A recording studio is a special facility for recording sound, mixing, and audio production from instrumental or vocal musical performances, spoken words, and other sounds. The size varies from a small home studio project large enough to record a singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both recording and monitoring (listening and mixing) rooms are typically designed by an acoustic or audio engineer to achieve optimum acoustic properties (acoustic or diffuse isolation or reflected reflective sound absorption that can interfere with the sound heard by the listener).
Recording studios can be used to record singers, instrumental musicians (eg, electric guitar, piano, saxophone, or ensemble like orchestra), voiceover artist for advertisement or substitution of dialogue in film, television, or animation, foley, or to record a musical soundtrack accompany it. Typical recording studios consist of a room called "studio" or "broadcast room" (and sometimes an isolation booth) equipped with a microphone and microphone booth, where instrumentalists and vocalists perform; and "control rooms", where sound engineers, sometimes with record producers, also operate a professional audio mixing console, effects unit, or computer (post-1980s and 1990s) with specialized software to combine, manipulate ( for example, by adjusting equalization and effect addition) and voice rerout for analog recording (on cassette) or digital recording on hard disk. Engineers and producers listen to live music and "tracks" recorded on high quality speakers or headphone monitors.
Often, there will be a smaller room called an "isolation chamber" to accommodate such hard instruments as drums or electric guitar amplifiers and speakers, to keep these voices from being heard by a microphone that captures sounds from other instruments or sounds, or to provide "dry" space for vocal recording or a quieter acoustic instrument such as an acoustic guitar or violin. The main recording studio usually has a wide range of musical instruments and music that are large, heavy, and difficult to transport in studios, such as grand pianos, Hammond organs, and electric pianos.
Video Recording studio
Design and supplies
Layout
Recording studios generally consist of three or more rooms:
- The "living space" of the studio where singing and instrumentalist vocalists play their instruments, with their songs and games taken by the microphone and, for electrical and electronic instruments, by connecting the output of the instrument or unit DI output to the mixing board (or with miking speaker cabinets for bass and electric guitar);
- Isolation chamber or voting booth. The Isolation Room is a small, sound-insulated room with a door, designed for instrumentalists (or their pile of speakers). The vocal chamber is the same designed room for the singers. In both types of rooms, there is usually a window so the players can see other band members and audio engineers/record producers, as singers, bandleaders and musicians often give or receive visual cues;
- The control room, where audio engineers and record producers mix microphone and instrument signals with mixing consoles, record songs and play into ribbons (until the 1980s and early 1990s) or hard disks (1990s and decades -decade next) and listen to recordings and tracks with monitor or headphone speakers and manipulate tracks by adjusting mixing console settings and by using the effect unit; and
- Machine room, where noisy equipment, such as fan-cooled fan power racks, is stored. This equipment can create noise that can interfere with the recording process.
The recording studio is carefully designed around the acoustic principles of the room to create a set of space with the acoustic properties required to record sound with precision and accuracy. This will consist of both the room treatment (through the use of absorption and diffusion material on the surface of the room, as well as consideration of the physical dimensions of the room itself to make the room respond to sound in the desired way) and soundproofing. (Also to provide sonic isolation between rooms) to prevent noise from leaving the property. A recording studio should be soundproofed on its outer shell as well, to prevent sounds from the streets and surrounding streets taken by the microphone.
A recording studio may include additional rooms, such as vocal booths - a small room designed for sound recording, as well as one or more additional insulation booths for heaps of loud guitars and extra control room. Although sound isolation is the ultimate goal, musicians, singers, audio engineers and record producers still need to be able to see each other, to see gesture cues and perform by band leaders. Thus, "broadcast spaces", isolation booths, voice booths, and control rooms usually have windows.
Tools
The tools found in the recording studio usually include:
- Professional large professional mixing console (some have as many as 72 channels)
- Additional small mixing console with 4, 8 or 16 channels, to add more channels (eg, if the drum kit needs to be mic and all channels from the big console are in use, an additional 16 channel mixer will allow the engineers to mix mic for kit)
- A large number of preamplifiers for microphones, such as Neve 1272 and Neve 3104
- Multitrack recorders (analogue tapes until the 1980s and early 1990s, and digital hard disk recorders in the 1990s and the next few decades)
- Computers (e.g., Mac, Digidesign, etc.)
