PRACTICAL 1 RECORDING AND

EDITING
Structure
1.0 Introduction
1.1 Objectives
1.2 Exercises at Home
1.3 Familiarisatidn with the Studio
1.3.1 Microphones
1.3.2 Mixer
1.3.3 Recorder
1.3.4 Monitoring
1.3.5 Signalling
1.3.6 Talk Back
1.4 Magnetic Tape
1.4.1 Identification of the Recording Surface
1.4.2 - Tlireading of Tape
1.5 Sound Pick-up
1S . 1 Choice of Microphones
1S . 2 Phasing of Microphones
1S . 3 Use of Microphones
1.6 Recording Process
1.6.1 Operation of Recorder
1.6.2 Level Control and Monitoring
1.7 Editing Process
1.7.1 Cut and Splice Editing
1.7.2 Insert or Punch-in Punch-out Editing
1.7.3' Assemble or Copy Editing
1.7.4 Editing on Audio Workstations
1.8 Sound Effects
1.8.1 Equalisation
1.8.2 Artificial Reverberation
1.9 Let Us Sum Up

1.0 INTRODUCTION
Making a good sound recording requjrts a thorough understanding of sound
and operational aspects of differslit aquipment in use. Practical exercise on
sound recording undoubtedly requires that theoretical aspects covered on
different related topics have been well studied. This practical unit 'has been
designed to farniliarise you with the studio environment and equipments, give
a few hints on sound pick-up mechanism and discuss operational aspects of
recording, editing and producing sound.effects.
Practical Manual
1 . OBJECTIVES
After working through this unit, you should be able to:
describe the recording studio;
list the equipments you are likely to see in a studio;
identify the recording side of the magnetic tape and thread it properly
on the tape machine;
discuss microphone characteristics for different applications and use the
microphones appropriately for efficient sound pick-up; and
analyse the process of recording, editing and producing sound effects.

1.2 EXERCISES AT HOME

Read Units 1 and 2 of Course MJM-003 thoroughly.
Make a checklist of the equipments you are likely to see in a studio.
List the applications of the equipments in Worksheet 1 appended at the
end of this Practical Manual. Bring the worksheet to the prograrnme-
centre for evaluation.

1.3 FAMILIARISATION WITH THE STUDIO

You have read in Unit 1, Block 1 of Course MJM-003 that the sound
recording studio generally consists of a studio room, a recording or
announcers' room and a sound lock. You will be taken around the sound
recording studio and you will find that the sound lock is a buffer'between
the recording studio and the surrounding noisy areas like corridor.*rhere is
a sound proof door at the entry of studio, recording/announcer's room and
to the corridor from the sound lock. Proper functioning of sound lock
demands that the corridor door is closed before the studio or announcer's
room door is opened while the microphone in these areas is in use.
The counsellor will farniliarise you with the microphones, audio mixer,
recorder, monitor and other equipments in the studio. Please take a
notebook and pen when you go for the visit of the studio. Compare the
equipments with those we have mentioned in the studio and note the
differences, if any.
1.3.1 Microphones
The different tipes of microphones have been discussed in Unit 2, Block 1 of
Course MJM-003. Learn from the counsellor the polar characteristic of the
microphones by making someone talk through it, by rotating it in the horizontal
plane and monitoring its output on a loud speaker in the recording room.
1.3.2 Mixer
You have read in Unit 2, Block 1 of Course MJM-003 that mixer is a
creative tool. The signal-processing job in the mixer is a complicated one
 I
and there can hardly be a set procedure for achieving major signal Recording and Editing
processing optimum results. It is the experience that goes in obtaining best
results without wasting too much time.
1.3.3 Recorder
Observe the ~rofessionaltape recorder and different tape transpod
such as Play, Stop, Fast Forward, Rewind, Record, Pause etc.
from Level metre(s), meter selector, Record and Play level controls.
Most tape machines req~lirepressing Play and Record buttons together to
put the machine in record mode. However, some machines can go to record
mode by pressing only record button. Fanharise with the operating
procedures.
1.3.4 Monitoring
You have read that monitoring the quality of the programme being recorded
is extremely impodant. If monitoring system is not upto the m*k, you
cannot judge actual q~lalityof the programme being recorded. The
loudspeaker built into the tape recorder generally has limited quality and is
nleallt only for cueing purposes. It is, therefore, advisable to monitor the
Programme on high quality loud speakers through the audio mixer.
1.3.5 Signalling
Warning lights (red lights on top of doors) also sometimes called ON AIR
lights are provided to indicate that the studio is in use. Lights outside and
inside the studio get activated by the fader of artiste microphone(s) while
that outside the recording1 annuncer's room gets activated by the fader of
announcer microphone(s). Light inside the Announcer's room gets activated
when Coiltrol Room puts studio ON AIR. You will be shown how to
operate these controls and see different warning lights functioning

