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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.
While the previous technique is used mainly for miking the cymbals, this next technique is designed to pick up the entire drum kit. Let's look at how the overhead mics are positioned to make this happen. In this configuration, two identical mics are crossed at about a 110 degree angle and about 7 inches apart, which is a stereo miking technique called ORTF. We'll talk about this technique more in the chapter on stereo miking techniques. This setup is a little more difficult, in that you'll need to heavy-duty boom stands and some patience to position the mics correctly.
But you can also use a stereo positioning bar that's specially made for this purpose. Place two identical directional microphones in the ORTF configuration over the exact center of the drum kit, about a foot over the drummer's head. Adjust the gain, so it's the same for both mics and pan them hard left and right. (music playing) Have the drummer play the song that you're about to record and listen in the control room. You should clearly hear the entire kit with the cymbals being a bit louder. The sound of the kit should now be more balanced, but notice how much more of the room you can hear.
(music playing) Usually this technique doesn't work well with low 10 foot ceilings, since the mics capture a lot of spill that might not sound that great. Also, if your room doesn't sound that good to begin with, this is probably not the technique to use.
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