms due to itIs Hualities% We use t"e )2 !or
recordin# t"e toms since it is est suited !or recordin# t"e low and mid ran#e !reHuencies t"at t"e toms can produce% tIs "ypercardioid pattern means t"at it will almost only recei$e sound t"ats directed at t"e microp"one alon# itIs linear len#t"% "is e!!ecti$ely pre$ents leedin# !rom
ot"er parts o! t"e drum kit8 itsel!%
- Ta"k 0$ Make note" on c1oice" o2 'ic &lace'ent and (ea"on" )%nit * + GC )%nit . + GC / 0 Ta"k 0
9
An example o! w"at a micId up drum kit looks like%
Wit" t"e Gick t"e )O is used and is placed Fust inside o! kick drum to capture a decent alance etween t"e noise o! t"e eater "ead "ittin# t"e skin and t"e resonance o! t"e drum a!terwards% "is can e c"an#ed to "a$e t"e mic more inside !or a "i#"er attack response or to "a$e t"e mic outside o! t"e drum to "a$e a more timral e!!ect on t"e recordin#8 "owe$er too muc" on eit"er can lea$e a $ery muddy recordin# o! t"e drum%
Wit" t"e Snare top8 we use t"e S(5 placed at t"e top o! t"e drum y t"e ed#e o! t"e drum% t"e "ead o! t"e microp"one is t"en positioned to point towards t"e snareIs central !ocal point to capture as muc" sound as possile% Pointin# t"e microp"one towards t"e ed#e o! t"e snare creates a more resonant sound% "is can e troulin# w"ere t"e resonance can inter!ere wit" ot"er !reHuencies and would reHuire care!ul =Q prunin# to alance out t"e sound%
Wit" t"e Snares on t"e snare drum we use t"e S(58 its pop-!ilter comes in $ery "andy !or t"e lar#e amounts o! sound pressure t"at will e #i$en o!! y t"e drum ottom% "e microp"one is pointed towards t"e snares t"emsel$es8 usually aout a !ew inc"es away to capture all t"e sound o! t"e snares eHually as well as some accompanyin# snare
3
drum sounds% "is sound can e in$erted to c"an#e t"e sound o! t"e recordin# and make t"e snare drum !eel more !uller%
Wit" t"e <ack om and t"e )loor om8 t"e microp"one position is $ery similar to t"e snare "ead microp"one due to its position and location on t"e drum itsel!% We use t"e )2 microp"ones to record t"e oms due to t"eir !reHuency response ran#es% ssues wit" recordin# t"e oms is t"at i! t"e microp"one is too close to t"e om it can pick up resonances w"en recordin#8 w"ic" ends up makin# t"e toms sound muddy in Huality and can ruin a #ood mix%
Wit" t"e o$er"eads8 t"ere are a multitude o! ways t"at t"ey can e arran#ed around t"e drum kit8 it is $ery dependant on w"at t"e producer is lookin# !or in sound and "ow many o$er"ead mics are a$ailale% "e arran#ement t"at we decided to use was t"e spaced pair arran#ement due to its wide stereo and alanced wet1dry sounds !or t"e drum8 aleit sli#"tly more dry t"an wet soundin#% Appropriate arran#ement o! o$er"eads is key to a #ood soundin# drum kit mix%
- Ta"k 4$ Make note" on t1e c1oice" o2 'i5ing tec1ni6ue" 2o( &(oduced t(ack and (ea"on" w137
since i wanted t"e snares to sound !uller ut also take ad$anta#e o! sound leedin# !rom t"e kick drum% Since t"e snares will e p"ase in$erted8 t"is means t"at t"e snares and a small amount o! t"e kick drum will ecome more !uller wit" its sound% lowered t"e "i#" !reHuencies o! t"e o$er"eads to allow t"e instruments t"at co$er t"at !reHuency ran#e to not ecome muddied wit" t"e "at and cymals o! t"e drum kit% "e lower !reHuencies were raised a tad to allow t"e drum kit to still "a$e a presence in t"e mix%
2
"is is t"e =Q o! t"e Piano8 .uitar and t"e 0ass o! t"e mix% Wit" t"e Piano i completely dropped t"e low !reHuencies to allow t"e drum kit and ass to come t"rou#"% raised t"e mid !reHuencies since t"e piano is co$erin# t"e mid !reHuency ran#es% also lowered t"e "i#" !reHuencies o! t"e piano =Q !or t"e #uitar to come t"rou#"% Wit" t"e .uitar8 i dropped t"e low !reHuencies to allow t"e drum kit and ass to come t"rou#" clearer8 "owe$er instead o! lowerin# t"e mid !reHuencies !or t"e piano i kept it !airly !lat since a lot o! t"e resonance o! t"e #uitar come t"rou#" in t"e mid !reHuencies in t"is composition8 also ecause i !elt like it was a nice touc" to "a$e t"at particular sound come t"rou#" still% did raise t"e "i#"er !reHuencies to "elp t"e #uitar come t"rou#" clearer% Wit" t"e ass all i did was lower t"e "i#" !reHuencies to allow t"e #uitar to come t"rou#" clearer8 ot"er t"an t"at8 i le!t t"e ass !airly alone%
,
@
