Recording - February 2012 - 59
measurement to actually mean something. Secondly, a dB measurement by itself equates not to a specific physical value but instead to a ratio (or distance) between itself and the scale’s reference. For example, dB SPL is used to measure the Sound Pressure Level (what we hear as loudness) in air. A dB SPL measurement, such as 85 dB SPL, equates to 85 dB from the SPL reference of 0 dB, which itself equates to 20 micropascals, the approximate pressure threshold of human hearing. Another way to look at this concept is to consider the venerable VU meter. Common to almost all pre-digital mixing consoles and tape machines, a VU meter quantifies audio levels by their distance to 0VU. Any measured level is either positive or negative in dB from 0VU, and that is all the information an engineer needs to set recording levels. Yes, 0VU itself is referenced to a specific voltage (1.228 Volts), but the actual voltage of an audio signal is rarely, if ever considered by the engineer. dB VU values are therefore relative to 0, not a voltage. Another thing that makes the decibel difficult to conquer is the fact that dB scales are exponential in growth when translated to more-familiar linear values. For example, for each doubling (or halving) in relative acoustic sound pressure, the SPL scale only goes up (or down) by 6 dB. The dBu scale works in the same manner. For each doubling of voltage, the dBu scale grows by 6 dB. This means that raising signal level by 18 dB actually reflects in a eightfold boost of voltage or relative acoustic pressure—doubling three times. Why do we use such complicated exponential dB scales? Because the dB best reflects the spectrum of our hearing, from inaudibly soft to painfully loud. It’s too broad a range to represent easily with linear measurements, and it uses numbers we can grasp rather than huge numbers too unwieldy for practical use. My favorite analogy comes from acoustician and author Anthony Hoover, who states that if our hearing were a bathroom scale, it would be able to a weigh both a feather and a three-story skyscraper with equal accuracy. Simply put, if we did not use the decibel, communication in the recording studio would be very difficult. Asking an engineer to turn the bass down by 2 dB is much easier than asking for a reduction of 0.015931267 Volts! Frequency As mentioned a moment ago, frequency is the other of the two parameters used to quantify sound. In the earlier bass drum
RECORDING FEBRUARY 2012
59
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Recording - February 2012
Table of Contents for the Digital Edition of Recording - February 2012
Recording - February 2012
Fade In
Contents
Talkback
Fast Forward
Electric Lady Connections
Lewitt Audio LCT 640 Condenser Microphone
Sebastian Arocha Morton: The Singer and The Song—Going For The Perfect Match
Kel Audio Song Sparrow Condenser Microphone.
KRK Systems RP10-3 Powered Mid Field Studio Monitors
The Mixing Workshop: Tips For Mixing Vocals
Harrison Lineage 8-Channel Microphone Preamplifier.
M-Audio Fast Track C600 Audio Interface.
Sing, Sing a Song: Recording Inexperienced Singers
Earthworks SR40V Condenser Microphone
Stellar Singing From Small Studios
RØDE Limited Edition Black Classic II Tube Condenser Microphone.
Recording’s Showcase of Sounds
Recording Fundamentals. Chapter 2: Introduction To Audio—Part One (What is Sound?)
Plug-In Outlet
Reviewed and Revisited: Apogee Duet 2
iOS Music Tools: DAWs From Laptop To Pocket
Readers’ Tapes
Advertiser Index
Fade Out
Recording - February 2012 - Intro
Recording - February 2012 - Recording - February 2012
Recording - February 2012 - Cover2
Recording - February 2012 - 1
Recording - February 2012 - Fade In
Recording - February 2012 - 3
Recording - February 2012 - Contents
Recording - February 2012 - 5
Recording - February 2012 - Talkback
Recording - February 2012 - 7
Recording - February 2012 - Fast Forward
Recording - February 2012 - 9
Recording - February 2012 - 10
Recording - February 2012 - 11
Recording - February 2012 - 12
Recording - February 2012 - 13
Recording - February 2012 - Electric Lady Connections
Recording - February 2012 - 15
Recording - February 2012 - 16
Recording - February 2012 - 17
Recording - February 2012 - 18
Recording - February 2012 - 19
Recording - February 2012 - 20
Recording - February 2012 - 21
Recording - February 2012 - 22
Recording - February 2012 - 23
Recording - February 2012 - Lewitt Audio LCT 640 Condenser Microphone
Recording - February 2012 - 25
Recording - February 2012 - Sebastian Arocha Morton: The Singer and The Song—Going For The Perfect Match
Recording - February 2012 - 27
Recording - February 2012 - 28
Recording - February 2012 - 29
Recording - February 2012 - 30
Recording - February 2012 - 31
Recording - February 2012 - 32
Recording - February 2012 - 33
Recording - February 2012 - Kel Audio Song Sparrow Condenser Microphone.
Recording - February 2012 - 35
Recording - February 2012 - KRK Systems RP10-3 Powered Mid Field Studio Monitors
Recording - February 2012 - 37
Recording - February 2012 - The Mixing Workshop: Tips For Mixing Vocals
Recording - February 2012 - 39
Recording - February 2012 - 40
Recording - February 2012 - 41
Recording - February 2012 - Harrison Lineage 8-Channel Microphone Preamplifier.
Recording - February 2012 - 43
Recording - February 2012 - M-Audio Fast Track C600 Audio Interface.
Recording - February 2012 - 45
Recording - February 2012 - 46
Recording - February 2012 - 47
Recording - February 2012 - Sing, Sing a Song: Recording Inexperienced Singers
Recording - February 2012 - 49
Recording - February 2012 - Earthworks SR40V Condenser Microphone
Recording - February 2012 - 51
Recording - February 2012 - Stellar Singing From Small Studios
Recording - February 2012 - 53
Recording - February 2012 - RØDE Limited Edition Black Classic II Tube Condenser Microphone.
Recording - February 2012 - 55
Recording - February 2012 - Recording’s Showcase of Sounds
Recording - February 2012 - 57
Recording - February 2012 - Recording Fundamentals. Chapter 2: Introduction To Audio—Part One (What is Sound?)
Recording - February 2012 - 59
Recording - February 2012 - 60
Recording - February 2012 - 61
Recording - February 2012 - Plug-In Outlet
Recording - February 2012 - 63
Recording - February 2012 - 64
Recording - February 2012 - 65
Recording - February 2012 - 66
Recording - February 2012 - 67
Recording - February 2012 - 68
Recording - February 2012 - 69
Recording - February 2012 - 70
Recording - February 2012 - 71
Recording - February 2012 - 72
Recording - February 2012 - 73
Recording - February 2012 - Reviewed and Revisited: Apogee Duet 2
Recording - February 2012 - 75
Recording - February 2012 - iOS Music Tools: DAWs From Laptop To Pocket
Recording - February 2012 - 77
Recording - February 2012 - 78
Recording - February 2012 - 79
Recording - February 2012 - Readers’ Tapes
Recording - February 2012 - Advertiser Index
Recording - February 2012 - 82
Recording - February 2012 - 83
Recording - February 2012 - 84
Recording - February 2012 - 85
Recording - February 2012 - 86
Recording - February 2012 - 87
Recording - February 2012 - Fade Out
Recording - February 2012 - Cover3
Recording - February 2012 - Cover4
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