- A variety of microphone options (cardioid microphone, condenser microphone, omnidirectional microphone, etc.). Studios often have Neuman Tube microphones, AKG tube microphones, RCA ribbon microphones, and a number of Shure SM 57 and SM 58 microphones.
- A large number of DI unit boxes
- Two or more recording players (e.g., Technics 1200)
- Sync (e.g., Digidesign Big Sync)
- A variety of standing microphones (boom stands, straight stands, table stands) to allow engineers to place microphones at desired locations in front of singers, instrumentalists or ensembles.
- Reference monitor, which is a flat frequency response loudspeaker designed to listen to mixed recording or tracks
- Power amplifier for monitor speakers (e.g., Bryston)
- Headphone monitoring studio (tipicallly closed-shell, to prevent "leaked" sound out into microphone)
- Consumer class speakers, including car audio speakers, boom boxes, and stereo shelf speakers. Engineers use this to hear how the final mix will be heard on the regular listener's speakers. If the engineers just listen to the mix on a high-quality reference monitor, this is the best way to check the mix and sound, but that does not allow engineers to hear how consumers at home will hear the mix.
- Digital audio work stations
- Music station The signs are lit
- "In Air" or "Recording" to remind other studio users to be silent.
- Outboard effect units, such as compressors, reverbs, or equalizer. Compressors by Neve, Urei, Empirical Labs, DBX are widely used. De-essers include DBX 902. Gate noise includes Drawmer DS 201. Equalizer includes models by Neve and Urei. Effects include reverb plate, spring reverb, Roland Space Echo. Some studios provide a choice of main guitar pedals.
- Music standing
Instruments
Not all music studios are equipped with musical instruments. Some smaller studios have no instruments, and bands and artists are expected to bring their own instruments, amplifiers, and speakers. However, large recording studios often have a choice of instruments in "direct spaces", usually large, heavy, hard to carry instruments, amplifiers and speaker cabinets (eg, Hammond organs) or unfit (as in the case of a grand piano) to carry for single recording sessions. Having a musical instrument and equipment in the studio creates additional costs for a studio, such as a piano should be tuned and instruments, tube amplifiers, and speakers should be maintained.
However, it makes it more comfortable to record artists, as they do not have to carry large gear, heavy, or for guitar amps, they do not have to carry a number of amps and cabinets. In addition, less expensive studio time is spent on shifting teeth and preparing them. Another benefit is that microphones can be installed in the right location near all studio instruments, and bass amplifiers can have DI units plugged into a mixing board, which speeds up set-up time.
Instruments that may be in the studio include:
- Keyboard instruments and related keyboard fixtures
- Grand piano (e.g., Steinway)
- Hammond organ and play Leslie speakers
- Fender Rhodes electric piano
- Wurlitzer electric piano
- MIDI keyboard or MIDI-equipped piano stage
- An antique synthesizer (eg, Moog synthesizer)
- Keyboard booster
- Acoustic drum packs: this may include only drums made of wood and holder. Studios usually have major brands like Premier, Ludwig, and Gretsch. Some studios have a classic meshes option. Drummers usually prefer to use their own snare drum and cymbals
- Bass amplifier and bass speaker cabinet (eg amp Amp SVT and 8x10 "cabinet)
- Guitar amplifier and guitar speaker cabinets (for example, Fender Twin and Marshall tube tubes and speaker stacks.Tube amps made by Vox, Ampeg, and Gibson may also be available.
- Classical guitar and bass made by Fender, Gibson, and Rickenbacker
- In rare cases, studios may have ethnic drums of mellotron, sitars, double bass, or unusual instruments that might want to be tried for a particular sound.
Guitarists and bassists are often expected to bring their own guitars, bass and pedal effects. Drummers often carry snare drums, cymbals, and their own stick/brush.
