Course Catalogue

LJMU Partner Taught

This module aims to provide a solid foundation in the practical use and operation of modern recording studio technology. Although the module is predominantly based in a recording studio environment, it has been designed to ensure that much of the content is immediately transferable to other, more specialised areas. Although most of the module is of a practical nature, it is part of LIPA’s core philosophy that students can not only do something, but also understand why they are doing it and how it happens. Because of this, there is a strong theoretical backbone to the module, but this is always in the context of practical applications.

Outline Syllabus:Recording Studio Basics The history and development of the modern studio; Key components of a recording studio; Basic principles of multitrack recording; ‘Split’ vs. ‘In-Line’ recording console architecture and function; Patch bays - basic principles and normalling conventions; Input channels, busses and tape monitors; Console master section; Signal routing and pan; Signal levels and gain; Metering; PFL and Solo; Basic Auto locator functions; Recorder Monitor Modes; Backup and Restore Working With Microphones Microphone types and operating principles; Polar patterns; Frequency response and audio characteristics; Phantom power; Care and feeding of microphones; Setting up microphones; Observation of polar patterns and responses; The inverse-square law in practice; Critical listening tests with different microphones; Using auxiliary sends and foldback; Studio communications EQ Equaliser function; Frequency and Timbre; Equaliser Types - Fixed, Sweep, Graphic, Parametric; Equaliser Responses - Peaking, Shelving, High Pass, Low Pass, Band Pass; Equaliser Bandwidth - ‘Q’ and what it means; General suggestions for use; Matching numbers to sounds; Describing timbres; Demonstration of differences in responses; Using a sweep EQ; Cutting and Boosting - the knob goes both ways!; Corrective EQ exercises; Creative EQ exercises Mixing Functions of a mix; Stereo / mono compatibility; Dynamic range considerations; Playback system considerations; Fletcher-Munson curves and their importance to your final mix; Mixing with EQ rather than level; Spatial separation and imaging; Strategies for a successful mixdown; Using groups as an aid to mixing; Balancing FX levels - some advice; Checking for mono compatibility; Achieving a uniform balance across playback systems; Compressing/EQing a complete mix; Using exciters (or perhaps not...).; Cleaning up your mix Recording Guitars Range of guitars - acoustic, electric, semi-acoustic; How sound is generated; Tuning and guitar set-up; Acoustic guitar microphone approaches; Electric Guitars and guitar cabs; Micing Guitar Cabs - typical approaches; DI Boxes and impedance matching; DI vs. Mic; Practical microphone placements for acoustic guitars; Practical microphone placements for electric guitars; Working with DI boxes - demonstration of incorrect impedance matching; Using compression and EQ with electric guitars Recording Vocals Importance of vocals to pop music; How sound is generated; Typical microphone technique for lead vocals; Coaching a vocalist; Alternative techniques for recording backing vocals; Foldback techniques to combat pitching problems; Practical microphone placement exercises; Avoiding popping and sibilance with mic placement; Using de-essers; Compression for vocals; FX suggestions for vocals; Vocal ‘comp’ tracks; Double tracking, ADT and pitch correction Recording Drums Elements of the drum kit; How the sound is generated; Drum Tuning; Minimum mic technique - advantages & disadvantages; Maximum mic technique - advantages and disadvantages; Review of common mic selections; Crosstalk and how to get around it; Drum Tuning exercises; Damping and eliminating rings; Practical microphone placements; Using EQ and filters; Using noise gates - working with side chain filters; Using compressors with drums Other Instrument Recording Microphone selection and placement for acoustic piano, brass and stringed instruments. Session Management Ways of recording - As Live, Tracked or a Combination; Strengths and weaknesses of each method; How much time to allow; Strategies for maximising your studio time; Record Keeping - track sheets, settings files and song maps; Labelling conventions for master recordings; Performing manual drop-ins; Performing automatic drop-ins; Cleanup, Editing functions, file export and import to ProTools Basic Dynamics Processors Differences between effects and processors; Dynamic range; The need for compression; Function of a compressor; Typical controls and their use - threshold

Additional Information:Jon Thornton is the Module Leader (J.Thornton@lipa.ac.uk)