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I'm moderately competent at recording and general computer music fuckery (example) but haven't done any band recording myself. I'm wanting to get some tolerable demo quality live recording of a three piece - guitar, bass, 1 vocal mic, and drum kit. How many mics and what configuration is sensible for getting the drumkit recorded? Also, my current idea is to try recording the three piece live and then layer other parts on track by track as needed - I know tracking the whole thing is ideal, but for vibe reasons I'd like to try live recording - is this crazy talk?
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Apr 28, 2014 04:53
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I have an odd question...how would you mic a harp using one microphone? Being a drummer, my first guess would be by the left or right ear, but harps are very different from a drum set.
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Apr 28, 2014 05:20
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Their (MOTU) 828 series as well. 2 pre channels and an additional 8 TRS send/rec and SPDIF/something else, too. They're a fantastic value and the firewire works flawlessly with a thunderbolt -> firewire 800(?) adapter into a 800 -> 6 pin cable with a Mac.
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Apr 28, 2014 06:27
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sebmojo posted:Stuff Your last isn't crazy at all, I record every band practice. I usually mic both guitar cabs, DI bass, aux off the board for vocals and the drummer keeps his kit set up with a sub mixer and I just snag an out from it.
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Apr 28, 2014 06:39
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iostream.h posted:Throw out your budget and details of that kit, for all we know you only need one more piece to have as many as Neal Peart. Thanks. Budget is zero, since I can borrow a bunch of mics from some studio friends - interested to know what type i'm looking for. The kit - not sure unfortunately, assume bass, snare, tom, ride/hihat.
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Apr 28, 2014 10:30
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If you're going low budget/few mics on the drums, start by getting the best overhead/room sound you can, and reinforce as necessary with kick, snare, and other mics. In my experience the biggest (non-gear) determinant of drum sound in home recording is ceiling height and room size. I know studios sometimes do drums in a small, tight room, but those rooms are designed to be either very acoustically pleasing or very dead, which you can't really do on a shoestring. So do it in the biggest room you've got, but that doesn't mean put the drums or mics at the farthest corners of the room; I usually go for a stereo pair about eight feet from the front of the kit and twelve feet apart, get those sounding good, and then add in single-drum mics as needed. It can seriously also help just to have some crap around the room to randomize the reflections a bit. Bookshelves, paintings, coat racks, etc. can all affect the sound of the room, and sofas can act to keep low frequencies from bouncing around too much. The biggest thing that's going to help you out is to take your time. Work out mic placement, record a bit, mix it so that it sounds good to you, then step away for thirty minutes or more to let your ears relax. Go back and listen to it again, tweak for thirty minutes, lather, rinse, and repeat. One of your biggest enemies in getting drum sounds right is ear fatigue; once you've been doing it for an hour or so, you're really no longer hearing them as a new listener would, and that drastically affects how you're going to mix and EQ them. It's not at all uncommon to do spend hours tweaking only to come back the next day and immediately think "WHAT THE gently caress WAS I THINKING YESTERDAY, THAT SOUNDS LIKE rear end". Just give yourself time and distance and you might surprise yourself with what you're capable of.
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Apr 29, 2014 01:45
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mofolotopo posted:If you're going low budget/few mics on the drums, start by getting the best overhead/room sound you can, and reinforce as necessary with kick, snare, and other mics. In my experience the biggest (non-gear) determinant of drum sound in home recording is ceiling height and room size. I know studios sometimes do drums in a small, tight room, but those rooms are designed to be either very acoustically pleasing or very dead, which you can't really do on a shoestring. So do it in the biggest room you've got, but that doesn't mean put the drums or mics at the farthest corners of the room; I usually go for a stereo pair about eight feet from the front of the kit and twelve feet apart, get those sounding good, and then add in single-drum mics as needed. Thanks heaps, that's really helpful.
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Apr 29, 2014 02:05
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Hope this is the right place for this, but I couldn't think of anywhere else to ask. What do they call those repeating, ascending/descending background melodies in some songs? For example, you can hear it start about 2:27 in this song: https://www.youtube.com/watch?v=IJZj_TUoLUQ
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Apr 29, 2014 02:34
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Feedback Agency posted:Hope this is the right place for this, but I couldn't think of anywhere else to ask. Arpeggio
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Apr 29, 2014 02:37
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HollisBrown posted:Arpeggio Oh, awesome. I knew it was ar-something. I tried to google 'archipeggio'. 
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Apr 29, 2014 02:38
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Feedback Agency posted:Oh, awesome. I knew it was ar-something. I tried to google 'archipeggio'. It's basically just the tones of a chord broken up and played melodically rather than harmonically.
