MEDIO SOCIOECONÓMICO

Do not waste time by recording something that you do not want. The traditional method of running a recording session is still the most reliable. This model includes a performer, an engineer, and a producer. The performer should not have to worry about the technology involved with the recording session, because when there is a problem, the performer shouldn’t be distracted. The engineer is the one who takes care of the technical issues and makes sure that everything runs smoothly. The engineer can listen for noise, clicks, and pops, and other technical things. The engineer also sets levels properly and pushes the record button. Other tasks, such as fi le management and setup, fall under the engineer’s respon- sibilities as well. The producer should be able to focus on the end goals. Are the recordings consistent enough from one to another? Is the performance achieving the established goal? The producer is often the primary note taker. One of the most important jobs of the producer is to keep the session focused and on task.

Wouldn’t it be great if in your sampling recording session, you could afford to have a performer, engineer, and pro- ducer? In some cases, you might think it worthwhile to have each of these complementary roles fi lled by different indi- viduals, but often you will fi ll all three roles yourself simul- taneously. In this case, it is ideal if you can consciously switch between them. Be the engineer as the session is set up. Once the recording starts, switch to the performer and focus on getting the performance you need. When you listen back to the recording, listen like a producer would. If there are tech- nical problems, then switch to the role of engineer. If you

Recording the First Sample

make an effort to think in these roles, you will be able to multitask appropriately and create an effi cient working envi- ronment. The more you do this, the easier it will become.

4.5 Tidying up

Once the recording is fi nished, there are a few things to do before the session is offi cially over. Besides the appropriate equipment cleanup, there are also a few other tasks that will help as you prepare either for another session or for editing the recordings.

One of the most important cleanup tasks is backing up all the recordings. This is easiest to do with a computer-based system but is always possible with modern hardware samplers. For the specifi cs on the hardware samplers, you should check each sampler’s individual manual. Typically this involves copying the fi les to another location so that two or more instances of the fi les exist. This can be a copy on another hard drive or on a CD-R/DVD-R. When using optical media such as a CD-R or DVD-R, never assume that all are equal. Not only should you buy high-quality blank media, but you should also verify that the burning process was successful. Some hardware samplers allow you to make a backup of your data using MIDI dumps or dumps to a SCSI drive. Either way, these techniques are antiquated and can be a very slow process. However, it is still completely worthwhile to preserve your hard work.

Another thing you need to do after the recording is fi nished is update all session notes and double-check your fi le names and notations. Take some special notes about the session if you plan to have another session to continue the recording you have been doing. Take note of any special circumstances that may need to be re-created later. You can also make note of any specifi c problems that occurred that might be avoided later. Bring a digital camera to take visual notes of session setup information and microphone/sound source place- ments. Measuring the distances involved with a tape measure

Audio Sampling

is also a good idea if you will have to set everything up again for a different session. It might also be useful to have ther- mometer and a moisture meter to keep track of the tempera- ture and humidity of the location. These factors can change the sound of the source drastically and should not be ignored. The primary goal is to document as much as possible and to account for every possible situation that may arise.

Once the recording phase is over, you will begin the meticu- lous instrument creation phase. Having detailed notes and reliable backups of all fi les is critical for successful project completion.

Audio fi les that are recorded need to be edited before they can be properly used in a sampler. While the basic focus of editing is splitting and trimming the audio fi les, it also includes other maintenance tasks, such as adjusting the volume, adjusting the pitch, adding effects, and putting the sample in the appropriate fi le format. Editing is also used to help compensate for poor performance and poor recordings. However, it is recommended that the performance and recording be as good as possible because it will help the editing phase be more effi cient. That said, today’s technology is continually fi nding new ways to “fi x” things after the recording has been completed. Those techniques will be covered here as well, because there are always factors that are out of your control and you will have to use the tools available to overcome any obstacles. In this chapter, the editing process is covered in detail through written explana- tion and through visual examples. While editing is not overly complex, it is crucial to the sampling process.

5.1 Editing styles

Let’s look at a few different editing styles. You should pick the style that best fi ts how you want to work. Also note that the editing styles are integrated with the recording process. Editing styles are split into the following general categories: 1. Independent editing style

2. Integrated editing style 3. Combination editing style

Audio Sampling