Miskin Music Studio: A Manual/Guide

Studio Plan

this is a birds eye view of the studio complex. - Make sure you take note of where each exit, fire exit/alarms/extinguisher are situated within the complex. he fire alarms within the studios have visual indicators for obvious reasons, relating to auditory difficulties in hearing while mixing around loud speakers. !n the event of a fire, the assembly point is located on the sports field east of the venue. IMPORTANT: there is a raised platform in the walkway between "tudio# $ and %ive &oom# $. - !t is important that all cables etc. are either taped or made known to the users and visitors of the studio, to avoid trip ha'ards. $lso obstructions should be noted in walkways for similar reasons. - o ensure the safety of the e(uipment itself and maintain overall

hygiene and cleanliness, there is absolutely no food or drink allowed on site. -$ll $)/*) plugs are to be annually +$ ,+ortable $ppliance esttested to ensure the safety of engineers and visitors alike. $ll cables should be checked regularly.

Studio Control Room: A, Floor Plan

$bove is a basic, asterisked plan of the e(uipment in "tudio $, complete with the order of connections. ./ 0 1&1 23 monitor speakers.
4567 +ower 8utput /467 9igh :re(uency /467 %ow :re(uency ,-;6d< - =>d<- "ystem ?olume @%& !nput

.4 0 :ostex +M 6.A monitor speakers.

%ow :re(uency )ut-8ff # 569' ,-/6d<9igh :re(uency )ut-8ff # 44k9' ,-/6d<%ow :re(uency# ;A watts 9igh :re(uency# ;A watts BC Dack inputs

.; 0 )+E monitor screen. .5 0 "oundcraft "apphyre ;> channel mixing desk.

;> !nput, 5 "tereo )hannels, *uel :aders on each channel =53v +hantom +ower 5 <and 2F with +arametric %ow, Mid and 9i Mid > $uxiliaries selectable pre/post 3 "ends ;A4 +oint +atch <ay.

2(uipment continued G
.A 0 M8 E 4563 "oundcards x4
3 analogue input/outputs 45 digital channels

.A 0 M8 E /445 "oundcard.
3 input/outputs 45 digital channels

.> 0 8utboard 2(uipment.

,see pg /6-

.H 0 2volution M1;>/ Midi controller keyboard.

+itch bend 8ctave change Modulator 5I keys

.3 0 Mac +ro
*ual processor systems /4-core software with %ogic +ro I and @

The Uses of a Channel

here are two uses of a channel on a console and they are mixing and recording. Mixing involves changing the outputs via the soundcard to appear on the mixer. he positives and negatives of doing something like thisJ positives include, you have more control over your mix, also you can use real outboard gear as apposed to a cc fabricated copy. Kegatives includeJ you must have both a mixer and enough soundcard outputs to cope with your mix, also any outboard gear you want to use. he expense beyond that if you dont finish your mix, someone may utili'e the desk in your absence dissembling the channels and settings on the mixer. 8n an analogue mixer you cannot save your settings, unlike the reliability software. &ecording involves passing a signal through the desk, and into Gain Control: the level between the )+E via a soundcard. !t is practical to do this because it isthe input level of a device to the mixer and the output level of the mixer into easier to find a level at which you are happy with and you can the speaker. he gain is usually Phantom Power: a direct current ,*)also edit sounds while they are being recorded. he issue in decibels with and can go into voltage sent through a cable to power a negative numbers as well as device. !t is used most commonly with editing on the way into the computer is that once it is recorded, positive numbers depending on condenser microphones but is whether you want to increase or sometimes used to power *! boxes and you are unable your track. decrease the volume. pedals. to !t is alter usually 53 volts but can be

he )hannel "trip G

as low at /4. he microphone or other device will take as much voltage as it needs. he phantom power on the channel strip can be applied to the microphone input by pressing the =53? button. Su" ,<us to )hannel-: his switch is

ine Swit!h: his selects the line input socket to switch from M!) to %!K2.

