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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.
Many keyboards have lush stereo patches that sound great by themselves. The trouble is that the sound can quickly get buried in the mix as you add other keyboard sounds. In this video, I'll show you the best way to record keyboard so they fit better in the mix. While some keyboards now come with XLR connectors that allow you to plug directly into the console or DAW with the standard mic cable, most will require you to either use a direct box or two for stereo or connect directly to the instrument inputs on your console or preamp. After you've plugged the keyboard into the direct box and the output of the box into a console, mic preamp, or DAW, flip the ground switch to find the quietest setting.
Set the levels so the peaks never go beyond -6 dB and generally stay around -10 dB. (music playing) Many of the newer keyboards have sounds that are artificially made stereo using the built in chorus effect, which doesn't always translate when mixed together with other instruments.
Listen to both outputs of the keyboard individually and choose the one that's not chorused. You can tell which one that is because it doesn't have the distinct warble that the chorus channel has. You can always make it stereo later when mixing. (music playing) Many new keyboards also have piano sounds that are optimized for mono, which will sound better than just one side of the stereo output or the stereo blended into mono.
Look for a patch that's distinctly marked as mono and use that.
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