'POP goes the digital recording' is NOT a good thing.
In analog recording often a spike past zero dB on the meter was a GOOD thing. Because of the level loss in the transfer to magnetic tape, I would usually set the peaks to rise to +3 dB! But in the digital studio....
There is no way to allow the signal to come CLOSE to that zero mark, or you are asking for an audio meltdown. And not just a melt down in the track being recorded, either. I have often seen this spike feed over into other channels already recorded (or is it my imagination?)
Anyway here are two tips to optimize the recording of every track that will get the best results without much of a chance of these ugly POP crisis happening.
- Set the peaks at around -9dB. I know this sounds like we are recording at a very low volume, but in the digital realm, we always have the option to increase the volume by any level we want, or even gate out the hum/buzz/background 'air' if we choose. No longer is it important to get a first recording at the highest levels possible. I like that.
- For vocals, and wind instruments use a pop filter so you can get near proximity to the mic as you record. If you are a regular reader, you will know I am a strong proponent of recording a dry track CLOSE to the mic and adding 'the digital room' in post-production. Always better results through better control.
And concerning the pop filter [2] mentioned, let me save you $40 bucks or so. Make your own from a pair of your lady's panty hose stretched over a round wire. When placed right in front of the mic, it works every bit as well as any overpriced filter from the audio tech store. I used a craft 'embroidering' hoop that cost less than a dollar, and looks very professional.
Now go make music, GB,
-Jack Sanner
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