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Apr 29, 2014 02:43
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HollisBrown posted:It's basically just the tones of a chord broken up and played melodically rather than harmonically. It's one of the things I always notice and it sounds cool as hell to hear it in the background of a song.
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Apr 29, 2014 02:49
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Anyone know of a better application for removing cassette tape hiss than Audacity? I have to digitize a bunch of cassettes from the 80s-90s and would like to figure out the best tape hiss solution before I get too far into them. Audacity's hiss removal has been pretty good but I'm open to other ideas since I'd really like to get the best quality I can.
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May 5, 2014 23:50
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I don't know the answer, but I'd guess that the best solution will be running something as postprocessing, as a separate stage in the job. Your best bet is probably to digitise the source material losslessly, as high fidelity as you can, and then worry about making them sound good later. You'll probably be able to batch process them, but trying to do it in real-time as you record from the tapes isn't going to give you the best results probably
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May 6, 2014 00:10
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baka kaba posted:I don't know the answer, but I'd guess that the best solution will be running something as postprocessing, as a separate stage in the job. Your best bet is probably to digitise the source material losslessly, as high fidelity as you can, and then worry about making them sound good later. You'll probably be able to batch process them, but trying to do it in real-time as you record from the tapes isn't going to give you the best results probably Thanks yeah sorry if I wasn't clear but I'm recording them as-is then using the noise reduction effect in Audacity which samples hiss from a blank section of tape then reduces that sound across the track. It's pretty impressive but there's probably more specialized tools around, I'm guessing.
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May 6, 2014 01:27
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Snowy posted:Anyone know of a better application for removing cassette tape hiss than Audacity? Why would you want to do this?
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May 6, 2014 03:09
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I am the #1 tape hiss fan.
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May 6, 2014 03:09
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Stravinsky posted:I am the #1 tape hiss fan. I still record using my 20 year old 4 track so I hear you but in this case I need cleaner copies.
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May 6, 2014 03:26
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Izotope RX will cost you, and has a bit of a learning curve (at least to get really good results), but it's an insanely powerful tool for noise reduction. I generally find that a bit of normal gating or multiband comp makes things sound nicer in conjunction with super fancy "smart" noise reduction, but either way if you want to reduce hiss Izotope will work as well as anything I know of.
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May 6, 2014 20:25
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Ferrous Wheel posted:Izotope RX will cost you, and has a bit of a learning curve (at least to get really good results), but it's an insanely powerful tool for noise reduction. I generally find that a bit of normal gating or multiband comp makes things sound nicer in conjunction with super fancy "smart" noise reduction, but either way if you want to reduce hiss Izotope will work as well as anything I know of. Thank you that sounds interesting I'll check it out.
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May 6, 2014 21:46
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WaveLab Elements is the "lite" version of WaveLab, but it includes the full Sonnox suite of restoration plugins, which includes hiss removal. I've been using it recently when ripping a bunch of my old original recordings from cassette. Steinberg has a 30-day demo: http://www.steinberg.net/en/products/wavelab/trial.html I use full WaveLab on my DAW PC for typical audio editing duties, and WaveLab Elements on a laptop for cassette ripping and timed audio recordings. Radiapathy fucked around with this message at 23:08 on May 6, 2014 |
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May 6, 2014 23:05
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Radiapathy posted:WaveLab Elements is the "lite" version of WaveLab, but it includes the full Sonnox suite of restoration plugins, which includes hiss removal. I've been using it recently when ripping a bunch of my old original recordings from cassette. That might work out perfectly, I won't need that much time to get it all done. Thanks!
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May 7, 2014 14:29
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modeski posted:After a lot of consideration, I bought Komplete 9 Ultimate. I'm fully aware that it's a lot of cash to be splashing, but it also provides me with an incentive to ensure I haven't wasted my money. To that end, I'm going to Toxx Clause myself here. When K9U arrives (probably 10 days to Australia), I'm going cold turkey on video games, these here forums and Reddit...for six entire months. Alrighty, I promised I'd be back in six months with at least one track I deemed suitable for posting online, and here it is. I'm not 100% happy with the composition; I should have varied the drums a bit more, and it could be shorter, but overall I'm pretty pleased with it. I've created many dozens of tracks (most of dubious merit) in the past few months, and the more I learn about Ableton Live and Komplete 9, the more I realise I still have to learn. Other than 'More Snow', I've been working to create some background-music type tracks for licensing to TV. Some people have messaged me asking if I thought Komplete 9 was worth it, and I have to say that it was. Anything I've been able to think of, Komplete 9 has been able to provide. There's incredible breadth and depth to the instruments contained within, and it's a fantastic toolkit.
