etc.

  -Automation: Programming actions in DAW at specific times in song/track

  -Auxiliary Track: A track with no audio on it, but audio sent to it for processing

  -BUS: The pathway along which an electrical signal flows. Also an Aux track with multiple tracks flowing to it for collective processing

  -Comping: Combining several takes of an instrument into one, as in copy/paste from best takes

  -Dithering: Adding white noise to recording to reduce distortion (used in mastering)

  -Gain Staging: 1) The process of making sure a recording is same volume after plugin as it was before

                       2) The process of making sure all recordings in session are relatively same volume

*Set tracks in DAW close to 0 dBVU for optimal processing and quality [VU meter & gain plugin]

  -Masking: Phenomenon when the perception of one sound is affected by the presence of another (ie, if both are present in same freq range)

  -Overtone: When a sound is produced by an instrument, a series of harmonics are created that determine the tone of that sound

*Also harmonics that aren’t the lowest (fundamentals)

  -Phase: Nature of location of two similar waveforms in relation to each other

*In-phase is when peaks/troughs are lined up // Out-of-phase causes low & low-mid freqs to get lost

  -Room Resonances: (Standing waves) Freqs that build up in room and mask targeted sounds

  -Saturation: Distortion that occurs when a piece of analog equip is overloaded by sound passing through it

*Can make sounds fat, round or smooth

  -Sidechaining: Using the output of one track, like a kick, to alter compression on another, like bass

*It's a way to set up your mix so that when one sound comes in, another quiets down

-Save As: Save a copy of raw session BEFORE starting a new mix for reference and security (best practice...)

-The 5 Drivers of Mixing (Rob Williams, ProSound Formula)

1)     Balance volumes (gain staging)

2)     Fix errors/bad sounds; Subtractive EQ, editing, tuning, resonant freq removal

3)     Enhance tracks (Additive EQ, compression, etc)

4)     Shape/create space for tracks to sit (remove low/hi end - Freq Slotting)

5)     Space/depth via panning, reverb and delay

[EQ]

[Gen. workflow: Gain stage, EQ, Comp. *Take care when mixing in solo. Use reference tracks and take breaks often…]

     -Every instrument, track, mix is unique. Exact freqs will vary. Charts can be helpful, but EQ is more art than science

         Guidelines serve as starting points based on common issues and all efforts must involve experimentation

     -EQ is the most important mixing processor toward creating separation between instruments in a mix, but it isn’t always enough

Rebalance faders throughout mixing process. Take breaks, switch up levels and sound systems

      -Primary functions: Frequency: Select which freqs to be manipulated

                                -Gain: Increase (boost) or cut (attenuate) selected freq

                               -Q: Width of selected freq bandwidth

      -Basic Methods

      -Filter: Eliminate freqs entirely. HPF removes low-end, LPF removes high-end. Gradual slopes sound more natural

       -Cut: Subtractive EQ, reduces power of freq in spectrum

               -Sweep around spectrum until unwanted sound(s) pop out, then cut freq(s) to taste

       -Boost: Additive EQ, increases missing freqs (presence to vocals, attack to guitar, body to bass, etc)

                      -Be wary of phase issues and creating harsh/piercing mixes when boosting

      -Range Allocation (Freq Slotting)

       -Technique used to create separation of tracks in a mix by giving specific tracks priority in certain freqs

-EQ Tips: Don’t mix with headphones! [Meh... not a hard don't. Just be weary of low-end differences in headphones v. speakers/monitors/the truck]

         -Cutting > boosting: If boosting more then 3-5 dB, consider cutting elsewhere. Boost wide, cut narrow

         -Sweep w/ narrow Q to find unwanted freqs. Widen Q & drop dB until sound fades w/o affecting track

         -Use LPF & HPF to clean up problem areas of tracks. HPF master while mixing mids & uppers

         -Control mids to perfect mix: Add weight & meat by medium Q sweep to find fundamentals of track

                                                         -Try boosting 0.5x & 2x freq, boosting there as well (ie, if 200 Hz sounds good w/ 3 dB boost, boost 100 Hz & 400 Hz by 1 dB)

         -Work around lead track or specific parts of song

         -Order of operations is important. EQ, then compress... or just experiment w/ order and see what sounds best for the track

         -Compare & contrast with bypass on and off. Review at multiple volumes (Fletcher Munson Curve) and distances

         -Mix & EQ in mono often. Work 80% of mix in mono for better translation & tighter sound. Also helps localize any potential phase issues

