Recording Engineer School

21. “Why do my drums and bass sound weak?”

by admin on January 4, 2011 at 3:20 pm

This is more likely to be a problem when you are recording live instruments rather than using drum loops of prerecorded drums and bass.

If you are recording live drums, a weak sound may be due to using the wrong microphones. It could also be that you have not positioned each mic correctly in relation to each of the drums.

The same problems can apply to the mic on the electric bass’s speaker cabinet. Wrong mic + wrong position = bad sound.

The quick fix? It’s all about EQ. (Equalization) Adding or subtracting different amounts at different frequencies.

Frequencies are measured in Hertz (Hz) The human ear can hear frequencies as low as 16Hz to the high of 16,000Hz

Each drum has a particular frequency area in the low range which, if boosted, makes that drum sound bigger and fatter. For example in the case of a bass drum that magic frequency is around 80 Hz.

If you boost that frequency just a little bit with your equalizer, you’ll hear a marked difference in the sound. It’ll sound much bigger and fatter.

Most bass guitar tracks are recorded with the bass plugged directly into the recording system. The sound from the instrument’s pick-up doesn’t go through an amp and speaker as it does on stage. Fatness is obtained by careful use of the equalizer in the recording program.
An amp modeling plug-in is also a good way to fatten your sound.

Line6 amp modeler

Amp modeling can mimic very closely the sound of real amps and speakers. But once again, modeling sometimes produces a lightweight sound so equalization has to be applied.

But you could improve that sound by sending the modeled signal into an amp and speaker and put a mic on the speaker.

Mic it from a distance of 3-4 feet so that you also pick up some of the reflected sound from the walls. It all adds up to a fatter sound.

You could use this sound alone, or you could even mix it in with the original modeled signal.

So you see – there are many was to fatten the beast! Once again, experimentation is the name of the game. (There are 28 pages in your course devoted to drums and bass recording).

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22. “Should I monitor on headphone or speakers?”

by admin on January 4, 2011 at 3:19 pm

Posted In: Questions

You should always use a good pair of speakers whenever you possibly can. This is because speakers tend to reproduce a more truthful representation of the actual sound than headphones do.

Tannoy monitors

If your mix sounds good on speakers, then it will definitely sound good on headphones too.

Actually, it is easier to create a great-sounding mix on headphones, but unfortunately that mix probably won’t sound half as good on most people’s home-stereos or even on your car radio.

Computer speakers are not the best speakers to use for recording. They are okay to start with but once you really get better in your mixing, you definitely need to purchase a pair of speakers that are made specifically for recording purposes and not for home-stereo units or computers.

The difference is simple. Studio monitor speakers are made to sound as “flat” as possible. This means that they reproduce all sounds as faithfully as possible with no added bass or treble.
Home stereo speakers are made to beautify the sounds. That’s not what we want in the studio.

Pol Audio monitors

People choose their home speakers by the way different brands sound in their own ears. The most pleasant ones win. Everybody has different ideas on what sounds best to them. It’s a very personal choice.

If budget is an issue, just find a pair of speakers that are at least half-ways decent in quality. It’ll really help you a lot more than you could possibly imagine.

Nowadays people listen to their music on all sorts of speakers, headphones and even bud-sized earphones, so a mix should sound great on all these devices.

It’s a daunting challenge – but a lot of fun!

Sometimes engineers do a dozen or more different mixes of the same song before they finally select “that magic mix” for release.

When an engineer has done the first mix of a song in their studio, they will take that mix outside and listen to it on any number of different systems in the “real world”.

This might include the speakers in someone else’s home, or a good set of headphones, or maybe cheap iphone earbuds. They’ll even go and listen to it on their car stereo!

JBL monitors

Each time they listen in a different environment, they think about what might be missing, or what instrument seems too soft or too loud and how the mix could be improved.

Back in the recording studio they will make these subtle changes then repeat the “real world” listening process as many times as it takes until finally that perfect mix is obtained.

It will be the best compromise for all systems.

Engineers sometimes sweat on a mix for days and days.

After a while you will know instinctively how all these inferior systems reproduce the sounds and you will mix accordingly without having to step outside so often.

And if you do insist on using headphones, get a less-expensive pair that don’t sound that good. (Much more on monitoring and mixing).

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23. “Is distortion okay?”

by admin on January 4, 2011 at 3:18 pm

Posted In: Questions

Only if you intend it to sound distorted.

