Select and apply a range of processes to enhance sound in a performance context. Level 3 Credits 6 Student Name:

Transcription

1 Select and apply a range of processes to enhance sound in a performance context Level 3 Credits 6 Student Name: Students are free to use this template for providing evidence for this Unit Standard. It is divided up into sections according to the Range requirements of Outcome 1. Please note that not all of the Range have been specified here as the standard only requires a minimum of six. Teachers are free to adjust this as they see fit according to the requirements of the Unit Standard. Before starting work on this project students need to thoroughly read the task and make sure they are familiar with the requirements for Achievement, Merit and Excellence. For example for Excellence, students need to demonstrate confident use of technical language to justify their selection and application of the following processes and how their decisions are influenced by knowledge of the sound theories relating to: frequency, phase, wavelength, amplitude, pitch, sound pressure level, fidelity, reflection, absorption, sampling rate & bit depth (a minimum of six is required). Pre-production Student Comment Image Teacher Comment 1 I planned the mics required for the session, musician arrangement in recording rooms (see track & input sheet), and checked we had enough leads and stands for all the channels. I used a mixture of dynamic, condenser and ribbon mics according to their suitability for handling high SPL, polar pattern and frequency response. Student has fulfilled the requirements of ER 1.2 and 1.3. See Track and Input sheet for further details.

2 2 I created a Pro Tools session KHz sampling rate and 24 bit depth KHz is standard for CD quality audio. 24-bit sounds a lot better than 16-bit which will help with making mix decisions later on in the process. Sampling rate ER I created and named all my tracks in Pro Tools. I grouped my instruments in the following order: drums, bass, guitars, vocals. The tracks are colour coded to I can find what I m looking for easily. Grouping tracks in DAW, good level of technical understanding. 4 I ran all the drum channels through an aux channel and bussed the drum audio to the group master fader. The student is using aux channels and sends but not explaining reason for why they do this.

3 5 On two aux tracks I inserted reverb and delay plugins with basic settings so that the musicians can have some ambience in their headphones. The student s Pre- Production activities demonstrate use of some technical language (aux, sends, ER 1.1 theories, etc) without using language confidently to justify selection and application of processes. Tracking/Capturing Student Comment Image Teacher Comment

4 1 On the drums I setup mikes on the following: Kick, snare (top), 2x toms, hi hats, ride cymbal and 2x overhead mics. See my input list for the my choices. I placed the kick mic close to the drum but this made it sound a bit too boxy. By pulling the mic back an inch it create a more balanced sound. Frequency, Wavelength ER I used dynamic mics on the kick, snare and toms as they handle high sound pressure levels (high amplitude). On the cymbals and overheads I used condenser mics as these are more sensitive to high frequencies than dynamic mics. All mics were set to a cardioid pattern to pick up only the intended sound source. The student has demonstrated use of technical language in selecting the appropriate microphones for recording the various parts of the drum kit. Frequency, Amplitude, Reflections ER 1.1

5 3 When monitoring the drums I noticed the snare sounded worse when listening to it s channel soloed along with the overheads. This is mostly likely because of phase issues. I fixed it by adjusting the position of the snare mic. 4 The vocalist was recorded in an office. To improve the sound of her recorded signal I put the mic inside a Relfexion Filter which absorbed/eliminated the reflections of the office making it a drier signal. Phase ER 1.1 Absorbtion, Reflection ER We recorded five takes of the band as well as guitar overdubs. The student has selected and applied the following process: Capture. In seleting and applying the process of capture they have referenced the sound theories of: Frequency, Absorbtion, Reflection, Amplitude, Phase five of six

6 theories required by the standard (the sixth is Sampling Rate from the pre-production process plus others from the edit/mix process). The student has not met the requirements for Excellence as they have not used technical language confidently to justify the selection of the processes to enhance sound. Editing Student Comment Image Teacher Comment

7 1 Of the five takes the fourth had the least mistakes. But the guitar solo wasn t great so I copied part of the solo from the fifth take and inserted it into the fourth recording. I did this by highlighting the guitar solo and going to Edit>Copy. Then I placed the cursor at the start of the solo in take for and went Edit>Paste. As the musicians didn t record to a click the timing of the pasted section wasn t quite right. I used the Pro Tools TCE tool to stretch the audio a bit to make it in time.