             -Panning decreased volume (100% L/R drops approx 3 dB) and creates EQ problems

                 -LCR Panning places tracks center, far L and far R w/ reverb and some percussion in between

                         -W/ vox, kick, bass, snare & leads center, L/R option gives leeway for competing freqs

*Stereo Spread narrower for verses, WIDER for choruses

         -Find the right setting and back it off a smidge. Less is often more

         -Make use of freq slotting and sidechaining via compressors where applicable

         -Place effects on BUS and EQ as well. Saves CPU processing and preserves overall mix efforts

[Compression]

*Reducing a signal’s output volume in relation to its input to reduce dynamic range. Adds consistency. EQ sculpts the body, compression shapes it. EQ, then compress…

     -Attack: 1) Very beginning of a sound

              2) The amount of time it takes after a sound begins for a processor to begin working (ms)

                   Fast = 25-50 ms [snap] // Med = 100-500 ms // Slow 1-2 sec [punch]

                         -Fast attack can cause distortion on slow-moving, low freqs (ie, if a cycle at 100 Hz lasts 10 ms, a 1 ms attack will have time to alter waveform)

     -Knee: Control on comp that changes how variable the severity of compression is once threshold has been passed

    -Soft knee makes compression less obvious, hard knee makes it more obvious

     -Limiter: Comp w/ ratio of infinity:1 (brickwall) when sound reaches threshold of limiter so it doesn’t get any louder/stays same volume

              -Prevents track from peaking while increasing perceived loudness

     -Makeup Gain: Parameter that allows increased volume out of sound processor that made input quieter

     -Noise Gate: Processor that cuts off volume once it passes a certain threshold

     -Ratio: Comp parameter that determines how hard comp clamps down on volume

     -Release: Time it takes processor to cease processing (ms). Sometimes measured as slope in dB per sec

     -Threshold: Processor parameter that tells processor not to kick in until set volume limit is met

        -Transient: Beginning section of a sound (also, attack). Loudest & most percussive part of sound

-Compressor Types

         -Tube: Glue/Mixes/Subs. Slower response (attack & release), distinct coloration/vintage sound

                     -eg. Fairchild 660/670

         -Optical: Slow and smooth at higher ratios. Affect dynamics of signal via light element and optical cell, add element of color to sound as well

-As amplitude of signal increases, light emits more light, which causes optical cell to attenuate amplitude of output. Good for vocals

                     -eg. LA-3A, LA-2A

         -FET (Field Effect Transistors): Punchy/Fast/Clean. Emulate tube sound with transistor circuits

-Can help bring out excitement in room mics. Works well for vocals, bass, guitar and more

                     -eg. UA 1176

         -VCA (Voltage Controlled Amplifier): Fast and punchy comp. Good for taming intense peaks with snappy response

  -eg. SSL G BUS, E Series or API 2500 on BUS & instrument groups

  -eg. dbx 160 for unrelenting character on snare and electric guitar

-Compression Tips

         -Start with Attack of 40ms, Release of 60ms on instruments and experiment from there

         -Start with Attack of 6ms, Release of 60ms for vocals

         -Use compression to control dynamics and/or shape tone

         -Use multiple compressors with subtle affect for more musical sound (esp. on vocals)

         -Compress kick and bass together via stereo BUS or sidechain to limit low-end competition

         -Multiband Comps: Filters input via freq bands. Use for problem freqs [ie, dist. gtr chugs] or to significantly alter sound

         -Sidechaining/Ducking: Use a signal to trigger comp (samples, kick vs. bass)

                 -Changes source that threshold on compressor works from (ie, different track than one comp is on)

                     *ie, kick to bass track to clamp bass when kick plays. Use sparingly to avoid crushing bass track (5ish dB comp)

                                     *ie snare to OH and repeat process to kill transients and increase sustain

                                             *ie snare to room mics (drums) as sidechain expander/gate with Drum Leveler to add air

         -Mix BUS: Start with Attack: Fast (1-10 ms), Release: Auto (SSL G), Ratio: 4:1

         -Serial Comp: Use for control & tone via 2-3 light compressors in a row for more natural sound

*ie, instead of 1 comp at 10 dB, use 3 at 3dB with varying Attack/Release times

      -Fast A/R on first comp for transients, medium A/R on second & third for tone shaping

         -Parallel Comp: Use to fatten tracks by blending a super compressed track with the uncompressed track

