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That way, you can test them on your vocal and find out which textures work for you. We encourage you to create FL Studio mixer presets as you go. We also want the vocal to support and supplement the mix by becoming one with the identity of the track and colour of the mix. What works for one might not work for another.Įarlier, we described how we want the mix to adapt to the vocal. Treat every recording as its own unique identity.
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The microphone, the rapper’s performance, their distance from the mic, and background static – these factors can lead to varied recording results. FL flowĪn enormous part of processing your vocals is understanding what type of recording you’re dealing with. If you’re in a phone booth, follow the rules of the space, and try to keep competing frequencies apart. If your mix already boasts booming mids and you want to stick in a rap vocal, the result might be the sonic equivalent of jamming two angry UFC fighters in a phone booth. Naturally, then, we don’t want this range to be pressured in the instrumental. This average range is very active in the mids and high-mids. Yes, every voice is different but, for the sake of practicality, we can draw some averages here. Though not an instrument per se, the human voice has a range just like any other instrument. This space-awareness concept flows nicely into the next essential step that needs to be addressed: the human voice.
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So if you’re having a hard time figuring out how to blend your rap vocals, zoom out and consider the overall picture: are there are too many voices that want to speak up? The other solution is to record in a loop that has an entry bar.Add in the fact that rap vocals don’t simply impart rhythm and sound to the listener but also words that need to stand out, be processed and understood, and you’ll understand that rap vocals need to be granted considerable room in the mix. So if you experience this don’t record audio in a loop that will have that delay at the start each time – repeat the section you would loop record in for a couple of minutes and just put a lead in bar at the beginning. While this may be an effective solution – it doesn’t work so well when you want to keep the groove and record in a loop. One that Image Line suggests is to put a bar before where you want to record. If you notice that this is the case – there are a couple of solutions. One important thing to note: the 1st bar in some recording environments may have a hiccup or have a bit of time before it actually starts recording. This should get you where you need to be to start recording audio from an external source. Make sure that you have the recording of “Audio” active in the transport panel. This allows you to keep the dry vocals and apply whatever effects you wish to the recording or while you are recording. Select your desired FX (e.g., choose FX for Channel 13). In the mixer channel that you want to route to, right click and select “Route to this track only”.Ī wire will show that the channel for recording is routed to the FX channel (below Channel 12 is the recording channel and Channel 13 is the FX channel that it is routed to). You can route the mixer channel output to effects in a different mixer channel if you want to hear the effects while recording, but want the audio recording dry. I would suggest recording vocals dry (with no effects in the mixer channel). Next you’ll need to make sure that you have the mixer channel(s) that you want to record the audio for set up properly for recording. If you are starting from scratch and want to create a template, these lanes should already be empty however, if you are working with a project with sequencing already in it, or a template with empty patterns already plotted out, you will want to right click on the Playlist Track indicator (the leftmost column) on the topmost track, and select “Insert One” (do this as many times as you want for the number of audio recording tracks you think you’ll need).
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The first thing is to create at least a couple of empty playlist lanes at the top – you can name or color code them if you like. Those are the known issues, so we must create a recording environment on the playlist that accounts for those nuances. The playlist audio recording in FL Studio has been, and still remains, an odd experience where the audio file shows up in the topmost playlist lane that is empty for the length of the recording (note: that the audio recording will only be as long as the selected playlist area length, and if you continue to record in a loop it will create numerous recordings that could contain a bit of a hiccup at the beginning of the loop).