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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.
Regardless of who is playing and what kind of instrument they're using, it's always best if you can get them to record in the room with you. Having the musician able to hear exactly what you're hearing, as well as the immediacy of communication, will usually get a much better performance out of the player. This is easy with guitar, bass, electronic keys, and even vocals, and tougher for everything else. In this video, we'll look at setting up for overdubs, both in the control room and in the tracking room. Recording an overdub in the control room is easy as long as you take the following steps.
Make sure that the player can hear himself well and that the level is sufficient. Bring up a mix that you feel is balanced. Ask the player if he is comfortable with the balance of the mix and his overdub, then adjust as needed. Proceed recording. If an open mic is being used, like for a vocal, make sure that the mic is cardioid and the player is facing the monitor speakers for maximum rejection. Avoid feedback by not turning up the level too loudly. Cables and hardware are now widely available to keep an amp in the other room while the player plays in the control room with you.
(music playing) If you can't overdub in the control room area, don't fall into the trap of keeping the instrument set up in the exact same place in the studio as during your basics. Move the vocal or instrument into the big part of the studio. All instruments sound best when there is some space for the sound to develop. (music playing) You can cut down on any unwanted reflections from the room by placing baffles around the mic, the player, or the singer. (music playing) The only exception to this is if you're doing fixes to the basic tracks.
Then it's important to keep the setup in the same place so the sound stays the same. (music playing) So that's how to set up for overdubs in the studio and control room. Move the player to the big part of the room unless you're doing basic track fixes. In the control room, make sure the player can hear himself well and is comfortable with the level in the mix. And if an open mic is being used, make sure that the mic is cardioid and the player is facing the monitor speakers for maximum rejection.
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