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Johnny Truant posted:So I'm looking into getting some equipment to record myself playing trumpet, a preamp and microphone, specifically. I've been told the M-Audio MobilePre USB Preamp is a good device, but I was also looking at this puppy... A couple of things: - The two devices you mention (the MobilePre and Scarlett 2i2) are interfaces, not just preamps. A preamp is a circuit that takes a microphone (or instrument) signal and boosts it to line level. Most interfaces (including the two here) consist of a preamp, plus analog-to-digital (and digital-to-analog) converters, plus the capability to connect to a computer (typically via USB or Firewire). But there are also standalone preamp boxes, which you probably DON'T want, they won't do you any good without other gear to connect them to. - Of those two, I would lean very strongly towards the Scarlett 2i2, which is very well regarded as an entry-level interface. - A quick look at google shows that the Zoom H4n has XLR + 1/4" INPUTS, but no outputs other than a headphone jack. So, you could plug outboard microphones into it, but couldn't plug it into an interface. - A dynamic mic like the PG57 is probably not the best choice for recording trumpet. The positional "sweet spot" for a dynamic mic is pretty small, and unless you held your horn perfectly still, it'd be tough to get a consistent recording. You'd be better off with either a large diaphragm condenser mic (like an AT2020) or a ribbon mic (like an Apex 205 or an MXL R144). Condensers are good general-purpose mics, but ribbon mics are awesome for recording horns, so if that is going to be your main application, seriously consider a ribbon mic. Anyway, in the short term, if you are just recording solo performances, is there a reason you can't use the built-in mics on the Zoom H4n, and just get an SD card reader for your computer (they're $10-20) to copy over the audio? For an upgrade from that, the Focusrite interface + a ribbon mic would be great for recording trumpet.
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May 6, 2013 01:51
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| # ? May 12, 2024 03:43 |
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Music biz question, though probably less about actual business and more about drama: I was hired to play as part of a backup band with a singer on two gigs, and was getting paid for both. No contracts involved, just a vocal agreement as I was asked to play drums thanks to the singer's brother who I know. The other musicians were chosen by a promoter for the venue that we'd be playing at. So we play the first show, no problem. I get paid. Later the singer asks if I wanted to play a different show the following week at a different venue, for free, that has no connection with anything the promoter is doing. I say sure, since I have a personal connection with her brother and I like the music and I'm not entirely in it for the money (which is minimal to begin with). The promoter manages to get wind of this, and sends the back up band a message saying that the singer having a free show the week before the paying gig will cut into the number of people going to the paying gig and that she will not pay us if we decide to play the non-paying gig. I haven't responded yet, but I told the singer that I'd be happy to play with her on the non-paying gig despite what the promoter says. The question is, who's in the wrong here? I understand that economically people will gravitate towards a free show, but it's not like the promoter has exclusive rights to the singer's performances while she's in town. One could also argue that the venues cater to different audiences so people will show up regardless of which show she will perform at. I would like to still be able to work with the promoter for future events since they are one of the few people in town that DOES pay musicians, but I feel like it's unfair of the promoter to place this ultimatum on us. I hate to be put in a situation like this but I'm leaning towards threatening to pull out of the paying gig if the promoter chooses not to pay me.
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May 6, 2013 05:15
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Assuming that the free show got scheduled after the paid one, you are screwing the promoter so she's rightfully pissed. If you decide to make it even more difficult for the people shouldering the financial risk to make money, they are likely to decide to make things more difficult for you (ie. by not paying you, not booking you in the future, telling everyone else not to book you, whatever). How much you care about that is up to you I guess. breaks fucked around with this message at 06:42 on May 6, 2013 |
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May 6, 2013 06:37
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Jazz Marimba posted:If you find some good resources, could you send me a PM with the details? (I don't have PM.) I'm gonna try out this DVD called Cajon Grooves for Beginners by Alan Dworsky. Here's an example of it on youtube: https://www.youtube.com/watch?v=isvDrgNth2I It sounds kind of cookbooky, just showing 20 different rhythms, but it looks more promising than anything else I've seen.
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May 9, 2013 08:21
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Can anyone figure out what the instrument is playing the melodic fills in this theme song? https://www.youtube.com/watch?v=Tg3Cte-Q_3M Obviously it's an analog synthesizer of some type, but can anyone tell which one? Or at least what kind(e.g. Moog or Korg)? And how did they get that muted trumpet-type sound? Low-pass filter?
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May 10, 2013 09:01
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Zen Punk posted:Can anyone figure out what the instrument is playing the melodic fills in this theme song? My guess is that it's a horn going through a reversing delay (which is giving it that sort of weird, delayed attack muting) and maybe some wah-wah. It sounds a little too timbrely rich to be straight up subtractive synthesis with simple oscillators.
