34:
155:
89:, where the spill from the sound being replaced may still be audible on other channels. For sound reinforcement in live shows, mic bleed can make it hard for the sound engineer to control the levels of the different instruments and vocals onstage. For example, if an electric guitarist's loud amplifier is bleeding into the drum and vocal mics, it may be hard for the sound engineer to reduce the volume of the guitar in the onstage mix.
113:"swing", and because the musicians typically "feed" off each other's ideas in real time. For example, in a jazz tune, the "comping" musicians will alter their improvised accompaniment in response to the solo lines played by the saxophone player; as well, in some cases, the comping musicians will introduce melodic or rhythmic ideas which are picked up by the solo improviser.
64:
whereby sound is picked up by a microphone from a source other than that which is intended. Spill is usually seen as a problem, and various steps are taken to avoid it or reduce it. In some styles of music, such as orchestral music, jazz, and blues, it is more likely to be accepted or even seen as
104:
on the brass is that...there will be a slight pickup of the strings on those mics which gives you a nice depth of field on the strings due to mic bleed (i.e., strings bleeding into the brass mics on the other side of the stage)″. For some classical recordings, the spacious sound of mic bleed is
112:
This is also true for drum recording and productions that need a "live" feel. Whereas pop songs are often recorded one track at a time, for jazz and blues and other improvisation-based music, it is often desirable to have the band perform together, because this creates a better "feel" and more
297:
Cutting frequencies with an equalizer that are not present in the intended microphones's instrument or vocals (e.g., for a bass drum mic, all of the high frequencies could safely be cut; for a piccolo, all of the bass frequencies could be
92:
Spill can also introduce sounds which are not desired as part of the recording or live sound mix, such as the sound of a squeaking piano pedal, the clacking of keys on a bassoon, or the rustling of papers on a public speaker's podium.
363:
in the same room as the loudspeakers. Depending on the construction of the player the sound may acoustically couple into the record player's dust cover or other mechanical parts and cause a feedback loop into the
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Align tracks whenever possible, taking into account that there is audio sources more pollutants than others. For that, it is better to use a plug-in tool for "finding similarities and time differences".
491:
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217:
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Spill occurs when sound is detected by a microphone not intended to pick it up (for example, the vocals being detected by the microphone for the guitar). Spill is often undesirable in
356:
said that although the vocal track contained spill from
Aguilera's headphones, the "bleed is honest", which suited the song as it was "about being beautiful and honest in every way".
192:
105:
simulated. The ″SPACE programming module... uses delay and phasing to emulate positioning and microphone bleed within a heavily multi-miked sound stage that has come to define that
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309:, which states that for each unit of distance between a sound source and its microphone, other microphones should be placed at least three times as far.
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On this recording of a snare drum, the other parts of the drum kit (including cymbals and bass drum) can be heard through the snare drum microphone
265:
Having the different instruments and amplifiers set up in different isolation booths or rooms (particularly with loud electric guitar amplifiers)
200:
On this recording of a snare drum, the other parts of the drum kit (including cymbals and bass drum) have been attenuated through the use of a
100:
recordings, as it can create a natural sound between instruments. A guide to orchestral recordings notes that an ″...advantage in using a
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and vocals together on different tracks, though the spill of vocals onto the acoustic guitar track gave an effect similar to
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On this recording of a drum kit, controlled levels of spill are used to blend the individual drums together. The
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Reducing sound reflection in the recording room (e.g., by draping blankets on walls and windows)
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and may cause difficulty in processing individual tracks. It also causes difficulty in
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477:“Orchestral Recording Techniques’ by Christopher L. Stone. Available online at
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Recording studios use partitions and fabric screens to reduce microphone bleed.
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377:
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259:); for live sound, plexiglass screens are sometimes used for drums and brass.
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739:
The Sound Studio: Audio
Techniques for Radio, Television, Film and Recording
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20:
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http://cdn.audioimpressions.com/OrchestralRecordingTechniques_R4.pdf
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Recording engineers and live sound engineers aim to avoid spill by:
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A snare drum recording with gating to reduce the effect of the spill
793:"Q. Can I use acoustic screens to effectively prevent drum spill?"
19:"Bleedthrough" redirects here. For the Nine Inch Nails album, see
285:
86:
492:"NAMM: Divide and Conquer with DVZ for "That Film Score Sound""
225:
117:
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Spill is sometimes accepted or even desirable, particularly in
813:"Q. What is the best way to reduce bleed on a drum recording?"
