1. Make sure that you leave headroom on your input to accommodate for unexpected overshoots (extra loud snare hit, vocalist leans forward, etc.) - keep peaks below -6dBFS at least.
2. Stereo or mono? Consider how you want recorded parts to be placed in the final mix and what the source requires. Don't record things in stereo just because you can.
3. Commit if it sounds good. Don't worry about the technical details too much, just record it and move on. Fresh is best, even if there's a little roughness around the edges.
4. Don't use gear just because you've got it or want to try it out. This is particularly important with EQ and compression/ limiting. If you're confident you want to commit them to tape or to disk then do so, but remember that you can't change it later.
Esta historia es de la edición December 2019 de The Score Magazine.
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Esta historia es de la edición December 2019 de The Score Magazine.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
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