This means that when you hit the rack tom, the snare doesn’t buzz and the other toms don’t ring along, and when you hit the snare, the toms don’t ring along.
Simple recorder with click track and loop free#
While the definition of the word “great” is different to different people on a general level, in the studio the word usually means that a kit is well tuned and free of buzzes and sympathetic vibrations.
Whether it’s because of old beat-up heads (the worst offender), bad tuning, uneven bearing edges on the shells, or defective hardware, drums that might be adequate or even great sounding in a live situation don’t always make the cut when put under scrutiny in the recording studio. The problem is that, for any number of reasons, most drummers’ kits simply don’t record well. Wimpy-sounding drums can make for a wimpy recording regardless of how well everything else is recorded. And well they should, since drums are the heartbeat of virtually all modern music. If there’s one instrument that producers and engineers alike seem to obsess over, it’s the drum kit. Like everyone else, string players should show up to a session with their best-sounding instruments for that particular application. For a horn player, none of the valves or keys can stick, and no extraneous noises should come from the instrument. A keyboard player must know her way around each keyboard so well that she can easily get to any sound that’s requested, and, as with guitar and bass players, her gear and cables must work flawlessly. Guitar and bass players need to make sure their instruments are properly intonated so that they play in tune anywhere on the neck, none of their cables are crackling, and their amps don’t buzz or hum. The drummer should, at minimum, make sure that all the drums have new drumheads, the drums are in tune, and the pedals are oiled so they don’t squeak. This is the least you should expect from each player. The better everything works and sounds, the better the recording will sound. Not only does everyone’s gear have to work, but it also has to be in tip-top condition.
Everything is expected to work perfectly, with no tuning problems, no extraneous noises, and no “intermittents” (when the audio cuts in and out or crackles). Having well-maintained gear is essential for making a record.
– The entire band, regardless of how many instruments That’s what you’re going for during basics.īasic tracks can consist of any of the following instruments, depending on the song, artist, project, or genre of music: While the end product might be difficult to hear in your head with the stripped-down basic track (unless you’re recording the entire band at the same time), it’s still important to get a great vibe and feel for the song even if you can’t “hear through it.” I remember playing with a multitrack tape of Fleetwood Mac’s huge ’70s hit “Dreams” during a recording-console demo, soloing the exceptionally isolated hi-hat and thinking, “You can tell this song’s a hit just from the hi-hat!” The feel and vibe were so strong that it was undeniable just from that one instrument.
Even if you had a great preproduction, you never really know how things will record or what unforeseen circumstances will pop up until you get there. Regardless of whether you spend a little or a lot of time in preproduction, recording basic tracks is where you either make the project or break it. That’s why it’s essential to make each basic track the best it can be. If there’s something faulty in the foundation, it will either be impossible or very costly in time and money to fix things later. Basics are the foundation for the music being recorded and for any other parts that come afterward. Excerpted from The Music Producer’s Handbook by Bobby Owsinski, published by Hal Leonard.īasic tracks are the initial recordings of the rhythm section that are done prior to any overdubbing.
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