BY: KATIE MORGAN.

The improvements that I have made are in purple!

Recording Analysis:
(A guide on how to use Studio 1).
Studio Equipment and their specifications:
Here is a diagram to show how the studio equipment is set up:

A77X

How do we use the equipment above?

These speakers were used in
throughout my project. They
played a very important
part. They made my mixes
sound more bass like. Also
they are speakers that I will
use again in my other
projects.

A77X

This speaker is used by

professional music producers
because it is great at
capturing and projecting
sound from all areas of the
room. Also it is compact and
easily transportable.

The Adam A77X speaker above is a horizontally designed monitor that combines all of the technical
innovations in the AX series. Due to the powerful compression-free sound reproduction and excellent
radiation and this means that it is suitable for nearfield and midfield monitoring.
Plus, this Adam speaker has a harmonic distortion of 0.5%. This means that the ratio of the sums power is
all of the harmonic components to the power of the frequency. This frequency is fundamental!
Despite its compact housing the bass response is powerful and precise. (The amplifier = 50 watt A/B drives
the tweeter).
Plus, it has a bass/mid-woofer that has a 100 watt PWM amplifier. It has two woofers between 38 and 400
Hz which start to work together and then one fades out and reduces the interference and phase
cancellation in critical midrange (this is where humans hearing is most sensitive).
They have a width of 53cm and a depth of 28 cm. Also they have a height of 23.5 cm and a weight of
12.8kg.
The type detail is: 2.5-way active.
This speaker has a nominal (RMS) output Power of 250 Watt and a frequency response between 38 and
50000 Hz (the crossover frequency is 3000 Hz, 400 Hz). This is quite powerful because it can produce a lot
of sound and there is two speakers in one.
The controls of this speaker is input sensitivity, treble and bass.
The Adam A77X speaker has a 5 years warranty.

BY: KATIE MORGAN.

These speakers were also

used throughout my
project. They absorb the
different type of sounds
well. Plus they made mixing
easy. Furthermore they are
one of my favourite
speakers to use.

The KRK ROKIT 5 G3 speaker above is powered by studio monitors that offer professional performance and accuracy for recording, mixing,
mastering and playback. This offers a large headroom and a low distortion.
The proprietary bi-amped, class A/B amplifier grants SPL up to 106Db (this also offers a large headroom and a low distortion).
The speakers have 1 soft dome tweeter and 5 glass-aramid composite woofer.
Dimensions: (D x W x H) 9.06" (230mm) x 7.28" (185mm) x 11.10" (282mm). Its weight is 14.1 lbs (6.4 kg). For its size it is very powerful and
the sound is clear and tight.
KRK ROKIT 5 G3 speakers are active!
It delivers high frequencies up to 35 kHz, vocal clarity and extended bass response. The lows are very smooth and accurate and the mid-range
and highs are nicely replicated.
KRKs have a frequency scoop. This means that there are no middle frequencies.
The adjustability of frequencies means that they are easy to tune to your own preferences.
There are three input knob adjustments and there is also a choice of input connections on the back. (See the image above).
They have a 5 years warranty.
This piece of experiment was used
in my project, as it allowed my to
control the different inputs. By
doing this I could manage each one
individually. This was a good
technique to use in my work because
I have learnt a lot about the Octopre
MK ii. I will use this piece of
experiment in my future
assignments.

Octopre MK ii (Audio Interface/ Sound Cards):

The Octopre MK ii above has 8 inputs and it works with 8 channels of Focusrite preamplification and a built-in 24 bit/96 kHz
ADAT output.
It is a powerful input that can work with any analogue or digital console or/ and a hard disk recorder.
You can also expand the number of mic pre inputs on the interface.
Connecting the Octopre MK ii to the audio interfaces ADAT put creates a high quality, multi-channel recording, it is a good way
to track drums, guitars, keyboard, vocal and much more.
Frequency response: 20 Hz- 20 kHz +/- 0.1 dB.
(See this website on the right for more measurements and information): https://us.focusrite.com/mic-pres/octopre-mkii/
specifications (See below as well).

BY: KATIE MORGAN.

This piece of experiment was were I
plugged in the bass in the DI socket for Joe
to record something for my mix Timpani &
Bass. Moreover I even changed the sound
levels a little bit to make the bass
recording fit in with the rest of my mix.
Also with this piece of experiment you get
smooth recordings that sound live, that is
why I will use this recording technique
again and again in my next tracks and
mixes. Finally you can also plug
headphones in to it.

Octopre MK ii features:
It does not clip with preamp designed to
handle extreme sound levels, for example,
from sources such as kick drum and snare.
Its first two channel have direct inputs so
you can plug guitars and bass.
It has fast 5-LED inputs that provide
indication of input levels helping to avoid
analogue or digital clipping.
Each mic pre can be routed to the
analogue, which means its flexible
especially in the live environment.

