MTF Week 5 (August 22nd, 2007) "Disk-Edits"

For this week’s MTF, the class visited Disk-Edits Mastering Studios, located close to the Entertainment Center, Bowden. After frolicking at a nearby deli, we entered Disk-Edits and then the mastering room, and the difference between it, and the outside world was very distinct. Hearing the rustle of people getting comfortable waiting for Neville Clark (the director, and our guide), I noticed how flat the room was. It was, different from the studio control rooms we had previously visited, this room while small, was so flat, acoustically, and it didn’t take my “amateurish” audio skills long to realise it either.

So. After getting a very informative talk from Clark on mastering and his experiences, one thing hit me more than anything - Clark mentioned and demonstrated many times the idea of keeping at a reference level, as in sound level. This is something which actually makes a lot (and I mean a lot) of sense, but it just never occurred to me.

His advice was somewhat different from other guides from Mixmasters and Paradise Studios. The control room was also different. Instead of a full house console, a rather small console was used, a System6000. This too makes sense as one would usually receive projects in a stereo format, so no need for lavish consoles, and more need for good equipment and good room acoustics. And the lack of ProTools was also a change, with Clark stating that the SADiE 24-96 software is what works best for him and he likes it. This is comforting to hear, because even though I love ProTools, and Logic Pro *cough* one shouldn’t be confined to the space of one software company or idea set.

Being a pre-mastering engineer seems like it would be just as interesting as being a producer, or general sound engineer. And what Clark demonstrated to us inspired my willingness further to move into a career involved with sound.

References:

Neville Clark, (August, 2007) Disk-Edits, MTF Forum

Other Links

TC Electronics (Makers of the System6000)

Sadie

Disk-Edits

MTF Week 4 (August 15th, 2007) "CD Manufactuer"

CD manufacture is probably one of the most important aspects of the recording and producing process of music – it is the final element which applies the gloss coat and finished product of a recording, after all, what’s the point of recording something which you intend to release and the release it unprofessionally? So I found what I think is what David Grice was looking for on Thursday – the MPO site, which is found here http://www.mpo-international.com/. The site has a “Virtual Tour” which looks pretty childish at first, but is actually quite informative.

Another aspect that we delved into slightly was the way in which to package media. I really like it when an artist takes the time to create something with adds to the audio through; the artwork. Tool are one such group which I know do this very well, and if any of you reading this have any of their albums, you will understand what I mean by this. But on top of this there at many other ways to package media, such as the cute business card like approach, to fill gatefold digipacks, which are quite in fashion at the moment. Even vinyl is making more stance with very attractive picture and coloured LP’s.

I inquired towards vinyl as still being used today, vinyl is a medium which really interests me because I love its feel, sound and clarity. I was also delighted at the amount of worldwide interest in this area. MPO appear to be one leading vinyl manufacturer, and there are many others. My only question would be the difference of producing something on vinyl compared to CD – certainly vinyl would cost more in today’s market, but by how much…

Other Links

“How Vinyl Is Made” - http://eil.com/explore/guide/vinyl_making.asp

“MPO Virtual Tour” - http://www.mpointernational.com/en/virtualvisit/

Sound Studio, Week 3 (9th August, 2007) "Genre Based Recording"

I chose drums for the in class task

• Heavy/Rock Drum Sample
• Jazz Drum Sample
• Blues Drum Sample

MTF Week 3 (August 9th, 2007) "Paradise Studios"

This week in MTF, the class ventured down to Hendon, where we experienced another fine studio setup, known as Paradise Studios - appropriately titled due to the ownership of Paradise Community Church.

Their setup, at a first glance was much more... modern, nothing like the cousey-ness of Mixmaster's studios. It raises the question of how exactly different people like to setup their studios and the way in which the environment greets the guest upon first arrival. "It's about making the musicians feel as comfortable as they can, because if the musos are happy the recording process is going to be much more enjoyable." Even though Mixmasters and Paradise studios had different arrangements to tackle this area they still showed the importance of remembering that producing music is a consumer satisfaction affair. Let's face it, as a musician in a studio paying between $75 and $100 per hour you'd want the whole thing to be as fast and productive as possible.