1.3.6 Talk Back

The talk back facility will be explained to you by operating the related
controls. It is available in most mixers from recordinglannouncer's room to
the studio and to the control room. There is a microphone built into the
front panel of the mixer for this facility. Farniliarise yourself by operating the
related controls.

1.4 MAGNETIC TAPE

The audio tape is made of a plastic material and its one side has a coating
of thin magnetic material that is magnetised according to the audio
programme being recorded as it comes in touch with the recording head.
The tapes are packed in plastic or metallic spools of 5" or 7"dki1'11eters- A
5- spool tape can take programmes for a duration of 15 minutes recorded
at 7.5 per second while a 7" spooi tape Can Programmes 30

minu\ija\ \hc speed of recording*

1.4,1 Identification of the ~ e c o Surface
~ ~ ~ ~ g
,,is ,,se,ial e:r pu r e c o g l ~ the
~ e recOlling Ihat
as rnachlnC*
the heads as the tape is threaded On the
this
a
#
Practical Manual The recording surface is light brown in colour and has a smooth polished
surface. On the other hand, the back surface is deliberately made a little
rough so as to avoid layer to layer slipping as it is spooled. The back
surface may have different colour- black, brown or blue etc., depending
upon the manufacturer.
1.4.2 Threading o f Tape
Threading the tape on the machine for a beginner is a little tricky. The
counsellor will show how the magnetic tape is threaded from the left-hand
spool (also called supply spool) to the right hand spool (called take-up
spool) via different sensindtape tension arms, front of the magnetic heads
and between the capstan shaft and pinch roller. Acquire the correct
method by practising threading the tape a few times.

1.5 SOUND PICK-UP

Observe the sound proofing experiment inside the studio as sound pick-up
is one of the most important factors in achieving quality recordings. Any
deterioration in quality at this point cannot be rectified at later stages, hence
great care needs to be taken in assessing the quality of environment, choice
of microphones and placementluse of microphones.
The,effect of studio environment can be controlled by the placement of a
microphone. Closely placed microphones reduce effect .of the environment
and vice versa. Experiment with microphone placement to understand and
appreciate this effect.
We have discussed in course MJM-003 that human ear has a very high
dynamic range (level difference between the loudest and quietest sounds).
Such a high dynamic range cannot be recorded on any recording medium.
You have to reduce the dynamic range by boosting the level of low-level
passages and reduce the level of high level passages. In a well-constructed
studio, a dynamic range of about 45 dB can be recorded at best. Try to
record loud voices or instruments and a whisper and watch the recorded
level on the level meter and hear whether the loud-sounds are distorted and
low sounds are inaudible due to noise. You can understand and find the
limits of recording medium by this process.
1.5.1 Choice of Microphones
While dynamic microphones are less expensive and do not need any
powering source, the condenser microphones have the advantage of better
sensitivity, extremely flat fiequency response over entire audio band, and a
very stable polar pattern with fiequency variation. The choice of either type
depends upon the requirements of the programme under production.
1.5.2 Phasing of Microphones
You have read that whenever two or more microphones are used chse to
each other, it should be ensured that their outputs are in phase. The
counsellor will show how phasing can be checked by the following simple
test:
Place two microphones together. 'Ask someone-to speak continuously into Recording and Editing
the microphones, Fade in both the microphones one by one and monitor
quality of output. Now fade them in together. If the microphones are in
phase, an increase in level should result. However, if they are out of phase,
there would be 10;s of output level and deterioration in quality (cancellation
of bass tones). The result can be confirmed by fading out one of the
microphones when quality and level should restore. The phasing can be
corrected by phase reversal switch generally available in mixer channel or i

