|
nimper posted:You're better off replacing either the mixing console or the laptop, because there's no easy way to get either of them to talk to each other. drat. Is there any way that is known? I'm really good with computers (computer programmer) so writing my own driver is almost within my capabilities. Is there anything that someone has used before. I am to cheap to replace either of these items (laptop/mixer) unfortunately.
|
#
?
Apr 18, 2012 00:39
|
|
|
|
| # ? May 20, 2024 23:52 |
|
|
If you were able to develop a firewire->USB data translation device, you'd be a rich man, assuming you are also able to overcome the product licensing nightmare that you'd be facing.
|
|
#
?
Apr 18, 2012 00:55
|
|
|
Physical posted:drat. Is there any way that is known? Does your laptop have a PC card slot? There are PC card firewire controllers.
|
|
#
?
Apr 18, 2012 04:29
|
|
|
I'm going to be doing some full-band recording in my living room in a few weeks and I have it mostly sorted out except for what I'm going to do with the bass. I've got a drum mic set for the drums and I'll be miking the guitar with an SM57 (and maybe a condenser). I don't have a spare low-frequency friendly mic for the bass so I was thinking I could go one of two (maybe 3) ways. I could use the direct out from the bass head and use a cab simulator in Guitar Rig 5, I could buy something like an Audix F12 or hold out for a good price on a used Shure 52a or AKG 112D, or lastly, try and use my AT3035 condenser on it and hope for the best. My living room is rectangular with hardwood and rugs; I was thinking to reduce the bleed into the bass mic from the drums/guitar if we went that route I'd put it in my walk-in closet with a duvet draped over it and the mic and monitor it through phones. Thoughts? E: not sure why I clicked Quote instead of reply.. himajinga fucked around with this message at 01:02 on Apr 19, 2012 |
|
#
?
Apr 18, 2012 23:38
|
|
|
I use a 57 on the bass, tried doubling it with a beta-52, and I consistently ended up using just the 57. I prefer a "growl"ier bass sound however (played out of a MusicMan combo amp), and those times I don't want that aspect emphasized I EQ it out. I find it hard to imagine when I might like a condenser on a bass except far away from it, for roomsound, but then again all my condensers are kinda cheap
|
|
#
?
Apr 19, 2012 01:55
|
|
|
h_double posted:Does your laptop have a PC card slot? There are PC card firewire controllers. http://www.amazon.com/StarTech-com-ExpressCard-Adapter-Wireless-Broadband/dp/B0024OMS6E/ref=pd_cp_pc_0 http://www.google.com/products/cata...ed=0CJQBEPICMAE
|
|
#
?
Apr 19, 2012 02:34
|
|
|
Physical posted:Nope thats the problem. I want to use this on the too-new-and-expensive-to-ditch laptop that doesn't have PCMICA or ExpressCard slots. I did however find a USB to ExpressCard adapter. And from there I can get an ExpressCard Firewire adapter. USB 3.0 kills firewire I think speed wise. You may end up with slightly ridiculous latency using such a daisy chain of devices and convertors though. Whether or not that creates an issue for you depends on what you're doing and whether you need (close-to) real time monitoring and playback.
|
|
#
?