The type and brand of music equipment owned by a studio depends on the style of music for the band and artist who usually record there. A studio that primarily records heavy metal music will have large and powerful amplifier head amps and amplifiers (eg Marshall Amp Amp for the guitar). In contrast, a studio that primarily records country bands will likely have a smaller selection of vintage combo amplifiers (for example, a 1950s "Fender" tweed combination). A studio that records many funk of the 1970s may have a vintage or Clavinet electric piano.
Maps Recording studio
Digital audio workstations
In the 2000s and 2010s, general-purpose computers have rapidly taken a major role in the recording process. With software like Protools, powerful and high-quality computers with fast processors can replace mixing consoles, multitrack recording equipment, synthesizers, samplers and effects units (reverb, echo, compression, etc.) that the recording studios required in the 1980s. and the 1990s. This equipped computer is called Digital Audio Workstation, or DAW. Popular audio recording software including Apple Logic Pro, Digidesign's Pro Tools - is close to standard for most professional studios - Cubase and Nuendo by Steinberg, MOTU Digital Performer - popular for MIDI and scoring movies. Other software applications include Ableton Live, Mixcraft, Cakewalk Sonar, ACID Pro, FL Studio, Adobe Audition, Auto-Tune, Audacity, and Ardor.
In 2010, software applications rely more on the quality of audio recording hardware than the computers they work on, therefore typical high-end computer hardware is less a priority unless MIDI is involved. While Apple Macintosh is used for most studio work, there are many software available for Microsoft Windows and Linux. If no mixing console is used and all mixing is done using only the keyboard and mouse, this is referred to as mixing in the box ("ITB"). The "OTB" is used when mixing with other hardware and not just PC software.
Studio project
Small private recording studios are sometimes referred to as project studios or home studios . Such studios often meet the special needs of individual artists, or are used as a non-commercial hobby. The first modern studio project appeared in the mid-1980s, with the advent of affordable multitrack recording devices, synthesizers and microphones. This phenomenon evolves with the decline in prices of MIDI equipment and accessories, as well as direct recording products to the cheap disks.
Recording drums and electric guitars that are reinforced at home studios are challenging, as they are usually the loudest instruments. Conventional drums require sound insulation in this scenario, unlike electronic drums or samples. Obtaining authentic electric guitar sounds including power-tube distortion requires power of attenuator (either power-soak or power-supply based) or isolation box, or chamber. An easy-to-use compromise is a simulated amp, whether an amp modeling, a preamp/processor, or a software-based guitar amp simulator. Sometimes, musicians replace hard and uncomfortable instruments such as drums, with keyboards, which today often provide a rather realistic example. The digital recording capability introduced by Alesis ADAT and relatively low cost, initially introduced at $ 3995, was largely responsible for the emergence of project studios in the 1990s.
Insulation booth
An isolation chamber is a standard small space in the recording studio, which is soundproof to prevent external noise and keeps the internal sound, and like all the other recording spaces in the sound industry, it is designed because it has little reflection scattered from the wall to make good sound space. The drummer, vocalist, or speaker of the guitar speaker, along with a microphone, is acoustically isolated in the room. A professional recording studio has a control room , large space , and one or more small isolation chambers . . All rooms are soundproofed with a variety of methods, including but not limited to, a 5/8 "sheetrock double layer with layers of layer-to-layer layers on both sides of the wall filled with foam, batten insulation, or cardboard box, double walls, an insulated wall built next to another insulation wall with an air gap between the two, by adding foam to the interior walls and corners, also known as '' bass traps '', and by using two 1/2 "panes or thick glass at an angle of 5 -15 degrees that bounce the sound down towards the carpet or other sound capture media along with a minimum 1 "air gap on the smaller side of the V shape created by two panels.This is just a basic starting point for home studios and studio designers will be a wise choice to use Table 3.1 The height of the surface of common building materials and using the formula TL = 14.5logMf-16 can be used to calculate the loss n transmission of various frequencies. through matter.