by reversing connections of one of the microphones. It should be

remembered that rear lobe in case of bi-directional and hyper-cardioid
microphones is in phase opposition to the front lobe.
1.5.3 Use of Microphones
This subject has a wide scope. It is through experience you will learn best
ways of using the microphone. Recall the points you have studied in the
theory unit relating to do's and don'ts in the use of microphone.
Identify the LIVEIDEAD sides of a microphone
If a source of sound is placed close to dead axis of a microphone, it sounds
as if it is placed at a considerable distance from it. This effect could be
used to advantage in drama productions. Experiment with different aspects
related to use of microphones for clearer understanding of the process.

1.6 RECORDING PROCESS

After satisfactory choice and placement of microphones, the counsellor will
demonstrate that the recording process which requires that the tape is
threaded properly on the tape machine, the recording level is adjusted
appropriately and the tape machine is operated correctly.
1.6.1 Operation of Recorder
The professional tape recorders are provided withrecord and play level
control and level meter. The tape machines are-adjusted in such a way that
they record a standard level so that the recording plays correctly on any
tape machine.
Level and audio monitoring are available with a selector through which you
can choose either incoming signal or play signal. Choose incoming signal
before recording and play signal once-recording starts. The play signal gives
the recorded output and this is often termed as 'confidence monitoring'.
1.6.2 Level control and Monitoring I

As already mentioned, the magnetic tape starts saturating beyond a certain

record& level. This means $at the recorded level is not able to increase in
the same proportion as the increase in incomil~gsignal. This results in onset
of distortion. The distortion is gradual in the beginning and is severe if signal
level increases further.
There are three possible locations for level control in an audio mixer. These
are- sensitivity control in the microphone channels, channel fader and the
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 I Practical Manual . master fader. The sensitivity control is used to equalise sensitivity of
different type of microphones used. This is done by manipulating the
sensitivity control keeping the master and channel faders at 0 dB to equalise
the loudness level of different microphones. The channel fader is used to
adjust level of individual microphones and the master fader for adjustment
of overall level of the recording. Most mixers are provided with peak level
indicators in each channel. At times, there is overload before the channel .
c fader that will not disappear even by reducing gain at the channel fader. In
1 such situations, sensitivity control has to be reduced to ensure that the signal
does not get distorted before reaching the channel fader. You should
I
manipulate these controls to understand these fine differences.

a 1.7 EDITING PROCESS

Majority of recordings require editing for one or more of the following
reasons:
8 Deleting unwanted material
l

