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Part VI: Advanced Techniques > Tuning Out Mic/Direct Differences

29. Tuning Out Mic/Direct Differences

IN CHAPTER 5, I MENTIONED HOW RECORDING A DIRECT sound and a miked sound could result in a time difference between the two. The reason this matters is because combining the two signals could result in cancellations that weaken the overall sound (or it might produce a sound you like—but you should at least know how to compensate for time differences in case there’s a problem). Bass players are also likely to record direct and miked sounds, and time differences can have an even more deleterious effect due to the low frequencies that are involved. In any event, if there are cancellations, lining up the peaks and valleys of the two signals allows them to reinforce each other.

One solution to tuning out these timing differences is SONAR’s Nudge feature. To use this, first zoom in horizontally on both the direct and the miked signal, as you’ll be dealing with very small timing increments. You might want to zoom in vertically as well, so you can easily see the peaks of low-level signals. The goal is to line up these two signals with respect to time, which will require moving the miked signal earlier. However, unlike the example shown in Chapter 5—where the miked and direct tracks were relatively similar—you’ll often encounter situations where the waveforms are very different, making it harder to line them up (see Figure 29.1).


  

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