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I am not an engineer

Discussion in 'Studio Techniques' started by Lauren2010, Aug 10, 2010.

  1. Lauren2010

    Lauren2010 Member

    You know, my brief experience with Logic leaves me with two important realizations:

    1) I think Logic is amazing technology and I was smart to recently opt for it over anything else. I used protools a few years ago, but frankly, with Logic and Apogee Duet, I like my workflow better as well as the sounds I am achieving. If I was a professional recording engineer, I think I'd use both protools and Logic in order to maximize my client outreach, but since I am not an engineer maybe this later statement is naive.

    2) I want to minimize the amount of time I spend recording songs. I'd rather be playing and composing music than learning to be a good engineer (which I am not). I think good engineers have to spend lots of time learning and honing their craft, and even then the best ones have an innate talent and maybe special ears. I know I don't have that talent, nor the special ears, nor the time to learn.

    As a result of these realizations, I intend to minimize my recording time. My goals now are to simply record my vocals and guitar tracks, maybe bass too, and possibly some fiddle, and then after I complete an album's worth of work, get the raw tracks over to a professional mixing and mastering engineer for finalization.

    That means I don't need to buy expensive plugins or monitors or room acoustics, though I do need a good mic. What I need to concentrate on is performance while recording and making sure the recorded tracks seem noise-free and are of sufficient quality for later mixing/mastering. Even if I bought monitors and room acoustics, I don't have the training to analyze what I hear from them or know if my acoustics are properly setup, etc.. Besides, I am unable to install acoustics in my current situation (a multi-use room).

    Instead I am going to concentrate on the following:

    - get a good vocal mic. I will not buy one without first trying it on my voice, unless of course I can return it if I don't like it. I am not going to spend money on lots of mics only to discover they all sound the same or I didn't find the right one. Does any online music store allow you to return mics?

    - Lay good raw tracks and then simply pre-mix as best as I am able (without lots of effort or time) just to validate what I have recorded is good stuff. Of course, only the edited raw tracks will be sent out for final mixing/mastering later.

    I'm a musician, not an engineer. That said, I need to learn logic better so my basic recordings are of sufficient quality, and for that reason, I may be around here for a while asking dumb questions.

    What do you all think about that?
  3. Peter Ostry

    Peter Ostry Administrator Staff Member

    Your plan can work but not exactly as you expect. If you want an engineer to use your recordings they need to be done properly. How do you do this without a good recording environment and without learning recording techniques? And how would you verify the quality of your recordings without good monitors and an acoustically reasonable room? Do you know that instrument inputs on audio interface are often not good enough and what else you can do to record electric guitar and bass? If you play acoustic guitar, do you know that this instrument is not as easy to record as one may think?

    But there is a plan B:
    You can learn to record everything in layout quality and make your arrangement and a rough mix. Then you bring your bounced file somewhere else and they will record you in good quality and mix the whole thing. Be aware that you actually need a producer. From the view of the studio this approach is not much different from a songwriter walking in with a guitar and some ideas.

    And there is a plan C:
    You can make the layout and then book a recording session where the studio (or a friend who is able to do this) records you in good quality. You take the audio files and continue working until you have a "final layout" that is good enough for an engineer to mix the original sounds according to your conception. This method has the advantage that you can work work with the real stuff which will sound different from your layout-homerecordings.

    But I think the best way is plan D:
    Get one or two good but not too expensive mics and a pair of good monitor boxes and start working. You will quickly find out what you can and what not and what you are willing to learn. Don't forget that recording engineer is a profession, it is unlikely that you just sing in a mic or pluck a guitar and get automatically the sound of the year.


    If you want to talk about equipment please tell us the details:

    Music style
    What are we talking about – Folk, Rock, Pop, Gothic, Funk, Jazz, Classic, everything or nothing of that?

    What voice do you record, is it female, male, high, deep, loud, quiet, soft or hard?

    Acoustic guitar?
    Steel, 12-string, nylon, classical, spanish, latin, fingers or plektrum?

    Acoustic bass?
    Double bass or guitar bass?

    Electric guitar or bass?
    Which kind and passive or active pickups?

    How is your recording environment?
    One room, two rooms, which size? Tell us the dimensions including the height and the materials of the walls, ceiling and floor.

