Multi Channel Writing Analysis

Romario Perreau

Multi- channel recording is using different and a variety of

patterns from real live played instruments or vocals thatll
further be channelled through certain positioned microphones,
jack leads and inputs in order to allow the music software such
as; Logic, Pro-Tools, Fruity Loops, Maschine etc. to record, copy
and then manipulate what the live performer had just
produced. To be able to make a successful multi-channel
recording, you must have access to separate booths therefore
the sound waves do not clash into each other as sound is very
significant in a project such like this. For example you would
need a; live instrument recording room, a vocal booth (if vocals
are necessary) and definitely a studio room where all recording
sounds channel too.
During my multi-channel recording sessions, I only required the
usage of a live instrument recording room as well as the studio
where I used Logic Pro X to be able to capture the sounds
needed along with a variety of analogue software where its
easier to scope exactly what I want. For example I used Apollo
to help control how much output I desired coming out of my
speakers. This is completely essential so that the sound coming
through does not clip so that your music will not be disturbed or
your speakers damaged. However, before I planned to slot my
live instrument in, I had to make sure the other patterns of
instruments from the music software were ready. My intentions
were to develop a soft oriental rap beat which I gave the name
In My House involving smooth sounding synth chords along
with 808s, organs, hi hats and a piano
which was created from the software
Maschine then bounced it into one
waveform therefore Logic Pro X was able to
involve it.

The Drum kit was the only live recorded instrument I

anticipated and needed to make my track whole as any other
instrument was unnecessary. I used certain as well as 8
different recorded microphones positioned in focused places in
order to collect the sound perfectly.
Types of Microphones
Audix F2
Audix F6
Audix F9
TLM 102
SM58
SM57
SM70

The Audix F6 is a dynamic kind which endures minimised

feedback therefore suits Bass end instruments like kick, kettle
drum or even a floor tom. This microphone is easy positioned
which was pointed mid-range through the kick drum were it has
the punch effect as its frequency response is 40Hz 16 KHz
with a pressure level of 140Db.
The Audix F2 is also too a dynamic microphone with minimised
feedback however it interprets higher frequency range and has
more direct sound (perfect for studio recording). This suits
Guitars, bass, brass, rack as well as floor toms too. So
obviously, this is placed upon the rack tom besides flor tom and
will have improved performance if its focused at the centre of
the drum as mid-point is where you want your drummer to hit.
The Audix F9 microphone is a condenser which is best suited
for instruments requiring detailed imitation within mid-high and
prolonged high frequency ranges in live as well as studio
applications. A wide cardioid pick up pattern paired with high

sensitivity, allows close, overhead and distance miking. This

kind of mic operates on phantom power of 12 48V. Two of
these overhead microphones are carefully positioned over the
whole kit however theyre both focussed mainly in the centre of
the drum (to be more specific, the snare.) As we want our
overheads to pick up the patterns equally as possible, I used a
spare cable to measure both distances from mic snare and
then placed them with identical distances so they were
symmetrical.
The SM57 is a 40Hz 15 KHz clean sounding microphone which
is most suited for; Snare, Toms, Electric Guitars and Brass as its
also dynamic therefore its excessive for the snare drum.
It is optional to have the SM57 at the snare top/snare bottom as
its partner (SM58) can be placed either position too. Although
the SM58 mic is specialised for vocals and speech (clearest
vocals), the frequency range for the 58 is 50Hz 15 KHz which
is very close therefore can be used for the snare as well. In my
sessions, I placed 57 on top and 58 on bottom.

Inputs
Each microphone requires separate input
sockets besides leads so that the input is
functioning on the software (Logic Pro X).
Within the booths I used, most input
sockets were located either on the front or
back wall.

Input
Input
Input
Input
Input
Input
Input
Input

2 Front wall
3 Front wall
4 Front wall
6 Back wall
7 Back wall
8 Back wall
9 Back wall
10 Back wall

Audix F6
SM57
SM58

Audix F2
Audix F2

 Input 11 Back wall

Input 12 Back wall

Audix F9
Audix F9

Inputs 1 is not being used in my session as its for the vocal

room and input 5 is the amplifier located in the studio room.
Once all of those steps of setting up my drum kit were
complete, I was almost ready to begin my multi-channel
recording. Firstly I had to make sure the right inputs on the
software were linked to the correct drums, then renaming each
input after their drum. Due to the fact my drum beat was not
intensive or fast but elegant besides simple; I asked a member
from my group to play the loop of kicks and snares needed.
Before we began the live recording I also panned both
overheads left right too for better performance but then I was
prepared to instruct my drummer through the Talk Back
machine (significantly necessary in order to
communicate with your drummer through each
booth so he/she knows when and what theyre
playing as well as performing in time with the
metronome) to begin the kick loop. It took a
couple of tries before the drummer perfected
my timing of each kick in the loop however
some kicks in some takes were useful,
therefore I could cut out the waves and mute
un-necessary and out of time kicks.
Unfortunately, it was no use as the drummer
was finally able to play the entire loop in time
without failure.
The Snare tops were just as simple and quick learning as the
kicks were however it took 5 takes and I used the first quarter
of take 1 and the rest of the loop was take 3.

At this stage, the recording was complete and I have collected

everything needed to further my project by mixing and editing
the track

Firstly I added distortion to the snare tops for a longer and

more noticeable sound which I believed had a brighter
attraction to my song. My snares did not stay the same
throughout the track, I added extra reverb too in certain
sections with various levels of automation as I had to
naturally raise snare and kick because the drummer
couldve hit the drum harder.
During a loop through the In My House track I
added echo to my kicks which made them become
alive as well as strange by inserting Bypass with EQ
the cut high frequencies.
I alternated my already prepared synth chords by
fuzz edit and bypass which made it sound
underwater as it suited the certain section
(beginning of verse 2).
The hi hats were highly automated fluctuant with
bypass and high cut frequencies which made them
sound more quiet as over-powered my other
percussion.
In the outro of the track I included kicks from the software
Maschine just too have a variety of kicks.