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As Recording Task 1b Assignment Brief Generic

As Recording Task 1b Assignment Brief Generic

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Published by: simonballemusic on Oct 18, 2012
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AS Task 1B: Multi-track Recording
Deadline: See deadlines page on blog
You will have a maximum of 20 hours to produce one recordingYou are free to record any song you choose but the stimulus
must be acommercially available recording.
The recording should last between
two and four minutes
. If a you wish to record apiece which lasts longer than four minutes it may be appropriate to change the structureof the piece slightly to allow it to fall within the specified time allowance (for example averse and chorus may be omitted if musically appropriate).The recording does not have to be an exact copy of the stimulus material — there areno marks awarded for accuracy in this task — but it may be beneficial to have a targetsound you are aiming to recreate eg. trying to achieve a similar reverb effect on a vocaltrack. It is acceptable to alter the instrumentation of the original stimulus track in orderto meet the minimum requirements of the task and to cater for the resources availablein the centre, but this is not an arrangement task, so there are no marks allocated toarranging skills. The specification does not require a vocal track to be recorded,although you may find it beneficial to do so in order to present the material in its bestlight.
A minimum of 8 tracks should be used
. A maximum of 12 tracks is suggested,but this is not intended to be a limiting factor - a piece will not be penalised for usingmore than 12 tracks, but you should concentrate on high-quality sound capture andcareful editing/mixing rather than on trying to achieve an impressive sound just byrecording many tracks.You must make use of overdubbing techniques. Although it is possible to capture a liveperformance in one take, it is unlikely that there would be sufficient separation of eachof the tracks to allow for the full range of marks to be achieved in each criterion.
 
The following table contains some examples of how track-count is calculated:Summary of track count:A mono recording = 1 track A stereo recording = 2 tracksA recording of several instruments using one mic = 1 track A recording of several instruments using a stereo pair = 2 tracksA recording of x instruments using one mic per instrument = x tracksMultiple takes of an individual instrument for comping into 1 track = 1 track Multiple takes of an individual instrument for double tracking = 2 tracks
Recording Your Multi Track
Whatever you do,
don’t
adopt a ‘fix-it-in-the-mix’ attitude, even though it is possibleto alter so many aspects of an audio recording with the equipment available today. Youhave a maximum of 20 hours in which to complete Task 1B so the more you getright from the outset, the less time you will need to spend correcting errors at theediting/mixing stage.Consider the time restrictions when choosing stimulus material and planning how manytracks to use etc - the more complicated the task is, the more difficult it will be tocomplete to a high standard in the time available.
 
 There should be a complete absence of extraneous noise from the final mixdown. Thereshould be no clipping or distortion present in the recording and you should takewhatever steps are necessary to ensure that external sources of noise (such as the airconditioner!) do not encroach on their work.The performance itself is not assessed, but if a performance is particularly poor it willnot lend itself to easy recording or a good quality result. Bear this in mind whenstudents are choosing your stimulus material; there is no point in choosing a particularsong if there is nobody available in who can do justice to the vocal part, for example.
MIDI sequencing cannot be used in this task
. Any keyboard/synth parts mustbe captured using either a microphone or DI techniques. Mixing automation
is
permissible in this task. It is acceptable for the automation to involve an element of MIDI (for example MIDI controllers used to control levels of individual tracks) - it is theuse of MIDI programming for instrumental parts which is forbidden in this task (only liveperformers may be used).
Mixing Your Multi Track
Balance and Pan
As for sequencing, balance and the use of stereo field are interlinked. It is up to you tofind a good compromise between recording enough tracks to facilitate successfulpanning (without sounding contrived) and recording so manytracks that it is very difficult to blend them all without causing congestion in certainareas of the mix.Care should be taken to ensure enough time is left for the mixing stage so that all theeffort put into the rest of the task is not wasted by rushing out a poor final mix.
Processing
The appropriate use of signal processing and effects accounts for 45 per cent of themarks for this task. For AS level, you will be expected to use EQ to reduce problemfrequencies and ensure that all the recorded tracks sit well in the frequency spectrumwithout any restriction or awkward resonances. It is not always necessary to adjust theEQ on each recorded track — time well spent with mic placement will diminish theneed for additional EQ at the mixing stage — but there will be some adjustment of EQrequired to accommodate multiple tracks which inhabit the same range of frequencies,especially around the often crowded 100–600Hz range. It is likely that if even one track significantly detracts from the recording because of deficiencies in EQ, you will score 3/6or less for this criterion (another reason for keeping the overall track count down andconcentrating on quality rather than quantity).

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