Considerations Studio
The magic of the recording studio has often mystified even the most experienced professionals. With all the knobs, switches and buttons various tools and large format consoles, no wonder confusion sets for most non-techies. Many people, especially artists, composers, producers and engineers, will eventually put together his own studio for writing and preproduction, with a little 'in the end you decide to take the plunge and create a complex for all purposes of recording which is able to record important albums. This article will try to shed light on considerations to take into account when making a studio, be it a small home studio or one professional recording studio.
is important dimension? Some may say it is so, but this is not always the case. The size of the study are very important. Too large a room can become overly reverberant or full of unwanted echoes. A room too small may sound tight and unnatural. It 'important that the room size and room sound is relevant to the type of music you are recording. You do not want to go in a very small narrow room to record BIG rock drums. Although, big room sounds can be achieved by adding external reverb to simulate rooms at a later time, if necessary.
It 'best to find the room that suits the sound you are trying to get from the beginning of the registration process. The smaller the room, smaller and tighter the sound will be; this is not necessarily a bad thing. Small narrow rooms can be good for vocals, guitars and percussion if you are going for a clean, tight sound. Larger rooms have more air for the sound to travel, so it will be really a largest open sound. The sound has a longer travel time for the sound wave to move, then the reflection from the walls will take more time to recover the creation of a larger wide sound. The size and sound decision to be made soon before the recording starts. An advantage that a larger room will have is the ability to be scaled down by closing the room with modular baffles or gobos (go intermediaries). Gobos are structures that are partitions, that help to block sound by placing them among the musicians, instruments and microphones. Positioning gobos around the microphone at close range will contribute to a large room with too much smallest sound atmosphere. This eliminates reflections from walls that are further away.
Small rooms can produce big heavy tight sounds with the absence of the reverb decay that is caused by large rooms. Sometimes a large room can sound like is washed out, or far. With a good engineer any room can sound amazing with a little 'adjustment. A poor room sound can be manipulated to sound good, even if it requires a lot more work and time. Decide the size of the room adequate for your needs is crucial to the sounds that are re-produced. This highly dictate the type of sound pickup microphones.
Clapping in a room can give a good representation of what a room will sound like. Reflection coming off the walls will be picked up by a simple hand clap. The real test is to try some instruments or vocal parts and place them in different sections of the room until it reaches the optimum sound quality. On one side of the room it sounds bad try a different spot or move around in the corner until the sound is improved.
The testing of the different sections of the room also keeps the sound fresh when recording many instruments. If acoustic guitars are recorded in the middle of the room when it comes time to record the electric guitars you can try their registration in a corner of the room for a different room sound. This gives clarity on the final mix creating separation and providing more distinction various sounds.
If you start your own studio, remember that the largest study highest such bills will be. The advantage is that larger studios can charge more for their studio rates.
How to get the necessities
If you happen to reach that elite 2% and become that million dollar, hit selling, famous producer or artist (or if you just won the Lotto), then you might eventually think about buying serious studio gear and setting up your own producer paradise.
Acquiring the proper equipment and labor is the key to a great studio and successful recordings. Studio gear is expensive and the knowledge of those who use the gear is not cheap. Hiring the right people are able to save time and money in the long run. Studio designers are also specialty breeds that can make or break your study. Your buddy Joe the carpenter may be able to help build for less, but if the study is not properly insulated for sound is a big waste of time, energy and finances.
The studio engineer is also the focal point of the sound that is created. Having an experienced engineer involved in the process will make your sound have their own character. He is the extra set of ears that gives another dimension to your productions. He is also a critical consulting partner when building or you choose to rent a studio. Let the experts help you with tips, will create less of a headache in the long run head. The expert engineer can fill you in all the necessary equipment for the recording of music that is relevant to the world. You can also give some guidelines on how the study should be set up before having to consult a designer. There is no room for guessing or assumption on these issues.
Check List: Part 1
When purchasing studio gear it is wise to research only what is absolutely essential for your style of music. Unless you are recording live drums in your studio, there is no need to purchase a plethora of microphones for them. Being patient and shopping around for the best prices, a mass amount of money can be saved at the end. When you save $ 50 to $ 100 dollars for each piece of gear that really adds up at the end, and there is a ton of gear needed to put together a real studio.
The following is a basic studio checklist that will be discussed in further detail in subsequent articles. These are the essentials of modern day recordings and the tools that are most commonly used in the best studios around the world.
Studio Gear Checklist:
Recording / Mixing Console
The engineer or producer operates the console that controls all levels for recording, playback and mixing.