    When we know about your requirements and preferably an approximate budget we can suggest some equipment that fits to your plan. For a mic and monitors we can start at about $300, rather a little higher. There is no upper price limit, we have a lot of phantasy ;)
  4. Orren Merton

    Orren Merton Logic Samurai / Administrator Staff Member

    You know, that alone is worth something! My realizations keep changing. Just when I think I have my needs figured out, something else changes my mind. :)

    Always good goals! I've had most of my album, and stuff that I do, mixed and mastered by pros.

    Sadly, it's not quite that simple. :) I wish it were as easy as getting a good microphone, sticking it against a guitar amp (or up to your throat), pressing record, and giving it to an engineer.

    You're right, you don't need expensive plug-ins—Logic's included effects are world class will do that for you.

    But if you can't hear what you're recording, you can't tell if it's recorded well. And that means decent monitors. I realize that in your room, you can't put up lots of soundproofing material to get an anechoic chamber. I'm not referring to that. But you'll need to still get some serious monitors, and at least set up your room so that you have a decent space to record. For example:

    Let's say that you read some reviews and get some advice from friends and engineers and end up with a mic that ends up thinning out the tone of your voice. However, you then get cheap monitors that have a sort of "loudness peak" like a home stereo, and add artificial thickness in the high mids which gives you a false impression of what you're hearing, and you can't tell how thin the tracks really are. If you then hand those tracks to an engineer, they're going to be thin. In the mix he can add some EQ and reverb to try and thicken it up, but it's going to sound artificial, more "synthetic" than you'd like, because your actual emotion and performance will be masked by all the effects.

    Point being, you're still going to need to do some research into 1) getting a mic matched to your voice, and if you are recording analog instruments like guitars, probably a second mic for guitar. For example, I use an SM7 on my voice, but a Royer R-121 on my guitar amp.

    You'll also want to 2) do at least a little arranging of your space for recording, just so your recordings aren't polluted with waves bouncing back at you, or added boominess you don't want, etc. In other words, just play something with a clear, audible bass line, perhaps early Jane's Addiction (if that's your thing) for example, and listen to it in the "sweet spot" (sitting at your computer desk). Then get up and walk around the walls of your room. Are there some corners or walls in which it sounds like the bass is thumping right in your ear, or shaking the wall? Maybe put a bookcase there, some clothes, something. It doesn't need to be "pro" stuff. I have a project studio in a small condo, and my "soundproofing" consisted of furniture to absorb waves.

    I've not checked, but nearly all online stores like Sweetwater, Musician's Friend, AMS, zZounds, etc. have a 14-45 day return policy. I've bought gear (although not mics) and returned it with no issues; I think there is usually a small restocking fee (like 15%).

    Actually, what I find works (for my music, at least) is that along with raw tracks, I send my best rough mix, to give the engineer/mixer an idea of what I was thinking. I have no idea how "raw" your music is, but if in my head, I'm thinking of a lot of echoes on the chorus vocal, or a particular arrangement, I'll give a rough mix with that idea in it. That way, the mixer has a solid idea of what I'm thinking of. And what I get back is nearly always along the same lines, but better than I could do! :)

    On this, I think you're dead wrong. You will not be asking dumb questions. You will be asking smart questions! :thmbup: Seriously, any question, even the most basic questions, when asked from a sincere desire to learn and improve, are worthy questions. So please don't hesitate to ask anything. That's why the LUG exists!


  5. JuanTahnahmahrah

    JuanTahnahmahrah Senior member

    I have a bunch of studio stuff, and enjoy trying different out different things. Obviously, with microphones, that can be an expensive endeavor. If you have not found the following site, it is worth a look. There is a listing of many famous microphones, and some have sound samples.


    It can save you some time and money in selecting a mic for your purpose.
  6. Lauren2010

    Lauren2010 Member

    I record in a small bedroom, 10x11 ft with 9ft ceiling

    My studio desk is jammed inside the closet (no doors or framing around the closet) in one corner of room. I sit in front of my desk while recording, turned to the left facing away from the wall at my back. I use an SM81 for acoustic and SM57 for vocals. My cheap, powered computer monitors are on the desk (these Jensen monitors are actually very good sounding).

    The dbl entry doors have a heavy black curtain over them. Big plush leather arm chair with coffee table in one corner. 32" Tv and stand in another corner. Carpeted flooring and knockdown ceiling and walls.

    I validate the recordings by taking the mix to various places and listening to it (car, home theatre, PCs, etc). I've done lots of home recording thru the years on tape and DAW. I sort of know if a recorded track is basically good and I know how to check playback and see if it will be OK later in a mix.

