Recording Studio Set Up
First log into the computer (Username: Teacher, Password: sicko) and open the music software 'Cubase 7', not 6. The program should be in the applications folder.
For all the screens the pop up press cancel. When loaded head to 'file' and click on 'new project'. Click 'empty' from the tab on the right.
Click on 'devices' then 'device set up' and check the audio driver (ASIO) is connected to the 'Onyx Firewire', the mixing desk, to check it is all set up. The preset under inputs and outputs should be set on 'Onyx'.
Head to 'project' then 'add track'. Do this for as many mono tracks you will need in your recording sessions. Using the bar on the right change the input to each track. Each input will respond to the numbered input on the mixing desk.
To test audio comes out of the track press the monitor icon, small speaker, on the track.
If everything is done correctly the audio should come out of the studio monitors.
Effects
Reverb: Reverb is sound waves bouncing off walls until it reaches the listener. When speaking the sound will pass the listener, hitting the walls until the energy of the sound fades out. The sound hitting the walls slowly fading out is the reverb effect. If in a large hall with smooth walls the reverb will be longer as the sound waves reflect off the wall easier causing a longer reverb.
Compression: Compression is the gap in the dynamic range between the low and high frequency sounds. This is done by boosting the quieter signals and attenuating the louder audio signals. There is a ratio used throughout compression. For example 2:1 would be as soon as the sound hits the threshold (1) the sound decreases by half (2). Useful terms regarding compression are -
- Threshold - how loud the signal has to be before compression is applied.
- Ratio - how much compression is applied. For example, if the compression ratio is set for 6:1, the input signal will have to cross the threshold by 6 dB for the output level to increase by 1dB.
- Attack - how quickly the compressor starts to work.
- Release - how soon after the signal dips below the threshold the compressor stops.
- Knee - sets how the compressor reacts to signals once the threshold is passed. Hard Knee settings mean it clamps the signal straight away, and Soft Knee means the compression kicks in more gently as the signal goes further past the threshold.
Noise Gate: A noise gate is a hardware device or plugin that can be set to automatically mute the signal during parts of the audio track where the instrument is not being played, and un-mute again when the instrument is being played. Some noise gates are able to close partially thereby reducing the level rather than muting the signal altogether.
Flanger: Flanging is an audio process that combines two copies of the same signal, with the second delayed slightly, to produce a swirling effect - Used by artists such as 'Jimi Hendrix' and 'The Beatles', was originally created using two tape recorders.
Microphones
There are two types of microphones. Dynamic and Condenser. Microphones change the form of sound from sound waves to an electrical signal.
Dynamic are used for more high-pressure level sound. Sounds less delicate. The top of a dynamic microphone is the capsule. The metal tip covering the capsule is called the guard. When using a microphone sound waves hit the diaphragm and vibrates. The diaphragm is connected to a coil. The vibrating of the sound waves causes the coil to move up and down creating an electrical signal, this process being called electromagnetic induction. This electrical signal travels down the body of the microphone, through the XLR cable into the pre amp boosting the electric signal sending it into the mixing desk.
Example: Shure SM58 (Silver for vocals) and Shure SM57 (Black for instruments)
Condenser microphones are much more delicate so are used for lower pressure sounds. Sounds like female voices or softer instruments. The sound waves hits the diaphragm, as it does the dynamic, however it hits something called the front plate. There is a small gap between the front and back plate. The sound hitting the front plate causes it to vibrate changing the distance between the front and back plate therefore changing the capacitor/current between the two places creating an electrical signal. Again this goes through the XLR cable and pre amp inputting into the mixing desk. These microphones need power however. A battery can be used or power from the mixing desk called phantom power which is 48 volts.
Example: AKG C1000s
Setting up a PA system correctly
First taking the boxes apart. The lids should be stood up to the side so they are not a tripping hazard. The boxes are on wheels so they can be pushed. The top of the boxes should be the mixing desk while the bottom should be the amplifier. An amplifier boosts the signal from the mixing desk making the sound levels broader; bass is lower, treble is higher. When placed in position the mix desk’s wheels have clips preventing them from rolling.
Moving the speakers into place is next. The bass bins (bigger out of the two sets of speakers) should be moved either side of the audience. They should be moved with two people. Lifted wit the legs and not the back. They are placed either side of the audience as the mixing desk is in a stereo format so there Is a left sound and a right sound. Mono is only one sound output. With stereo format one can control the placement of the sound with a control called panning. A pole, called a pillar, is inserted into the base bin, which holds the other speaker. The other speakers output higher sounds so the mids and the treble. This other speaker is inserted on the top of each pillar, again lifted with two people with the legs not back. One must ensure everything is stable and on securely so nothing falls off.
Next you have to connect the speakon cables to a power supply. Noted the power supply is the mains so there are electrical risks. These cables are thick as they carry the sound and a power supply to power the large speakers. The speakon cable should be taped to the floor so nobody trips over it. The speakon cable should be entered into the speaker and rotated until a click is heard. The left should go into A in the amp while the right should be inserted into B.
Next is connected the mixing desk to the amp. This requires jack leads. The left jack lead goes into STL while the right goes into STR (Stereo Left/Right). This is imputing sound from the mixing desk into the amplifier, which amplifies the sound and inputs in to the speakers. Jack leads come in ¼ inch or 3.5mm. This should also be connected to the mains again taping wires to the floor so there is no tripping over. You should also flat line the desk so it isn’t really loud when you plug in the microphone and you should be standing behind the speakers as if you stand in front the inputs and outputs will create a feedback loop which isn’t a nice sound.
Next is the microphone, which should be plugged into the mixing desk’s top channels. The microphone transudes inputted sound waves into electrical. This is plugged in via XLR cables, which feature a male side and a female side. The female goes into the microphone and the male goes into the mixing desk.
Turn on desk.
Turn on speakers.
Level check with EQ’s being low, mid and high (Bass, mid and treble).
When packing up make sure everything is how you found and the wires are looped and taped up.
Equipment List
- Mixing desk, Yamaha EMX 5016 CF
- Power Amp, ASX 18 dB Technology for mixing desk, the t.amp A1400 for main speaker, the t.amp A2400 for the sub speakers
- Sub Speakers (dBs)
- Main Speakers (dBs)
- Support Pillars
- XLR Cables
- Speakon Cables
- Jack Cables
- Masking Tape
- Power Leads
- Shure SM58 Microphone
(Risk assessment is in RED)
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