Thomas A. Watson invented, but did not patent, soundproofed booths for use in demonstrating a telephone with Alexander Graham Bell in 1877. There are variations of the same concept, including a standalone isolation chamber, a concise guitar speaker isolation cabinet, or a cabinet isolation box bigger guitars. A gobo panel reaches the same idea until it is much more moderate; for example, too loud drum kits in living spaces or on stilts can have translucent pottery glass panes laid around them to bend sounds and keep them from bleeding to other microphones, allowing more independent control of each channel instrument on the mixing board.
All rooms in the recording studio may have a combination of reflective and non-reflective surfaces that can be reconfigured, to control the number of echoes. In animation, vocal performances are usually recorded in individual sessions, and actors must imagine (with the help of the director or reader) they engage in dialogue (as opposed to a monologue). Animated films often evolve rapidly during development and production, thus keeping vocal tracks from bleeding with each other is critical to retaining the ability to refine the line until the last minute. Sometimes, if the relationship between the main actor is strong enough and the animation studio can afford it, the producer can use a recording studio that is configured with several isolation booths where actors can see each other and the director. This allows actors to react with each other in real time as if they were on a regular stage or movie set.
History
1890-an hingga 1930-an
In the era of acoustic recordings (prior to microphone recognition, electric recording and amplification), the earliest recording studios were a very basic facility, basically soundproofed rooms that isolate the players from outside noise. During this era it is not uncommon for recordings made at available locations, such as local ballrooms, using portable acoustic recording equipment. In this period, the master recordings are made using the cutting process directly to the disc. Perpetrators are usually grouped around large acoustic horns (an enlarged version of the familiar phonograph horn). The acoustic energy of the sound or instrument is transmitted through the horn diaphragm to the mechanical cutting machine located in the adjacent space, which incised the signal as a modulated groove directly to the surface of the master cylinder or disc. After the invention and introduction of commercial microphones, electronic amplifiers, mixing tables and loudspeakers, the recording industry was gradually converted to electrical recording, and by 1925 this technology had replaced mechanical acoustic recording methods for major labels such as RCA Victor and Columbia. , and in 1933 acoustic recordings were completely unused.
1940s to the 1970s
Electrical recording was common in the early 1930s, and mastered electric-powered lathes, but the master record still had to be cut straight to the disc. In line with prevailing musical trends, studios during this period were primarily designed for direct recording of symphonic orchestras and other large instrumental ensembles. Engineers soon discovered that large resonating spaces such as concert halls created live acoustic alerts as natural reverbs improved the recording sound. In this period large acoustic live spaces were favored, rather than acoustic "dead" acoustic chambers and studio rooms that became common after the 1960s. Due to the limitations of recording technology, which makes it impossible for multitrack recording techniques, mid-20th century studios are designed around the concept of grouping musicians (eg, rhythm or horn section) and singers (eg, reserve singers), rather than separating them, players and microphones are strategically able to capture the acoustic interactions and complex harmonics that emerged during the show. In the 2000s, modern sound stages still occasionally use this approach for large film scoring projects that use large orchestras.
Hall and church
Because of their extraordinary acoustics, many of the larger studios are churches that have been changed. Examples include the George Martin Water Studio in London, the famous Columbia Records 30th Street Studio in New York City (converted Armenian church, with ceilings over 100 feet), and the famous New York-based Decca Records Pythian Temple where artists like Louis Jordan, Bill Haley and Buddy Holly recorded) which is also a converted large church featuring a high vaulted ceiling in the middle of the hall.
Facilities like Columbia Records 30th Street Studio in New York and EMI's Abbey Road Studio in London are famous for their 'trademark' sound - which (and still are) easily identifiable by audio professionals - and for the skills of their staff engineers. Because the need to transfer audio materials between different studios grew, there was an increasing demand for standardization in studio design in the recording industry, and Westlake Recording Studios in West Hollywood was particularly influential in the 1970s in the development of standard acoustic designs.