    When I record to Logic, I basically can only set the level. That's it. So my job there is to perform well, use proper mic and technique, set the levels, and use a good interface (I have apogee duet) and get the track recorded without noise or distortion. Given that my room is what it is (I aint installing any acoustic foam or anything because this is a multi-use room), I can only do what I am doing. Nothing more except get a better mic. I am leaning towards AT4050 or TLM201 but would consider even a U87 if it would sound better despite the room limitations.

    I am a female with a deeper voice like Mary Chapin Carpenter (not as good as her though) and record folk using acoustic Taylor steel 6-string 414CE. I use flat pick and strum confidently and even in earnest at times and interleave running melodies and riffs into my strumming. My strumming often has a percussiveness to it.

    I am happy so far with the SM81/Duet/Logic acoustic guitar sounds, but not my vocals, which do not pop with the SM57. I have to really jack up the fader and EQ-up high-end vocals to get them heard. My voice is deep but not powerful.

    I think my plan sounds like your plan D.

    I am intent to lay the ground tracks at home where I can do the hard part of doing the basic vocal/guitar takes and retakes at my leisure.

    I agree I could use better monitors, and a vocal mic, but other than that I am limited with what I have. Even without the monitors I should be able to lay down good tracks. I think performance is the most important part of recording, and other factors such as room and equipment (mic and interface mostly) is next in importance.

    Of course, if you have any suggestions I am eager to consider them. All I am saying is that I don't expect to lay out bucks for fancy speakers or plugins or room treatments, nor do I think I need advanced training to just lay down solid tracks (because I won't be doing final mixing or mastering).
  7. Lauren2010

    Lauren2010 Member

    Tks for your feedback too, Orren and Juan. Good stuff.
  8. Peter Ostry

    Peter Ostry Administrator Staff Member

    Well, Lauren, let's start with your room.

    The room

    Your room is almost a cube, acoustically the worst room you can have for recording. You should have a problem between 101 Hz and 127 Hz which is around the A-String on your guitar. Are this string or some notes between the deep G# and C already too loud on your recordings? If not, even if you play them loud, say thank you to your guitar. A nylonstring would not be that polite.

    Such frequencies can only be fighted with absorbers and it is sensless to try foam or similar stuff. You can pull the frequencies down by an Equalizer to a certain degree but there is more than frequencies, I spare you the details.

    If you run into a problem with the A string, don't play it loud. Yeah I know this sounds ridiculous but you have no other chance.

    Mic positions in this room

    I checked the room dimensions with a calculator and it told me that you should place your mics near a corner. Enough space that you can sit or stand behind and sing and play into the room, but rather in the corner. I can tell you that the calculator is right because I have a similar room and can only record in corners ;)

    While recording, the wall(s) in your back should at least be partially covered with dampening or diffusing material. Wool, wandcarpet, whatever. A high bookshelf with a lot of stuff in it works well as a diffusor. No matter what you do, do something to minimize reflections from the back wall to the microphone. Your body is not enough unless it is huge and you hold the mic close to your belly.

    Recording vocals

    In this room you want the vocals as dry as possible. This means also, keep a good distance from the mic when you sing but don't go too far away or you will hear the room. Dampening/diffusing in the back and the carpet on the floor do half of the trick. The ceiling would be the next thing but I doubt you want to do something above you.

    If you sing into the room (and you should do that) and get too many reflections from the opposite walls, you can use one of those small mic screens and put it between the mic and the room. But be careful with such a thing. Never shift a mic into it. Best is to have it a little outside or you will get "comb filtering", a strange sounding effect that comes from the edges of the screen when the air looks around to watch you singing.

    Recording acoustic guitar

    Same position in the corner, same dampening/diffusing in the back, play into the room. But carpets are not good for guitars. I bet your Taylor sounds a bit dull. Take it to the bathroom and tell me the difference. If you want more heights you can put sheets of glossy cardboard onto the floor or a similar reflecting material.


    First, a corner is not good for mixing unless your ears are very close to nearfield monitors. Your mixing place should be at the wall and exactly in the middle between the left and right wall. Otherwise you tend to mix nonsense. A good idea is to have diffusors on the left and right wall (you know, bookshelves etc) to reduce reflections that go straight to your ears.

    Normally there should be absorbers behind the desk and the monitors. But we leave that out for now because you definitely refused acustic treatment. If loud booming occurs, you know where it comes from. From that wall in front of you.

