Yamaha AW4416 Tutorial
PROFESSIONAL AUDIO WORKSTATION
Tutorial
E
Tutorial—AW4416 Professional Audio Workstation
AW4416 Professional Audio Workstation
Showing a Yamaha AW4416 to a recording engineer, say, 20 years ago, would
have a similar effect to showing an interplanetary probe to Galileo. After the initial shock both parties would probably nod their heads and mumble something
about inevitability. It had to happen. The AW4416 can do what once required a
couple of rooms full of very, very expensive equipment that required considerable expertise to operate. And it does it very well, indeed. In short, the AW4416
can take your sound recording projects from conception to completion with professional-level control and quality.
If you’ve worked with a Yamaha O2R Digital Mixing Console (a de-facto standard
through the recording and production industries today) or one of Yamaha’s other
top-quality digital consoles, operating the AW4416 will not be a challenge. But if
you’ve never had the pleasure, the power and depth of the AW4416 (translation:
lots of features and flexibility) might be a little daunting at first. This tutorial is
designed to help you make friends with the AW4416 as quickly and as painlessly
as possible. Since the actual recording process is pretty much the same no matter
what equipment you use, we’ve provided a complete set of pre-recorded tracks
for the demo song “So Fine”, and will walk you through the process of mixing
and mastering the tracks to create the final product. We haven’t completely
ignored the initial recording process, however; a few guidelines are provided
below.
❒
A Note About the Tutorial
This tutorial assumes that you already have a basic knowledge of how the
AW4416 controls and main features work. If you get lost, refer to the AW4416
operation guide for details.
We’ve also included a simple glossary at the end of the tutorial. If you encounter
any terms you’re not familiar with, you might find explanations in the glossary.
— Tutorial
1
Tutorial—AW4416 Professional Audio Workstation
❒
Contents
AW4416 Professional Audio Workstation ........................................1
A Note About the Tutorial .................................................................... 1
Contents .............................................................................................. 2
Laying Down the Basic Tracks ..........................................................5
Rhythm First! ........................................................................................ 5
Separation ............................................................................................ 5
“Scratch” or “Guide” Vocals ................................................................. 6
Microphone Selection? ......................................................................... 6
Overdubs ............................................................................................. 7
To Process or Not To Process? .............................................................. 7
Load the Demo Song ........................................................................ 8
Load the Demo Song From the CD-ROM Onto the AW4416 Hard Disk.......... 8
Load the Demo Song from the Hard Disk ....................................................... 9
Mixdown .........................................................................................10
Phase 1: Listen To the Tracks and Make a Plan ............................................. 10
Do It ................................................................................................... 10
Phase 2: Set Up a Rough Mix ....................................................................... 12
Start with the Drums .......................................................................... 12
Add the Claves/Electronic Drums Track .............................................. 13
Add the Bass Track ............................................................................. 13
Add the Guitar Tracks ......................................................................... 13
Add the Organ & Piano Tracks ........................................................... 13
Add the String Tracks ......................................................................... 13
Add the Lead Vocal ............................................................................ 14
Add the Chorus .................................................................................. 14
Listen! ................................................................................................ 14
Save the Song! ................................................................................... 14
Phase 3: Assemble the Mix Part by Part ........................................................ 15
Tracks 1 & 2: Drums ........................................................................... 15
Track 3: Claves/Electronic Drums ........................................................ 16
Track 4: Bass ....................................................................................... 16
Track 5: Rhythm Guitar ...................................................................... 17
Track 6: Lead Guitar ........................................................................... 17
Track 7: Organ ................................................................................... 17
Track 8: Piano ..................................................................................... 18
Tracks 9 & 10: Strings ........................................................................ 18
Tracks 11 & 12: Female Chorus 1 & 2 ................................................ 18
Track 13: Male Chorus ....................................................................... 19
Track 14: Lead Vocal .......................................................................... 19
Save the Song! ................................................................................... 19
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— Tutorial
Phase 4: Add Ambience ................................................................................ 20
Engage the “Effect 1 Sends” and Select an Effect ................................ 20
Add Ambience to the Tracks as Required ............................................ 21
Tracks 1 & 2: Drums ........................................................................... 21
Track 3: Claves/Electronic Drums ........................................................ 21
Track 4: Bass ....................................................................................... 21
Tracks 5 & 6: Rhythm & Lead Guitar .................................................. 21
Track 7: Organ ................................................................................... 22
Track 8: Piano ..................................................................................... 22
Tutorial—AW4416 Professional Audio Workstation
Tracks 9 & 10: Strings ........................................................................ 22
Tracks 11, 12, & 13: Chorus ............................................................... 22
Track 14: Lead Vocal ........................................................................... 22
Save the Song! ................................................................................... 23
Phase 5: Finalize the Mix & Set Up Automation ............................................ 24
The Automix ....................................................................................... 25
Phase 6: Use the Virtual Tracks to Create an Alternate Mix ............................ 27
Mastering ....................................................................................... 28
Step 1: Set Up the “Master” EQ and Dynamics............................................. 28
Step 2: Record the Song to the Stereo Track................................................. 29
Step 3: Write the Song to a CD-R Disk .......................................................... 30
Practice, Practice … ........................................................................ 30
Glossary .......................................................................................... 31
— Tutorial
3
Tutorial—Laying Down the Basic Tracks
Laying Down the Basic Tracks
Although the basic tracks you’ll use to assemble the “So Fine” mix have already
been recorded for you (of course you can add your own tracks, if you like), let’s
take a moment to discuss the initial recording process.