Wit" t"e piano and #uitar8 i routed t"em to a separate us e!ore #oin# to t"e main output% 'n t"is us i put a re$er e!!ect on8 t"is makes t"e piano and t"e #uitar sound a lot more dominant and creates a nicer8 wider tone to t"e #uitar and piano w"ic" "elps open up space t"e centered sounds o! t"e drum kit and t"e ass%
- Ta"k .$ Make note" on t1e c1oice" o2 'i5ing tec1ni6ue" 2o( e5t(a t(ack and (ea"on" w137
)%nit * + GC0 / 4 )%nit . + GC 4)%nit * + GC # )%nit . + GC#
5
"is is t"e ntro #uitar taps =Q8 on .uitar t"e "i#" !reHuencies were cut o!! since it was a #uitar w"ic" didnIt utilise t"e "i#" !reHuencies8 so we opened t"em up to allow ot"er instruments and sound t"rou#" clearer% 'n .uitar 2 a small area o! a !reHuency was lowered to allow ot"er !reHuencies t"rou#"% 'n t"e ntro taps .uitar t"e "i#" and low !reHuencies were lowered to alance t"e =Q o! t"e mix same wit" t"e ntro P+ #uitar%
O
o "elp make t"e #uitar and t"e #uitar taps at t"e intro o! t"e son# sound !uller and wider8 ut also to stop it !rom clippin# and ein# too loud in t"e composition t"rou#" t"e e!!ecti$e use o! compression% Wit" t"is we did8 in our opinion8 made t"e #uitar taps sound $ery close to t"e ori#inal source%
/ist o! eHuipment in t"e Studio:
- % Adam AR - 2% G<G <okit 5 - ,% iiyama =2,LS (onitor - @% No$ation mpulse @9 - 5% SP/ 2,
- O% )ocusrite SA 'ne - % ema#ic /o#ic +ontrol - % (acintos" +omputer - 9% Sa!!ire Pro @3 - 3% 'ctopre (k% - % S-P"one eadp"one
(ixer1Amp
Adam AR Use: Speaker Pair )reHuency <esponse: ,4 - 53k4
9
W"y:
"e Adam AR Speaker is used !or Studio as a speaker pair% Accordin# to online re$iews and reports y trustwort"y sources soundonsoundB8 say t"at t"e speaker is o! $ery "i#" Huality and reliaility% t is well suited to "ea$y usa#e and "i#"s and lows8 it comes wit" su woo!ers and tweeters to support t"e "i#" and low !reHuencies% owe$er !rom personal experiences8 t"e speakers do seem to e coloured to a lower !reHuency w"ile remainin# !airly !lat in ot"er !reHuencies%
G<G <okit 5 Use: Speaker Pair )reHuency <esponse: @54 - ,5k4
)reHuency <esponse +"art:
W"y:
We use t"e G<G <okit 5 Speakers as a second speaker pair !or studio % owe$er in personal opinion i t"ink t"at t"e use o! G<G <okit 5 is not needed !or studio i! only !or directional sound% t seems to "a$e a s"aky response to mid- tones and due to t"e !act it does not come wit" any speakers t"at
support t"e mid-ran#es8 ut come wit" a suwoo!er and a tweeter !or t"e "i#"Is and lowIs% Since t"e ARIs support t"e lowIs and "i#"Is in studio 8 i !ind t"at t"ey are really not necessary% owe$er8 "a$in# a second speaker allows !or a more !uller sound w"en re$iewin# your compositions w"ic" is $ery $aluale%
iiyama =2,LS (onitor - Standard (onitor8 used to $iew in!ormation supplied y t"e (acintos" computer%
23
No$ation mpulse @9 Use: (L Geyoard )eatures:
- Jelocity sensiti$e drum pad - Gnos8 !aders and uttons t"at work wit" most music production so!tware - UPnP Supported
W"y:
We use t"e No$ation mpulse @9 as t"e main (L input de$ice in studio % We need a min (L input de$ice !or studio as it is easier to input (L si#nals into a composition y keyoard compared to #uesswork wit" t"e mini keyoard on t"e side o! /o#icIs Piano roll window% Also t"is can e used to modi!y sounds wit" itIs inte#rated !aders and controls% "is can e $ery use!ul !or ad$enturous producers%
2
SP/ 2, Use: A alkack and (onitor +ontroller )eatures: (ultiple inputs and outputs to "eadp"ones and speakers to allow t"e controller to talk to per!ormin# musicians and control t"e t"e sound le$els o! t"e output le$els in t"e studio8 suc" as alkack8 +ue and Jolume%
W"y:
We use t"e SP/ alkack +ontroller as a way o! communication etween people w"ere t"e soundproo! rooms pre$ents us !rom communicatin# to per!ormers1musicians on t"e ot"er side o! t"e #lass windows o! t"e rooms% "is makes it $ery crucial !or recordin# purposes and wit" t"e uilt in microp"one8 it means less cales "a$e to e used to mic up a microp"one in t"e control room% Also it allows t"e producers in t"e control room to co-ordinate t"e per!ormers wit"out "a$in# to tra$el distances and use up precious time% Since it also acts a master $olume control !or multiple speaker outputs8 it is consideraly more reliale and in opinion8 etter as a c"oice o! p"ysical $olume control wit" no latency%
22
)ocusrite SA 'ne Use: Lirect nput !or instruments to record in Studio )eatures:
