The recording studio - Recorder, computer, monitors

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Now let's give an outline of some more devices that are always present in a recording studio, giving a short description of each one.

11.8.1. The recorder

Recording can take place using different kinds of sound support systems, both analogue or digital. Here too, the choice between one system and another depends on various factors such as: budget, target, personal opinions. In this section we will use an analogue multi-track recorder (point H in the studio outline) as our reference [Analogue recorders ] seeing that much of the terminology used in recording has its origins in this kind of machinery which is simulated in its functions by digital recorders and Hard Disc Recording systems [Hard Disc Recording ] (in any case, the recording basics wouldn't vary from one recording system to another, what would change is only the support on which the sound information is memorized).

11.8.2. The computer

In a control room, a computer (point F in the studio outline) can have various roles. One of its main functions is to supply with synchronization reference [Synchronization ] . As well as this it can take the role of a sequencer and drive all the instruments and modules that have a MIDI interface [The Midi Protocol ] because it is in synchrony with all the other studio activities. Last but not least the computer can also have the function of a Hard Disc Recording system.

11.8.3. Monitors

Monitors are diffusers through which listening takes place in the control room. They are placed in front of the sound engineer's station and directed towards him/her. Their main characteristic is their almost entirely flat response, compared to home loudspeakers that tend to emphasize certain frequency zones and attenuate others in order to give more presence to the sound. This is fine for domestic listening purposes, but when it come to working in a studio, it is necessary to have equipment that gives the sound engineer as faithful a return as possible. This is why studio monitors return a harsher sound, but which in actual fact is a truer sound. The monitors placed in front of the engineer are called near-field monitors (point D in the studio outline) and are the monitors usually employed. Larger studios sometimes have another couple of monitors (point E in the studio outline), of larger dimensions and with a more extended response to low frequencies. These monitors are called far-field monitors and are usually used in the final stages of a mix to have a more precise perception of low frequencies.


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