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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 as with the drums, finding the right place in the room can make all the difference when recording either an electric or an acoustic guitar. Even when a guitar amp is close-miked, the room contributes to the sound, so where it's placed in the room must be considered. Here are some things to think about when selecting a place to record either a guitar or an amplifier. Let's start with an amplifier first. If you're tracking, it's important that the guitar player is close to the rhythm section, but the amplifier doesn't have to be. Place it some place where it's away from the open mics of the drums, preferably in an isolation booth, a closet, or another room.
Take care not to place the amp too close to a wall or in the corner, since that will cause bass loading, which is where the low frequencies bounce off the wall and interact with the same frequencies coming out of the speakers. It's best to keep it at least 18 inches away from any wall. When you're overdubbing, you can treat the amp just like the drum kit and place it in the best sounding part of the room. As described in the drum chapter, if it's a combo amp, one thing to try is to raise the amp up on a road case or chair. This will eliminate the interaction with the floor and provide a cleaner sound, which may or may not work for the track.
Most acoustic guitars are recorded as an overdub so as not to pick up leakage from the other instruments unless you're recording in a studio with an Iso booth. Once again, you can treat the acoustic guitar just like the drum kit, and place it in the best sounding part of the room, as described in the drum chapter.
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