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10 TRACK RECORDING AND MIXDOWN CRITICAL LOG BOOK The log book is a record of the studio activities pertaining to this project. The log contains information about recording and mixing techniques employed during the course of this project.

Amit Barde


TRACK INFORMATION The track was a jam recorded in the analogue studio with the bass guitar and the drums. The guitars and percussions were added later to this track. Duration – 2:11 Number of tracks utilized – 10

PART ONE TRACK LAYOUT ON THE ALESIS HD24 HARD DISK RECORDER The following section lists the instruments used during recording and the tracks they have been recorded onto. • TRACK 1 – Kick • TRACK 2 – Snare • TRACK 3 – Left Overhead • TRACK 4 – Right Overhead • TRACK 5 – Bass Guitar • TRACK 6 – Electric Guitar • TRACK 7 – Thumba (Bongo) Left • TRACK 8 – Thumba (Bongo) Right • TRACK 9 – Shaker •

TRACK 10 – Wood Blocks

[10 Track Recording and Mixdown Critical Log Book]

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PART TWO RECORDING TECHNIQUES The following section describes the recording techniques used to record the various instruments that are a part of this track. Note: None of the diagrams shown in the critical logbook are to scale.

1. KICK The kick was tracked on channel 2 of the mixer. The diagram below depicts the manner in which the kick was miked.

As can be seen from the diagram above, the AKG C1000S condenser microphone was placed approximately eleven inches from the kick and about six inches above the floor. The signal from channel 2 on the mixer was then bussed to track 1 on the hard disk recorder.

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2. SNARE The snare was tracked on channel 3 of the mixer. The snare was miked as shown in the diagram on the following page.

SHURE SM57

The snare was miked using the Shure SM57. The mic was placed approximately two inches above the snare at an angle of about 45°. Channel 3 (channel on which the snare was tracked) was then bussed to track 2 on the hard drive recorder. 3. OVERHEADS The overheads were tracked on channel 4 and 5 of the mixer.

RODE NT5

As seen from the diagram above, the Rode NT5s were used as overhead mics. The mics were positioned at about 50° - 60° to the x – axis and 5 feet 10 inches above the floor. They were spaced apart at approximately 2 and half feet. Channels 4 and 5 were then bussed to track 3 (left overhead) and track 4 (right overhead) on the hard disk recorder. [10 Track Recording and Mixdown Critical Log Book]

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4. BASS The bass was tracked on channel 1 of the mixer. It was D.Ied into the mixer. Channel 1 on the mixer was then bussed to track 5 on the hard drive recorder.

5. ELECTRIC GUITAR The guitar was tracked on channel 1 of the mixer. A D.I box was used to connect the guitar to the console. Channel 1 of the mixer was then bussed to track 6 on the hard drive recorder. 6. THUMBAS (BONGOS) The bongos were tracked on channel 4 and 5 of the mixer.

SHURE SM57

The bongos were placed in the hallway during recording to utilize the natural reverb of the hallway. The above diagram

[10 Track Recording and Mixdown Critical Log Book]

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depicts how and where in the hallway they were placed. A pair of Shure SM57s was utilized to record the bongos.

The following diagram depicts exactly how the bongos were miked.

SHURE SM57

Channels 4 and 5 were then bussed to track 7 (left bongo – high) and track 8 (right bongo – low) of the hard drive recorder. 7. SHAKER The shaker was tracked on channel 3 of the mixer. It was recorded using the Rode NT5. Channel 3 on the mixer was then bussed to track 9 on the hard drive recorder. 8. WOOD BLOCKS The wood blocks were tracked on channel 3 of the mixer. They were recorded using the Rode NT5. Channel 3 on the mixer was then bussed to track 10 on the hard drive recorder.

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PART THREE MIXDOWN This section gives a detailed account of the processing, panning positions and fader positions set on each track. • TRACK 1 – KICK Fader position: Unity Pan Position: Centre Processing: None EQ: None • TRACK 2 – SNARE Fader Position: -2dB Pan Position: Centre Processing: None EQ: None • TRACK 3 – LEFT OVERHEAD Fader Position: -4dB Pan Position: Hard panned left Processing: None EQ: None • TRACK 4 – RIGHT OVERHEAD Fader position: -4dB Pan Position: Hard panned right [10 Track Recording and Mixdown Critical Log Book]

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Processing: None EQ: None • TRACK 5 – BASS GUITAR Fader Position: -1dB Pan Position: Centre Processing: None EQ: None • TRACK 6 – ELECTRIC GUITAR Fader Position: -1dB Pan Position: 2O’ Clock Processing: Delay Delay Patch: Panorama Delay 2 The stereo returns of the delay unit were brought onto channel numbers 11 and 12 on the mixer using the patch bay. The signal on channel 1 (brought onto channel 11 on the mixer) was phase shifted with respect to the signal on channel 2 (brought onto channel 12 on the mixer). The two channels were hard panned left and right respectively on the board. Gain riding was performed on channel 11 and 12 from -27.5dB to +10dB. Real time panning was performed on the delay returns. Delay Time: 50ms Compression: Threshold - -10dB Ratio – 2.5:1 Attack – 30ms [10 Track Recording and Mixdown Critical Log Book]

