DONE Unit 2.1:Communications (Research Log)

Research Log

To write my blog posts I needed to do a lot of research about several things, such as; microphones, production techniques, polar patterns artists and sound engineering. I used a lot of sources during my research, which were very helpful.

I annotated these articles to extract important information, which would be beneficial for me to add to my blog.

The first source I annotated was from ‘The Pop Textbook’, this was useful as it gave me some background information about Michael Jackson. The information that I learnt from this source was included in the opening paragraph/introduction of the blog post. Some of the information read was irrelevant to my blog as it went into detail about previous albums, or albums produced after Thriller. I decided not to include most of this information in my write up.

The second source I annotated was the ‘Bruce Swedien: Recording Michael Jackson’ article from Sound on Sound magazine. As this article is quite long (8 pages), I only annotated some of the most important parts of the source that were most relevant to my blog post. Due to ths source being from a professional music tech magazine, it used a lot of key words and terms. I found this extremely useful as it gave me an idea of who I should be writing my blog for and how it should sound. The article included a big section about the ‘Acousonic’ recording technique. I took a lot of information from this post and it helped me understand the production characteristics of Thriller.  I also used a section about how the production team experimented in Thriller. This helped me explain what made Thriller so unique, and give a more detailed description of a songs production characteristics. Towards the end of the article, there was quite a lot of information about the microphones Bruce Swedien has and what he has used for what. From this I extracted information about the mics he used to record Michael Jackson and why he used them.

After reading the Sound on Sound article I was a bit confused about some of the terms and key words mentioned in the post. Something I was in particularly confused about was the ‘Acousonic’ technique, so I used the Sound on Sound website again to research this technique. This article was extremely helpful as it defined the technique,  stated the advantages and disadvantages and explained the impact of the technique on music.

The purpose of my research was to have a clear understanding of the topics focused on in the blog. I also wanted to develop and stretch my knowledge of the subject overall.  I believe that I have achieve this by creating a blog explaining different aspects of music technology and sound production.

Secondary Source	Relevance to my blog post
Profile: Micheal Jackson (Page 83) The Pop Textbook- by Julia Winterson, Peter Nickol and Toby Brincheno.	This source of information gave me a lot of background information about the performing artist. I included information extracted from this source in the introduction of my blog as it gave a good explanation of the artist and previous albums. This post also allowed me to understand the impact Thriller had on future Michael Jackson albums and how it contributed to the overall success of  the artist.
‘What is the Acusounic Recording Technique?’ Sound on Sound magazine- written by David Mackay, information from technical editor Hugh Robjohns.	I found this resource extremely helpful as it gave me good understanding of the technique, which helped me explain in my article about the technique and why Bruce Swedien decided to use it.
Bruce Swedien: Recording Michael Jackson. Sound on Sound magazine- Mike Senior.	This article covered a wide variety of information.  I only needed certain sections of information for my blog post. This article mainly explained to me the production characteristics, techniques and microphones used in the production.
Microphones: Polar Pattern/ Directionality. Shure	This source included definitions and explanations of different polar patterns and directions which either me or Bruce Swedien used in recordings. I found this article helpful toward my post as it enables me to understand what microphones need to be used in certain situations.  I included this information throughout my blog, especially when talking about microphones. I trusted this site because its run by Shure, and they are a trust and well established brand for microphones.
Dynamic Microphones and Condenser Microphones Media College	This website contains information about the two microphone types. The information on the site was very simple and straight the point, so it was quite easy to understand. But this meant it lacked in detail. I did all of the information on these two mics in my blog post, but I knew that it would be necessary to carry out further research into the topic to expand my knowledge.
Microphones: Frequency Response. Shure	I  used the Shure website again to find out more about microphones and their frequency response. Here I found two frequency response graphs which I then used in my blog to explain flat frequency response and tailored frequency response.
Acoustic Glossary Acoustic-Glossary.co.uk	This website is perfect for finding definitions of key music technology words. I used this source to help me to define the main key words which I wanted to use in my blog. By doing this, I knew exactly what I was going on about, whilst using key terms in my blog.
Shure SM57 Dynamic Instrument Microphone Shure	By using this source I got to learn a lot more about one of the mic that we were using in the studio. Not only did this help me write about the mic in my blog, but it also enabled me to use the mic to its full potential and know what instruments it suits.
AKG C1000S and AKG D112 AKG.com	Similarly to the Shure website, this source gave me information about one of the mics that we were using in recordings.
Samson C01 Samsontech.com	Again, this site gave us information about one of the mics that we were using and also allowed us to use the mic correctly in practices.
Zoom H2 Handheld Recorder The Manual	Alternatively, to source information about this piece of equipment I used the operation manual. This gave me a detailed understanding of how to use the mic and explained the different settings on the recorder.

