How the PROS add DEPTH to their Recordings (and you can too) 

Makes a big difference in the mix!

Hey nice channel!

Thank you! lol @@AndrewMasters

Totally agree

Glad it was helpful!

I must have been unclear in the video, but I certainly was not trying to make the point - only use stereo miking on everything always. My point here is I've gotten into a habit of doing some things one way. Bruce mentioning take some time and get a stereo placement on some sources to add depth, inspired me, and maybe it'd inspire you too. Of course Bruce knew that mono miking sources, distance and panning achieve depth as well lol. 30 seconds after he talks about stereo he mentions the same thing about mono, and how some things should absolutely be done in mono. Room mics down low is a fantastic move. I learned that one about 10 years ago from Doug Mckean. Another great way is baffling the kit and putting the room mics on the floor in omni on the opposite side of the baffle the drums are on, and hitting them with some compression.

@@AndrewMasters personally I stereo track drums, then add mono drum samples which match the drum tracking or vibe of the recording to get a better umph than a classic "mono kick drum mic". I've found that being inside of the box for certain instances has been useful.

and using that "mono kick drum mic" as a sample, instead going towards a synthesized kick drum sample for instance.

@f-unfairstudiotime, makes no sense doing all that work, idk where you are going with that. There are plugins that give you M/S effect with only two buttons. lol.

@@nickstojakovic112 No, wasn't talking about M/S processing of a stereo track, or of simulating M/S stereo - I meant the actual M/S miking technique. That's inevitably done with 2 microphones (one in cardioid and one in fig-8 multed to 2 channels of which one with inverted polarity then blended in for width), not plugins. And that is what Alan Blumlein invented. As for "all that work"... ehhh, some of us love doing this work! 🤭😉

Thanks!

@@AndrewMasters Warm audio has had the WA14 out for a bit, outside of packaging them as a stereo pair is there anything new about these mics?

Also wondering this

Thanks!

Thanks!

The overheads yes but the acoustic and electric vary

True! I've always doubled everything and just stuck with it out of habbit. This just really solved my doubled electric guitars sitting in a mix recently - thought i'd share!

Also a great technique!

I used my Trident Preamps overheads, AEA RPQ2 Preamps on room mics, and WA273 Preamps on acoustic.

Yes it was!

@@AndrewMasters I knew it when I heard it! And, hey, do you remember what your whole chain was for the electric track?

haha yes, I don't think anyone's making the point that in every scenario you must use stereo. The point here as stated in the video repeatedly, is if you're like me, and you have a habit of only using a mono mic on something and you feel like it's lacking some depth or width - try some stereo techniques.

On a single vocal, you'll still want to rock a mono mic setup. On a choir or group of vocalists, stereo makes a huge difference.

thank you! @@AndrewMasters

Hmm maybe I’ll do a video on this

It's a near coincident spaced pair. Phase is perfectly aligned.

Both great companies, the speaker model you pick really should depend on your room size and placement to you

@@AndrewMasters i have a big room

People use phones, so quality and production don't matter. Got it.

@@AndrewMasters My point Andrew is that the consumer can't tell what microphone, preamp, compressor, EQ, or anything else that was used. All they care about is listening to a great song that elicits emotion. Don't believe me? If high quality recordings were really that important how is it that songs recorded 50 -60 years ago are still popular. They were recorded on crap equipment, but still they live on. Yes, we need quality production today but not at an extreme level. Our job as musicians is to elicit emotion with our songs. We can do that with average equipment. We do not need to mortgage our soul to buy SSL pre's, 1176s, or LA2As, or for that matter any of the other outrageously expensive equipment that is out there. What we need to do is to write great songs. That my friend is what the consumer wants. So prove me wrong. Record a song using all of your high dollar gear. Then record the same song using a couple of under $200 mics directly into a Focusrite interface. Mix this version only using plugins that came with your DAW. Now, go out on the street and play one version of the song to 20 people using a bluetooth speaker connected to your phone. Ask them what they thought of the song. Video their responses. Now do this again with the other version of the song. 20 different people. Again record their responses. I will bet that the responses will be similar.

This is a video on recording techniques, on a studio channel that makes content on recording and production. It’s not for the consumer, or the songwriter, it’s for the audio engineer, the student, the people who are interested in learning and developing their skills who record the people who write the songs. Most people who are engineers and producers are aware the song is the most important part, yet we want our skills to be able to elevate the songs as much as possible at every level. Artists also want the production and engineering team to be the best, so their song has all the advantages. If you disagree then that’s fine. You’re welcome to keep coming back to the video and commenting :)

@@AndrewMasters I understand what you are saying. BTW, I enjoy your channel and the information that you give out. All that I am saying is that to me we are doing a dis-service to the kid sitting in his bedroom trying to record his song and giving up because he can't afford the equipment that the pro studios have. You see Andrew, I was that kid many, many years ago. Recording musicians on a four track cassette. I couldn't afford pro gear and the people that I recorded couldn't afford to pay for that pro quality studio anyway. So, I gave up. In my head I put myself down because I didn't have the right equipment or the right room. Years later I found out that those recordings had quite a following. You see, the end listener didn't care that those tapes were not "Pro Quality" all that they cared about was the music. So keep doing what you're doing. I especially enjoy the studio tours. Just keep in mind that many people can't afford the high dollar equipment that you have. They are sitting in their bedroom trying to produce music with a demo copy of a DAW and some used instruments. Give those people some tips and tricks to.

Thanks. If not being able to afford high end gear when you were a kid made you give up, then you weren't that into it or there was something else going on. That's unfortunate you gave up for that reason. I know when I was a teenager I would do literally whatever I could to make it happen. I was literally obsessed and didn't care about anything else. I gave up all my friends and family and moved to the other side of the country with no support system for a chance to intern somewhere. It paid off, I got a job starting by cleaning toilets and stocking studio supplies then a year later worked my way up to a staff engineer and worked with clients like John Legend, Dawes, Jim James, Ghost, Weezer, Muse, Richie Sambora, Justin Timberlake, Jason Mraz. I got to learn from producers and engineers who had literally been doing it for 5-6 decades. Now I want to share some of what I learned. This content is for those people. A large amount of people who watch my videos are working professionals in studios. Some are semi-professionals who have other high paying careers and want to learn more about technique and gear so they have a better idea what they should get. Some are obsessed teenagers who just want to know how to make their recordings sound the way they want. At the end of the day - as the person who come up with the ideas, spends the money on the videos, and does all of the work, I make the video the way I think gives the most value and makes the best video. Never in a video have I said you can't get a great recording with out the gear I'm using. I use the gear that I like, and want to share it because I like it.