Project Report01.doc

MU1013 HDD RECORDING.Recording a composition using Logic Pro8.

S.ScuttID:10011159

Module: MU1013C Tutor: Elaine.T.Freitas

Introduction.

Computers and HDD recording allow the user to record and compose music in real time using non destructive audio editing techniques. This report details the process of creating a composition from sampled instrument sounds, recorded and edited instruments and vocals with the aim of understanding the processes involved in digital audio hardware and digital composition techniques. Participants in the project were:

Hannah Thompson. EmirCaan Hattat. Stephen Scutt.

The editing software used was Logic Pro 8. This software was chosen as all participants have experience in using it. Peak Pro was also used for editing and DSP processing of some of the CD samples.

Source Material.The project required the use of sounds sampled from existing recordings and instrumental hardware.

The sampled material was taken from: Freq Nasty, FabricLive 42 CD.1

EmirCaan Hattat, Rise Again.2

Sound Acquisition.

For the first session, E.Hattats’ home studio was used. A library of drum sounds was created from the CD tracks chosen. These were sampled and drum tracks created on Logic. Consisting of Kick, Snare and treated Hi-Hat. A bass line was created using a Dave Smith “Mopho” synthesizer.

Most of the recording was done in University studios 2 and 3 using Apple G5 computers running Logic Pro 8. A MOTU 828 digital audio interface and a Yamaha DM2000 digital audio console. The DM2000 was set to a sample rate of 44.1KHz. For each session this sample rate was checked to eliminate timing issues that can occur.

The computer lab was used once. Peak Pro was used to edit a sampled drum section of the Freq Nasty CD. The DSP process “Change duration” was used to time stretch the sample.

Construction process.

A bass line was recorded from the Mopho Analogue synthesizer and some samples were taken from E.Hattats’ private song collection of a piano riff. This formed the basis of an idea for a

1 BURAKA SOM SISTEMA, KASEMBLA WEGUE WEGUE. FabricLive 42, Freq-Nasty, FabricWorldWide, 2009, B001BDZI9S.

2 EMIRCAAN HATTAT, RISE AGAIN, HAZEL EP. Istanbul Records, 2011, IR005.

S.Scutt ID:100111591

MU1013 HDD RECORDING.Recording a composition using Logic Pro8.

“Dub-Step” track for which we could add vocals and instrumentation. Inserts used include Lo-cut EQ’ing and tremolo, space designer and overdrive.

The next session was at London Metropolitan University as were all the following.

For drums, samples were taken from the Fabric Live CD and a particular drum section was processed in Peak using the “Change Duration” DSP effect. Automation was adjusted for volume, reverb and filter sweep (see figure 1.)

Instrumental recordings.

Studio 2 was accessed for recording a passage of violin. An AKG C414B was connected to the Combo input of the MOTU828 and monitored for optimum recording level. About 4 minutes of H.Thompson playing violin was recorded. The recording was cut up and one particular piece was used towards the end of the track in the final mix with a high-sustained note being used at the beginning of the track and put through a gate using the bass kick as a side chain to create a pumping effect.

Vocals.

For the recording of the vocals, the live room was used which meant patching the mic through to studio 2 via the XLR patch bay. There were problems with the control room monitoring regarding the levels of the Microphone (again, the AKG C414), however, the technician resolved these. H. Thompson sung some of her own lyrics, which were recorded using Logic. The vocals were added to the track in 3 parts with altering amounts of reverb on each one. Figure 2 shows the setting up of the Microphone in the live room.

S.Scutt ID:100111592

MU1013 HDD RECORDING.Recording a composition using Logic Pro8.

Figure 2. The setting up of the Microphone for recording of vocals.

Synthesizers and treatments.

Two synths were used. A Korg Trinity for pad sounds and a Dave Smith Mopho for analogue arpeggios and bass effects. Some pad sections using two patches from the Korg Trinity. These gave harmony to the bass lines. Analogue synthesis was used in the form of recording the Dave Smith Mopho analogue synthesizers’ arpeggio and the “Inverse Triad” patch used with a pitch bend. Initial problems with no output were again resolved by the technician. Arpeggio gave a feeling of rising excitement to the movement of the song. The bass line was bounced but had to be rebounced due to problems with clipping.Treatments used in the processing of the sounds recorded included using delay plug-ins sent to auxiliaries, more gated side chain effects and overdrive inserts.

Automation features throughout the track using basic automated volume, some panning and automated delay levels.

Finishing and mastering.The track consists of 3 distinguishable parts. A beginning crescendo, a vocal middle with instrumentals and changes and a slowed down, softer end. The track was then bounced and the bounced track re-loaded into a new logic file. The bounce was copied onto four separate tracks and each track treated with a slightly different equalizer setting. This was done to add width to the piece and accentuate the higher end of the spectrum, which seemed a little muddy at times. The 4 equalizer settings are shown in figure 3.

Figure 3. Equalizer settings for master bounce.

S.Scutt ID:100111593

MU1013 HDD RECORDING.Recording a composition using Logic Pro8.

This final mix was tested for any clipping and the levels made safe. A final bounce was made and the result burned to an audio CD at 44.1KHz with a resolution of 16 bits as per CD standards.

Summary and Conclusion.The end result was of a bass heavy Dubstep-like track with emphasized analog synthesizer elements from the Dave Smith Mopho. Many problems were encountered with the hardware in the studio. The technician was on stand-by so the problems were resolved with a minimum of fuss. Problems with peaking were remedied through careful monitoring of levels. E.Hattat is a competent user of Logic and using our combined skills in the process of putting together a piece using Logic Pro was an interesting and rewarding one. The fact that it is now possible to manipulate audio in such a way as to be non destructive makes the task of creating a musical piece a lot easier. All in all it was an interesting creative experience in which all members of the group worked well.

References.

BURAKA SOM SISTEMA, KASEMBLA WEGUE WEGUE. FabricLive 42, Freq-Nasty, FabricWorldWide, 2009, B001BDZI9S.EMIRCAAN HATTAT, RISE AGAIN, HAZEL EP. Istanbul Records, 2011, IR005.

S.Scutt ID:100111594