Start learning with our library of video tutorials taught by experts. Get started
Viewers: in countries Watching now:
Whether one is producing music, podcasts, game sounds, or film sound effects, Digital Audio Principles provides the tips and techniques that will make the project a success. Author Dave Schroeder explains the basics of digital audio production techniques and covers the essential hardware and software. He also discusses sound theory, frequency response, the range of human hearing, and dynamic range.
Okay, so now I want to overdub my voiceover track, and overdubbing is the act of recording a new track without getting rid of the old tracks. Now in most digital audio, with the exception of probably some two-track recorders, you are going to see that overdubbing is possible, in Luke Bayes stuff, in multitrack; that's kind of the essence of multitrack recording. In addition to having all these different tracks, you have independent control over these different tracks, and that's true of recording these tracks as well. So overdubbing is what makes it possible for one person to become a full band, or for a band to cut it basic track but then go back and record the vocal separately. It's just that ability to keep adding on and recording different tracks that are separate and don't have any damaging effect, or you don't have to record over anything that exists if you don't want to.
So let's go ahead and overdub my voiceover track to go along with these drums, and we'll get that going. We have set the microphone up and we have an input over here. We will arm the track. We are in Auto Input mode, just for your information, which when we record this first track, it won't make a difference because once we go into record, you are going to have to hear me. That's just the way it is. So let's go ahead and get ready and go into record, and I'll slide over here a little bit onto the microphone input just a little bit more. Yeah, right about here. Okay. I am nervous.
(drums playing) Welcome to my incredible computer getaway. This week we'll talk about the plenium 7s, and their amazing, shiny, golden surfaces. Okay, so I pretty much nailed that one. It's a little quiet. For demonstration purposes it will work fine. Although there was, I think--let's just say I think I didn't hit one of those words quite on the money. Let's listen back.
(Dave: Welcome to my incredible computer getaway. This week will talk about the plenium 7s and their amazing, shiny, golden surfaces.) I'm really big into computers, by the way. So here we have got a little problem with the plenium 7. So I am going to try and just re-record that part. I am happy with everything else that I recorded there. I think it sounds pretty good. So I am going to do what we call punch-in recording, and that's exactly what it is.
We are going to punch in to record when we get to hear where I have highlighted it, and we are going to punch out of record when we get to the end. Now if I just hit record right now, it will just record right over what's there; but because I need a little bit of time and I want to hear what I am saying so that I can kind of speak along with my line and then deliver it, I am going to need to set some pre-roll and post-roll. And do that in Pro Tools, I need to go to see the Transport and set up my pre- and post-roll.
And we are going to change this, everything, over to minutes and seconds, and I am going to go ahead and give myself a few seconds. Let's say, let's try five seconds, see if that's enough for me, and then we will add a little post-roll of 3 seconds. Sorry, five seconds. And I am just going to play that to show you what this looks like. So the playhead starts before the highlight. That's the pre-roll, this is where I will record, and this will be the post-roll.
So let's go ahead and do it, and I think I might take this without the drum track behind there. I could hear if I wanted to. We will do it with the drum track for the first take and see if that helps; maybe it will improve my rhythm. Here we go. I am going to arm our record and hit play to start recording. Welcome to my incredible computer getaway, this week we'll look at the Pentium 7s. Okay, so we recorded. Oh, I might have been a little ahead of the game there.
I am going to take pre- and post- roll off and just give it a listen. (Dave: This week we'll look at the Pentium 7s.) So that worked. I got in there. It's not a perfect cut, but we might be able to use a bit of the old-- (Dave This week, we'll talk about Pentium 7s and their amazing, shiny, golden surfaces.) For my podcast that would be good enough. The point is we got to insert something there. If you are doing something like doing music and you've got the drummer and he misses a couple hits--hits the microphone with the drumstick or hits a rim shot instead of hitting the snare the way he wants to--you can go in and punch-record that.
But if the singer gets through the whole song and they did a great job, but they missed a few notes, or they are flat in one section, you can go in and punch that section in, as opposed to having to go back and re-record the whole thing. So overdubbing and punching are two really cool things about recording in the digital world, and definitely are useful in a lot of different applications.
There are currently no FAQs about Digital Audio Principles.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.