By now it should be clear that single instruments can be overdubbed in a multitude of different ways, and that the working practices of different professionals can be understood as their response to the specific music, performers, environment, and equipment they have to work with. You’ll also doubtless have developed your own preferences while working through the chapter assignments—but you should also have an insight into the comparative strengths of many alternatives, so you’ll always have somewhere to turn in situations where your favorite tricks draw a blank. And nowhere does this adaptability have greater value than when you’re capturing several instruments/voices at a time, whether that’s ...
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