c# 2d barcode generator open source Figure 9-27. Recording is armed and dangerous. in Font

Creation Data Matrix in Font Figure 9-27. Recording is armed and dangerous.

Figure 9-27. Recording is armed and dangerous.
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Recording Drums
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It s time to lay down a drum track. In a live band recording session, the first track laid down is usually the drums, so that all subsequent tracks can be recorded with the correct timing. (It also means the drummer can be sent to the pub early, and the rest of the band can discuss cheating the drummer out of his or her songwriting royalties.) If you re lucky enough to have a real drum kit but are lacking in equipment on the computer side, you can get a pretty good recording with an ordinary sound card and a couple of mono microphones. Dangle one microphone directly above the kit, as high as practically possible, and place the other in front of the bass drum. For a stereo recording, use both microphones overhead: one each side of the kit, pointing slightly inward. Although studio snobs insist that you need a bare minimum of eight microphones and a big mixing desk to record a drum kit, many great records were made using these simpler techniques. A definite advantage of the old-school methods is that you don t spend days remixing the drum sound; you just move your microphones around until the result sounds good, and then leave them there. Ron Parker, the first sound engineer to use Ardour in a commercial studio, has an answer prepared when clients ask him to make them sound like John Bonham, Led Zeppelin s late drummer. He says, First you have to play like Bonham, then I ll take care of the rest. In other words, don t become fixated on your (lack of) equipment concentrate on the performance. You can use a pair of bongos or even an old wooden box for percussion; it doesn t matter. Buddy Holly s drummer, Jerry Allison, didn t use a drum kit at all for the recording of the Crickets hit single Everyday he just slapped his hands on his knees. With your percussion instrument set up and the microphones in place, select Window Show Mixer from Ardour s top menu bar. One vertical strip near the left side of the mixer window represents the track Audio 1, and a strip for the master bus appears at right (see Figure 9-28).
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CHAPTER 9 RECORDING AUDIO
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Figure 9-28. Ardour s mixer includes a strip for each track. These separate Editor and Mixer windows are great if you have two displays; but even on a computer with a single display, it s convenient to put the Mixer window on a separate workspace from the Editor window. To do this in Ubuntu, right-click the brown title bar of the Mixer window, and select Move to Workspace Right. You can then switch between Editor and Mixer windows using the little workspace applet in the lower-right corner of the Ubuntu desktop, next to the trashcan icon. On the mixer, near the top of the strip for Audio 1 is an Input button. Click this button, and select Edit from the pop-up menu. A new Audio 1 input window opens, and two boxes list which soundcard ports are connected to the inputs of this track. Because you asked Ardour to auto-connect physical ports in the New Session dialog, you normally see a port called system:capture_1 connected to in 1 (Ardour s first input for the track, corresponding to the left stereo channel) and a port called system:capture_2 connected to in 2 (for the right stereo channel); see Figure 9-29.
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CHAPTER 9 RECORDING AUDIO
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Figure 9-29. The mixer input editing window allows you to check JACK connections. If all is well, click Close to return to the Mixer window. Because the record arm buttons are active, if you hit a drum, the Audio 1 meter moves (the blue-green vertical lines). If the meter goes into the red bar area, above 0 on the scale, you need to move the microphone further away from the drum kit. Dropping the recording level in Ardour s mixer, using the light grey fader control to the left of the meter, won t help if the microphone is distorting on the analog side of the system. When you re happy with what the meters are telling you, return to Ardour s Editor window and click the Play button in the transport controls (it has a green triangle icon and is two places to the left of the master record arm control you clicked earlier). The red vertical cursor line in the Editor window begins rolling to the right. After a short delay, the recorded waveform appears in a horizontal region to the right of the track controls. Your first track is laid down (see Figure 9-30)! Click the square stop button (between the play and record controls), and then select Session Save from the top menu bar.
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Figure 9-30. The recording has been made, and the waveform of the drum track is displayed in the Audio 1 strip.
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