Commentary

When it comes to studio recording there is one trick that every beginner recorder is often taught, which is known as the 3:1 rule. To break down this rule in general it is pretty simple. When recording the distance that is from the first to the second mic should be at least three times of the distance from the source to the location of the first mic in general.

One common misunderstanding of the 3:1 rule, however, is that it applies to stereo mic-ing of a single source. Untrue. In fact the most set-up for stereo mics is to have the mic ends practically on top of eachother, but pointing in different directions. So the 3:1 rule would totally negate that.
Where the 3:1 rule applies is when you plan to use multiple mics on the same channel. The different distances will reduce phase problems between the 2 mic signals. In stereo recording, you need to pan the two recordings from the 2 mics, so the phase differences are not really an issue at that point. Also, the 3:1 rule most often applies to mic-ing multiple sound sources (drum kit, 2 singers, etc.) rather than a single one.
Key Takeaways:

• I would certainly have used some outboard gear and other mics better adapted to the situation, but always with the same minimalist approach of reducing the number of mics to the strictly necessary.
• An urban engineer friend of mine once told me that it’s extremely rare for people to turn around when they’ve realized they’ve gone down the wrong road.
• Something similar happens when you have several tracks for a single instrument.. I mean you already have them, so why not use them, right? Well, because it isn’t always for the best.

“The 3:1 rule is pretty basic: the distance from the first to the second mic should be at least three times the distance from the source to the first mic.”

http://en.audiofanzine.com/recording-mixing/editorial/articles/the-3-1-rule.html

A guide to creating a music studio to fit your needs based off of the advice provided by 20 professional producers. Contains recommendations on the favorite hardware, software, and techniques employed by these pros in addition to advice on how to go about just getting started up, and helpful tips and advice on stuff the aspiring producer may need they.

Key Takeaways:

• Just to try to keep it simple. You don’t need tons of equipment to make good music, or create a good mix of your music.
• Read, read and read. Also, if you’re tired, go to bed because you’re not hearing everything.
• Think about what you want to achieve and about what space you have. Never give up on your dream.

“Stop what you are doing immediately. Use your brain and think. What is the purpose of the studio? What are you trying to achieve? If you don’t know, then restart the next day. It’s important to let things take time.”

http://www.musictech.net/2016/12/20-pro-studio-tips-2/

Guitarists who want to know how to EQ out distorted guitar from getting in the way of vocals need to read this article. You’ll learn the best EQ strategies for eliminating drowning out those quiet vocal parts while still keeping your wanted distortion. This is the way to become the EQ guru at home or in the studio.

Key Takeaways:

• Teaches how to make a “distorted guitar fit better with a vocal in the mix”
• Four ideas include: panning them out of the way, filtering the highs of the guitar, cutting the guitar where the vocal sits, and helping the guitar cut through somewhere else
• Making the distorted guitar sound better with the vocals can be achieved through manipulation of different aspects of sound

“Sometimes all you need is to give the vocal its space in the center. Pan the guitar out of the way and let the vocal take charge.”

http://www.audio-issues.com/music-mixing/how-to-eq-distorted-guitars-out-of-the-way-of-the-vocal/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+AudioIssues+%28Audio+Issues%29

If you have questions on how to automate a track of your mix, this article will be a god-send. You will learn functional and artistic automation which will allow your song to be heard at its very best. This will allow you to create professional sounding music. This process is surprisingly easy to learn, can be created by amateurs, and for free!

Key Takeaways:

• Automate the volume of the alpha
• Automate it more precisely to reveal the details
• Take away any unwanted noises and sounds from the mix

“You’ll see that not only will you be more comfortable the more you do it, but also that your Alpha track doesn’t really need that much processing, be it compression, de-essing, etc. And the overall mix will be very grateful!”

http://en.audiofanzine.com/recording-mixing/editorial/articles/automating-the-star-of-your-mix.html

When you’re in the tracking phases of a recording project and need to get the best takes out of each musician you’re working with, one trick of the trade is setting up headphone mixes. Musicians are able to perform at their peak when they’re getting the musical information they need to make the next take great — and that information may not make itself clear in the overall mix. Here’s how to create a headphone mix in Pro Tools.

Key Takeaways:

• Group these tracks in a track folder so you can hide and reveal them at will during the recording session.
• Now, create an aux bus for every musician recording simultaneously and send all the stems to each of these buses
• Last but not least, don’t forget to send the musician’s signal directly towards the physical output assigned to his/her headphone mix, so that he/she can hear him/herself adequately.

“a relatively simple method that will give you enough flexibility to give the musicians the ideal headphone mix, according to their own criteria, while at the same time giving you, the audio engineer, the possibility to listen to what you need to during the recording.”

http://en.audiofanzine.com/recording-mixing/editorial/articles/setting-up-the-headphone-mix.html