This is the big table that has all the buttons, switches, knobs, faders that control the levels and signal routing for each instrument. This could be defined as a table, console or mixer. The most common console in major studios are SSL (Solid State Logic) or Neve. The console is the most important piece of equipment in the studio. It controls the overall operations of the signal flow and sound manipulation. The console allows for each instrument to be its own channel on the card. Each channel may then have effects inserted in its signal path to enhance the sound. A signal can also be routed external gear for further manipulation. Anything you can imagine, it can be done. There are no rules for experimenting with the sound. A signal can be sent to reverbs, delays, compressors, guitar amps, speakers in hallways for re-recording
Each strip channel a decent console contain: fader, pre-amplifiers, Panning, EQ, filters, a routing matrix, AUX sends and returns, Dynamics, muting, and Solo.
Other features of the console: Inserts, outputs, monitoring, automation, fader grouping, distribution, Splitting ...
Patchbay
Allows Studio combine interconnectivity with all the equipment using patch cords. The patch bay can be configured for specific requirements of each studio equipment. All external devices, console devices and recording inputs and outputs are wired to the patchbay. The Patchbays can be analog or digital. The most common is the configuration of Bantam TT cables.
Check List Part 2 :.
Microphones pickup the initial sound source The microphone is the first source to receive the registration process and converting the sound wave into electrical energy to be amplified, transmitted and registered.
Preamplifier amplifies the original signal from the microphone or instrument. It gives the initial check of the recording levels. Preamplifiers are located on the console or as external outboard.
DI box Direct box is used mainly for instruments such as keys and bass to be compatible with mic inputs. The DI box transforms levels of mic-level tools line for console and preamp inputs.
Compressors Helps to further control levels and dynamics from the preamp or console. Usually it comes in rack mounted outboard gear or plugin for DAW software. Compressors to keep the peak levels in distortion levels and help bring lower levels louder.
FX processors for special effects like adding space, dimension, pitch and time delays signals and recorded tracks. Usually it comes in rack mounted outboard gear or plugin for DAW software. The multi-FX processors may have reverb, delay, flanger, EQ, compression and more all in one unit.
FX Pedals small track pedals originally designed for the guitar FX processing. These pedals are designed to distortion and special effects, which add space, size, height and time on guitars mainly, but are used as a cheap alternative to other external devices tools.
The DAW Digital Audio Workstation is like a entire studio inside a computer. Protools, Logic and Nuendo DAW are just a few that provide a multi-track digital recorder, a virtual console, a wide range of effects, editing, and sequencing possibilities (music program). The DAW uses software, hardware and computers in combination to operate.
Check List: Part 3
Control Surface The control surface acts as console that controls a DAW or an external machine. The usually has control surface faders, knobs and buttons that are controlled by the computer connected to a DAW. This makes operation of the DAW similar to analog operations to be able to get their hands on the faders instead of mouse clicks. Some control surfaces have all the same characteristics of a console. The most common control surfaces are made by Digidesign.
Clocking Digital recorders use different clock formats of function properly. Digital units sample the sound to replicate. Clocking refers to the amount of time between samples taken for playback. If the digital clock is out of it will sound nervous or add noise to the sound in the conversion from analog to digital. A clock will improve the sound quality. Some common digital clock sources can be found in products made by Prism, Rosendahl, DCS, and Aardsync to name a few. Some clocks have sync generators built-in lock-up with other machines.
Sync Generator generates tones to allow communication between machines so that several recording devices can be synchronized together and work at the same speed. Clocking works with synchronization (Sync) when analog and digital equipment is combined. Sync uses SMPTE, MTC (MIDI Time Code), Midi Clock, MMC (MIDI Machine Control) to allow recording of different DAW and tape machines to be connected together.
CD Recorder records and plays compact discs . It gives the ability to record and play back stereo mix these mixtures on other CD players. CD standard for consumer reproduction is a 16-bit sampling rate and a sampling frequency of 44.1 kHz. Sony, Tascam, Alesis, and Yamaha all make good studio CD recorders.
tape machines that use analog or digital tape for the recording and the recording of music playback. Some audio recording purists prefer the sound of analog tape. There are many digital tape machines used for the recording of music and video.
Wiring literally miles of various cabling could be required for a single study. Common cables in sound reproduction are XLR balanced mic cables and Unbalanced 1/4 inch instrument cables.