Terminology and Key Words of Sound Production

To make sense of most magazines, articles and blog posts about sound production it is beneficial to learn and familiarise yourself with a few terms and words which are often used in texts.

Recording 

Sound Quality- This is the quality of the sound produced, which is assessed on the accuracy and enjoyability of audio output from an electronic device.
Acoustic Reflection- This is an echo or reverberation which is made when sound waves are repeated.
Absorption- When a material, structure or object takes in sound energy when sound waves are encountered, as opposed to reflecting the energy. Part of the absorbed energy is transformed into heat, and part is transmitted through the absorbing body.
Background Noise- Extraneous sound which can be heard whilst listening to, or monitoring other sounds.
Sound Proofing- The act of stopping the transfer of sound passing from one space to another through a surface, such as a wall. To soundproof a wall you would use a material that prevent sounds from passing through by absorbing the energy or the sound wave.
Sound Absorption- The altering acoustics within a room. When absorbing sound in a room, you're changing the way sound vibrates off surfaces. Sound absorption is used to dampen the sound waves, stopping them from the walls, floors and ceilings. This creates an echo and a reverberation in the room (acoustic reflection), which reduced the quality of sound.

Microphones

Transducer- A transducer is a device that converts acoustic energy (sound) into an electrical signal. 

Diaphragm- This is a thin piece of material which separated and vibrates in response to sound waves. 

Electromagnetic Induction- The current induced by an electromagnetic transducer. This current moves the coil forward and backwards between the magnetic field to create an alternating current (AC).

Capacitor Plates- These are two plates which amplify an electrical signal. 

Pre-amp- This is a device which picks up voltages produced by sound into a microphone and then converts them into stronger signals which can then be processed by other equipment, such as an amp. 

Sound Pressure Levels (SPL)- This is the ratio of sound pressure to relative pressure, which is measured in decibels.

Types of Microphones

Dynamic Microphones- A dynamic microphone makes a signal in result of motion inside the mic, where sound waves strike a diaphragm causing it to vibrate.
Condenser Microphones- In a condenser microphone, soundwaves also strike a diaphragm causing it to vibrate. But, in this mic the diaphragm is infront of an electrically charged plate.
Ribbon Microphone- A ribbon microphone uses electromagnetic induction to produce an electrical signal from sound. This is done by placing a thin layer of either aluminium or nano-film in between the poles of a magnetic to produce a voltage.
Boundary Microphone- This is a small, omnidirectional, condenser microphone which provides a half space pick up pattern. 

DONE Unit 48.2: Plan of Final Recording

Planning Recordings

It is very important to plan recordings as it allows us to be organised and prepare for several situations. Planning also gives us the ability to assess risks and any problems that we may face whilst recording and producing tracks. This will also give us time to develop skills in time for the final recording.

There will be three constant roles within the group, but we will interchange these roles depending on who is performing. The three roles would be: the performer, the person who sets up the studio, and someone who controls cubase. I will explain these in more detail below:

Role 1: This persons role will be performing. They need a range of skills, but most importantly they will need to be able to play the instrument. As this is a team project, its necessary for the performer to listen to the other team members and improve based on feedback from others. This person would play a similar role to Michael Jackson during the production of Thriller.

Role 2: This individual will be responsible for setting up the studio appropriate for the performance. and ensuring that both the performer and the person in the control room is happy with the mics and where they are positioned. Once this person has set up the equipment successfully, they can go to the control room and help out there on the mixing desk. This person would need to have a good knowledge of the different types of microphones used in the studio and would have to take instructions well in order to meet the requirements of the sound engineer. This person would play a similar role to one of the roadies/studio technicians (crew) during the production of Thriller.

Role 3: This person would be responsible for setting up cubase and leading the production overall. This would involve giving constructive criticism regularly based on the current recording quality. It is important for this person to be attentive and observant of the recording situation. Also, it would be necessary for the individual to have a good knowledge of the programme cubase and other recording equipment in the studio. This person would play a similar role to Bruce Swedien during the production of Thriller.