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May 10, 2014 02:50
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Nice work on that track. If you want some criticism I think the small melody line needs to come forward a bit, it blends in too much with the pads and I don't know if I'd even hear it if I wasn't listening through my monitors. The drums don't need anymore variation in the pattern, there's nothing wrong with keeping a consistent pattern as a solid foundation to the track, maybe put a few more snare samples across the arrangement so it sounds a bit more natural as the current dynamics of the snare seems to loop into a pow-pow-puh sort of repetition, as if it was clearly the same drum section being looped. The drums sounded nice and spacious but it felt that the space they were in was different to the rest of the track, like the drums weren't sharing the same reverb as the pads, lead and vocal samples so their tails were all alien from one another instead of blending in like they were being played in the same room. It almost felt a little disconnected in a sense that two distinct songs were being laid upon one another like a remix, it did make the drumline distinctly stand out but it never really felt to me like they fully meshed together with the ambience of the rest of the track. What's the process behind licencing background music to television? Gym Leader Barack fucked around with this message at 05:00 on May 10, 2014 |
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May 10, 2014 04:57
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RandomCheese posted:Nice work on that track. If you want some criticism I think the small melody line needs to come forward a bit, it blends in too much with the pads and I don't know if I'd even hear it if I wasn't listening through my monitors. The drums don't need anymore variation in the pattern, there's nothing wrong with keeping a consistent pattern as a solid foundation to the track, maybe put a few more snare samples across the arrangement so it sounds a bit more natural as the current dynamics of the snare seems to loop into a pow-pow-puh sort of repetition, as if it was clearly the same drum section being looped. The drums sounded nice and spacious but it felt that the space they were in was different to the rest of the track, like the drums weren't sharing the same reverb as the pads, lead and vocal samples so their tails were all alien from one another instead of blending in like they were being played in the same room. It almost felt a little disconnected in a sense that two distinct songs were being laid upon one another like a remix, it did make the drumline distinctly stand out but it never really felt to me like they fully meshed together with the ambience of the rest of the track. Hey, thanks so much for the comprehensive feedback, it's very much appreciated. Licencing music is basically about getting it listed/sold by music publishers who specifically cater to music supervisors at production companies/movies/ad agencies etc. Once you have some a good number of finished tracks then you can submit them to publishers for consideration. As long as you're registered with your local Performance Rights Organisation, you'll be able to get royalties from when your music is broadcast etc. There's a lot of admin work once you have the music ready - creating brief descriptions of each track, listing meta tags about the genre, style, instrumentation and so on. I got lots of information from an ebook called The Business of Music Licensing, which I found useful in navigating all the jargon and contract stuff that can be confusing at first. The author is pretty open to answering follow-up questions etc. too. I'm not quite ready to delve in yet, but it'll be interesting to see if I can generate a bit of play money in a few years.
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May 10, 2014 05:29
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Hey y'all, I'm looking for a quick answer--hopefully I'll find one here. I am looking for a web site service that allows a musician to upload their songs to multiple streaming services at once (Spotify, Beats, etc). The musician wants to make money from his music, so the service should allow him to earn the commissions from the plays of these songs. Does such a service exist? If so, can you link me to it please? Many thanks.
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May 12, 2014 14:49
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Hip Hoptimus Prime posted:Hey y'all, I'm looking for a quick answer--hopefully I'll find one here. Also, I don't want to be discouraging but most people don't realize how bad streaming revenues are. Check out this chart, you need 4 million Spotify plays a month just to make minimum wage. It's sad. Again, not trying to shoot you down, I just wanna be upfront because none of those sites like to tell you how small the artist's cut is.
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May 12, 2014 19:03
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I need to sync two live recordings of a track against each other, where the timing is pretty loose and drifts up and down in BPM, and I don't know the best way to do it. Automatically locating beats is probably not feasible but if I could manually mark the start of bars and then drag them about to line them up with stretching, that'd do. I'm thinking one of the DAWs has solved this already. Bonus points if the original waveform is preserved somehow so I can make tweaks and it repeats the stretch from raw each time rather than laying one stretch ontop of the last one.