- 0uilt-in (icrop"one Pre-Amp - independant L <outin# - +"an#eale impedance !or microp"ones - eadp"one output wit" control - nsert point !or extra processin# etween L or Pre-Amp
W"y:
We use t"e SA 'ne as a Lirect nput !or instruments !or w"en we do not want to "a$e a microp"one record t"e instrument t"rou#" an amp% Also it allows us to control its input si#nal e!ore reac"in# t"e soundcards% "is can e $ery use!ul8 especially i! t"e instrument produces $ery power!ul si#nals% t can also e used !or standard R/< microp"one recordin#s i! needed% 't"er t"an t"at it is a ox t"at allows analo# si#nals to e con$erted into di#ital si#nals%
2,
=ma#ic /o#ic +ontrol 1 Use: )ader 0oard 1 W"y: N1A ne$er used itB
(acintos" +omputer 1 Use: Li#ital Audio Workstation Sa!!ire Pro @3 op Sound nter!aceB 'ctopre (k% (iddle Sound nter!aceB Use: Sound nter!ace )eatures:
- Preamps wit" inputs - A-L & L-A +on$erter - 2 Separate eadp"one 0uses only !or t"e Sa!!ire Pro @3B
W"y:
2@
We use t"e Sa!!ire Pro @3 Sound nter!ace and t"e 'ctopre (k% !or Studio ecause it is a $ery #ood8 "i#" Huality "ardware t"at is ale to "andle up to pre-ampId inputs% "at is enou#" to mic up an entire standard drum kit eac"% t comes wit" $olume le$els !or adFustments to t"e recordin# o! t"e sound e!ore it enters t"e LAW and recorded8 t"is allows t"e si#nal to e o! "i#" Huality and lets us reduce t"e $olume to pre$ent clippin# and reduction o! Huality o! t"e recordin# w"en in post production% "ese sound inter!aces in studio are "ooked up to input c"annels - Sa!!ire Pro @3B and input c"annels 3- 'ctopre (k% B w"ic" is wired to Sta#eox &2 in Studio /i$e <oom%
S-P"one eadp"one (ixer1Amp Use: n conFunction wit" SP/ 2, alkack +ontroller
25
)eatures: - @ eadp"one1(ixer Ampli!ier +"annels - /=L (eterin# on eac" c"annel and master - 2 and =Q on eac" c"annel - , eadp"one outputs per c"annel at maximum output8 re#ardless o!
impedence
Use:
We use t"e eadp"one (ixer1Amp wit" t"e SP/ 2, alkack +ontroller to e ale to talk to our per!ormers1musicians% n a sense8 it is Fust a routin# !or t"e SP/ 2, alkack +ontroller%
- Ta"k <$ Make note" on 1ow "ignal (outing 2o( Studio # i" "et u&7 Ta"k 0
2O
Gnown <outin#:
Sta#eox 1 - +"annel 12 - +"annel 2 1, - +"annel , 1@ - +"annel @ 15 - +"annel 5 1O - +"annel O 1 - +"annel 1 - +"annel 19 - N1A 13 - N1A 1 - N1A 12 - N1A 1 - eadp"one (ixer 12 - eadp"one (ixer 1, - eadp"one (ixer 1@ - eadp"one (ixer
Sta#eox 2 1 - +"annel 12 - +"annel 2 1, - +"annel , 1@ - +"annel @ 15 - +"annel 5 1O - +"annel O 1 - +"annel 1 - +"annel 19 - N1A 13 - N1A 1 - N1A 12 - N1A 1 - eadp"one (ixer 12 - eadp"one (ixer 1, - eadp"one (ixer 1@ - eadp"one (ixer
Jocal 0oot" 1 - +"annel 9 12 - +"annel 3 1 - eadp"one (ixer 12 - eadp"one (ixer
2
- A soundcloud account was unale to e used !or t"ese set o! assessments due
to Soundclouds automated copyri#"t pre$ention system% "is pre$ents t"e #roup !rom
sumittin# t"e work $ia soundcloud% - 'ri#inal (usic )iles o! *Ned +omposition%mp, & *.i$e /i!e 0ack o (usic .roup
0 can e !ound "ere:"ttps:11www%dropox%com1s1"533r"e9$k4,,i1documents-export-
235-32-%4ip6dl73 % "is is due to *Neds +omposition and *.i$e /i!e 0ack o (usic
.roup 0 ein# laced wit" copyri#"t in!rin#ement8 so it is unale to e uploaded to
umlr or Soundcloud and is only a$ailale t"rou#" t"e dropox link pro$ided ao$e%
Note: otained !rom Studio 0 on 13215%
- n!ormation on a!orementioned tracks
- Neds +omposition: - Producer: Ned8 - (ixer: Ned8 (ontel8 - ec"nicians: (att8 (ontel8 Alex
- .i$e /i!e 0ack o music .roup 0:
- Producer: .roup 08 - (ixer: .roup 0
to ma#netnwkc
Hi Magnet-Nwkc, 'ur automatic content protection system "as detected t"at
your sound C+omposition NedC may contain copyri#"t
content% As a result8 its pulication on your pro!ile "as een
locked%
>ou can dispute t"is report8 i! you elie$e t"e copyri#"t
content "as een mistakenly identi!ied or i! you "a$e
otained all t"e necessary ri#"ts8 licenses and1or
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Sound+loud%
Please do so y !illin# out our dispute we!orm at t"e
!ollowin# link:
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our copyri#"t in!ormation pa#e
%
"e Sound+loud +opyri#"t eam
D 233 - 235 Sound+loud /td% All ri#"ts reser$ed
(ana#e Noti!ications
Unit 9 (usic ProFect
% Gnow "ow to plan and set up recordin# sessions t"at encompass a $ariety o!