#: his switch reverses the

phase of the input to avoid phase cancellation. his occurs when two sound waves interfere with each other destructively and cancel out each other because the two inputs are different distances from the sound source. IN,:!%-: his switch places a wide bandpass filter in the sidechain, with a centre fre(uency ranging from H69' to 5k9' by the FI pot. T&R: his is the threshold control which allows you to decide the opening point of the gate to be varied from -56d< to =/6d<. R) : his is the release control which affects how long it takes for the gate to close ranging from 6./ to 5 seconds. !f the &O * switch is pressed the release time is fixed at 6./ seconds and the &2% pot controls how long the hold time lasts for up to two seconds.

Koise Gate G

used to send the output from the bus to the channel path. $%%&': his switch cuts any fre(uencies below /669'.

Fli(: his buttons swaps the source for the sidechain to the other signal path. RNG): his switch increases the attenuation range of the gate from /Ad< to >6d<. he S&UT %2* lights up when the noise gate is shut. C&: his swaps the gate to the channel he IN button inserts path. the Noise Gate to the signal path and makes this section functional. $ noise gate closes and cuts any fre(uencies when they drop below a chosen threshold.

he )hannel "trip continued G

"helf 2F G

&F: his section is a shelving 2F and can boost or cut /Ad< at a fixed fre(uency of /4k9'.

MON: his switches it into the monitor path for mixdown.

F: his section is a shelving 2F and can boost or cut /Ad< at a fixed fre(uency of >69'.

"emi-+arametric 2F G

&MF: his is a parametric 2F. Lou can select a fre(uency ranging from >669' - /4k9' and then boost or cut it by /Ad<. MON: his switches it into the monitor path for mixdown.

MF: his is a parametric 2F. Lou can select a fre(uency ranging from /669' - 4k9' and then boost or cut it by /Ad<. IN: he entire 2F section ,9:/%: M 9M:/%M:- can be switched in or out with this switch.

$uxillaries G
C&: +ressing this button sources them from the channel. POST: his switch determines whether the fader affects the level of the signal. !f it is switched on, as the fader is turned up and down the signal going out of the aux send follows and also goes up and down. !f it is not switched on it is pre-fader and changes you make with the fader wont affect the level of the aux send.

Au+iliar, Sends: his is an electronic signalrouting output. he sends are split feeds of the track signal that can be sent to other units such as reverb and effects units that can be found on the outboard. !t can also be used to send a headphone mix to the musician when recording. $ux / M 4 are primarily for foldback ,stage monitors or headphone mixesand are normally pre-fade. $ux ; to > are intended for effects sends and are fixed in the monitor path and post fade.

he )hannel "trip continued G

+anning, :ading, "ending and Mixing G
PF ,$:%-: his switch gives the option of direct monitoring of the signal at either the input of the channel fader ,+:%- or the output of the channel cut switch ,$:%-.

C& PAN: he )9 +$K control determines the position of the signal within the stereo ,%-&image and routes the signal to any of the eight buses depending on which bus group is selected. 2g. <us /-4, if the pot was panned to the left it would be on bus /, if the pot was panned to the right, it would be on bus 4.

MI-: he mix switch routes the channel signal to the stereo mix bus. .US GROUPS: hese are used to send multiple signals to the same place for mixing.

CUT: his cuts the gain.

C&ANN) FA*)R: his sets the level sent to the tape send, subgroup busses or mix. he fader has up to /6d< of gain.

.NC): 7hen this switch is pressed, the monitor path is moved from the mix bus and moved to feed the group routing switches. -F-: his moves the source point for the channel fader to post the monitor fader so that you can use the tape send or routing matrix and additional sends when mixing. R)/: his switch swaps the function of the channel fader and the long-throw monitor fader. .USn: his sources the tape send from the group bus correspondent to the position of the switch. S)N*: his switch routes the tape send to the monitor path which lets you hear the signal being sent to the tape.

he )hannel strip continued G

Monitoring G

MON PAN: his pans the signal across the stereo bus, either left or right, at a level determined by the longthrow monitor fader. !f panned to the left, the signal from that channel will be sent to the left monitor and vice versa. his is useful when mixing and layering to widen the sound. SO O: he solo button mutes all the other monitors.

