Sound recording

UNIT 25: SOUND RECORDING

Unit 25: Sound Recording Level: 3 Unit type: Internal Guided learning hours: 60

Unit in brief Learners will explore the theory and practice of sound recording, both in interior and exterior environments, and record their own examples of soundtracks for identified purposes.

Unit introduction The importance of recorded sound for media products is central to the complete understanding of the content. Sound, in the form of dialogue, creates mood, emphasis, tone and focuses the audience’s attention on the action. Clarity and quality is vital for sound in all its applications.

In this unit, you will be introduced to theoretical concepts of sound recording, equipment used and the techniques to use it. You will look into recording challenges in interior and exterior locations and you will demonstrate your understanding by recording sound for a variety of purposes and set outcomes.

Sound recording is a fascinating and useful skill that will give you a solid foundation for employment in a number of media fields, radio, television, music recording, website audio and sound for computer games. The techniques you develop in this unit could be the skills that you choose to develop in higher education.

Learning aims In this unit you will: A Understand sound-recording equipment, techniques and technology B Produce a portfolio of sound recordings that shows the effects of location and acoustics on recorded sound C Produce recorded unedited sound in different acoustic settings.

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UNIT 25: SOUND RECORDING

Summary of unit Learning aim

Key content areas

A

A1 Signal paths and levels,

Understand soundrecording equipment, techniques and technology

Recommended assessment approach

audio file formats

A2 Microphone types,

accessories, mount, applications, placement

A3 Sound recorders,

A report on sound-recording equipment, techniques and technologies (either written or audio visual).

connectors and connecting procedures

B

Produce a portfolio of sound recordings that shows the effects of location and acoustics on recorded sound

B1 Principles of sound B2 Interior location acoustics and considerations when recording sound

B3 Exterior location acoustics and considerations when recording sound

C

Produce recorded unedited sound in different acoustic settings

A portfolio of recordings demonstrating specific characteristics of recording different sounds in both interior and exterior locations.

To be recorded and accompanied by either a voicerecorded commentary or a written report, providing evidence of learners’ factual knowledge of what they have undertaken practically.

C1 Plan a sound recording event for a specified purpose

C2 Set up sound-recording equipment

C3 Record sound for a

Documentation showing preparation for sound recording.

specified purpose

C4 Log recorded sound

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UNIT 25: SOUND RECORDING

Content Learning aim A: Understand sound-recording equipment, techniques and technology A1 Signal paths and levels, audio-file formats

• Audio signal paths, analogue, digital: o recording – sound, microphone (analogue), audio lead, recorder input, record

pre-amplifier, analogue to digital convertor (ADC), recording medium (disc, SD card, hard disk drive (HDD)

o replay – recording medium (disc, SD card, hard drive (HDD)), digital to analogue convertor (DAC), replay pre-amplifier, power/headphone amplifier, loudspeaker/headphones, sound.

• Sound levels: o replay levels – according to power of amplifier, taste and environment, decibels (db) o recording levels – sounds recorded at levels relative to each other, maximum record level, distortion, full coding, 0db, optimum record levels.

• Sound file formats and their applications in recording sound: o audio coding formats and audio codecs, METADATA o uncompressed file formats, broadcast wave format (BWF or BWav), PC standard,

WAV, MAC standard, audio interchange file format (AIFF), AU, pulse-code modulation (PCM), compact disc digital audio (CDDA)

o compressed lossless file formats – ATRAC (advanced lossless), Apple.m4a, MPEG-4, windows media lossless (WMA)

o compressed lossy file formats – MP3, vorbis, ATRAC lossy, Windows (WMA) lossy.

• Mono and stereo recording and replay: o recording a mono sound signal o recording a stereo sound signal, sound stage, coincident crossed-pair microphones o replaying a mono sound recording o replaying a stereo sound recording.

A2 Microphone types, accessories, mounts, applications, placement

• Microphone types – mono: o construction – capacitor, condenser, RF condenser, electret condenser o dynamic, ribbon etc. design – polar response, omnidirectional,

unidirectional, bidirectional, cardioid, hyper cardiod, (shotgun and parabolic), piezoelectric boundary (PZM), noise-cancelling.

• Microphone types – stereo, radio microphones, dual encapsulation.

• Microphone accessories: o mounts, floor stands, table stands, hand-held, camera mounted, lavalier, set mounted, boom/dolly mounted, windshields.

