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An Introduction to the Recording Studio
stuart.jones@southwales.ac.uk
www.stuartjones.org
Agenda
1. Brief History of Studios and Audio Engineering
2. ATRiuM Studios and Design
•Control Rooms
•Live Rooms
3. Studio...
1. Brief History of Studios and Audio Engineering
Columbia 30th Street Studios, NYC
This is the live room at Columbia 30th Street
Studios in New York. The four grand pianos...
Studio Stories by David Simons
In his book Studio Stories, David Simons suggests that
‘the success of those two records ow...
Audio: Take Five - Dave Brubeck Quartet
"To hear 30th Street is to hear drummer Joe
Morello's snare and kick-drum shots ec...
A number of other great albums and artists recorded at 30th Street........
Motown Studio A
Similarly, it takes only a few seconds to recognise a
classic Motown recording. Much of that is due to
the...
Studio Stories by David Simons
"The secret of the so-called 'Motown Sound' was room identity," Hank Cosby
once told an int...
Audio: Martha Reeves & The Vandellas - Nowhere To Run. Recorded at Hitsville U.S.A. (Studio A); October 21, 1964
Microphon...
Rockfield Studios, Monmouth
Real World Studios, Wiltshire
Then, of course, there is the
technology.
‘regardless of the music we listen to, the media we use or the location we choose, what we
hear has been tempered first an...
2. ATRiuM Studios and Design
How would we best describe the studio facilities at the ATRiuM?
ATRiuM Studio Design
An In house Production facility capable of handling an array of recording projects. these include:
• Commercial music reco...
Control Rooms
Here at the ATRiuM we have 8 control rooms.
Room Application
CB201b Soundcraft Studio Mixing/Mastering/Surround sound mixi...
Pre amps
Outboard
Two track
Audient ASP
Console
Patchbay
Apple Mac Outboard
Audient power
supply
Pro Tools
Mid field Monit...
Audient CB204
Mid Field Monitors
Mackie Control
Outboard
Near Field Monitors
Patchbay
Audient Desk
Pro Tools
Live Rooms
CB201 is generally described as being ‘bright’
Live Rooms
Spaces of different sizes offering different acoustic properties.
CB401b is generally described as being ‘dry’ and ‘warm’
Spaces of different sizes offering different acoustic properties.
...
Studio Layout
Regardless of equipment, studio configuration is basically the same in all studios.
Studio Layout
Studio Layout
Studio Layout
Studio Layout
Studio Layout
Studio Layout
This is known as the
recording path or channel
path
Studio Layout
This is known as the monitor
path or tape return path
Studio Layout
Studio Layout
Studio Layout
Studio Layout
Terminology
Terminology
Microphones
Of which there are many different brands (Shure, AKG,
Neumann) and designs (dynamic, condenser and...
The cables we use to connect microphones are called
XLR. These are balanced connections which reduce
interference.
Termino...
Tie Lines
24 balanced lines in the Audient studios
6 returns for foldback/headphones
Terminology
Mixing Desk
Audient ASP8024 for 1st year Audio Engineering
Soundcraft Ghost
Terminology
Recording
Stand Alone Hard Disk System (IZ Radar)
Computer Based Hard Disk System (Pro Tools)
Terminology
Monitors or Speakers
In both Audient Studio we have Avantone Mixcubes.
The main monitors in Audient CB202 are Adam S3.
The...
Outboard Processing
Compressor
Gate
EQ
Effects
Reverb
Delay
Chorus
Phaser
Terminology
Two Track
CD Recordable
Digital Audio Tape (Dat)
Computer Based System (Pro Tools)
Terminology
References
References
• Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound...
An Introduction to the Recording Studio
stuart.jones@southwales.ac.uk
www.stuartjones.org
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An Introduction to the Recording Studio

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An Introduction to the Recording Studio

