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peter gabriel posted:Is there a quick and easy way to make a bass track in Cubase lose volume spikes? Either automate down the spiky bits or compress. Don't smash the poo poo out of it, use a fast attack to grab the peaks and tune the release until you get the balance of punch and sustain you want.
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Oct 29, 2015 04:15
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The volume spikes could also be due to the room you are in, without treatment any given area will have spikes and dips in its frequency response causing some notes to be quieter and some louder despite coming out at the same db. Check your track with a set of headphones to see if it does the same thing. Also you could a frequency analyzer like this one to see if they are actually spiking higher in the mix.
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Oct 29, 2015 04:38
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On the other hand, compressors own
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Oct 29, 2015 15:32
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Thanks guys, will experiment. I am going direct input so no mics involved in the bass, makes it simpler while I still find my feet. Is the way to make higher pitched bass notes pop out a bit more all in the EQ? I am losing a few here and there in the mix and there is room for them. Thanks again, this is fun! Edit: I'll also get into the habit of using headphones more, I do keep forgetting about that.
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Oct 29, 2015 15:39
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peter gabriel posted:Thanks guys, will experiment. This is where frequency analyzers can help if your ears are not immediately pointing you in the right direction. Take a listen through the passage and find out where those higher notes are and where they sit in the frequency spectrum. Again, either volume-automate the notes a bit louder so they pop through, or find the frequency range you want and work with your ears and an EQ. Depending on how anal you want to get about it, you can apply a general static EQ to the high frequencies of the whole bass track, but if this causes the majority of the sound to not mesh as well, consider automating in your EQ moves as well on those specific notes. One other awesome amazing amazing super great option: multiband compression. Nothing kicks more unadulterated rear end than multiband compression. This will let you segment the amount of gain reduction, attack and release by frequency band, so for example, if you're digging in hard on a high note and want to tame that transient really hard with a fast attack, but want to let the bottom end breathe more naturally, you can do that. strangemusic fucked around with this message at 20:14 on Oct 29, 2015 |
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Oct 29, 2015 20:10
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strangemusic posted:This is where frequency analyzers can help if your ears are not immediately pointing you in the right direction. Take a listen through the passage and find out where those higher notes are and where they sit in the frequency spectrum. Again, either volume-automate the notes a bit louder so they pop through, or find the frequency range you want and work with your ears and an EQ. Depending on how anal you want to get about it, you can apply a general static EQ to the high frequencies of the whole bass track, but if this causes the majority of the sound to not mesh as well, consider automating in your EQ moves as well on those specific notes. Thanks! Lots of good stuff for me to get stuck into here, really appreciate it. I'll do my best with it but god knows how it will turn out (I have 2 hearing aids lol)
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Oct 29, 2015 20:14
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NTT posted:On the other hand, compressors own Someone please explain compressors to me, I feel like they're one element I am nowhere close to utilizing effectively. I guess I kinda get the general concept behind them... maybe? They help normalize volume levels? Helps stuff sit in the mix better?? But sometimes people complain about them being overused??? Every time I mess with the settings I never feel like I'm hearing noticeable/understandable changes. Occasionally I'll slap on a preset onto a vocal or something and it just sounds better (louder?) but I really wish I understood why. I don't know, explain it like I am a musical baby.