         -Use parallel compression on drums for more subtle, natural sound

*Kit Comp (VCA or FET are most commonly used comp): Attack: Fast, Release: Fast, Ratio: 2:1 – 4:1] // [Drum EQ: Neve 1073/Scheps 73]

-KICK

[thick thump in low-end w/ driving click/beater in high-mids] [Rarely HP filtered above 32 Hz]

-Kick & Bass: have only ONE set below 60 Hz, inverse cut/boost to specific freq to avoid battling*

50-100 Hz

Boost to add low-end punch. Beware of boosting too much though as it can clutter up the low-end and get in the way of other instruments occupying this spectrum.   Add low-end oomph by boosting between 60-100 Hz

150-250 Hz

If kick is already pretty thick, try cutting this area. Reduces potential boominess while allowing lower bass freqs to breathe. Cutting here gives thickness to low-end w/o adding muddiness to overall sound. Cut around 100-250 Hz to reduce low-mid buildup if kick has too much energy in range

300-600 Hz

Infamous cardboard sound. If boxiness plagues kick, cut somewhere in this area. Metal and hard-rock kicks scoop at 300 Hz. Some kick mics have pre-designed curve that scoops mids to reduce boxiness

2-4 kHz

Snap/pop. If kick isn’t cutting through, add more mids. Broad boost here brings beater out.

2 kHz woks for pop/rock, narrower boost at 4 kHz brings metal click out

10+ kHz

Kicks rarely need air, since most character comes from low-end and mids. Filter out higher freqs with low-pass filter to reduce drum bleed, can also give kick thicker, more focused sound

-Comp:

SSL - Attack: Fast, Release: Fast, Ratio: 4:1

PUNCH: Slow Attack (let initial attack through), Release before next kick, Increase Ratio (more punch)

            -Reduce kit bleed w/ low-pass filter around 5-10 kHz

            -For metal, add shelving cut filter to tame lows w/ boost to beater (around 4 kHz),

let bass handle low-end presence. Make kick cut through mids instead to avoid mud

            -For less aggressive genres, focus more on 1.2-3 kHz

            - https://www.youtube.com/playlist?list=PLXmwQZcfhFf_bCQygGrNhzABD7CvD_JlS

 -SNARE

150 Hz

If snare sounds thin and needs extra weight, adding some 150 Hz can thicken it up. Reduce kick bleed by filter below 100 Hz

500 Hz

For more body, the fundamental freqs around 500 Hz give rounder sound

3 kHz

Add clarity and punch by boosting upper mids

10+ kHz

Air  lifts snare a bit. Boost in highs is felt rather than heard. Reduce snare rattle and increase brightness with high-shelving boost around 10 kHz

-Comp:

SSL or CLA-76- Attack: Fast, Release: Fast, Ratio: 4:1

BRIGHTEN: Slower Attack than usual (allowing transients through)

PHAT/FULL-BODIED: Very fast Attack, super-fast Release

DECAY/SUSTAIN: Fast Attack/Release, Threshold low enough to catch attack/high enough to up body

ATTACK: Slow Attack, medium-to-slow Release, Threshold low enough to attenuate sustain of signal

            -If two mics are used (over/under), make sure to check phase relationship between both

            -If tail is too long, use expander/gate to fade out tail with fast Attack & medium-to-fast Release w/ Threshold

                high enough to eliminate as much tail as needed

            - For ringing overtones: use separate EQ to cut ringing out w/ narrow Q boost cranked and sweep across freq

            spectrum until it pops out. When found, REVERSE boost to remove ring

-OH & HAT [Use as foundation of drums or as supplement to close mics]

100-300 Hz

-Hat: HPF in this region, move upward until sound changes, then roll back until clean but not thin

500 Hz-1 kHz

-OH: HPF in this region, move upward until sound changes, then roll back until clean but not thin

10 kHz

Small, semi-wide boost around here to increase definition

20 kHz

LPF in this region, at peak of freq, roll up until desired sheen & definition cuts through

-Comp:

OH: CLA-76, SSL or Renaissance CS - Attack: Fast, Release: Slow, Ratio: 3:1-5:1

For Attack to come through, set around 5-20 ms, Release around 100-300 ms, Ratio between 2-4 dB

Hat: CLA-76, SSL or Renaissance CS - Attack: Fast, Release: Fast, Ratio: 3:1-6:1

Attack is usually 5-15 ms, Release 20-60 ms, Ratio between 2-6 dB

*BUS overheads together so you only need one stereo EQ. Then approach it one of two ways:

