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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.
Acoustics spill, or leakage from one instrument into another's mic, is many times thought of as undesirable, but it can and should be used to enhance the sounds instead of avoided. In this video we'll look at decreasing leakage and also using it to our advantage when it's there. Many who are inexperienced at recording are under the mistaken belief that during a tracking session with multiple instruments, every track recorded must contain only the instrument or source that mic was pointed at. That's usually not the case, as most tracks normally have at least some leakage, unless they're totally isolated.
Let's take a listen to the top snare mic from a drum kit. (music playing) Notice how you can hear the other drums in the background of the snare hits, if only faintly. This is perfectly acceptable in most drum recordings. Leakage can be used as a sort of glue between instruments in much the same way that instruments magnify one another in a live situation. If you're in a small room and leakage is inevitable, instead of trying to avoid leakage, great attention should be taken to the kind of leakage being recorded, rather than trying to eliminate it.
If you can't get major separation by putting amps and musicians in dedicated rooms when tracking, try keeping the players and their gears close together as possible. Not only will it help the players communicate, but the leakage will contain more direct sound than the room reflections, which will make it sound better. This might make track fixes clash with the original basic tracks, so it's best to have keeper tracks from all the instruments to get the desired effect. Of course, if you can completely isolate things like guitar and bass amps in another room, all the better.
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