Instruments that are most optimal for mono recording are vocals, each drum head and cymbal a different recording track should be used for every drum and cymbal, which can complicate things if there are limited mics, lines, and tracks , bass guitar sounds, and other mono signal devices.
When a novice begins recording, they often run into some questions and problems. There are a couple of fundamental problems with this mentality. Why is that? Essentially, the reason we hear in stereo is that the one ear is hearing sound at a different timing than the other ear, and vice versa.
When it passes, your left ear will then be hearing that sound first. One way to create stereo sound from a mono instrument is artificial. The other is genuine. For final mixing and to get the best possible finished product, genuine is always the way to go. To do this, record the same exact track with the instrument you want in stereo a second time. This may require several takes, depending on the caliber of the musician or artist laying down the tracks and the relative complexity of the track.
However, even though they may sing or play the track the same, there are going to be many subtle differences that, when mixed properly, bring forth the full desired effect. To artificially generate stereo from a mono recording, double the track, but off-center it.
This means when you open the track on the computer, the wavelengths will be positioned in the same timeframe as the original as it should, as an exact copy. However, take the copied track and drag it to a minuscule degree off-center. They should be facing each other at an angle of 90 degrees. This mic placement is good for close-mic applications because of the proximity of the mics, it also eliminates phase issues while giving a decent stereo image.
There are stereo mics that have this placement in one device. Usually, the mics used for this configuration are small-diaphragm cardioid condenser microphones. In the case of a choir or instruments that are recorded at a medium-distance from the mic, this is a good choice. The idea is to place the mics in such a way that they cover all the space in the room without creating phase issues, this is done following the role which says that the microphones should be placed, 3 times the distance from the closest mic to the instrument, from each other.
In this case, you can use cardioid or omnidirectional mics. This will give a very natural sound to the recording. For this technique, you will need to place one microphone facing the center of the sound source, and another mic on the side at 90 degrees off-axis from the sound source.
The center mic should have a cardioid or hypercardioid pattern while the side mic needs to have a figure 8 pattern. The benefit of using this technique is that you avoid any possible phase cancellation issues, and you will have more control over the width stereo spread than with other techniques.
If you want to record sound of an environment because you want to make a relaxing video, for example, you may have come across some problems like what type of microphone to, how to place it, how to edit it after.
I will answer all those questions in the next paragraph. For ambient sounds, you should always use a stereo microphone or a pair of mono microphones to create a stereo image that makes the person who listens to those sounds feel like they are actually there. Gettin 'skooled' big time today. Apologies for all the newbie-ness guys. Don't use XLR inputs to record to your daw. XLR inputs are for Mic level only. Not line level from a mixer. Read your interface manual on how to connect LINE level signals.
This is a function of the DAW, not the hardware. When you set up the track to record in your DAW, you can set it to record either a mono, or stereo track. If you're recording something like a microphone, you would plug the microphone into an interface input, and then set the track up so that that input creates a mono track.
What DAW are you using? Now in your software, you should have the option to select whether a track is mono or stereo. This will change the hardware input thats assigned to it for recording purposes.. So, in mono, track 1 would normally be assigned to input 1, and track 2 would normally be assigned to input 2. Then all it does is take inputs 1 and 2 and records them both as a stereo file with input 1 being left channel and input 2 being right channel.. Either method is fine and the results will end up exactly the same, the only difference with using a stereo file over two mono files panned hard left and right is, you only have to look at one single mixer channel instead of two.
Whatever came in on input 1 is still being played on the left side, and whatever came in on input 2 is still being played on the right side. Ahhhhhhh I get it. Man it all makes so much more sense now!!! I am using Ableton. And in Ableton I never knew that the DAW pretty much did all the 'work' for you. All this time I thought that there was a easier route Thanks guys for all the help, suggestion and clarifications.
Definitely needing to change the way I am hooking up my gear. Makes so much more sense now!!! This is what I needed all along. I can see the signal path as clear as day now inside my 'head' after reading these last few posts.
Thanks guys for everything. You guys ROCK!!!! Now that everything makes sense now. That cable is exactly what I need. Thanks for the links and suggestions. This is not strictly true - although it's true that it's probably not worth close miking a violin in stereo, if you're recording in a nice enough space then recording any instrument in stereo will capture a nice bit of stereo ambiance. In fact if it's a nice room then why not take advantage of the reverberation instead of recording in mono and adding fake reverb?
Especially if it's a sparse mix or solo performance. Phasing issues can be avoided by either placing the mics at equal distance from the source or using a phase correction plugin like Melda's excellent MAutoAlign. Bob Katz is a strong proponent of tracking in stereo: Quote: Track important instruments in stereo In the days of 8 track you had to be very careful about allocating tracks.
But those days are gone. You have enough tracks to splurge now! So there's no reason to conserve on tracks during the tracking stage. The stereo image and depth of your final product will be determined by your skill in mixdown at using delays, reverberation, effects, and your skills in tracking, how you tracked your instruments. Try to make a plan beforehand of how your soundstage might look, where the instruments might be placed.
Realize that it probably will not hurt, and probably will help to record your important instruments in stereo. For example, even a pair of bongos that are destined to be on the right side of the soundstage will sound better if one bongo mike is panned full right and the other somewhat right of center.
This is because the ear decodes the natural space and delays picked up by those microphones, actually enhancing their definition in the mix if the room acoustics are good.
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