Recording - October 2014 - 27

isolated with baffles or gobos (go-betweens),
which are placed around each instrument to
contain its sound as much as possible. This,
combined with the usual close-miking techniques employed in any modern recording,
should offer reasonably good isolation for
most instruments in most situations.
If it's expected that some of the parts
going down in the initial live session will
be replaced with overdubs, then it's especially important to achieve reasonably
good isolation-listen to some of those
"phantom" guitar solos on some of the
really old Beatles tracks for a good example of what may happen otherwise!
Of course, if the goal is to avoid overdubbing and use all the parts played live,
then you can be a lot more forgiving
about leakage. While it does take away
some editing control over the individual
tracks, it's by no means a bad thing. As
long as you're careful to avoid unpleasant
phasing (observe the 3-to-1 miking rule,
and check all the mics in combinations for
any weird phase issues before recording),
then a little leakage can be a good thing.
It can add air and depth to the overall
recording, requiring less artificial ambience at the mixing stage, and provide a
nice sense of three-dimensionality.

Live or die by the monitor mix
One aspect of tracking that can be either
simple or complicated is monitoring. I've
often seen engineers be really haphazard
with this, quickly throwing up a few phones
at the end of the setup, but the headphone
monitor mix provided to the musicians as
they perform is a really important aspect of
any recording session, from live ensembles
to individual overdubs. To avoid sound
leaking from the headphones into the mics,
closed-ear headphones are always used.
They can get a little hot after a while, but
the isolation they provide is absolutely necessary to avoid that high-frequency tst-tst-tst
from getting to the mics (you know the
sound I mean!). Any model that seals well
and plays loud enough to be heard over
nearby brass players will work.
At a gig, players hear each other in the
room and don't need phones. But with the
use of iso booths and baffles, not to mention that some instruments-bass, synthesizers, guitar processors-may be recorded direct into the console and not be making any sound in the room at all, headphones are a necessary part of a live session. And for overdubs, naturally, the players need to hear a feed of the previously
recorded tracks, as well as their own instrument/voice. Since everything they play is
based on what they hear in the phones,
the musicians really need a monitor mix
RECORDING October 2014

27



http://www.radialeng.com

Recording - October 2014

Table of Contents for the Digital Edition of Recording - October 2014

Contents
Recording - October 2014 - Intro
Recording - October 2014 - Cover1
Recording - October 2014 - Cover2
Recording - October 2014 - 1
Recording - October 2014 - 2
Recording - October 2014 - 3
Recording - October 2014 - 4
Recording - October 2014 - 5
Recording - October 2014 - Contents
Recording - October 2014 - 7
Recording - October 2014 - 8
Recording - October 2014 - 9
Recording - October 2014 - 10
Recording - October 2014 - 11
Recording - October 2014 - 12
Recording - October 2014 - 13
Recording - October 2014 - 14
Recording - October 2014 - 15
Recording - October 2014 - 16
Recording - October 2014 - 17
Recording - October 2014 - 18
Recording - October 2014 - 19
Recording - October 2014 - 20
Recording - October 2014 - 21
Recording - October 2014 - 22
Recording - October 2014 - 23
Recording - October 2014 - 24
Recording - October 2014 - 25
Recording - October 2014 - 26
Recording - October 2014 - 27
Recording - October 2014 - 28
Recording - October 2014 - 29
Recording - October 2014 - 30
Recording - October 2014 - 31
Recording - October 2014 - 32
Recording - October 2014 - 33
Recording - October 2014 - 34
Recording - October 2014 - 35
Recording - October 2014 - 36
Recording - October 2014 - 37
Recording - October 2014 - 38
Recording - October 2014 - 39
Recording - October 2014 - 40
Recording - October 2014 - 41
Recording - October 2014 - 42
Recording - October 2014 - 43
Recording - October 2014 - 44
Recording - October 2014 - 45
Recording - October 2014 - 46
Recording - October 2014 - 47
Recording - October 2014 - 48
Recording - October 2014 - 49
Recording - October 2014 - 50
Recording - October 2014 - 51
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Recording - October 2014 - 53
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Recording - October 2014 - 58
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Recording - October 2014 - 60
Recording - October 2014 - 61
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Recording - October 2014 - 70
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Recording - October 2014 - 80
Recording - October 2014 - Cover3
Recording - October 2014 - Cover4
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