2% 0e ale to undertake a ran#e o! roles in t"e recordin# and production o! contrastin#
multi-track material
,% 0e ale to complete e!!ecti$e stereo mixes o! t"e multi track recordin#s
@% 0e ale to edit and master t"e material
Unit 25 (usic Production ec"niHues
% Understand manu!acturersI speci!ications !or a ran#e o! audio recordin# eHuipment
2% 0e ale to set up t"e eHuipment !or a recordin# session
,% 0e ale to capture audio sources usin# multi-track recordin# tec"niHues
@% 0e ale to mix multi-track recordin#s
TASKS
ask : RECORDING +reate a port!olio o! recordin#s s"owcasin# a $ariety o! multi-c"annel recordin# tec"niHues% "ese s"ould include !ull drum kit8 *direct input sources ass8 and1or electric #uitarB% Jocals are optional% >ou will e reHuired to deli$er at least piece per #roup memer8 to e uploaded indi$idually to your umlr sites% Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B
ask 2: MIXING Leli$er mixes o! all o! your recordin#s employin# appropriate tec"niHues8 includin# e!!ecti$e use o! compression8 eH8 re$er etc Unit 9 K .+, & @B Unit 25 K .+ @B% >ou will deli$er one additional mix o! a track pro$ided%
ask ,M RECORDING ANA!SIS Leli$er a written "ow toI #uide !or t"e use o! studio % "is will include dia#rams8 p"otos and potentially e$en $ideoB and a description o! all rele$ant studio eHuipment includin# microp"ones etcB and t"eir speci!ications !reHuency responses etcB% Also include si#nal routin# in!ormation !rom li$e room% )or t"e purposes o! #uidance8 would not expect t"is to e less t"an 533 words%
ask @: MIXING ANA!SIS Leli$er a screen recordin# or written piece i! you pre!erB explainin# "ow you "a$e undertaken your 2 mixes includin# explanations and Fusti!ications o! your use o! eH8 compression8 re$er8 auxiliaries% Unit 9 K .+ B Unit 25 K .+B
Plan /ist:
- Upload music work Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B
,
Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B - (ake notes on c"oices o! mic placement and reasons
Unit 9 K .+ 2B Unit 25 K .+ 2 & ,B ask , - (ake notes on t"e c"oices o! mixin# tec"niHues !or produced track and
reasons w"y% Unit 9 K .+, & @B Unit 25 K .+ @BUnit 9 K .+ B Unit 25 K .+B
- (ake notes on t"e c"oices o! mixin# tec"niHues !or extra track and reasons w"y%
Unit 9 K .+, & @B Unit 25 K .+ @BUnit 9 K .+ B Unit 25 K .+B - 0asic o$erlay o! Studio W"at is eac" piece o! eHuipments use and w"y
is it usedB ask ,
- (ake notes on "ow si#nal routin# !or Studio is set up% ask ,
ask - +ompleted 13215 - Pa#e @ ask 2 - +ompleted 13215 - Pa#e 5 ask , - +ompleted 13215 - Pa#e 3 ask @ - - Pa#e 2 ask 5 - - Pa#e ask O - - Pa#e ask - - Pa#e
- Ta"k #$ %&load 'u"ic wo(k - )%nit * + GC )%nit . + GC / 0
rack /ist: "ttps:11www%tumlr%com1lo#1ma#netop-nwkc
rack /ist: "ttps:11www%dropox%com1s1"533r"e9$k4,,i1documents-export-235-32-%4ip6 dl73
- Ned +omposition - - .i$e /i!e 0ack o (usic .roup 0
- Ta"k $ Make note" on t1e 'ic" u"ed 2o( d(u' 'ic &lace'ent and w13 )"uc1 a" "&ec" )%nit * + GC )%nit . + GC / 0
@
Speci!ications:
S"ure S(5 (icrop"one ransducer ype: Lynamic Polar Pattern: +ardioid )reH% <esponse: @34 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
Notes: "e S"ure S(5 Lynamic (icrop"ones is a "i#" Huality
microp"one t"at is recommended !or recordin# amps or acoustic instruments due to t"eir appropriated )reH% <esponse and Sensiti$ity% "e low response o! sounds elow 2334 and ao$e 3k4 means t"at most instruments and sound sources can use t"is mic !or recordin#% "ey are also $ery #ood at recordin# directed sounds due to t"eir +ardioid polar pattern8 t"is means t"at t"e microp"one will pick up more response !rom t"e direct8 in-line source in !ront o! t"e microp"one w"ile pickin# up muc" less o! t"e
surroundin# sounds neary and no sounds !rom e"ind t"e mic% "is is $ery use!ul !or sin#lin# out instruments or amps t"at it is placed near to t"e microp"one wit" $ery little leed !rom ot"er sounds neary% 0ein# a Lynamic microp"one means t"at t"e S(5 can take a lot more o! a eatin# !rom sound pressure compared to condenser microp"ones w"ic" can e dama#ed or reak under "i#" sound pressure en$ironments%
