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Evaluate the Technical Aspects of the Session.

Advanced Studio Techniques

Objectives of the Production

The production exercise aims at recording the band’s essence by means of the college’s live Room and SSL Studio.  Both the DI’d and SSL 2 live rooms will play significant roles in the production process, for instance, the drums shall require the use of the SSL 2 Live Room while the vocal controls shall rely on the use of the DI’d a bass player in the studio which acts as a vocal guide. Furthermore, re-adjusting the deep-toned composer in a different segment ensures instantaneous recording. There is a probability of the re-Amping leading to unnecessary reception and sound cataloging, thus, it is vital to creating a solution before the final product comes to an end. The band’s capacity to put up an exceptional performance as well as its unification greatly impacts the production quality (Parsons 2).  The production aims to inspire a wide scope of skill by acquainting learners to an extensive variety of musical knacks as well as artistic customs in the art of music production. By providing exceptional services, learners can access the topnotch musical capability, this further boosts satisfaction and increased student involvement. The production also looks to promote, celebrate, and develop young learner’s attainments by identifying and celebrating young volunteers’ achievements. Furthermore, including and endorsing other musical bands’ techniques to a group provides an opportunity for budding artists to perform at resident prominent spots.

Lastly, the production aims to increase the band’s recording victory by practicing the above methods (Parsons 2). The production consequently aims to use the extra intervals to incorporate guitar overdubs and re-Amp the deep-tone so as to exclude overflow. Similarly, extra time helps in suppressing the instrument at successive phases in an orderly manner. By integrating sounds from alternative rock, the band aims to determine the course of the project. Additionally, the production will use over-driven and fuzzy vocals and lo-fi sensation such as the types used by bands such as Nine Inch Nails. Other more general sounds such as Depeche Mode and Radiohead will help to produce an overall commanding sound.

Evaluating the Technical Aspects of the Session


Different records use different miking techniques, not every professional agree on the most ‘sound-worthy’ techniques, and hence it totally depends on ones’ preference. drum-miking comprises a wide range of preferences, while most recording bands do not spend ample time on sessions. Moreover, most producers do not have to prefer matching tons of systems whereas the group is imposes pressure on them to speed up the technicalities.

Evaluating the Organizational Aspects of the Session

The studio’s atmospheric microphones help to “cement” a set’s sound while profiting from a reasonable density magnitude, this refers to scopes of around 5 to 12dB. Indeed, the majority of mixers prefer a highly compacted room sound, having an excess of 11dB on a norm scale.

Nonetheless, using too much compression accentuates the room’s ambiance (Parsons 2). That is safe provided the recording takes place in a large studio setting, however using excess reflections plus a dropped ceiling may lead to an accentuation of an unwanted hitch to the project. Therefore it is advisable to reset the occurrence period to a much shorter duration than normal to remove the preliminary drum tempo (Parsons 2). Afterward, the room tracks should be pushed in below the extra drum trails.

Evaluating the creative Aspects of the Session

Most sound technicians when reducing the kick or snare sounds usually ask a common question regarding the amount of kick or snare to reduce. Primarily, it is influenced initially by the drum sound itself followed by the drummers’ expertise. A properly coordinated drum kit that produces brilliant sounds in the room must record properly. In addition, a likely professional drummer having enough studio knowledge typically relates to the need to reduce compression for an equally uniform hit (Parsons 2). Likewise, a qualified drummer with proper sound equipment can stand to gain reduced density even though a slight dB can massively help the sound. Hence a lower Db that normal reduces the importance of the compressor setup, specifically the outbreak and discharge.

Occasionally, it is important to use the kick or snare to go over the mix while giving the impression of appearing in front of the engineer, at this stage, a 4 to 8dB comes in handy. This stage proves the most acute for the compressor structure since it involves conveying the original sound on the drum. It is thus vital to tug the outbreak while discharging the controls, additionally, we can even attempt several different compressors (Parsons 2). This way, we realize all of the compressors respond contrarily, regardless of the similar sets, thus it offers value for time to investigate. It is important to remember that: setting the attack to a quick tempo, reduces the effect of the drum sounding terse, irrespective of the amount of compression applied. It is important to note that compression can work effectively even on uneven hits while offering to drive the kick and snare onward within a track to increase the effect of increased vigor.

Work Cited

Parsons, Mark H. The Drummer’s Studio Survival Guide: How to Get the Best Possible Drum Tracks on Any Recording Project. Hal Leonard Corporation, 1996.

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