Let it be known that loud sounds alter the hearing process and cause distortion in the ears. You’re not hearing a loud sound exactly as it really is. Your ear is actually changing that sound in order to protect itself.

Slight amounts of distortion can add fatness to thin-sounding signals. Most equalizers induce varying amounts of distortion. Especially cheap ones.

Of course you wouldn’t normally introduce enough distortion to make it audible and obnoxious, unless the music requires it.

Big, powerful solid-state bass amplifiers are built to deliver a pure clean sound. When recorded, this can sound thin. There have been studio session bass players that use an alternative amp for this purpose. It would be low in power, use tubes instead of transistors, and therefore distorts when cranked up.

Similarly an amp’s loudspeakers may be perfect for stage but might sound thin in the studio. Today’s speakers are very clean at high sound levels which doesn’t always produce a heavy sound on recording.

Try using some older speakers and overdriving them a bit. This usually produces a slightly distorted but fatter sound.

Distortion from foot pedals for electric guitars are the most common form on intended distortion. Commonly known as “fuzz boxes” they have been used on countless recordings since the sixties.

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24. “Can I get a job in the industry?”

by admin on January 4, 2011 at 3:15 pm

Posted In: Questions

Yes, you certainly can. There are many more jobs for a sound engineer than you probably imagined. We have listed some of the audio-related careers below.

Once you have completed your course AIA is prepared to help you find a job anywhere in the world. We have contacts and AIA graduates in over 130 different countries who may be willing and able to locate positions in this exciting business.

You may have to settle for an entry-level position to begin with but the skills you have learned from your course will soon push you up the ladder to higher levels.

Being a sound/recording engineer is one of the most exciting and prestigious jobs there is.

You will learn the amount of money each job can put in your pocket.

Comparative minimum average salaries:
Recording studio engineer $40,000 per year
Assistant/second engineer $25,000
Radio production engineer $38,000
TV/video production engineer $42,500
Corporate/government/educational $40,800
Film re-recording engineer $55,000
Equipment dealer/distributor/rental $45,000

Number of years working in pro-audio:
1-5 years — 10%
5-9 years — 17%
10-14 years — 28%
15-24 years — 25%
25 + years — 19%

The final lesson in your course is devoted entirely to the subject of finding a job. Whether you plan to open your own studio or seek employment in an established facility, this valuable lesson will assist you in reaching your goal.

Your course will prepare you for the real world of engineering. Once you have this knowledge, the recording world is yours for the taking. And we mean the world – see the map below:

Turn an exciting hobby into a rewarding career. Endless hours of fun can lead to a serious career in recording. The program can help you expand your home set-up into a professional recording studio and increase your prospects for success.

It will prepare you for the real world of audio engineering and place you one step ahead of your competitors.

We even teach you how to write a killer resume and prepare your “Show-Reel” to give to prospective employers. We know exactly what that employer is looking for when it comes time for that all-important interview.

DIRECTLY RELATED FIELDS

Recording engineer (Fixed or mobile studio)
Disc mastering engineer (vinyl/CD/DVD)
Sound reinforcement engineer (live performances)
Stage sound mixer
In-house sound mixer
Acoustical engineer
Maintenance engineer
Recording studio designer and consultant
Recording studio manager
Session producer (independent/contracted)
TV audio engineer
Video production audio engineer
Corporate, government and educational production audio engineer
Film re-recording audio engineer (in-house/independent)
Audio equipment dealer/salesperson
Audio equipment rental house dealer/employee
Audio research engineer

OTHER JOB FIELDS
Music arranger, Orchestrator, Music publisher, Conductor, Concert artist, Symphony orchestra member, Studio musician, Choir singer, Music teacher, Musical instrument salesperson, Instrument repair technician, Theatrical agent, Manager, Pop singer, Band member, Songwriter, Disc jockey, Recording artist, Movie/radio/TV music director, Record producer, Church organist, Music librarian, Music therapist, Piano tuner, Copyist, Music critic, Accompanist, Composer, Music publisher, Music store manager, Record company executive, Record distributor, Promotions manager, Artist and repertoire man or woman, Instrument rental dealer, Live show promoter, Publicity manager, CD plant employee, Record pressing plant technician/executive, Stage lighting technician, Road equipment manager, Personal manager, Audio magazine employee, BMI or ASCAP employee, Album cover artist . . . the list goes on

And we are very proud of all the successful graduates we have had from 130 different countries around the world. They will be your passport to success.