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Real Recording School Weekly

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Overview

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Join the real-world school of music recording. In each installment, superstar audio engineer/producer Larry Crane introduces a new solution for a common recording challenge.

Syllabus

Introduction
  • Welcome to Real Recording School Weekly
1. Real Recording School Weekly
  • Fixing clicky electric bass
  • Finding kick drum articulation
  • Identifying bad drum edits
  • How small rooms affect drums
  • Dealing with snare drum ring
  • Taming hi-hat bleed
  • Stopping hollow kick drum sounds
  • Taming boomy acoustic guitars
  • Fixing boomy upright bass
  • Mid/Side or XY drum mics?
  • Problems with multiple mics on guitar amps
  • Too much room sound on the vocals
  • Vocals with proximity problems
  • Vocals with close reflections
  • Snare compression
  • Clicky upright bass
  • Identifying bad vocal edits
  • Different overhead drum mics
  • EQing overhead drum mics
  • Drum room ribbon mic angle
  • Connect the vocal notes
  • Bass in higher registers
  • Adjusting bass definition
  • Drum overheads or front-of-kit mics?
  • How to end vocal phrases
  • Listening to different snare mics
  • Drum bleed on toms with different mics
  • Damping snare by hand during tracking
  • How to support long vocal notes
  • Two bass amp mics to audition
  • Damping drum ambience or not?
  • Roving microphones on drums
  • Stereo vs. mono drum overhead mics
  • Cardioid or omni mono drum overhead mics
  • Blumlein vs. X/Y drum room sounds
  • Quick tip on recording snare drum
  • Drum overhead compression
  • Omni or cardioid drum room mics?
  • Do different kick drum sizes matter?
  • One electric guitar tracked stereo
  • Tracking one guitar with two amps: Splitting signal
  • Tracking one guitar with two amps: Ground hum
  • Tracking one guitar with two amps: Polarity
  • Creating snare gate with compression
  • How to locate vocal plosives
  • When to set delays off tempo
  • Duck echo effects with compression
  • Automate EQ on fake strings
  • Sum to mono your low end
  • Turning any sound into sonic wash
  • Drum room mics as overheads
  • Adding spring reverb to guitar parts
  • Bass sidechained from kick drum
  • Kick drum sidechained from bass
  • Unique way to boost drum overhead mics
  • Creating sonic wash with modulation
  • Cymbal ambience and drum editing
  • Distortion pedals and bass DI
  • Drum high end in the mix
  • Kick drum low end in the mix
  • Dark bass amp with bright DI box
  • Parallel track drum edit trick
  • Bass amp and mic distance
  • Mixing with single handclaps
  • Reamping vocals with travel speaker
  • Reamping instruments with travel speaker
  • Changing vocal sounds with real tape
  • Changing instrument sounds with real tape
  • Reamping vocals through headphones
  • Reamping instruments through headphones
  • Reverse vocal polarity while singing
  • Ribbon or dynamic mic on bass amp
  • Separate rhythm and solo guitar for mixing
  • Mixing mono electric guitar in stereo
  • Parallel gated snare drum
  • Short delays on snare drums
  • Using Auto-Key to find a song's pitch
  • Fixing fades on an entire mix
  • Do not Auto-Tune your vocal doubles
  • Let artists control their headphone mix
  • Boosting snare hit pickup
  • Parallel vocal compression
  • Parallel vocal compression with low EQ
  • Parallel vocal compression with midrange EQ
  • Pro audio rack gear as stompboxes
  • When DI electric guitar tracks work
  • Stereo track or mono
  • Mid-side mics on acoustic guitar
  • Cardioid and figure 8 mics on acoustic guitar
  • Using a listen-back mic
  • Vocal breath edit fade tip
  • Use delay to fix percussion
  • Kick drum and bass guitar bus mix glue
  • Recording one-person handclaps
  • Speaker mic on kick drums
  • Checking mixes: Left minus right
  • Checking mixes: Mono
  • Using the console as a keyboard
  • Moving mics while reamping
  • Moving speakers while reamping
  • Real doppler drum effects
  • Moving mics around speaker reamping
  • Creating wider sounds through reamping
  • Reamping via tweeters only
  • Reamping via woofers only
  • Room reamping for echo returns
  • Reamping the whole mix for fade-out
  • Using input sheets
  • Mic’ing electric guitar for pick sound
  • EQ stereo sends to plate reverb
  • Delay before plate reverb
  • Mic’ing electric bass for pick sound
  • Using a speaker mic on bass amps
  • Tambourines all sound different
  • Monitoring on different speakers
  • Doubling guitar octaves
  • Panning vibraslap by hand
  • Percussion in stereo
  • Keeping your talkback on track
  • Foam windscreens affect sound

Taught by

Larry Crane

Reviews

4.9 rating at LinkedIn Learning based on 19 ratings

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