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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.
Checking the phase is essential, not only on the drums, but any instrument being miked with more than a single microphone. This is important because not only will an out of phase channel suck the low end out of a mix, but it will be more difficult to fix later when it's time to mix. Here is a very simple and quick way to check your phase even after something has been recorded. Checking the phase is essential whenever you'll be using multiple microphones like in the case of miking the drums. The chances for a phase problem are far greater on the drum kit, since it usually has more mics on it than any other instrument.
The mics will never be completely in phase, but some problems will be diminished by reversing polarity in some of the channels. The only way to determine this is through experimentation and listening. Here is the way to check the phase after the drums have been recorded. (music playing) Listen to the overheads in your monitors with them panned hard left and right, and listen to them panned to the center. Did they sound thin or swishy when they are panned to the center? Is there more low end when you flip the phase switch on one of them? Choose the position of the phase switch that sounds the best, pan them back into stereo, then go onto the next step. Add the kick drum channel to the mix.
Switch the polarity on the kick channel of the console or DAW. (music playing) Is there more low end when you flip the Phase Switch? Stay with the position that has the fullest sound. Add the snare drum channel to the mix. Switch the Polarity on the snare channel of the console or DAW. Is there more low end when you flip the Phase Switch? Stay with the position that has the fullest sound. Do this for each channel that's been recorded, always stay with the position of the Phase switch that has the most bottom.
(music playing) Ultimately, you can't totally avoid phase cancellation, but you can make sure that it sounds as good as possible. Remember one position of the phase switch will always sound fuller then the other. (music playing) To sum things up, a mic can be out of phase due to a mis-wired cable or poor mic placement. That's important because an out of phase channel will suck the low end out of the mix, and be very difficult to fix later.
To determine the phase of your tracks select both positions of the Phase Switch on each channel and choose the one with the most low end. (music playing)
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