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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.
On many songs, the vocal can be very dynamic and needs to be controlled in order to keep from overloading somewhere in the signal chain. In this video, I am going to for show you how to use a limiter to keep that vocal under control. The reason why we are inserting a limiter during tracking is mostly to avoid overload and not for the sound that it imparts, that's better done during the mix down stage. So feel free to skip this section if you feel uncomfortable with it. Remember that if you're using a plug-in, it might cause a delay between what the vocalists singing, and when she's hearing it in the phones.
The first thing to do is insert a hardware compressor into the signal chain either on an insert in the consular preamp or placed between the preamp and DAW input. Set the attack control to its lowest setting and the release control to its fastest, then set the ratio at about 10 to 1 and raise the Threshold and tell there is a few dB of limiting on the vocal peaks. If the vocal has a lot of dynamics, decrease the attack time making it faster, this means that it will catch more of the peaks and the amount of limiting will increase. Don't go beyond 5 or 6 dB because adding too much limiting at this point can change the sound of the vocal this can't be undone later, so remember that less is more.
Finally, increase the release time to about half way to keep the vocal strong and steady. (music playing) A limiter with the release time set too fast can cause a sound to pump which is very undesirable on a vocal.
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