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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.
The directional response of a microphone is the way the microphone responds to sounds coming from different directions around it. Now that we've seen what the different microphone directional patterns look like graphically, let's hear what they sound like. Listen closely through the audio, are there a lot of high frequencies? Are there a lot of low frequencies? Note how loud the level is. (music playing) Now, have a listen as we turn the mic at a right angle to the source.
Take notice that the frequency response is changed, as the sound is somewhat muffled. Also take a note that the level is dropped a bit. (music playing) Now, have a listen as we turn the mic 180 degrees away from the source.
Take notice that the frequency response is changed, and the level is dropped quite a lot as a result. (music playing) Take a listen to this Figure 8 mic and note the frequency response and level as it's pointed directly at the source.
(music playing) Now, listen to this as we turn it at a right angle to the source. (music playing) The sound just about goes away.
Mics with Figure 8 patterns are unique in how much they reject sound on the sides. That's something that we'll be able to use when considering different mic choices in the future. Now listen as we turn the mic at 180 degree angle from the source. Take notice that the frequency response has changed a little bit, but the level is about the same. (music playing) Many engineers actually use a Figure 8 mic this way if they are looking for a more mellow sound.
Remember how well it's picking up directly behind it though. Now, let's try a large diaphragm Condenser mic set to Omni. Sometimes an Omni mic will have a smoother response that the Directional mic, because of the way it's designed. (music playing) Now have a listen as we turn the mic at a right angle to the source.
The frequency response has changed a little, but the level hasn't dropped that much. (music playing) Now, we have turned the mic so the back of it is pointed at the source. Take notice that the frequency response has changed, and the level has dropped a lot as well.
Just because it's called omni-directional, doesn't mean that it picks up exactly the same in all directions. (music playing) Now, that you have heard the differences between each of the typical microphone polar patterns, you know that anytime you point the mic somewhere other than directly at the sound source, the frequency response and level changes. This means that the mic may also be picking up sound sources from other directions. So, you always have to consider what that might sound like.
Sometimes this can be a limitation, but in other situations you might be able to use these characteristics to your creative advantage.
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