Recording Techniques

At frequencies where the room dimension equals a wavelength multiple, sound reinforces itself. These 'room modes' cause bass buildup or cancellation at specific spots.

Soft, porous materials absorb sound by converting acoustic energy to heat. Thick materials absorb low frequencies. Thin materials absorb only highs.

Diffusers scatter sound in many directions instead of absorbing it. This preserves energy while reducing distinct reflections. Professional studios use diffusion on rear walls.

Sound bouncing off side walls reaches your ears shortly after the direct sound, causing comb filtering and imaging problems. Treating these points dramatically improves clarity.

Sound from monitors bounces off the rear wall back to your ears. This can be treated with absorption (dead sound) or diffusion (preserved energy but scattered).

Professional treatment is expensive, but effective DIY options exist. The principles matter more than the brand name.

When recording multiple sources simultaneously, each mic picks up other instruments (bleed). Some bleed is acceptable—too much causes phase issues and limits mixing options.

Gobos (go-betweens) are portable acoustic barriers that reduce bleed and reflections. They can be absorptive, reflective, or both.

Reflection filters, portable booths, and closet recording are compromises—they help but don't provide true isolation.

Band plays together in the same room, each to their own track. Preserves energy and interaction but requires bleed management.

Record one element at a time while listening to previously recorded tracks. No bleed, maximum control, but can feel less 'live'.

Musicians need to hear themselves and other tracks while recording. A cue mix is what they hear in headphones—often different from the control room mix.

Two cardioids with capsules at the same point, angled apart (typically 90-135°). Stereo from intensity differences only—excellent mono compatibility.

French Radio standard: 17cm spacing, 110° angle. Combines time and intensity differences for natural stereo while maintaining good mono compatibility.

One cardioid (Mid) pointing at source, one figure-8 (Side) perpendicular. Decode in DAW to stereo. Width is adjustable after recording.

Record multiple complete takes (playlists/takes), then assemble the best parts of each into one 'comp' track. Standard vocal recording technique.

Vocals are usually comped line-by-line or phrase-by-phrase. The goal: best emotional delivery + technical accuracy throughout.

Hard cuts between takes cause clicks or abrupt changes. Crossfades blend the end of one take with the start of another.

The click sound matters. It should be audible but not fatiguing or bleeding into mics.

Not all music is one tempo. Tempo maps allow programmed tempo changes—ritardandos, accelerandos, or tempo modulations.

If click feels restrictive, other approaches can provide reference without rigid grid.

Sound check sets levels and makes sure everyone is comfortable with their monitoring.

Keep momentum going, capture everything, and maintain positive energy.

What happens after recording affects future sessions and protects your work.