    Second, remember the room modes. Not only your guitar blows those notes into the room. Your monitors do this also and much better because they are louder. Use an analyzer for sound checking, Logic has one built in. If there is no great tower at 100 Hz visible, don't grab the Equalizer. Your room is fooling you.


    I hope this all helps you to make your recordings as good as your environment allows. In the next post we will talk about the equipment.
  9. Peter Ostry

    Peter Ostry Administrator Staff Member

    Maybe I wrote too much in the post before. I understood, that giving your files to a mixing engineer is a plan. That you want some advice about the important things to deliver good quality. If this is the case, you should come as close as possible to studio quality because you don't deliver only an idea, you deliver a product.

    If your voice and guitar are too weak or somehow strange in your own recordings, they will not fit in the context of the song when other people add other stuff with their top equipment. Then they have no other possibility than to polish your recordings and make them unnatural to a certain degree because you deliver the important parts and they must put you in front regardless what they get from you.

    If your voice is similar to Carpenter's, you need rather a soft mic. I am not a microphone specialist and will not dive very deep here but if you don't like your SM57 on your voice this can also happen because of the hardness of the Shure. It is harder than a U87 so far I know.

    I know the AT4050 on male voice, where it is very powerful. Now I heard two sound examples with female voice and, mhm, not convincing. I don't like what it does in the lower female registers.

    I've never heard a TLM102.

    What about a TLM103?
    It's based on the U67/U87 capsule. Very fine mic and much cheaper than the U87.

    The SM57 is a dynamic mic, if you don't have enough power, need higher sensitivity, better resolution and so on, it is not good for you in the studio. But think about the hardness in your voice. You may sound soft but you can have a hard texture if you know what I mean. This is important for the mic selection.

    For an example, go to this website:

    I recorded (not mixed) the first four songs. You may not believe it, but she has definitely a hard texture. Every hard mic failed. Finally I gave her a Røde NT2000 which is soft. The sound is not top, I didn't have better possibilties here. But I think the voice is ok now. She's hard and the mic compensates that instead of making her even harder.

    Yes. You are right in.

    I am still unsure if you already worked this way, recording at home with your current equipment and delivering the files for mixing. I think you have not, from what you wrote. Therefore I feel the strong wish to warn you. You seem to see the engineers as a bunch of magicians but they are not. If you don't deliver good stuff they can only mask your failures and paint something over you to let you shine.

    Definitely and nobody here will tell you that the monitors do not matter. Microphones, preamps/interface, monitors and acoustic room treatment work together. They must fit together. You are about to buy a good vocal mic, you have a good interface and, well, you can at least handle your room. Now you say that you don't need the monitors. This is not a good decision. You run back and forth between other sound systems, trying to remember how it sounded over there. You never hear the right sound while you are mixing and arranging.

    I don't want to talk you into something, but what you currently do is the job of your mastering engineer. He is responsible to let your music sound good on all media. You are responsible for the basic quality and you cannot deliver that if you don't hear your microphones and your mix properly.

    However, to relativate, if you really know your current speakers, it is possible to make good mixes. At the end the music will tell you the truth and I may be wrong. But the safer path is to get at least a pair of reasonable monitors that tell you more about your audio signals and don't lie on you the whole day. Take the Yamaha HS50M for example. They are small and not expensive. Ok, they have no great bottom end but they can show you something.

    If you are only the performer, yes. But you want to jump into the recording process by delivering the main parts of your music to people who should make really good sounding songs out of them. To become successful in this area you have to accept the rules of recording and audio processing.

    Another thing can happen of course: You are lucky and deliver a technically not optimal but unique sound from your home, full of emotions which can hardly get re-created in a studio environment. This is seldom but not impossible.

    Because of these thoughts I mentioned another plan: Not to spend a lot of money for good equipment but to concentrate on composing, performing and the song layout. And let other people do the recordings. Then continue with the arrangement and deliver that as guide for the mix.

    Really? Then buy better monitor boxes :)

    Fancy speakers: No. Normal speakers.
    Plugins: No. Logic has enough.
    Room treatment: Yes, a little.
    Advanced training: No. Just the basics exactly for your applications.
  10. Orren Merton

    Orren Merton Logic Samurai / Administrator Staff Member

    Just to follow up with what Peter's suggesting, I have used a number of different expensive monitors over the years, and I've used the Yamaha HS50Ms as well. I'd definitely consider these some of the best bang for the buck, really solid monitors with their one weakness being that they deliver weak low end (which is why they often pair it with their subwoofer, but I'm not a big fan of subwoofers, especially in a small apartment).