8 Inserting re-takes I
Shaping the programme
8 Adjusting duration of the programme.
You have read that there are primarily three ways of editing. These are cut
and splice editing, assemble or copy editing.
1.7.1 Cut and Splice Editing
This mock is employed for removing un-desired parts of a recording by
physically cutting and splicing (joining) the tape. This is a very conve3ient
method of editing for time critical applications like news in broadcasting.
However, it requires a good deal of practice to achieve satisfactory results.
If an edited programme is to be preserved for future use, splice editing is
not preferred as joids on the tape may come off or result in adhesion of
adjoining tape layers with passage of time. One major advantage of splice
editing is that editing can be performed with a single tape machine.
Gadgets Required for Splice Editing
The splice editing requires a splicing block, a cutting blade, a wax pencil
and a jointing tape. The counsellor will show the splicing block and the
gadgets required for splice editing.
You will notice that the Splicing block has a channel to hold the tape and an
angled cutting groove. The block is usually fixed firmly on the tape machine
either on or near the head block. The cutting blade should be nonmagnetic
and should be made of stainless steel. The wax pencil or felt tipped pen is
used for marking the edit point on backside of the tape.
The jointiny tape should be slightly narrower than the recording tape, which
is 114" wide in czse of-aalogue stereolmono audiotape. This is necessary
so that the jointing tape does not foul with the heads and guides of the tape
machine during muvement. Also the narrower jointing tape will not seep
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 adhesive and cause adhesion of adjacent tape layers. For cutting the splicing Recording and Editing
tape, you can use any type of scissors as the splicing tape is made of non-
magnetic material.
Finding Exact Point of Edit
You have to make two cuts in order to remove unwanted portion or even
silence. First play the tape and listen carefully. Stop the machine where the
cut is to be made. Some machines have pause button for the same function.
Now use your hands to rotate the two spools so that the tape moves in
contact with the playback heads.
This process is also called Reel rocking. Listen to the words as the tape
moves forwards and backwards. Stop the tape at the exact wanted
position. Mark the tape on the upper or lower edge at the playback head.
Similarly, mark the next point of edit before making the cut. In the theory
unit, the process of Cutting and Splicing, Insert Punch-in, Punch-out Editing
has been explained. Practice these editing using the two processes
sephtely.
!
1.7.2 Insert or Punch-in Punch-out Editing
L
Often there is a requirement to replace a portion of a recording that has not
come off well. The affected portion only is re-recorded keeping the
remaining portion intact. The editing job is to substitute the faulty portion by
the newly recorded portion. An obvious requirement is that the substitute
portion should be of exactly the same duration, as the portion required to
be substituted.
Two tape machines connected are required to make insert editing. To make
insert editing, the programme tape is loaded on one machine and the
programme to be inserted is loaded in the other machine. The programme
tape is played and monitored in Sync mode until the point of insert at which
the programme tape machine is switched to record mode and the insert tape
machine is put in play mode. At the exit point the programme tape machine
is switched back to play mode: Insert editing saves time required for re-
recording if the portion to be replaced is minor in nature. For programme
requiring many replacements, editing by copying is preferred. Insert editing
requires good practice to achieve desirable results.
1.7.3 Assemble or Copy Editing .
By far the most popular way of editing a programme is by copying the
desired parts of a programme from one or more sources on to another
tape. Mix editing requires use of three tape machines. Two machines serve
as source and may be play only machines and the third is the target machine
that has to be a recorder. For the sake of uniformity, all three machines-are
generally recorders. The three machines are normally connected through an
audio mixer that may have other sound sources connected - to it.
Different materials in assemble editing may be jointed in one of the following
ways:
Fading out and inserting without pause

. .
_
Fading out and inserting ~ i t h ' ~ a u s e
Practical Manual

Cross-fading and inserting background at the point of cross over.

Fading inlout is used only for music. Speech is inserted directly. Similarly
cross-fading is also used for music pieces. Speech can be inserted at the
point of cross-over as speech can be clearly heard over two pieces of
music being cross-faded.
1.7.4 Editing on Audio Workstations
You have read in Unit 8, Block 2 of Course MJM-003 that an Audio
Workstation is the digital equivalent of a conventional audio tape editing
suite. In an edit suite, we normally find a complement of three console tape
recorders, with two of them operating in the 'play' mode and the third as a
recorder. Editing is carried out on quarter inch spool tape with this kind of
set up. In a more elaborate system, you may have an audio mixer through
which the outputs/ihputs of all these machines are rooted for better level
balancing and other advantages.
In an Audio workstation, on the contrary, the editing work is done not on
the tape medium bdt in the digital domain through a computer. Broadly, the I

following steps are followed:

