MUSC 317: Sound Recording
Take any session you’ve worked with so far (or a new one) and demonstrate the effective use of one in-the-box bussing technique and one application of an outboard processor. See a list of techniques and hardware below. You might think of other things to tray—get them improved by your instructor before proceeding. For each technique, describe:
- the configuration and settings you used,
- your goal in applying the technique,
- your commentary on the process and results, and
- a sound file clearly demonstrating your effective use of the technique.
“Inside-the-box” bussing techniques. Check your textbook and the internet for tips and the Pro tools documentation for instructions. Depending on the technique and context, you may to Send one or more tracks to a Bus (in the Sends section below the Inserts section) and create an Auxiliary track with that bus as its input, or you may need to set a side chain input channel in a plug-in’s window and click the key icon to activate side-chain listening (using a side chain is also called “keying”, like it’s “keyed in” to another track).
- Parallel compression
- Ducking (compressor using a side chain input)
- Gate with a side chain input
- Effects bus (i.e., sending multiple tracks through an auxiliary channel to the same reverb plug-in)
Outboard processors. Some of these processors could be used in some of the techniques above, but you’ll still need to demonstrate in-the-box and outboard versions of the technique. To use an outboard processor, set a track’s output in Pro Tools to one of the higher numbered outputs, then use the patch bay to connect that Pro Tools out to the input of your selected device, and the devices’ output to an input to Pro Tools. Make a new track to record that input in Pro Tools to record the processed sound. So, you’ll be playing a pre-recorded track from Pro Tools through your outboard device and recording the processed output on a new track in Pro Tools. Click the equipment’s name to see the user manual.
- Aphex Dominator II 720 Manual: multiband limiter
- Aphex 204 Aural Exciter: basically a highpass filter run through distortion and added back to the original. Distortion adds odd harmonics to the sound; the preceding highpass filter keeps the bas and mids out of this process so you only get crisp highs, not a muddy mess.
- BBE 882i Sonic Maximizer: BBE’s research found that speakers delay high frequencies slightly, so it divides your sound into three bands and delays the mids a bit and the bass a bit more. It also adjusts the level of each band in response to its loudness, like a multiband compressor. The goal is to get a fuller, clearer sound on your whole mix (it’s probably not worth using on individual tracks).
- Emperical Labs EL8X Distressor = Distortion + Compressor. It’s a compressor that models various kinds of distortion in vintage analog recording processes, giving your tracks or whole mix a “vintage” sound.
- Lexicon MPX 1 Multi FX Processor: An outboard delay-based effects unit from the 1990s.
If you have trouble with the Pro Tools channels 9–16, see this post.
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Latest Comments
{ Yesterday: This is the best use of fret noise I have heard all semester. It is also my favorite recording of yours. Well done, sir.... } – May 03, 12:16 AM
{ I think it would sound cool pumping up the lower notes of the piano a bit. The upper piano notes could do with a more... } – Mar 08, 12:22 AM
{ As an afterthought, the song is Anthology by Thrice, played by Aaron Gonzales } – Feb 26, 12:31 AM
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