Recording Schedule

Performer	Set-up	Control Room	Instrument	Location	Mic
Riess	Lauren	Dan	Guitar	Studio	SM57 (Dynamic)
Dan	Riess	Jake	Drums	Studio	DRUM VARIETY (Dynamic)
Lauren	Jake	Riess	Vocals	Studio	SAMSON C01 (Condenser)
Jake	Dan	Lauren	Guitar	Studio	SM57 (Dynamic)
Dan	Jake	Lauren	Guitar	Theatre	C1000S (Condenser)
Lauren	Riess	Dan	Clarinet	Concert Hall	C1000S (Condenser)

Extra (if we have enough time).

Performer	Set-up	Control Room	Instrument	Location	Mic
Jake	Dan	Riess	Anything	Classroom	C1000S (Condenser)
Riess	Lauren	Jake	Anything	Open Air	C1000S (Condenser)
Lauren	Jake	Dan	Anything	Anywhere	SAMSON C01(Condenser)
Dan	Riess	Lauren	Anything	Anywhere	SM57 (Dynamic)
Sarah	Lauren	Dan	Piano	Studio	C1000S (Condenser)
Sarah	Dan	Lauren	Trumpet	Studio	C1000S (Condenser)

Potential Problems

During the recording, we are aware that several things can go wrong, but by planning ahead we can decrease the chance of these risks happening.
One of the problems that we could face would be equipment failure, for example: a lead could be damaged or a mic may not work. We can overcome this by ensuring that we have extra equipment that we could alternatively use if the original equipment is unusable. Or we could complete thorough check on the mics to discover what part of the mic isn't working and then we may be able to  fix that certain part of the mic. One of the first things to check is the actual AC power lines, as these can create a buzz or be the reason why you cannot hear any sound at all. Obviously, some of the larger more expensive equipment we cannot have spares of, as we do not have that sort of money. But the majority of the time the expensive equipment (e.g. a mac) doesn't fail as often.
Although I did mention that the computers are least likely to fail, sometimes the systems on the computers crash. For example the system may crash whilst we are recording on Cubase. We can't really do much about preventing this problem, except for ensuring that the computer can handle the programme. But if this problem does happen then we can just restart the computer and then see if that helps. If that doesn't work then we would have to call IT and ask them for assistance.
As we are all pretty new to using the studio equipment, some of us only have a little understanding of how all of the technology works and may sometimes forget what to do whilst being in the control room. This isn't a big problem, as we are only beginners and in time it will be second nature to us. But at the moment, the best thing to do is to familiarise yourself with the equipment. We could do this by watching YouTube tutorials about using the tech or we could try and spend even more time in the studio developing skills.

DONE Unit 48.2: Understanding Microphones: Dynamic vs. Condenser

Choosing the right microphone

So first of all, what actually is a microphone? A microphone is a piece of sound equipment which converts acoustic energy/sound into electricity. This is called the 'microphones signal'. This signal can be recorded, amplified or transmitted.

Depending on the purpose which you intend to use the mic for, you will require different types of microphones. For example, you probably wouldn't use the same microphone to record an orchestra as you would a vocal soloist. It is important to chose the right mic for the job, to ensure the best projection of the piece. Not only is it vital to consider what you are using the mic on, but also why you are using the microphone. Are you recording in a studio, or are you using the mics to amplify a live performance? There are many other factors that must be considered before choosing the right microphone.

In modern times we have an extremely wide variety of microphones, we are spoilt for choice! Today I'd like to focus on 2 types of microphones; dynamic mics and condenser mics. Both mics have a different operating principle, in other words their sound is converted differently into an electrical signal. This principle depends on the type of transducer that the microphone uses to convert sound into an electrical signal.

Dynamic Microphones

Shure SM57- a dynamic microphone. 

First of all, we have dynamic microphones. A dynamic microphone you may be familiar with is the Shure SM57, I chose this because it is quite a popular choice of microphone for musicians as it is produced by a well known and respectable brand, plus it is affordable with a retail price of around £85. This model has been in production since 1965, so obviously its been a pretty successful product.

