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Discover the industry secrets to recording crisp, rich instrument tracks and vocals in any type of recording environment. Join renowned audio engineer Bobby Owsinski as he walks through the process of miking and tracking a complete song by Underground Sun recording artist Iyeoka and A-list session musicians in a top-of-the-line studio—in a way that is applicable to any recording space and musical genre. Learn how to select the correct microphone and polar pattern for each instrument, with hundreds of revealing listening examples for drums, acoustic and electric guitar, piano, keyboards, and more. These professional techniques offer critical insights for those just getting started in the recording process, and a trustworthy reference guide for more seasoned engineers. Bobby also demonstrates how to monitor and sculpt EQ settings, why and when to process your input signal, and how to choose the right outboard gear for the track. This course employs 360-degree, 3D visualizations that provide an unprecedented perspective of the equipment, players, and microphone placements discussed. Plus, with the raw audio files provided, you can critically listen to every recorded example at home with your DAW of choice at full 24-bit resolution.
Sometimes the top snare mic just doesn't capture enough of the snap of the snare strainers underneath the drum, so a second mic is added under the snare pointing up at them. Let's add a bottom snare mic to our drum miking setup. Although any mic will work as an under-snare mic, the more directional it is the better. So it won't pickup leakage from the bass drum. One favorite for the application is the Sennheiser MD 441, which is somewhat expensive and not found in many studios. That said, any cardioid mic--and preferably a hypercardioid--will work.
Along with the top mic, place a mic about 6 inches from the bottom head and right under the snares. (music playing) I'll start with juts a top head mic, raise up the fader in the bottom head mic to add more presence to the snare sound. (music playing) Remember to flip the phase in the bottom mic and choose a position that has the most low-end when blended with the top. (music playing) Cut 50 to 100 Hz in the bottom mic or use the bass roll-off on the mic or preamp if the kick is leaking into it. (music playing) That's how we add an under-snare mic to the drum miking setup.
Place the under-snare mic about 6 inches from the snare strainers and select the low-frequency roll-off if it's available. Just add a little to the top snare drum sound to add the high-end snap of the drum.
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