B&W audio introduction (CIU212)
- Roy Fry
- Apr 13, 2020
- 6 min read
Updated: Apr 14, 2020
B&W Audio
For this assessment, Phil and l teamed up to create Funk music as our main project. We are also doing an outsourcing project for an animation team, which we will be creating all the audio production. Unfortunately, both projects will probably be completed at home, due to the new isolation laws being enforced in response to COVID-19, so access to other equipment or studio resources may be limited. (Maybe l should rename the project to Isolation Studios), but this allows me with an exciting challenge. I can now only utilise the equipment that l have at home to create from and complete the project. That's exciting.
Main Project
For the main project, we decided to explore how we can create original songs by using Funk grooves of the '70s and with today's production techniques to inspire our own interpretation. I personally have no idea how it's going to turn out or if the 5 songs we create will turn out OK. I really don't know. It was suggested in our week 6 presentation that we are probably being way too ambitious. However, I'm up for the challenge and I really want to give it ago.
Research for the guitar so far
Other areas I'm also exploring, how they created the funk sounds and the instrumentation that they used to use to create that sonic legacy. The techniques they used on the guitar and bass guitar, but most of all, how do l incorporate it into the way that l play my instruments. It's pretty exciting to explore the unknown and see what I learn and manipulate to create from it.
Since I've been reading different websites, I'm starting to get a good understanding of what the basic equipment a funk guitarist would use to replicate the classic funk sounds of the 70s, which they still use to this date. Being able to duplicate the aesthetics of the genre that has made it so iconic to this day, is what has kept the genre and sub-genres alive.
This is the equipment l will use to create the funk songs with.
The amplifier I will be using is a Laney series LX65R Extreme with its stock Celestion speaker. This practice amplifier is small and it should help produce the sonic Funk sounds. The reason why the practice amplifier is going to work is because of the 4KHz to 5KHz frequencies. These frequencies will be more prevalent in the sonic field and create a clean tight high sound that is needed for the funk sound and it doesn't hurt to have a Celestion Seventy80.
This 12-inch Celestion speaker has all the frequencies covered to create a great funk sound. It has a good high frequency with a nice low and middle response. The diagram below shows that the speaker frequencies output is higher around the 4KHz - 5Khz.
Standard Funk amplifier setting that funk guitarists use to get the sound.
This is a rough basic diagram to the right, on how to set up your guitar amplifier to get a funk sound, by scooping out the mid frequencies to create the funk guitar sound.
Basically, all amplifiers are relevantly the same with their frequency ranges, but I may need to tweak it a little to get the sound I'm after.
Basic Funk foot pedals set up.
The basic pedal setup for a funk guitarist is:
A compressor to help bring out the rhythm high frequencies.
A phaser for aesthetic feel and color.
The wah-wah pedal is just to be cool and get the classic funk rhythm vibe by changing aesthetic tones.
Some bands add a variety of different pedals to create different textures to create their own aesthetic feel. I may add other pedals if need like a distortion pedal.
The Guitar I will be using mainly.
An Eric Clapton Stratocaster - A late 1980's Blackie.
The guitar is equipped with 3 classic Fender lace sensor pickups and a 5-way toggle switch, This Stratocaster is stock and has never had any modification done to the electronics, I want to use all stock standard equipment as much as possible.
How will I record the Guitar?
I will record the guitar using the Laney LX65R Extreme amplifier with a Shure SM57 placed at the centre of the cone.
The Shure SM57 is a good quality microphone that has been designed to be used for mainly snare drums, guitar amplifiers, and bass guitar amplifiers. Looking at the manufacture's frequency response graph below, the microphone should give an accurate representation of the speaker's sound.
Amplifier semi partition baffle.
If l find that l am getting too much room noise (as the room hasn't been acoustically treated), I will some soft material guitar case to construction a temporary baffle, to help cut down on the sonic reflections.
