![]() ![]() By miking loosely, you allow for some of the room ambience to liven your sound a bit. On two tracks you could make a loosely miked stereo mix. 2 " Make your Bounce Mix" below).ĭrums can be submixed nicely to either two, three or four tracks. And if your intention is to send your bounce mix directly to two tracks on the tape, then it is necessary to sub mix the drums (I don't recommend this, though. I think I do this out of habit, because I am so used to having to sub out the drums in normal recording scenarios. Another approach would be to sub out the drums right off the bat (provided your mixer has sub-outputs). For this you can use every available track left over after your initial guitar and bass (or whatever you may be tracking initially) have been accounted for. There's the one-drum-per-track method in which you can close-mic each drum to its own track with the addition of a room or overhead mic track. For this, experiment with mic placement to achieve optimum warmth and minimum bleed.įor the drums, there can be many different approaches. ![]() At the same time, always strive for as much of an instrument's natural ambiance as possible. In other words avoid guitars bleeding into drum mics, bass, mics, etc. Always strive for as much separation as possible among instruments. rhythm guitar, bass and drums).įrom the start, remember these two key guidelines: Give this a shot, and let me know what you think.ġ. And although I have never read any of those books on how the greats recorded in the sixties, I am pretty sure that some of the principles laid out here are the very same as they were back then. But with half-inch tape, and better yet, the tape compression that comes with it, the results can be beautifully rich and clear as a bell. Most people I know think of bouncing tracks only in terms of four track recording. But I feel like I have learned something of a lost art form. ![]() And if I can't give it to them, they'll probably find some ADAT studio down the street that can for half the price (some friends, huh).īy figuring out the following method for efficiently bouncing tracks, I have actually saved myself from the above scenario on only a few occasions. But as nice as that is, there are still times when my friends need more than eight tracks. We just bought a new console, an Allen and Heath Saber 24 X 8, which I must say, should be the envy of all you motherfuckers. Miner Street (our studio and record label) is still eight tracks and running strong. In 1995, after years of being away from the DIY life-style, I bought an eight track and started a studio along with my partner Jason (who also plays in the Marinernine, as well as the recent international ambient/noise craze The Azusa Plane). In the next few years my band (now The Marinernine) recorded a few demos on that machine, but soon felt it necessary to make the jump to the "real" recording studios, where we had every experience from complete studio euphoria (where the idea of becoming a household name first kicks in) to utter disappointment. It was then that I bought a Sansui 6 track cassette recorder, and began recording my songs. My own experience in the recording world goes back about eight years to the summer before my senior year of high school. ![]()
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