• Microphone use and acoustics: o vocals, speech, commentary, music, sound effects, ambient sounds o interior, exterior, reverberation (echo), crowds.

• Microphone applications in live recording: o vocal/voice, dialogue, commentary, lip-sync for film/television, spot sound effects, ambient sound effects.

• Microphone placement for recording: o distance from source of sound, bass tip-up/proximity effect, inverse square law.

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A3 Sound recorders, connectors and connecting procedures

• Sound recorders (professional edition): o portable/battery operated, studio/mains operated applications – field/location

recording, studio recording, interiors/exteriors, custom recorders, recording software for computers.

• Recording level measurement: o volume unit meter (VU), peak programme meter (PPM), peak signal level, tone, pitch, 0db.

• Sound signal levels: o terms used by recording engineers, low, medium, high impedance (ohms), input, output, line level, millivolts, monitoring using headphones, matching inputs to outputs.

• Frequency response curves: o microphones, inputs/outputs of recorders, Hertz, phase, pitch.

• Sourcing recording equipment, selecting, misuse of equipment.

• Connectors and cables – standard/mini mono/stereo mini jack male/female plug/socket XLR 3 pin male/female plug/socket connectors, RCA/phono male/female plug/socket.

• Connecting procedures for sound equipment for recording – recording in mono/stereo, monitoring sound recording levels, (on) headphones, loudspeakers, (feedback) basic mono, basic stereo, 3.1, 5.1, 7.1.

Learning aim B: Produce a portfolio of sound recordings that shows the effects of location and acoustics on recorded sound B1 Principles of sound

• Speed of sound: o Doppler effect, sound radiation, behaviour of sound at different altitudes.

• Sound frequency, octaves, harmonics: o transmission of sound through various mediums, walls, glass, water, air.

• Reflection, refraction and absorption of sound waves: o reflection from hard surfaces, reverberation, echo o refraction in water o absorption into soft furnishings and people.

B2 Interior location acoustics and considerations when recording sound

• Spaces with soft furnishings – houses, living rooms, lounges: o sound insulation, absorption, properties, curtains, carpets, audience-filled auditoria, recording/radio studios.

• Spaces without furnishings – bathrooms, classrooms, halls, churches: o decay times of different spaces.

• Mechanical noise, pipework, fridges, freezers, boilers, creaking doors.

B3 Exterior location acoustics and considerations when recording sound

• Urban: o traffic noise, crowd noise in shopping centres, weather, use of windshields o intrusive noise from bystanders, crowd control o eliminating background noise, hyper directional gun microphones.

• Rural: o ambient countryside sounds, weather, use of windshields o unwanted sounds, aircraft, sirens, electricity pylons, distant traffic noise.

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Learning aim C: Produce recorded unedited sound in different acoustic settings C1 Plan a sound recording event for a specified purpose

• Purpose of recording (topic, programme), identifying contributor/sound to be recorded,

identifying location of recording, contact documentation, pre-recording documentation, list of sounds, questions to be asked, script to be recorded, permissions and clearances, stereo or mono, selection and sourcing of equipment, costing of hires, selection of recording format.

C2 Set up sound recording equipment

• Positioning of recorder, placement of microphone(s) with respect to sound source,

ensuring contributor(s) is relaxed and ready to be recorded, conducting pre-recording test, ensuring batteries are fully charged and cables are safe (health and safety), recording, monitoring sound record levels using meter/bar graph, checking sound quality with respect to intrusive background noise using headphones.

C3 Record sound for a specified purpose

• Conduct recording, check recording(s) on replay for level and quality, rerecord if necessary, log recordings, ensure sufficient material has been recorded, thank contributor(s) if appropriate, return to base room.

C4 Log recorded sound

• Set up replay facility either on recording device or by transferring the sound file to a

computer sound application, check sound log is accurate, review recordings for quality and level, select which takes will be used in final programme.

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Assessment criteria Pass

Merit

Distinction

Learning aim A: Understand sound-recording equipment, techniques and technology A.P1 Explain signal paths, audio levels and audio file formats used in digital sound recording.

A.P2 Explain the types of microphones and operation of sound recorders.

A.M1 Analyse microphone equipment and techniques used in the recording of sound for a specified setting.

A.D1

Evaluate types and uses of microphones used for two settings with different acoustics, using detailed examples and clear use of terminology.