Fender Musicmaster Bass Guitar (1973)
Unfortunately, I bought the bass guitar second hand and it had already had some modifications done to it, which is a real shame.
I don't have a bass amplifier, so I will be plugging the bass guitar straight into the DI-Box.
Frequency Matters
Frequency responses between the instruments can make a huge difference when it comes to mixing the songs later on. For the project songs to sound professional l will use some basic frequency charts and apply what l learn into the songs.
For the moment I will use the frequency charts to the right. These 2 frequency charts will allow me to evaluate the differences between the guitar and bass guitar sonic value in relevance to string and fret position.
I will continue to search online for better individual charts to gain more understanding of the sonic value of strings and frets frequencies.
Vocal Microphone
For the vocal microphone, I will be using a Rode NT1, as l have a limited selection of microphone choices. It's on the cheap end of the Rode's condenser microphone tree, but according to the chart below it has a reasonable mid-range response.
To stop the majority of reflective surfaces when recording the vocals, l will construct create a makeshift partition baffle by using storage cube shape boxes constructed in bamboo and wire that slide into the storage unit. I'm hoping this idea will create a non-reflective surface and take care of a lot of the reflections. I will use a towel or two to create as much of a dead buffer zone, to stop the vocals reflecting back into the microphone. I don't know how good it will work so l might have to grab more towels.
The signal flow to capture the vocal into the DAW.
The signal will go from a RODE'S NT1 microphone straight into a
1 DI Box - (to the left)
2 Preamp - (Below)
3 Compressor - (Below)
4 The interface is a Focusrite Scarlett 18i20 and then into the ProTools DAW.
Discovering the unknown genre for personal growth.
Learning about different funk sub-genres and see the influence they have had on the mainstream music industry. I really didn't know that there are so many sub-genres of funk music. For example, l didn't know that the Red Hot Chili Pepper's first album was the start of Funk Metal and then there is, Faith No More with their album Epic. I find this sub-genre more to my tastes and will explore it even further of inspiration.
More Funk Lessons
On the other side of the coin when working on projects. l have only just started to learn how creative Phil is and the skills he has as a musician. So l have asked Phil to start sending me his influences of funk artists, as it would be great to learn more about his musical tastes. Lucky for me, Phil has already started sending through the YouTube clips. This gives me a huge opportunity to study and learn who Phil is inspired by and what part of the funk musical tree has influenced his musicianship.
Outsource Project
During the first week when Phil and l were talking about what to do for the main project, we also decided to get involved with a couple of animation students who were thinking about creating an environmental short film, that needed some audio work put together over it. They needed foley's, sound design and samples. They have named their project 'Coroda' and it's going to have a socially conscious message about how a single empty bottle of Corona finds its way into a collection of thousands of empty Corona bottles drifting slowly together in the ocean. There is going to be a lot of work in, not only sourcing but to create the right audio sounds track for this project, to give the short film the right aesthetics feel to it.
References
Boden, J. (2018, May 14). Pedal Power: Using Effects Pedals For Each Genre. Retrieved April 9, 2020, from https://azmusicpro.com/news/2018/5/14/pedal-power-using-effects-pedals-for-each-genre
Frequency Spectrum. (n.d.). Retrieved April 9, 2020, from http://www.bass-guitar-info.com/FrequencySpectrum.html
Unregistered. (1969, December 31). The Audible Frequency Range And Describing Tone. Retrieved April 8, 2020, from https://www.ultimate-guitar.com/articles/features/the_audible_frequency_range_and_describing_tone-41874
Hoyle, J. (2019, August 2). Settings for Fender Hot Rod Deluxe and DeVille amplifiers. Retrieved April 6, 2020, from https://fatsound.wordpress.com/2011/10/23/settings-for-fender-hot-rod-deluxe-and-deville-amplifiers/
Celestion. (n.d.). Seventy 80. Retrieved April 7, 2020, from https://celestion.com/product/22/seventy_80/
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