The new battlefield in the loudness war?
When using a drum virtual instrument, should you record each drum to its own individual track?
This one simple mistake will lose you a third of your songwriting royalties - with video
Is there such a thing as Photoshopped audio?
Q: Why do I have to record acoustic guitar twice?
An example of bad audio with an analysis of the problems - Sept 2017
A brief introduction to soundproofing
How complicated do your monitors have to be?
Demonstrating the Waves J37 analog tape emulation plug-in and comparison with a real tape recorder
Create an amazing trance riser in 7 steps
Subscribe to access our latest, up-to-the-minute articles with hints, tips and adventures in audio in the weekly Audio Masterclass Newsletter.
I was able act as sound engineer, producer, session player and mastering engineer for this project.
The session began in the Spring of 2011 with Geoff laying down his vocal and piano to a click track on my, stand alone, ZOOM HD16 digital recorder.
The rest of the band [guitar, bass, drums] came to the studio two weeks later. They were recorded off the floor, to the HD16, while playing together at the same time. They played along with the tracks that Geoff made previously and I kept the click track going as well.
I used the out from the bass player's Roland amplifier and the guitarist used my PODxt Live, from Line 6, to interface his guitar with the HD16. My Pearl drum kit is located in another room with mic cables passed through the wall. Five mics were used for the drums; two overheads, two in front and one on the bass drum. I use sound absorbing material on all sides of the kit and also dampen the drum heads. These drum mics are sub mixed in my Yamaha MG16 mixer and then sent off to two channels on the ZOOM HD16.
The parts were recorded in two takes and then the fellows left me to apply my "black arts stuff", post session.
I transfer the recorded tracks via USB from the HD16 to a computer that's totally dedicated to music production. I drop each sound file into a track of Power Tracks Pro Audio [PG Music] and then begin the process of mixing and applying effects, correcting timing or pitch errors and whatever else is needed. In the case of this session the tracks were quite noise free but if something needs to be cleaned up I'll export the part outside of Power Tracks to do the cleaning in something like Adobe Audition and then import the part back into Power Tracks.
When the best mix is achieved Power Tracks allows me to mix all tracks to a stereo wave file and then I use mastering software to do that final job. Once the mastering software has completed its work I run it through Adobe Audition a once more to centre the wave and normalize at 94 db.
I sang vocal harmony and played the solo as their guitarist was unable to return for that job.
Hours and hours of very enjoyable work indeed.
Don NormanCome on the FREE COURSE TOUR