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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 it seems like recording blasphemy, many vocalists hate headphones, and would much rather sing in the control room with a handheld stage mic like the Shure SM58. This might not win you any high fidelity awards for vocal sound, but a great performance will trump audio quality any day. Let's look at how it's done. Most stage mics, while certainly not as hi-fi is a multi-thousand dollar vintage Neumann, sound better than you think when routed through a high-quality microphone preamp and certainly good enough for just about any recording purpose. And advantage of recording with the stage mic in the control room or in front of your speakers is that it has a much higher immunity to feedback than a high-quality condenser mic.
So you can have the control room under level of a little higher. Make sure that the vocalist is facing the monitors for the best rejection. (music playing) Most studio mics don't work well for handheld use. That's because of their handing noise and the fact that singing in to one with their crest up against the singer's lips will result in a series of extreme pops and distortion. You can still make it work by wrapping the mic in some foam rubber or sonex, putting a pop filter in the capsule head, or you are much better off to just use the tried and true stage mic and hope for the best. (music playing) So that's how you record a vocal in the control room, using a stage mic can give you a lot more monitor level before feedback and probably won't sound all that bad.
If you must use a studio mic as a handheld be sure to wrap it in foam rubber or sonex to decrease the handling nose and don't forget to use a pop filter.
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