A dynamic microphone makes a signal in result of motion inside the mic. When sound enters this type of microphone, sound waves strike a thin, plastic diaphragm causing vibration. A coil which is attached to the back of the diaphragm vibrates along with it, as the coil is moving back and fourth it passes through a magnetic field. This generates an electrical signal that corresponds to the original sound.

After the sound has travelled down the mic cable and been converted into an electric signal, the sound is too weak to be used. This is when a pre-amplifier comes in. A pre-amp amplifies a weak signal before it is sent to the main amplifier, Sometimes pre-amps are built into to amplifiers or mixers.

How a dynamic microphone works.

Dynamic mics are usually used with high sound level applications, like vocals or drums, as unlike condenser mics, they're less likely to overload when exposed to loud sounds. Therefore dynamic microphones aren't that great for recording distant or quiet sounds. This is because the sound waves would have to move the mass of the diaphragm and also the voice coil. If not enough acoustic energy is given, then these components won't move and the complete microphone signal will not be transmitted. With these mics, you will notice that often they are a lot heavier than condensers. Dynamic microphones have to contain a magnet in order for the diaphragm and coil to work, hence the fact why these microphones are heavy as they contain a magnet. This factor means that these mics cannot be made small, this limits mounting options. But, on the other hand this is a good thing as it makes the mics more durable, so they're perfect for the road and stage applications.

Condenser Microphones

 Another microphone type is a condenser mic, these work differently to dynamic microphones as they process the acoustic energy differently. In a condenser microphone, soundwaves also strike a diaphragm causing it to vibrate. But, in this mic the diaphragm is infront of an electrically charged plate. As the diaphragm moves back and fourth it changes the electrical field between itself and the plate. This then generates an electrical signal that corresponds with the sound. Quiet sounds can easily be picked up by this microphone type, as there is no voice coil needing to be moved. A dynamic mic requires more acoustic energy/sound in order to move the coil, but a condenser mic does not as only the diaphragm has to be moved which is the reason why condenser mics have better high frequency detail.

Condenser microphones are ideal for micing stringed instruments, percussion, piano or vocals. Generally, they have a higher output than dynamics, so they're really good at picking up distant or quiet sources. Unlike dynamic microphones, condensers do not have a magnet so they're very light.

These mics require power in order to operate as they have internal circulatory. The powered used by the microphones is called phantom power, usually it is supplied through the amp, mic cable, the mixer or recorder. Some mics can even run on an internal battery, but this isn't common.

In certain situation it is safer to use a dynamic mic as condensers overload when exposed to loud sounds. This outcome can be avoided by completing sound checks prior to using the mic to ensure that the mic you're using can cope with the sound levels from the source.

An example of a condenser mic is the AKGP170, which was released in 2007. This is a popular choice of mic to use in the studio and currently retails at around £70 (2015). The AKGP170 sources its phantom power from a preamp or an interface and then this electric allows the mic to produce signals. Another example of a condenser mic could be the C1000S. Alternatively, this mic gains power from a 9V battery, therefore this model would not need to be connected to equipment that supplies phantom power. Certain mics even have switches which can variate the sensitivity of the mic. One of the disadvantages of condenser mics is that they aren't as durable as dynamic mics due to their construction and their electronic property.

Frequency Response

The frequency response of a microphone is the sensitivity, which is effected by the diaphragm. If the microphone has a high signal then it will be more sensitive, whereas if the signal is lower it will have a lower sensitivity. This all depends on the size and thickness of the mic, what materials the mic is made out of and how the mic is attached. The frequency response of a microphone can be represented using a frequency response chart, this is a graphic representation of the mics sensitivity over its operating range from its lowest to highest frequencies (this can be between 20-20,000hrtz, human hearing).

Frequency Response Curve for the Shure SM58.

The graph above shows the frequency response of the Shure SM57, which is a mic that we use regularly in the studios at school. This mic has a tailored response as it is not equally sensitive to all levels of frequency. The chart tells us that this mic can pick up between 50Hz-15KHz. This pick up range is perfect for vocals and should brighten the mid range and bass rolloff.

A mic can have a 'flat response'. This means that the mic is equally sensitive to all frequencies within its operating range. The result of this is that sound is reproduced almost the same to the original sound, making it great for recording acoustic groups, vocal groups and orchestras. Another type of response is a 'shaped response', this response is more sensitive to some frequencies than others. For example; if a mic had increased sensitivity to the upper and middle range then it would add clarity to sounds. This response works well with guitar amps and drums. If a mic had decreased sensitivity to lower frequencies it would reduce the chances of picking up background noise and unwanted vibration. This property is great when recording close to the source, as it doesn't pick up the build up of bass, this is called the proximity effect.