Apr 19, 2012 02:44
|
|
|
himajinga posted:I'm going to be doing some full-band recording in my living room in a few weeks and I have it mostly sorted out except for what I'm going to do with the bass. I've got a drum mic set for the drums and I'll be miking the guitar with an SM57 (and maybe a condenser). I don't have a spare low-frequency friendly mic for the bass so I was thinking I could go one of two (maybe 3) ways. I could use the direct out from the bass head and use a cab simulator in Guitar Rig 5, I could buy something like an Audix F12 or hold out for a good price on a used Shure 52a or AKG 112D, or lastly, try and use my AT3035 condenser on it and hope for the best. Frankly, the low end on a bass amp will sound like it was recorded inside of someone's butt if you try to mic it in a room that doesn't have some serious acoustic work put into it, not just cool foam things but real low-end treatment that's focused on room modes. On top of that, kick drum mics like Beta 52s and D112s are heavily shaped to sound right on the kick drum, and despite people saying they work for bass cabs I've always found that they end up sounding all sorts of wrong; especially if you use a shaped mic live that for both kick and bass, then they're sitting in the same frequency ranges and you'll have a hell of a time getting them to mesh. I'd make the DI out your primary track for the bass, and you can do one of two things to make it interesting: if you want to play around with different cabs, use Guitar Rig. If you love the sound of the cab you're using, toss a 57 on it, roll off the low end at between 100hz and 200hz, and then mix it in with the DI signal until it sounds right. Seriously, room modes will make your low end sound all sorts of weird with any mic, and they're obnoxious to EQ out.
|
|
#
?
Apr 19, 2012 03:14
|
|
|
I have also asked this on the hardware thread in SH/SC and it's a bit of a tangent for this thread but it's loosely on topic so I guess it's worth a shot: any of you hardened studio wizards (or anyone else for that matter) know any tricks for removing bits of broken off audio jack from sockets? My housemate managed to break off the tip of his headphone jack (3.5.mm) in my other half's laptop. It's only a few months old so I'd rather find a way of doing it without destroying the jack, if at all possible.
|
|
#
?
Apr 19, 2012 10:27
|
|
|
Schlieren posted:I use a 57 on the bass, tried doubling it with a beta-52, and I consistently ended up using just the 57. I prefer a "growl"ier bass sound however (played out of a MusicMan combo amp), and those times I don't want that aspect emphasized I EQ it out. I find it hard to imagine when I might like a condenser on a bass except far away from it, for roomsound, but then again all my condensers are kinda cheap Mradyfist posted:Frankly, the low end on a bass amp will sound like it was recorded inside of someone's butt if you try to mic it in a room that doesn't have some serious acoustic work put into it, not just cool foam things but real low-end treatment that's focused on room modes. On top of that, kick drum mics like Beta 52s and D112s are heavily shaped to sound right on the kick drum, and despite people saying they work for bass cabs I've always found that they end up sounding all sorts of wrong; especially if you use a shaped mic live that for both kick and bass, then they're sitting in the same frequency ranges and you'll have a hell of a time getting them to mesh. Cool, that's the cheapest way anyhow. Thanks. chippy posted:I have also asked this on the hardware thread in SH/SC and it's a bit of a tangent for this thread but it's loosely on topic so I guess it's worth a shot: any of you hardened studio wizards (or anyone else for that matter) know any tricks for removing bits of broken off audio jack from sockets? My housemate managed to break off the tip of his headphone jack (3.5.mm) in my other half's laptop. It's only a few months old so I'd rather find a way of doing it without destroying the jack, if at all possible. Maybe some really thin jeweler's pliers?
|
|
#
?
Apr 19, 2012 16:35
|
|
|
Severed posted:I'm looking to buy a simple guitar interface for PC that allows me to record multiple tracks using different modeled amps and a built-in drum machine with configurable bpm. Any recommendations? I'd like to spend less than 200 if at all possible. As far as the drum machine component is concerned, I would prefer something simple that doesn't require a lot of fussing to get a beat going. Its really just to get ideas recorded. I found this: http://www.musiciansfriend.com/pro-audio/boss-micro-br-br-80-digital-recorder Has anyone used this thing before? I think it looks pretty bad rear end and is fairly resonable for the price.
|
|
#
?
Apr 22, 2012 14:49
|
|
|
Severed posted:I found this: I have the old version of this, and it's got pretty darn good sound quality and tons of function for such a tiny, portable device. The feature list on the newer version seems pretty similar to me. Here's a review: http://www.soundonsound.com/sos/feb07/articles/bossmicrobr.htm If the old one looks good to you, I actually wouldn't mind selling it - I do pretty much all my recording at home these days. Send me a PM if you're interested.
|
|
#
?
