Although I have had a lot of experience with take folders and comping before (I find it a very efficient way of recording), I never really used it to it’s full potential. Last week, I grouped my tracks and enabled Phased-Locked Audio which meant that when I comp-ed one track, it would do exactly the same to the other tracks in the group, minimising the possibility of phasing issues. I started with my drum group.
Once I was happy with all of the comps for the drums, I bounced them in place, muted and hid the original (I prefer hiding tracks that I am no longer using because it declutters my project without getting rid of them), and added the bounce to a new track.
I repeated this for all of the instruments.
I was the bassist for the project. As I was comping the bass, I realised that none of the takes were good. However, I took the best bits and made the best possible comp I could with the material at hand. This is why it looks very choppy. I’m hoping that, with some processing and flex, I can make the bass part sound more together and consistent.
I have turned Phase-Locked Audio on so that when I do comp-ing, all of the parts that were simultaneously recorded will be edited together. This will help prevent phasing issues and moments where parts have not been played identically.
From nothing to a full backing track in a day. My group recorded a hard rock track including guitars (Adam Farell and Harrison Goodair), bass (myself), drums (Lee Richardson), group claps and animal sounds (Sindre Deschington). I was very pleased with the outcome. My group worked very well together, we all used the desk and discussed recording techniques. Something I learnt about was using a sub on a kick drum: I’d never seen one before then. We used a Fender twin amp to record the guitars, and three different guitars to get a range of tones and colours.
We mic-ed the kick drum and the attached sub, snare (top and bottom), the rack tom, the floor tom, and over head (left and right). We also had a microphone to capture the sound of the room. Whilst the drummer played to a click track, I played the bass part so that Lee knew where he was in the track and what beat to play. We did three takes of the drums which we recorded into comp folders and arranged into track stacks.
We recorded everything into Logic Pro X through the SSL desk.
After recording the drums, we moved onto bass. The bass was fed into a bass amp which was mic-ed by two different microphones (the AKG D112 and the Sennheiser MD421) and was DI’ed, just in case. There was also one room microphone. We did three takes of the bass guitar, which was good because I messed up a lot!
The guitars were next. To mic up the Fender twin amp, we used a Sennheiser MD421 again, and a Shure SM57 on the front pointing at one of the cones, and a Neumann U87 for the rear of the amplifier. Another Neumann U87 was used to capture the room. We used three different guitars to record the rhythm, lead, and ambient guitar parts. We did two takes of the rhythm and lead guitars (Adam Farell), and one take of the ambient guitar (Harrison Goodair).
Afterwards, we had some fun with group clapping, and vocals in the form of Sindre Deschinton’s animal impersonations.
Overall, it was a fun, productive, and enlightening day, full of new knowledge. I really enjoyed working with everyone on my group and using the SSL desk.