B.D2

Evaluate the effects of frequency, pitch, reflection and absorption on the nature of sound recordings in interior and exterior locations, using detailed recorded examples and clear use of terminology.

C.D3

Refine the set-up of the recording equipment, microphone placement and levels to produce accomplished sound recordings in both interior and exterior settings.

Learning aim B: Produce a portfolio of sound recordings that shows the effects of location and acoustics on recorded sound B.P3 Investigate the impact of speed, frequency and refraction on sound.

B.P4 Carry out sound recordings in interior and exterior locations to record the impact of changes in acoustics.

B.M2 Carry out sound recordings and explore the impact of changes in location and acoustics on the recording of sound in interior and exterior locations.

Learning aim C: Produce recorded unedited sound in different acoustic settings C.P5 Plan appropriately for an exterior and an interior sound recording.

C.M3 Plan effectively for an interior and exterior sound recording.

C.P6 Carry out production tasks to record audio competently in an interior and an exterior setting.

C.M4 Carry out production tasks to record clear audio in an interior and an exterior setting, selecting effective equipment.

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Essential information for assignments The recommended structure of assessment is shown in the unit summary along with suitable forms of evidence. Section 6 gives information on setting assignments and there is further information on our website.

There is a maximum number of three summative assignments for this unit. The relationship of the learning aims and criteria is: Learning aim: A (A.P1, A.P2, A.M1, A.D1) Learning aim: B (B.P3, B.P4, B.M2, B.D2) Learning aim: C (C.P5, C.P6, C.M3, C.M4, C.D3)

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Further information for teachers and assessors Resource requirements For this unit, learners must have access to:

• portable and fixed sound recorders capable of recording to industry standard file formats WAV/AIFF, not MP3 format

• a range of microphones – omnidirectional (for sound effects) and unidirectional (for speech), lavalier and hand-held construction

• recording media – SD card, flash drive.

Essential information for assessment decisions Learning aim A For distinction standard, learners will consider two different acoustic settings for sound recording, for example a church and a busy street, and provide detailed and accurate analysis of the microphone that would be best suited to use in that setting to achieve optimal sound recording quality. They will provide details of which accessories would be used by the sound recorder in setting up and using the equipment, and where specifically the microphone would be placed.

Their choices will be appropriate for the two different settings, and learners will provide detailed justifications for their selections, showing a clear understanding of different microphone types, by construction, application and polar response pattern. They might write, ‘The Shure SM58 is a workhorse microphone suitable for close vocal use. Its unidirectional response pattern, which minimises signal pickup from in front of the microphone, makes it ideally suitable for use on stage as a vocal mic.’ Learners will refer to specific pieces of equipment by type and brand, as in industry.

For merit standard, learners will analyse the advantages of using a particular type of microphone, accessories and set up for the given setting. They will choose effectively and provide justification for this, demonstrating knowledge and understanding of the technical and operational aspects of the microphone, accessories and set up which make it suited for use in that setting. Learners will explain microphone types in terms of construction, particular uses, type and polar response, referring to them as in industry, by their brand and type number, for example an AKG C1000 is a omnidirectional, studio condenser microphone suitable for capturing acoustic instruments like classical guitar when mounted on a boom stand below and pointing at the sound hole, whereas a bass drum is best recorded using an AKG D12 or similar of more rugged construction.

For pass standard, learners will explain a signal path through a recording device from microphone to recording medium, and from recording medium to loudspeaker. They will use accurate terms and show an understanding of the need for an analogue signal to be converted to a digital signal in order to make its journey to the recording medium, and from the recording medium to the loudspeaker or headphone. They will mention the need to control audio levels within recognised parameters and will explain the difference between analogue and digital audio recordings with respect to the intrusion of distortion. Learners will explain audio file formats with reference to professional uncompressed formats, for example WAV and AIFF, and the consumer MP3 and other similar formats unsuitable for making professional recordings. They will also explain types of microphone in terms of their construction (capacitor, condenser, dynamic), use (for vocals, speech, commentary, music, sound effects, ambient sounds), polar response (unidirectional, omnidirectional, bidirectional, cardioid, hypercardioid), and brand/model (Shure SM58, AKG C1000, Beyer 201, etc.). Learners will explain the main file formats used in both professional and consumer sound recording (WAV, AIFF, MP3), with reference to the need to keep recording levels within specific parameters when recording in order not to oversaturate the recording medium. They will refer to the decibel as the unit of sound measurement and the way in which record level meters and bar displays must be monitored to maintain optimum sound record levels. Recording devices will also be explained with reference to the need to use external microphones and there will a distinction drawn between portable freestanding devices (often hand-held) and computer-based recording software and purpose built fixed recorders found in studios.

