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Tutorial—Laying Down the Basic Tracks
— Tutorial
7
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Overdubs
The actual procedure for recording overdubs is really no different from recording
the basic tracks, except that you’ll be monitoring previously recorded material
while doing it. Remember to use a good pair of closed headphones to monitor
the backing tracks while recording acoustic overdubs or vocals (not open types or
the in-ear types often used with portable stereos) to prevent leakage of the head-
phone mix back into the microphone.
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To Process or Not To Process?
Now things get a little tricky, because you will be making decisions that will
directly affect your freedom to make changes later in the production process.
Some engineers almost never use processing of any kind (compression, EQ, etc.)
when recording the initial tracks, the reasoning being that it not only reduces
their freedom to shape the sound as required at subsequent stages, but that it also
compromises the “openness” of the sound. There is a good deal of truth in this,
but there are also a few good reasons for some judiciously-applied processing
right from the outset.
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Compression & Limiting
Of the several processing options available during initial recording, compression
is probably the most often used. But at this early stage in the production process
it must be applied with care. Compression or limiting is most often used at this
point to reduce high-level transients that, although not a critical part of the instru-
ment’s sound, would otherwise take up a large portion of the recording system’s
available dynamic range. By reducing transient peaks you can effectively record
the main body of the signal at a higher level and thus, in the case of digital
media, increase the resolution of the reproduced sound while reducing potential
problems with system noise. Bass guitar, electric guitar, vocals, and drums are
often compressed during recording. Avoid compression on instruments like
acoustic piano in which the initial attack is critical in conveying the instrument’s
character.
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Equalization
During initial recording equalization is normally only used as a compensation
tool. You might need to compensate for irregularities in the response of a micro-
phone or other piece of equipment in the recording chain, or perhaps beef up the
response of a guitar pickup. All mix-related equalization should be left until the
mixdown stage, when you can hear how response changes affect the overall
sound.
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Effects
As a rule, don’t apply any ambience-type effects (reverb, delay, etc.) during initial
recording. Ambience added at this stage in the game can’t be removed later, and
will almost certainly get in the way of the overall sound. You’ll have much more
flexibility and control if you save ambience processing until mixdown. Of course,
there are exceptions; but those are creative decisions you’ll have to make on your
own.
Other effects such as modulation and distortion are often applied during record-
ing, but only when they function as an inherent part of the instrument’s sound
(distortion on electric guitar or rotary speaker on an organ, for example).