Ever since the proliferation of digital technology within the world of recording, many artists have chosen to get lazy and, often rely on pitch-tuning plugins, or think that there is a plugin for every mistake they're prone to make while recording. They're wrong. As an audio engineer, I can confidently say that, despite the wide array of tools at our disposal, it is ALWAYS a better idea to record something correctly from the get-go. Naturally, not all circumstances allow for fine-tuning during tracking, however, a project will ALWAYS become much more time-consuming and tedious, when corrections need to be made that could've been avoided during tracking. More time equals more money. Plus, any time spent correcting mistakes, and cleaning up sloppiness, is time taken away from honing in on the sound of the final product. Over time, having tracked big name acts, with vocal coaches and vocal producers, I can attest to this fact: Every word, every note, must be completely perfect in terms of pitch, inflection, energy, and desired effect. Many times we will track a single line over and over again with multiple takes, until the line is just right. This is not to say that many artists will not repeat a verse 40 or 50 times (especially with rap) until it is flawless. The artists should be comfortable enough to play the part in their sleep, backwards, forwards, with the ability to be playful because it is so well ingrained. This takes time and PRACTICE, PRACTICE, PRACTICE. […]
CURRENT MOOD: Peoplewatch. Mixing engineer Paul Garcia working on final mixes for the Peoplewatch record 'Sideways,' which will be released on March 26th, 2016. Paul is using the UA 1176 Classic Limiting Amplifier Plug-ins in a serial chain. One with a slow release and another with a fast release. Depending on the source, either the fast or slow release 1176 is being used first in the chain. Before compressing the instrument bus, Paul sets a UA SSL E-Channel Strip. The "equaliserselect" button is a great way to get a different character out of the EQ without interrupting workflow. The onboard compressor on the E-Channel sounds great on rock guitars when the Ratio is set to 1, Threshold is set to -20, and the Release is set to .1. http://www.uaudio.com/store/compressors-limiters/1176-collection.html http://www.uaudio.com/store/channel-strips/ssl-e-series-channel-strip.html Come and create at our recording studio miami !
Recording brass can be a bit of an undertaking if one isn’t familiar with the process. Brass instruments (Trumpet, Sax, Tuba, Trombone) can have a massive large dynamic range, and can be very nuanced if the music at hand is jazz. When recording any of the instruments, there are a couple of things to take into account. Here’s a list of how to approach the session: What Genre is the Music being Recorded?: Will you be recording a slow jazz with a horn as a lead? A funk track with a brass section performing stabs? Its very important to take a second, and have the instrumentalist(s) play through the tune at hand to get a feel for the dynamic range, bursts (in the case of a funk stab), as well as, whether the player(s) have a tendency to move around. The distance, and direction of the mic will play a big part in how the sound is picked up. Each one of these factors will come into play when moving on to the next section: Microphone Choice: Condenser or Dynamic or Ribbon?: For me this question really depends on the answer to the first question. If the session is with experienced jazz musicians, more often than not, I will reach for a condenser, as it allows the expressivity of the player to come across much better. If this is the case, I will place the microphone at least 3 feet from the end of the player’s horn. […]