Recording - May 2012 - 55
phrase. Both acoustic and electric piano sounds will work. A percussion instrument, like shaker or conga, can keep the beat and still preserve the minimal feel. Continued from page 52 spare and yet fills plenty of space. A single percussion part, like a shaker, preserves the feel and adds another texture. Basically, what you’re aiming for is an arrangement that uses the minimum number of instruments to get the essence of the song across— energy and emotional feel. Three good reasons to record a barebones arrangement of your song: • A minimal arrangement allows the singer to be the focal point of the song, creating an intimate, emotional sound that works well under scenes with or without dialogue. • For home studio recording, a simple arrangement is likely to give you the best out come. The less you have to juggle in the recording and mixing process, the better! • A stripped-down arrangement moves any song toward the singer-songwriter style, which is very popular in the film and TV market. Five keys to a simple production! 1. Use dynamics Even in a minimal arrangement, you still need to change the dynamic level of the track in order to keep listeners involved. Adding a single vocal harmony part can build energy in the chorus. Adding a second guitar or bass can boost the interest level. Try changing the part you’re playing: increase the number of notes per beat or raise the note range. Add a rhythm part: a shaker, tambourine, ethnic drum, kick or snare drum to lift the energy. Consider a solo instrument like violin or cello. Remember that every sound counts so use real musicians rather than samples and get the best performances you can. 2. Fill space with the instrumental arrangement Determine the note range of the vocal melody then build your instrumental arrangement around it. The vocal will usually fill some portion of the midrange so, when working up your guitar or keyboard part, pay special attention to the high and low note ranges. The low notes can anchor the arrangement much as a bass part would. The high note range will add color and fill space above the vocal range. Adele’s “Daydreamer” and Nick Drake’s “From the Morning” are good examples of guitar arrangements that surround the vocal and fill a lot of sonic space. 3. When a steady rhythm is needed... A rhythmic strumming style on acoustic guitar can lay down a groove that eliminates the need for a drum track. Listen to Damien Rice’s “Cannonball” to hear a two-guitar strummed style that sets up a steady beat. Eddie Vedder’s “Rise” nails the rhythm on mandolin. Piano can set up a rhythmic feel using arpeggiated chords (playing the notes of a chord one after the other instead of together as in Adele’s “Someone Like You”) or by playing a steady, repeated rhythmical 4. The vocal is the centerpiece In this style, the vocal is king and everything else is there to give it support. These vocals are very present, unadorned, direct and honest, almost as if the singer is speaking directly to the listener. Singing close to the mic and keeping the vocal very dry (without reverb) in the mix is a good approach. Some of today’s singer-songwriters are adding more reverb to create an atmospheric feel in the vocal a la Bon Iver’s “Holocene.” It all depends on the effect you want to create.
5. Fill space with your mix For a good mix in this style you need to fill the entire sonic spectrum with a very few elements (instruments and vocal) from high to low end and left to right. For this type of work, where a fat sound is crucial, you might want to record in a commercial studio. Have your arrangement all worked out and make certain you (or your singer) have worked on the vocal parts so you don’t waste any time. If you’re working at home and you need help, try Studio Buddy (www.studiobuddy.com), a free, easy to use, downloadable reference that answers many basic recording and mixing questions. I hope this article helps you better understand what the elusive term Broadcast Quality means. If the target continues to move, we’ll do our best to keep you apprised!
55
http://www.studiobuddy.com
http://www.vocalbooth.com
http://www.vocalbooth.com
Recording - May 2012
Table of Contents for the Digital Edition of Recording - May 2012
Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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