National 4 Music Technology Skills

Published Date: 02 Nov 2017

selecting and using appropriate audio input devices and sources

applying appropriate microphone placement

constructing the signal path

setting appropriate input gain and monitoring levels

Outcome 2

The learner will:

Use hardware and software to manipulate audio, by:

applying equalisation

applying time domain and other effects

applying mixing techniques, including volume and panning

editing tracks

This unit will give the learners a solid grounding in areas such as health and safety in the studio environment and proper recording techniques. Many recordings are poor due to tracks being recorded at levels that are either too high or too low, or due to a poor choice of microphone or their positioning.

Learners they will also be taught the production side of studio engineering: learning how to creatively manipulate the sound of their recordings using EQ and effects such as compression. They will also be taught how to mix and bounce their multi-track recording down to a final mix track, (a WAV/AIFF file), that can be exported and burned to an audio CD.

Learning to listen analytically to music and sound is a critical skill for learners to develop. These skills should be honed to maximise learners’ ability to manipulate their recordings and create a well-rounded mix.

Projects for National 4 Music technology could include recording a mini radio show, capturing and manipulating simple sound effects, recording a small musical ensemble or choir and a live recording of a part of a show

Preparing to capture audio

Before entering a studio it is essential to know how to keep safe there, the procedure for powering up and down and have an understanding of the signal flow.

Recording studio - Health and Safety tips

Always put things back where they belong after use; keep aisles and pathways clear to avoid trips/falls.

Never eat or drink in the recording area.

Wear earplugs in any loud environment to minimize prolonged exposure to high noise levels. Try to monitor quietly and for short periods.

Always make sure that the power is turned off to any appliances before attaching any cables/wires.

Respect electricity – Never use any equipment that has worn cables or broken plugs.

Always return microphones and their clips to their rightful place at the end of the session. Please do not leave the microphone clips on the stands. Pack microphone stands away and store them at the side of the room. Coil cables neatly and return to their box.

If your work only exists in one place it is not safe, get into the habit of making copies of all your files. Use mediums such as CD, DVD, Pen-drives and external hard-drives. Also on-line storage facilities such as Dropbox, iCloud or space on your schools server.

Power up/power down

All equipment in the chain should be powered up and down at the beginning and end of each session. It is very important when using speakers that they are turned on last, and off first - this will prevent loud bangs and clicks going through the speakers when equipment is turned off saving them from potentially being damaged.

An explanation of the signal flow

The signal flow is the route a particular signal takes through a chain of equipment on the way to its destination. When we think of signal flow in audio we are usually thinking about connecting different pieces of equipment together and routing some signal(s) through them. A sound source is captured and is assigned an input, (line or microphone level), and recording track. The signal is then assigned, (bussed), to an output, generally the main stereo output.

Recording a microphone on a PC/Mac and using an audio interface

Connect the audio interface to your PC/Mac via USB or Fire-wire cable

Open your DAW software

Plug the microphone into your audio interface, (usually Input 1 or Input 2)

Choose ‘Mic’ on your audio interface

Choose the correct input and output in your DAW, (usually either Input 1 or Input 2 and OUT 1 and 2 or Stereo bus)

Return the signal from the DAW by choosing the correct output/bus

Arm the track and test the mic by talking or singing and adjust the gain/input level as appropriate to prevent clipping.

Depending whether you are using headphones or speakers to listen, turn up the headphone, monitor or main output controls on the audio interface.

If all done properly sound should be heard, if not check all steps again.

Recording a microphone a stand-alone digital recorder

Resources

http://www.planetoftunes.com/record/re_media/sigchain.pdfhttp://www.peavey.com/support/technotes/soundsystems/signalflow.pdf

http://churchm.ag/the-value-of-understanding-signal-flow/

Microphones

Most schools will have two types of microphones; condenser or dynamic.

Condenser microphones

What instruments are condenser microphones ideal for using to record? Which instrument do you usually not use condenser microphones to record?

Do condenser microphones need to be powered to work? The most common source is the 48V 'phantom' power source, which is found on audio interfaces and mixing consoles

Condenser microphones have switchable pickup patterns such as omni directional and cardioids, what does the omni and cardiod settings mean and in what situations could you benefit from using them?

Dynamic microphones

In live work most of the microphones used are dynamic, why might that be?

In the studio dynamic microphones are used to record which instruments? What advantage does the dynamic microphone have over the condenser microphone?

Suggested microphone use to experiment with:

Lead vocals - Dynamic or condenser, (cardioid).

Choir - Dynamic or condenser, (omni).

Harmony vocals - Dynamic or condenser, (cardioid).

Acoustic guitar - Condenser, (cardioid).

Saxophone - Dynamic or condenser, (cardioid).

Trumpet, trombone, etc. - Dynamic or condenser, (cardioid).

Guitar or bass amp - Dynamic or condenser, (cardioid).

Grand piano - Two condenser (cardioid) microphones.

Bass drum - Dynamic.

Snare drum, ride cymbals, tenor and floor toms - Condenser, (cardioid).

Resources

http://blog.shure.com/shure-notes/live-sound/choosing-the-right-mic/

http://www.soundonsound.com/sos/sep06/articles/microphones.htm

Microphone placement

Condenser microphones

With the possible exception of the bass drum, Condenser microphones are ideal for recording almost any instrument, including the voice.

Condenser microphones need to be powered to work. The most common source is the 48V 'phantom' power source, which is found on audio interfaces and mixing consoles. All phantom-powered microphones must be balanced so unbalanced microphone inputs cannot be used with condenser microphones

Although condenser microphones are more expensive than dynamic microphones, they are also much more sensitive, and capture high-frequency detail much more accurately.

