What is a vox-pop? Write a note on the vox-pop.

‘Vox populi’ is the voice of the people, or ‘man in the street ‘ interview. The useof the opinions of the ‘ordinary’ members of the public adds a useful dimension to news coverage, to magazine shows, and to radio documentaries.

 

the principle is for the broadcaster using a portable recorder to put one or possibly two specific questions on a matter of public interest to people selected by chance, and to edit together their replies to form a distillation of the overall response.

 

The vox pop aims to present only a sample of public opinion. The broadcaster cannot claim that it is statically valid. This is because gathering material out in the streets for, say, an afternoon magazine programme will almost certainly over- represent shoppers, tourists, and the unemployed; and be low on businessmen, motorists, night-shift workers or farmers!

 

It is easier to select a specific grouping appropriate to a particular topic - for example if the question is to do with healthcare, then the broadcaster standing near the gates of a hospital will get his relevant responses, because he is apt to meet patients, nurses, and other people who may have a valid opinion on the questions he poses. It is ethical to mention the location of the vox pop on your programme, so the listener knows where and when it was gathered.

 

Phrasing the question

 

The question is the most important part of the vox-pop. It is important that the question be phrased so that it contains the point to which reaction is required. The more complex and varied the questioning, the more difficult will be the subsequent editing.

 

The vox-pop producer must remember that he is not conducting an opinion poll, or assembling data. The objective of vox-pop is to make interesting radio which has to make sense in a limited context.

 

The characteristic of the vox -pop is that in the final result, the interviewer’s voice does not appear. The replies must be such that they can be joined together without further explanation to the listener, and hence the technique is distinguished from simply a succession of interviews. the conversations should not be so complex that the interviewee’s contribution cannot stand on its own.

 

Choosing the site

 

If the questioning is to be crried out among a specific group, this may itself dictate the choice of location.

 

If the material is to be collected generally, then the site or sits chosen will be limited by technical factors, so as to permit easy editing at a later stage. the background noise should be low but essentially constant. the listener expects to hear some background actuality, so it cannot be excluded altogether.

 

The recorder

 the machine and its microphone should be tested before leaving for the vox-pop.on site a further check must be made to ensure that there is an adequate speech level against the background audio or noise. In order to maintain the same background level, it is preferable to use a machine with manual rather than automatic recording controls.

 

Different speech volumes can be compensated for by the positioning of the microphone relative to the speaker. To simplify the editing, only the actual replies may be recorded. this can be done by using the pause button effectively.

 

The editing

 

the editor should remember that spontaneity, variety, insight and humour are the hallmarks of the good ‘vox-pop’. The first step would be to remove anything that is not totally intelligible. This must be done before the editor’s ear gets attuned to the sound. The rejection of material which is not of first class audio quality is the first prerequisite. the finished product should not be a confusing jumble.

The editor should not keep in too many similar answers, otherwise the vx pop will be repetitive and boring.

In case one of the answers are good but lengthy, the editor may cut the audio into sections, and place them in different places within the vox-pop.

 The editor must look for a good comment to end the vox-pop on.

Used properly, the vox-pop is another colour in the broadcaster’s palette.  It provides contrast with studio material. It reflects accurately what people are saying. It helps the listener to identify wit the radio station and enhances its credibility.

4 STEPS TO RECORD MUSIC

How to record music

Step 1: The Recording Process

 In the earliest days of the music recording…

The process was much simpler than it is today. Entire performances were recorded in single takes, sometimes with just 1 or 2 mics.

 Today though, we use a more sophisticated process known as multitrack recording…

 Where each instrument is recorded separately and combined later in a “mix”.

 This offers two BIG advantages:

1-It allows engineers to mould and shape the sound of each instrument independently of the others.

2-It allows each instrument in a song to be recorded one at a time. 

With this new method, it meant that one man could now do alone, what used to require an entire team of engineers and musicians.

 While the actual steps in the process vary from engineer to engineer…

Here’s a general guideline of how it works:

1. Create a Track to Follow

The first step is creating some kind of guide for the other instruments to follow along with.

 Most people use a simple click/metronome to set a tempo.  But since not all musicians can follow clicks, you could also use a pre-recorded drum loop instead.

 And since not all songs have steady tempos, a third method is to create a scratch track…

 Where an instrument or group of instruments are recorded as the guide, then “over-dubbed” one at a time, until the original can be deleted or “scratched“.

2. Record the Rhythm Section

As any musician knows, the rhythm section is the foundation of any song.  When bands play together, everyone follows the drums/bass.

 It makes sense then, that these be the first instruments you normally record.

 In songs that lack drums/bass, another rhythmic instrument (such as acoustic guitar), can be used instead.

3. Record the Harmonies

 Once you’ve built a good foundation, next it’s time to add to it by creating a chord structure.

