Being a recording engineer Unit 48

Polar Patterns:
A polar pattern is a circular graph that shows how sensitive a microphone is in different directions. Each circular division represents 5dB of sensitivity, so you can see where the microphone picks up the strongest to the weakest sounds at different points.

Cardioid: 
Very popular for vocals at live events as doesn't pick up much background noise. Their unidirectional pick up makes for an effective isolation of unwanted ambient sound and high resistance to feedback

Supercardioid:           
Can be used for vocals at big live events as doesn't feedback very easily.

Omnidirectional:

Omnidirectional microphones are equally sensitive to sound arriving from all angles. Therefore, the microphone does not need to be aimed in any particular direction. This can be particularly useful when trying to capture a speakers voice, as the individual can move their head without affecting the sound.




Bidirectional:
It picks up the sound from in front of the microphone and from the rear but not the sides, this can be used for recording duets or interviews.






Shotgun: 
Very directional, can be used to pick up drums and cymbals.


Microphones:

Dynamic:A very thin diaphragm of Mylar or other material is attached to a coil of hair-thin copper wire. The coil is suspended in a magnetic field and, when sound vibrates the diaphragm, the coil moves up and down, creating a very small electrical current. Dynamic mics are usually used with high sound levels applications, like vocals or drums, as unlike condenser mics, they're less likely to overload when exposed to loud sounds.

Condenser Microphones
Another microphone type is a condenser mic, these work differently to dynamic microphones as they process the acoustic energy differently. In a condenser microphone, sound waves also strike a diaphragm causing it to vibrate, but, in this mic the diaphragm is in front of an electrically charged plate.




Evaluating Recordings
During our time in the recording studio we have experimented with recording several instruments using a variety of techniques. some of the techniques can be compared to the way Nevermind was recorded, as both of the recordings were made in a isolated studio. One obvious difference is that Nevermind was recorded in the 90's so was recorded on tape instead of on a computer.

Whilst planning our recording we had to consider many factors. First of all sound quality, this includes an accurate sound of the instrument. We ensured this by setting up the microphones in the correct position and that the right type of microphone was used. we also did a sound check before recording the glockenspiel, we decided that there was to much gain as it was distorted.

Acoustic reflection was another important aspect, because the studio was sound proofed this influences the acoustic reflection as sound is less likely to bounce back. another advantage of the studio is that it blocks out background noise, this ensures no unwanted sounds are in in the recording .


Glockenspiel:
While recording the Glockenspiel we used the handheld recorder, the polar patterns were 90 degrees, 120 degrees, two channel and four channel. the microphone was dynamic. We recorded the glockenspiel outside in a classroom and in a studio.

This recording of the glockenspiel was recorded with the handy recorder at 90 degrees an average recording, this is because the recording had quite a substantial amount of background noise such as wind, this is because it was recorded outside and not in a studio. however the glockenspiel was picked up and all of the notes are quite clear, the recording is also quite tinny. As the player was not great the expression and emotion was not very good. Compared to are other recordings, this is not as defined as the quality and background noise are not in our recording which was performed in the soundproof studio. There was also no Acoustic reflection unlike our electric guitar recording.
Recording of open air glockenspiel:
https://soundcloud.com/beatenyoualready/open-air-glockenspeil


2 channel open air recording with handheld recorder:
https://soundcloud.com/user-401119215/jth-2ch
This recording is very tinny and is very ambient. this makes it not a very good quality recording. It also features a slight amount of background noise.



Recording of glockenspiel in classroom (SM58) :
https://soundcloud.com/user-401119215/glock-task-0004-audio-shure?in=user-401119215/sets/ryan-hobin
this recording was a lot better quality as it had very little background noise. I used a dynamic Shure SM58 this has the cardioid polar pattern this was pointed straight at the glockenspiel from above. This made a good quality smooth sound unlike the open air recording where it was tinny and had a lot of background noise.








Recording of guitar in studio:
https://soundcloud.com/user-401119215/guitar-studio-0006-audio-audio
This is an earlier recording of the guitar in a studio, the quality of the recording is good and there is no background noise. however we didn't use 2 microphones unlike our finale recording. this made the recording have less acoustic reflection and some of the tone of the acoustic was lost as the sound hole is not the only place sound resonates from.


Recording of Glockenspiel in studio (AKG C1000S):
https://soundcloud.com/user-401119215/glock-task-0006-audio-akg-jth
this was recorded in a sound proof studio so there was no background noise, the microphone we used was AKG C1000S, this condenser microphone makes the glockenspiel sound a lot brighter than when recorded with the Shure dynamic SM58. the condenser mic also picks up more ambient sounds and acoustic reflection compared to the dynamic one.

Final evaluation of recordings:

Acoustic Guitar
I recorded a 12 string Guitar with two Condenser AKG C1000S, one 30cm in front of the sound hole and the other 20cm in front of the neck. This technique was incorporated so I was able to put both recordings together to capture all of the sound resonating from the guitar. And also to create a more ambient tone on the recording. As it was recorded in a completely sound proof studio there was no background noise. this made the guitar sound like a professional recording and would have been similar to how bands like Nirvana would have recorded an acoustic guitar. I also feel like as the quality of recording was to a good standard this meant the expression of the performance was captured and therefore involved the listener. Compared to the other acoustic guitar recording, I think that the overall quality of the recording was improved and all the notes were more defined. Using the two mics instead of one increased the amount of tonal range on the recording and also picked all of the sound resonated from the hole of the guitar. The way that the recording could be improved is that occasionally throughout the recording there would be a tapping sound of the plectrum hitting the body of the guitar. to improve this the performer could adjust his technique so this did not occur, if he were to do this the recording would therefore improve.


1st recording infront of sound hole.
https://soundcloud.com/beatenyoualready/1st-acoustic-final-recording

2nd recording in front of the neck.
https://soundcloud.com/beatenyoualready/1st-electric-recording-final-recording



Electric Guitar:
I recorded a electric Stratocaster into fender 20 watt amp using a Shure SM58 dynamic microphone and also an AKG C1000S condenser microphone. I decided on using these two microphones as I wanted to not only record right next to the amp but also pick up the acoustic reflection from around the room. I did this by placing the C1000S the other side of the studio and turned it the other way, by doing this the sound waves would have bounced against the walls before getting to the microphone meaning a more ambient sound.  When both tracks are played together the recording has a natural reverb tone and also record more bassy tones which the Shure microphone didn't pick up as it was very close to the speaker. This electric guitar would have been similar to the way nirvana recorded their guitars as they also used two microphones on the amp. the overall sound quality of this recording was very crisp and in seemed to pick up the crunch tones on the amp without the mic becoming to over driven and distorted. To improve this recording I would say that the amp could have been put in a separate room than the performer, this would have meant that there were no background sounds of the plectrum strumming the strings and the amp would have been isolated. or if another room was not available the amp could have been turned up so the background noise could not be heard. It could also be improved by making sure the performers guitar was perfectly in tune as it sounds slightly out.  Compared to other recordings this recording has a very ambient tone which has also got some reverb unlike the rest of the recordings.


electric guitar Shure SM58:
https://soundcloud.com/user-401119215/haydyn-recording-0002-audio-audio-02?in=user-401119215/sets/lewiscomehere


electric guitar AKG C1000S:
soundcloud.com/beatenyoualready/2nd-acoustic-final-recording