Condenser microphones have switchable pickup patterns such as omni directional and cardioid.

Using the omni-directional setting means that the microphone picks up sound equally well from all directions. A possible use might be for recording choral music in a church.

Using the cardioid setting means that the microphone picks up sound mainly from the front. This setting in the main one used for studio or live work.

Dynamic microphones

In live work most of the microphones used are dynamic. In the studio dynamic microphones are used to record instruments such as vocals, drums, electric guitars, and bass. The Dynamic microphone has the advantage of being fairly cheap to buy and they are hard-wearing. They don't need a power supply, (such as phantom power), or batteries to make them work.

Suggested microphone techniques to experiment with:

Consider using spot and stereo miking techniques.

Two or more microphones on one instrument.

Resources

http://www.shure.co.uk/support_download/educational_content/microphones-basics/stereo_microphone_techniques

MIDI

MIDI is the acronym for Musical Instrument Digital Interface and it provides a keyboard or a software instrument to communicate through using digital information. This digital information is data, not audio thus making it extremely easy to change or edit what you have recorded.

MIDI is also a useful tool for recording difficult passages of music as you can slow the tempo down to a speed that you can easily play it at, record it and then play it back at the proper tempo.

In order to create or play a MIDI recording, you must have a MIDI controller (keyboard) and a sound module (real or virtual) connected to the computer through the MIDI or USB interface.

Use programs such as GarageBand,(iPhone, iPad, iPod and Mac) and PropellerheadsYou +1'd this publicly. Undo

Reason to create MIDI tracks/pieces based on National 4 styles and genres such as Electronica/dance. The song structure should be discussed and perhaps could use an intro/outro, verse and chorus and have a middle 8.

Resources

http://www.soundonsound.com/sos/1995_articles/aug95/midibasics1.html

http://www.soundonsound.com/sos/Oct04/articles/protoolsnotes.htm

http://tweakheadz.com/how_to_get_started_with_midi.html

Preparing to manipulate audio

Effects – Signal processors

In basic terms a signal processor takes a sound and manipulates it to produce a new sound. Signal processors such as delay, reverb, compressors, limiters and noise gates can be used as plug-ins or as stand-alone units.

Equalization (EQ)

EQ is the process of boosting or cutting certain frequencies that occur in various parts of the audio spectrum. Equalization is a very important tool in recording for bringing out an instrument's or vocalist’s sound.

Resources

http://audiogeekzine.com/category/tutorial/audio-effects-explained-series/

http://www.soundonsound.com/sos/1997_articles/oct97/learningprocess1.html

http://www.soundonsound.com/sos/jul99/articles/20tips.htm

http://www.online-mixing.com/2012/08/the-frequency-spectrum-instrument-ranges-and-eq-tips/

http://www.youtube.com/watch?v=266RQw2YHAo&list=UUYDzeYIkNPD7_6adQZ3oX8g&index=8

Panning and Mixing

Panning:

Panning can be described as being the stereo positioning of the different sounds you have recorded.

In a typical pop/rock song the vocals are normally panned to the centre as that is where we would expect them to be.

Similarly the Bass drum and bass would normally be centre panned.

The list below gives an example of instrument positions in stereo panning.

Vocals , kick, snare and bass guitar Centre

Backing vocals Spanning centre to right

Drum kit (hi-hat, toms and cymbals) Spanning Left to right

Percussion Left

Lead Guitar Right

Keyboards Spanning left to centre

Mixing

For our purposes mixing can be described as the adjustment of the playback level of the tracks you have recorded.

A typical example of where a level adjustment might be required could be to increase the volume during an instrumental solo.

Mixing is really a question of balance, making sure that all the tracks sit right within the mix; no track should be too loud or too quiet.

A good idea for mixing is to listen to a song of the same genre as yours and compare that mix to yours.

Try listening to your mix through both speakers and headphones, (headphones can show up noises and distortions that speakers may miss).

Try listening to the mix at a very low level; doing this can give you an indication of the loudest track in the mix, is that the track you expect to be the loudest or is it too loud for your mix?

Resources

http://www.soundonsound.com/sos/jun98/articles/20tips.html

http://www.youtube.com/user/homestudiocorner

Ideas for Evaluation:

Blog.

Podcast.

Presentation - powerpoint, prezi.

Video.

Radio Show.

Advertising jingle.

CD, MP3, WAV files.

Live recording.

Recording of a play, short story, poem.

Sort animation or film with music, sound effects.

Recording of peers’ compositions, performance pieces.

Skills developed throughout this unit.

There are a number of opportunities for developing a range of skills through outcome one and outcome two.

The pupils will learn and develop specific new knowledge and skills in:

Understanding and knowledge of the basic concepts in sound engineering.

Transferable digital recording skills. On understanding how to record using a DAW, the pupils will be able to transfer those skills to use with digital programs as ProTools, Cubase and Logic and to stand alone digital recorders.

Health and safety in the studio and the signal path.

Dynamic and condenser microphones, polar patterns, microphone positioning.

Recording and editing using MIDI.

Production techniques, using effects such as EQ, compression, delay and reverb to enhance and manipulate the sound of their recordings.

Bouncing and mastering their recording and creating an audio CD.

Although not a course requirement, the ability to record their own or their peers performing/compositions.

Non-musical skills

Achieve high levels of accomplishment thus boosting their confidence and self esteem.

Gain a wide range of experience and understanding of ICT and musical technology.

Have the opportunity to make appropriate choices that meet their individual interests and needs, thus leading to successful learning.

Develop peer learning skills, build teamwork skills, and contribute to the group as a whole thus developing citizenship.