The Advantages Of Digital
1) No tape hiss, meaning no noise introduced at all.
2) No degradation, meaning the sound never degrades no matter how many times it gets played.
3) Full frequency response.
4) No print-through, meaning no magnetism transferred.
5) No cross-talk between channels, meaning no picking up of the sound off adjacent tracks.
6) Possible to bounce to adjacent tracks, meaning track 15 can be bounced to track 14 or 13, etc.
7) Drop-ins are inaudible.
8) Error Correction, this feature uses a speculation method to guess missing information.
9) Higher dynamic range (Digital = 90dB, Analogue = 60dB).
10) Total erasure when you are clearing a track.
11) No wow or flutter.
12) Higher total harmonic distortion (Threshold at which different frequencies start to distort).
The Disadvantages Of Digital
1) No warmth in the sound, unlike analogue tape.
2) Prone to dropouts.
3) If a large error/s occurs, this will result in big dropouts or the data may not work at all.
4) Very expensive.
Digital Formats
1) DASH (Digital Audio Stationary Head)
48 Track 1" - SONY DTM 3348
32 Track 1" - Mitsubishi X8 80/50
24 Track 1" - Studer, Otari
Mastering 1/4"- 2 Track Mitsubishi,Otari, Studer etc.
2) RDAT (Rotary Digital Audio Tape)
8 Track - VHS, A/DAT, Alesis
Hi8 Tape - Tascam DA338 (Must format tape before use)
DAT - 2 Track has no need to be formatted before use,
These can be synced to other DAT machines for mixing purposes.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Saturday, 21 November 2009
Reverb
Reverb is a prolongation of a sound after it has decayed away (Dying away).
Many thousands of reflections which become more dense as time goes on and then they decay away.
A reverb unit is a unit which produces the acoustics of an environment such as a large room, cathedral, sewer etc.
Reverb is anything under 500ms.
Delay is anything over 500ms.
Parameters for Digital Reverb
The following controls are essential for creating an acoustic environment;
•Pre-Delay is the time taken for the reverb to start once the direct sound has ceased. (When the reverb starts)
•RT60 Reverb Time (Reverb Time To -60dB, To Decay Away) is how long the reverb lasts until it decays away to -60dB (The longer the RT60 the bigger the acoustic environment is.
•HF Decay (High Frequency Decay) HF Decay is how long the high frequency content takes to decay away.
This works in conjunction with the RT60 reverb time. The lower the HF Decay time is, helps to create a warmer sound on the reverb. Also gives the impression that there are objects in the room.
•LF Decay (Low Frequency Decay) LF Decay is how long the low frequency content takes to decay away.
This works in conjunction with the RT60 reverb time. The lower the LF Decay time is, the more of a metallic sounding reverb.
•X-Over/Cross Over is where the high frequency (HF) and low frequency (LF) content are separated. (Centre frequency/Like a filter)
•Density controls the amount of spacing between the reflections.
•Diffusion controls the amount of dampening to the reflections, Just like introducing objects to a room, the higher the diffusion the more objects that are in the room dampening the sound.
•Size works in conjunction with the RT60 reverb time. The bigger the room or acoustic environment the bigger the RT60 reverb time is going to be.
Types of Reverb
There are two types of reverb;
1) Mechanical Reverb (Created mechanically by a device).
2) Digital Reverb (Created digitally).
Mechanical Reverb Device's
Reverb Chamber
A reverb chamber can be of any size, You will place 2 microphones equal distance and equal height from the sound source and record the reverberation from that environment.
Spring Reverb
A spring reverb is when a sound is transformed through the spring's, this creates an artificial environment.
You do not have any controls over the reverb time, etc.
Original spring reverb units have a nice warm sound.
Plate Reverb (EMT Plate Reverb) is a big unit which can come in many shapes and sizes.
Inside the unit is 2 large plates, a speaker and 2 pickup's (Microphones).