"is is an e!!ecti$e microp"one !or t"e use o! drum recordin# due to itIs Hualities8 we use t"e S(5 !or recordin# t"e top o! t"e snare drum since it is est suited !or recordin# !reHuencies t"at are produced y t"e top o! t"e snare drum% "e +ardioid pattern allows t"e microp"one to also "elp pre$ent leedin# o! ot"er drum instruments into t"e snare drum recordin#% S"ure S(5 (icrop"one ransducer ype: Lynamic Polar Pattern: +ardioid )reH% <esponse: 534 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
5
Notes: "e S"ure S(5 Lynamic (icrop"one is descried as one o! t"e worlds est microp"ones !or
Jocals8 simply due to itIs ru##ed and $ersatile desi#n8 it "as ecome Huite an icon !or $ocal microp"ones worldwide% "e )reH% response o! t"e S(5 is $ery similar t"e S(58 "owe$er due to t"e S(5Is desi#n8 it comes wit" a $ery e!!ecti$e pop-!ilter% "is means "i#" sound pressure moments in sin#in# or sounds will not distort t"e sound Huality8 picked up y t"e microp"one% tIs cardioid polar pattern also makes it $ery e!!ecti$e !or pickin# up directed $ocals wit" a some more leed !rom t"e sides o! t"e mic8 due to itIs more !or#i$in# #loe desi#n compared to a pencil desi#n o! t"e S(5% Wit" itIs pop-!ilter and dynamic microp"one asis8 t"is microp"one can take all t"e s"outin# and sin#in# t"at can e t"rown at it w"ile still per!ormin# at a "i#" le$el o! Huality%
"is is an e!!ecti$e microp"one !or t"e use o! drum recordin# due to itIs Hualities8 we use t"e S(5 !or recordin# t"e ottom o! t"e snare drum since it is est suited !or recordin# !reHuencies t"at are produced y t"e ottom o! t"e snare drum% "e +ardioid pattern and t"e Pop-)ilter "elps pre$ent t"e loss in Huality o! t"e snares and "i#" pressure sound wa$es !rom playin# t"e snare and also allows t"e microp"one to also "elp pre$ent leedin# o! ot"er drum instruments into t"e snare drum recordin#%
O
Audix )9 (icrop"one ransducer ype: +ondenser Polar Pattern: Wide-+ardioid )reH% <esponse: @34 - 23k4 Sensiti$ity: k4
<esponse +ur$e:
Notes: "e Audix )9 +ondenser (icrop"one is est used and recommended to e t"e microp"one !or recordin# +ymals8 '$er"eads8 i-ats and ein# an Audience microp"one% "e maForiti$ely !lat response !or t"e wide !reHuency response o! t"e microp"one allows it to capture sound o! rooms and areas wit" t"e capaility to capture almost all sound !reHuencies t"at are commonly !ound in its usa#e% t also is $ery e!!ecti$e at recordin# +ymals and i-ats% Since +ymals and i-ats do not produce a lar#e amount o! sound pressure due to t"eir s"ape and t"e materials t"ey are made o!% "ier Wide-+ardioid polar pattern also "elps t"e microp"one ecome a $ery e!!ecti$e room1o$er"ead1audience microp"one%
Audix )O (icrop"one ransducer ype: Lynamic Polar Pattern: ypercardioid )reH% <esponse: @34 - Ok4 Sensiti$ity: 34
<esponse +ur$e:
Notes:
"e Audix )O Lynamic microp"ones are est recommended to e used to capture t"e sound o! t"e Gick drum on a drum kit% "is is due to its modi!ications t"at allow it to capture near su- !reHuencies o! sound and its !reHuency responses allow it to capture more lower sounds t"an standard microp"ones% tIs lar#e si4e and desi#n allows it to capture t"e w"ole kick sound w"en placed inside t"e kick drum itsel!% "is is $ery use!ul i! you wis" to capture t"e noise o! t"e skin ein# "it w"en recordin# your kick drum !or more attack on t"e kick recordin#% tIs "ypercardioid pattern means t"at it will almost only recei$e sound t"ats directed at t"e microp"one alon# itIs linear len#t"% "is e!!ecti$ely pre$ents leedin# !rom ot"er parts o! t"e drum kit8 itsel!%
Audix )2 (icrop"one ransducer ype: Lynamic Polar Pattern: ypercardioid )reH% <esponse: 524 - 5k4 Sensiti$ity: k4 <esponse +ur$e:
Notes:
