PROFESSIONAL AUDIO WORKSTATION Tutorial E
Introduction Welcome to the world of the AW2816! If you have an interest in music production, you probably know that the songs of the artists you see on television and in magazines are produced in sophisticated recording and mixing studios using lots of expensive equipment, and pass through numerous processes under the care of professional sound engineers who have a wealth of specialized knowledge.
Contents Contents Step 3. Assembling the mix for each part .....12 Channels 1/2: Bass drum and snare drum ...12 Channels 3/4: Drum overhead mics............13 Channel 5: Hi-hat .......................................14 Channel 6: Acoustic bass............................14 Channel 7: Percussion ................................15 Channel 8: Acoustic guitar..........................16 Channel 9: Piano ........................................16 Channel 10: Synthesizer .............................
Recording on the AW2816 Amazingly for its size, the AW2816 conceals potential that rivals the mixing consoles found in large recording studios. Although you can of course record a live performance in a single pass, you can also use multi-track recording to take full advantage of the AW2816’s 16 x 8 = 128 tracks. This tutorial will guide you through the actual recording process, so that you can learn how to utilize the full power of the AW2816.
Recording on the AW2816 ■ Recording sound from the mics onto the hard disk When you have finished adjusting the input level, connect the input to the track on which it will be recorded. In the WORK NAVIGATE section, press the [QUICK REC] key. On the left side are the sounds being input to the AW2816, and on the right side are tracks 1–16 (a total of sixteen tracks) on which you can record. Try pressing [ENTER] on the circle for CH1 in the left. In the screen, a connection will be made between CH1 and TR1.
Was the sound recorded correctly? If the sound is distorted or cracked, adjust the gain control and try the recording once again. If the sound was recorded on the hard disk in a distorted condition, it will be impossible to fix it later. You should also pay close attention to the position of the mics. Changing the direction of the mics and their distance from the instrument makes an amazing amount of difference in the recorded sound.
Recording on the AW2816 Recording sounds that you steprecorded into your sequencer The basic idea in this case is the same as when using a rhythm machine, discussed above. However, the AW2816 does not have tone generator functionality, so you will have to provide a separate MIDI sound module, use your sequencer software to play it, and then record the audio onto the AW2816. Now let’s recall the scenes you saved. Change the scene number to 01 and press [RECALL].
Overdubbing The overdubbing procedure is basically the same as when you recorded the rhythm section and vocal. Record each of the backing tracks while you listen to the previously-recorded tracks. We recommend that during the recording stage, you record all the parts you think you will ever want for the song. You can always delete unneeded parts during the mixdown, and you can (for example) record several different guitar solos and switch between them to see which one you like best.
Restoring the demo song Restoring the demo song The following chapter explains the mixdown procedure using the demo song included with the AW2816. Thus, we will begin by explaining how to load the demo song from the included CD-ROM into the AW2816’s hard disk. In this tutorial, we will assume that an ATAPI-connected CD-RW drive has already been installed in the AW2816. However, it is also possible to use an external SCSI CD-RW drive.
Mixdown “Mixdown” sounds like it refers to a single operation, but in reality, it is a sequence that consists of numerous processes. As you become more experienced, the various steps will blend together into one big process. It is important to keep this in mind, because you must be aware of the effect that even the smallest operation will have on the overall sound.
Mixdown Step 2. Setting up a rough mix The rough mix is just a starting point for the final mix, and does not need to be perfect. The purpose of creating a rough mix by adjusting only level and pan is to have a reference point from which you can make more detailed adjustments, and apply effects and automation, so don’t spend too much time on this.
■ Adding the synthesizer ■ Saving the scene Turn channel 10 “ON”. If the synthesizer is too loud for the other tracks, use fader 10 to lower the level about 5 dB. Let’s save the completed rough mix. Press the SCENE key, and use the [DATA/JOG] dial to select a vacant scene that is displayed as “No Data!” Then move the cursor to “STORE” and press the [ENTER] key. The TITLE EDIT popup window will appear, so assign a name (or leave it unassigned), select “OK” and press the [ENTER] key.