Apr 22, 2012 20:50
|
|
|
Here are two questions about two different sessions. The first is, how do I deal with vocalists? I've actually never been in a "serious" (touring and having official releases) that had singing in it, so I feel like I am the least qualified person to make critical statements about their singing. I realize I'm not being a producer here, but I feel that an engineer today has to help with the band by being an arbitrator for if a take was good or not, by simply not being the performer. The vocalist for the band I recorded a month or so ago has really never been in a studio environment before. I've actually heard this guy sing very well live, enough so that he definitely has an idea in his head about what he wants melodically and structurally for his vocals, he just doesn't have the musical training to be able to think about his overall performance in those terms (at least not to me.) It seems he is just clearly having trouble getting comfortable. We had a lot of great success when I went with a Senn 835 for him to yell into. One idea I had is for him to play his P-bass unplugged while he's cutting the vocal. We tried one session to lay down the vocals and his ideas weren't fully formed, but it took him a little while to loosen up (I think it was the better part of 2 hours, about 4 "scratch takes" that we never actually finished and quarter to 3/8ths of a bottle of gin all on his end) He sounds a bit more like Tom Waits singing for The Melvins when he gets into it. What do you do to help someone get relaxed in the studio? This one goes beyond "Home Recording" The second is my band is starting to think about tracking for our next record, and the concept of us all playing live in room came up. We don't have a vocalist, but we do have a sax player and the two are more connected than you would think. I really, REALLY like the idea of having the sax play live with us on the floor, since a lot of our sound live has to deal with the blending of it with the fuzz boxes the guitarist and I use. Our drummer is hesitant about it with issues of bleed, and is worried if one of us fucks up than that's it for the take. My argument is that if we're paying for a nice studio, hopefully that has an in-house engineer that knows what they're doing, we should be able to control the bleed for close micing, and be able to punch in/comp anything that is not the drums and still actually have it sound like we tracked it live. Is this a feasible option for recording?
|
|
#
?
Apr 23, 2012 19:18
|
|
|
E: Figured it out, yes obviously I'll need a separate preamp. I have a Nady RSM-2 that I got for a song but haven't used in a session yet. I'm going to be tracking my band's vocalist soon and think it might be a good fit for his voice, but I'm very comfortable and familiar with my condenser (an AT3035) so I want to track them simultaneously in case I get a good take and the Nady doesn't have the sound I want. The Audio Technica takes phantom power and the ribbon mic says PP is verboten. Is it possible to use both mics on the same mixer, or am I going to have to put one or the other through a separate preamp so I can have one with and one without phantom power and not destroy the ribbon? himajinga fucked around with this message at 17:38 on Apr 24, 2012 |
|
#
?
Apr 23, 2012 19:30
|
|
|
I'm going to get a recording setup (mostly for acoustic guitar) soon and I'm looking for some feedback. Usage: mainly for classical guitar, maybe a bit of voice and electric guitar. Mostly going to use it to keep track of riff and song ideas and to try to improve my playing. Budget: Around 350 euro for mic and interface ($450). I just moved to Germany so there's only a couple local shops I know and I can't always converse with them yet. Location: Bedroom, going to do some minor acoustic treatments but it won't be a proper studio or anything (how nice of a setup is it worth getting if the room isn't great??) Plans for I/O interface: definitively USB (win 7 or xp). Leaning towards the roland quadcapture, based on supposedly solid drivers and good pres (also German prices on some other alternatives I'm considering are higher than in the states: focusrite scarlett 8i6, NI komplete 6, motu microbook II). I would like more inputs though since I was thinking ahead and potentially I might want to have two mics for the guitar and one for voice in an ideal future setup? Plans for mic: Less sure on this, I'm planning on starting with one pretty decent mic now and eventually getting another. I've heard mostly good things about the Rode NT5 or NT3 (the NT3 has a somewhat larger element) and it's one of the few brands I can easily find in shops here it seems. Also heard good things about Oktava 012 and the Peluso CEMC6 and several others. Don't know any place where I can compare them live though. I also don't really have the cash for a nice matched pair right now of the ones I mentioned, but is buying one mic now (ie NT5) now and another later a bad idea? Or would this lead into a mid-side recording setup well? Thanks for any input!
|
|
#
?
