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D. Simple Multitrack Recording

The diagram below shows a simple recording set-up using a
multipurpose console equipped with direct outs and a pair
of subgroups. The sound from instruments or voices is
taken straight out to be recorded by the multitrack, with
recorded signals being returned from the multitrack’s
channels into spare inputs of the mixer so they can be
monitored. Alternatively, backing vocals or grouped
instruments such as drumkits may be recorded to single or
pairs of tracks by subgrouping them and connecting the
mixer’s group outputs to the multitrack device.

The engineer monitors both performances and previously

recorded material through a monitor amp and speakers,
with the performers getting their own separate foldback
mix through the auxiliary sends .

Hints and Tips when Recording:

•

If you are recording as a solo performer on a budget, you
can avoid the expense of buying a separate amp to create a
headphone mix. Plug your headphones into the console’s
headphone connector and use its monitor mix for your
foldback. Alter channel fader levels as you wish to achieve
optimum headphone levels for your performance.

•

If your console is not large enough to cope with every
multitrack send and return, connect only as many Direct
Outs as you need per take. For example, if you are
recording solo you will only be recording one instrument at
a time anyway, so a maximum of only two direct outs will
be required for stereo instruments, and one for mono ones.
The same channel direct outs may then be repatched to
adjacent multitrack tape ins to record new tracks. This
should leave enough channels free to monitor all your
recorded tracks.

•

If you run out of tape tracks, group instruments together.
For example a fully mic’d up drumkit can be recorded in
stereo to two tape tracks via a pair of groups, or if you are
really stretched you could do this with the entire rhythm
section, including bass and rhythm guitar. However, it is
then essential to mix the balance between the instruments
accurately as, once recorded, they can never be individually
altered again.

•

If you have only one effects unit and you need it to create a
variety of different sounds, it may be neccessary to record
the instrument with effects included. Again, remember that
once you have done this there is no going back, so wherever
possible it is best to record “dry” and buy a second effects
unit if you can. If you must record “wet”, look at you

SECTION 6: In the Studio

26

Line

Sub L&R

Stereo Input

Monitor L&R

Aux Post

Direct Out

Mic

Aux Pre

Stereo Input

Stereo Input

Mic 1

Mic 3

Mic 2

M U L T I T R A C K R E C O R D I N G

EFFECTS

DRUMS

BASS
LEAD

RHYTHM

VOCALS

NEARFIELD
MONITOR

NEARFIELD
MONITOR

DI BOX

MULTITRACK RECORDER

KEYBOARDS OR

SYNTHESISERS

STEREO
POWER
AMP

HEADPHONE AMP

MUSICIANS’

MONITOR

HEADPHONES

ENGINEER’S
HEADPHONES

Spirit SX, with its 12 mono and 8 stereo

inputs is suitable for the smaller studio

Multitrack recording is either via open-reel or stacked Adats

FIG. 6.1

13924 Inners 7/8/01 2:56 pm Page 26

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Содержание Spirit SX

Страница 1: ...49 DONELSON PIKE NASHVILLE TN 37217 USA TEL 1 615 360 0471 FAX 1 615 360 0273 EMAIL soundcraft usa harman com www soundcraft com Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter E OE 08 01 Part No ZL0439 Soundcraft Registered Community Trade Mark RTM No 000557827 THE SOUNDCRAFT GUIDE TO MIXING ...

Страница 2: ...Expanders Compressors Limiters Setting up a processor F Creating a Foldback Monitor Mix 16 SECTION 4 PA MIXING A Introduction A Typical Live Performance Microphones Cables and Connections Connecting External Effects and Processors Setting Up Ringing Out Nulling Room Acoustics Setting the Mix Avoiding Feedback 17 B Larger Performances Medium Venues Large Sized Venues 20 C Recording Live 22 SECTION ...

Страница 3: ...torily you should have a fairly accurate specification for the mixer you need C The Controls A Description This is where we get into the nitty gritty of what controls and inputs outputs you ll find on a typical mixer For this example we ve used a Spirit SX If you are already familiar with what the controls on a standard mixer do then it s OK to skip to section 2 If you find a term particularly dif...

