Recording Notes - Personal Pilot and Marvin By Meredith Riley ( and Band )
Date/s of Recording
28/05/07, 30/05/07, 06/06/07
Song Titles
Personal Pilot, Marvin
Format
Sampling Rate 44.1khz Bit Depth 16 Bit
Duration: Personal Pilot - 4m’07sec, Marvin - 3m'57sec.
The first recording session the band came in there was a small bit of confusion about times. The drummer, Jarred, had thought that it was an hour later. It was no big deal as I was setting up mics for his kit anyway. He is playing in the live room with Josh, the Bass player, who is playing straight in via a DI box. Meredith is singing and playing guitar in the “Dead Room”. She is doing this mainly as guide for the others but if it works well that would be great also. We had already decided that if we could get the rhythm section down in this session we would be happy. Marvin, has quite a long guitar and vocal intro we thought it would be good to have a click to guide Meredith in this session and if she had to record both Guitars and Vocals again. Jarred was happy to tap the click using his drumsticks for the intro instead of the click track. As it turned out Meredith and I didn’t need to re-record these at the second session just some backing vocals for this track. At the second session Meredith sung in the “Live Room”. I preferred her voice in this space as the natural reverb was evident. The third session was arranged because Sara, a violinist, could not make the second session and was playing some violin on Marvin. She was recorded also in the live room with two Neumann U87 set up like overhead mics in stereo. She had to concentrate a fair bit to remain fairly still for recording levels. I thought that at least if she did move around with the Left/Right panning that I planned to apply to the mics it would sound realistic. Everything went into ProTools with no issues. Also at the second session I had several mics set up on Merediths guitar and it was also plugged into the patch bay from her pickup. It was the best sounding pickup straight from an acoustic guitar that I’ve ever heard. Everything went into ProTools with no issues. The main problem that was faced as it was being recorded is that the band was receiving the same mix through the headphones and different people wanted less of this and more of that. If it was my studio or if we were allowed to mess with the configuration of the studio busses or sends would send out individual mixes via an able headphone amplifier. The vocals and Guitar for Personal Pilot were re-recorded.
You can hear the MP3s of these songs by following the link below.
Marvin By Meredith Riley
Personal Pilot By Meredith Riley
Audio Studies A - Creative Project
Rocket
Stuart Johnston
3 Minutes ‘23 Seconds
This is taken from a song recorded by me on my Tascam 2488 recorder. I exported these as wave files and brought them into Uni. I imported individual wave files Peak LE and chopped them up saving them to the desktop. I got really good at the keyboard shortcuts for copy, new, paste and save as in Peak LE. I then dragged the samples into a ProTools session and begun looping and arranging. My main aim was to get four or five complementary sections to fit together and then add vocal parts to suit. I encountered several issues as I set about this task. The main one was that ProTools could not auto backup at one stage because one guitar riff couldn’t be found. It wouldn’t even let me scroll without the error appearing. I thankfully had been saving as I went anyway so little work was lost when I had to pull the plug and force a close to that session. That just left a fair mess to sort out in my audio files folders.
With the song I was really happy how sections were looped but if I had a fair bit more time I would have improved on the tempo transitions between sections. I had to time compress some vocals to fit in with some sections as the original song was not played to a click track.
Thanks to Sascha, Mark and Hamish for the performance. Otherwise known as Hamisphere
You can hear a copy of Rocket by following this link
Screenshot of Rocket - Edit Window
Screenshot of Rocket - Mixer Window
Stuart Johnston
3 Minutes ‘23 Seconds
This is taken from a song recorded by me on my Tascam 2488 recorder. I exported these as wave files and brought them into Uni. I imported individual wave files Peak LE and chopped them up saving them to the desktop. I got really good at the keyboard shortcuts for copy, new, paste and save as in Peak LE. I then dragged the samples into a ProTools session and begun looping and arranging. My main aim was to get four or five complementary sections to fit together and then add vocal parts to suit. I encountered several issues as I set about this task. The main one was that ProTools could not auto backup at one stage because one guitar riff couldn’t be found. It wouldn’t even let me scroll without the error appearing. I thankfully had been saving as I went anyway so little work was lost when I had to pull the plug and force a close to that session. That just left a fair mess to sort out in my audio files folders.
With the song I was really happy how sections were looped but if I had a fair bit more time I would have improved on the tempo transitions between sections. I had to time compress some vocals to fit in with some sections as the original song was not played to a click track.
Thanks to Sascha, Mark and Hamish for the performance. Otherwise known as Hamisphere
You can hear a copy of Rocket by following this link
Screenshot of Rocket - Edit Window
Screenshot of Rocket - Mixer Window
MIDI Studies A – Creative Project
WE ARE ALL HERE
Stuart Johnston
3 Minutes ’57 Seconds
In my Proposal I wanted to an ambient rock/dance piece. Well as it turned out the rock was the intro part with some crazy snare patterns along with hi-hat and bass drum that were inputted with the drawing tools. I settled on 110bpm. All drums were entered using this method. I stuck to my plan and step inputted the bass guitar. The ambient keyboard sounds were entered in real time using the modulator on the interface. Some of these were layered up with some special effects to create more interest. I believe that the special effects are hooks that would keep some people coming back for another listen.
As the song built I used a pop drum kit and a break beat drum kit together to fatten the sound.
I wanted to keep that “up” feeling and really thumped the bass drum home by using gnome toy effect on the bass and snare parts near the end to create a plodding type effect.
Humans laughing with the monkeys heard in the background suit the theme and the kids signal the hard bass intro. Volume and panning were automated; effects were also added to particular tracks and automated. Automation data was inputted using real time and drawing tools. The track was mixed with in a 0.1 of the peak and the master on the global faders used to finish.
