Interns Handbook

Find out how to access the Recording Studio for your recording

Find out about our various rates & free access

View the calendar to see up-coming sessions & open times

Fill out a form to gain access to the Recording Studio

Check out the Recording Studio's equipment lists

Hear the featured artist music recorded in our studio

Recording Studio Production class notes & syllabus

Handbook for studio internships

Recording Studio Home Page

Interns Work Schedule Calendar

Room 55 Calendar

Room 47 Calendar

Recording Studio Intern Handbook

Table of Contents

1.0 General Information
2.0 General Set-up for Recording Sessions
3.0 General Breakdown for Recording Sessions
4.0 Microphones
- Microphone Usage Guidelines
- Available Microphones and Specific Information

5.0 Pre-amps

990 Pre-amps
B & K Pre-amp

1.0 General Information

Interns should know all this information so that any question by a client or potential client can be answered readily.

Essential Data
Recording Studio Coordinator: Wiley Ross
Recording School Director: Professor Jeff Haskell

Phone Number: 520-621-5139
Wiley's e-mail: ross@u.arizona.edu

Recording Studio Homepage: http://www.arts.arizona.edu/studio
Hours of Operation

9:30 a.m. - 12:00 p.m. & 1:30 p.m. - 5:00 p.m.
Monday - Friday
or
By Appointment
Studio Rates

There may be no charge for certain projects required as course work or by a university department.

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

74 min. - $10.00

DAT: 3M

60 min. - $10.00

120 min. - $15.00

DVD-R

4.7gig- $20.00

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
 

No food or drinks may be brought into the studio.

Keep conversations / noise to a minimum when appropriate. 

Always ask first if unsure about anything that you are doing .

Be aware of everything that is going on around you at all times. 

When a client is in the studio for a session assist in any way possible,
i.e.: 
make sure they have a chair in the control room 
		
open or close glass doors between control room and studio 
		
offer to help carry equipment 
		
etc.
			
Don't assist with critical analysis of a project unless specifically requested.

Don't engage a client in idle conversation.

Look for ways to help and offer any suggestions you may have which could
benefit the studio.

Emergency Procedures

Fire: 


If you are able to get to the main power switch, turn it off immediately.

If the fire has not gotten out of control, a fire extinguisher is located
in the control room next to the main door. 

Pull the fire alarm located at the bottom of the main staircase just outside
the recording studio.

The back door in the studio can be opened from the inside without a key.


Equipment Smoking: 

Turn off the main power switch immediately.
 

For any other emergency call 911.

 
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:
    

Make sure the phantom power switch located on the top on the soundcraft console 
input module is TURNED OFF when connecting & disconnecting microphones!

When using a stereo set-up with microphones, left and right are in perspective
to looking at the studio from the control room, unless it is on a drum set or piano, in
which the left/right perspective is from the musician's point of view. 

When setting up mic stands, place the base of the stand either entirely
on the rug or entirely on the linoleum to avoid static electricity. 

Find out if the musician needs a chair. 

Only use the fluorescent lights if necessary . 

If recording vocals, attach the "Popper Stopper" wind screen to
the mic stand and adjust it in front of the mic.

 
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:

 Know all the microphones !!


This includes:
 
manufacturer and model number 
what the mic and its box look like 
where it is located for storage 
what type of connector it has 
the shock mount it uses on the mic stand 
if the microphone requires phantom power
its directional response(s) 
if it has a pad and when the pad is used 


Use special care when handling the microphones as they are quite fragile
and very expensive.


Don't carry too many microphones at once to prevent one from being dropped. 
Never blow into a microphone as this could break the diaphragm.
Ask the musician if the placement of the microphone is out of harms way,
especially drummers. 
Inform the musician of the directional pick-up of the mic so they don't 
try to move it. 
Be sure to visually line up the connector pins on the mic to the holes in 
the cable and never force a connection. 
When putting the microphones in their boxes don't snap the box closed 
as this could damage the mic. 
Be sure that the mics get into the correct boxes and put in their correct 
place in the mic closet.

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.
 
 

Recording Studio Intern Handbook

Interns should know all this information so that any question by a client or potential client can be answered readily.

Recording Studio Coordinator: Wiley Ross Recording School Director: Professor Jeff Haskell Phone Number: 520-621-5139 Wiley's e-mail: ross@u.arizona.edu Recording Studio Homepage: http://www.arts.arizona.edu/studio

Hours of Operation

9:30 a.m. - 12:00 p.m. & 1:30 p.m. - 5:00 p.m.

Monday - Friday or By Appointment

There may be no charge for certain projects required as course work or by a university department.

All rates are by the hour and prices do not include tapes or any copies.

CDR with Jewel Case

74 min. - $10.00

DAT: 3M

60 min. - $10.00 120 min. - $15.00

DVD-R

4.7gig- $20.00

Recording Studio

Handbook

No food or drinks may be brought into the studio.

Keep conversations / noise to a minimum when appropriate.

Always ask first if unsure about anything that you are doing .

Be aware of everything that is going on around you at all times.

When a client is in the studio for a session assist in any way possible, i.e.:

make sure they have a chair in the control room

open or close glass doors between control room and studio

offer to help carry equipment

etc.

Don't assist with critical analysis of a project unless specifically requested.

Don't engage a client in idle conversation.

Look for ways to help and offer any suggestions you may have which could benefit the studio.

Equipment Smoking: Turn off the main power switch immediately.

For any other emergency call 911.

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:

Cables:

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:

Make sure the phantom power switch located on the top on the soundcraft console

input module is TURNED OFF when connecting & disconnecting microphones!

When using a stereo set-up with microphones, left and right are in perspective to looking at the studio from the control room, unless it is on a drum set or piano, in which the left/right perspective is from the musician's point of view.

When setting up mic stands, place the base of the stand either entirely on the rug or entirely on the linoleum to avoid static electricity.

Find out if the musician needs a chair.

Only use the fluorescent lights if necessary .

If recording vocals, attach the "Popper Stopper" wind screen to the mic stand and adjust it in front of the mic.

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:

Know all the microphones !! This includes:

manufacturer and model number

what the mic and its box look like

where it is located for storage

what type of connector it has

the shock mount it uses on the mic stand

if the microphone requires phantom power

its directional response(s)

if it has a pad and when the pad is used

Use special care when handling the microphones as they are quite fragile and very expensive.

Don't carry too many microphones at once to prevent one from being dropped.

Never blow into a microphone as this could break the diaphragm.

Ask the musician if the placement of the microphone is out of harms way,

especially drummers.

Inform the musician of the directional pick-up of the mic so they don't

try to move it.

Be sure to visually line up the connector pins on the mic to the holes in

the cable and never force a connection.

When putting the microphones in their boxes don't snap the box closed

as this could damage the mic.

Be sure that the mics get into the correct boxes and put in their correct

place in the mic closet.

Available Microphones and Specific Information:

Click on a specific mic for more info. The number in paranthesis indicates how many the studio owns.

5.0 Out-board Microphone Pre-amps

Recording Studio Coordinator: Wiley Ross
Recording School Director: Professor Jeff Haskell

Phone Number: 520-621-5139
Wiley's e-mail: ross@u.arizona.edu

Recording Studio Homepage: http://www.arts.arizona.edu/studio

Monday - Friday
or
By Appointment

60 min. - $10.00

120 min. - $15.00

Equipment Smoking:
Turn off the main power switch immediately.

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.

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.

Make sure everything that is put away, and its environment are as neat and
clean as possible.

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.

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.

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.

The piano is kept closed, covered and pushed up against the wall when not
in use.

Know all the microphones !!
This includes:

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.

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.