     -Master EQ: Slight cuts & boosts to create best sounding overall EQ. Add slight low-end boost to bring out kick,

                                 reducing some overall boxiness & adding presence & air in upper-mids and high freqs to give OH’s

                             great overall drum sound. With this method, you can start your drum mix with OH sound, then add

                             other drums to the OH’s to enhance an already great sound from kit

     -Cymbals Only: Use high-pass filter to cut everything up to about 500 Hz. To add ambience around close-mic kick

                                 and snare, filter up as high as 500 Hz

                             -Tame harsh freqs w/ cut high-mids around 2.5 kHz

     -Start with 4:1 Ratio, relatively fast Attack, Release timed to blend with mix. Set Threshold so peaks

are barely touching GR Meter, approx. 1-3 dB (use ears and adjust to taste).

-TOMS [reduce boxiness, increase thump and attack]

100-200 Hz

HPF near this region to cut rumble

80-250 Hz

Every tom diameter differs, so fullness freqs differ. Floor toms sound full when boosted at lower freqs (80-100 Hz). Smaller toms need boosting closer to 250 Hz. Sweep around for preference

200 Hz-1.5 kHz

Cut the mids, start around 350. Wide boosts work well in removing boxiness. Leave some mid to avoid hollowness

5-7 kHz

Sprinkle in highs and add attack by boosting here, depending on tom size

500 Hz-15 kHz

LPF between this range, depending on other tracks, tom sizes and desired sound

-Comp:

SSL - Attack: Fast, Release: Comp back to 0 dB before next hit, Ratio: 3:1-5:1

Set Attack to right after attack of tom (often 10-25 ms)

            -SSL Channel & Distressor Tech:

                           -EQ: Medium-Large boost 16 kHz, boost 6 kHz, wide scoop 300-400 Hz, medium bass boost

                           -Compression: Opto Mode Attack: Fast, Release: Fast, Ratio: 10:1

            -Cannons: aix Drm EQ shows fundamental & resonance freqs, lets you tune toms accordingly with initial

                           EQ Curve and apply to other toms, alter gain, attack, release, etc

-Room

100 Hz

Low shelf boost around this region for some bottom-end definition

200-400 Hz

Remove mud from this area with wide Q

600-800 Hz

Cut this region to remove flatness

10+ kHz

LPF in this general region to remove intense cymbal bleed

-Comp:

SSL, Multiband or CLA-76- Attack: Fast, Release: Slow, Ratio: 8:1+ (to taste for pumping)

-Aim to make signal steady as possible with heavy compression to be blended with overall drum BUS

            -After compression, return to EQ efforts w/ more extreme LPF and cuts to offending resonances near filter

            -Comp (cont’d): FET-style compressor or CLA-76 with “All-Buttons-In” to smash signal.

Start w/ medium Attack and time Release to blend with mix. Set Threshold for 10+ dB of GR. 

-Consider parallel compression to retain some Room mic qualities.

20-80 Hz

HPF near this region (higher depending on other instruments)

100-350 Hz

Body and fullness of sound

2-2.5 kHz

Reduce harshness with cut in this area. For more pick snap/bite and aggression, boost around 2-3 kHz

7-11 kHz

Reduce buzz from distortion in this area. Also found around 4 kHz

10-20 kHz

LPF in this range, no fundamentals

-Comp:

[Optical] CLA-3A or CLA-76 - Attack: Fast, Release: Slow, Ratio: 4:1+

Multiband Comps are more useful for distorted guitars, since the signal is already compressed

            -HPF 80Hz ish, LPF 6-10kHz ish, Freq. Sweep: <300 Hz (mud), 300-2kHz (boxy), >2000kHz (harsh)

-Shelf <200Hz (balls), 2-4kHz (bite), >8kHz (sizzle)

-Reduce clutter and competition w/ other instruments w/ high-pass filter around 80-100 Hz. Avoid filtering too

              much by SOLOING track, sweeping filter up until it sounds too thin, then back off slightly (A/B w/ rest of mix)

            -Guitar and bass clash in low-mids. Cut some around 150-200 Hz if either instrument lacks definition

            -Reduce thinness (when not in competition with bass) w/ low-mid boost around 200-250 Hz

            -Increase body and power w/o mud or hiss around 500 Hz

            -Reduce hiss w/ high-mid cut around 4 kHz

            -Reduce vocal clashing w/ wide cut around 1-5 kHz (consider narrow freq boost within wide cut)

