Recording - May 2020 - 41

Use the right software

I use Pro Tools in my home studio. As an industry standard, a lot of the composers I work
with also use Pro Tools, and they always seem
a lot more comfortable when they hear that's
what my recording setup is based around (not
that there aren't many other great DAWs...).
It makes my life a lot easier as I can
open the composer's actual sessions and
access all the tracks, the tempo map, and
everything like that, whether it's a massive
orchestral session or a few tracks for a cue.
This offers a huge amount of versatility and
is extremely intuitive. I've created a remote
recording template that I duplicate for every
new session, which makes the whole process much faster as I don't have to start from
scratch every time. In most cases, I'm recording more than one flute part. I will start
with the melody and add in the different
parts and make sure the intonation matches.
I also use Avid Sibelius for creating and
editing musical arrangements. I like to play
and record multiple flutes: usually a regular
C flute, piccolo, alto flute, and bass flute,
so that the end product is more balanced.
Sibelius makes it fast and easy to score out
and add in these different layers.

Mic up!

The truth is that you don't necessarily
have to break the bank on the best mic and
interface on the market to get great-sounding results. I first started recording with
affordable options-a Rode NT2A large
diaphragm condenser mic and a Focusrite
Scarlett 2i2 interface-and the results were
perfectly acceptable. For anyone who's just
starting, I wouldn't recommend going for
an expensive setup straight away.
There came a point when I was recording so many sessions that I wanted to ensure I was getting the best sound quality
for the composers who were hiring me.
This prompted me to choose a Schoeps
CMC64 microphone and a Universal
Audio Apollo Twin MkII interface, both
of which have served me well. Every instrument is different, but for recording the
flute, these are a great combination.
The other important consideration is
recording on the go when you might not
have access to your full setup. In these situations, the temptation can be to use the
mic in your iPhone, but I would highly recommend investing in a small microphone
that you can carry around with you.

An inexpensive mic I'd recommend for any
musician is the Shure MV88 (we reviewed
the new MV88+ last issue - ed). While I
don't use this mic for remote recordings, I
do use it for social media posts. It's a great
on-the-go microphone for quick videos, stories, or live streams. The mic plugs directly
into my phone; it lets me control the sound
levels and provides a significantly improved
audio quality over my phone mic alone.
Ultimately, musicians have to experiment and see what works best for them,
as everyone works in slightly different
ways. As long as they're supported by
the right tools, they'll be able to create
beautiful music from wherever they are.
Flutist Gina Luciani has a diverse career in
music that includes recording for Emmy nominated film and television soundtracks and live
performances. She has worked with Kanye
West, Ariana Grande, Billy Idol, Chance The
Rapper, DMX, Hanson, Hans Zimmer, John
Williams, Josh Groban, Michael Giacchino,
Pentatonix, Pete Townshend (The Who), Ty
Dolla $ign and "Weird Al" Yankovic. Find
out more at ginaluciani.com.

4099 INSTRUMENT MICROPHONE
A drum kit is a focus piece in many musical performances. Each individual element of the kit has its
own unique sound, yet at the same time the proximity of other instruments create bleed. To get
the most out of your drum kit you need to pick microphones that dampen off-axis sound, handle
high-SPL and easily position them. In steps the DPA 4099 Instrument Microphone.
dpamicrophones.com/4099

http://www.ginaluciani.com http://www.dpamicrophones.com/4099

Recording - May 2020

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