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May 10, 2013 09:29
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How can I expand my songs into longer ones? It's driving my loving NUTS now, even though I used to be cool with making sub-2 minute stuff. I want to branch out but I'm always so lacking in ideas. I posted this thread as an example of some of my work: http://forums.somethingawful.com/showthread.php?threadid=3548285 I have no idea what to do.
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May 10, 2013 19:01
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Zen Punk posted:Can anyone figure out what the instrument is playing the melodic fills in this theme song? My guess is a Minimoog, with some combination of a long-ish swelling attack envelope and portamento to move between notes.
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May 10, 2013 19:14
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bad posts ahead!!! posted:How can I expand my songs into longer ones? It's driving my loving NUTS now, even though I used to be cool with making sub-2 minute stuff. I want to branch out but I'm always so lacking in ideas. I posted this thread as an example of some of my work: http://forums.somethingawful.com/showthread.php?threadid=3548285 I was going to reply but I dumped it in your thread instead!
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May 10, 2013 20:03
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QUICK/STUPID MIXER QUESTION. I have a Behringer 1622FX. The problem I'm having/what I cant figure out is the CD/TAPE output and recording to my computer. In the manual it says the cd/tape is connected in parallel with the main mix, so I figured I would connect my computer to the CD/TAPE output and record via Audacity. When I do this though, the mixer becomes 'useless' and it doesnt affect the input sound at all. Example: today I was recording some vocals and I turned all the volume faders to zero (including master volume) and Audacity still recorded the mic, at the same level. What am I missing here? Edit: Obviously I want to be able to have the signal go thru the mixer THEN to the computer. So I can adjust volume levels, EQs, etc. Zero_Cool fucked around with this message at 23:05 on May 10, 2013 |
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May 10, 2013 23:03
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How's your mic routed through there? Looking at the manual your CD/TAPE output should carry your stereo mix, but the CD/TAPE input can be made to bypass 'the main mix' which I assume means it bypasses all the faders? Look at that CD/TAPE TO MAIN button anyway
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May 10, 2013 23:50
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Thanks for the reply! My mic is hooked up to the XLR input of the mixer (mic preamp). I have my computer hooked up to both the input and output (cd/tape) for monitoring w/studio monitors, maybe thats why? Also I didnt think of this, but when one hooks up a mic to a preamp XLR input, I should still be able to used the faders, right?? When I push the CD/TAPE TO MAIN button I still get the same result. Im very new to mixers as you can tell haha.
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May 11, 2013 04:50
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Does anyone know if Fruity Loops Studio 11 will support the new Ableton Push and allow its pads to be programmed in the same way as Ableton Live? I think I'd get on well with the interface of the Push but coming from a Cakewalk background (and having played around with the demos) I want to use FL as the software. The Image Line site implies that it would be fine, given that it supports the Launchpad, but it doesn't explicitly name the Push and I'm not going to drop several hundred bucks on something that will just "probably" do what I need. For some reason despite registering their forum won't let me post to ask this basic question! FL is cheaper than Ableton Live and seems to do everything I want (hell, for the price gap I could get a Nexus 7 to run FL mobile) but if it would mean reduced functionality of the Push then I'm not sure it'd be worth it. To be honest, I'm not entirely sure how MIDI channels and samples can be mapped to the pads on the Push anyway as this is a new realm for me musically, but I'd like to know that FL can harness the Push properly when needed. Thanks!
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May 12, 2013 20:22
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Push is 100% designed for Live and will not work with other software without extensive hacking. Push comes with Live Intro which actually has a decent feature set, especially if you already have other 3rd party plugins you like. The main limitations are 16 tracks x 8 scenes, and only 2 in / 2 out.
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May 12, 2013 20:54
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h_double posted:Push is 100% designed for Live and will not work with other software without extensive hacking. Thanks for the swift response! So if I want to do jamming with the Push but also build up tracks using stuff I like from FL (the chunky-rear end drum kits and FM synths are currently pulling me in), the best solution is to go for a Push with Live 9 Intro and FL Studio 11 (either Producer or Signature)? Presumably I can export samples from FL and map them to pads on the Push, and similarly bring finished sequences out of Live 9 Intro and pop them into FL projects? Or is trying to combine those a totally stupid idea and I should either go with Push + Live 9 Intro + a bunch of sample packs solution, or FL with a MAX49 or something? Am I going to be limited in what sounds I can produce with just Live 9 Intro? I'm looking to get into electro house / complextro so want those crunchy "wubs" and ability to create piercing synth hits (yes, this sounds very shallow) that I already know FL has. I only want a Push because it looks awesome and some artists that I respect use the Launchpad to good effect. Also I can play keyboard only very basically, so the multi-featured newbie-friendly interface of the Push is appealing. I know your needs != my needs, but any thoughts you have would be welcomed!