            -Reduce hiss and drum bleed in distorted guitars w/ low-pass filter

     -Distortion/Metal: Simultaneously boosting & cutting at 30 Hz

            -Top & bottom EQ, C4 Multiband Compression

            -OC818 Polar Designer, PSP InfiniStrip (for widening)

            -PuigTec EQP1A or Pultec-style  EQ on guitar bus to sub-sonic freqs:

                           [Boost, Atten, Boost: 6, Atten: 0-6, Atten Sel: 20]

                           [Low: 30, Bandwidth: 0, Hi: 16, Mains: Off, Gain: 3 dB]

*Kick & Bass: have only ONE set below 60 Hz, inverse cut/boost to specific freq to avoid battling*

20-50 Hz

HPF in this region to reduce extreme sub-bass, right before base tone to remove mud

40-80 Hz

Deep bottom end, boomy sound. Rumble can exist between 150-200 Hz, cut to tighten low end

100-200 Hz

Punch/attack live around here. Wide and deep cut between 250-500 Hz can clear up bass (scooped)

250-300 Hz

Wooly, boxy mid-range

500-1 kHz

LPF in this region, near highest tone, for mids/high-mids. Remove flatness around 700-800 Hz

2-5 kHz

Snap from strings

-Comp:

[Optical] CLA-2A, CLA-76 or Fairchild 660 - Attack: Fast, Release: Medium-Fast, Ratio: 3:1-6:1

To maintain impact, Attack around 30 ms, Release varies per aim, Ratio to taste

            -Reduce low-end rumble w/ high-pass filter at 40 Hz or less. Reduce thinness by boosting 200-250 Hz

            -Add presence by boosting upper instrument range around 600-800 Hz

            -Flesh out bass with multiple smaller harmonic boosts (i.e., narrow 100 Hz, 200 Hz, 400 Hz, 600 Hz boosts)

20-80 Hz

Rumble from proximity effect. HPF around 45 Hz

100-350 Hz

Boominess, often from recording in small space. Reduce mud around 250 Hz

400-500 Hz

Cut around here to remove boxiness

1-4.5 kHz

Reduce honk/nasally tones with cut around 1-5 kHz

5 kHz

Boost here for presence. Reduce sibilance between 5-8 kHz

10-20 kHz

Add high shelf air around here and roll off around 18 kHz

-Comp:

[Opt/FET] CLA-76, Fairchild, CLA-2/3A - Attack: Medium-Fast, Release: Slow-Medium, Ratio: 2:1 – 4-1

            -High-pass filter starting at 100 Hz until vocal start thinning out (gender dependent). To add air and cut through

            mix, heavily high-pass filter and increase volume

            -Increase clarity w/ cut around 200 Hz and boost around 3 kHz

            -Reduce nasal sound w/ cut around 900 HZ-1 kHz

            -Cut through mix w/ boost around 1.2-1.5 kHz (watch for increase in nasal sound)

            -Reduce honk w/ cut around 300 Hz

            -Reduce sibilance w/ cut around 7 kHz (some “S” sounds can be lower – hunt for harmonics up to 14 kHz)

            -Low-pass filter helps blend backing vocals

150-300 Hz

Use to beef up the tone, easy to get muddy, so only boost freqs here if it improves sound

300-600 Hz

Can be boosted if sound is thin

600-800 Hz

Meaty mid-range. Cut for better tone and to better distinguish from other instruments

1-3.5 kHz

This range can push guitar to front and affect definition. Boost for fingerpicking and lead (not rhythm)

3.5-12 kHz

Sparkle. Adds brilliance and can help guitar jump out

-Comp:

CLA-76, CLA-2A or Multiband - Attack: Medium, Release: Medium, Ratio: 2:1 – 4:1

            -Reduce honk w/ cut around 800 Hz

            -Brilliance/Sparkle can be broken down into 3.5-5 kHz, 5-8 kHz, and 8-12 kHz:

                           -Start at the 3.5 to 5 kHz range for adding that sparkle to the acoustic guitar.  If you want more, jump to the next range and boost a little there

            -Increase brilliance w/ boost around 8 kHz. For background “strumming,” add air w/ boost above 10 kHz

*Focus 80% of energy on recording, 20% on mixing

  -Bit Depth: Sample rate = TIME (x-axis), bit depth = AMPLITUDE (y-axis).