"e Audix )2 Lynamic microp"ones are est recommended to e used to capture t"e sound o! any instrument or sound t"at is mid- ass or mid-"i#"% "is means it can record li$e sta#es8 rack and !loor toms8 con#a drums8 #uitar and ass as well as rass instruments% "is makes it a $ery $ersatile microp"one wit" itIs multitude o! uses%
"is is an e!!ecti$e microp"one !or t"e use o! recordin# t"e tom drums8 ot" rack and !loor toms due to itIs Hualities% We use t"e )2 !or
recordin# t"e toms since it is est suited !or recordin# t"e low and mid ran#e !reHuencies t"at t"e toms can produce% tIs "ypercardioid pattern means t"at it will almost only recei$e sound t"ats directed at t"e microp"one alon# itIs linear len#t"% "is e!!ecti$ely pre$ents leedin# !rom
ot"er parts o! t"e drum kit8 itsel!%
- Ta"k 0$ Make note" on c1oice" o2 'ic &lace'ent and (ea"on" )%nit * + GC )%nit . + GC / 0 Ta"k 0
9
An example o! w"at a micId up drum kit looks like%
Wit" t"e Gick t"e )O is used and is placed Fust inside o! kick drum to capture a decent alance etween t"e noise o! t"e eater "ead "ittin# t"e skin and t"e resonance o! t"e drum a!terwards% "is can e c"an#ed to "a$e t"e mic more inside !or a "i#"er attack response or to "a$e t"e mic outside o! t"e drum to "a$e a more timral e!!ect on t"e recordin#8 "owe$er too muc" on eit"er can lea$e a $ery muddy recordin# o! t"e drum%
Wit" t"e Snare top8 we use t"e S(5 placed at t"e top o! t"e drum y t"e ed#e o! t"e drum% t"e "ead o! t"e microp"one is t"en positioned to point towards t"e snareIs central !ocal point to capture as muc" sound as possile% Pointin# t"e microp"one towards t"e ed#e o! t"e snare creates a more resonant sound% "is can e troulin# w"ere t"e resonance can inter!ere wit" ot"er !reHuencies and would reHuire care!ul =Q prunin# to alance out t"e sound%
Wit" t"e Snares on t"e snare drum we use t"e S(58 its pop-!ilter comes in $ery "andy !or t"e lar#e amounts o! sound pressure t"at will e #i$en o!! y t"e drum ottom% "e microp"one is pointed towards t"e snares t"emsel$es8 usually aout a !ew inc"es away to capture all t"e sound o! t"e snares eHually as well as some accompanyin# snare
3
drum sounds% "is sound can e in$erted to c"an#e t"e sound o! t"e recordin# and make t"e snare drum !eel more !uller%
Wit" t"e <ack om and t"e )loor om8 t"e microp"one position is $ery similar to t"e snare "ead microp"one due to its position and location on t"e drum itsel!% We use t"e )2 microp"ones to record t"e oms due to t"eir !reHuency response ran#es% ssues wit" recordin# t"e oms is t"at i! t"e microp"one is too close to t"e om it can pick up resonances w"en recordin#8 w"ic" ends up makin# t"e toms sound muddy in Huality and can ruin a #ood mix%
Wit" t"e o$er"eads8 t"ere are a multitude o! ways t"at t"ey can e arran#ed around t"e drum kit8 it is $ery dependant on w"at t"e producer is lookin# !or in sound and "ow many o$er"ead mics are a$ailale% "e arran#ement t"at we decided to use was t"e spaced pair arran#ement due to its wide stereo and alanced wet1dry sounds !or t"e drum8 aleit sli#"tly more dry t"an wet soundin#% Appropriate arran#ement o! o$er"eads is key to a #ood soundin# drum kit mix%
- Ta"k 4$ Make note" on t1e c1oice" o2 'i5ing tec1ni6ue" 2o( &(oduced t(ack and (ea"on" w137
since i wanted t"e snares to sound !uller ut also take ad$anta#e o! sound leedin# !rom t"e kick drum% Since t"e snares will e p"ase in$erted8 t"is means t"at t"e snares and a small amount o! t"e kick drum will ecome more !uller wit" its sound% lowered t"e "i#" !reHuencies o! t"e o$er"eads to allow t"e instruments t"at co$er t"at !reHuency ran#e to not ecome muddied wit" t"e "at and cymals o! t"e drum kit% "e lower !reHuencies were raised a tad to allow t"e drum kit to still "a$e a presence in t"e mix%
2