Focusrite ISA one contains the following key

features:
Isa series transformer- based preamplifier.
Flexible independent DI channel.
Switchable impedance.
Headphone output with volume control.
Dedicated insert point.
Optional stereo 192 kHz A-D converter.
Lundahl LL1538 input transformer.
Backlit Vu meter with variable calibration.
The Amp!
The 5th input is used as an amp, for example, guitars can be plugged in here.
The Universal Audio Apollo was
used in my project a lot. This is
because I controlled the inputs
and the preamps. By me using
this it made the recordings sound
professional and they even
flowed swiftly. Plus headphones
can be plugged in here too.

Above is the Universal Audio Apollo, which has 8 inputs; 4 microphones and 4 instruments.
(Apollo fire wire is audio interfaces that deliver sound, feeling and flow of an analogue recording).
4 unison-enabled mic preamps for tracking through preamp emulations.
More information on the Universal Audio Apollo:
The Universal Audio Apollo has a class-leading quality of sound. This means that it is great for superior
recordings.
It also has a realtime UAD Processor. This processing is for authentic analog tones.
Plus it has a high-speed of 16 x 20 Thunderbolt 2 interface/connectivity. (This is is for Mac).
Furthermore it has 8 mic preamps emulations that are powered by Unison Technology.
Moreover it is the next generation Apollo A/D and D/A conversion.
Finally there is an onboard UAD-2 QUAD Core Processor which has 6 UAD devices that total over the
Thunderbolt. (This is for Mac).

BY: KATIE MORGAN.

Plug-in processing:
(The plug-in processing is for tracking, mixing and mastering).
These plug-ins include the following:
Vintage eq s
Compressors
Reverbs
Tape machines and many more

I used the all

these plug-ins
that are
listed.

Other Features:
It has impedance and gain matching.
Also its monitoring and workflow is improved.
Second to lastly it will expand your system!
Finally the app is described as sleek. This app is called: Apollo 8ps Console 2.0 application.

Here is a block diagram that I have

made to show the main controls on
the universal audio apollo.

Microphones and their

specifications (more about inputs and
recordings is after the information about the different
mics):

The Audix F2 microphone is a dynamic microphone that is suitable for

live stage and studio recording. Also for rack toms, floor toms, congas,
djembe, guitar, bass cabs and brass.
Frequency response: 52 Hz - 15 kHz (there are bumps in the high
frequencies and the high bass is good).
This microphone is unidirectional and is featured with a hypercardioid
pickup pattern. This pickup pattern is for the control of the isolation
and feedback (It is also equipped with a LM)!
The material used is Zinc Alloy and the finish is called Black Finish.
Its weight is 247 g / 8 oz. Its length is 104 mm / 4.09 in.

This mic was used on the rack

tom and floor tom of the drum. I
chose this mic because it is great
for studio recordings and it is
unidirectional, so it does capture
a lot of sound. This good because
the stronger the mic the better.
This mic is really useful!

The Shure SM58 microphone is a dynamic microphone that is

suitable for worldwide performances. Also for vocals and
speech, analogue and digital.
Frequency response: 50 Hz 15kHz
This microphone is unidirectional and is featured with a cardioid
pickup pattern.
Its body material is metal.
Its width is 16.2 cm. Its diameter is 5.1 cm. Its weight is 298 g.

This mic was used on the

snare bottom of the drum.
I chose this mic because it
is unidirectional and
dynamic. This mic is good
and it very easy to use and
set up.

BY: KATIE MORGAN.

The Shure SM7B microphone is a dynamic microphone that is
suitable for studio recordings and vocal applications. Also for
speech and vocals, electric guitars, snare, toms, bass drums.
Frequency response: 50 Hz 20 kHz (smooth, flat, wide-range
and curved).
This microphone is unidirectional and is featured with a pattern
that allows sound to be picked up from the front and the sides.
However, it is not so good to feedback in high volume places.
(its pickup pattern is cardioid).
The body materials that used are aluminum with steel mesh
grille (case) ebony vinyl enamel and black finish grille (case
finish).
I didnt
use this
mic!

Its width is 17.8 cm. Its diameter is 11.4 cm. Its weight is 1200 g.
The Shure SM57 microphone is a dynamic microphone that is suitable for
stage, sound reinforcement and recording. Also for snare, toms, electric
guitar, percussion and brass.
Frequency response: 40 Hz - 15 kHz.
This microphone is unidirectional and is featured with a cardioid pickup
pattern.
The body material used is die-cast steel with a stainless steel screen and
a polycarbonate grille. Also it is dark grey and enamel-painted.
Its min diameter/width is 2.3 cm. Its max diameter/width is 3.2 cm. Its
length is 15.7 cm. Its weight is 284g.

This mic was used on the

snare top of the drum. I chose
this mic because it is great
for sound reinforcement and
recording. Also it is
unidirectional Finally this mic
is a very one to use!