In New York City, Columbia Records has some of the most respected voice recording studios, including Columbia 30th Street Studio at 207 East 30th Street, CBS Studio Building at 49 East 52nd Street, Liederkranz Hall on 111 East 58th Street between Park and Lexington Avenue which was built by and previously belonged to the German cultural and music society, The Liederkranz Club and Society), and one of their early recording studios, "Studio A" at 799 Seventh Avenue.
Technology and techniques
Electric recording studios in the mid-20th century often lacked isolation booths, baffles, and sometimes even speakers, and it was not until the 1960s, with the introduction of high-fidelity headphones that became common practice for players to use headsets for monitor their performance during recording and listening to playback. It is difficult to isolate all the players - the main reason that this practice is not used simply because the recording is usually made as a direct ensemble 'take' and all the players are required to be able to see each other and the ensemble leader while playing. Recording engineers trained in this period learned to take advantage of the complex acoustic effects that could be created through "leaks" between different microphones and instrument groups, and these technicians became highly skilled at capturing the unique acoustic properties of their studios and musicians in performance.
The use of various microphones and their placement around the studio is an important part of the recording process, and certain microphone brands are used by engineers for their special audio characteristics. The smooth ribbon microphone developed by the RCA company in the 1930s is essential for Bing Crosby's enhanced "singing" style, and the famous Neumann U47 condenser microphone is one of the most widely used of the 1950s. This model is still widely regarded by audio professionals as one of the best microphones of its kind ever made. Studying the correct microphone placement is a major part of the training of young engineers, and many are becoming highly skilled in this craft. In the 1960s, in the field of classics not infrequently the engineers made high-quality orchestral recordings using only one or two microphones that hung above the orchestra. In the 1960s, engineers began experimenting with putting the microphone closer to the instrument than before it became the norm. The typical hoarse tone of the horn section on the Beatles tape of "Good Morning Good Morning" and "Lady Madonna" is achieved by having the saxophonist position their instruments so that the microphone is almost inside the horn's mouth.
The unique sonic characteristics of the big studios imparted a special character to many of the most popular popular recordings of the 1950s and 1960s, and record companies are wary of keeping these facilities. According to voice historian David Simons, after Columbia took over 30th Street Studios in the late 1940s and manager of A & amp; R Mitch Miller had matched it perfectly, Miller issued a command that curtains and other equipment should not be touched, and the cleanser had a special order not to mop the empty wood floor for fear that it might alter the acoustic nature of the hall. There are several other features of the studio in this period that contribute to their unique "sonic signature". As well as the sound attached to the large recording space, many of the finest studios include a specially designed echo chamber, a specially built space that is often built beneath the main studio.
This is usually a long rectangular space built of hard, concrete-like sound, with a speaker on one end and one or more microphones on the other. During recording sessions, signals from one or more microphones in the studio can be switched to the loudspeaker in the echo chamber; the sound from the speakers echoed through the chamber and the enhanced signal was taken by the microphone at the other end. These echo-amplified signals - often used to 'sweeten' the vocal sound - can then be mixed with the main signal from the microphone in the studio and mixed into the track while the master recording is being made. Special equipment is another important feature of "classic" recording studio. The largest studios are owned and operated by major media companies such as RCA, Columbia, and EMI, which typically have their own electronic research and development division that designs and builds custom recording equipment and mixing consoles for their studios. Likewise, smaller independent studios are often owned by skilled electronic engineers who design and build their own tables and other equipment. A good example of this is the famous Gold Star Studios in Los Angeles, the site of many famous American pop records of the 1960s. Co-owner David S. Gold built the studio's main mixing table and many additional equipment and he also designed the studio's unique trapezoid echo space.
During the 1950s and 1960s, pop recording sounds were further defined by the introduction of exclusive sound processing devices such as equalizer and compressors, manufactured by specialized electronics companies. One of the most famous is the famous Pultec equalizer, used by almost all major commercial studios at the time.