I thought that the piece should build and sway
With such a large sound it seemed a very small crowd applause was suitable at the finish.
You can hear the MP3 of "We are all Here" by following this link.
We are all Here - MIDI Creative Project - Arrange Window
We are all Here - MIDI Creative Project - Mixer Window
Stuart Johnston
3 Minutes ’57 Seconds
In my Proposal I wanted to an ambient rock/dance piece. Well as it turned out the rock was the intro part with some crazy snare patterns along with hi-hat and bass drum that were inputted with the drawing tools. I settled on 110bpm. All drums were entered using this method. I stuck to my plan and step inputted the bass guitar. The ambient keyboard sounds were entered in real time using the modulator on the interface. Some of these were layered up with some special effects to create more interest. I believe that the special effects are hooks that would keep some people coming back for another listen.
As the song built I used a pop drum kit and a break beat drum kit together to fatten the sound.
I wanted to keep that “up” feeling and really thumped the bass drum home by using gnome toy effect on the bass and snare parts near the end to create a plodding type effect.
Humans laughing with the monkeys heard in the background suit the theme and the kids signal the hard bass intro. Volume and panning were automated; effects were also added to particular tracks and automated. Automation data was inputted using real time and drawing tools. The track was mixed with in a 0.1 of the peak and the master on the global faders used to finish.
I thought that the piece should build and sway
With such a large sound it seemed a very small crowd applause was suitable at the finish.
You can hear the MP3 of "We are all Here" by following this link.
We are all Here - MIDI Creative Project - Arrange Window
We are all Here - MIDI Creative Project - Mixer Window
MTF Week 12 31/05/2007
Class Remix Presentations
Today, In Music Technology the class continued to present our remixes originating from the Real World Records remixed competition.
"The Big Room" at Real World Studios. "Oh Yeah!"
http://realworldremixed.com/
Ken presented “What you are” by Joi. Ken used different programs to add effects and bounce for files to use in his ProTools session. He not only liked to plug-ins that the other programs offered but after he bounced the tracks he could then continue his arrangement without endlessly “tweaking” the effects. Ken also said that he tried to keep the main building blocks of the original.
Lisa chose “My secret Bliss” by The Afro Celts Sound System. I thought her mix showed good creativity with the breaking up of the original drums. I like how she took the catchy guitar riff and looped it for the last half of the song. Lisa commented on how a friend had suggested that he just loops things for 8 repeats then has a change; she said she pretty much did this. This could get predictable but maybe that’s what you’re after.
Josh explained in good detail how he set about remixing “Shock the Monkey” by Peter Gabriel. Josh thought that everything clashed on the original so he set about simplifying it. He elimated what he didn’t want to hear which he admits was pretty much most of it. Could help thinking that the “Shock the Monkey” vocal was used too much.
Brendan did an Industrial version of “If I had my way” by Little Axe. He started by distorting the vocals and adding reverb. Drums were treated with Amplitude then bass and vocals were layered on top. I was impressed how Brendan tried a “Kylie” inspired effect by double tracking the vocals and pitch shifting.
Skip McDonald"Little Axe"
Lauren went for a drum and bass feel with her mix of "Peoples Colony No.1". She used volume automation and did some doubling and panning with slight delay.
It was interesting how different people interpreted the assignment.
Steve suggests, “ Use what attracts you to the song and stretch it into a new direction. That is a good place to start with a remix.”
References:
Music Technology Forum – Adelaide University, Electronic Music Unit.
Lecturer: Steve Fieldhouse
Presentations: Ken, Lisa, Josh, Brendan and Lauren.
Today, In Music Technology the class continued to present our remixes originating from the Real World Records remixed competition.
"The Big Room" at Real World Studios. "Oh Yeah!"
http://realworldremixed.com/
Ken presented “What you are” by Joi. Ken used different programs to add effects and bounce for files to use in his ProTools session. He not only liked to plug-ins that the other programs offered but after he bounced the tracks he could then continue his arrangement without endlessly “tweaking” the effects. Ken also said that he tried to keep the main building blocks of the original.
Lisa chose “My secret Bliss” by The Afro Celts Sound System. I thought her mix showed good creativity with the breaking up of the original drums. I like how she took the catchy guitar riff and looped it for the last half of the song. Lisa commented on how a friend had suggested that he just loops things for 8 repeats then has a change; she said she pretty much did this. This could get predictable but maybe that’s what you’re after.
Josh explained in good detail how he set about remixing “Shock the Monkey” by Peter Gabriel. Josh thought that everything clashed on the original so he set about simplifying it. He elimated what he didn’t want to hear which he admits was pretty much most of it. Could help thinking that the “Shock the Monkey” vocal was used too much.
Brendan did an Industrial version of “If I had my way” by Little Axe. He started by distorting the vocals and adding reverb. Drums were treated with Amplitude then bass and vocals were layered on top. I was impressed how Brendan tried a “Kylie” inspired effect by double tracking the vocals and pitch shifting.
Skip McDonald"Little Axe"
Lauren went for a drum and bass feel with her mix of "Peoples Colony No.1". She used volume automation and did some doubling and panning with slight delay.
It was interesting how different people interpreted the assignment.
Steve suggests, “ Use what attracts you to the song and stretch it into a new direction. That is a good place to start with a remix.”
References:
Music Technology Forum – Adelaide University, Electronic Music Unit.
Lecturer: Steve Fieldhouse
Presentations: Ken, Lisa, Josh, Brendan and Lauren.
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