Choosing the right frequency response is extremely important when recording! And the ideal response for the instrument you'd like to record should be researched before you record that particular instrument.

Polar Patterns 

We use polar patterns to see the strongest and weakest points a microphone picks up. This is shown using a circular graph that uses circles to represent how sensitive a microphone is in different directions. There are a variety of different pattens, but 3 popular structures are Omnidirectional, Cardioid and Figure of 8.

Omnidirectional

An Omnidirectional micpicks up noise from a 360 degrees radius/all directions. This is great for picking up natural sounds or for using in  a headset or tie-clip. All Omnidirectional microphones are pressure sensitive, this means that they will not be affected by wind noise or the proximity effect.

Omnidirectional Polar Pattern. 

Cardioid

Cardioid mics pick up sound from a 120 degree radius of the direction it is facing. This type of pattern is good for reducing feedback and recording a specific sound in a loud/noisy environment. Unlike Onimdirectional's, Cardioid's pick up wind noise and the proximity effect as they aren't pressure sensitive. Cardioid microphones are more sensitive at the front.

Cardioid Polar Pattern. 

Figure of 8

The 'Figure of 8' polar pattern, also known as Bidirectional, picks up sounds from the front and back of the microphone but eliminates sound from the sides. Similarly to Omnidirectional microphones, bidirectional do not change depending on the frequency. The main characteristic of a Figure of 8 microphone is that they produce a natural sound, which is why they are often used in interviews, broadcasting and in studios. All ribbon mics have a figure of 8 pattern.

Figure of 8 Polar Pattern. 

DONE Unit 48.2: Evaluation of Recordings

Evaluating Our Own Recordings

During our time in the recording studio we have experimented with recording several instruments, using a variety of recording techniques. Some of our techniques could be compared to the way Thriller was recorded, as both of the recordings were made in an insulated, well equipped recording studio. One obvious difference would be that Thriller was recorded back in the 1980's, whereas we recorded in 2015 so the technology has improved massively. This development has allowed us to record with a similar quality to Swedien's work, but with a lot less effort and knowledge.

Sound Quality

Whilst planning our recording we had to consider many different factors. First of all sound quality, this includes accurate, enjoyable and intelligible sounds coming from an audio output form an electronic device. We ensured this by setting up the microphones properly and choosing the appropriate type for the selected instrument and also doing sound checks before the actual recording. When we completed a sound check for the glockenspiel, we realized that there was too much sound. Because of this we knew that for the actual recording we needed to place the mic further away.

Acoustic Reflection

Acoustic reflection was another important aspect to look into, especially whilst recording in a studio. Our studio at school has insulated walls, this soundproofs the studio by stopping the transfer of sound passing from one space to another with the use of materials which prevent the sound passing by absorbing the energy or the sound wave. In turn, this influences the acoustic reflection as sound is more likely to bounce back therefore giving more repititions of sound from the reflection of sound waves. Another advantage of having a sound proofed studio, is that it reduces the background noise. This is necessary in our studio, because it is located in a school so loads of people are around making noise plus you'd have other unwanted noises like air-conditioning. When Micheal Jackson was recording Thriller, he probably didn't have much unwanted sound around the studio, but soundproofing was still required to ensure high quality sounds.

Resonance

Whilst recording vocal in the School's studio resonance was not a factor we considered, but is something that we would prioritize in future projects as it makes the recording sound very professional. Resonance is extremely noticeable over the album Thriller, especially in vocals. With improved resonance intensifies and prolongs sound. We could achieve this by using condenser mics for vocals which pick up high frequency sounds, or an effect could be applied to tracks digitally.

Roles and Responsibilities

I worked in a group of 3 to complete these recordings, so we managed to switch around the roles a little so we all got the chance to do something new. For the glockenspiel, Lewis and I recorded Ryan playing the instrument, whereas for the guitar recording Lewis played guitar so me and Ryan recorded him. For the vocal recording I worked with Dan and Jon, Jon set up the studio and Dan recorded me singing vocals. Assigning roles for individuals helped us achieve a professional recording as we could focus on one job, this compares to the recording of Thriller because everyone could specialize with their own roles.