Страница 4: ...sition of the signal within the stereo mix image or may be used to route send the signal to particular GROUP outputs as selected by the ROUTING SWITCHES see below J Solo PFL and Solo in Place The PFL solo switch allows you to monitor an input signal independently of any other instruments that have been connected which is useful for troubleshooting or setting an instrument s Input Preamp Gain and E...

Страница 5: ...onnectors do NOT have this option SUBGROUPS These allow the logical assignment of groups of instruments or vocalists so that they may be controlled by just one pair of faders or even a single fader once individual instruments relative levels have been balanced They also act as additional outputs with separate volume level controls ideal for speaker fills or recording a number of instruments to one...

Страница 6: ...o the stereo Mix or Groups without using up valuable input channels U 48v or Phantom Power Some microphones known as condenser mics require battery power to operate Alternatively the power may be provided by the console This is known as phantom power and runs at 48vDC Simply press Phantom Power and any condenser mics connected will operate without the need for batteries More Information on Condens...

Страница 7: ... console layout showing a how a single sound source may pass through an input strip to the various other parts of the mixer Block diagrams are slightly more complex showing more detail electronic information including the location of resistors and capacitors and the structure of the entire console including bussing an example is shown on page 37 Block diagrams also use a number of symbols to repre...

Страница 8: ...microphones They should be connected to XLR mic inputs SECTION 2 Connecting Equipment to your Mixer 8 EFFECTS UNIT HEADPHONES 200R POWER AMP GRAPHIC EQ POWER AMP ARTISTS FOLDBACK GRAPHIC EQ POWER AMP EFFECTS UNIT A ux P os t CASSETTE OR DAT PLAYBACK GRAPHIC EQ COMPRESSOR LIMITER KEYBOARD SYNTHESISER DRUM MACHINE OR SUBMIXER DIRECT OUTS TO MULTITRACK TAPE INPUT POWER SUPPLY KEYBOARD SYNTHESISER OR ...

Страница 9: ... to control one audio source across a group to control a number of audio sources or across the entire mix Tape machines Multitrack machines are used for initial track laying in either studio or live recording situations For more sophisticated work a stand alone machine offers better sound quality and greater versatility than a cassette multitracker The new generation of digital multitracks are als...

Страница 10: ... also supplies a small amplifier which boosts the small voltages generated by diaphragm movements Microphone Pick up Patterns A pick up Polar pattern refers to the area s from which a microphone picks up its sound It is important to choose the right pattern for your application or you may pick up sounds from areas you don t want or lose sound information you need Omni Pattern The most basic type o...

Страница 11: ...ur gain level using the above method Once you have optimised the gain your mixer will give the best possible signal quality with the minimum of noise and distortion Balancing Fader Levels Faders allow you to make fine adjustments to your sounds and act as a visual indication of the overall mix levels It is important to keep your input faders around the 0 mark for greater control This is because fa...

Страница 12: ...simplicity however high and low controls should be used with caution as overuse can make things worse Adding a small amount of high or low boost should be enough to add a touch of brightness or warmth to a sound but a quarter of a turn should be sufficient especially where the low control is concerned The drawback with fixed controls often lies in the fact that you may want to boost just a particu...

Страница 13: ...o a more modest level and assessing the results by ear D Using Effects Units The Different Types The problem with mixing dry using no effects within a live or recording environment is that the results can often sound boring and lacking in colour This is especially the case as most of us are used to listening to highly polished CDs at home These productions are actually achieved by using effects wh...

Страница 14: ...put gain for required effect Adjust effects return input gain until meters read around 0 De select PFL and adjust effects return fader level for required effect level NB The original dry signal is mixed with the effects wet signal Pre and Post fade Auxiliaries Pre Fade Pre fade auxiliaries are independent of the fader so that the amount of effect will not change with new fader levels This means yo...

Страница 15: ...way in which the settings affect the audio frequency range Graphic Equalisers are most often used to process the mix at live venues by notching out troublesome frequencies that may be causing feedback They may also be used to enhance a mix at a poor sounding venue In recording they are used to create flat listening environments For more detail on venue acoustics go to section 4 PA Mixing Parametri...

Страница 16: ...1 i e no additional gain Make your adjustments on your signal processor Beware that your processor settings may alter your mixer input output levels Re adjust levels to 0 on meters if necessary NB Remember a signal processor can be used in a channel to control one audio source in a group to control a number of audio sources or to control the entire mix F Creating a Foldback Monitor Mix Performers ...

