Yamaha AW4416 Tutorial - Page 7

Tutorial-Laying Down the Basic Tracks ❒ Overdubs The actual procedure for recording overdubs is really no different from recording the basic tracks, except that you'll be monitoring previously recorded material while doing it. Remember to use a good pair of closed headphones to monitor the backing tracks while recording acoustic overdubs or vocals (not open types or the in-ear types often used with portable stereos) to prevent leakage of the headphone mix back into the microphone. ❒ To Process or Not To Process? Now things get a little tricky, because you will be making decisions that will directly affect your freedom to make changes later in the production process. Some engineers almost never use processing of any kind (compression, EQ, etc.) when recording the initial tracks, the reasoning being that it not only reduces their freedom to shape the sound as required at subsequent stages, but that it also compromises the "openness" of the sound. There is a good deal of truth in this, but there are also a few good reasons for some judiciously-applied processing right from the outset. ❍ Compression & Limiting Of the several processing options available during initial recording, compression is probably the most often used. But at this early stage in the production process it must be applied with care. Compression or limiting is most often used at this point to reduce high-level transients that, although not a critical part of the instrument's sound, would otherwise take up a large portion of the recording system's available dynamic range. By reducing transient peaks you can effectively record the main body of the signal at a higher level and thus, in the case of digital media, increase the resolution of the reproduced sound while reducing potential problems with system noise. Bass guitar, electric guitar, vocals, and drums are often compressed during recording. Avoid compression on instruments like acoustic piano in which the initial attack is critical in conveying the instrument's character. ❍ Equalization During initial recording equalization is normally only used as a compensation tool. You might need to compensate for irregularities in the response of a microphone or other piece of equipment in the recording chain, or perhaps beef up the response of a guitar pickup. All mix-related equalization should be left until the mixdown stage, when you can hear how response changes affect the overall sound. ❍ Effects As a rule, don't apply any ambience-type effects (reverb, delay, etc.) during initial recording. Ambience added at this stage in the game can't be removed later, and will almost certainly get in the way of the overall sound. You'll have much more flexibility and control if you save ambience processing until mixdown. Of course, there are exceptions; but those are creative decisions you'll have to make on your own. Other effects such as modulation and distortion are often applied during recording, but only when they function as an inherent part of the instrument's sound (distortion on electric guitar or rotary speaker on an organ, for example). 7 - Tutorial