"is is t"e =Q o! t"e Piano8 .uitar and t"e 0ass o! t"e mix% Wit" t"e Piano i completely dropped t"e low !reHuencies to allow t"e drum kit and ass to come t"rou#"% raised t"e mid !reHuencies since t"e piano is co$erin# t"e mid !reHuency ran#es% also lowered t"e "i#" !reHuencies o! t"e piano =Q !or t"e #uitar to come t"rou#"% Wit" t"e .uitar8 i dropped t"e low !reHuencies to allow t"e drum kit and ass to come t"rou#" clearer8 "owe$er instead o! lowerin# t"e mid !reHuencies !or t"e piano i kept it !airly !lat since a lot o! t"e resonance o! t"e #uitar come t"rou#" in t"e mid !reHuencies in t"is composition8 also ecause i !elt like it was a nice touc" to "a$e t"at particular sound come t"rou#" still% did raise t"e "i#"er !reHuencies to "elp t"e #uitar come t"rou#" clearer% Wit" t"e ass all i did was lower t"e "i#" !reHuencies to allow t"e #uitar to come t"rou#" clearer8 ot"er t"an t"at8 i le!t t"e ass !airly alone%
,
@
Wit" t"e piano and #uitar8 i routed t"em to a separate us e!ore #oin# to t"e main output% 'n t"is us i put a re$er e!!ect on8 t"is makes t"e piano and t"e #uitar sound a lot more dominant and creates a nicer8 wider tone to t"e #uitar and piano w"ic" "elps open up space t"e centered sounds o! t"e drum kit and t"e ass%
- Ta"k .$ Make note" on t1e c1oice" o2 'i5ing tec1ni6ue" 2o( e5t(a t(ack and (ea"on" w137
)%nit * + GC0 / 4 )%nit . + GC 4)%nit * + GC # )%nit . + GC#
5
"is is t"e ntro #uitar taps =Q8 on .uitar t"e "i#" !reHuencies were cut o!! since it was a #uitar w"ic" didnIt utilise t"e "i#" !reHuencies8 so we opened t"em up to allow ot"er instruments and sound t"rou#" clearer% 'n .uitar 2 a small area o! a !reHuency was lowered to allow ot"er !reHuencies t"rou#"% 'n t"e ntro taps .uitar t"e "i#" and low !reHuencies were lowered to alance t"e =Q o! t"e mix same wit" t"e ntro P+ #uitar%
O
o "elp make t"e #uitar and t"e #uitar taps at t"e intro o! t"e son# sound !uller and wider8 ut also to stop it !rom clippin# and ein# too loud in t"e composition t"rou#" t"e e!!ecti$e use o! compression% Wit" t"is we did8 in our opinion8 made t"e #uitar taps sound $ery close to t"e ori#inal source%
/ist o! eHuipment in t"e Studio:
- % Adam AR - 2% G<G <okit 5 - ,% iiyama =2,LS (onitor - @% No$ation mpulse @9 - 5% SP/ 2,
- O% )ocusrite SA 'ne - % ema#ic /o#ic +ontrol - % (acintos" +omputer - 9% Sa!!ire Pro @3 - 3% 'ctopre (k% - % S-P"one eadp"one
(ixer1Amp
Adam AR Use: Speaker Pair )reHuency <esponse: ,4 - 53k4
9
W"y:
"e Adam AR Speaker is used !or Studio as a speaker pair% Accordin# to online re$iews and reports y trustwort"y sources soundonsoundB8 say t"at t"e speaker is o! $ery "i#" Huality and reliaility% t is well suited to "ea$y usa#e and "i#"s and lows8 it comes wit" su woo!ers and tweeters to support t"e "i#" and low !reHuencies% owe$er !rom personal experiences8 t"e speakers do seem to e coloured to a lower !reHuency w"ile remainin# !airly !lat in ot"er !reHuencies%
G<G <okit 5 Use: Speaker Pair )reHuency <esponse: @54 - ,5k4
)reHuency <esponse +"art:
W"y:
We use t"e G<G <okit 5 Speakers as a second speaker pair !or studio % owe$er in personal opinion i t"ink t"at t"e use o! G<G <okit 5 is not needed !or studio i! only !or directional sound% t seems to "a$e a s"aky response to mid- tones and due to t"e !act it does not come wit" any speakers t"at
support t"e mid-ran#es8 ut come wit" a suwoo!er and a tweeter !or t"e "i#"Is and lowIs% Since t"e ARIs support t"e lowIs and "i#"Is in studio 8 i !ind t"at t"ey are really not necessary% owe$er8 "a$in# a second speaker allows !or a more !uller sound w"en re$iewin# your compositions w"ic" is $ery $aluale%
iiyama =2,LS (onitor - Standard (onitor8 used to $iew in!ormation supplied y t"e (acintos" computer%
23
No$ation mpulse @9 Use: (L Geyoard )eatures:
- Jelocity sensiti$e drum pad - Gnos8 !aders and uttons t"at work wit" most music production so!tware - UPnP Supported
W"y:
We use t"e No$ation mpulse @9 as t"e main (L input de$ice in studio % We need a min (L input de$ice !or studio as it is easier to input (L si#nals into a composition y keyoard compared to #uesswork wit" t"e mini keyoard on t"e side o! /o#icIs Piano roll window% Also t"is can e used to modi!y sounds wit" itIs inte#rated !aders and controls% "is can e $ery use!ul !or ad$enturous producers%
