Brandon Davids is a freelance recording/mixing engineer from sunny Perth, Australia. Along with engineering duties for some of the west coasts most promising new acts, he lectures audio production at SAE Institute.
So far we have looked at the equipment used, how to set it up and getting the space recorded. In part three we will now look at converting your expertly recorded audio into an Impulse Response. As an Impulse Response, you can import it into McDSP’s Revolver plugin, thereby recreating the sound of the recorded space on any audio!
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In this short series of quick tips, we are looking at how to record an Impulse Response of a space using Pro Tools, and then using McDsp’s Revolver Plugin to ‘de’convolve it. Sounds complex? Not at all, refer back to Part 1 to catch up with the story!
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Microphones can be a confusing area for the newly indoctrinated audio engineer. Dynamic and condenser microphones are the two main varieties Let’s take a look at the fundamental differences and which sort you should choose for different recording applications.
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Parallel compression has long been a part of the arsenal of engineers the world over, traditionally used on drums but can be used to great effect on just about any manner of audio signal. Today we will look at using the Bomb Factory ‘BF76′, which comes standard with Pro Tools to get some great compressed drum sounds.
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Plugin ‘Automation enable’ shortcut, ‘Tab to transient’, ‘Quick Punch record’ and ‘inserts are post Master fader’ are four fundamental functions within Pro Tools. For experienced users these four things will probably be old news, but the amount of new users I come across who aren’t aware of them astounds me.
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Navigating around big Pro Tools sessions can be a nightmare at times, yet many of us don’t utilise the power that the simple marker offers. Not only can they mark out sections of a song on the timeline, but they can be used to instantly get access to certain instruments or groups, or even to recall certain settings around a region.
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Elastic Audio is one of those things that can often get us into more trouble than we bargained for. Recently I was asked to bolster a sequenced drum line with some real life drums, here’s the easy way to do it.
Before we start lets have a listen to the drums in question. First the sequenced drums, then the real drums with the sequenced drums.
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