    If we're going for recommendations, the monitors that I use currently, and that many "one person studios" that I know use, with really excellent results, is the model up from those: the Yamaha HS80Ms. They're about $180 more than the Yamaha HS50Ms but if you can stretch, or save an extra month or two, you won't regret it. The Yamaha HS80Ms are honest and full sounding, and I'd put them up against monitors 3x or more in cost. They tend not to be sound snobs "flavor of the month" because they're not boutique but seriously, you cannot go wrong with these. One word of warning: they're not small, desktop monitors, so you'll need room. I have mine behind my desk, one on each side of my LCD video displays.

    Speaking of mics, the SM7 is one of those "use on anything" classic mics that isn't too expensive. My singing voice is a baritone (lower voice), and I love it on my voice (if you're familiar with Depeche Mode, if you've ever seen Dave Gahan singing into a big mic and holding it like a gun, that's the SM7). I think one reason that might work for you is that it's a dynamic and very "forgiving" mic, and yet it still has a lot of presence, which is good for unideal spaces. Again, if you can stretch, you might want to pick one up and try it out in your space.

    Hope that helps!
  11. Lauren2010

    Lauren2010 Member

    hey guys

    This is great feedback. You are making me re-think some things.

    I have to re-read your posts tomorrow and absorb them better.

    But now I am thinking I should indeed try to fix my room, at least a little, and maybe get better monitors. I also have some testing and experiments to do based on your feedback.

    I'll respond more tomorrow after I better understand some of your comments.

    thanks very much for this excellent advice
  12. Lauren2010

    Lauren2010 Member

    Here's a video of me singing. I have no idea if my voice is "hard" or not. This was recorded with an SM57 into a video camera. So what kind of mic might be best for me? (I know I'm not a great singer, so no critiques or jokes please) Orren, do you think the SM7 is a good choice? Is the Sm7 same as the Sm7b ?

  13. Lauren2010

    Lauren2010 Member

    "I am still unsure if you already worked this way, recording at home with your current equipment and delivering the files for mixing. I think you have not, from what you wrote. Therefore I feel the strong wish to warn you. You seem to see the engineers as a bunch of magicians but they are not. If you don't deliver good stuff they can only mask your failures and paint something over you to let you shine."

    No, I have not done that yet.

    I twice tried a studio approach. I haven't liked either eperience. The most recent guy had me sing a song one time, then proceeded to take a week to autotune every vocal and guitar bar until he was done. He did have me do re-takes on one or two tiny spots, but I would have preferred to do complete retakes until the right sound came out. His result was terrible. This is why I want to record at home, where I can do retakes of the entire performance as many times as needed until I get it right. With logic at home last week, I just did a song, did retakes several times, did some quick swipe comping of the best parts from each take, and now I have a better result than that guy did though he had better equipment and studio.

    I know mixers and masters aren't magicians. But at the same time, if I am not a good mixer or masterer, and don't have a good room, then the right pro should be able to drastically improve my results? Right?
  14. Lauren2010

    Lauren2010 Member

    Is there a way to upload a picture here so I can show you my work area?

    I think you've convinced me to get some Yamahas and acoustic treatment behind my desk and on the adjacent wall (which is behind me when I record).

    So now I think I may install a shelf above my desk where the yamahas will go so they are at ear level. Should they sit on isolation material in addition to having the material behind them? Does home depot sell some cheap material suitable for this purpose, or must I buy expensive products like auralex?

    Is a large piece of plexiglass suitable to put under my chair when I record guitar? Peter you are right, the guitar is dull sounding in this room; I always have to jack up the EQ post-recording.

    One more issue: after I lay a track, how do I know it is good quality with regards to any unwanted room coloring? For example, should the track sound really good even without any EQ or reverb or gain (i.e. should the fader be at 0 as I evaluate the track)? Should I listen for something in particular? How do I know the acoustic treatments are working as I listen to a track? Then if I decide I don't like the result, what do I do? Do I move the furniture around? Do I add more acoustic treatment? Do I move the mics? Change mics? Change monitors?
  15. Peter Ostry

    Peter Ostry Administrator Staff Member

    What kind of joke was this "I'm not a great singer bla bla" thingy?


    In this video I hear a very very interesting voice! I did not press the dim button for Youtube this time, after a few seconds I gave you 20 dB more on my monitors and didn't care about the hiss. Great performance.