May 2, 2012 00:37
|
|
|
So I'm on holiday in Maui for a couple of weeks and wandering around the local markets I found a guy selling SM57 and SM58's for $75 each. So I was thinking of going back next week and picking one up, all I'm worried about is if they're lovely quality fakes. Has anyone heard about these mics being faked before and if so, are there any telltale signs that I can look for that will guarantee I'm getting an authentic mic, or a cheapo rip off?
|
|
#
?
May 3, 2012 02:59
|
|
|
For the life of me I can't figure out the ReaVerb plugin in Reaper. It just sounds terribly boxy and not a smooth expansive reverb like even what I could do in Audacity. Can someone just give me a screenshot of some good starting settings to work with? I've tried reading tutorials but I still don't have a good understanding of what all the settings do.
|
|
#
?
May 3, 2012 19:59
|
|
|
Cmdr. Shepard posted:For the life of me I can't figure out the ReaVerb plugin in Reaper. It just sounds terribly boxy and not a smooth expansive reverb like even what I could do in Audacity. Personally, I never touch it. Maybe someone else has gotten good results with it, but my suspicion is that it just sucks. If you want a decent free reverb out of the box, I'd grab Reverberate LE.
|
|
#
?
May 3, 2012 20:45
|
|
|
Mradyfist posted:Personally, I never touch it. Maybe someone else has gotten good results with it, but my suspicion is that it just sucks. If you want a decent free reverb out of the box, I'd grab Reverberate LE. Thanks. I was leaning toward that conclusion (that it just sucks). I'll give that one a shot!
|
|
#
?
May 4, 2012 01:37
|
|
|
Manky posted:What do people think of this article on doing getting the best results you can with only one mic, One-Mic Madness? I only have one dynamic mic and one condenser mic at my disposal, so I'm hoping these are good tips. You can do amazing things with a single mic. My father has been specializing in live recording bands with a single microphone for decades and confounding even the harshest critics with the result. It'd never work with electronic instruments or drums though, he just focuses on bluegrass where everyone stands in a circle around the mic with their banjos and guitars and stuff and if someone wants to be louder they walk up to the mic, and if they want to be quieter they stand back from the mic. Live, it turns into choreography as musicians walk back and forward from the mic to do their leads. Its all in mic placement and fine control of gain and (compression in the case of angrier signals like loud amps and drums). Get the best mic your money can buy and go spend some money on a decent pre-amp. I heartily recomend the Golden age pre-73s as something thats seriously cheap but competes brilliantly with stuff 5-6 times the price.
|
|
#
?
May 4, 2012 02:31
|
|
|
I am thinking of buying a Zoom r16 for some recording I am doing. Can anyone recommend other similar types of units? I would like 8 mic inputs, but I would use 4 if I had to. I am trying to find a cost effective way of recording my big band rehearsals that sounds better than my current Zoom H4.
|
|
#
?
May 5, 2012 17:41
|
|
|
Edit: It's cool, figured it out!
Bumble Bee fucked around with this message at 16:59 on May 6, 2012 |
|
#
?
May 6, 2012 14:40
|
|
|
Sweetwater has a sweet monthly giveaway going on: http://www.sweetwater.com/giveaway/index.php?cmonth=201205 US residents only sadly 
|
|
#
?