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UNIT 25: SOUND RECORDING

Learning aim B For distinction standard, learners will produce a clear and unambiguous definition of the terms frequency and pitch and clarify the differences between reflection and refraction. They might write to accompany their recordings, ‘The frequency of a sound is measured in Hertz (cycles per second).

An example of high frequency sound is a woman’s voice whereas a man’s will often be lower in frequency. Pitch in music refers to the key and is stated also in Hertz. Sound originates from a particular source and travels in ripples like the effect of throwing a pebble into a pool of water.

If a sound hits a hard solid surface it is reflected back and causes an echo of the original sound but travelling back towards the source, whereas if a sound hits a soft surface like a fabric or an upholstered chair or sofa it is absorbed and does not muddy the clarity of the original sound.

Recording studio walls are acoustically insulated so that sound is not reflected but absorbed, allowing the sound quality to remain high.’ Learners will provide detailed explanation of the nature of a range of the interior and exterior recordings produced to demonstrate the effect that the chosen environment has on the particular recording. It is better to use the same sound, for example a passage of prose or an exchange between two voice actors (one male, one female) to exemplify the advantages, disadvantages and effects of acoustic situations on the sounds generated. Learners will also examine the effects of intrusive sounds present in the chosen environment. Their results will be presented as a notated portfolio of recordings.

For merit standard, learners will analyse the terms frequency, pitch, reflection and absorption, providing examples of each, and the context in which they will affect sound. They will apply these terms to interior and exterior recording locations and to examples of sound having been recorded in both locations; their commentary will be appropriate but not necessarily detailed. Their evidence will be in the form of a portfolio of recordings with appropriate commentary, either written or recorded, as audio or audio visual.

For pass standard, learners will explain the terms frequency, pitch reflection and absorption as well as the effect of interior and exterior locations on recorded sound. Their portfolio of recordings will demonstrate basic differences in the nature of interior and exterior acoustics. Their selection of locations will be standard live interior and ambient exterior and the recording will be perhaps a single voice reading dialogue.

Learning aim C For distinction standard, learners will comprehensively plan two different sound recordings, submitting as evidence appropriate pre-production documentation, prior to recording, that includes equipment lists with justifications of the type of microphone and their placement, question scripts in the case of voice recordings, explanation of how ambient background noise will feature in the recording and how sound balance will be managed when recording with a single mono microphone.

All planning will be done prior to the recordings being made. Their recordings will each be of high quality with appropriately balanced background ambience, whether interior or exterior. Sound quality in each case will be clear and there will be no discernible errors or lessening of clarity.

Recorded levels will be within the −6db to full coding level (0), with no clipping or distortion.

For merit standard, learners will plan effectively for sound recordings, demonstrated through appropriate equipment lists and some justification of choice of microphone and explanation of the issues that will be considered during recording. Their recordings will be of a good quality, for example they will clear, with few errors or unwanted background sounds and fit for purpose.

Learners’ recordings will be, in the main, within the −6db to 0 coding levels, with occasional excursions outside these norms. Background ambience will, for the most part, be at a manageable and expected level with occasional errors of level.

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For pass standard, learners will plan appropriately for the recordings, including equipment lists and identification of location and appropriate microphone, but not necessarily justifying their choice. There may be little indication of how ambient noise will be handled. Overall they will plan sufficiently to enable the production of two sound recordings. Sound quality in the recordings will be acceptable in terms of being clear enough to understand and recognise the nature of the recording, but record levels may be erratic and sometimes lower and/or higher than the −6db to full coding 0 level required, with occasional errors, omissions and unwanted noise or sounds present. Background ambience may be over imposing or not present when expected.

Links to other units This unit links to:

• Unit 11: Radio Production – Fiction • Unit 24: Sound Editing • Unit 39: Sound Mixing.

Employer involvement Centres may involve employers in the delivery of this unit if there are local opportunities.

This unit would benefit from employer involvement in the form of:

• guest speakers • opportunities to visit suitable businesses.

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