                                         Represents # of different possible values available per sample; Height, accuracy and resolution

      -Each value assigned specific amplitude on the audio waveform

       -Greater bit depth = more increments between loud & soft,

                                       (greater dynamic range)

            -Every bit increases dynamic range by 6 dB

                                  (4 bits = 24 dB // 8 = 48 // 16 = 96 // 24 = 144)

            -Buffer time: #samples/session sample rate (kHz)  = Latency (ms)  [1024 samples / 44.1 kHz = 23 ms]

  -Decibels: Measurement of sound intensity. Headroom is the

   amount of space available between nominal & maximum dB

              before distortion/clipping occurs. Digital clipping: 0 dB

   -Logarithmic ratio of sound pressure level (i.e., +3 dB = 2x // +6 dB = 10x // +60 = 1,000,000x)

       -Perceived loudness (+10 dB = 2x // +20 dB = 4x // +40 dB = 16x)

            -Depends on freqs contained within (mid-range [1 kHz - 4 kHz] perceived as louder)

                -Fletcher Munson Curve: Low volumes: mid-range more prominent, lower & highs less

                                                             High volumes: low & highs more prominent, mids softer

            -And distance (2x distance = -6 dB // 10x distance = -20dB)

   -Aim for -15 dB to -6 dB on level meters when setting recording inputs

  -Latency: Amount of delay between input & output of signal

  -Polarity: Direction of waveform. Phase/Polarity Buttons flip waveform (peaks & troughs swap place)

  -Preamp: Amp that boosts incoming signal from mic

  -Proximity Effect: Phenomenon present w/ condenser or ribbon mics where closer = more low freq capture

  -Sample Rate: Number of audio samples/second (in kHz) when analog freqs get quantized into digital mediums

   -Full spectrum of human hearing: [20 Hz - 20 kHz]

            -Nyquist Shannon Sampling Theorem: Min. 2 samples/cycle (upper and lower points on wave)

                           -44.1 kHz (minimum) = CD Audio // 48 kHz (most common for home studios) // 96 kHz (primo)

[Mics]

-Condenser: High freq. (acoustic guitar, cymbals, piano), [smaller, lighter diaphragm, requires 48v phantom power]

- Large Diaphragm (Rode NT1A): Vocals

- Small Diaphragm/Pencil Mic (Shure SM81): Cymbals, acoustic guitar (high-end shimmer)

-Dynamic: Low-mid freq. (drums, cabs), [handle higher sound pressure levels, more gain before feedback]

- Utility (Sennheiser MD421): Cabs, drums, vocals

- Bass/Kick Mics (AKG D112): Kick drums, bass cabs (low-end boost, small mid scoop, 4k presence)

-Polar Patterns

            -Omnidirectional: Equally sensitive to sound in all directions

            -Figure 8/Bi-Directional: Pressure-gradient, measure

                      difference between sides of open diaphragm,

                           very sensitive front/rear, mostly dead-on sides

            -Cardioid/Unidirectional:

                           -Front: Positives combined for 2x strength

                           -Sides: Same as omni

                           -Rear: Negative from figure 8 cancels positive of omni

-(6-8 mics)

            -Kick: Low-end dynamic (AKG D112, Shure Beta52A, Audix D6, Sennheiser e902)

            -Snare: High max SPL, tight cardioid pattern dynamic (Shure SM57)

            -Hat: Cardioid small diaphragm condenser, off-axis rejection (Neumann KM184)

            -Overheads & Cymbals: Matched pair of condensers (Neumann KM184’s, AKG C414’s, Neumann U87’s)

            -Toms: Classic dynamic with fuller, rounder capture (Shure SM57, Sennheiser e604)

            Bundle Kits: Audix DP 7, Sennheiser e600, Shure PGDMK 7, Audix FP 7, Samson 8kit

    -Mic Placement:

     -Kick: Inside: More attack, less bleed // Batter side: More definition // Front: More ambient sounds

     -Snare: Top: 3 fingers away and at edge pointing center (reduces unwanted harmonics, captures sticks)

              Farther: More air/ambience // Closer (w/ dynamic): More low-end (proximity effect)

              Below: Captures sizzle and pop of wires, (reverse phase if in combo with top placement)