It basically records the acoustics of a sound when it is played through the box environment.
You have no control over any parameters. Original plate reverb units have a nice warm sound.
Digital Reverb Unit's
Basic Digital Reverb Programs Found On Most Units;
1) Hall Reverb (Different hall size's)
2) Room Reverb (Different room size's)
3) Gated Reverb (Reverb Gated)
4) Reverse Reverb (Swelling delay)
Various Programs can be created by adjusting the paramaters
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Many thousands of reflections which become more dense as time goes on and then they decay away.
A reverb unit is a unit which produces the acoustics of an environment such as a large room, cathedral, sewer etc.
Reverb is anything under 500ms.
Delay is anything over 500ms.
Parameters for Digital Reverb
The following controls are essential for creating an acoustic environment;
•Pre-Delay is the time taken for the reverb to start once the direct sound has ceased. (When the reverb starts)
•RT60 Reverb Time (Reverb Time To -60dB, To Decay Away) is how long the reverb lasts until it decays away to -60dB (The longer the RT60 the bigger the acoustic environment is.
•HF Decay (High Frequency Decay) HF Decay is how long the high frequency content takes to decay away.
This works in conjunction with the RT60 reverb time. The lower the HF Decay time is, helps to create a warmer sound on the reverb. Also gives the impression that there are objects in the room.
•LF Decay (Low Frequency Decay) LF Decay is how long the low frequency content takes to decay away.
This works in conjunction with the RT60 reverb time. The lower the LF Decay time is, the more of a metallic sounding reverb.
•X-Over/Cross Over is where the high frequency (HF) and low frequency (LF) content are separated. (Centre frequency/Like a filter)
•Density controls the amount of spacing between the reflections.
•Diffusion controls the amount of dampening to the reflections, Just like introducing objects to a room, the higher the diffusion the more objects that are in the room dampening the sound.
•Size works in conjunction with the RT60 reverb time. The bigger the room or acoustic environment the bigger the RT60 reverb time is going to be.
Types of Reverb
There are two types of reverb;
1) Mechanical Reverb (Created mechanically by a device).
2) Digital Reverb (Created digitally).
Mechanical Reverb Device's
Reverb Chamber
A reverb chamber can be of any size, You will place 2 microphones equal distance and equal height from the sound source and record the reverberation from that environment.
Spring Reverb
A spring reverb is when a sound is transformed through the spring's, this creates an artificial environment.
You do not have any controls over the reverb time, etc.
Original spring reverb units have a nice warm sound.
Plate Reverb (EMT Plate Reverb) is a big unit which can come in many shapes and sizes.
Inside the unit is 2 large plates, a speaker and 2 pickup's (Microphones).
It basically records the acoustics of a sound when it is played through the box environment.
You have no control over any parameters. Original plate reverb units have a nice warm sound.
Digital Reverb Unit's
Basic Digital Reverb Programs Found On Most Units;
1) Hall Reverb (Different hall size's)
2) Room Reverb (Different room size's)
3) Gated Reverb (Reverb Gated)
4) Reverse Reverb (Swelling delay)
Various Programs can be created by adjusting the paramaters
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Leads and Connections
You should not skimp with leads, Buy the best quality that you can possibly afford.
The Different Types Of Connectors
XLR
Stereo 1/4" Jack (Balanced/Unbalanced)
Mono 1/4" Jack (Balanced/Unbalanced)
Patch Lead
RCA Phono
SPDIF
2.5mm Mini Jack (Stereo/Mono)
3.5mm Mini Jack (Stereo/Mono)
Speakon
DIN
MIDI
Toslink
Optical
The Different Types Of Cable
Oxygen Free Cable - Expensive cable, but the higher cost is due to the superior quality that this type of cable incorporates. It is excellent for speaker cable. Sonic superiority.
Braided Screened Cable - Expensive cable, due to the copper content and more complex manufacturing techniques. Excellent for microphone cable as it features very high rejection of RF interference. Great for PA's.
