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This week we recorded vocals and clavinet tracks in the multitrack studio. The first thing we did was identify which mic to use to capture the vocals. We ended up choosing the very expensive and high quality Neumann u87 condenser microphone on cardioid mode. After this we gave the singer time to warm up and get ready whilst we set the levels for the current recordings. On pro tools and on the mixing desk we assigned track 13 to capture vocals. We asked Luke to sing as we set the gain level on the mixing desk

                                                                                                  

 

We began recording the vocals and overdid a few mistakes using quick punch. We then began using playlists in pro tools to combine and get the richest vocal sound. To do this we recorded two more vocal tracks then get the best vocals from all 3 into one. We have the tracks saved and its our decision when it comes to mixing which vocals to use.

Once we finished recording the vocals the group set the desk up for recording the clavinet track via line. We used a xlr cable to connect the clavinet in the studio to the desk. The xlr went to the di box then we transferred the signal via xlr to channel 8. We began recording the track on pro tools and the clavinet was played fine however whilst it was recording some of the group noticed it was an octave higher than normal so we recorded it again on another track an octave lower.  To correct some minor mistakes we again used quick punch. Next week is further vocals and potentially a brass player

This week we recorded the guitar and trumpet track in the multitrack studio. The trumpet track was played on ukulele by me. We stared by setting up the microphones at different distances from the vox valvetronix amplifier. The guitar used was a Ibanez Artcore. On the amplifier we added further gain for a more crunchy rock sound.In terms of microphones we used 2 SM57s which were set up 5 cm from the amp and were perfectly in phase. We also used an AKG 414 condensor mic in omni directional  mode to capture the sound from about 2 and a half metres away.

 

 

 

 

 

We put a wall between the mics and Robin the guitar player so the microphones didnt pick up the sound of Robins fingers sliding on the frets. We took a few recordings of the guitar track and recorded over the mistakes on pro tools using quick punch. To overdub the guitar track we changed the top input to the main recorded input in 4, 5 and 6. Once this was done we had 2 guitar tracks playing at the same time which gave the guitar track a more full and rich sound. With the ukulele we used only the AKG 414 in cardioid mode to capture one track which I did first time.

This week we recorded the bass track in the multitrack studio. We started by choosing which microphones to set up. We chose 1 AKG D1 12 and 1 201 berodynamic microphone. We also chose a DI box to combine both mic and line inputs. we set up both mics close to the amplifier. The D1 12 was near the top and the 201 was near the bottom. After this I opened pro tools and played the track whilst another student set the levels on the desk to a balanced 0db. the 201 berodynamic mic was on channel 13, the D1 12 on channel 14 and the di box on channel 15. As a group we made a decision to only use the D1 12 and DI box and not ued the 201 for simplicity. The sound was still fine without the 201.

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On the mixing desk we used a compressor to compress the range of sounds and capture the best sounds for the bass. By cable we sent the cable to the drawmer input. Once this was done we began recording on pro tools using the drumming track as a guide. The bass recording went well with a few minor mistakes. To patch these mistakes we used the quick punch tool to patch up the slight mistakes so anthony played bass and overdid the parts where either a note was missing or played twice. After this the bass was captured and saved on pro tools to a great standard.

This week we wanted to record the drum tracks in the multitrack studio. The guitar however was unable to be tuned to the correct pitch without an allen key so we only recorded the bass and drum tracks on pro tools. The bass acted as a guide for the drums to follow. We started by setting up the 7 microphones on different stands and adjusting the height depending on what area of the drum kit the microphones would be recording. 2 SM57s were set up above and below the snares. 2 AKG condensor mics were set up high up as the left and right overheard. 2 201  berodynamic microphones on the toms and 1 AKG D1 12 on the bass drum. This created 7 tracks which we connected to the multitrack desk via xlr cables. The channels on the desk connected to the drum mics were 17 to 23.

 

 

 

 

 

For each channel 2 group members adjusted the levels for each channel to one yellow flashing light at 0db by pressing solo and using the gain controls. Once this was complete a group member pressed phase on channel 21 which was the bottom snare mic. This boosted the low frequencies for a more full drum sound. The bass guitar was hooked up by line via xlr to line input 16 on the mixing desk. I was on pro tools so I activated channels 16 to 23 and hit record. The first recording was going well until the left overhead mic gradually fell down causing clipping in the audio file being recorded so we did the whole recording again. The 2nd recording was done without problems and the whole group were happy with the result.

Hello. My name is Lewis Whitworth and I am in a group of 11 audio production students and our task is to create our own mix of the song superstition by Stevie Wonder which we chose. My role is playing guitar covering the trumpet track. This blog will cover the tracking and overdubbing processes per week