8 2 The vocal performance was solid but there were a few areas that she went flat. Using Melodyne I was able to see the flat notes and I dragged them up to make them in tune. Pitch ER 1.1 Mixing (balance multiple sources, enhance tonal balance, control dynamic range, create ambience, create effects) Student Comment Image Teacher Comment 1 While tracking/capturing the performance I had set up a rough balance of the faders and pan pots. I had panned the OH drum mics to the left and right and put the toms a little off centre. At this stage I ve left all other mics panned centrally. Outcome 1 Balance Multiple Sources

9 2 I decided to then mix the drums, trying to create a better balance and improve the tonal balance. I started by soloing the OH mikes and inserted a Channel Strip plugin. I reduced the boxiness by reducing some mid range frequencies. I increased clarity by taking using high shelf band on my EQ and turning it up. However this then introduced a rather nasty hass type sound so I then reduced some high mids. Throughout this section the student has aurally identified a tonal issue and has used technical language to describe how to use equalisation and filters to enhance the tonal balance. To meet Excellence they need to be more confident with their use of technical language through the use of db, Q and identify the specific frequencies. Outcome 1 Enhance tonal balance Filter ER 1.1 Frequency & Fidelity

10 3 The snare drum was a bit inconsistent. Some hits were a bit too loud and others were too soft. I reduced this difference in dynamics by using a compressor with reasonably aggressive settings from a preset in the plugin. I improved the snare tone by reducing low kick drum leakage with a hi-pass filter, reduces some mids and turned up some high frequencies. Outcome 1 Enhance tonal balance Filter

11 4 To make the snare sound bigger I added a a reverb plugin as an insert. Using a preset I was able to make each hit ring on for a bit longer. 5 For the guitar I started off using EQ. It was recorded with a nice guitar, through a great amp (a Vox AC15), with a great mic (Royer 121) through a really good Neve clone preamp (Golden Age Pre 73). So it sounded awesome straight away. To make the guitar a bit ballsier I added some lows. However this did muddy up the sound a bit when combined with bass so I also used a hi-pass filter to get rid of some lows.

12 6 However, I still wanted a bit of bite out of the guitar sound and wasn t able to get the sound I was after by turning up high EQ. So I used the DI ed guitar signal (which was also recorded but I hadn t used yet) and put a Guitar Rig preset on it that emphasised the highs. I then panned the two guitar signals left and right to provide a wide stereo image and keep them out of the way of the vocals and bass. Outcome 1 Balance Multiple Sources 13 To add ambience to the track (as it still sounded rather dead due to all the close miking) I added reverb and delay on aux sends. All the instruments got sent to the reverb (lots for vocals, medium amount for guitars and drums, a little for bass) and the vocals were also sent to the Echoboy delay plugin that was set to emulate a classic Roland Space Echo. The delay was tempo sync ed to the project so all echos are in time with the beat. The description of the reverb settings here are at Merit level. The student has selected and applied a process (the use of reverb and delay to create ambience and effects) and has used limited technical language ( aux sends ). To make this Excellence they should describe the specific Reverb and Delay plugin settings to be considered confident in their use of technical language. 15 Finally I bounced the track to WAV so that I could upload it to Soundcloud and burn to CD. As I d recorded at a sample rate of 44.1

13 KHz and a bit depth of 24 I needed to make sure the settings were 44.1 KHz and 16 bit to make sure the file is compatilbe with the requirements of CD burning. Teacher Assessment Section Outcome One - Select and apply a range of processes to enhance sound in a performance context Sound processes (minimum of six required): Achievement (select & apply sound processes) Merit (uses technical language to describe the links between the requirements of a performance context, sound theory and the selection, set-up and operation of equipment) Amplify Enhance Tonal Balance Control Dynamic Range Create Ambience Filter Balance Multiple Sources Create effects Capture Edit Excellence (uses technical language confidently to justify the selection of the processes to enhance sound) Evidence Requirement The selection and application of processes to enhance sound in the performance context are determined using sound theory. Sound theories (minimum of six required): Frequency Phase

14 Wavelength Amplitude Pitch Sound Pressure Level Reflection Absorbtion Sampling Rate Evidence Requirement Technical requirements are identified and documented according to the conventions of the performance context. Documentation (minimum of one is required) Annotated script Technical rider Stage plot Input List Cue sheet Track notes Other Evidence Requirement Equipment required to process sound is selected, set up, operated and packed down according to the documented technical requirements of the performance context, safe working practices and the equipment specifications. Set up may include (but is not limited to): Tuning a sound system to a room Rigging equipment Completing a sound check Pre-production recording activities

15 Teacher Summary This student has met all the requirements of Outcome 1 and Evidence Requirements They have selected and applied at least six process as specified in Outcome One. The selection and application of processes to enhance sound have used at least six sound theories as specified in ER 1.1. They have met requirements of ER 1.2 by providing a stage plot, input list and track notes. They have met requirements of 1.3 by specifiying their pre-production activities in the setting up of their Pro Tools sessions. To move up to Excellence the student needs to use technical language confidently to justify the selection of the processes to enhance sound. Not Achieved Achievement Merit Excellence