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Release – 0.5s Gain - +20dB

EQ: None • TRACK 7 – BONGOS (LEFT) Fader Position: -2.5dB Pan Position: Hard panned left Processing: None EQ: None • TRACK 8 – BONGOS (RIGHT) Fader Position: -2.5dB Pan Position: Hard panned right Processing: None EQ: None • TRACK 9 – SHAKER Fader Position: -27.5dB Pan Position: 2O’ Clock Processing: None EQ: 12 KHz (shelf) +9dB boost The shaker was Eqed as indicated above in order to be able to separate it from the hi – hats. During the initial mixdown I noticed that the shaker and hi – hat sounds were “clashing”. In order to prevent this and facilitate the separation of these sounds the 12 KHz shelf eq was [10 Track Recording and Mixdown Critical Log Book]

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boosted by 9dB. The pan position (2O’ Clock) was also set to “balance out” the sound between the above-mentioned elements in the mix. • TRACK 10 – WOOD BLOCKS Fader Position: -7.5dB Pan Position: 2O’ Clock Processing: Reverb Reverb Patch: Water Reverb Pre – Delay: 27ms Reverb Time: 0.9s Hi – Ratio: 1 Early Reflection Level: 0

Compression: Threshold - -10dB Ratio – 2.5:1 Attack – 0.1ms Release – 0.05s Gain - +20dB EQ: None Reverb on the wood blocks was added to give more “sparkle” to the sound. The wood blocks sounded quite flaccid during the initial mixdown and hence a decision to add reverb to them was made. Compression was mainly performed to bring up the level of the wood blocks. Though, during this process I noticed that setting the ratio to 2.5:1 on the compressor made the sound “stand out”. The combination of the reverb and compressor on the wood blocks appears to cut through the mix. [10 Track Recording and Mixdown Critical Log Book]

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CONCLUSION During the recording and mixdown I recorded instruments and mixed the track in a certain way. As far as recording goes I’ve tried to record instruments in as natural a way as possible. I’ve tried to, wherever possible; make use of the natural effects (room reverb) during the recording process itself. During mixdown too as you’ve seen from the descriptions above, processing has been kept to a minimum. The compressor has been used in this case mainly as a “band aid for a weak signal”. The reverb too has been utilized in order to provide a more natural sound to the instrument. Eqing is almost non-existent, except on the shaker, which was done for the purpose of separation. This is because I believe in recording any source in the cleanest possible manner in a “natural environment” and representing it in the same form. I believe excessive processing can compromise on the “sonic integrity” of a sound and hence I’ve have utilized minimal processing during the mixdown.

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ACKNOWLEDGEMENTS Kirti Das – Bongos Ahmed “Shonkey” Azeem – Bass Guitar and Electric guitar I would like to thank the above-mentioned people for playing during the recording sessions.

The remaining instruments (drums, shaker and wood blocks) were played by me.

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LIST OF EQUIPMENT USED DURING THE RECORDING AND MIXDOWN SESSIONS • BEHRINGER EURODESK MX9000 - ANALOGUE MIXING CONSOLE • BEHRINGER ULTRA DI DI100 – ACTIVE DIRECT INJECT BOX • SHURE SM57 DYNAMIC MICROPHONE • SHURE SM58 DYNAMIC MICROPHONE • RODE NT5 CONDENSOR MICROPHONES • AKG DRUM KIT MIKING SET (CONTAINS THE FOLLOWING MICS D112, C418 AND C1000S) • K&M POP FILTER • K&M MIC STANDS • SQUIRE STRAT SIX STRING ELECTRIC GUITAR • IBANEZ FOUR STRING ELECTRIC BASS GUITAR • MAPEX M SERIES DRUM KIT • TAMA THUMBAS (BONGOS) • ANHEAD LARS ULRICH SIGNATURE CHROME STICKS • ZILDJIAN CYMBALS AND HI – HATS • ALESIS HD24 – 24 TRACK DIGITAL RECORDER • ALESIS

MASTERLINK

2

TRACK

RECORDING

AND

MASTERING UNIT • YAMAHA REV500 – REVERB UNIT • SONY DSP – 07 DIGITAL DELAY UNIT • 2 CHANNEL BEHRINGER AUTOCOM PRO COMPRESSOR • BEHRINGER TRUTH B2031A ACTIVE STUDIO MONITORS • BELDEN CABLES [10 Track Recording and Mixdown Critical Log Book]

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• NEUTRIK CONNECTORS • NEUTRIK PATCHBAY • PROLINK – AV STAGE BOX

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10 Track Recording and Mixdown Log Book  

A documentation of recording and mixing techniques used for the track

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