CUT: his mutes the monitor path chosen. MONITOR FA*)R: his sets the level youre listening to. P)A0: his illuminates when there is less that >d< of headroom remaining at three places in the signal. chainJ input pre-amp, the C& ACTI/): his monitors the output of the input preamp and illuminates if the level exceeds -46d<u.

MUT) .USS)S: hese are used to bus group together and then mute simultaneously. 2g. "witching on M/ for all drums can be useful when you want to hear the elements of the song without the drums.

i1e Room: A, Floor Plan

./ 0 "tage <ox#

$ stage box functions as an extension of the e(uipment cables. his stage box has /A Mic, @%& inputs which are routed to "tudio $s mixing desk via a snake cable.

.4 0 9eadphone <ox# hese are for the headphones which are connected to "tudio $ so that the engineer can create a mix for that specific persons headphones.

T Audio Com(ressor )ompression is used to make audio more consistent in dynamic range

The Out"oard )2ui(ment

T Audio Parametri! )3 his 2F can boost or cut at a specific fre(uency. 4oe Mee5 6Mee2uali7 ser8 his e(ualiser can change the sound of an instrument by altering the high, mid or low fre(uencies

4oe Mee5 Com(ressor )ompression is used to make audio more consistent in dynamic range

&ead(hone Am(lifier $ headphone amplifier is like an audio amplifier designed particularly to drive headphones instead of loudspeakers.

Fo!usrite Pream( 9 Re!tifier Pream( $ preamp is an electronic amplifier which prepares an electronic signal for further amplification or processing.

Alesis Twin Com(ressor a fantastic compressor for a side chain effect

;amaha )ffe!ts Unit a digital multieffect processor with an amalgam of different selections.

Power Stri(

Roland *i:i )ffe!ts his is a reverb and chorus unit used for producing such effects.

Son, *ela, Unit *elay is an audio effect which plays back audio after a controlled period of time.

The Pat!h .a,

he patch bay is used to route and re-route signals between the mixing desk and outboard e(uipment and make inputs and outputs which are usually tucked away, easily accessible.

<$ 7 I: %ine input ,eg. guitars- the number before is the channel number. INS SN*: !nsert send. Esed to connect the plug-ins from the outboard e(uip. to the given channel via a bantam lead. ,eg. inserting a compressor to a channel.INS R)T: !nsert return. )onnects to the soundcard bay to the output on that channel. C& OUT: )hannel out. his is used when youve used all the group outputs on the mixing desk and need another one. TP SN*: ape "end. !f an extra channel is needed, you can use this. TP R)T: ape return. +layback through monitors. MON IN: Monitor in. +layback through monitors. <antam %eads G
<antam leads are the middle part which transfers the signals between the mixer and outboard.

S(readin:
Given the aforementioned difficulties that occur with mixing on the desk, ,that being the lack of continuity of your settings- you may prefer the manual approach to mixing, as opposed to mousing around on a %ogic arrange page. o spread your recording across the desk, open up the mixer on the arrange page on %ogic. Kext, click and hold where it says "tereo 8ut and on the dropdown menu, select 8utput. Lou will then be presented with the following options# /=4, ;=5 and A=> and so on. "ingle channels will not be available so to rectify this, select the group and +$K the channel on %ogicJ full left for channels /,;,A,H, what have you or full right for channels 4,5,>,3 etc. :ollowing this you can continue your mixing the old fashioned way with a more Nhands on approach.