May 7, 2012 21:57
|
|
|
I was really starting to dig the MIDI editor in pro tools, but then I ran into this little problem. Can anyone shed some light on the possible solution short of editing each note? I want to use the change duration function to create midi notes that are longer than 2 whole notes for synth pads. There seems to be some kind of limit set on the length I can make the note, and it's really weird because the max length is something like 11.3 beats. If I try to use the change duration function for anything higher than ~11.3, it sets the note to 11.3 instead of what I want. any help appreciated. Franz Liszt 96 fucked around with this message at 03:35 on May 10, 2012 |
|
#
?
May 10, 2012 02:55
|
|
|
I'm having trouble getting audacity 2.0 to use guitar rig 5 as a vst. With guitar rig 4 all you had to do was copy the guitar rig .dll file into audacity's folder, but it doesn't work with guitar rig 5. Any suggestions?
|
|
#
?
May 10, 2012 15:14
|
|
|
Noise Machine posted:Here are two questions about two different sessions. Anything I can, but it starts (especially for someone I haven't worked with before) with coming off really professionally and never appearing fazed or flustered even if poo poo is going totally off the rails in the control room. Bullshit if you have to, but make the client feel like you are in control of the session and it is far more likely that they will find confidence to perform well. Other than that, I try to predict what the artist will need. Water, light, picks, strings, food, you name it, it's available. Artists love coming in and seeing that everything they need to do their best is right there ready for them. I liked your idea about dummy instruments while singing: I've never had to do that but it seems like a good way to get someone in the right groove. Check headphone mixes: too loud, and the singer could back off too much. Too soft and he could oversing or strain. It depends - is this the kind of singer that needs his own private quiet personal space to do warm ups and find his mental happy place, or is he more in need of being "revved up"? If the latter, try doing a couple of run throughs with the instrument tracks blasting on the monitors in the control room rather than just relying on headphones. Here's hoping you can get a solid performance from your guy! It often does come down to tuning your approach and vibe to the personality of the person you're working with rather than anything technical. If you are worried about offending an artist by making critical decisions about take quality, you should suss out their sensitivities and attitude, but don't be afraid to float ideas and make suggestions to, say, a guitarist even if you're not a guitar god. The artist may well feel more confident that you're ready to assess than if you had absolutely nothing to say after a take, In the end, if a take sounds like crap to you, don't settle for crap. Your artist will hopefully be mature enough realize the difference between "he's picking on me!" and "wow, he understands/wants to help me get the right feel on this track." strangemusic fucked around with this message at 23:02 on May 10, 2012 |
|
#
?
May 10, 2012 22:39
|
|
|
http://www.youtube.com/watch?v=Z85YsUAU6pA&feature=related I think you guys will get a kick out of this. It's Brian may in the studio playing with the 24 track of Bohemian Rhapsody and explaining how they recorded everything.
|
|
#
?
May 14, 2012 01:40
|
|
|
I've had a copy of those Bohemian Rhapsody multis for awhile now and they are amazing to behold. Those vocal harmonies will send shivers down your spine. It's crazy to see how they worked the track limits. There is a vocal on drat near every track. If there wasn't an instrument playing at the time they stuck a vocal or some other overdub on the track.
|
|
#
?
May 14, 2012 17:53
|
|
|
Hogscraper posted:I've had a copy of those Bohemian Rhapsody multis for awhile now and they are amazing to behold. Those vocal harmonies will send shivers down your spine. It's crazy to see how they worked the track limits. There is a vocal on drat near every track. If there wasn't an instrument playing at the time they stuck a vocal or some other overdub on the track. Yeah I just got the multis and uh... trying to mix it and stay within the 24 track limit is absolutely insane. There's random instruments and singing stuck on pretty much every track except for the drums. e:A-B'ing between what I've got so far and the actual track is eye opening to say the least. invision fucked around with this message at 10:59 on May 17, 2012 |
|
#
?
May 17, 2012 10:33
|
|
|
Has anyone got an M-Audio Fast Track USB working on Linux? I want to rebuild my W7 workstation machine and this is the only thing stopping me.
|
|
#
?
