Berlin days

Friday, 19.5.2017
The gain for vocal recordings should be set fitting the loudest parts. In the test recording singers often sing quieter than in the serious one. Also, suddenly roaring parts appear after adjusting for a medium volume. It is easier, if you got the songs with all current changes in your head. But no one can seriously complain about a clip on a first recording.
For several singers in the same room, everyone should have a microphone, unless it is a choir with more than 4 singers. Often someone sings a fault and no one knows who it was. The problematic singer can easily be determined by muting the individual microphone channels.
When is the intonation still right? A difficult question as a human voice is harder to control than an instrument. There are no frets or keys. OK, there is Melodyne, probably the best intonation software, designed by Munich engineers, but the like should only be used if the singer cannot deliver and there is enough time left for editing.
 
Fernando, Tuesday
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Do 18.5.2017
Yes, yes, finally in the studio the colleagues hear what the others play. The bass was 95% good on the octaves (I control the intonation of all the guitars and bass guitars) and the soundcheck was easy, but about the bass parts of 2 songs arose serious discussions within the band. Such things happen again and again. That is why it is so important that the band does a pre-production before the studio recording and clarifies all riffs and arrangements.
To abbreviate the work with the brass I have offered to straighten on song that was difficult to play with elastic audio, to be able to copy/past the best bits. However, I have accidentally picked the fastest spot of the song for finding out the tempo and because of this the beginning sounded too fast after straightening.  We had to find a middle way. It is possible to nail a song to a specific tempo, but sometimes it takes a lot of time. I only suggest this, if it really improves the song.
 
Drill sergeant Harris and his recruits
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Mittwoch 17.5.2017
First we have installed a click track on the Protools and routed it to the headphones. Then we turned it up gradually until the drummer and the guitarist said the click would be loud enough. In the test recording it quickly became clear that the drummer could not play to the click. He never had practiced it. It was not so important, as he holds the tempo quite well. But without the click to copy brass parts will be more difficult. Next we decided which versions of the basic tracks we would like to continue working on. The brass came around 11. Saxofon, trumpet and trombone. This was told me only at the beginning of the recording day, but was however no problem. While we set up the microphones, the brass section rehearsed in the control room. Then they weare recorded with fitting condenser microphones. They got a common headphone mix, which is feasible with brass, because they can also hear themself directly, as they play loud enough. They had one ear more or less without headphone to hear them selves as much as they wanted. At the end of the short recording day there was still enough time to repair a guitar track. We take the guitar completely over the Kemper amp. Only for the feedback parts we will use the bands Engl combo.
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Today 16.5.2017 first found a wrong samplerate, that must have been  manually adjusted by the late shift. we could not load Protools until we corrected it. Compared more microphones and once again wondered, if we need that surface microphone in the kick drum. but who knows what the track might be good for. Then completed the soundcheck. 2 channels of the desk have failed during the day. That slows you down when you first think cables or outboard devices could be broken. Nevertheless a few nice ska punk numbers recorded. Only drums and guitar is of course not so exciting, but we know where we are going. the Kemper amp has once again done a good service.

 

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