        -Hat: Small condenser 2-3” above, pointing AWAY from kit

     -OH: X/Y (Coincident): Above kit captures stereo image

                                              w/o phasing issues w/ capsules close

              Spaced: Farther apart w/ capsules facing away captures

                             wider stereo image with good bottom-end

     -Toms: OH: Lower OHs w/ one between Hat and First Tom,

                          and the other over Floor Tom facing Ride

              Clips: Capture tops (more attack), or bottoms

        -Room: Reverb and natural ambience/room for blending into overall mix

-Shure SM57: Low-end roll off at 200Hz

            -Sennheiser MD421: Wider freq. response than SM57, larger diaphragm/greater off-axis coloration

            -Sennheiser e609: Flat-side design, supercardioid polar pattern (cab isolation/bleed control)

            -Re-Amping (Radial ProRMP, Radial Reamp JCR): Converts line level OUT to guitar signal, allowing for real &

                               simulated tracks, blending/comparing, mic placement tweaks after recording track

    -Distorted Guitars:

            -Amp Setup: 1) Sit with cab at ear level, neutralize EQ, keep gain low and start with vol off. Slowly bring volume

                                          up to comfortable level. Add enough gain for saturation w/o sacrificing definition. Start shaping

                                          EQ knobs (left to right), then add Power Amp knobs (presence, resonance, etc)

                               2) Highlight speaker cone, play chugs on guitar until speakers start to move. Then slowly increase

                                          volume (with earplugs) until cabinet resonance can be heard (low-end hum or wash). This

                                          should not be too much louder than vol required to get speakers moving. Write down settings

                               3) Unplug head, bring into control room and mic cab for recording. Recheck/tweak tone with treble

                                          taking priority over presence (bite over fizz). Consider overdrive pedal for boost

                               4) Walk away for a few minutes, let your ears rest*

            -Mic Placement:

                           -Center: Brighter. Pulls guitar forward in mix

                           -Sweet Spot: Where dust cap meets cone. Maintains presence and blends guitar into mix

                           -Mid Cone: Darker. Less presence/high-end. Softer in mix

                           -Off-Axis: Punchier in mix

                           -Sweet Spot 2” Back: Diminishes proximity effect & tames PMs

                           -Off-Axis 2” Back: Diminishes proximity effect & tames PMs

                -Fredman Tech:

                           -Thick tones with two SM57’s on single cab with one perpendicular and the other at 45°

                      -Blend On- (brighter) & Off (darker)-axis to taste in post

                           -Ideally, minimal EQ in post (generally some HPF & LPF)

                -SM57 Blended Tech: Mic separate speakers with different mics, run them through a utility mixer

                                                         (preamps), blend before DAW and then record. Works well with tom mics

            -Less Gain: Distortion compresses sound, creates muddy/wooly tones too little dynamics or responsiveness

            -Clarity & Midrange: Adds presence, clarity & definition and helps balancing full band mix

            -Dial In Guitar & Amp: Get as close to desired sound as possible BEFORE capturing audio

            -Dial In Tone (Mix Context): If guitar is clashing with Bass/Kick, roll back lows. If its overriding Snare, roll back

                                                           presence. If it isn’t audible, up the mids. If you can’t hear notes, roll back gain

            -Layer Tracks: Combine complimentary tones (ie, high gain/bright with warm/lower gain). Standard rhythm

                                 guitar tracking pans two tones hard left with an additional two tones hard right. Can be Reamped.

                                 Use multiple takes of same track to avoid phase issues and humanize layered guitars

            -Experiment with Mic Combos: Ie, dynamic mic for warmth & midrange with condenser for brighter sounds

            -Experiment with Speaker Cones: Same speakers can deteriorate at different rates and sound different. Record

                                                                          samples of each w/ mic in similar position. A/B takes to find preferred sound

            -Experiment with Mic Placement: Even ½ inch will dramatically alter tone captured. Generally, closer to center is

                                                                          brighter & more biting and the edge is warmer with greater midrange capture

            -Drop Vol in Mix: Drop test take into mix. If guitar sounds clear, defined and wide w/o being at forefront of the

                                            mix, full fucking send. Otherwise, keep experimenting until it sounds distinct and compliments

                                            rest of mix at w/o being too loud

**Foam under nut, tape unused strings per part, hard picking = less gain/cleaner sound (rhythm parts)**

     -Spectre Sound Tech: Forces you to make decision on tone prior to getting into the mix

            -Try to place cab in “super tight” acoustical environments (vocal booth, blanket fort, etc.)

