Tracking is essentially the process of recording songs. The name comes from the fact that each instrument is recorded individually and given it’s own “track” in the mix, so that the balance and sound of each can be controlled later. Originally, “track” referred to a thin width of analogue tape, today it usually means a file on a hard drive. Performances can be “live”, with all the musicans playing at once; one instrument at a time; or a mixture of the two.
A great drum sound is the core of a great mix. If the drums sound fantastic, you’re off to a great start. If the drums aren’t working, nothing will sound as good as it should.
This is the first of several posts I have planned on drums, and I’m starting at the beginning – how to mic up a drum kit.
Obviously there’s no one right answer to this, it depends on the kit, the room, the player and the material. But I’m going to suggest ten techniques that in my experience will help you record the best drum sound you can.
Taken from the fantastic DVD “Classic Albums: The Making of The Dark Side of the Moon“, this clip has loads of great things for audio geeks like me to enjoy, including (probably) the first time a band ever played to a tape loop (and how the loop was made), another great example of double-tracking (this time on a guitar solo) and a superb illustration of how quite extreme-sounding delay and reverb (on Gilmour’s vocal) sound great in the context of the whole mix.
The DVD has been in the Production Advice Bookstore since I first set up the site, and is strongly recommended viewing for anyone interested in writing, recording and mixing.
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“, this clip has loads of great things for audio geeks like me to enjoy, including (probably) the first time a band ever played to a tape loop (and how the loop was made), another great example of 
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