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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.
Just putting a microphone in front of a vocalist and having them sing doesn't automatically mean that it will sound good. There is actually a lot of technique involved, and that's what I'm going to show us you in this video. Before you place the microphone you should remember that the best mic in the house won't necessarily get the best vocal sound. So don't be afraid to experiment with different mics. Another thing to remember is a decoupling the stand from the floor will help get rid of many unwanted low frequency rumbles that occur. These include truck traffic, machinery being used down the street, footsteps, and a multitude of things that are lower in frequency than normal hearing.
Just place the stand on a couple of mouse pads or at least on a rug for an inexpensive solution. One of the things that you are trying to do with mic placement is eliminate pops, lips smacks, and breath blasts. Here's how to do that. When you place the mic even with the vocalist lips, you are likely to get breath blasts because the vocalist's mouth is pointed directly at the mic capsule. (music playing) You can move the vocalist back from the mic a bit to decrease these pops, but there's a better way to do it.
Place the mic even with the vocalist's eyes and point it down towards the lips, you have seen this technique before in studio photos for the 50s and 60s and the reason why they used to back then is because it worked. (music playing) Pop filters or screens are designed to eliminate the blast of wind when the vocalist sings Ps and Bs. Another thing to try is to change the pick-up pattern to two omni-directional, or change the mic to one with an omni pattern. This eliminates the proximity effect and lessens the possibility of it happening. (music playing) Remember, there is no rule that says that you have to use a directional mic.
In fact, I used to get hired a lot just for the vocal sound that I got. My secret weapon was a mic set to omni-directional. Finally, some vocalists are very active when they sing and will drift closer to, then further away from the mic creating some shifts in level. An easy way to have the vocalist gauge the distance from the mic is by hand lengths. An open hand is approximately 8inches, while a fist is about 4inches. (music playing) By saying, stay a hand away, the vocalist can easily judge distance and usually doesn't forget.
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