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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.
So now that we've got the tracks recorded, it's time to put a quick mix together. That way we can send it to the band and everyone can start hearing what the song is going to sound like when it's fully mixed. Before we begin our rough mix, let's set up some effects so we can put any instruments or vocals into an artificial space if necessary. This setup is designed to get you up and running quickly with the parameters in a general position to where they almost always sound at least acceptable and sometimes even surprisingly good. This setup also works well when you're tracking and need some quick effects.
It uses two different reverbs and a delay. Reverb 1 will be used primarily for the drums. Set it to a Room with the DECAY at 1.5 seconds and a PRE-DELAY of 20 milliseconds. If a LOW PASS FILTER is available, set it to 10 kilohertz or even 8 kilohertz. If a HIGH PASS FILTER is available, set it to about 600 hertz. Let's listen to what it sounds like on a snare drum. (music playing) Reverb 2 is meant for all other instruments and vocals.
Set it to a Plate with a 1.8 second DECAY time and a PRE-DELAY of 20 milliseconds. If a LOW PASS FILTER is available, set it to 10 kilohertz or even 8 kilohertz. If a HIGH PASS FILTER is available, set it to 150 hertz. Let's listen to this reverb on the guitar and then on the piano. (music playing) The delay can be used on vocal and instruments.
Set it for about 220 milliseconds of DELAY and the FEEDBACK for a couple of repeats, which is about 4%. In real mix, we would time the delay to the tempo of the song. Let's listen to what it sounds like on the vocal. (music playing) So there you have it, the setup of two reverbs and a delay will get you up and running quickly and sound surprisingly good.
Set the first reverb to a Room with a DECAY of 1.5 seconds and use that for the drums. Set the second reverb to a Plate with a DECAY time of 1.8 seconds and use that for everything else. Use a PRE-DELAY of 20 milliseconds for both reverbs and roll them off at 100 hertz and 10 kilohertz. Finally, add a DELAY set to about 220 milliseconds and a couple of repeats to use on the vocal.
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