OVERDUBBING
Overdubbing may be described as any recording that is made onto a hard-disk session file or analogue tape that already has material on it, i.e. when new recording content is added to an ongoing production. Overdubbing is commonly used when it is not possible or advisable for multiple musicians to record simultaneously, be that due to potential microphone ‘leakage’ or other reasons, e.g. musicians that prefer to record alone.
It is not unusual for ensemble or band musicians to feel somewhat ‘detached’ or isolated when playing separately from other group members and such circumstances may lead them to perform with an inappropriate feel. In such cases it is important for the production team to help the artists connect with the pre-recorded material through the creation of an appropriate, encouraging atmosphere.
Monitoring Modes
Some recorders offer a few different monitoring modes. The following are the two most common options found in multitrack devices:
All Input / Input Monitoring
In ‘all input’ or ‘input monitoring’ mode, the recorder will output signals present at its input (as if being ‘bypassed’). This mode is to be used during the initial stages of set-up only, when engineers may need to work with multitrack return signals as fast as possible, e.g. for the creation of a cue mix if ‘multitrack send’ signals are not available for such purpose.
Auto Input
In ‘auto input’:
• If the recorder’s transport is not engaged, all armed tracks will output signals.
• If transport is playing, only pre-recorded signals will return from the recorder, i.e. arming a track will have no effect.
• If the transport is set on record, armed tracks will record and output signals, while all unarmed tracks will output pre-recorded material (if any is present).
Overdubbing and Tuning
It is imperative for overdubbing musicians to tune their instruments to a stable reference note from a pre-recorded instrument, as opposed to using a tuner or pitch fork.
Overdubbing in the Control Room
Recordists should consider the possibility of placing musicians in the control room for overdubs, as this facilitates communication. It is important for the team to evaluate the room’s atmosphere and its possible effect on performance before making such decision.
‘Punching In’
The process of ‘punching in’ is used when small sections of an otherwise good performance must be replaced, e.g. wrong words or notes. Here the engineer plays a track and drops into ‘record’ immediately before the section to be replaced, pressing ‘play’ again after the replacement. With the advent of DAWs, punching in became somewhat less common as new tracks can easily be created and used for ‘comping’ purposes. It is nevertheless very easy to perform punch-ins using DAWs through the use of facilities such as ‘pre’ and ‘post-roll’ and ‘auto-punch’.
Bouncing
Bouncing is the process of redirecting material from the multitrack recorder to itself. In the past bouncing was a necessity, as track count was in some cases too small to accommodate sophisticated productions. In the present, the process is more commonly used when engineers want to modify recorded signals and store them again. As an example, a small studio may have one hardware EQ unit that a producer wants to use on vocals and bass. In this case the vocals may be bounced through the equaliser, freeing the device to be used on bass. NB It is important to note that the term ‘bounce’ may have a different meaning, e.g. ‘export’, when it comes to DAWs.