2
SP/ 2, Use: A alkack and (onitor +ontroller )eatures: (ultiple inputs and outputs to "eadp"ones and speakers to allow t"e controller to talk to per!ormin# musicians and control t"e t"e sound le$els o! t"e output le$els in t"e studio8 suc" as alkack8 +ue and Jolume%
W"y:
We use t"e SP/ alkack +ontroller as a way o! communication etween people w"ere t"e soundproo! rooms pre$ents us !rom communicatin# to per!ormers1musicians on t"e ot"er side o! t"e #lass windows o! t"e rooms% "is makes it $ery crucial !or recordin# purposes and wit" t"e uilt in microp"one8 it means less cales "a$e to e used to mic up a microp"one in t"e control room% Also it allows t"e producers in t"e control room to co-ordinate t"e per!ormers wit"out "a$in# to tra$el distances and use up precious time% Since it also acts a master $olume control !or multiple speaker outputs8 it is consideraly more reliale and in opinion8 etter as a c"oice o! p"ysical $olume control wit" no latency%
22
)ocusrite SA 'ne Use: Lirect nput !or instruments to record in Studio )eatures:
- 0uilt-in (icrop"one Pre-Amp - independant L <outin# - +"an#eale impedance !or microp"ones - eadp"one output wit" control - nsert point !or extra processin# etween L or Pre-Amp
W"y:
We use t"e SA 'ne as a Lirect nput !or instruments !or w"en we do not want to "a$e a microp"one record t"e instrument t"rou#" an amp% Also it allows us to control its input si#nal e!ore reac"in# t"e soundcards% "is can e $ery use!ul8 especially i! t"e instrument produces $ery power!ul si#nals% t can also e used !or standard R/< microp"one recordin#s i! needed% 't"er t"an t"at it is a ox t"at allows analo# si#nals to e con$erted into di#ital si#nals%
2,
=ma#ic /o#ic +ontrol 1 Use: )ader 0oard 1 W"y: N1A ne$er used itB
(acintos" +omputer 1 Use: Li#ital Audio Workstation Sa!!ire Pro @3 op Sound nter!aceB 'ctopre (k% (iddle Sound nter!aceB Use: Sound nter!ace )eatures:
- Preamps wit" inputs - A-L & L-A +on$erter - 2 Separate eadp"one 0uses only !or t"e Sa!!ire Pro @3B
W"y:
2@
We use t"e Sa!!ire Pro @3 Sound nter!ace and t"e 'ctopre (k% !or Studio ecause it is a $ery #ood8 "i#" Huality "ardware t"at is ale to "andle up to pre-ampId inputs% "at is enou#" to mic up an entire standard drum kit eac"% t comes wit" $olume le$els !or adFustments to t"e recordin# o! t"e sound e!ore it enters t"e LAW and recorded8 t"is allows t"e si#nal to e o! "i#" Huality and lets us reduce t"e $olume to pre$ent clippin# and reduction o! Huality o! t"e recordin# w"en in post production% "ese sound inter!aces in studio are "ooked up to input c"annels - Sa!!ire Pro @3B and input c"annels 3- 'ctopre (k% B w"ic" is wired to Sta#eox &2 in Studio /i$e <oom%
S-P"one eadp"one (ixer1Amp Use: n conFunction wit" SP/ 2, alkack +ontroller
25
)eatures: - @ eadp"one1(ixer Ampli!ier +"annels - /=L (eterin# on eac" c"annel and master - 2 and =Q on eac" c"annel - , eadp"one outputs per c"annel at maximum output8 re#ardless o!
impedence
Use:
We use t"e eadp"one (ixer1Amp wit" t"e SP/ 2, alkack +ontroller to e ale to talk to our per!ormers1musicians% n a sense8 it is Fust a routin# !or t"e SP/ 2, alkack +ontroller%
- Ta"k <$ Make note" on 1ow "ignal (outing 2o( Studio # i" "et u&7 Ta"k 0
2O
Gnown <outin#:
Sta#eox 1 - +"annel 12 - +"annel 2 1, - +"annel , 1@ - +"annel @ 15 - +"annel 5 1O - +"annel O 1 - +"annel 1 - +"annel 19 - N1A 13 - N1A 1 - N1A 12 - N1A 1 - eadp"one (ixer 12 - eadp"one (ixer 1, - eadp"one (ixer 1@ - eadp"one (ixer
Sta#eox 2 1 - +"annel 12 - +"annel 2 1, - +"annel , 1@ - +"annel @ 15 - +"annel 5 1O - +"annel O 1 - +"annel 1 - +"annel 19 - N1A 13 - N1A 1 - N1A 12 - N1A 1 - eadp"one (ixer 12 - eadp"one (ixer 1, - eadp"one (ixer 1@ - eadp"one (ixer
Jocal 0oot" 1 - +"annel 9 12 - +"annel 3 1 - eadp"one (ixer 12 - eadp"one (ixer
2