The Audix F6 microphone is a dynamic microphone that is suitable for

live stage and recording. Also for kick drum, kettle drum, floor toms,
bass cabinets and leslie bottom.
Frequency response: 40 Hz - 16 kHz (bad in the middle frequencies,
okay at the low frequencies and great at the high frequencies).
This microphone is unidirectional and is featured with a
hypercardioid pickup pattern.
The body material used is precision cast zinc alloy and the finish is in
a durable black E-coat. Also it has a dent resistant steel mesh grill
and the XLR connector is plated in gold.
Its weight is 311 g / 11 oz. Its length is 121 mm / 4.76 in.

This mic was used on the kick

of the drum. I chose this mic
because it is strong enough to
record a kick. Also it is
unidirectional. Lastly this mic
can also record other drum
parts. This makes it a very
good mic to have in a studio.

BY: KATIE MORGAN.

The Audix F9 microphone is a condenser microphone that is
suitable for direct speech and vocals. Also for cymbals, overheads,
hi-hats, goodie table and audience mic.
Frequency response: 40 Hz - 20 kHz (bad at bass frequencies,
good at the middle frequencies and good at high frequencies.
This microphone is unidirectional and is featured with a cardioid
pickup pattern.
The body material used is precision cast zinc alloy and the finish is
in a durable black E-coat. Also the XLR connector is plated in gold.
Its weight is 95 g / 3.3 oz. Its length is 111 mm / 4.37 in.
This mic operates on phantom power of 12 48 Volts!

This mic was used as the left and right

overheads. I chose this mic twice
because I to capture all of the sound
from the left and right. To do this I
pointed the mics into the middle. This
way I captured all of the sound that
was around the drum. Plus the sound
that was reflected of the drums.
These mic are unidirectional. So if you
want to capture sound from in front of
you it is better to use these mics!

The Neumann TLM 102 microphone is a condenser microphone that

is suitable for home and studio use. Also for loud sources, like
drums, speech and woodwind.
Frequency response: 20 Hz 20 kHz.
Max pressure level: 144 Db
This microphone is omnidirectional and is featured with a cardioid
pickup pattern. It also has a large diaphragm.
The body material used is a black matte elastic suspension mount
finish.
Its length is 11.6 cm. Its diameter is 5.2 cm. Its weight is 260 g.

I didnt
use this
mic!

The Routing of Single and Multiple Sources:

Input Signals:
Input 1 is in vocal booth.

These are
the main
inputs!

Inputs 2, 3 and 4 are on the wall as walk into the live room.
Input 5 is in the studio 1 recording room. You plug an instrument into the focusrite ISA. (The di socket).
(Single routing).
Inputs 9, 10, 11 and 12 are on the wall that is on the other side of the live room.
When we set up the microphones and amps we used the following inputs:
Drums and Bass:
Here is how I used the inputs (look on the next page):

BY: KATIE MORGAN.

The kick is input 2 with the Audix f6 mic.
The snare top is input 3 with the Shure SM 57 mic.
The snare bottom is input 4 with the shure SM 58 mic.
(Input 5 is for instruments, like bass guitars)!
The rack tom is input 9 with the Audix f2 mic.
The floor tom is input 10 with the Audix f2 mic.
The left overhead is input 11 with the Audix f9 mic.
The right overhead is input 12 with the Audix f9 mic.
After I set up the drum mics, which are in inputs: 2,3,4,9,10,11 and 12 I opened up my project for Rich
to record his drum part. This recording was successful and was easy to mix.
Then Joe recored some bass in input 5. We used the DI socket on the Focusrite ISA One. This recording
was also successful and went well with the drums that Rich had recorded. So overall the recordings and
mixing worked well together!

Conclusion:
I found this task quite challenging. However, after a while I got the hang of it and I was able
to do a successful multi-track recording. I enjoyed every minute of this task. I learnt a lot
from this task, for example, how to use the universal audio apollo and what microphones go
where on a drum kit. By learning these new skills I feel confident for the next multi-track
recording that I create. As well as enjoying the recording side of the project. I also enjoyed
the mixing side of it. To create the mix I used the knowledge that I already knew to make my
mix professional. To see how I did the mixes see the next my analysis called: Mixing Analysis.
Picture References:
My diagram.
http://www.dv247.com/studio-equipment/adam-a77x-active-studio-monitor--85554
http://www.dancetech.com/item.cfm?threadid=4482
http://www.amazon.com/Focusrite-OctoPre-MkII-Microphone-Preamplifier/dp/B005O8RFVA
http://www.sweetwater.com/store/detail/ISAOne
http://en.audiofanzine.com/thunderbolt-interface/universal-audio/apollo-quad/medias/
pictures/a.play,m.687494.html
My diagram.
http://www.audixusa.com/docs_12/units/f2.shtml
http://www.shure.co.uk/products/microphones/sm58
http://www.shure.co.uk/products/microphones/sm7b
http://www.shure.co.uk/products/microphones/sm57
http://www.audixusa.com/docs_12/units/f6.shtml

BY: KATIE MORGAN.

http://www.musiciansfriend.com/condenser-microphones/audix-f9-small-diaphragmcondenser-microphone
http://www.fullcompass.com/prod/157701-Neumann-TLM-102-bk