  1. 1. An Introduction to the Recording Studio stuart.jones@southwales.ac.uk www.stuartjones.org
  2. 2. Agenda 1. Brief History of Studios and Audio Engineering 2. ATRiuM Studios and Design •Control Rooms •Live Rooms 3. Studio Layout 4. Terminology
  3. 3. 1. Brief History of Studios and Audio Engineering
  4. 4. Columbia 30th Street Studios, NYC This is the live room at Columbia 30th Street Studios in New York. The four grand pianos give some idea of the space. Miles Davis's masterpiece, "Kind of Blue," was recorded at 30th Street, and so too, just a couple of months later, was Dave Brubeck's album "Time Out."
  5. 5. Studio Stories by David Simons In his book Studio Stories, David Simons suggests that ‘the success of those two records owed something to how they sounded, something that wasn't just a function of the quality of the recording equipment. There was the sympathetic resonance of the studio's unvarnished wood floor and the distant reverberations reflected by its towering architecture’.
  6. 6. Audio: Take Five - Dave Brubeck Quartet "To hear 30th Street is to hear drummer Joe Morello's snare and kick-drum shots echoing off the 100-foot ceiling during the percussion break in Dave Brubeck's great 'Take Five’.” Studio Stories, David Simons
  7. 7. A number of other great albums and artists recorded at 30th Street........
  8. 8. Motown Studio A Similarly, it takes only a few seconds to recognise a classic Motown recording. Much of that is due to the inventive, custom electronics that Berry Gordy Jr. had made for his studio. But it is also thanks to the funky fidelity unique to "the pit," a concrete- block room where most of the label's hits were recorded.
  9. 9. Studio Stories by David Simons "The secret of the so-called 'Motown Sound' was room identity," Hank Cosby once told an interviewer. A producer, songwriter and saxophonist for the label in its heyday, Cosby said: "The drums sat in the same place for years; nothing was ever disturbed. If you moved any of the instruments a couple of feet in either direction it would have changed the sound completely."
  10. 10. Audio: Martha Reeves & The Vandellas - Nowhere To Run. Recorded at Hitsville U.S.A. (Studio A); October 21, 1964 Microphone positioning was also fixed. Note the hanging mics!
  11. 11. Rockfield Studios, Monmouth
  12. 12. Real World Studios, Wiltshire Then, of course, there is the technology.
  13. 13. ‘regardless of the music we listen to, the media we use or the location we choose, what we hear has been tempered first and foremost by the technology used to record it and the technical and aesthetic decisions made in the studio’. Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound. Susan Schmidt Horning, 2004
  14. 14. 2. ATRiuM Studios and Design
  15. 15. How would we best describe the studio facilities at the ATRiuM? ATRiuM Studio Design
  16. 16. An In house Production facility capable of handling an array of recording projects. these include: • Commercial music recording (pop/rock/classical) • Film music recording • Film/tv post production sound • Surround sound • Radio broadcast and recording • Audio mastering ATRiuM Studio Design
  17. 17. Control Rooms
  18. 18. Here at the ATRiuM we have 8 control rooms. Room Application CB201b Soundcraft Studio Mixing/Mastering/Surround sound mixing CB202 Audient Studio 1 Recording/Mixing CB204 Audient Studio 2 Recording/Mixing CB301b Control 24 Recording/Mixing /Surround Sound CB302 SSL Duality Recording/Mixing CB303 Gus Dudgeon Suite (MCI Console) - Classic Studio CB401 Digidesign Pro Control Post Production/ADR/Mixing/Surround Sound CB402 Digidesign Control 24 Recording/ADR/Post Production/Surround Sound Control Rooms
  19. 19. Pre amps Outboard Two track Audient ASP Console Patchbay Apple Mac Outboard Audient power supply Pro Tools Mid field Monitors Audient CB202 Near field Monitors
  20. 20. Audient CB204 Mid Field Monitors Mackie Control Outboard Near Field Monitors Patchbay Audient Desk Pro Tools
  21. 21. Live Rooms
  22. 22. CB201 is generally described as being ‘bright’ Live Rooms Spaces of different sizes offering different acoustic properties.
  23. 23. CB401b is generally described as being ‘dry’ and ‘warm’ Spaces of different sizes offering different acoustic properties. Live Rooms
  24. 24. Studio Layout
  25. 25. Regardless of equipment, studio configuration is basically the same in all studios. Studio Layout
  26. 26. Studio Layout
  27. 27. Studio Layout
  28. 28. Studio Layout
  29. 29. Studio Layout
  30. 30. Studio Layout This is known as the recording path or channel path
  31. 31. Studio Layout This is known as the monitor path or tape return path
  32. 32. Studio Layout
  33. 33. Studio Layout
  34. 34. Studio Layout
  35. 35. Studio Layout
  36. 36. Terminology
  37. 37. Terminology Microphones Of which there are many different brands (Shure, AKG, Neumann) and designs (dynamic, condenser and ribbon). D.I. Boxes Direct injection boxes for line level sources i.e. bass, keyboards, mixers.
  38. 38. The cables we use to connect microphones are called XLR. These are balanced connections which reduce interference. Terminology
  39. 39. Tie Lines 24 balanced lines in the Audient studios 6 returns for foldback/headphones Terminology
  40. 40. Mixing Desk Audient ASP8024 for 1st year Audio Engineering Soundcraft Ghost Terminology
  41. 41. Recording Stand Alone Hard Disk System (IZ Radar) Computer Based Hard Disk System (Pro Tools) Terminology
  42. 42. Monitors or Speakers In both Audient Studio we have Avantone Mixcubes. The main monitors in Audient CB202 are Adam S3. The main monitors in Audient CB204 are Genelec 1040. Terminology
  43. 43. Outboard Processing Compressor Gate EQ Effects Reverb Delay Chorus Phaser Terminology
  44. 44. Two Track CD Recordable Digital Audio Tape (Dat) Computer Based System (Pro Tools) Terminology
  45. 45. References References • Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound. Susan Schmidt Horning, 2004. • http://realworldstudios.com • Abbey Road and the Day Studio Music Died. http://online.wsj.com/article/SB10001424052748703444804575071351719588986.html • Studio Stories - How the Great New York Records Were Made, David Simons, 2004, Backbeat Books • http://www.stuartjones.org Audio • Martha Reeves & The Vandellas (1964) Nowhere To Run [CD], U: Motown • Dave Brubeck (2007) Time Out [CD], US: Columbia Records.
  46. 46. An Introduction to the Recording Studio stuart.jones@southwales.ac.uk www.stuartjones.org

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