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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.
If you have a limited amount of gear available or your aim is to re-create a vintage sound, it's possible to use a minimalist miking technique and achieve a completely different effect than with the tried and true basics described earlier. If you've ever recorder a band rehearsal, you've already, probably experimented with a single mic technique. However, there are some tricks to getting the best drum sound out of a single mic. If you place in mic about 3 feet in front of the drum kit, looking at the center of the kit, you'll find that it should pick up everything fairly evenly. (music playing) If you need to get more bass drum, move the mic down towards the bass drum.
If you need a little less, move it higher and away from of the bass drum. (music playing) You'll find that if you are using a multi-thousand dollar Neumann, you'll surely achieve a better sound than with a low-quality mic. (music playing) So once again, if you need more bass drum, move the mic down a bit, or point it more towards the bass drum. (music playing) With the single mic on the drums using a Limiter or Compressor may be something you might want to try to smooth out the dynamics of the kit.
Use the fairly light setting just to reign in the peaks, using only 1 or 2 dB of compression, with 2:1 Ratio and the fastest Attack and Release settings. Don't be afraid to experiment by increasing the compression, as you may like the wild effect that it sometimes achieves. Use what you have, make it sound the best you can by varying the placement, compression, and EQ. You'll be surprised that how well this can work. (music playing) In closing, a minimalist miking setup can get just as good a drum sound as with multiple mics, sometimes even better.
To get a great drum sound on the drum kit with just one mic, put the mic about 3 feet in front of the drum kit looking at the center of the kit, then experiment with moving the mic around until you find a position that gets an even balance of the entire kit. If you need to get more bass drum move the mic down towards the bass drum. If you need a little less, move it higher and away from the bass drum.
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