Страница 17: ...ce picked up will be of the same polarity on the two conductors and is therefore rejected by the mic input s Differential Amplifier Don t skimp on interconnecting cables always buy the best that you can afford Make sure that all connections are sound and keep cable runs as short as is practicable A multicore cable and stage box will keep trailing cables to a minimum and presents a tidy and practic...

Страница 18: ... the rear or side walls Set up the vocal levels first it s no use getting a great drum sound if the vocals feed back before they can even be heard Keep the vocals panned towards the centre of the mix Not only will this sound more natural but it will allow the greatest vocal level before feedback or distortion occurs Be sparing on the use of artificial reverb Most venues are too reverberant anyway ...

Страница 19: ...lative to the vocals Start with drums and work through to the bass and rythm instruments Test out any effects units connected to the system and establish the correct balance of dry and effected sound Avoiding Feedback Turn down or mute any mics not in use This reduces the risk of feedback and avoids the back line being picked up If feedback is a real problem consider moving the main PA speakers aw...

Страница 20: ...e the band More speaker outputs may be needed in larger venues so that all the audience can be reached without there being holes in the amplified audio signal It may be necessary to record the event This will require additional level controlled stereo outputs or direct outs if a multitrack is being used NB For simplicity these diagrams do NOT show any outboard equipment Large Sized Venues Large ve...

Страница 21: ...R RIGHT SPEAKERS Tx Rx DRUMMER S MONITOR CENTRE VOCAL SPEAKER suspended IN EAR MONITORS L A R G E R V E N U E S SUB SPEAKER MID HI SPEAKER RIGHT SPEAKER SUB SPEAKER LEFT SPEAKER MID HI SPEAKER SUB SPEAKER DRUMMER S MONITOR SUB AMP MID HI AMP ACTIVE CROSSOVER MIXER AUDIENCE WEDGE MONITORS MIX AUX PRE OUTS AMPS WEDGE MONITORS AUDIENCE M E D I U M S I Z E D V E N U E S FIG 4 3 FIG 4 4 ...

Страница 22: ...in a different room to the performance to avoid distraction from the live sound If this is not possible use a good pair of noise excluding headphones for monitoring Wherever possible take feeds from mic splitters this will provide clean low noise signals suitable for recording Often Tape Sends are unbalanced so keep signal paths as short as possible between output and recorder to avoid interferenc...

Страница 23: ...atched via the console like the power amps they should be rack mounted for easy access If the lead vocalist uses in ear monitoring he she will be acoustically isolated so it s a good idea to feed audience pick up mics into his her mix to provide a sense of involvement Side fills are often used where monitoring is required over a large stage area floor space is at a premium and too many wedge monit...

Страница 24: ... the Aux Returns on the FOH console to return the sub mix This saves valuable input channels on the FOH console In the case of a drum kit where many mics are in close proximity the use of Noise Gates will prevent spill and clean up the mix Use a Compressor Limiter to maintain a consistent level SECTION 5 Other Applications 24 M i x L R S te re o In p u t M ix L R M on o Ou tp ut C h a n n e l I n ...

Страница 25: ...ng Sound sources have to be captured on multitrack tape This process will include ensuring that the cleanest strongest signal is being recorded to tape without overload and distortion optimising the sound of the recorded signal with EQ signal processing and effects monitoring the recorded sources and creating a headphone mix for the musicians to ensure the best possible performance from them 2 Mix...

Страница 26: ...o direct outs will be required for stereo instruments and one for mono ones The same channel direct outs may then be repatched to adjacent multitrack tape ins to record new tracks This should leave enough channels free to monitor all your recorded tracks If you run out of tape tracks group instruments together For example a fully mic d up drumkit can be recorded in stereo to two tape tracks via a ...

Страница 27: ... the recorder s manual as to how best to achieve this E Simple Multitrack Mixdown The diagram below shows how a simple set up will look for the mixdown process Some repatching has occured to free up the input channels which were used as mutitrack tape sends Tape returns can then be plugged into the mixer in sequence from channel 1 upwards leaving any spare inputs for sequenced MIDI instruments Eff...