Depending on the song, that could mean adding rhythm guitar, piano, synths, horns, etc.

With a basic chord progressions now in place, next it’s time to…

4. Record the Melodies

 Since most songs use a combination of instruments to form the melody…

 It makes sense that whichever ones are most dominant (usually lead vocals/lead guitar) be the ones you record first.

 Then afterwards, you can fill in the gaps with all the supporting melodies.

After that, all that’s left is…

5. Add Colour

 To put the finishing touches on your song, you add all those little nuances that add colour and flare to the main tracks.

 Common examples might include:

 background vocals

percussion fills

piano fills

sampled sound effects

 Once you’re happy with everything, you’re ready for the next phase…

Step 2: The Editing Process

audio editing explained

 Now that you’ve finished recording your tracks, it’s time to clean them up. Because no matter how careful you were in the last step…

There will always be SOME mistakes that can and should be fixed…

With the amazing editing tools now available in the DAW’s  (Digital Audio Workstation) of today. 

Typically, editing is made up of 5 common tasks:

Arrangement

Comping

Noise Reduction

Time Editing

Pitch Editing

With arrangement, you take an overall look at everything you’ve done so far, to evaluate what works, and what doesn’t.

For example, you could:

delete entire tracks that don’t add value

cut out sections of  tracks that clutter the mix

move a section to a new part of the song

delete entire sections of the song altogether

 With comping, you compare the duplicate takes of each track, and select the best one.  If you like, you can even select best phrases from each take and combine them all into one “frankenstein-take”.

 With noise reduction, you cut all sounds before, after, and in-between each section of audio where the instrument is playing.

 This means removing:

background voices

amp hissing

footsteps

chair squeaks

breaths

or just dead air

 To reduce noise further, you can add a high-pass filter beneath the lower frequency range of non-bass instruments, to remove rumbling sounds.

 With time editing, you can fix off-beat notes, using one of two methods:

There’s the “cut and paste” method, which works well on percussive instruments.

There’s the “time-stretching“method, which works well on almost all instruments.

With pitch editing, you can shift any sour note back on-pitch, using Auto-Tune or any similar software.

 Normally it’s used on vocals, but it also works well on most melodic instruments. 

So that about covers the Editing Process. Now on to the next phase…

Step 3: The Mixing Process

 audio mixing explained

Once the tracks are arranged exactly as you like… 

The next goal is to make them blend as one cohesive unit…though the process of “mixing“.

While mixing is an art form in itself, and can be done in many ways… 

There are certain fundamental tasks that everyone does…

Common examples include: 

Balancing Faders – which is done so that no instrument sounds too loud or soft in relation to the others.

Panning – which gives each instrument it’s own space in the stereo-image, much like each musician has his own space on-stage.

Equalization – which crafts a unique space in the frequency spectrum for each instrument, so that no two sounds compete for the same band of frequencies.

Compression – which levels out the dynamic range of an instrument so each note is heard clearly, and the mix sounds louder as a whole.

Reverb – which creates 3-dimensional space for the mix, adding a sense of depth, and unifying the instruments under one room-sound.

Automation – which allows you to change settings at different points in the song, to give your mix a sense of movement.

 Once you’ve used these tools to craft your mix, and it sounds great…

It’s finally time for the last step…

 Step 4: The Mastering Process

audio mastering explained

 Before your song is ready to be mastered…

 All tracks must be re-recorded down to a single stereo file… Or “bounced“, as it’s commonly known.

 Once that’s done, various mastering techniques are used to put the finishing touches on your song…

 So it sounds even better.

Common techniques include: 

Maximizing Loudness – through further compression and limiting, so the average signal level over time is as high as possible, without sacrificing too much dynamics.

Balancing Frequencies – through further EQ, and a process known as multi-band compression, which can compress individual frequency bands separately from the rest of the spectrum.

Stereo Widening – with a special plug-in designed to add an additional sense of “width” to the higher frequencies in your mix.

Once everything sounds perfect, the track is converted to its appropriate sample rate/bit depth.  For example, CD audio is 44.1 kHz/16 Bits.

DIY or Outsource?

 To put it simply, mastering is hard.  And if you don’t know what you’re doing, you can easily make things worse, rather than better.

That’s why it’s standard practice for mix engineers outsource the work to a “mastering engineer“, rather than doing it themselves.

However…Good mastering engineers cost good money, which not everyone has, or cares to spend.

 So the question is…

Is mastering always necessary? Decades ago, when all studio recordings were intended for sale, everything was mastered.

Today however…now that many amateur recordings are done “just-because“…

Home studios will often do their own mastering, or skip it entirely.  And that’s fine.

If all you do is share your music with family and friends, then who cares?

However…

If you want to record music professionally, or…

If you simply want your work to sound as good as it can… then go for Mastering!