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May 12, 2013 21:33
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Yes, you can definitely take loops or samples from FL and import them into Live, or vice-versa. I think you can also run FL as a plugin inside another program, though I'm not sure of the exact specifics of what you can control that way, and it seems like a slightly roundabout way to do things. I dunno, I'm sure FL has some good plugins, but there's lots of people who make good VSTs (and there's a decent amount of quality free stuff out there). Push looks interesting to me because of the potential for easy MPC style beat composition, but I already am very comfortable with (and love) the Live workflow, and really that's the main thing -- having a UI and workflow that you find attractive and facilitate getting stuff done without the program getting in the way. You say you're interested in Push "because it looks awesome and some artists that I respect use the Launchpad", and no offense but it sounds like you maybe ought to do some more research -- find some in-depth articles on Push and look for demos/tutorials on youtube. Also, if you're not familiar with Live, spend some time with the demo version and see how you like it.
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May 13, 2013 01:58
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h_double posted:You say you're interested in Push "because it looks awesome and some artists that I respect use the Launchpad", and no offense but it sounds like you maybe ought to do some more research -- find some in-depth articles on Push and look for demos/tutorials on youtube. Also, if you're not familiar with Live, spend some time with the demo version and see how you like it. That sentence didn't make me sound very good, I'll admit. What I actually meant was that I've wanted a Launchpad for a long time, having seen talented people put it to good use. When I got round to looking at purchasing one, everybody was talking about the Push. And it does look awesome, has a poo poo-ton of great sounds and the playability looks fantastic especially for a primarily-guitarist type person like myself. In fact, it seems to make playing anything into a Guitar Hero level. So those are the real reasons, not because I saw somebody "cool" use one. You're right in that I need to play with Live more than I have, but without a Push to fiddle with I'm not sure I'd be getting the full experience. The fact that FL is self-contained is beneficial to it because I can imagine having a keyboard hooked up to that and noodling there. With the Push, I can watch various people noodle on YouTube but it tells me little about how I'm going to work with that particular creative process. I'll keep looking and see if I can get a real world demo somewhere. Thanks for your help!
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May 14, 2013 08:07
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h_double posted:- A quick look at google shows that the Zoom H4n has XLR + 1/4" INPUTS, but no outputs other than a headphone jack. So, you could plug outboard microphones into it, but couldn't plug it into an interface.
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May 18, 2013 03:05
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https://www.youtube.com/watch?v=YCQS_8maM3E What are those chords in the intro before the sax comes in?
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May 23, 2013 00:22
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Bb/F C7/E Dsus4 and F sound like they're at least in the ballpark
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May 23, 2013 21:40
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So I have this circuit bent thing (a pcb with a shitload of wires sticking out that used to be an instructional soldering kit) stuck it in a box and it turned out that I was able to solder a 1/4" trs jack to replace the speaker. It makes pretty cool sounds when I cross wires. Is it possible to plug this into something that I can control even further, synth-style, to play it with a keyboard? Or a touchpad, even? Hardware would be best, I'm kind of tired of fiddling with programs but if that's the easiest way, then cool.
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May 27, 2013 01:22
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I think you'd need to put in some sort of potentiometer prior to the sound generation to control the pitch of the sound you were generating. What form the potentiometer takes could be anything - a knob, a fader, joystick (one axis), if you are clever you could even rig up a complex system of buttons to deliver differing amounts of voltage when each is pressed, similar to a keyboard (like putting different levels of resistors in series with the buttons, with the whole set in parallel with a fixed resistor.) However, I think if you're circuit bending you may not always be connecting things from point A-B... it might be A-C, or C-B, or B-K, etc., with everything getting "funneled out" eventually through your TRS jack. There probably is a way to stick something into the circuit just before the TRS out that would let you use a knob or something to do the same thing (there are guitar pedals that pitch shift, after all, for example.) So yeah, I think you can do what you want to do without delving into software, maybe jump on one of those websites that offers free pedal schematics to hobbyists and try and integrate a piece of one of those designs.
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May 27, 2013 17:47
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bad posts ahead!!! posted:So I have this circuit bent thing (a pcb with a shitload of wires sticking out that used to be an instructional soldering kit) stuck it in a box and it turned out that I was able to solder a 1/4" trs jack to replace the speaker. It makes pretty cool sounds when I cross wires. It's easy to add in simple switches, and you should try wiring in a variable resistor of some sort; you might be able to find someplace in the circuit where you can tune the pitch or get other weird effects. The most common kind of variable resistor is a potentiometer (dial), though you can also swap in something like a photosensor (light sensor) for cool effects, kind of a "light theremin" (this is actually how some wah-wah pedals work, by partly shuttering a light source shining at a photosensor). Once you find some interesting parts of the circuit, you could also connect it to DIY ribbon controller or Stylophone type controller. To use a keyboard or touchpad you'd also probably need to build in a microcontroller board like an Arduino.