Foil Screened Cable - Low cost cable, with good screening and can be prepared very quick and easy, it also has a small diameter.
Conductive Plastic Cable - Great cable that can go around bends with ease, also very quick and easy to prepare. The biggest flaw of this type of cable is that the screening capabilities are very poor compared to other types of cable. But great for short run microphone cables.
Lapped Screened Cable - Expensive cable, due to the copper content. Easily flexed and is very strong, an excellent all round cable if you got the cash to buy it. Great for PA's.
Single Core (Unbalanced) - Usually low cost and quite common, especially in everyday applications and use. Best used for short cables. One core carries the Hot signal, and the Shield which is the Earth.
Double Core (Balanced) - Usually expensive, double core, one core carries the Hot signal (Positive +), one core carries Cold signal (Negative -), and the shield which is Earth. This cable is excellent for short and long length cables, as it is highly unlikely to suffer from RF interference and noise.
AudioSpares.com - supply high quality professional audio spares, studio spares, components, music accessories and parts. Specialising in professional audio parts and spares for PA, live sound, studio recording and video applications, AudioSpares buy direct from the manufacturers to bring you top-quality audio/visual components at rock-bottom prices!
For more audio production information and advice visit; http://www.ampthetex.co.uk/
EQualisation
Definition of Equalisation; Equalisation changes the tone and harmonics of a sound wave by changing the amplitude of frequencies in any waveform.
Basic Frequency Range's
Low Frequency - (30Hz-300Hz)
Low Mid Frequency - (300Hz-2.5KHz)
High Mid Frequency - (2.5KHz-8KHz)
High Frequency - (8KHz-20KHz)
Turnover Point is frequency you select to cut or boost.
Bandwidth is the area of the frequency of turnover point.
Frequency is the number of cycles per second.
Sweep EQ;
Has a fixed bandwidth, Variable gain and variable frequency.
Shelf EQ;
Variable gain and whole bandwidth, Low and high pass filters.
High frequencies can cut and boost everything above the turnover point.
Low frequencies can cut and boost everything below the turnover point.
Parametric EQ;
Has variable frequency, Variable gain and whole variable bandwidth.
Graphic EQ;
Collection of fixed frequencies, Variable gain and narrow bandwidth.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Basic Frequency Range's
Low Frequency - (30Hz-300Hz)
Low Mid Frequency - (300Hz-2.5KHz)
High Mid Frequency - (2.5KHz-8KHz)
High Frequency - (8KHz-20KHz)
Turnover Point is frequency you select to cut or boost.
Bandwidth is the area of the frequency of turnover point.
Frequency is the number of cycles per second.
Sweep EQ;
Has a fixed bandwidth, Variable gain and variable frequency.
Shelf EQ;
Variable gain and whole bandwidth, Low and high pass filters.
High frequencies can cut and boost everything above the turnover point.
Low frequencies can cut and boost everything below the turnover point.
Parametric EQ;
Has variable frequency, Variable gain and whole variable bandwidth.
Graphic EQ;
Collection of fixed frequencies, Variable gain and narrow bandwidth.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Microphones
The Different Type's Of Microphones Are;
Dynamic Microphone
Radial Condenser Microphone
Axial\Dual Diaphragm Condenser Microphone
Electret Condenser Microphone
Dynamic Ribbon Microphone
PZM (Pressure Zone Microphone)
Sound Field Microphone
Dynamic Microphone (Moving Coil Microphone)
The characteristics of a dynamic microphone are as follows;
1) Limited frequency response.
2) Can handle high SPL (Sound Pressure Level).
3) Fixed polar pattern.
4) Don't require a power supply.
5) Very robust.
6) Good handling capabilities (Hold them in your hands).
7) Very good for live use.
8) Very directional (Pick up where its pointing at).
9) Low signal to noise ratio (Low output).
