Tom Delonge Leather Jacket The Adventure

Monitoring (Revenge of the modes)

We talked about some features of the monitoring strip above. Now I will refer to the location.

Position:
nearfield monitors tend to use quite attached (each other). At least the woofers, so that fit well together and give me more serious.
nearfields If I use 2-woofers, separate them so that the distance between the woofer and a woofer on the other is the same as between the woofers of the same monitor.

If I'm at about 90 cm of them not strongly inclined toward my ears and rather leave rights (both in the same plane). That favors the coupling of the woofers.
The little separation, I'm bit stereo, which I "force" to be a little more extreme with my pannings.
The height of the monitors has to do with the model. Usually in the 2-way, the acoustic center is somewhere between the woofer and tweeter. In the three-way, generally coincides with the media. That point (the acoustic center) should be at ear level, or directed toward him.

The location within the room is also important because the monitor interacts with it. Here are the two major bands:

a) The acute. They behave like light rays are reflected by hard surfaces and flat control. Their study can be assessed visually with the aid of a mirror. For example, if we sit in the mix position and walk by a mirror reflective surfaces relevant (console, ceiling, side walls) should not look at the tweeter monitor through it, because that implies that the tweeter is "seeing" our ear by two different paths (the direct and reflected by the surface). Solutions to this problem is the repositioning of the monitor, or the deflection reflective panels (one panel is positioned to divert the discussion to another place) or the extreme absorption panels also.
For the console or control surface, no choice but to raise the monitor or run backwards, as the inches necessary for us to stop seeing them.

b) Serious:
is a complicated issue because it is less intuitive to see (unlike the treble).
Consider the ideal position would be stamped on the front wall. That way we would avoid the destructive interaction of all the sound bounces occur when the speaker is a few inches of the wall.
The problem (apart from the frequency response of the monitor) is that the bass is "quite large" (their wavelengths are of the magnitude of the room where they are or much more) and their interaction with it becomes much more complicated.
The reflections of these low frequencies are everywhere (front wall, ceiling, floor, bottom, side) and the result of "as heard" in the mix position is dependent on the location of the monitor for each these surfaces.
On one side is the constructive and destructive interference (cancellations and reinforcements by subtraction and addition of phases) and on the other side is the activation
nodal points in the room. The nodal points are locations within a room, in which the excitation of a resonance mode, results in a growth of about 6 dB. Ideally, the monitors should be placed in more neutral venues where industry will be placed. Already knowing
that this "little matter" of the response function of the position, what we want is a monitor that sounds different from the other, thus, the axial symmetry (ie, monitors at the same distance central axis Room) is an indisputable requirement.

is clear that we are limited by physical space available in the control, the inclination of the console and the dimensions of control, in which I also I have a privileged position in respect of the modes (another chapter!), So finally ends made a commitment of all these items to determine the optimum position. Find
ESA position taking into account all these factors as crucial, is the real challenge of designing a study monitoring.

The next I'll talk about the best recording I did so far. An album that even came not from an Argentine group (202) I imagine, is going to have to talk in many respects.

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Assistant

Assistants:
I think the period of assistant engineer in a studio is the biggest opportunity is to learn, someone who wants to reach the recording engineer.
In principle, it sees other engineers and resolve situations in several different ways and analyze what is the best way to solve the same problem when I touch it.
During my assistant saw different miking techniques, different ways to begin a mix, different ways of raising an arrangement, an idea, I mourn artists, enjoy, angry ... I saw everything. Spend lots of time in the study. And I learned to know how to handle things in there. Not only a technical level.
In short, I saw things I can teach you nowhere because there is no physical time for this to happen.
An assistant must be working attitude.
A good assistant is always a couple of steps ahead of the engineer.
If you are recording, and has prepared a couple of choices of microphones, with his foot and cable, with lines and reaching a proven track recorder, so that the session be as fast as possible for the engineer in charge . Mr.
If you then decide to change or mic preamp is another matter, but over time, one as an assistant learns to guess what you will want the engineer on duty.
If you are mixing, in addition to carrying the tracking of the session to make a recall when necessary, check the tape returns (or DAW), the calibration input to AD converters, calibration of tapes, etc.
In the case of knowing the engineer, prepare the room for their "personal interests" (Mark and position of monitors, pre patching FX etc)

Never relinquish control unless directed by the Engineer (nothing worse than assistant to be calling all the time).

