This section is background in the process of digital recording for those without experience working in a studio environment. Modern music recording, whether analog recording or digital recording, is performed using a process known as multi-tracking. Multi-track recording means that each instrument is recorded onto a separate "track". If recording to tape there are 4, 8, 16, or 24 tracks running down the length of the tape. During recording, the sound for each track is stored completely separate from anything recorded on any of the other tracks of that tape. In the digital world the data representing the sound for each track is stored in a computer disk file for each track. This allows specific techniques to be applied when recording each instrument. It also makes overdubs possible meaning that after the basic song has been recorded, other instruments or sounds can be added to the song on separate tracks and multiple takes of a track can be recorded. During mixing the tracks can be processed using EQ, compression, reverb, delays and other sound effects. A track can be "panned" to the left, right or center of the sound stage or made to sound closer or further from the listener. Many artists new to the recording process underestimate the importance of spending adequate time in the mixing process. Mixing is much more than just polishing up the recording and setting track levels. Mixing is the process by which numerous individual tracks are turned into a song. I use the following analogy; recording (or tracking) is like preparing a palette of colors to be used in a painting while mixing is analogous to using those colors to actually paint the picture. There are almost an infinite number of ways that a group of tracks can be mixed and edited into a final song.
We track drums using individual microphones on each drum, Shure SM-57's, Sennheiser 421's and a Shure Beta 52 or AKG D-112 on the kick. We also use AKG C-451's for overheads and usually a third 451 on the hi-hat. These miking techniques allow the drums to be mixed into a stereo sub-mix such that a realistic sound stage image is created. Compression is used extensively to enhance attack for a more in your face sound and to even out snare and kick drum hits. Artists have the option of bringing their own drum set or using the studio's Gretch birch wood set which includes a Pork Pie snare, double & single beater pedals, Sabian hi-hats and both Zilgian & Paiste cymbals. The studio also owns various percussion instruments for use by our clients.
Bass guitar can be recorded using our Avalon U5 active DI box instead of, or in addition to, a microphone. The U5 is a superb sounding direct inject pre-amplifier that allows the bass to be recorded without going through a speaker cabinet. This means that the sound of the bass can be completely isolated from the recording of other instruments being played simultaneously (such as the drums) eliminating leakage into the microphones used to track those instruments. During recording the bass guitar can be heard through headphones by all musicians and the engineer. Other instruments, such as keyboards or electric guitar may or may not be recorded in similar fashion. The studio's Line6 Vetta amplifier head can simulate up to two brand name amplifier models at once and can be recorded direct. Unlike dry direct guitars, the Vetta makes for a direct guitar track that sounds as if it is being played through real speakers and stomp boxes. Not only does this mean that these tracks may actually be used in the final mix without the need for re-amping, but it also allows the musicians to hear a more satisfying guitar sound while performing the take. This in turn makes for a much better vibe and therefore a more inspired performance by all of the musicians.
Once the rhythm tracks have been laid down, overdubbing can be used to add vocal tracks, additional and/or multiple guitar tracks and any other instruments that are required. The engineer will select an appropriate microphone from our collection for each individual track based on his experience together with your input and a bit of experimentation. In some cases multiple microphones may be used to record a single take including "room" microphones to pick up sound reflections from the room itself. These can be blended during the mixing phase to achieve the desired sound. While selecting a microphone(s) the engineer will also select the best pre-amplifier match for the particular microphone in that situation. He may also opt for a compressor and/or equalizer to be used in the signal path.
Later during the mixing phase the engineer may process one or more tracks with time-based effects such as reverb or delay to help establish the front to back positioning of a track as well as to psycho-acoustically create the size of the venue in which he wants the listener to sense that the music is being played in. The studio owns a variety of amazing DSP plug ins to do this including the Waves IR-L Convolution Reverb, which uses samples of the sonic responses of actual venues from around the world to re-create the sound of those exact environments. Digidesign's Revibe and Reverb One, Waves Super Tap, Wave Art's Panorama, Lexicon's PSP-42 and Bomb Factory's Tel-Ray are just a few of the other great time-based delay's we use.