In the groups I worked with the group dynamics were extremely good as we all seemed to have different talents. This allowed us to develop existing skill and learn new skills by helping each other out.

Related to Thriller...

The recordings we completed in school were only short, and mostly only included one instrument. This makes it a bit difficult for us to compare it to Thriller, as for the album he used over 24 tracks on each song. Another aspect of studio recording could be from the recording I did in the Summer at Ambitious Recording Studio's in Birmingham.

Tracks recorded at Ambitious:
Yours-  https://soundcloud.com/user-804953953/yours-ella-henderson-cover-sung-by-lauren-thomas
Valerie-  https://soundcloud.com/user-804953953/valerie-acoustic-cover-by-lauren-thomas-originally-by-amy-whinehouse
Love is a Loosing Game-  https://soundcloud.com/user-804953953/love-is-a-loosing-game-cover-by-lauren-thomas-originally-by-amy-whinehouse

At ambitious I recorded 6 tracks, but instead I used a backing track and then recorded my vocals on top of the track. I used a similar technique to Michael as he also recorded his voice over the tracks produced by the instruments. But instead, Michael's 'backing track' was produced especially for him. Some other artists would record vocals whilst the instruments were also recording theirs. This is a good method as it involves the listener more, especially if the tracks are being recorded in stereo. Stereo recordings give the listener a better sense of instruments and almost sounds like a natural or live performance. Thriller was also recorded in stereo, but tracks were recorded separately. The majority of recordings are recorded in stereo, but stereo was only introduced in 1958. Quincey Jones recorded on of the first stereo albums- The Genius of Ray Charles, in Phil Ramones studio on 48th Street.

The recording of these tracks are of a high sound quality as I worked with a profession sound engineer who has studied sound production for many years. He set up a condenser microphone, with a pop shield and a pop filter, this allowed my vocals to be recorded professionally and of a high quality. The room which I recorded in was similar to the School's studio, but a lot bigger. This difference gave a different sound, as the room size effected the way sound vibrates off surfaces and also sound reflection as sound had further to travel before being absorbed.

The Recordings

Final Studio Recordings

Electric Guitar 

To begin with my group recorded 3 electric guitars, we chose to record 3 so that everyone had a chance at working in the control room and setting up the studio. All 3 of these recordings took place in the studio as we believed that this would give the best result as all of the equipment was already in the room. 

We used a Shure SM58 microphone, this is a dynamic, cardioid mic. This was our choice as we know it produces clean sounds from amplified acoustic instruments. Shure is a very popular, established brand for microphones and they have a very good reputation.

In this recording, the sound quality was good as we recorded in a studio using professional equipment (cubase, macs, soundproof walls, amps and many more), We eliminated background noise by using the studio to record in, which has been soundproofed.

https://soundcloud.com/user-804953953/sets/electric-guitar-x3-studio

Name of microphone- Shure SM57.
Type of microphone- Dynamic.
Polar Pattern- Cardioid.
Position/Distance- 10-15cm away from the amp.
Location- Studio.
Performers: Jake, Riess and Dan.

AKG
C100S

Trumpet

Next we decided to record a brass instrument, we chose the trumpet. This was a lot different than recording the guitar as the sound produced by the trumpet was not amplified before entering the diaphragm. This meant that we had a lot less control of the sound being produced, as the output wasn't controlled by an amp. 

Overall the recording that we produced is of high sound quality. I believe that we achieved the natural sound that we were aiming for. But sometimes the sound was 'piercing', this may be because we used a condenser mic. Evaluating our recording, I would suggest using a ribbon mic in the future to give the 'full natural sound'. Alternatively we could have used a combination of a ribbon mic and condenser mic, as then you would have the best of both worlds- the full natural sound from the ribbon, but the brightness and sparkle from the condenser. Although the condenser mic worked quite well in the majority of the recording.
With brass instruments, sound comes directly from the bell, unlike some wind instruments where sound comes from the holes too. Because of this, it was necessary for us to position the microphone near to the bell of the trumpet. The ideal distance for the microphone would be about 4-6ft away from the instrument, this helps to capture room sound as well as just the trumpet alone.
In the future to variate/experiment with the recordings we could ask the performer to play with a mute in. This would change the sound even more. Also we could record in a different room, for example a stairway as this would drastically change the acoustics of the room and the acoustic reflection.

https://soundcloud.com/user-804953953/trumpet-studio

Name of microphone- AKG C1000S.
Type of microphone- Condenser.
Polar Pattern- Cardioid and Hyper Cardioid.
Position/Distance- 10-15cm away from the trumpet's bell.
Location- Studio.
Performers: Sarah Hambly.