Routin: throu:h the Com(ressor *urin: and Post Re!ordin:

+rimarily a channel will need to be selected to record onto. :or instance if you are using !nput / of the stage box, the signal will be received on channel 44 on the mixing desk. Kext on the list is to find channel 44 on the patch bay and link, via bantam lead, from the N!K" "K* pot to the left input of the compressor that you are using. hen you must link one more bantam lead from the respective compressors left 8E +E to the N!K" &2 pot on the same channel. o route to the compressor after recording you will need to toggle the abovementioned N&2? <utton on the channel strip and repeat the previous methods described above.

The .oun!e
7hen you are comfortable with your mix in terms of Non the desk, you are ready to bounce it as a finali'ed stereo output. o do this, toggle the N<K)2 button on all of the channels that are being used in the mix. his will send your signal to the top set of faders on the desk. Lou must then send them all to the same group output. "o we create a new audio file on %ogic and change it to a stereo bar simply by clicking the split button at the bottom of the level indicator, then you want to select the inputs you re(uire as your group outputs. )lick record and your track should be bounced onto %ogic as a stereo mix.

Re!ordin: *rums =Multi7Tra!5 Re!ordin:>

Mi!ro(hone Sele!tion ? The 0i!5 !n terms of order, when micing up a drum kit, we start with the kick drum. !n the studio we use an $udix :/5 microphone. his is a dynamic microphone with a tailored fre(uency response of ;6 9' - /6 k9'. !t has a much wider diaphragm and so is specifically designed to ear much lower fre(uencies. $ condenser microphone is not used as they are too sensitive for a kick drum. !t has a cardioid polar pattern to minimi'e feedback and isolate the drum from the others. Microphone placement is a big factor of the sound producedJ whether the microphone is placed inside the hole or outside on a stand, how big the hole is, how many inches from the outside, what angle the microphone is at etc. he kick drum is connected to the stage box via @%& cable and is commonly in input one O channel twenty two. The Snare Kext on the list typically is the snare drum. :or this we use two microphonesJ one for the bottom and one for the top. :or the top we use the ever versatile "hure "MAH. !t is a dynamic cardioid directional microphone and is the industry standard instrument microphone. !t has a fre(uency response of 56 9' - /A,666 9'. his is placed near the snare pointing towards the centre of the skin. !t is commonly inserted into input 4 of the stage box. )urrently for the bottom side of the snare we use a

"ennheiser 23;A which is another directional, dynamic microphone with a cardioid polar pattern and as a slightly less bright response to the AH. !t is nigh on identical in terms of sound (uality to the "hure "MA3 ,the brother of the AH-. $gain it is aimed directly at the centre of the skin and typically third in line for the stage box. 8f course it not being on the batter side of the snare, this proves far less challenging. !t is important to mic. the bottom of the snare as it is arguably one of the most essential parts of the kit, so it needs substance to it.

Mi!ro(hone sele!tion !ontinued ?

The Toms Kext on the list, the toms are miced with $udix :/6s. his is a dynamic microphone with a cardioid polar pattern to pick up direct signals and minimi'e feedback. !t has a fre(uency response of A6 9' - /4,666 9' making it good for picking up mid-bass and mid-high sounds. he microphone is put onto a microphone clip onto the lug of the drum pointing, again towards the centre of the skin of the. hey are often plugged into input 5 M A on the stage box. ypically, the rack tom is ordered before the floor tom. The &ats hen cometh the 9i-9ats. hey are miced with the $udix :/A. his is a condenser microphone to get a crisp, clear hi-hat sound. !t has a fre(uency response of /669' - 46 k9'. !t has a wide cardioid polar pattern along with high sensitivity. he mic is positioned >C above the hi-hat towards the centre to get the full spectrum of sounds from the high hat. !t is commonly plugged into input > on the stage box.

