Log In    |    Register
Home / News > 7 quick recording tips for making your work better

News

7 quick recording tips for making your work better

Recording is a combination of art and science, but you can get some professional help from experienced producers. Here are 7 important tips to help you work better. Everyone now put more attention and money on the mix (this is correct), but the most original thing still starts with the recording itself: if the original recording is not as good as expected, then the mix It will become a difficult battle to resolve various flaws, not a creative process it should have. So there is no specific order here. 9 small comments, the next time you use the recording work, you can pay attention. Even the first-time recording engineer knows that they should keep the meter in a normal healthy range while recording, and avoid overload (the meter shows a red light). But the factors that constitute health or better levels are not always as obvious as they seem. In the age of simulation, the level needs to be as close as possible to a large value without distortion, in order to keep the signal far exceeding the background noise of the humming sound that the tape has been carrying. But digital recording does not have background noise, and according to today's 24-bit recording standard, any potential noise noise during digital recording will disappear very low and low enough to be completely unreadable. In addition, although it may occasionally burst red, this is permissible, even if it may exceed your ideal range a bit (ie, the warmth and presence of the tube drive or tape saturation), digital popping is very demanding and Quite uncomfortable, and must be more strictly avoided.

However, it is a pity that during the tuning process before the recording, the set volume is checked, and the performer tends to work harder during the actual recording process. Therefore, the loud volume during the tuning check process can be easily recorded. When the actual volume exceeds, it will often destroy the actual recording, but you also know that sometimes the inspiration comes to greatness and it's gone again. Although some audio repair software may be able to save these audio clips, this thing should not be relied upon. Recording clips are actually a bad thing. A large (peak) volume of around -6dBfs (6 dB below the larger number), even as low as around -12, should leave enough room to track any level that occurs during recording Fluctuations, and the audio files set by these volumes are sound and visually low, but they can easily be repaired simply by adding gain to these clean, untrimmed 24-bit audio. There are three distinct types of audio input designed specifically for different levels of signal input: line input, microphone input, and instrument input. It is very important to select the correct input type for each source. This is not just a volume control. If it is just volume, then you simply adjust the input gain. However, these three different input signal types also have different requirements on the input impedance to ensure better signal transmission. If you do not input in accordance with the proper input impedance, the signal may be affected by noise and frequency anomalies. Microphone signals are easy to set up. On most interfaces, they are not only clearly marked, they are easy to find, but they can also be linked using the familiar standard 3-pin XLR port. They provide the microphone with a suitable impedance (usually around 2k ohms) and have enough gain to connect low-level microphone signals to standard line levels. Line inputs typically use a 1/4" (6.3mm) interface (usually a slightly better audio interface with a balanced port (TRS)), requiring less gain and higher input impedance, typically 10k ohms or more Perhaps the most common mistake is to use line-level input instead of instrument input. This error often happens because they all use a 1/4" (6.3mm) interface (although the instrument input may be an unbalanced TS port), but It may damage the signal of the "instrument." Specifically, the instruments here are probably electric guitars and basses, which have very low output levels and require a very high input impedance (about 1 M or so) to avoid recording too much noise or messy signals. Most interfaces will be carefully marked out with these different input types (although sometimes the line and instrument inputs may actually share a jack, but each application will have a switch to select the correct type/impedance), so take a closer look. , you can ensure that everyone can use the correct, better recording signal type.

Now most sound engineers are familiar with or feel more comfortable with DI (direct input) recordings by inserting an electric guitar or bass directly into the instrument input of the audio interface instead of using a virtual guitar or bass amplifier to increase the marginalization required and distortion. However, in order to obtain better results, it is better to carefully calibrate the level of the input signal to match the preset level of your selected virtual amplifier. Most virtual power amplifiers are designed to use the virtual front panel to adjust the desired effect and volume, and if they are twisted too Cheap Beats By Dr Dre" href="/">Cheap Beats By Dr Dre low or too high, the desired tone or effect will not appear. Many virtual amplifiers specify a better input level before the analog amplifier (some models provide an input level display and adjustment controls to help you use it), but if one of them is missing, I experiment with a higher signal level. (using a full-volume chord test) -3 to -6 dBfs, is available on most virtual amplifiers. The bass's DI gave a quick suggestion. It has long been accustomed to recording bass using both the DI (Direct Input) track and the microphone track. Even if the microphone track is actually the second one, Through the DI (inline input) track of the virtual bass amplifier (actually many virtual bass amplifiers already have a built-in DI/"amplifier" mixing control, so only one DI bass track can actually be Beats By Dre Sale used to join the mix), certainly To do this.

