Mic individual instruments?
Pretty much... yeah....
I mean it all depends on your
setup if you have only one microphone
and a huge band...
well what else are
you gonna do.
But if you have the luxury
of a microphone for every instrument
then great, Yeah.
There are plugins that you can get
that are D verbs, they work
okay, some better than others.
If you can try and dampen down the room
with some treatment you know, put
duvets around the place,
curtains that just kind of dampens
down all the the wild frequencies.
I presume when you say off you're
referring to tuning, so if an instrument
is that out of tune, then yeah you just pitch
it... if it's continuously out of tuner or by
say like a semitone or a tone or
whatever consistently over a period of
time then you can just whack that up.
Yeah you can fix pitch with an awful lot
of pieces of kit out there in your DAW.
Phasing is when two waveforms are out of
sequence with each other, or out of series
with each other, so they're cancelling
each other.
So normally with stereo waveform,
the, the, the sound waves are
moving in tandem,
whereas if one is slightly out with the
other, you can hear an effect called
phasing, and in your DAW you have to
shift one leg of that channel interface
so that they're running in tandem again.
So you can correct the audio that way, it
might be only a couple of milliseconds,
a lot of musicians work to the old
traditional 44.1, 16-bit, whereas we have
machines nowadays that record really,
really, really high quality audio.
Personally, I would record at the best
possible quality I possibly could.
High-definition TV is running at 48k
24 bits, so that would be a good starter for
10, and then you know if you're doing
some amazing orchestral work or
whatever, I go up to 96 and this high
bitrate is possible.
Headphones are really important
especially in a studio situation, because
you'd have click tracks in your cans as
they're sometimes referred to, I'd have
over ear enclosed large diaphragm, it
gives you the best response, you can hear
most frequencies coming from them,
so I would use large diaphragm over ears
and just to get used to using headphones
as well it's always good practice especially
if you're gonna be working in the studio.
Do you want room acoustics response on
your instrument, do you want to walk into
a beautiful high vaulted ceiling to get
that reverb on your instrumentation or
go into a concert hall for orchestras.
So it all depends on what you want.
I mean some rooms just sound really bad,
if the walls are covered in metal or metal
sheeting, you just can really harsh nasty
responses from it.
Depends on what you want.
Do you want a response from your
instrument off the walls and a nice
reverb coming from say some cathedrals,
or something like that.
You get some amazing acoustics
because of the, the
size the building, and it's the acoustics
that the buildings are built for,
and the choirs and the response of the building
to the choir, it always added to the,
the sonic amazingness of whatever choir you
have and whatever Cathedral and that's
what they built them so big and so
responsive.
Maybe it's best to leave the room and
let them bring in somebody they'd be
happy with, because you're not gonna win.
I'd probably be a wolf...
because the wolves
are outdoors and they love the outdoors
and I love the outdoors so a wolf.
I'd be sun rise, just you know,
positive energy getting up,
new start to the day.
Get in there, get the work done.
It's all happy!