Piano

The Spaced Pair Technique

With recording the piano, it was important that we were able to get the whole sound of the piano. We achieved this by using the 'Spaced Pair' technique. We wanted to achieve a stereo using 2 microphones, rather than just 1 stereo microphone, because during my research for the 'Thriller' blog post, I discovered that famous sound engineer, Bruce Swedien, preferred to use 2 rather than just the 1. This involves using 2 cardioid microphones to create a pair, which we placed about 4 ft away from each other either sides of the length of the piano. By doing this we could collect the full sound of the piano. We used an electric piano, this helped us as it was a lot easier to set up the mics for recording. But, if we would have used an acoustic piano then we could have placed the microphones above an opened panel and collected sound this way. I believe that this instrument would have created a lot more resonance and acoustic reflection, which adds emotion to the playing and involves the listener more.
To begin with, we had planned to use the 'X Y pair' technique, but this turned out to be awkward when put into practice as the performers head was in the way.

Name of microphone- AKG C1000S.
Type of microphone- Condenser.
Polar Pattern- Cardioid and Hyper Cardioid.
Position/distance- In a spaced pair, 10-15cm away from the piano's output (speakers).
Location- Studio.

Performers: Sarah Hambly. 

Samson
C01

https://soundcloud.com/user-804953953/piano-studio

Vocals 

To record vocals we used a good condenser microphone. We chose to use this  microphone as it is a cardioid condenser microphone with a large diaphragm. The size of the diaphragm is extremely important as it effects the natural noise, SPL, frequency range and sensitivity and also dynamic range of the microphone. A large diaphragm is more sensitive to sound frequencies, this makes it a perfect choice for vocals as it can pick up the natural sound. 

https://soundcloud.com/user-804953953/vocals-studio

Name of microphone- Samson C01.
Type of microphone- Condenser.
Polar Pattern- Cardioid.
Position/distance- 10cm away from the singer.
Location- Studio.
Performers: Sarah Hambly and Lauren Thomas.

Evaluating Practice Recordings

Glockenspiel 

Zoom H2 Handheld Recorder (90 deg, 120 deg, 2 channel, 4 channel)

Using the H2 handy recorded was extremely different to use than most other equipment we have in the studio, it is a very small, easy to use, portable recording system. This microphone is able to record 4 different settings, similar to some polar patterns:

• 90 degree front recordings- This mode is recommended to record solo vocals or solo instruments. This setting records in stereo.
  

  https://soundcloud.com/user-804953953/jth-90-degree

Cardioid Polar Pattern
(Similar to the 120 deg setting). 

• 120 degree rear recordings- This mode is great for capturing the ambiance of the venue/location. This setting records in stereo. 

https://soundcloud.com/user-804953953/glockenspiel-recording-120-degrees-setting-using-zoom-h2-handy-recorder

Cardioid Polar Patter
(Similar to the 90 deg setting).

• 2 Channel recordings- This mode uses the front and rear mics simultaneously, and records in 2 channels. 

https://soundcloud.com/user-804953953/glockenspiel-recording-2

Figure of 8 Polar Pattern
(Similar to the 2 Channel setting).

• 4 Channel recordings- This mode also uses the front and rear mics, but instead records in 4 channels. Perfect for recording in a concert as not only can you capture the music from the performance, but also the audiences reaction. 

https://soundcloud.com/user-804953953/glockenspiel-recording-4

Omnidirectional Polar Pattern
(Similar to the 4 Channel setting). 

To make the most out of its portable property, we carried out recordings outside.

The recordings that we made were took on a very windy day. this increased the amount of background noise in the piece. We could have decreased the noise by placing a pop shield around the microphone or used temporary sound wall around the area. 

The 90 degree setting picked up a smaller area then the 120 degree setting, you can tell this in the recordings as the 120 degree setting picks up more background noise. Overall we discovered that the 120 degree setting worked better if you wanted to record sound from a wider area or if you were making an ambient recording. But if, for example, you were recording one instrument and you were close to the source then the 90 degree setting would be a good idea.