Страница 28: ...n Fig 6 4 Both multitrack ins and outs are plugged into the same channel strip avoiding the need for repatching whilst for sound proofing purposes musicians are recorded in a separate room Effects and signal processors are connected in an identical way to any other console via auxiliary sends and returns and insert points G Recording Instruments and Voices VOCALS Use a cardioid condenser mic posit...

Страница 29: ... in slightly live rooms if necessary place a piece of acoustically reflective board beneath the player Recommended effects processor settings EQ Boost between 5kHz and 10kHz to add sparkle Cut between 1kHz and 3kHz to reduce harshness 100 and 200Hz to reduce boom In busy pop mixes you can cut the low end to produce a more cutting rhythm sound Compressor Attack 20 mS Release around 0 5S Ratio betwe...

Страница 30: ...ouping backing vocals Group multiple keyboards Metering Use the PFL metering system for each channel in turn to optimize the gain setting The PFL should just go into yellow band of the meter section although peaking into the red area is acceptable Check all the effects units for correct input levels If fitted use the Solo In Place function to check individual channels in isolation while retaining ...

Страница 31: ...the mixer on the ring of the plug A special Y cord is required which has the stereo jack at one end and two mono jacks for the processor s input and output at the other See Fig 7 4 GROUND COMPENSATED OUTPUTS Ground compensated outputs may to all intents and purposes be treated as balanced outputs Ground compensation helps avoid hum loops when the console is feeding into an unbalanced piece of equi...

Страница 32: ...put and input stages respectively BANDWIDTH A means of specifying the range of frequencies passed by an electronic device such as an amplifier mixer or filter BARGRAPH A row of LEDs calibrated to indicate signal level BOOST CUT CONTROL A single EQ control which allows the range of frequencies passing through its filter to be either amplified or attenuated The centre position is usually the flat or...

Страница 33: ... output from the input channel bypassing the summing amplifiers typically for sending to individual tape tracks during recording DRY Slang term for an original audio signal that has had no added effects DYNAMIC RANGE The ratio in decibels between the quietest and loudest sounds in the audible range that the audio equipment will reproduce DYNAMIC MICROPHONE A type which uses a thin diaphragm attach...

Страница 34: ...hey are not Earth is for electrical safety while Ground is the point of zero voltage in a circuit or system GROUND LOOP A ground loop occurs when there are too many ground points allowing small electrical currents to flow GROUP An output into which a group of signals can be mixed HEADROOM The available signal range above the nominal level before clipping occurs HERTZ Hz Cycles or vibrations per se...

Страница 35: ...n semi pro recording equipment POLARITY The orientation of the positive and negative poles of an audio connection Normally connections are made positive to positive negative to negative and this would ensure correct polarity If this is reversed the result will be out of phase signals see PHASE above POP SHIELD A device used in the studio consisting of a thin mesh placed between the microphone and ...

Страница 36: ...o receive any stereo line level source such as the output of effects or other external processing devices STRIPE To record time code onto one track of a multitrack tape machine SWEEP EQ An equaliser section e g Midband EQ which boosts or cuts a variable rather than fixed frequency TALKBACK A system allowing the operator to speak to the artistes or to tape via the auxiliary or group outputs TAPE RE...

Страница 37: ...IX LEFT INSERT INSERT MIX RIGHT MIX LEFT FADER FADER MONO INPUTS 1 12 MASTER STEREO INPUTS 15 16 19 20 SIMILAR L R PFL ENABLE ON HF LF EQ HF LF EQ BAL FADER PFL AFL PHONES C RM L C RM R L METER PFL AFL PHONES R METER PFL AFL PFL ENABLE AUX1 AUX 3 SIMILAR AUX2 PRE AUX2 POST AUX1 3 AUX2 AFL AFL AUX2 POST PRE MONO OUT MONO 2 TRACK R L MIX SUB STEREO INPUTS 13 20 STEREO INPUTS 13 14 17 18 SIMILAR R L ...

Страница 38: ...Notes 38 ...

Страница 39: ...s 2001 Soundcraft No part of this publication may be copied transmitted or stored electronically or otherwise for commercial gain although the copyright holder will allow copying and distribution for personal or non profit use ...

Страница 40: ...40 ...

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