Mixdown Step 3. Assembling the mix for each part In order to create a balanced mix, we now need to pay a bit more attention to the details of each track. • Preset scene You can recall a preset scene that contains all settings up through step 3, below. Press the [SCENE] key (press the [F1] key to select the Scene Mem page if necessary), and use the [DATA/JOG] dial to select scene number 03 “STEP3 MIX.” Move the cursor to “RECALL” and press the [ENTER] key.
4 • Channel 2: Snare DYNAMICS Comp Threshold Ratio Out Gain Attack Release Knee –18dB 2.5:1 3.0dB 19ms 87ms 2 Use the CURSOR keys and the [DATA/JOG] dial to make the following dynamics settings for the overhead mic channels. (Since channels 3 and 4 are paired, adjusting the EQ on track 3 will automatically make the same setting on track 4.) • Channels 3 and 4: Drum overhead and tom Compander-Soft Threshold Ratio Out Gain Attack Release Width –10 dB 5:1 –3.
Mixdown ■ Channel 5: Hi-hat DYNAMICS Comp Threshold Ratio Out Gain Attack Release Knee By using a HPF (high pass filter) to cut the sound below the LOW 125 Hz point, we will simultaneously remove sounds other than the hi-hat. By adding a 2.5 dB boost to the L-MID 595 Hz region, we will emphasize the crispness of the hi-hat, clarifying the sense of beat. 1 2 3 4 –24 dB 2:1 6.5 dB 12ms 70 ms hard Press the channel 5 [SEL] key to select the hi-hat channel. Press the MIXER section [EQ] key.
5 6 ■ Channel 7: Percussion Press the MIXER section [DYN] key to access the dynamics parameters. Press the DYN button, and then press the [F2] key located below the screen. In this screen, load a library whose TYPE field is displayed as “EXP.” Move the cursor to “ON/ OFF” and turn dynamics “ON” for the selected track. 7 For the percussion channel, we will cut the 125 Hz region by –8.0 dB to reduce the weight of the low range, making the sound a bit lighter.
Mixdown ■ Channel 8: Acoustic guitar ■ Channel 9: Piano We will not make any changes to the relaxed feel in the high range of the acoustic guitar, but will apply a slight boost to thicken the low-mid range, and use a compander to even out the loudness. Since this has an overall familiar tone, we will leave it essentially unchanged. A slight boost in the 500 Hz region will bring out the core of the sound. DYNAMICS OFF EQ (ATT –11 dB) EQ (ATT –7 dB) LOW L-MID H-MID HIGH Q HPF 6.3 0.
■ Channel 10: Synthesizer ■ Channel 11: Organ We will use the EQ to enhance the high range, emphasizing the tonal hardness characteristic of synthesizers. To make the phrasing crisper, we will apply a hard compander. We will boost the mid range that adds a distinctive character to the organ sound. DYNAMICS OFF EQ (ATT –7 dB) Type Compander Hard Threshold Ratio Out Gain Attack Release Width –17 dB 2.5:1 –6.5 dB 0 ms 70 ms 7 dB LOW L-MID H-MID HIGH Q — — 1.
Mixdown ■ Channel 12: Electric guitar ■ Channels 13/14/15: Chorus Keeping in mind the balance with other parts, we will lower the low range and boost the mid range of the electric guitar, giving it a brighter sound. To restrain the loudness, we will apply a soft compander with a high RATIO setting. The chorus in channels 13 and 14 are the high (stereo) + low (monaural) tracks. High is panned to L and R, and low is panned slightly left.
• Dynamics settings (Compander Soft) • Dynamics settings for chorus 1 and 2 (Compander Hard) Threshold Ratio Out Gain Attack Release Width Threshold Ratio Out Gain Attack Release Width –26 dB 2:1 –1.0 dB 0 ms 122 ms –23 dB 2.5:1 0 dB 26 ms 180 ms 4 dB 8 dB • Dynamics settings for chorus 3: OFF When adjusting the EQ or dynamics, you should also adjust the fader level as appropriate.