A good assistant takes note of everything. By doubt and to learn.

An assistant should be well paid. The studio owners long ago adopted the methodology of the "eternal internship" as having as much demand, take advantage of the situation somewhat. Do not see that the assistant is solely responsible when at 3 am no one more than he to answer for any problem in the study.
The large majority of engineers have been attending before. And for a long time.
The normal period for an assistant in a studio engineer reached as follows:

a) Top: 1 year as assistant to the assistant (known as Tea Boy who prepares coffee, going to buy things for the session etc). Anyone who teaches is the assistant principal.
b) Intermediate: 3 years as assistant principal. One of the best times in training.
c) Almost finished: a year of nightly recording engineer (or more shifts foregone). After this period it is certain and experience to face any kind of technical, social and artistic with an acceptable level for the customer.
d) Final: Recording Engineer and Technical Studio manager (which is responsible for overseeing the proper functioning of the technical part of the study - not the one who fixes computers, but who knows how it should be all-and see what can improved for the study is technically optimal). Bob Clearmountain Sweid and Bruce are examples.

Unfortunately, studios are disappearing by the arrival of private study, together with low budgets of companies. So
real option disappears to form and feed on the experiences of other engineers and to see situations, musicians, instruments, different styles, all marching every day for the study.

personal study will not ever replace the experience that gives a professional studio. Audio
A school will not ever be able to give you the variety of experiences that gives you a study. (I'm not saying do not study, but at school you got the technical training only)
If you have the opportunity to be working or start one of the survivors .... do not waste it!

How Many Calories Are In One Sugar Cookie

Yamaha Studio Monitoring Study Fan

Yamaha Fan Originally uploaded by
edubergallo .

A picture to illustrate the Monitor Audio Post

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differentiate the two functions of a studio monitor (nearfield or not)
1) Record
2) Mix

To Record, you need to know (hear) exactly what that is being put on tape / hard Disk. Then we have to monitor with the same capacity as the media has to keep that information.
This implies that responds well to monitor the entire spectrum (lo, mid and hi).
I have to listen carefully to any defects of the instruments (Rope "air" of bass and guitar, bass resonances toms, bass resonance of the room, acute vibration 'yard "of the battery, buzzer and other electromagnetic noise.
When I record a bass player for example, need to hear and He heard loud and so low that click with the right intensity and in the right place. It is very difficult to touch a low listening through a speaker 6 ".
On the other hand, serious monitoring I can see clearly beat frequencies between the bass and a guitar or between a low and a tom stand or between a piano and a guitar.

In addition to the mix are interested in other factors, for example, the final color the mixture will be in principle, inversely proportional to the "color" of the monitor.
is, if the monitor is medioso, my mix will most likely be ok with little means?
reasoning is simple, but true, as one of eq decisions based on what he hears.
The same goes for the other two bands (bass and treble).
As personal experience, I really like the monitors that sound "nice" because the mixture out of the studio is not so "cute" actually.
From there the success of Yamaha NS-10, you could say you hear a lot "worse" than a Genelec 1031.
also happens that for mixing rock and pop, where there is often a burden major media, the "defect" of the Yamaha acts as a magnifier of what happens there (distorted guitars, vocals, drums, plates, keyboards) and is easier to put everything in place.


have 4 tracks to try:
1) Position of the monitors in the control (distance to the back wall, separation, angle, height, horizontal or vertical location, sausages or pedestal)
2) inside the control Acustica
3) type monitors (nr of vias, assets, time aligned, with speakers with ribbon tweeters etc)
4) behind the monitoring Amplifiers