DISSERTATION

The aim of the project was to investigate studio microphones, pre-amplifiers and rooms to try and establish if there are any noticeable differences in vocal recordings between expensive, mid-priced and budget equipment and to ask people with no music engineering experience to compare recordings to try and ascertain a favoured set of equipment. To also try and establish if there is anything that contributes to the results. The research conducted was to find 3 suitable microphones, 3 pre-amplifiers and 2 suitable rooms to test, this included microphones professionals prefer and what makes a suitable room to record vocals. The research gathered also included what types of analysis to complete.

The plan put into place was to gather data from all of the chosen equipment and rooms with the use of the CLIO measuring device. The type of analysis depended on the equipment. Once testing was completed 3 recordings of vocals were made using the 3 sets of equipment (see audio files below). The recordings were then made available to the public online where the participants were able to pick their preferred recording (see below for a link to the survey). The recordings were anonymous and so no bias could be made towards one specific recording if any of the listeners had any knowledge of microphones and pre-amps. 

The research, the CLIO analysis, the manual specifications and the results from the public questionnaire were all combined and analysed. 

         The microphone results from the CLIO analysis indicate that the cheapest microphone the Rode was the most sensitive of all of the microphones and the AKG the least responsive. The data collected for the pre-amps showed that the Focusrite does not have much headroom and distorts at very low levels. The Audient has a good amount of headroom but colours the signal at around 7dBu The SSL shows it is clean up until its maximum headroom, which is higher than the other two pre-amps. Overall both rooms showed relatively positive results, the studio has the acoustic treatment and fewer modes but the home test results weren’t too unacceptable as long as background noise is minimised. Although there were no standout performers in the survey the final results showed that the cheapest recording was the most favoured by listeners, the most expensive came in second place and the mid-priced was the least favoured. 

         The project overall indicates that the expense of equipment isn’t always detectable in vocal recordings to a listener with no music technology background. Although it is important to note that the recordings were of vocals only and not of a fully mastered song, meaning the results can’t effectively reflect commercial music. It could be argued though that if the equipment can still be used if the engineer uses it within its limits and is acquainted with the specifications and restrictions.