I enjoyed the feedback on my pseudo-piano recording done very quickly, with just one U87. The advice sent to me from was to use EQ and even compression, something which I would never had expected for such a natural instrument. Other tips which were expressed I liked was to use no reverb while monitoring back to the vocalist, taking as much breaks as possible, keeping sane, and remembering to use the equipment you have at hand efficiently and effectively.

Another thing which I have noticed is the variance of opinion. Some things within the recording industry seem to be givens but others are and appear to have been shaped over many years of let downs, successions, hard work and the environment in which you work in. Dewald, who guided us seemed to not be fussed by the lack of attendance of a tape machine. I wonder what his views on tape and analogue recording were, something which I forgot to ask.

References:
Quote from Dewald Hartzenberg (9th August, 2007) Paradise Studios, Hendon – MTF

Paradise Studios

Paradise Studios MySpace (This has a great up to date list of their outboard gear)

Sound Studio, Week 2 (2nd August, 2007) "NIN Only Mix"

My NIN Only mix

MTF Week 2 (August 2nd, 2007) "Mixmasters"

One of the most exciting things all year was the introduction to a real life studio outside EMU. Built from wood and mud brick, the “modified house” looked like the perfect studio, set up in the Adelaide Hills. I was interested at the choice of materials and decided to go a little further with is, as Mick the owner and engineer of the studios, stated that he “searched” for the right materials that suited his ears. The soundproofing was very impressive also, with all walls being backed with compressed carpet for up to six feet behind the wall in places.



The advice, expertise and level of knowledge expressed my Mick was terrific, and I could have stayed there for hours. I love his explanation of tape explaining, “it seems to have fuzzy edges that mesh and bring all the other elements together, but keeping the sounds in their own pigeon holes.” I really want to get my hands on a tape machine and become involved with analogue recording, simply because this year, we haven’t really been exposed to it, and I would love to be able to develop and gather an understanding of the differences between analogue and digital on a personal level, and for the simple fact that is just sounds like good fun.



Mick seemed very open to recording itself saying sometime that the best solution is the simplest, like using a good ol’ SM 57 instead of a Neumann U87 – It just comes down to whether it sounds good or not. He mentioned a couple of times that many musicians have a misconception that the “high end” expensive mics sound better, which of course isn’t true in a lot of cases.

References:
Mick at Mix Masters Studios (2/8/07)
Pictures taken from MixMasters website, viewed 8th August, 2007
http://www.mixmasters.com.au/studio/mixconsole.htm
http://www.mixmasters.com.au/studio/mixcontrol.htm

MixMasters

Sound Studio, Week 1 (26th July, 2007) Signal Flow Diagrams

DI to Monitor



Headphone Mix 1



Headphone Mix 2 w/talkback



Listen Back



Mic via Avalon

MTF Week 1 (July 26th, 2007) "David Grice Introduction and Student Presentations"

It was good to be back after the break and I must say I was looking forward to a new lecturer, David Grice, who up until recently was out Sound Engineering Studio lecturer. I found his classes fresh and enjoyable and today was just the same.

I found it interesting to hear his stories on his life and up bringing into the industry of sound, and was surprised to hear how he is self taught. It was also refreshing also hear his views on tape vs. digital recording, especially for drums and bass. I decided to research further on this, as I knew from previous research involving Kevin “the Caveman” Shirley that he also shares Grice’s views on tape recording. I am sure that there are many others from that generation who feel a somewhat disagreement towards digital itself. I personally feel that I need more time to expose myself towards tape – I am looking forward to going to Mix Masters and discovering how it is done.

We also went through each other’s studio mixes and they were all quite well done. The only issues I saw were the levels. After some thinking I’ve come to the conclusion that our ears while mixing must somehow become accustom to hearing the same elements over and over, so they mildly enhance our perception of the sounds we hear. It makes me wonder how other will perceive my mixes. This takes me back to what Steve Fieldhouse said to us at the beginning of the year saying, “It’s really important to mix close in and then be able to look at the mix on an overall point of view. I forgot this concept until writing this blog, and I now wish I had remembered it while mixing because I believe it would have made mine better. I am sure others probably feel this way also.

References:

Fieldhouse, Steve (2007) MTF Presentation Semester I

Grice, David (26/07/2007) MTF Presentation

mcgrew (2004), Digital vs. analog- which is better?
http://www.kuro5hin.org/story/2004/10/8/134958/152