The basic steps introduced here may not apply if you’re recording something very
“avant-garde,” but if you’re laying down a song or instrumental piece with a fairly
standard arrangement, here are a few issues to keep in mind:
❒
Rhythm First!
Since the rhythm parts define the tempo and “groove” of the music, it makes
sense that they should be recorded first so that the musicians who will be overdubbing the subsequent parts — lead guitar, lead vocal, chorus, etc. — will have
something to lock onto. Of course this isn’t necessary if the piece to be recorded
consists of just one person strumming a guitar and singing or, for that matter, if
you’ll be recording an entire ensemble in one take. But if you’ll be recording your
masterpiece track-by-track or at least section-by-section — whether it’s because
like most of us you’re recording with limited studio space and resources, or sim-
ply because you’re a perfectionist who demands total creative control at all times
— start with the rhythm. The first rhythm part to be recorded could simply be
drums and/or percussion alone, drums and bass, or drums plus bass and a rhythm
keyboard or guitar part.
❒
Separation
Remember that the more instruments you record via microphones at the same
time, the more you need to think about separation (or “isolation” depending on
whom you talk to). Once again, there are no hard-and-fast rules: if you’ll be
recording an entire rhythm section or ensemble with one stereo microphone pair,
for example, separation is a non-issue — but instrument layout and microphone
placement are critical! But assuming you want all instruments cleanly recorded
on separate tracks so you can do all your spatial arranging and processing later
on, you’ll need to ensure that leakage between instruments and microphones is
minimized. How? Physical separation is the best way. Record different instruments in different rooms, if possible (this corresponds to using “isolation booths”
in a recording studio), or use baffles to reduce leakage when recording more than
one source in the same room. Directional microphones are a good idea, and
close-miking can be a big help. The only way to achieve total separation, though,
is to overdub acoustic sources one-at-a-time. Even then, you’ll probably end up
with a little leakage from the vocalist’s headphones, for example. Line sources,
naturally, do not present a problem.
A little leakage is not a big problem, though, so don’t let it bog you down. Listen
carefully to the individual “So Fine” tracks and you’ll hear what we mean.
— Tutorial
5
Tutorial—Laying Down the Basic Tracks
❒
“Scratch” or “Guide” Vocals
If you’re working alone this won’t be necessary, but when recording a band it’s
sometimes a good idea to have the singer lay down a “scratch vocal” track while
recording the rhythm section. This is simply because bands are generally used to
playing with vocals, and the performance can suffer if there is a void where the
vocals are supposed to be. The scratch vocal track can also be a useful guide
while laying down other overdubs such as guitar or keyboard solos. DON’T rely
on the scratch vocal track to record chorus parts, though, because the teeniest
changes in the pitch or phrasing of the lead vocal part can throw the entire chorus out of whack.
❒
Microphone Selection?
Oowee! Here’s a subject that can make even the most seasoned recording engi-
neer cringe. But, reality check firmly established, we realize that for most of us
this is not a problem simply because we don’t have a dazzling selection of microphones at our disposal. And that’s that.
But there is one thing we would like to stress: if you don’t already own the micro-
phone(s) you intend to use for recording, CHOOSE THEM WITH CARE!! Really.
Here are a few guidelines for the minimum microphone selection for most home
recording applications.
❍
If you will be recording vocals and/or acoustic instruments in the (home) studio.
Quite a number of high-quality large-diaphragm condenser microphones have
become available at very reasonable prices in the last few years. Get one. But, if
at all possible, try out a few before making a final commitment. Although most
microphones in this category have uniformly excellent frequency response and
high sensitivity, they do have distinctive sounds. Choose the one that sounds the
best to your own ears. Don’t worry about switchable directivity unless you really
think you’ll need an omni-directional pattern for some application; the plainvanilla cardioid pattern is probably all you’ll ever need for most recording. And
since the AW4416 provides switchable phantom power on inputs 1 and 2, you
can choose studio-quality phantom-powered microphones with confidence.
