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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.
male speaker: Okay, why don't we do this? Let's first of all take the verse and go through the verse and just figure out where the stops are and are not. So from the downbeat of the verse. (music playing) male speaker: The first time it's a fill, you guys stop. The second time everybody plays through it, and it goes into the next chorus.
And then we've got to go through the bridge, because I think at the end there are some questions I want to play. Drummer: All right. So the bridge, what's the lyrical line again, I am sorry? Iyeoka: There my heart goes again in your arms. Drummer: Okay. male speaker: And no break into it, play into the bridge. Drummer: Okay, right at the bridge we're going? male speaker: Yeah. And Randy, the more you play those lyrical fills, the better, that's great stuff. Randy: Okay. male speaker: Yeah. Okay, let's do this, the chorus, the second chorus into the bridge. Drummer: All right. Here we go. 1-2-3-4.
(music playing) male speaker: All right, let's get creative. Let's figure out what to do here that works.
Drummer: Okay. male speaker: There is a resolve chord there I am kind of missing. Bass Guitarist: Play the riff, play the riff. Okay. Drummer: Sounds all right to me. male speaker: Yeah, you're right, right there it did, yeah. Bass Guitarist: Maybe what if we did this, if we went 1-2-3-4-E... ...bop-bop...dum-dum...bop-bop-bop-bop-bop.... male speaker: Everybody play it, yeah, yeah, yeah. Bass Guitarist: Anticipation, that eighth note anticipation? male speaker: Yeah, it's better. Much better. Bass Guitarist: All right? The guitar? Pianist: Because it almost feels like there should be like a guitar solo there or something.
Yeah, I agree. Bass Guitarist: Should the guitar solo be on the vamp? Pianist: It should be on the changes. male speaker: Let's try it! Bass Guitarist: Let's try it. Drummer: Here we go! 1-2... (music playing) male speaker: Okay, so then the last thing is what we're going to do for the out.
Pianist: When we get to the B minor, if I'm doing like... (music playing) male speaker: Yeah, there you go! Perfect! Perfect! (music playing) male speaker: Yeah, that's great! Good idea! So why don't we do this? Let's vamp it, but let's push it, though, push the vamp.
Drummer: Here we go. 1-2... (music playing) male speaker: Cool! Everybody good? Pianist: Yeah. male speaker: Let's cut it.
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