Join the real-world school of music recording. In each installment, superstar audio engineer/producer Larry Crane introduces a new solution for a common recording challenge.
Overview
Syllabus
Introduction
- Welcome to Real Recording School Weekly
- Fixing clicky electric bass
- Finding kick drum articulation
- Identifying bad drum edits
- How small rooms affect drums
- Dealing with snare drum ring
- Taming hi-hat bleed
- Stopping hollow kick drum sounds
- Taming boomy acoustic guitars
- Fixing boomy upright bass
- Mid/Side or XY drum mics?
- Problems with multiple mics on guitar amps
- Too much room sound on the vocals
- Vocals with proximity problems
- Vocals with close reflections
- Snare compression
- Clicky upright bass
- Identifying bad vocal edits
- Different overhead drum mics
- EQing overhead drum mics
- Drum room ribbon mic angle
- Connect the vocal notes
- Bass in higher registers
- Adjusting bass definition
- Drum overheads or front-of-kit mics?
- How to end vocal phrases
- Listening to different snare mics
- Drum bleed on toms with different mics
- Damping snare by hand during tracking
- How to support long vocal notes
- Two bass amp mics to audition
- Damping drum ambience or not?
- Roving microphones on drums
- Stereo vs. mono drum overhead mics
- Cardioid or omni mono drum overhead mics
- Blumlein vs. X/Y drum room sounds
- Quick tip on recording snare drum
- Drum overhead compression
- Omni or cardioid drum room mics?
- Do different kick drum sizes matter?
- One electric guitar tracked stereo
- Tracking one guitar with two amps: Splitting signal
- Tracking one guitar with two amps: Ground hum
- Tracking one guitar with two amps: Polarity
- Creating snare gate with compression
- How to locate vocal plosives
- When to set delays off tempo
- Duck echo effects with compression
- Automate EQ on fake strings
- Sum to mono your low end
- Turning any sound into sonic wash
- Drum room mics as overheads
- Adding spring reverb to guitar parts
- Bass sidechained from kick drum
- Kick drum sidechained from bass
- Unique way to boost drum overhead mics
- Creating sonic wash with modulation
- Cymbal ambience and drum editing
- Distortion pedals and bass DI
- Drum high end in the mix
- Kick drum low end in the mix
- Dark bass amp with bright DI box
- Parallel track drum edit trick
- Bass amp and mic distance
- Mixing with single handclaps
- Reamping vocals with travel speaker
- Reamping instruments with travel speaker
- Changing vocal sounds with real tape
- Changing instrument sounds with real tape
- Reamping vocals through headphones
- Reamping instruments through headphones
- Reverse vocal polarity while singing
- Ribbon or dynamic mic on bass amp
- Separate rhythm and solo guitar for mixing
- Mixing mono electric guitar in stereo
- Parallel gated snare drum
- Short delays on snare drums
- Using Auto-Key to find a song's pitch
- Fixing fades on an entire mix
- Do not Auto-Tune your vocal doubles
- Let artists control their headphone mix
- Boosting snare hit pickup
- Parallel vocal compression
- Parallel vocal compression with low EQ
- Parallel vocal compression with midrange EQ
- Pro audio rack gear as stompboxes
- When DI electric guitar tracks work
- Stereo track or mono
- Mid-side mics on acoustic guitar
- Cardioid and figure 8 mics on acoustic guitar
- Using a listen-back mic
- Vocal breath edit fade tip
- Use delay to fix percussion
- Kick drum and bass guitar bus mix glue
- Recording one-person handclaps
- Speaker mic on kick drums
- Checking mixes: Left minus right
- Checking mixes: Mono
- Using the console as a keyboard
- Moving mics while reamping
- Moving speakers while reamping
- Real doppler drum effects
- Moving mics around speaker reamping
- Creating wider sounds through reamping
- Reamping via tweeters only
- Reamping via woofers only
- Room reamping for echo returns
- Reamping the whole mix for fade-out
- Using input sheets
- Mic’ing electric guitar for pick sound
- EQ stereo sends to plate reverb
- Delay before plate reverb
- Mic’ing electric bass for pick sound
- Using a speaker mic on bass amps
- Tambourines all sound different
- Monitoring on different speakers
- Doubling guitar octaves
- Panning vibraslap by hand
- Percussion in stereo
- Keeping your talkback on track
- Foam windscreens affect sound
Taught by
Larry Crane