The same microphone you choose for recording vocals will most probably also
be ideal for recording acoustic guitar, piano, and a range of wind instruments as
well. Not a good choice for close-miking drums and percussion, though. One or
two large-diaphragm condenser mics are, however, perfect for use as drum “over-
heads.”
❍
Close-miking guitar amps, drums, and other loud stuff.
Here’s where you need one, or perhaps a few, good-quality dynamic micro-
phones. There are a number of “standard” dynamic microphones that are ideal
for this type of application, and which can be acquired for surprisingly little outlay. If you don’t already have a couple of established makers and models in mind,
ask around.
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— Tutorial
Tutorial—Laying Down the Basic Tracks
❒
Overdubs
The actual procedure for recording overdubs is really no different from recording
the basic tracks, except that you’ll be monitoring previously recorded material
while doing it. Remember to use a good pair of closed headphones to monitor
the backing tracks while recording acoustic overdubs or vocals (not open types or
the in-ear types often used with portable stereos) to prevent leakage of the headphone mix back into the microphone.
❒
To Process or Not To Process?
Now things get a little tricky, because you will be making decisions that will
directly affect your freedom to make changes later in the production process.
Some engineers almost never use processing of any kind (compression, EQ, etc.)
when recording the initial tracks, the reasoning being that it not only reduces
their freedom to shape the sound as required at subsequent stages, but that it also
compromises the “openness” of the sound. There is a good deal of truth in this,
but there are also a few good reasons for some judiciously-applied processing
right from the outset.
❍
Compression & Limiting
Of the several processing options available during initial recording, compression
is probably the most often used. But at this early stage in the production process
it must be applied with care. Compression or limiting is most often used at this
point to reduce high-level transients that, although not a critical part of the instrument’s sound, would otherwise take up a large portion of the recording system’s
available dynamic range. By reducing transient peaks you can effectively record
the main body of the signal at a higher level and thus, in the case of digital
media, increase the resolution of the reproduced sound while reducing potential
problems with system noise. Bass guitar, electric guitar, vocals, and drums are
often compressed during recording. Avoid compression on instruments like
acoustic piano in which the initial attack is critical in conveying the instrument’s
character.
❍
Equalization
During initial recording equalization is normally only used as a compensation
tool. You might need to compensate for irregularities in the response of a microphone or other piece of equipment in the recording chain, or perhaps beef up the
response of a guitar pickup. All mix-related equalization should be left until the
mixdown stage, when you can hear how response changes affect the overall
sound.
❍
Effects
As a rule, don’t apply any ambience-type effects (reverb, delay, etc.) during initial
recording. Ambience added at this stage in the game can’t be removed later, and
will almost certainly get in the way of the overall sound. You’ll have much more
flexibility and control if you save ambience processing until mixdown. Of course,
there are exceptions; but those are creative decisions you’ll have to make on your
own.
Other effects such as modulation and distortion are often applied during recording, but only when they function as an inherent part of the instrument’s sound
(distortion on electric guitar or rotary speaker on an organ, for example).
— Tutorial
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Tutorial—Load the Demo Song
Load the Demo Song
Before you can work on the demo song, you’ll first need to load it onto the
AW4416 hard disk from the supplied CD-ROM.
This tutorial assumes that you already have a CD-RW drive configured for use
with your AW4416. See the Operation Guide for information on installing and
connecting an external CD-RW drive.
Load the Demo Song From the CD-ROM Onto the AW4416 Hard Disk
1. Press the AW4416 [FILE] key.
2. Press the [F2] function key to go to the “Restore” page.
3. Make sure that the SCSI ID number of your CD-RW drive is selected in the
SOURCE DRIVE window (if it isn’t, move the cursor to the SOURCE DRIVE
window and use the DATA dial to select the appropriate SCSI ID number,
then press the [ENTER] key). The default SCSI drive number is SCSI#3. If
you install a CD-RW drive manufactured by Yamaha, the SCSI ID will be set
to “3” at the factory, and we recommend that you leave it at this setting.
4. Open the CD-tray by pressing the [F2] function key (“CD UNLOAD”) while
holding the [SHIFT] key. Place the demo CD-ROM on the tray (label side
up) and press the [F1] function key (“CD LOAD”) while holding the [SHIFT]
key to close the tray and load the CD.
5. The demo song “So Fine” should appear in the list on the display.
Move the cursor to the RESTORE SONG window, and then use the [ENTER]
key to switch the DISABLE button to ENABLE.
6. Move the cursor to “EXECUTE” on the display, then press the [ENTER] key.
When the “ARE YOU SURE?” confirmation prompt appears, move the cursor to “OK” and press [ENTER] to begin the restore operation.
7. When the “COMPLETE” window appears, the restore operation has finished.
It take about 10 minutes to restore the demo song. Once the restore process has begun, it cannot be stopped.