268:
Recording every instrument and vocal one at a time using a
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Recording tips for engineers: for cleaner, brighter tracks
533:
127:
Spill is often experienced with vocal recording, when the
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Using piezoelectric pickups (e.g., with an upright bass)
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528:
Dub: soundscapes and shattered songs in
Jamaican reggae
336:
overdubbed his lead vocal. He had originally recorded
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Other methods of minimising spill include the use of
761:, Nottingham, Nottinghamshire: Recording Microphone
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359:The effect can also be observed when operating a
16:Sound picked up from a source other than intended
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344:. Spill can also be heard on the vocal track of
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393:Glossary of jazz and popular music § bleed
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305:Spill is also avoided by using a 3:1 distance
252:Placing microphones closer to the sound source
139:. It may also be a problem in studios without
77:recording, as the combined signals during the
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281:Maximising the distance between sound sources
124:, mic bleed is purposely used in recordings.
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509:
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294:For vocalists, using closed shell headphones
837:, Crowthorne, Berkshire: Wellington College
404:
776:10 Recording Bloopers That Made the Album
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790:
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741:, Kidlington, Oxfordshire: Focal Press,
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705:, Kidlington, Oxfordshire: Focal Press,
662:, Kidlington, Oxfordshire: Focal Press,
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32:
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530:.Wesleyan University Press, 2007. p.74
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701:Modern Recording Techniques (6th ed.)
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228:is natural, and has spilled into the
851:"Recording Loud Bands In The Studio"
758:Achieving Good Lead Vocal Recordings
109:sound we are all used to hearing″.
13:
255:Using acoustic barriers (known as
239:Problems playing these files? See
153:
14:
891:
681:Handbook of Recording Engineering
146:
214:
190:
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135:through speakers or open-backed
165:Spill on a snare drum recording
755:Recording Microphones (2010),
721:The Beatles Recording Sessions
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484:
471:
1:
857:, Cambridge: SOS Publications
819:, Cambridge: SOS Publications
799:, Cambridge: SOS Publications
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540:Recording Microphones (2010)
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7:
831:Wellington College (2011),
697:Huber, David Miles (2005),
481:Accessed on April 29, 2011.
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10:
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18:
723:, New York, NY: Harmony,
596:Wellington College (2011)
210:A full drum kit recording
26:Not to be confused with
791:Robjohns, Hugh (2004),
719:Lewisohn, Mark (1989),
640:Brice, Richard (2001),
288:rather than microphones
277:directional microphones
52:) is the occurrence in
28:Crosstalk (electronics)
779:, Toronto: Hometracked
773:McKinney, Des (2007),
737:Nisbett, Alec (2003),
683:, Berlin: Birkhäuser,
496:createdigitalmusic.com
158:
38:
811:Senior, Mike (2009),
270:multi-track recording
157:
36:
849:White, Paul (2007),
834:Close-Mic Techniques
324:Spill is evident on
230:overhead microphones
658:Crich, Tim (2005),
644:, Oxford: Newnes,
366:magnetic cartridge
346:Christina Aguilera
159:
83:phase cancellation
39:
642:Music Engineering
526:Michael E. Veal.
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62:live sound mixing
56:(particularly in
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498:. Archived from
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98:classical music
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54:sound recording
44:(also known as
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502:on 2010-12-25.
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147:Avoiding spill
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748:0-240-51911-6
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730:0-517-57066-1
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712:0-240-80625-5
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690:0-387-28470-2
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669:0-240-51974-4
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651:0-7506-5040-0
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437:Nisbett (2003
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411:Senior (2009)
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378:Print-through
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859:, retrieved
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677:Eargle, John
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516:White (2007)
500:the original
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452:Eargle (2005
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388:Microphonics
358:
354:Dave Pensado
352:". Engineer
323:
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143:facilities.
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116:In Jamaican
115:
111:
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58:close miking
49:
45:
41:
40:
584:Crich (2005
572:Huber (2005
551:Brice (2001
425:Huber (2005
326:The Beatles
314:noise gates
87:overdubbing
79:mix process
65:desirable.
241:media help
202:noise gate
137:headphones
107:film score
102:ribbon mic
81:can cause
69:Occurrence
21:With Teeth
399:Footnotes
383:Crosstalk
350:Beautiful
332:", where
330:Yesterday
133:monitored
874:Category
861:12 April
841:12 April
823:12 April
803:12 April
783:12 April
765:12 April
679:(2005),
372:See also
328:' song "
320:Examples
286:DI units
141:talkback
633:Sources
272:system.
50:leakage
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727:
709:
687:
666:
648:
284:Using
275:Using
226:reverb
118:reggae
60:) and
257:gobos
46:bleed
42:Spill
863:2011
843:2011
825:2011
805:2011
785:2011
767:2011
743:ISBN
725:ISBN
707:ISBN
685:ISBN
664:ISBN
646:ISBN
348:'s "
298:cut)
120:and
48:and
131:is
122:dub
876::
853:,
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795:,
617:^
602:^
558:^
508:^
494:.
459:^
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368:.
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30:.
23:.
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