4. Microphone problem: something less obvious

Some of the potential issues related to microphones (which may not be as familiar to everyone as the sonic boom and proximity effects are so obvious) are related to positioning, especially distance and angle issues. The preferred distance for a recording engineer (LDC) condenser microphone is usually about 6 feet to 1 inch. This distance can be used to capture the "air sense" around the singer/instrument. But performers, especially singers, tend to walk around, causing distances to be consistently different, and the tone and volume recorded will change significantly. This will cause problems in later arrangements (which can be better Several pieces of position are combined into the final version). Sometimes it is also possible to place the pop-up screen at a preferred distance for use as a guide for singers or musicians, so that the singer always maintains consistency in position; or it is common to use tape to mark the floor with an X. Regardless of the method, the sound engineer should keep his glasses and ears at the same time to maintain a better recording distance and position.

The problem with the other microphone is related to the angle of the microphone, especially the angle of the singer with the microphone. Since the pickup of most microphones (at least the heart-shaped microphones used in the studio for recording vocals) will vary from different angles, you need to make sure that the singer is not too far from the axis (side). Regardless of whether your microphone has a very slight tilt in this situation (even if it may be only a few degrees), it is sometimes possible to prevent the gas in the singer's mouth Beats By Dre Cheap from blowing out to the microphone and cause a popping sound to maintain minimal effect on the pickup.

5. Monitor: Headphone Mix

The headphone remix of a musician is that, when the player is recording, the mixing of musical instruments and sounds heard in the headphones in real time is crucial for showing a better performance, but this step is often overlooked. It's important to spend a little time and effort to ensure that the performer gets the right mix, because all the musicians' choices - dynamics, pitch and rhythm - are based on what they hear in the room. Make reactions and adjustments. Too much self-play may lead to poor performers, or it can be said that if the singer can't hear the background track enough to keep track of his own pitch, there will be many problems. If the singer does not understand clearly, the performance of ta will damage the music dynamics and sound. In general, everyone will try to push some specific elements (such as the kick drum, such as bass) or other parts of the mix, especially the scratch or the melody part that is easy to attract/distribute to attention.

Even when it is needed, too much reverberation will play on the phone, causing the singer to run out of tune. Many singers will ensure that their tone is correct in order to better hear their own voice and remove one side of the headset. If you do not pay attention, it may lead to the problem of missed recording of the microphone. Therefore, it should be checked at any time during the pre-recording period and the same period. However, the sound engineer is always required to stare at the problem of the mixing technology in the monitor, such as the distortion problem, which may be caused by insufficient power of the headphone amplifier or Beats Headphones On Sale excessive delay due to inappropriate DAW buffer settings. These problems need to be actually put into the player's mobile phone to test, no matter how much time it takes, it is to do it.

6. Monitoring: Monitoring Mixing Tips

A more experienced sound engineer may play a role in the monitor mix that deliberately influences the singer's performance. If a lead singer does not perform well, some engineers may try to quietly lower ta's mix track slightly to force ta to be a bit more forceful and to perform better, unknowingly cooperating with the background music. in. This may force singers to redouble their efforts to achieve the desired level, and some external forces may increase the performance of ta performance. This trick is actually a very common use method, but it should be used with caution. You shouldn't hope that the singer will sacrifice the dynamic of music in order to comfortably follow the background track, and you don't want to be too early. Increase the tiredness of use of the mattress. So if you do this, watch the singer's performance closely as the recording progresses.

7. A problem that frequently occurs with input processing is that as the recording continues all the time plus processing like EQ or compression, or recording dry sound (or dry as much as possible), then keeping all the processing in the mix , Post-processing can be used at will or canceled, and then used in the complete arrangement. When I'm teaching, I always advise students to start from scratch if they just started. Once they have experience, they can add plug-ins or whatever they need to input synchronization.

Personally, I seldom use EQ (unless it's a "role" EQ) when I'm recording simultaneously, and even then I can use it to pass signals smoothly, just to simulate a warm voice. I prefer to choose a better microphone and carefully place it to achieve the desired pitch and tone. I tend to add some gentle compression or limiter to some models, which may have some subtle limits on the bass part, or a very gentle compression of the highly dynamic singer. But I've been moving any input dynamics, either at the peak or in the whole, to a gain of no more than about 3dB, so this part is not at all compressible. Let me not use the limiter in the mix, and then a lot of options to choose the appropriate compression.