Mixdown Step 4. Adding ambience Ambience-type effects such as reverb, delay, and echo can be used to add spaciousness and warmth. Up to this point in the process, you have been working with the “dry” sound, unprocessed by effects, but there are many engineers and artists who prefer to work with ambience-type effects already applied. Many artists also like to monitor the “wet” sound (i.e., with an effect) while they record.
■ Channels 1/2: Kick and snare ■ Channel 11: Organ When recording drums, you record the dry sound as on the tracks of the demo song. Adding just a slight amount of reverb will create a dramatically wider sense of space. However, be careful not to apply too much. Sometimes for a ballade you will year fairly heavy reverb on the drums, but even in this case it is applied only to a specific drum (such as the snare). In order to do this, it is obviously necessary to record the snare on its own track.
Mixdown Step 5. Completing the mix and making automation settings The basic mix is now nearly complete. Effects have been added, and now it’s time to listen carefully to the entire song and make final adjustments. As you listen to the mix, you may decide that you are not satisfied with having a single “average” mix throughout the entire song. That’s where automation comes in.
• Main contents of automix 1) Initial automix scene The automix starts from the “AUTOMIX” scene memory. 2) Guitar “0:10–0:45”: The faders are adjusted to make the guitar backing and melody stand out. 3) Piano For approximately the first 40 seconds of the song, the level is adjusted by raising the fader briefly to emphasize the backing in the lower register. 4) Synth Approximately 1:30 into the song, the fader will be turned “ON.
Mastering Mastering Once you have completed the mixdown, you will perform mastering before writing the song to a CD-R disc. Mastering is the process of making overall adjustments to the song mixed to a stereo track. It may seem as though the song itself is essentially complete when you finish the mixdown. However, this does not guarantee that it will sound right when played back on a CD player.
■ Compressor By using a compressor during mastering, you can not only improve the overall balance of the song, but sometimes also give the sound more punch and speed, or emphasize the groove. This may be somewhat difficult until you get the knack, but once you do, you will be able to make your mix “sound better” every time. The compressor settings for the demo song are nothing extreme, but here too, you can learn by trying out various settings as you did with the EQ, and noticing how the sound is affected.
The next step The next step If you have worked through the preceding pages, you now have a basic understanding of the process. The AW2816 supports many other recording methods and mixdown functions that we were not able to introduce in these pages. We hope you will make full use of these capabilities, and even develop techniques that are not mentioned in the AW2816’s “Owner’s Manual.” As you spend time with the AW2816, it is sure to become a favorite partner in music production.
Glossary ■ A/D converter A circuit that converts an analog audio signal into a digital audio signal. ■ AD/DA Conversion of an audio signal from analog to digital, or from digital to analog. All processing within the AW2816 is performed in digital form, but when an analog audio signal is input, it passes through AD conversion, and when sound from the AW2816 is monitored (*see entry), it passes through DA conversion.
Glossary ■ Gain A knob that adjusts the sensitivity of the head amp (*see entry) in the input section of the AW2816. If this control is adjusted to keep the input volumes consistent at this point, it will be easier to use the faders of each channel to create a balance. ■ Head amp (HA) A circuit placed before the A/D converter (*see entry) of an AW2816 input jack, used to adjust the analog input signal to a level that is suitable for digital conversion. (Also called mic preamp.
■ Punch-in/punch-out When you want to re-record just a specified area of a previously-recorded track, the action of switching from playback into record mode at the beginning of that area is called “punch-in,” and the action of switching from record mode back into playback at the end of that area is called “punch-out.” ■Q A parameter of the parametric-type equalizers (*see entry) provided by the AW2816. Q specifies the width of the frequency band (*see entry) that will be boosted or cut.
YAMAHA CORPORATION V766850 R1 1 IP 32 01 08 3500 AP Printed in Japan Pro Audio & Digital Musical Instrument Division P.O.