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— Tutorial
Tutorial—Load the Demo Song
Load the Demo Song from the Hard Disk
1. Press the [SONG] key (and the [F1] function key if necessary to select the
“Song List” page).
2. Use the DATA dial to select “So Fine”.
3. Move the cursor to “LOAD” on the display and press [ENTER]. When the
“Will Save Current song … ARE YOU SURE?” confirmation prompt appears,
move the cursor to “YES” or “NO” and press [ENTER] to begin the load
operation.
4. When the progress window disappears, the demo song has been loaded
and is ready for playback.
If you want to hear the pre-mixed version of “So Fine” before mixing it yourself …
Actually, all you have to do is hit the [PLAY] button. The “So Fine” demo will be loaded
with automix enabled, and will play through exactly the way we set it up.
— Tutorial
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Tutorial—Mixdown
Mixdown
Although the term “mixdown” seems to imply a single action, it is really a process that can involve many interrelated steps. As you become more experienced,
the individual steps will sort of blend into one larger operation. This is important
because at all times you’ll need to consider how each small action will affect the
overall sound. A small change in equalization on one instrument, for example,
can affect the way the others sound. The ability to anticipate cause-and-effect
relationships like this can only come through experience. The more you mix, the
better you’ll get!
Phase 1: Listen To the Tracks and Make a Plan
One of the most important steps in any mix is to make at least a mental plan
before even starting the actual mix. Here are a few points to consider:
• First and foremost think about the music! What is the song saying? What kind
of mood is the piece attempting to convey? How can you approach the mix in
a way that will enhance the music itself?
• Does the piece depend mostly on the lyrics? The singer’s voice? The rhythm? A
particular instrument or sound? You’ll probably want to emphasize whichever
element(s) of the piece you determine to be the most important. If the lyrics
are critical, for example, you won’t want the vocal track buried in the back-
ground or rendered unintelligible by an excessive wash of reverb.
• How do you want to place the instruments in the stereo soundstage? Are you
trying to create a realistic “live performance” image, or just shooting for an
overall effect?
• What kind of “space” do you want to place the music in? Open and dry?
Large and reverberant? Small and tight? Distant? Intimate?
• What instruments are in similar frequency ranges and are likely to get in each
other’s way? Distorted electric guitar and organ are perfect examples of instru-
ments that do this. You’ll need to think about panning such instruments to different areas of the soundstage and/or using equalization to give them separate
“identities”.
• Will you need to make any mood or scene changes during the mix that might
involve major changes in levels, EQ or effects? Here’s where automation
might make the job a lot easier.
❒
Do It
OK, the tracks are loaded, now let’s go ahead and listen to the raw tracks.
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— Tutorial
• Remember that the points given here are only a guide, and that every piece of
music is different. In fact, planning the mix is probably the most creative part
of the entire production process.
Make sure that AUTOMIX is disabled before proceeding! You can do this by pressing the
AUTOMATION [AUTOMIX] key, moving the cursor to the AUTOMIX “ENABLE” parame-
ter, and pressing [ENTER] to switch this to “DISABLE”.
Tutorial—Mixdown
1. Make sure that the RECORDER [MONI] MIXING LAYER is selected.
2. Recall the scene number 01 “FADERS NOMINAL” provided to set faders 1
through 14 to nominal (Press the [SCENE] key, use the data dial to select
the scene number 01 “FADERS NOMINAL”, move the cursor to “RECALL”,
press [ENTER], select “OK” in the confirmation and press [ENTER] again).
3. Press the MIXER [VIEW] key so you can see the selected monitor channel
parameters on the display. You might also have to press the [F1] function
key to select the “CH View” page.
4. Hit the [PLAY] button and listen.
The chart below lists the contents of the “So Fine” tracks. “V. Tr k ” at the left side of
the chart refers to the recorder’s virtual tracks (there are actually 8 virtual tracks
for each recorder track). Note that although we’ll be using only the main tracks
(virtual track 1) for most of this tutorial, an alternate string take is provided on the
second virtual tracks for recorder tracks 9 and 10, and a male lead vocal track is
provided on the second virtual track of recorder track 14. Later on you’ll use
these alternate takes to build a mix based around a male rather than female lead
vocal part.
V.Trk 1
V.Trk 2
V.Trk 1
V.Trk 2
12345678
Drums
Left
9 10111213141516
String
Left
Alt.
String
Left
Drums
Right
String
Right
Alt.
String
Right
Claves
&
E.Drm
Fem.
Ch. 1
Bass
Fem.
Ch. 2
Rthm
Guitar
Male
Ch. &
Rap
Lead
Guitar
Lead
Vocal
(Fem)
Lead
Vocal
(Male)
Organ Piano
— Tutorial
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