    I listened to some of your other videos but this one is outstanding, it reveals a very nice texture in your voice and great emotion. As a side note: The voice is less good on my crappy soft home stereo speakers, there you sound like a poorly recorded man. Avoiding this would be a typical job for a mastering engineer.

    Probably an SM57? :)
    No, I think in this video came several elements together that just fitted. Maybe accidently, maybe because of a person on the mixer or in postwork.

    Your voice is slightly on the hard side, so you don't want a very hard mic. The SM57 sounds impressive in the video but I think it is too hard for you, when we talk about recording. As you said, there is not much power in the lower range, you want detail here. But your mids are very powerful, I think you can rather forget about the AT4050, from what I heard you would just scare it.

    If nobody has a better suggestion I would try a TLM103. Frequency plots do not say much but look at those two:


    And the Neumann TLM103:

    Although we cannot tell how a mic sounds by looking at some curves, your voice does definitely like some height boost. And in the lower area you want it flat. Somebody has to help you with an EQ down there.
  16. Peter Ostry

    Peter Ostry Administrator Staff Member

    Yes, below the editor window you see a button "Manage Attachments". Click on it and upload your pictures. The function generates thumbnails and we can click on them to see the original picture.

    If you want to place screenshots directly into the post is to install and use Skitch. It allows you to make screenshots and use them where you want, including your emails. And you can upload them directly from the application window to their server and copy the link "Image only" there. Then you use the image icon of the forum editor to show your picture. Skitch is easy to use, much easier than describing it.

    On the wall behind the speakers you need absorbers. They need some room beause they have to be thick. Many people make their own absorbers with mineral wool or rockwool wrapped in plastic and hidden behind some fabric. Cannabis mats are more expensive, don't need to get wrapped but may smell for a while. No, they are not good to smoke. Ready made absorbers are very expensive. But you are not in a hurry, you can look around what's available or get someone to make you the absorbers.

    Generally we say "front dead, back diffuse". In the front, behind the speakers, you put the absorbers. The opposite wall should diffuse the higher frequencies. Maybe yours does that already, depending on the furniture.

    The wall part behind your recording place can absorb higher frequencies or diffuse them. Foam is ugly, you can use anything that swallows the heights.

    There are two methods. You can put the monitors on mid-soft material to decouple them from the desk. No special material required. Foam, not too soft or will just get flat and do nothing. Not too hard, this would also not help. About 3 cm thick.

    The other method is to put them on heavy material like stones or bricks, this will absorb all vibrations.

    Yes. The most sound is beween the guitar and the mic obviously. If the sheet is not very large, put it there. The larger the better.

    Yeah, I am a guitarist myself and played above all kinds of surfaces except water.
  17. Lauren2010

    Lauren2010 Member

    Thanks for the comments Peter. Thanks for the advice too. You and others here are very helpful. I listened to your recordings. Very nice job. Crystal clear. Very natural sounding. That girl is a great singer.
  18. Lauren2010

    Lauren2010 Member

    I won't bother with posting pics. I think I know what I need to do now, thanks to you guys. I really appreciate the help.
  19. Orren Merton

    Orren Merton Logic Samurai / Administrator Staff Member

    First of all, you have a very good voice, no self-depreciation allowed! :) And yes, the SM7b and SM7 are the same mic.

    Take care,
  20. Peter Ostry

    Peter Ostry Administrator Staff Member

    Learn how your room sounds. Go close to the mic, sing a repeating pattern. Increase the distance and slightly the volume. At some point the sound of the room will come in. From now on ypu know what's you and what's the room.

    With a cardiod condenser mic you have two limits. The near limit where the proximity effect gets too strong and the far limit where you get too much of your room.

    Yes. The raw recording should sound phantastic. The better it is, the better the final mix can be.

    The fader plays no role. You are going to check the technical quality, not the sound at a certain level. You listen if everything is here that should be here. All strings, string balance, wanted noises. All details of the voices texture. With a good mic you can here more than you normally hear. And of course you check if there is unwanted noise: Too much hiss, hitting the mic stand, a dog, a train, computer noise. You listen at different levels. Quiet and very loud.

    If you don't do funny things on your walls but just made the basic treatment, you can trust it. Dead front, diffuse back, maybe two side diffusors and maybe something over your head do only good things. No worries that you did something wrong.

    Do not add acoustic treatment just by guessing. Especially no foam. If the basics are not enough, there is software to check the room response. And it tells you where your room and your monitors are lying.
  21. Lauren2010

    Lauren2010 Member

    Thanks Orren

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