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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.
If you do nothing else positioning your kit in the best place in the room will do wonders for the sound. Pro-engineers will usually test the room by walking around and clapping their hands, searching for a place in the room that has a nice even reverb. If the clap has a boing to it or a funny overtone. then so will your drums. So it's best to try another place in the room. What you're looking for is the spot where the drums sound relatively live without any of the room cancellations. Ideally, you want the place in the room where the ceiling height is the highest. If the ceiling is vaulted try placing your drums in the middle of the vault first, then move as needed.
It's usually best to stay out of a corner. The corner will normally cause bass loading, meaning that the low frequencies will be increased causing your kick and floor tom to be louder than the other drums. This can also lead to increase tom ring and snare buzzing. That being said, sometimes more low end is just the thing you need, so don't rule the corner out without trying it first since the extra fullness of the kick might be just the thing you're looking for. You don't want to be too close to a wall either, since the reflections--or absorption if the wall is soft--can also change the sound of the kit.
The middle of the room usually works best. Whatever you do, stay away from glass if you can, since glass will give you the most unwanted reflections of just about any material. If you have no choice because of the way the room or the band must be situated try setting up the kit at a 45 degree angle to the glass. To sum it all up, what you're looking for is a spot where the drums sound relatively live without any of the room cancellations. Walk around the room while clapping your hands to find the place with the smoothest sounding ambience. Try to pick the place in the room where the ceiling is the highest.
Stay out of the corner, don't get too close to a wall, and place the kit at a 45 degree angle if you have no choice but to set up near glass.
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