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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.
Of almost any instrument, the bass is probably the most dynamically uncontrolled, that's why it sometimes a good idea to place a limiter on it when recording. In this video I'll show you just how to do that. The limiter will help control the peaks that can happen either because of the way that player is playing, or because of the instrument. Here is how to set it up. Insert a compressor into the signal chain either on an insert in the console, or preamp, or place between the preamp and DAW input. Set the attack control to its slowest setting and the release control to its fastest.
Then set the ratio to about ten to one and raise the threshold until there is a few dB is limiting on the piece of the signal. (music playing) Decrease the attack time until the audio just begins to sound dull, then back it off a bit.
This means that the limiter will catch more of the peaks and the amount of limiting will increase. (music playing) Increase the release time so that it breathes with the pulse of the song, which should be somewhere around the midway point.
A limiter with the release time set too fast can cause the sound to pump, which is usually an undesirable effect. Don't go beyond five or six dB, because adding too much limiting at this point can change the sound. (music playing) This can't be undone later, so remember that less is more.
The correct amount of limiting is when every note is equal and level. Finally, set the output control of the limiter. So, that the record level is about -10 dB on the channel meters. (music playing) That's how to insert a limiter into the signal chain of the bass to control its dynamics.
Set the attack control to its slowest setting and the release time to its fastest. Then set the ratio to about ten to one, and then raise the threshold until the meter reads about -2 dB. Decrease the attack time until the audio just begins to sound dull then back it off a bit. Remember not to decrease the attack time too much where the sound of the bass will loose definition, and that less is more since you can always add additional limiting when you mix.
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