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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.
There are lots of different techniques to mike a guitar amp. In this technique we'll add a second mic to capture more of the room sound. Let me show you how it's done. Natural ambience usually sounds a lot better than an artificial reverb for layering a guitar part in the mix. The way we capture it is by adding a second mic back in the room in addition to the previous close miking techniques. The kind and type of mic you use actually doesn't matter much. Place the second like about 6 feet away from the amplifier. If there are multiple speakers, try to place it where the sound of all the speakers converge.
If you want more room ambience, try moving the distant mic, so it's about 10 feet away, or like we've done here, put in another reverberant room or hallway close by. (music playing) Add the second mic to the sound of the first. The right amount is dictated by the song and how you hear it in the mix. Here is what it sounds like, we are just a little off the distant mike, and then with it at about equal level to the close mic. (music playing) Very experienced engineers determine the sound they like and print both mics to a single track.
If you don't feel that you're that level, or you're not sure what the final sound should be, print each mic to a separate track and determine the appropriate level during mix down. That's how you add a second distant mic to a close mic setup. Start with the mic about 6 feet back from the speaker cabinet. If you want more room sound move the mic back to about 10 feet. Mix it with the close mic until you find what's appropriate for the song.
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