Roland VS-CDRII Manuel d'utilisateur

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Multitrack Recording
Multitrack Mixdown
Common Connections
Balanced Connections
Unbalanced Connections
Microphones
Mic Pre-amps
Phantom Power
Basic Mic Technique
Bussing
Pre-fade and Post-fade
Correct Input Levels
Monitoring Effects
Effects Routing
Insert vs. Loop
The Compressor
Basics of EQ
Virtual Tracks
Bouncing Tracks
Track Management
Non-Linear Editing
Undo
Mastering
Backup
The Basics of
Modern
Recording
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Résumé du contenu

Page 1 - Recording

Multitrack RecordingMultitrack MixdownCommon ConnectionsBalanced ConnectionsUnbalanced ConnectionsMicrophonesMic Pre-ampsPhantom PowerBasic Mic Techni

Page 2

These microphones, also known as directional microphones, are perfect forpreventing leakage. Leakage is the undesired pickup of instruments other tha

Page 3

A pre-amp is a type of amplifier found on the input section of manyconsoles, or as a stand-alone piece of outboard gear. The main purpose of thepre-a

Page 4

The most important thing to understand about microphone technique is thatthere is no definitive right or wrong way to do anything. Mic’ing techniques

Page 5 - Common Connections

Getting good distant microphone placement takes experimentation. Generally,with a single microphone, the microphone is placed in the center of, forex

Page 6

Beginner recording enthusiasts are often confused by the concept of how thesignal being input to the mixer or recording device gets through the consol

Page 7

The concepts of pre-fade and post-fade are based upon fader control. Just astheir names imply, pre-fade relates to the audio signal before it reaches

Page 8 - Microphones

One key to great recording is starting with the right input levels. When youcook, you know that having the temperature too high or too low can eitherb

Page 9

Pre level and Post level In order to ensure that you are recording at a good level, it is important tounderstand how the meters on your mixer operate.

Page 10 - Microphones (continued)

Effects processing is the process of changing, augmenting or otherwisemodifying the audio signal. When an effect is applied to the audio signal it is

Page 11 - Digital Studio Workstation

There are two common types of effect routing that are used in audiorecording: insert and loop (or send and return). When you insert an effect,you are

Page 12 - Basic Microphone Technique

Audio recording has changed dramatically in recent years. Excellent digitalequipment with vast capabilities is now quite affordable. Technology has

Page 13 - Ambient microphones

A compressor is an effects processor that compresses the dynamic range of anysignal passing through it; basically, making the loud sounds softer and t

Page 14 - Stereo Bus

EQ—short for equalization—is the process of adjusting the amplitude(volume) of certain frequencies. The tone control of a car stereo, for example,is

Page 15 - Pre-fade and Post-fade

Types of EQEQs come in a variety of shapes and sizes, from stand-alone rack-mount unitsto the EQ controls built into a mixing console. Here are some

Page 16 - Getting Correct Input Levels

It is often necessary or desirable to combine the data of previously recordedtracks to a single track or a stereo pair of tracks in the same project -

Page 17 - Post-fade

What Are Virtual Tracks?In the “old days” most albums were recorded in studios with expensive taperecorders with lots of tracks. Often the artist need

Page 18 - Monitoring Effects

Recording background vocals with Virtual TracksRecord several takes of background vocals on different Virtual Tracks withinone playback track. When yo

Page 19 - Loop Effect

In a perfect multitrack recording environment, each instrument or vocal isrecorded onto a separate track, so that it can be given its own particular E

Page 20 - The Compressor

When stacking tracks, remember to use instruments that need little or noeffects processing or at least use similar types of processing, so that you do

Page 21 - Basics of EQ

In analog days, the only way to edit the audio on tape was to actually breakout the razor and cut and splice the tape itself–not exactly the most effi

Page 22 - Basics of EQ (continued)

In addition to start and end, some edits require additional edit points. Thesepoints are usually referred to as the From and To points. From and To po

Page 23 - Bouncing Tracks

The recording process, whether accomplished with a cassette recorder, digitalmulti-track recorder, hard disk recorder, or any other recording medium,

Page 24 - Virtual Tracks

.Many current hard disk recorders have a function known as Undo. Thisfunction allows you to cancel the last performed operation (usually this islimite

Page 25 - Virtual Tracks (continued)

“Why don’t my recordings sound as loud as the ones I buy in the store?” Thisquestion has been asked by the vast majority of recording enthusiastsstrug

Page 26 - Track Management

Having a single working copy of your platinum-selling breakthroughmasterpiece is never a good idea. Musicians are not immune to Mr. Murphy’slaw and it

Page 27 - Track Management (continued)

Now that we’ve discussed the recording process in general, let’s review thesteps involved in creating a multitrack recording.1. Connect your instrumen

Page 28 - Non-Linear Editing

33The Basics of Modern RecordingSummarySo, there you have it. A complete history of everything you need to knowabout the recording process. O.K, well,

Page 29 - Using From and To Points

The following section contains definitions for some terms that you will likelyencounter in the recording process. Aux Send / Return Normally refers to

Page 30 - Original Version

Equalizer (EQ) An electronic device that will amplify (boost) and/or attenu-ate (cut) certain portions of the audio frequency spectrum. There are many

Page 31 - Mastering

Microphone A device for converting sound waves into corresponding electrical signals. Microphones can be categorized in several ways: their sensitivit

Page 32 - A Roland VS-CDRII

Punch In A procedure in multi-track recording that is essentially an overdub, but instead of recording the new part on an adja-cent track to already r

Page 33

®ÂØÒňήRoland Corporation U.S., 5100 S. Eastern Avenue, Los Angeles, CA 90040-29362 3 6 0 U S© 1999 Roland CorporationAll rights reserved. No part of

Page 34

Multitrack MixdownThe purpose of the mixdown process is to reduce all of your recorded tracksdown to two tracks (stereo) or even one track (mono). Th

Page 35 - Glossary

InputsBefore you begin recording, you will need to connect your instrument ormicrophone to the input section on your recorder or mixer. You will proba

Page 36 - Glossary (continued)

When dealing with the various connections discussed in the previous section,there are two main issues to consider: impedance and balancing. Theseconc

Page 37

It’s helpful to note that balanced vs. unbalanced is usually, but not always,related to impedance. For example, XLR cables are almost always lowimped

Page 38

Generally speaking, there are two ways to get a signal into a mixing console,which makes it available to be re c o r ded onto your multitrack re c o r

Page 39 - 2 3 6 0 U S

sound. Therefore, they are very useful as the “workhorse” microphones foryour studio. Try them on drums, background vocals, guitar and bass amps,and

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