Jun 3, 2012 17:25
|
|
|
I have this problem where my recording computer is also my everything else computer and right now I only have crappy computer speakers that have a giant crappy subwoofer that you are forced to use with them as monitors. I don't have a big budget and was wondering if anyone could recommend me some useable studio monitors for under $100 US. I have a recording I made a thread about asking for feedback and someone said they could barely hear any bass presence but to me it sounds super boomy already.
|
|
#
?
Jun 5, 2012 22:28
|
|
|
I have M-Audio AV-40's and I really like them. I don't know how the pros in this thread feel about them but to my ears they seem to have a nice flat response with lots of detail and I've been able to get some good mixes with them. They also work really well as general-purpose computer speakers, everything sounds fantastic and they have a bass-boost switch on the back in case you do want a little extra.
chippy fucked around with this message at 12:44 on Jun 6, 2012 |
|
#
?
Jun 6, 2012 12:42
|
|
|
chippy posted:I have M-Audio AV-40's and I really like them. I don't know how the pros in this thread feel about them but to my ears they seem to have a nice flat response with lots of detail and I've been able to get some good mixes with them. They also work really well as general-purpose computer speakers, everything sounds fantastic and they have a bass-boost switch on the back in case you do want a little extra. My pair of Av-40s doesn't have the bass boost  They have a terrific mid/high however, only thing I sort of lack is the bottom, but for the price they had I guess you can't get everything.
|
|
#
?
Jun 6, 2012 16:00
|
|
|
What, really? Have you looked on the back of the left hand one? I guess they must have revised the hardware at some point. It gives a nice little boost. The bottom end admittedly is still slightly lacking admittedly, in that it doesn't go quite as low as I've seen on other similarly sized models. edit: A quick google indicates that the newer ones lack the switch, for some reason.
|
|
#
?
Jun 6, 2012 16:12
|
|
|
I have an M-Audio Fast Track Ultra which has 2 coaxial S/PDIF inputs. I have analog instruments that need to input into this. What's a good analog XLR to coax S/PDIF converter? I searched and found something called the M-Audio Flying Cow but I can't find it on their website (or Avid, who bought M-Audio a while back). Any idea what happened to this product and where I can get one on the cheap?
|
|
#
?
Jun 7, 2012 00:03
|
|
|
You can't really convert to SPDIF on the cheap, SPDIF is a digital format and converting instrument level, analog signals to it effectively requires a transformer, a preamp, an A/D converter and a clock source. Those 4 things essentially add up to another audio interface, so it isn't particularly cheap. There are preamps with SPDIF output, I'm not sure of any models offhand, but it's going to be a couple hundred bucks probably. The Flying Cow cost $300+ I think...
|
|
#
?
Jun 7, 2012 15:30
|
|
|
Gearslutz has a list of mic pre's with SPDIF out
|
|
#
?
Jun 7, 2012 16:28
|
|
|
Hey, this is kinda specific, but I figure most people would be able to relate to this. I'm recording distorted guitar with a good 'ole SM57. I'm getting a lot of high-end which is making everything sound rough as guts. Is there an easy way to tame the high-end on an Sm57?
|
|
#
?
Jun 9, 2012 02:17
|
|
|
Hammer Floyd posted:Hey, this is kinda specific, but I figure most people would be able to relate to this. The good old-fashioned standard is to aim your SM57 significantly off-axis from the speaker cone. Point it 45 degrees off from perpendicular to the cone, see how you like it.
|
|
#
?
Jun 9, 2012 03:09
|
|
|
|
| # ? May 20, 2024 23:52 |
|
|
I can attest to at least 45 degrees off also futz with at which part of the cone you're pointing; I found it mellowed out pleasantly when pointed at the rim on the opposite side of the cone at about a 70 degree angle
|
|
#
?
Jun 9, 2012 03:25
|
|