When recording groups, a few tracks are usually recorded initially and other parts are added later on. This is known as multitrack recording. The more tracks that can be left empty the better. Empty tracks can be used later for over dubbing. One track of a 24 track analogue machine is kept for timecode. Timecode is a series of pulses used to keep the tape recorder in step with other equipment. If one 24 track machine is insufficient two machines can be locked together in synchronization, ("in synch"). Alternatively tracks can be "bounced" together and re-recorded onto another track. The original tracks can then be erased and reused.
Rock bands often record with a bright drum sound that requires a quite reverberant acoustic. This can be achieved by placing the drums in a live area with hard tiles on the walls and ceiling.
Ambience mics can be rigged to pick up the room acoustic. Close mics are used for each instrument in the drum kit. Dynamic mics are usually preferred for drums. Each element of the drum kit may be recorded onto a separate tape track.
The audio signal should be left substantially untreated. Equalization, echo and compression can be added later, during the mixdown.
Screens can be added to isolate the drums from other instruments. This reduces the amount of drums being picked up on the mics set for other instruments or the vocal mics. (When the sound of one instrument is picked up on a mic intended for another instrument the unwanted signal is called "spillage" or "leakage").
Acoustic screens may be placed around the bass and electric guitars and vocalist. The guitar amplifiers may be miked with dynamic mics.
Direct injection, (DI) boxes should be provided for electric guitars and electronic keyboards.
Musicians will require headphones for foldback so that they can hear themselves and other musicians. Up to four foldback feeds might be required.
For over dubbing, instruments with line level outputs, (eg. keyboards) can be set up in the control room and DI'd into the mixing console. This helps communication between the musician, producer and sound engineer.
An acoustic piano requires at least two mics. One should be placed near the bass strings. The other should be placed near the top, (treble) strings.
Grand pianos may be miked with the lid opened on the short stick. This gives a bright, sharp sound suitable for rock music. A natural, mellower sound requires the lid open on the long stick. Capacitor and ribbon mics are suitable for pianos.
Capacitor mics should also be provided for acoustic guitar, woodwind and brass instruments.
Saxophone
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Foldback and talkback facilities should be checked. If these studio preparations can be completed before the band arrives the producer can brief
the musicians in the studio.
Meanwhile technical preparations can continue in the control room. The heads and tape guides of the recording machines should be cleaned and the machines lined up. New tape should be "striped" with timecode.
The highest numbered track, (e.g. 24) is reserved for timecode.
The drum kit should be recorded first,
(after a count-in).
If the bass drum is recorded on Track 3 this leaves Tracks 1 and 2 free for the bass.
The other elements of the drum kit can be
recorded on higher tracks, e.g..
When the drums and guide vocal have been recorded, the bass can be added. This can be followed by the rhythm guitar and keyboards. A mix of the rhythm should be sent to the studio headphones so the other musicians can play or sing at the correct tempo.
With the rhythm established the solo guitar, backing vocals and solos can be recorded.
The producer will require a mix on the monitor speakers to judge how the overall sound is progressing. A good, (stereo) monitor mix is important since it will be used to make production decisions.
The engineer's main concern is the level and quality of sound being recorded on each track. Retakes are best kept on separate tracks.
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Someone in the control room should keep a track sheet.
This can help..
In the mixdown process the individually recorded tracks are played back through a mixer and combined to make a stereo recording. Effects such as EQ, echo and compression can be added during mixdown.
The engineer and producer replay the "Session tape(s)" to produce a stereo balance.
Manually mixing a rock band can involve dozens of fader adjustments in a few minutes. Automated mixdown facilities are rapidly replacing manual mixdowns.
Data about fader and other settings is stored in a memory. When the tape is replayed again the computer locks to the timecode, (which is striped on the highest numbered track). The faders, EQ, etc. are automaticly adjusted at the appropriate time.
A rough stereo mix is achieved and then finer points are attended to.
This stereo recording is known as the "Original Master".
"Production Masters" are made from this Original Master tape. It is from these Production Masters that CDs, cassettes and vinyls are manufactured.
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The Record Producer
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