RECORDING THEORY ASSIGNMENT

Requirement

Description of Assignment:
Based on your understanding and use of the recording studio, provide a report that demonstrates your level of understanding of the following topics:
Task 1 (AC1) Core Equipment
Outline the primary function of the mixing desk.
Task 2 (AC2) Cables & Connections
Provide examples of a 3 different analogue cables with examples of their use.
Show how you have used a combination of cable types to record an instrument e.g. a DI box
Task 3 (AC3) Microphones
Explain the differences between dynamic and condenser microphones.
Explain the differences between microphone polar patterns.
Task 4 (AC4) Frequency & Decibels
Outline with examples procedures for ensuring good quality recordings.
Explain frequency response
Task 5 (AC5) Musical Instruments
Outline the Sachs-Hornbostel instrument classifications.
Explain the difference between timbre & dynamics.

Solution

RECORDING THEORY ASSIGNMENT

AC 1. The mixing desk or the audio mixing consoles can be regarded as the brains behind the live music, recording, and the broadcast media. The primary function of these mixing desks is the collection and distribution of multiple audio signals. 
The central role of the mixer in the sound system is to mix, route and then process the input signals. Some of the mixing desks have, however, some extensive effects for processing on board and eliminating the needs of the external processors.
AC 2.a. Three different types of analog cables are:
Banana cables:  used for joining wires to the equipment.  These are also used to terminate the patch cords, especially for electronic test equipment.
Binding post: It is a connector used on electronic test equipment for terminating a single wire or the test lead.
Fahnestock clip: It is a type of spring clamp electrical terminal for connections to the bare wires.
AC 2. b. The input connection for the DI box is made by an unbalanced 1/4” guitar type tip or via RCA phono jack, and then two jacks are wired in parallel. These dual jacks allow connection of instrument into the DI and then out in parallel again. 

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AC 3. 
Dynamic microphones make use of a robust design using a thin diaphragm that is attached to a wire coil arranged in a permanent magnet. Any alteration in the air pressure on the thin diaphragm causes generation of electric current from that coil, and this electric current requires amplification. The dynamic mics are inexpensive and require no electrical power for operation. These are ideal for all round high SPL i.e. sound pressure levels and are used for live applications. But these are not highly sensitive to the high frequencies as compared to the condenser types.
Whereas, the Condenser Microphones utilize a flexible diaphragm that is placed on a metal plate. The condenser microphones require electrical power for operation. Due to higher sensitivity, they are used in studio recording situations.
AC 4. 
The most common polar patterns are Cardioid, Omnidirectional, and Supercardioid.
Cardioid: Cardioid microphones have the highest sensitivity at the front while the lowest at their back. They have the unidirectional pickup that makes them effective isolation of the unwanted sound as well as has high resistance for feedback in comparison to the omnidirectional alternatives. These are important while considering a mic for the live performances.
Supercardioid microphones have a narrow pickup as compared to the cardioids and in fact, offer higher rejection of the sound. Although they also have the ability to pick sound from the back side directly. Hence, it is important for placing the monitor speakers to the side where it faces the so-called dead spots. These are used for loud stage environment owing to their higher directionality.  
Omnidirectional microphones are sensitive to the sound arriving from every angle equally, and hence these need not be directed in a particular direction. These are useful while lapel mic for capturing the voice of the speaker as the person is free to move without any variation in the sound.
AC 4. A. Procedures for ensuring good quality recording
Step 1. Reduction of the background sounds as the recording must be made in an insulated room, and the noises must be avoided.
Step 2. The playback devices not in use must be in a mute mode. These devices involve MIDI Synth, CD Audio, TAD-In, Auxiliary, Microphone, Line In. 
Step 3. The sound drivers must be updated.
Step 4. The soundcard must be shielded down.
Step 5. The soundcard must be inserted into a PCI slot which dedicates an Interrupt Request (IRQ) Channel.
Step 6. A sound insulation should be used between the system and the mic.
Step 7. The equipment must be plugged into the same power strip so as to remove the grounding issues.
AC 4. B. The frequency response is used for describing the audible frequency range that can be reproduced in a loudspeaker. The unit for measuring the audio frequencies is Hertz (Hz) whereas the theoretical range of human hearing is considered to be around 20 Hz, for lowest bass tones and approximately 20 kHz for the highest treble notes.

 

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AC 5. 
The Hornbostel-Sachs system classifies the instruments into four major categories. The fifth category includes the latest technologies during the music performances. Based on the Dewae Decimal classification, there are many sub-groups within each category. The major categories are as follows: 
1 - Idiophones: Instruments that can produce sound by vibrating themselves.
2 - Membranophones: Instruments that can produce sound by a vibrating membrane.
3 - Chordophones: Instruments that can produce sound by vibrating strings.
4 - Aerophones: Instruments that can produce sound by vibrating columns of air.
5 - Electrophones: Instruments that can produce sound electronically.
The difference between the timbre and dynamics is listed as below:
Timbre is a quality of the tone of any sound that distinct it with other tones. Whereas, the dynamics refer to the volume or the extent of loudness of a musical passage.

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