Monitor / Amplifiers Speakers in the studio are called Monitor. Clean powerful amplifiers are needed to run the monitor. Many monitors are self-powered, which means that they have built in amplifiers. The monitors usually consist of high frequency tweeters, low frequency woofers and cabinets that contain the speakers and components.
headphones / distribution using a number of earphones this allows communication between the control room and the studio, also allows pre-recorded tracks to be heard during the overdubbing process. Headphones are also referred to as cans.
Instruments / Keyboards / Battery / Guitars These are the tools of the trade. You can have all the best studio equipment in the world, but if the instruments sound bad you're starting at the wrong place. All that could be seen as a tool if it makes noise that could be recorded on a disc.
Amplifiers This is often referred to as a amp. Amplifiers increase the amplitude or volume of the electrical signals from sound waves. These are used to power the speakers. Guitar and bass amplifiers can be used for many other applications such as the execution of a snare drum voice or through them.
The microphone is a wide range of sizes and styles are needed for proper study. The mic stand helps to get the microphone properly positioned for the best possible sound quality.
Studio Furniture There are many types of rack and furniture designed to hold consoles and external devices. The interior decoration of the study completely defines working environment atmosphere.
Electricity
Nothing works without electricity unless you are a nuisance to local circles drums down on the beach. Electric power installation of the study is often overlooked. prepare studies "clean feed", that is, a separate switch from the rest of the general power that is used for air conditioning, lighting and the needs of the rest of the building. Have you ever entered something and felt that awful buzzing sound coming from the speakers or guitar amp? This is usually due to bad electrical cables, which causes background noise. This is the first thing you hear when you go to a studio session. A simple solution to the problem would be to use a simple lift earth on the gearbox or raise the soil from a direct box that can also solve the problems. We'll go into more detail later.
insulated electric circuits for each environment are a must in a recording studio. The right amount of amperage is also a must. Not enough amperage definitely cause the switches to blow. Consult a licensed electrician who is familiar with setups in the studio to ensure that the wiring and the voltage is regulated and comply with local regulations.
unregulated power supplies (UPS) should also be in place in case there is a power failure. This will help to ensure that valuable equipment does not blow up or cause a fire. If there is a case of a power failure the UPS provides enough time for the important files backup computer and safely turn off your equipment. Some studies have complete generators systems in place to keep the stroke study for the rest of the session.
improper lighting can also cause ground hum problems, in particular fluorescent lamps. Avoid using these in any study. Dimmers can also cause many problems. The average household dimmer definitely put a damper on a clean sound. Make sure the professional quality dimmers are installed to prevent background noise. I always listen carefully to the signals being recorded before committing to a final recovery. There are a countless number of accounts that the engineer finds out electrical noise on the door during the mixing process.
If you are serious about your study, may I suggest a balance of power or a separate panel with a neutral power conditioning. The problem of evil in the land problems are a direct reflection of return sources or looking for a different ground. potential tension between the neutral and the ground will certainly change the way you see things ... for example, .5 volts between neutral and earth is the maximum allowance for UL code that electronics will function effectively without potential problems induction. I would suggest having a meter installed to rate this. Record this information and have a good relationship with the local power company would not hurt at all.
Air Conditioning / HVAC
This is another very important area that is often not considered. Gear Studio becomes very hot. The lack of adequate cooling may cause a breakdown or damage. Blowing up equipment is not fun and it becomes very expensive. Some studios have a separate machine room for computers, tape machines and power amplifiers which is highly air-conditioning to keep things cool. This also reduces the noise from the fans of such units, which may distract the concentration of listen in detail in the control room. Having too much air conditioning may also result in moisture or condensation that could damage the equipment. The water, in general, is bad for electronic gear.
The return air system is used to pull the heat from the necessary areas and also provides an air intake for the air conditioner. These are placed in key areas in which there is an accumulation of heat from the gear, for example near the console or in the machine room.
Separate Rooms: Control Room
Most studies have isolated several areas for recording, mixing and production. Soundproofing is the main agenda for the creation of multiple rooms in a study. To achieve this goal, the main goal is to make the airtight rooms. If the air can not flow into or out of a room, there will be less chance of sound leaking in or out as well.
Most firms have double doors that create a sound block to help prevent noise leakage. Also very thick double walls with internal air cavities to also help trap unwanted sound. The studio floors should be float which means that are raised off the ground to further help avoid extra vibration and leakage.
The first objective would be the control room where the mixer and external devices are contained. This is where all the recording and mixing is controlled, then the Control Room. The acoustics in this room should be designed to hear the exact sound you're recording or mixed. The sound of the room should be as natural as possible for accurate representation of the original sound translated to the speakers in the room.
