| Music Students $15/hour | Music Faculty & Staff $20/hour |
| Fine Arts Students $20/hour | Fine Arts Faculty & Staff $25/hour |
| Non-Fine Arts Students $25/hour | Non-Fine Arts Faculty & Staff $30/hour |
All rates are by the hour and prices do not include tapes or any copies.
Materials Costs
CDR with Jewel Case
DAT: 3M
DVD-R
Mission Statements
Recording Studio
The recording studio is a professional facility within the School of Music
at the University of Arizona. It offers 24-track analog and digital recording
capabilities to university students and employees, as well as to members
of the community. At the same time it serves as a learning environment for
students of different disciplines. The recording studio is operated and
maintained by the recording studio coordinator, who employs the help of
student interns in exchange for practical and hands-on experience, as well
as in some cases university credit.
Handbook
This handbook has been created to familiarize interns with standard procedures of day-to-day activities within the recording studio. It is designed to assist interns in becoming involved in activities which will be helpful to the studio while at the same time providing important and pertinent information. A working knowledge of the information contained here-in will enable a student to become invovled with more technical aspects of recording.
Appropriate Conduct
Emergency Procedures
2.0 General Set-up for recording sessions
While the specific decisions pertinent to a session, such as which microphones
are to be used, where they are to be placed, which pre-amps the mics will
run to or any use of baffles, are left to the engineer's discretion, there
are certain standard procedures applicable to most sessions.
It is important to remember or write down what microphones are used for
common set-ups (jazz bands, rock groups, etc.) since similar sessions will
frequently use the same mic-ing techniques.
Headphones:
Each musician needs a set of headphones when doing multi-track sessions.
They are connected to a headphone box which can support up to four headphones.
The headphone boxes can be plugged into the mic pre-amp panel with the 5-pin
connector where it is marked cue A or B, or the boxes can be run off another
box ("daisy chained") which is connected to the cue output. Set
the master level on the box and each individual volume control to 8 as a
standard operating level.
Cables:
The cables are kept in the closet on the north wall of the studio. Cable
which have four prongs are used only for B&K mics and are stored in a specific
spot which is labeled. The rest of the cables are standard three-prong (XLR).
Try to use as short of a cable as possible and leave any slack wound up
below the mic-stand. If a microphone is being used between the two glass
doors use an old cable (not a blue or yellow one!). Visually line up the
connectors of the cable before plugging them in to a mic or pre-amp.
Music stands:
If a music stand is necessary, make sure it has a baffle pad on it so that
less sound reflects off it. Position the stand so that the musicians view
of the control room is not obstructed.
Miscellaneous:
3.0 General Break-down for recording sessions
Make sure everything that is put away, and its environment are as neat and
clean as possible.
Microphone and Music Stands:
These need to be stored as compact as possible. The mic stands are kept
in the closet on the south wall of the studio and the music stands are kept
to the far right in between the two glass doors. Keep the music stands out
of the view between the control room and the studio.
Cables:
The cables need to be coiled in a very specific manner, if you are unsure
how to do this, have another intern show you. The cables are stored according
to their type (XLR or B&K) so check that you are putting them in the right place
in the closet.
Headphones:
When putting the headphones and the headphone boxes away, wrap its cord
around itself and tuck the end in to prevent it from coming unwound.
Piano:
The piano is kept closed, covered and pushed up against the wall when not
in use.
4.0 Microphones
Microphone Usage Guide:
Available Microphones and Specific Information:
Click on a specific mic for more info. The number in paranthesis indicates how many the studio owns.
Neumann KM83i (1)
Neumann KM84i (3)
Neumann KM86i (2)
Neumann KM150 (2)
Neumann SM69 FET (1)
Neumann TLM 170 (1)
Neumann U47 (2)
Neumann U67 (2)
Neumann U87 (2) modified)
Earthworks SR-77 (2)
Earthworks QTC1 (2)
Senheiser MKH 30 (1)
Senheiser MKH 40 (2)
Senheiser MD 421 (2)
Senheiser MD 441D (2)
DPA (B&K) 4011 (4)
DPA (B&K) 4006 (2)
DPA (B&K) 4003 (2)
DPA (B&K) 4004 (6)
Ocktava MC 012 (4)
Marshall Elcetronics MXL 990 (1)
Crown CM-311A Headset Microphone (1)
Altec 210 (tube) (1)
Shure SM57 (2)
RCA DX-77 (1)
Radio Shack PZM (2)
5.0 Out-board Microphone Pre-amps
Millenia Media 8 Channel Mic Pre: Note: It's important to turn off the mic pre-amp before connecting or dissconnecting microphones. 990 Pre-amps:
(click for an expanded view)
These pre-amps are used for microphones which use a standard 3-pin XLR connector.
They are used in place of the console's mic pre-amp. When using these pre-amps,
it is important to bypass the mic pre-amp that is in the console for the specific
channel you wish to connect to.
IMPORTANT!!!
Before connecting the pre-amp output to any channel on the mic input
panel, make certain that the corresponding patchbay output of 'Room 39-1 Microphone
Lines' is blocked suitably with a patch chord or else the phantom power
from the console could fry the pre-amp!
Ask first if you are at all uncertain!DPA(B&K) Pre-amp for 4003 & 4006 microphones:
(click for an expanded view)
This pre-amp is used only with B & K microphones. The input is a 4-pin connector
while the output uses a standard XLR. As with all the pre-amps, it is important
to block the appropriate channel in the patch bay before connecting the output of
this pre-amp to the mic input panel.