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.