The first rule for a suitable acoustically treated room is that there should be parallel walls .If you were clapping in a room with hard walls parallel here is the sound that bounces back and forth, this is known like an echo atrial flutter. This is neither good for recording or mixing. The capture of unwanted low is important for a room in sound great as well. Twenty-five percent of the room should be assigned to the traps bass for a sufficient mixing chamber.
Separate rooms: Live Room s
The next goal of equal importance would be the room where there is live music. This is where musicians and singers perform on microphones. living rooms should have a greater versatility of being able to adapt to different recording situations. wooden floors for example are great for sound reflection, that creates a brighter tone. If a warmer tone is wanted, you could simply place a rug on the floor. Many rooms live also have a large amount of glass to see one of the rooms for communication. This is also very reflective. Many studies use tends to control the amount of reflections that come out of glass or rigid walls. non-parallel walls are still needed to eliminate flutter echoes.
Some studies also contain a vocal booth in the live room. This would be a smaller room designed for vocals. They can be used also for guitar and other instruments amplifiers. There are no rules for how this can be used for; its main purpose is for the additional insulation during the registration process. The glass doors or windows are used for the visibility of the arts and those working in the control room.
Many processed studies can have control rooms and multiple production suites. Salons and adequate sanitation are important in maintaining the creativity flowing. A dining room and kitchen are also a consideration if budgets allow. Many hours are spent in the studio when working on projects. It 'important to have all the comforts of home to keep everyone happy.
needSome relevant offices for the customer to be able to get internet access private and manage tasks without distractions. All studios are designed differently. Anything you can imagine can be created. There are no rules, only guidelines.
Acoustics
The sound is a wave, like the ripples on a still body of water when a stone is dropped into it. The bigger the wave, the lower the tone. lower tones, known as low frequency, traveling in large swells while the higher tones known as high-frequency wave traveling in a narrower, shorter. Frequencies heard by the human ear range from 20Hz to 20K. Just as an indication, the range of a piano, probably the widest range of any instrument, is from 39Hz on low note and 3Khz on high note.
[1945001Sound] is measured in decibels also represented as dB. An average concert is about 95-100 dB, while a heavy rock concert or hip hop concert could reach levels of 130dB. This is above the pain threshold; so do not forget to wear ear plugs that are designed to protect your hearing when extreme volumes. Interestingly, the whales can actually produce levels up to 180dB. It should be remembered that taking care of your ears is the most important thing you can do to prevent damage and to have a lasting career. So do not go out with the whales and put some protection in the ears when exposed to loud.The absorption is the act of a sound wave to be absorbed by a particular material. This is measured by the feedback co-efficient. The higher the coefficient of absorption of sound rating, the more sound that is deleted from stains difficult in your room. different section of the room can take several feedback co-efficient. Remember that studies are like an empty shell. hard surfaces and walls in need of treatment to provide a large room sound. For example, 20 gauge curtains are commonly used in the studies. They consist of a thick velvet material, which is excellent for the absorption of high-end frequencies. The thinner materials absorb higher frequencies.
Thicker materials absorb lower frequencies. This is the reason why the low thickness traps are very large and contain ports or holes to trap the low end frequencies. The large port, the lower the absorption frequency.
There are endless amounts of products and designs that are used in industry. wall panels are commonly used to absorb sound. These consist of a fiberglass product wrapped in a cloth material. The various sizes and thicknesses are used for the problematic frequencies. Also in this case the thin materials eliminate high-end and thicker materials absorb low end.
The reflection is the opposite of absorption. Think of the sound as a wave that strikes a mirror and bounces back. This can be used as an advantage for a more brilliant tone. If a room has too much absorption, causing the room to look too dead, hard surfaces such as wood panels can be placed in strategic positions to add a more live sound around the room.
Some studios are equipped with reversible hanging panels that can be flipped between the reflective and absorbent to change the sound at will room. For entry of the room may need a more dead room sound absorption. Drums can request a room that plays live. John Bonham from Led Zeppelin had a huge sound from incredibly reflective drum alive. This has become the target for the big sound of rock drums.
The prince is underestimated as a drummer. It has a great sound of tight drums on his first album where he played all the instruments, as well as drums. The drums have just the opposite effect using the absorption in a small narrow room the creation of a very heavy face Pop drum sound.
These are no rules, only guidelines. Using the ears is always the key to getting the best sound.
Designing a study is quite a commitment to do professionally. Each room is completely separate and isolated from each other. The most common method is to actually construct a room within a room. The interior walls do not touch the outside, which creates an air gap that traps the sound. Every wall can be several feet thick and multiple layers of thick glass and doors divide rooms.
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