Linear Recording Methods

Prior to recording, a proposal outlining our goals for this assignment was developed. This also allowed us to assign duties for the day of recording and have a clear idea of what we hoped to accomplish, so that everyone understood what to do. To effectively record a group using a variety of studio production methods in an Alternative / Hard Rock Genre with grunge elements also present.  With an aim to record a typical four-piece band and create a track comparable to selected references and source material. Using multiple microphone setups, including AB/spaced pair, and experimenting with several mics on both guitar and bass amps to combine distinct tones. To record as many instruments as one group, then re-record anything that requires it and add any necessary additional layers.

The university will provide the instruments, but we will provide the pedals, amplifiers, cables, and recording rooms. The recordings will be processed using a mixer using Logic.  As I have more expertise with the required tone for the song, I will serve as producer for the session. Tristan, Matias, and Charles will set up the microphones since they have greater experience in this area.  All recording sessions will occur in March. Mixing and mastering will be done by April's end.

The recording procedure will be relatively smooth; nevertheless, studio time will be restricted owing to the recording needs of other classmates.

           When it came to record a band, our classmates were all very versed in different styles which gave us the opportunity to a wide range of recording techniques and studio methods to be put into practice. We managed to hold several jamming sessions first to better understand their own sounds.
           The most prominent similarity to our desired outcome was in Jamie Lenman’s track “Mississippi”. What makes the guitar tones similar is the use of reverb and other effects such as chorus and delay, which creates thick layers.

           In order to capture a realistic reverb and authentic acoustic environment, we may indeed experiment with capturing the guitar amp from various locations in the room throughout the recording process. The issue might be that the studios have a monotonous sound, which could result in recordings that lack colour or personality. Pedals might potentially be utilised to accomplish the same result.

           We assumed that adding vocal variations to the mix would provide a softer, but more robust voice to complement the amplified instrument tones. I intended to utilise the Neumann TLM 67 for this purpose. The microphone has a frequency range between 20Hz and 20kHz, cardioid, omni, and figure-of-eight polar patterns, a 10dB pad, and a low-cut filter. It can function without distortion at sound pressure levels up to 105dB and even has a dynamic range of 94dB(A) or 104dB(A) with the pad engaged. This was ideal for adding loud or screamed voices using the false chord approach, since it allowed me to avoid reaching the microphones peak too abruptly.

During the first of numerous recording sessions, we laid down the drum tracks. Due to the fact that these mics are designed specifically for particular characteristics, the Earthworks Audio DK7 Drum Mic Kit was used in order to capture the kit when the time came. These mics were developed specifically for use with a kick drum and are thus best suited for that use. We decided to go with a dynamic microphone rather than a condenser model since dynamic microphones are able to withstand substantially higher sound pressure levels than condenser models, which are significantly more sensitive. The frequency response chart that follows provides an illustration of the response of the SR20LS and indicates why it was excellent for producing this sound. In addition, it features a cardioid polar pattern, which indicates that the recording is far more focussed on a single area and has significantly less space bleed, which ultimately results in a better recording of the kick drum.

           We chose to record the snare top using a DM20 because, similar to the D112, it is a dynamic microphone. As such, it is an excellent choice for recording the intensity of the snare. In addition to that, we started putting them on the underside of the snare and the toms as well.