DSP Quattro document(s) (descriptive names).

Bounce files(s) (titles: ID# and description).

CD Distribution Master directory (ID# description CD master).

ProTools file with title that matches the base folder.

Example: 05092501 ChamberВ (This designates year 2005 recording on September 25 2005, being the first recording of the day.).

Base folder with title in the format: ID# (YYMMDD# where # designates the number of the recording for that day) Group name (may have concert name).

Several students have lost entire recordings using their own drives and not keeping back-ups, please donвЂ™t be one of those people.

Words in italics are specific to your recording. The back-up, final archive, location is: :VPA Production: Semester Folder:Concert Base Folder. During this process the back-up on the google drive should be regularly updated. All shows should be recorded, mixed, and mastered on a department drive.

The storage of audio files on the server (vpa_audio:year semester) must follow the following form and ALLВ associated files must be in the show directory. Provide final albums to the director/conductor. Put a burned CD in the files in Walker 212. When you meet with your advisor about the final files we will want to open the DSP Quattro file to check how you organized your work. Only the final mastered files are put in the CD Archive. Currently we are using DSP Quattro for this work. This is the final creation of the entire concert experience and includes creating an edited album. This is not something we do on most recordings and will often be handled as a separate job. This is taking content from rehearsals and replacing parts of the concert where there were performance issues. This should be complete 1 week after the concert. It is good idea to record extra time before and after each take. If you are making a session recording, make sure to keep a log of your time cues for each take on each song. You would not want to accidentally lose an encore because you stopped the recording too soon. You should not end recording until the house lights come up and the show is officially over. You should stop recording during intermission as this saves the audio files from the first part of the show. It is important to record most, if not all the intermission. When recording a live performance, you need to start the recording 5 minutes before the start of the show. Rehearsals are for checking your setup and making changes. During rehearsal, listen to the music and the quality of the recording you are trying to produce. Rehearsal will NOT wait for you to have your equipment set. If you are working on a Fine Arts premier recording, you will be required to do relevant research on the music and analyze various recordings of the music to be fully prepared to capture the performance.Дuring the week of the show you will supervise the load-in of the equipment and troubleshoot every microphone for signal and problems before the start of the rehearsal. Copies of these are to be put into the show folder in the studio, and given to the sound advisor. If you are recording a live performance, you MUST talk to the FOH Engineer for the show and togetherВ draft the mic plot and input list. You are responsible for drawing up a microphone plot and input list (schedule a meeting with Denny, Josh, or Christopher if you need help we are very happy to walk you through the process).

It is yourВ responsibility to see the recording is successful (with as much help as you need). Pre-ProductionДЄs Recording Engineer for a specific project, you are in charge of your assigned recording.

One week later, all shows you are assigned need to have a folder in the file cabinet and a preliminary database entry. Show assignments will be made at the beginning of the semester. There are quite a few people sharing the space. Clean up after yourself and do not leave the studio a mess.

Waveburner cd track noise at beginning