Basic recording in most cases in done either in an audio studio or
outdoors on the tape medium (either quarter inch spool tape or
standard audio cassette). The rough footage is brought to the audio
workstation for editing purposes.
With the help of suitable playback machines the recorded audio from
these tapes is dumped into the computer's hard disk in the form of
digital data. Depending upon the memory capacity of the computer
around 50 hours of stereo audio can be stored within the computer at
one time.
Specialised software are available in the marketplace for audio
workstation purposes so that audio editing can be carried out in the
digital domain with maximum flexibility, speed and creative special
effects. Some popular software of this kind are: Dalit, Soundscope,
Markfour etc. Your audio workstation contains one or the other of such
software. While all the software have common capabilities for auciio
editing, details differ in terms of the number of tracks which can be
handled, audio quality per track, speed of execution and a host of
related matters.
By following the operational details of the software in question, one can
cany out audio editing. The desired sequence of sounds, words,
removal of unwanted words, gaps etc., inserts of new words and
sounds as per prbgramme needs, music mixing, insertion of special
effects like multiple echo, reverberation etc, all can be carried out and,
in fact, with greater ease and flexibility.
After c a e n g out the editing, the final edited material can be transferred on
to a physical medium like tape, disk etc. by connecting an appropriate disk
or tape recorder to the ~ ~ t pof u the
t work-station. The soft copy within the
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workstation can still be retained either for archival storage or for some 'ding
other use in future. Alternatively, it can be erased and cleared from the hard
disk to make space for other material to be dumped in for editing purposes.
Audio workstations are being increasingly preferred in place of the
conventional suites for the following reasons:
Being computer based, the editing process has all the advantages like
freedom from generation loss, digital storage, flexibility and speed.
A lot of experimentation and trials would be possible before arriving at
final edit decisions without in anyway damaging the original material.
Audio workstation also permits multi-terminal working in non-real time
and also for unmanned transmission of audio programmes for broadcast
purposes.
You will be shown how editing on audio workstation requires different set
of skills as compared to conventional edit suite work. In the former case,
you need not only creative talent for audio editing, but also basic
understanding of how computer works and familiarity with the particular
software that is loaded in the computer for this purpose.
Editors who have grown in the traditional milieu face considerable difficulty
in working on audio workstation. They do not find the familiar knobs and
meters, but are required to gaze at the computer screen with a keyboard to
press their fingers on to. However, once the basic familiarity sets in, you
will realise the superior advantages of this device and get hooked to it very
quickly.

1.8 SOUND EFFECTS

'

Sound effects are often required for different kind of programmes.

Equalisation and reverberation may be required for Music programmes
while many sound effects are required for Dramas. A brief overview of
different effects follows:
1.8.1 Equalisation
3-band Equaliser: All recording audio mixers are equipped with at least
three band equalisers - namely bass, treble and mid-range. While bass and
treble equalisers are shelving type, the mid range equaliser is peaking type
with adjustable centre frequency.
Graphic Equaliser: The graphic equaliser consists of equalisers at octave
or 1/3-octave frequency intervals. 1/3-octave equalisers are more common.
Equalisation control is with the help of linear faders. Location of the fader
knobs represents graphically the equaliser response- hence the name. Sound
spectrum can be manipulated precisely by this kind of filter. Such filters are
generally used in the monitoring chain. abserve how 3-band and graphics
equaliser are used.
1.8.2 Artificial Reverberation
Artificial Reverberation is often used to compensate for acoustically 'dry'
studios. Till development of digital techniques, only mechanical reverb
devices like spring and plate reverberators were popular. However, digital
reverberation units are now quite common.
Many special sound effects are available in digital reverb generators. You
can produce chorus effect using a single sound, computer voice, telephone
voice etc. Telephone voice can also be produced by filtering frequencies
higher than ai5out 3 kHz. Observe how artificial reverberation is achievqd.

1.9 LET US SUM UP

a This practical unit is basically demo-based. The counsellor will take you
around the studio and demonstrate the various equipments used in
recording and editing.
You will be exposed to the processes involved in sound recording and
editing.
Many of the hints given will be better understood after you carry out
the required practical exercises.
The quality of recording and editing will improve with practice.