10) Polar Pattern = 1 Cardiod (fixed pattern).*
Condenser Microphone (Capacitor/Stored Energy System Microphone)
The characteristics of a condenser microphones in general are as follows;
1) Very fragile.
2) Good frequency response.
3) Susceptible to damp or humid weather conditions.
4) Good signal to noise ratio.
5)Polar Pattern = Cardiod, Omni Directional, Figure Eight (Usually variable patterns).*
Radial Condenser Microphone (Single Diaphragm Placed Horizontally In The Microphone)
The characteristics of a radial condenser microphone are as follows;
1) Very fragile.
2) Good frequency response.
3) Susceptible to damp or humid weather conditions.
4) Good signal to noise ratio.
5) Small diaphragm.
6) Cannot handle high SPL levels.
7) Low frequency response (Cant pick up all frequencies).
8) Requires phantom power supply (48v DC/Direct Current).
9) Frequency response 50hz-15Khz.
10) Good for acoustic type sounds etc.
11) Polar pattern = 1 Directional characteristics may vary by manufacturer.*
Axial/Dual Diaphragm Microphone (2 Diaphragm Microphone)
The characteristics of a axial/dual diaphragm microphone are as follows;
1) Large diaphragm.
2) Full frequency response.
3) Various polar pattern (You can change the polar patterns).
4) Can handle high SPL levels (Up to 140dB/Threshold of pain).
5) Very fragile.
6) Very sensitive (May need to be shockmounted).
7) Susceptible to damp or humid weather conditions.
8) Good signal to noise ratio.
9) Requires phantom power supply (48v DC/Direct Current).
10) Excellent for vocals.
11) Polar pattern = Directional characteristics may vary by manufacturer.*
Electret Microphone (Permanently Charged Plates)
The characteristics of an electret microphone is that it looks like a radial condenser microphone, it has the same characteristics as a radial condenser microphone but it is not as good. But it is better than a dynamic microphone.
1) Very fragile.
2) Good frequency response.
3) Susceptible to damp or humid weather conditions.
4) Good signal to noise ratio.
5) Small diaphragm.
6) Cannot handle high SPL levels.
7) Low frequency response (Cant pick up all frequencies).
8) Requires phantom power supply (48v DC/Direct Current).
9) Frequency response 50hz-15Khz.
10) Good for acoustic sounds.
11) Used on TV a lot (Lapels on presenters etc.).
12) Polar pattern = Directional characteristics may vary by manufacturer.*
Dynamic Ribbon Microphone (Magnesium Ribbon Microphone)
The characteristics of a dynamic ribbon microphone are as follows;
1) Very fragile.
2) Cannot handle high SPL levels.
3) Limited applications (Cant be used on many applications).
4) Good top end better than an ordinary dynamic microphone not as good as a condenser microphone.
5) Good for classical music, speech and soft vocals.
6) Warm sound.
7) Requires no power supply.
8) Very large in size.
9) Polar pattern = 1 Omni Directional (fixed pattern).*
Pressure Zone Microphone/Electret Pickup (Works On Sound Pressure Levels)
The characteristics of a pressure zone microphone are as follows;
1) Very robust.
2) Good for ambience, surroundings etc.
3) Limited applications (Cant be used on many applications).
4) Can handle high SPL levels.
5) Requires no power supply.
6) Frequency response 40hz-16Khz.
7) Usually goes in at line level.
8) Polar pattern = 1 Omni Directional (fixed pattern).*
Sound Field Microphone (Microphone With Various Polar Patterns Beyond Standard)
The characteristics of a sound field microphone are the same as a condenser microphone;
1) Very fragile.
2) Good frequency response.
3) Susceptible to damp or humid weather conditions.
4) Good signal to noise ratio.
5) Can handle high SPL levels.
6) Very expensive.
7) Used in TV work (Outside broadcast etc.), classical music and speech.