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May 14, 2014 10:22
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HauntedRobot posted:I need to sync two live recordings of a track against each other, where the timing is pretty loose and drifts up and down in BPM, and I don't know the best way to do it. Automatically locating beats is probably not feasible but if I could manually mark the start of bars and then drag them about to line them up with stretching, that'd do. I'm thinking one of the DAWs has solved this already. Bonus points if the original waveform is preserved somehow so I can make tweaks and it repeats the stretch from raw each time rather than laying one stretch ontop of the last one. There are other issues related to what you're asking about, though; recordings of two separate performances of the same song? You're gonna have some weird phasing/beating and tuning issues if you're not really careful about how you utilize each recording. Cubase is probably the better DAW for handling that stuff, but it can be managed in Live. Radiapathy fucked around with this message at 15:22 on May 14, 2014 |
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May 14, 2014 15:00
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I think Logic and ProTools both have this feature as well now. It might be a little tricky on a live recording since they work by finding transients (maybe the others are different), but they're pretty powerful and tweakable. I think the only DAW that doesn't have this feature now is Reaper.  Edit: vv You can do it, but you'll need old hardware as well and plugins in their new format might not work. vv Ferrous Wheel fucked around with this message at 18:51 on May 14, 2014 |
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May 14, 2014 17:20
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Is it possible to buy and use old versions of pro tools to save money? Could I buy pro tools 9 now and use it or would I have to buy 11?
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May 14, 2014 18:18
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There are plenty of older versions floating around at discounts, plus people sell their iLok accounts pretty regularly, but why? If it's a cost issue grab something like Reaper or Studio Pro maybe.
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May 14, 2014 19:59
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Cool. Thanks for the advice, time to dig out a copy of Live from somewhere.
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May 14, 2014 21:45
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Ferrous Wheel posted:I think the only DAW that doesn't have this feature now is Reaper. In the last year or so REAPER introduced stretch markers, does exactly what HauntedRobot is asking. Just assign a keystroke to insert a stretch marker at the cursor, and then play back the song while tapping that key to the beat. Afterwards you can drag each marker to line up with the other version of the song. You can download a fully functional trial version of REAPER and give it a try. FYI you'll never get critically transparent results by time-stretching an entire mix, regardless of what DAW or algorithm you use, but REAPER will certainly get the job done.
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May 19, 2014 22:58
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I'm pretty sure that we had a threat for it somewhere in this subforum, but I can't for my life find it. I'm interested in songwriting, but I've never really done any. The few songs I've tried to write ended up being quite country-music sounding(which is weird because I haven't really listened to country to be influenced by it). I'm trying and trying, but what I end up writing is abstract and incoherent which makes it hard for people to relate to and understand except for me. I try to write the songs with one theme in mind, but I feel like I always end up with a mix of everything and nothing which ends up with it all being a clusterfuck basically  . What I'm wondering about is how do I practice songwriting skills? Should I start reading poetry, short stories, study the gently caress out of other great lyrics writers and write endlessly until I "got it"?
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May 20, 2014 02:58
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If you've only written a few songs then just keep writing. Unless you're a highly gifted genius the first handful of songs you write are probably gonna be crap. Just forge ahead and be optimistic. I know it's cliched but effort & persistence are a huge part of becoming good.
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May 20, 2014 05:28
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Yeah exactly that, just write song after song and you'll improve solely due to repetition. Write one song per day, in a month you will be 30 times as good a songwriter as you are now. This will have the unfortunate side effect of you hating your earlier work, as newly educated eyes glance over your previous attempts in disbelief that such poor attempts at songwriting could possibly be belched from you. And by you I mean me. gently caress my early songs.
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May 20, 2014 05:33
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snappo posted:In the last year or so REAPER introduced stretch markers, does exactly what HauntedRobot is asking. Well allahu akbar, looks like they finally got some control surface compatibility figured out too! I guess I should update.
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May 20, 2014 08:11
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I don't know if this is the right place for this question, but is there any comprehensive comparison of Cubase and Wavelab floating around the web? I've got Cubase, and I'm curious what I'd gain by getting Wavelab, from an audio editing perspective.
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May 20, 2014 16:15
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MockingQuantum posted:I don't know if this is the right place for this question, but is there any comprehensive comparison of Cubase and Wavelab floating around the web? I've got Cubase, and I'm curious what I'd gain by getting Wavelab, from an audio editing perspective. Cubase has excellent sample editing capabilities, which are mostly shared by WaveLab- but WaveLab has a lot more audio manipulation and processing capabilities:
If you're mostly interested in basic audio recording and sample editing duties, WaveLab Elements has most of the important tools. Full WaveLab is where most of the batch features and pro mastering and disc building tools are. Product comparison here. I use full WaveLab on my DAW PC and Elements on a laptop I've got hooked up for ripping cassettes and doing occasional editing for blog posts or whatever. EDIT: Also strongly recommend Matt Hepworth's WaveLab tutorials over at MacProVideo; they cover WL7, but apply to 8. Radiapathy fucked around with this message at 20:15 on May 20, 2014 |
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May 20, 2014 20:09
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