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Tutorial—Laying Down the Basic Tracks
6
— Tutorial
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“Scratch” or “Guide” Vocals
If you’re working alone this won’t be necessary, but when recording a band it’s
sometimes a good idea to have the singer lay down a “scratch vocal” track while
recording the rhythm section. This is simply because bands are generally used to
playing with vocals, and the performance can suffer if there is a void where the
vocals are supposed to be. The scratch vocal track can also be a useful guide
while laying down other overdubs such as guitar or keyboard solos. DON’T rely
on the scratch vocal track to record chorus parts, though, because the teeniest
changes in the pitch or phrasing of the lead vocal part can throw the entire cho-
rus out of whack.
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Microphone Selection?
Oowee! Here’s a subject that can make even the most seasoned recording engi-
neer cringe. But, reality check firmly established, we realize that for most of us
this is not a problem simply because we don’t have a dazzling selection of micro-
phones at our disposal. And that’s that.
But there is one thing we would like to stress: if you don’t already own the micro-
phone(s) you intend to use for recording, CHOOSE THEM WITH CARE!! Really.
Here are a few guidelines for the minimum microphone selection for most home
recording applications.
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If you will be recording vocals and/or acoustic instruments in the (home) stu-
dio.
Quite a number of high-quality large-diaphragm condenser microphones have
become available at very reasonable prices in the last few years. Get one. But, if
at all possible, try out a few before making a final commitment. Although most
microphones in this category have uniformly excellent frequency response and
high sensitivity, they do have distinctive sounds. Choose the one that sounds the
best to your own ears. Don’t worry about switchable directivity unless you really
think you’ll need an omni-directional pattern for some application; the plain-
vanilla cardioid pattern is probably all you’ll ever need for most recording. And
since the AW4416 provides switchable phantom power on inputs 1 and 2, you
can choose studio-quality phantom-powered microphones with confidence.
The same microphone you choose for recording vocals will most probably also
be ideal for recording acoustic guitar, piano, and a range of wind instruments as
well. Not a good choice for close-miking drums and percussion, though. One or
two large-diaphragm condenser mics are, however, perfect for use as drum “over-
heads.”
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Close-miking guitar amps, drums, and other loud stuff.
Here’s where you need one, or perhaps a few, good-quality dynamic micro-
phones. There are a number of “standard” dynamic microphones that are ideal
for this type of application, and which can be acquired for surprisingly little out-
lay. If you don’t already have a couple of established makers and models in mind,
ask around.