            -Mics directly up on cabs, almost touching

            -SM57 paired with Sennheiser MD421 or Audix D2 (Drms - Toms mic). Second mic for tops/highs

            -PREAMP! (ie, Behringer EurorackUB2442FX w/ Invisible Mic Pre’s)

                           -Blend mics in mixer, then send to DAW (Further dialing in tone before recording)

            -Placement: SM57 halfway between edge of speaker and speaker center (dark mic) [V30’s]

                               MD421 or D2 closer to center of speaker (bright mic)

            -Blanket fort around cab to avoid capturing high freq room reflections (isolate speaker sound)

            -Gain Staging: Avoid clipping, keep channel gain near ZERO and make up gain on OUTPUT of Preamp

                           -Set levels, blend mics and record

-Mic Placement:

-Speaker Center: Brighter, more present

  -Speaker Edge: Darker, bassier, warmer

  -On Axis: More treble, brighter, increased proximity effect

-Off Axis: More bass & resonance, smoother high-end roll off

-Cab Placement:

     -Tilted: Minimize phase cancellation from reflecting walls

-Lifted: Eliminate acoustic coupling with floor

    -Open Back: Open & natural, room-filling, more presence, lose low end, greater ambient quality

    -Closed: Hardened mid and bass sounds, more structured tone and punch, crisper definition

   -Isolation: Blanket fort, iso cab/booth to minimize high freq reflections from room 

     -AKG D112: Large diaphragm dynamic, cardioid polar pattern, freq. response for low-end

     -Shure Beta52A: Supercardioid polar pattern, off-axis rejection, more proximity effect, positional tonal control

     -Direct Input (SansAmp Bass Driver): More options in post. Active pickups get passive DI’s & vice versa

-Recording Heavy Shit: with Direct Box, Amp Simulator, digital EQ & Compressor

            -Record dry, apply HPF & LPF, scoop mids aggressively, hard compression

                           -Duplicate track, use Amp Sim (crank gain, apply aggressive HPF & LPF for narrow mids section)

                                          -Drag distorted track fader down (5-10 dB less than main bass) & mix to taste

-Prep: Room: As dead as possible to avoid reverb, room resonances and reflections

                -Reverb pulls vocals to back of mix, prevents effective pitch correction, makes processing sound unnatural

                           *Too much deadness/absorption can muffle highs and sound unnatural

            -Position: Avoid middle of room while as far away from walls as possible

                          Center of room creates buildup of standing waves, walls produce reflections

            -Room Acoustics: Create booth around vocalist, the more absorption the better

                -Cardioid: Place treatment behind vocalist’s head (will affect sound the most)

                -Omnidirectional: No proximity effect. Place treatment behind and to sides of microphone

                               *Use dynamic mic for aggressive vocals, for added warmth or for bad sounding rooms

            -Placement: Below lip level =highs and lows increase // Above lip level = more pronounced mids

                               -At lip level = most common (can sound bland and increase plosives and sibilance)

                               -Slightly above lip level, angled slightly downward = lower-mids increase

                -Cardioid condenser: Distance affects tone and volume less when farther away (proximity effect)

                           -Closer = warmer, less room (4-6 inches) // Farther = brighter, airy, more room (6-12 inches)

                -Omnidirectional condenser: Distance affects tone less (no proximity effect)

-Recording: Average around -18 dBFS // Peak around -10 dBFS // Never above -6 dBFS

    -Common Issues: Popping: Use pop filter or sing into mic at slightly off-axis angle

                           -Sibilance: Rubber band pencil directly over diaphragm or sing into mic at slightly off-axis angle

                           -Proximity Effect: Use pop filter to encourage distance or use omnidirectional mic

    -Checklist:

            -Position vocalist 6 inches from mic, add small amount of reverb (direct monitor dry w/ 100% wet from DAW)

            -Warm up vocalist, set levels, apply subtle compression

            -Record, reposition, record again, listen back and find best sounding position

            -Record at least 3 full takes

     -Acoustic DI (LR Baggs Para Acoustic DI, LR Baggs Venue DI): Higher IN impedance, more high freq. detail capture

-Mic Placement:

  -Mono Omnidirectional Condenser Mic:

            High-freq. detail & even capture of wider sources

           -Placement: Aimed at 12th fret, approx. 1’ from guitar

  -Stereo Recording: Wider stereo image & broader sonic spectrum

     -Placement:

            X/Y: Two omni, small diaphragm condensers angled in

                    between 90-135° w/ capsules touching

            A/B: Two omni, small diaphragm condensers in parallel

                    1 foot from guitar, 2 feet apart