Multi-track recording
With the introduction of multi-track recordings, it became possible to record instruments and singers separately and at different times on different tracks on tape, although it was not until the 1970s that major record companies began to adopt this practice extensively, and throughout 1960 Many classic "pop" are still recorded live in one shot. After the 1960s, the emphasis turned to isolation and sound proofing, with treatments such as echoes and echoes added separately during the mixing process, rather than mixed during recording. One regrettable outcome of this trend, which coincides with the rise in property values ​​within the city, is that many of the largest studios are destroyed or rebuilt for other uses. In the mid-20th century, analogue recordings, made with magnetic tapes ¼ inch or ½ inch, or, more rarely, on 35mm magnetic film, with multitrack recording reached 8 tracks in the 1950s, 16 in 1968, and 32 in the 1970s. an. The most common record is a 2-inch analog, capable of loading up to 24 individual tracks. Generally, after the audio mix is ​​set on a 24-track ribbon machine, the signal is played back and sent to a different machine, which records a combined signal (called printing ) to ½ inch of the 2-track stereo band, called master .
Before digital recording, the total number of available tracks to which a person can record is measured in multiples of 24, based on the number of 24-track tape machines used. In the 2010s, most recording studios now use digital recorder equipment, which limits the number of tracks available only based on the capacity of the console interface or the computer hardware and hardware capabilities to cope with the processing demands. The analog tape machine is still used by audiophiles and sound engineers, who believe that the audio recorded digitally sounds too loud and who believes the tape has a "warmer" sound. The scarcity and age of the analog ribbon machines have increased their value, as does the fact that some audio engineers still believe in recording to analog tape.
Studio radio
Radio studios are very similar to recording studios, especially in the case of production studios that are not normally used in the air, such as studios where interviews are recorded for later broadcasts. This type of studio usually has all the same equipment as any other audio recording studio, especially if it's in a large station, or in a joint facility that accommodates group stations, but is also designed for a group of people working collaboratively in a live-to-air situation (see Ahern , S, Making Radio).
Broadcast studios also use many of the same principles as sound insulation, with adaptations tailored to the direct nature of their use. Such equipment will usually include hybrid phones to make phone calls in the air, POTS codecs to receive long-distance broadcasts, dead air alarms to detect unexpected silence, and broadcast delays to drop anything from cough to profanity. In the US, a station licensed by the Federal Communications Commission (FCC) must also have an Emergency Alert System decoder (usually in the studio), and in the case of a full power station, an encoder that can interfere with programming on all channels the station sends to broadcast urgent warnings.
Computers are also used to play ads, jingles, bumpers, sounds, phone calls, sound effects, traffic and weather reports, and now full broadcast automation when no staff is present. For a talk show, the producer or assistant in the control room runs the show, including filtering calls and entering the name of the caller and bowing to the queue, which can be seen and introduced by the observer of the event. Interviews of radio contest winners can also be edited "on the fly" and aired within a minute or two after they are recorded receiving their prizes.
In addition, the digital mixing console can be connected via audio via Ethernet, or split into two parts, with input and output transferred to the rackmount audio engine, and one or more control surfaces (mixing board) or computers connected via serial port, enabling the manufacturer or talent to control the show from one point. With Ethernet and audio over IP (live) or FTP (recorded), this also allows remote access, so the DJ can perform from home studios via ISDN or the Internet. Additional external audio connections are required for studio/transmitter connections for over-the-air stations, satellite dish for sending and receiving performances, and for webcasting or podcasting.
See also
- Audio techniques
- Movie studio
- The isolation cabinet (guitar)
- List of music software
- Re-amp
- Recording studio as a musical instrument
- Sound baffles
- Commentback (recording)
- Television studio
References
Further reading
- Cogan, Jim; Clark, William. Temples of Sound: Inside Great Recording Studios . San Francisco: Chronicle Books, 2003.
- Horning, Susan Schmidt. Chasing Sound: Technology, Culture, and Studio Recording Art from Edison to LP . Baltimore: Johns Hopkins University Press, 2013.
- Ramone, Phil; Granata, Charles L. Creating Records: The Scene Behind the Music . New York: Hyperion, 2007.
External links
- History of Sound Recording Technology
- Full Directory of Recording Studio
Source of the article : Wikipedia
0 Comments