• Harriet

MD4351: Set Task #2

This post is for a set task about recording history and ambitions for this module.


As a composer who primarily composes with MIDI, I don't have much experience recording audio files. I think that the use of the keyboard as the industry's primary MIDI interface denied me to experiment and record samples. However, I do have experience editing audio files.


Once I asked a friend in America if they'd be willing to supply lyrics to an epic orchestral song. My friend knew how to sing at a high professional standard (as they have been doing it for most of their life), but they didn't have the investments for proper recording equipment, while I didn't have the proper knowledge about recording equipment. The result was good singing in a bad audio file: a lot of audio clipping was present, and there was also popping due to a lack of a pop filter. Because of this, it was incredibly tedious to try and fix the audio, but in the result, the changes were noticeable. Now in the present day: after investing in a pair of Sennheiser HD 300 headphones (which is better than the distressing fact I used gaming headphones before this) and recording audio using the University's TC103 studio microphone, I am very aware of how high-quality audio produces high-quality results.


I haven't been into recording audio until recently, as the course has quickly introduced me to Ableton Live 10: the incredibly expansive range of Ableton's sound design capabilities lead me wanting to reject MIDI as much as possible from Ableton Live projects. I say this not just as a student wanting to learn, but because it feels logical to build the sound you want in your head by yourself. As a media composer looking to compose film, TV and video game scores, an important understanding of Pro Tools and recording techniques such as multi-tracking will be prudent to create professional results.

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