Grants Work Recording 2

For the bass we used 2 tracks to record, one recording the bass through the Amplifier with the Audix D6, and the other to record the bass with a DI box. The reason why we used both is because as well as the clean quality of the DI box, we wanted to capture the warm acoustics of the bass. The is diagram of how it was done. 

A D.I. box connects line level output signals to microphone level input, through a XLR cable and does this through connecting a jack cable to the bass guitar. The D.I. box then transforms this line level signal into a microphone level output. It then sends it to the floor box, which goes straight into the mixer. This output comes through an XLR output. There is also an XLR input, which is used to connect the Bass and D.I. box to the amplifier, through an XLR to Jack cable. The D.I. box requires an external power source which must contain 48 volts.

When it came to the mixing desk to record the bass, we connected them to a separate track each. For example DI box in channel 1 and the Audix D6 in channel 2. Then we balanced the levels between the 2, to get the cleanliness of the bass coming from the DI box and then the warmness from the amp.These where simultaneously recorded. 

When it came to drums we used:

Rhode NT5 x2 in the XY stereo set up (Overheads)

SM57 (Snare)

Audix D6 (Kick drum)

When the drums where recorded, 4 tracks were made. It was one track per mic. We had to turn the channels into mono rather than stereo so we could arm the tracks and record at the same time. The mics were set up the same way before. The SM57 holstered close to the snare and because it is a dynamic mic, it can take more louder because it isn't as sensitive as a condenser mic. The Audix D6 was shallowly placed within the Kick drum. This mic was used for the bass drum because it is recommended for lower frequencies which is was the kick drum produces. The overheads where placed above the kit. They weren't placed to the kit because they are condensers and are more sensitive than dynamic mics. These mics also require a (48V) power supply. The overheads where there to pick up mainly the crash, ride and toms. But instead of putting on them on separate mic stands, we used the XY mic formation. This technique will give a balanced signal that the over heads will receive. 

Originally the piano was supposed be the first to be recorded but because of player issues, I had to record drums first to set the tempo, rhythm and feel. The piano was then recorded after the drums were done. What we used to record the piano was 2 rode NT5's. 1 was placed at the higher end of the piano, and the other at the lower. The reason why we never changed the type of mic when it came to the lower end of the piano, is because the lower end of the piano is quite high in frequency. Also the sensitivity you can use and play on a piano will be caught by the condenser mics because they are sensitive picking up delicate sounds. Knowing this, the NT5's were high suited to record the piano. After setting up the mics and connecting them to mixer, we changed them to mono so we record both of them simultaneously. After that, the piano was recorded to playing of the drums that were recorded earlier. 

The Mics/Equipment we used (RODE NT5, AUDIX D6, SM57, DI BOX)