8) Polar pattern = Multiple polar patterns but are different to the regular polar patterns.*
*Please be aware that certain manufacturers may have incorporated a different polar pattern instead of the usual standard.
Miking Techniques
XY Miking Technique (Direct Miking)
This is used on drums and on a multi-miking setup usually drums must have cardiod polar pattern.
The mikes must always point away from each other, Be a minimum of 18 inches this help reduce spill and phase.
AB Miking Technique (Stereo Miking)
This is used for ambience it can contain microphones with any polar pattern.
The microphones must be equal height and equal distance, Must be 18 inches apart.
Middle and Sides Miking Technique
This is used on strings and orchestral it basically does what it says picks up well in the middle and on the sides.
The polar patterns used is cardiod and figure 8.
Proximity Effect On Microphones
The closer the microphone is to the sound source the more bass you will get, this is called the proximity effect.
Direct Sound Source
This is the distance the mike should be from the drums etc. 3 to 12 inches from the sound source.
Miking Off Axis
This is to stop wind surge on a condenser microphone usually if you haven't got a pop shield, this is basically pointing the diaphragm towards the singer or sound source but placing the microphone above or below the level of their mouth
Miking Up a drum kit
Here Are The Different Microphones & Channels Usually Used While Miking Up A Drumkit;
Bass Drum
The Bass drum uses input number 1, The type of microphone used is a dynamic microphone usually a AKG D112.
Always make sure that the microphone is pointing inside the Bass drum hole.
Snare Drum
The snare drum uses input number 2, The type of microphone used is a dynamic microphone usually a SM-58.
Always make sure that the microphone is around 3 to 4 inch's from the surface and make sure it is not pointing towards any other microphone or drum.
Hi-Hats
The Hi-Hats use input number 3, The type of microphone used is a radial condenser.
Always make sure that the microphone is around 3 to 4 inch's from the surface and make sure it is not pointing towards any other microphone or drum.
Tom Drums
The tom drums use inputs 4,5 and 6, The type of microphones used are dynamic microphones usually a SM-58's.
Always make sure that the microphone is around 3 to 4 inch's from the surface and make sure it is not pointing towards any other microphone or drum.
Overhead Microphones
The 2 overhead microphones used are 2 condenser microphones, Usually 2x AKG 414's.
You must make sure that the silver side of the microphone is facing downwards and away from the other microphone.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Wednesday, 11 November 2009
Health and Safety
Below are a few health and safety rules that should always be followed;
No liquids should be allowed in the studio, because it could get spilt over the mixing desk or other electrical devices.
No running or fooling about in the studio because this can lead to serious accidents and injury.
Everything must be earthed correctly.
The proper fuse ratings should always be used.
Make sure there are no leads going astray so that you don't trip over them etc.
There should be an adequate fire extinguisher/fire blanket in the studio. Click here to see our the lowest prices on fire extinguishers for sale
The room should have adequate seating that meet EEC regulations.
Good ventilation in the studio is a must, to stop electrical equipment overheating.
Keep extension leads to a minimum, dont overload sockets with adaptors, which could increase the chance of an electrical fire.
Health and Safety Executive Leaflet - Basic Advice On First Aid At Work
For more audio production information and advice visit; http://www.ampthetex.co.uk/
Filtering
HPF: High Pass Filter; Allows everything above the turnover point to pass through and everything below the turnover point gets attenuated.
(Attenuated = Rolled Off)
LPF: Low Pass Filter; Allows everything below the turnover point to pass through and everything above the turnover point gets attenuated.
(Attenuated = Rolled Off)
A prime example is a graphic equaliser, where you can cut or boost certain frequency bands.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
(Attenuated = Rolled Off)
LPF: Low Pass Filter; Allows everything below the turnover point to pass through and everything above the turnover point gets attenuated.
(Attenuated = Rolled Off)
A prime example is a graphic equaliser, where you can cut or boost certain frequency bands.
For more audio production information and advice visit; http://www.ampthetex.co.uk/
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