Lesson 1Layered vocals technique: double-tracking, backing vocal arrangements, bleed control and comping considerationsBuild layered vocal plans with doubles and backing bits, handling bleed, comping, and timing so stacked vocals stay tight, lively, and simple to balance in slick pop and rock tracks.
Planning lead doubles and harmoniesTracking tight double-tracked vocalsArranging backing vocal stacksBleed control in group vocal sessionsComping and editing layered vocalsLesson 2Bass recording: DI vs amp mic, amp mic placement, combining DI with amp, re-amping workflowStack up bass DI and amp miking, fine-tune mic spots on cabs, and blend DI with amp or re-amp to get solid lows, tame mids, and mix-fit bass tones for fresh productions.
Clean DI capture for solid low endChoosing and placing bass amp micsBlending DI and amp for definitionPhase alignment between DI and ampRe-amping bass for tonal variationsLesson 3Electric guitar: microphone choices for cabinets, close vs blended room mics, use of direct inputs and amp simulationCheck out cab mic picks, close and room mic mixes, and DI or amp sim choices to grab flexible electric guitar sounds that slot into modern mixes with punch, clearness, and re-amp ease.
Dynamic vs condenser on guitar cabsSingle mic vs multi-mic cabinet setupsBlending close mics with room ambienceUsing DI tracks for re-amping optionsIntegrating amp simulators with real ampsLesson 4Vocals: microphone types (large-diaphragm condenser, dynamic), capsule patterns, pop filters, shock mounts and isolation boothsGet vocal mic types, polar patterns, and gear like pop filters and shock mounts, plus isolation and positioning tips that curb room sound, plosives, and shifts for steady, mix-ready vocal takes.
Choosing dynamic vs condenser for vocalsSelecting and aiming vocal polar patternsUsing pop filters and shock mounts correctlyBooth vs open room vocal isolationManaging singer movement and mic distanceLesson 5Recording session parameters: recommended sample rate and bit depth, headroom strategies, clocking and syncSet prime sample rate, bit depth, and clocking for pop and rock gigs while sorting headroom, gain staging, and sync so multitracks stay crisp, steady, and set for editing and mixing.
Choosing sample rate for pop and rockSelecting bit depth and recording formatHeadroom targets and gain stagingClocking, word clock and jitter basicsSyncing interfaces and digital devicesLesson 6Drum recording: mic selection per element (kick, snare, toms, overheads, hi-hat, room) and whyPick right drum mics for kick, snare, toms, overheads, hi-hat, and room, seeing how each mic's vibe, spot, and job boosts the full kit sound in thick, stacked pop and rock setups.
Kick drum mic types and placementSnare top and bottom mic choicesTom mic selection and mounting optionsOverhead and hi-hat mic preferencesRoom mic types for drum ambienceLesson 7Room acoustics and isolation: treatment, positioning, dealing with bleed and room toneTackle room acoustics, treatment, and gear placement to check reflections, isolation, and bleed, crafting room tone that backs drums, vocals, and amps without clouding sharpness in multi-gear sessions.
Assessing room size and decay timeUsing absorption and diffusion effectivelyPositioning drums, amps and vocalsManaging bleed in live band trackingCapturing or minimizing room toneLesson 8Keyboards and synths: direct stereo output vs amplifier/mic blend, stereo image creation and gain stagingKnow when to grab keyboards and synths direct in stereo, when to mic amps, and shape stereo width, tone, and gain so layered keys stay sharp and in check in packed pop and rock tunes.
Using DI boxes for stereo keyboardsAmp and mic options for synth tonesBalancing direct and amp blend levelsCreating controlled stereo widthGain staging keys in dense mixesLesson 9Drum mic placement techniques: close, Glyn Johns, ORTF/XY overheads, room mic positions and phase considerationsMaster drum mic spots for punchy, phase-tight kits with close mics, Glyn Johns, ORTF and XY overheads, plus room mic plans that mix ambience, stereo spread, and mono fit in busy pop and rock mixes.
Close miking kick, snare and tomsSetting up the Glyn Johns configurationChoosing ORTF vs XY overhead arraysRoom mic distance, height and angleChecking and correcting drum phaseLesson 10Acoustic drum signal chain: preamps, gain staging, pad and phase alignment, tracking tips to avoid clippingBuild a solid acoustic drum chain from preamps to converters, eyeing gain staging, pads, polarity and phase tweaks, and tracking tips that skip clipping yet keep snap and tone alive.
Choosing preamps for drum microphonesSetting input gain and pad usagePolarity checks on multi-mic kitsPhase alignment across drum channelsAvoiding clipping while tracking drums