With using the 2 channels and the 4 channels we had a stereo set up. This gave us a natural feel to the recording as more tracks were available. When recording in stereo, it is important to ensure that when you listen back to the track you are using speakers/headphones of high quality, to achieve the best result. 

To improve our recordings even more, we could chose a better place/time to record. The place itself was absolutely fine, but as we were in school some people were walking past so you can hear a bit of speaking on some of our recordings.

Studio 

Recording in the studio gave us a whole different experience to using the handy recorder. Before we had done any work, we had already elimiated the chance of background noise. This is because the studio we use at school is soundproofed. This is very useful as it decreased sound absorption, but increased sound reflection. In turn this gives us a natural sound with resonance and maybe even some reverb depending on the acoustics of the room.

https://soundcloud.com/user-804953953/sets/glockenspiel-studio 

AKG C1000S

The AKG C1000S is a condenser microphone with a small diaphragm, it can be used for a lot of different set ups which makes it the ideal mic to have in a studio. This mic normally uses phantom power (how we used it), but can also be powered by batteries, making the mic wireless. This mic also has a bass cut off feature, that we didn't have to use for this recording as we were recording a glockenspiel, and can also change from cardioid to hyper cardioid. 

Compared to using the H2 Handy Recorder, this recording is much better as the acoustics of the instrument are captured a lot better and the sound quality is good. This is a similar technique to what would be carried out professionally, and the recording equipment that we used is of professional standard too. 

Shure SM58 

The Shure SM58, also known as 'the legendary vocal microphone' is a cardioid condenser microphone which is well known for its clear reproduction of clear, warm vocals. We chose to use this to record the glockenspiel to see whether the 'vocal' mic was just for vocals.

Personally, I really liked the outcome of this recording as there was hardly any background noise and sound was very clear. To improve in the future, we could set two of the microphones up in an X-Y pair formation.

AKG D112 

The AKG D112 is a very poplar mic which is well known for its ability to handle up to 160dB SPL without any distortion. Most of the time this mic is used to record the bass drum, as we were only recording the Glockenspiel we didn't have to worry much about the recording coming out too bassy.

We found that using this for the Glockenspiel gave us a very accurate replication of the original sound. This was due to the diaphragm having a very low resonance frequency, this helps to maintain a solid but powerful sound from all frequencies under 100Hz.

In the future, I don't think that the AKG D112 would be a great choice to record the Glockenspiel with. Instead I believe this mic would be great to record instruments with high pressure levels and a lot of bass, like the trombone or the kick drum. 

Guitar (Studio)

AKG C1000S

This mic worked well with the acoustic guitar as it picked up many of the high and low frequency sounds. This gave the recording a natural feel and the sound produced was of very high quality. This mic has two options for the polar -pattern and frequency response: cardioid or hyper cardioid. We recorded the guitar using the cardioid setting, but in future I think that we should record in both of the settings and then compare the two.

Shure SM58

The Shure SM58 picked up more lower frequencies that the AKG C1000S. This gave the end recording a different sound and a wider range of the guitar was picked up, which was very beneficial as the guitar does have a very dynamic and wide range. 

As this mic is dynamic, we knew that it could withstand higher sound levels. Because of this we were able to position the mic a bit closer to the guitar that we could with the AKG C1000S, which is a condenser microphone. 

AKG D112 

I mentioned earlier that the AKG D112 was a good mic for recording instrument with high SPL and lower frequencies. This wouldn't be very useful for the guitar as although it does play some low notes, its range is spread out so the microphone would need to have the ability to be able to pick up a more diverse range of frequencies. 

This recording was good though as the microphone could withstand high levels of sound. 

Using the AKG C1000S in different locations.

AKG C1000S

This mic worked well with the acoustic guitar as it picked up many of the high and low frequency sounds. This gave the recording a natural feel and the sound produced was of very high quality. This mic has two options for the polar -pattern and frequency response: cardioid or hyper cardioid. We recorded the guitar using the cardioid setting, but in future I think that we should record in both of the settings and then compare the two. 

Studio Recording

https://soundcloud.com/user-804953953/studio-guitar-c1000s

Presentation Suite Recording

https://soundcloud.com/user-804953953/presentation-guitarwav