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May 27, 2013 18:10
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Thank you for this stuff, I'll do some more research but these are steps in the right direction. Is there a circuit bending thread anywhere? I haven't seen it.
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May 27, 2013 18:48
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attaching each of the wires to some brass screws and then using your finger to complete the circuit is the classic circuit bending control surface. Depending on how much pressure you put on the connection determines how much of the signal flows through your skin affecting the sound.
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May 27, 2013 21:25
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I have a ton of wires that can be crossed in basically any permutation to create a different tone, different beats/blips, etc. Could I do something like put the tops of the screws through holes in a non-conductive surface, strip the wires a bit more, wind them around the threading and touch the screw tops? e. like this: 
nishi koichi fucked around with this message at 23:50 on May 27, 2013 |
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May 27, 2013 23:45
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Yeah. That's pretty old school circuit bending technique as well.
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May 28, 2013 00:46
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If it was me I'd probably do that anyway, in addition to rigging up a variable potentiometer to be able to pitch shift. (In other words, you can do this as well as what you were originally asking about.)
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May 28, 2013 04:42
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Why don't I like The Eagles in general but really like Hotel California
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Jun 3, 2013 06:39
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Carl Killer Miller posted:Why don't I like The Eagles in general but really like Hotel California
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Jun 3, 2013 07:59
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Did the Eagles really have any other songs where Walsh and Felder really lay into a lead line together like they do at the end of that song? That may be it.
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Jun 3, 2013 14:00
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I am trying to find a recording of only the piano part of a particular song. I haven't been able to find just the piano line anywhere online and the karaoke versions aren't what I'm looking for. I saw the discussion a few pages back regarding digitally removing the vocals but I don't think that will work great for this song. I'm considering trying to commission someone to play and record it for me. My questions are, 1) are there any legal issues with this? I doubt it but can't hurt to ask. It would only be for personal use. 2) how much should one expect to pay for such a service? 3) would I be likely to find someone in the ML interested? Should I take it to SA Mart instead? Thanks in advance.
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Jun 4, 2013 16:31
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I'm looking for a metronome as a present for my girl. The only thing is, she wants one of the old-style ones with a swinging arm, preferably mechanical. I can't find any shops around here that sell anything but electronic models, and I'm wary of buying something at random from the internet. Can someone possibly recommend one, or at least a manufacturer I should be looking at?
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Jun 5, 2013 19:08
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You probably want a Wittner. I got one with a plastic case from ebay and it was fine, but the wooden case ones look really nice. I'm guessing they sound better too just because of the density of the wood. The sound from the plastic one wasn't annoying, but you could tell it was plastic if that makes any sense.
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Jun 5, 2013 20:12
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Is there somewhere online where the MP3s from the previous 56 rounds of Rockstar are available?
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Jun 6, 2013 02:08
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If I put a non RW/RP middle pickup in my strat, will I still get that funky quack type of sound from the 2 and 4 position?
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Jun 8, 2013 20:03
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Can anyone recommend a powered stage monitor to get foldback for singer and guitarist playing with a really loud percussion group? I'm thinking around £250-£300.
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Jun 9, 2013 22:52
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juche mane posted:If I put a non RW/RP middle pickup in my strat, will I still get that funky quack type of sound from the 2 and 4 position? I don't believe so, no. Edit: But I may be very wrong! Warcabbit fucked around with this message at 03:20 on Jun 10, 2013 |
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Jun 9, 2013 23:49
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juche mane posted:If I put a non RW/RP middle pickup in my strat, will I still get that funky quack type of sound from the 2 and 4 position? Never tried it myself but I've heard a bunch of reports and the basic consensus seems to be non-RWRP pickups give a brighter/shimmering tone, while RWRP has more pronounced mids (and less noise), but that you can get some kind of quacky tone either way. I think the RWRP pickups were originally a Seymour Duncan thing that first appeared in 1977. So if you can find quacky strat tone on records prior to that (Clapton's "After Midnight" comes to mind), the answer to your question is yes. Reportedly lowering the height of the middle pickup can also give more quack but I've never tried it.
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Jun 10, 2013 01:53
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| # ? May 12, 2024 03:43 |
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http://www.korg.com/ca1 Is this a decent tuner for brass and/or string instruments? I never quite trusted LCD tuners to be as exact as needle ones, but it's by far the cheapest one I can find on my market which can be recalibrated. (I play alternatingly in 440 and 442.) Or might I just as well download a tuner app for my Android phone? I don't think I trust some phone to keep an accurate clock reference...
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Jun 12, 2013 22:56
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