The O1erheads %ast but certainly not least are the overheads. !n the studio we use 4 Keumann 1M/35s for overheads to record overall sound and also they are great at picking up cymbals. hey are condenser microphones with a fre(uency range of 46 9' - 46,666 9'. hey have a cardioid polar pattern to reduce feedback. here are multiple ways to position these microphones one being the @L position, where the microphones are placed at I6P from each other, central to the kit hanging above. he other is spaced where the microphones are placed at e(ual radial distances from the snare drum either side of the kit. @L placement picks up more of the entire sound and is an optimum recording techni(ue with such a small live room. he spaced micing method is more suited to a much larger recording space. hey are commonly plugged into input H M 3 on the stage box and panned left and right on the desk, dependant on which side

of the kit they are directed at. :or instance with the @L techni(ue, the right microphone would be panned left as it is facing the left hand side of the kit in the I6P angle. "o for the spaced method you could either switch the leads round or inverse the panning on the desk. 7hen using two condenser microphones so close together it is important to use phase inversion.

&

Mi!@ Positionin: ?
$s mentioned above, the @L is the prime positioning for the overheads in the live room. "o like the photograph, ,right- only above the kit. $gain the kick drum is a world of variation and preference when it comes to micing it up. his is the standard way of micing the kick drum, it is good for an overall sound, a happy medium some would say. Keither in nor out. !f you wanted more texture to the sound and more of a higher and brighter end of the spectrum, there are several things you can do. 8ne is move the microphone closer to the batter side of the kick drum ,inside the drum-. $nother is to mic. up the other side of the kick as well. Lou may want a deeper sound and less high end fre(uencies so naturally you would do the inverse and move the mic. further away but the problems that occur with this techni(ue is that you get too much bleed from other parts of the kit. $ way to alleviate this, though is not recommended for such a small space is to build a kick drum tunnel. here are several ways to do this. 9ere is an example of someone using mic. stands, carpets, foam and blankets. !n my personal experience sleeping mats and or insulation foam do Dust as well. <utch ?ig described when talking about recording KirvanaQs influential album Nevermind. R!n the case of *ave GrohlQs kit, ! used an $1G */4 and a :2 5H on the kit, and then we built a drum tunnel consisting of old drum shells attached to the bass drum and extended out about six feet. 8ne thing you may want to try in addition to the traditional set up is add a Ntrash Nroom mic. in the mix so that you can mess with the effects add compression or what have you.

Mi!@ Positionin: !ontinued ?

he "nare drum is fairly simple, you Dust have to ensure ,like with all of the stick-hit drums- that the microphone is not obstructing the performance of the drummer in any way but all the while still directed at the centre of the skin. !t doesnt sound pretty when a drummer or percussionist hits the microphone with the drumstick. !n this picture ,righttheyre lucky enough to have a rim clip but in the live room we use a boom mic. stand which proves some what more difficult in terms of manoeuvrability. he bottom of the snare is far less difficult to mic up. 7ith a small stand it is easy position a mic. to face the middle of the skin. 7hen using stands it is important to ensure that none of the hardware is interacting with each other. :or instance, if you have a boom mic. stand running past a rack tom and the stand is in contact with the tom itself, it wont serve the microphone well when the drummer hits the tom. 9ere is an example of a how a tom should be miced up, in terms of angle.

9ere is a fine example of how 9i-9ats should be miced up.

Ahat Comes Ne+tB

7hen you have established a signal from the live room on the desk for the drum kit, the next step is finding the appropriate levels for your drums in your mix, for your first time this will be guess work but theres nothing particularly complicated about it. o do this without a recording you will need someone in the live room hitting each drum individually to line check and then all of them in a beat to check the levels of the overheads. Lou can use the fader to change the levels or keep the faders level and simply use the gain pot at the top of the channel strip. $n optimum level is ->d<. 7hen routing channel signals on %ogic +ro you need to select group outputs on the channel strip and then pan left or right to select the correct input channel. Sust as it is when spreading your mix on the desk, only backwards. !ts recommended that you arrange your drums on the %ogic mixer as you do with the stage box# 1ick first, then snare top, then snare bottom, then the rack, floor, hats, left overhead then right overhead. 7ith the above specification you should now have eight channels on your arrange page. 7hen you think youve reached an optimum status with your drum levels it is time to arm your tracks and hit recordT !t is important that you get a clear and raw signal for your drums for post production.