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Oct 30, 2015 02:43
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Take your sine wave of audio. Compressing smushes down highs while leaving other parts that are at a lower volume alone. That way you can remove any egregrious spikes in a recording, such as when someone yells a bit too loud into the mic, or when a guitar switches from single notes to big ringing chords. You take the big spikes in volume and tamp them down, while leaving the smaller ones in tact. It says 'take audio that surpasses this volume, and tamp it down.' the curves that you usually see in compressor programs represent how you want your compression smoothed out; do you want it to be really brisk with where it levels off, or are you looking to really just nip the really outstanding stuff in the bud? It normalizes volume in a variety of different ways tl;dr. Compression tends to help individual tracks sit MUCH better in the mix because there's less internal variation in the clips; its more consistent
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Oct 30, 2015 08:30
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Overuse of compressors can lead to tracks feeling empty or shallow; a lot of good audio production is allowing the artist to really let the volume swell up and down as the song progresses; compression is the tool that basically acts as the slider scale between 'your audio will be loud/soft JUST AS YOU PERFORMED' and 'ok really it needs to be studio quality' like most audio tools, using very gentle applications multiple times in layers tends to have a better effect than a single compressor that gets you from point A to point B by itself. Multiple compressions can take a piece and have it sit in the mix a lot better AND retain its acoustic details a lot better than a single compression can. Similar to how graphic artists use many subtle filters in lieu of one big one. You can add very small compression to pretty much any track ever, as well as a subtle EQ module, and just about every raw input in the world will sound better. A lot of vocals will sound really raw and awful unless you have 2 thousand dollar gear UNLESS you compress it. e; source: i gently caress around with DAWs. please feel free to correct any of this information if I'm really off the point. its curtains for Kevin fucked around with this message at 08:35 on Oct 30, 2015 |
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Oct 30, 2015 08:32
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Thanks to you guys my bottom end is much more attractive already
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Oct 30, 2015 13:10
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strangemusic posted:One other awesome amazing amazing super great option: multiband compression. Nothing kicks more unadulterated rear end than multiband compression. This will let you segment the amount of gain reduction, attack and release by frequency band, so for example, if you're digging in hard on a high note and want to tame that transient really hard with a fast attack, but want to let the bottom end breathe more naturally, you can do that. This is probably not best practice* but, my method is to copy a raw track 4 or 5 times, use the EQ to isolate bands, compress each band independently, and then mix levels of those using the volume sliders. This is fairly painless in Logic, and you can then put the copies in a folder and treat that folder like a single track. *almost certainly not best practice edit: Also i want to throw this somewhere, cause I've seen a lot of people asking about guitar direct-in on their interfaces; I have had much, MUCH better results plugging into an amp, and then using headphone or line out on the amp, into an interface than I have going direct. For those going micless. mclast fucked around with this message at 00:43 on Oct 31, 2015 |
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Oct 31, 2015 00:39
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peter gabriel posted:Thanks to you guys my bottom end is much more attractive already You started doing squats? 
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Oct 31, 2015 00:47
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mclast posted:
So If I want to record a guitar track. Plug my guitar into the amp. And then from the headphone out part of my amp put that into my interface? Is that what you're saying here?
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Oct 31, 2015 02:52
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Just to chime in regarding compression: The explanation I heard that finally made it click in my head is this: Say you have a volume spike in just one part of a track, and as you're mixing, you pull down on the volume fader at just the right time to compensate for that spike, then bring the fader back up right after. Compression is that action, automated. All of the various settings on the compressor just control when, how much, and how fast that action takes place. You set a threshold for when it kicks in, the ratio tells the compressor how aggressive to be with pulling down on the fader, and the attack and release control how fast it kicks in and returns to normal respectively. The other aspect of compression is how much headroom it frees up. If your track is spiking in spots, then you can't turn the track up without those spikes clipping and sounding like poo poo. When you compress those spikes away, it frees up room to increase the volume of the whole track, which is called "make-up gain". A lot of plugins have a setting to do this within the compressor too.
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Oct 31, 2015 04:47
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mclast posted:This is probably not best practice* but, my method is to copy a raw track 4 or 5 times, use the EQ to isolate bands, compress each band independently, and then mix levels of those using the volume sliders. This is fairly painless in Logic, and you can then put the copies in a folder and treat that folder like a single track. Tbh, if it works for you and it gives you the sound you desire and it sounds good to everybody else it is the best practice. Sure you could probably cut down the amount of work you put into it with a multiband compressor and surgical cutting with an EQ, but like you said, if it works for your workflow there's really no need for you to change it.
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Oct 31, 2015 15:34
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KillHour posted:You started doing squats? Well, you know, in for a penny 
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Oct 31, 2015 17:16
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Captain Apollo posted:So Yes. It gives you a livelier sound than direct in no matter what, and depending on your setup, can give you access to your pedals/modeling options without a fancy microphone - set up effects as you would live, record, add EQ and compression after the fact. Even dry, just electric guitar ==>acoustic amp line out==> interface gives me better results than direct in. Greggster posted:Tbh, if it works for you and it gives you the sound you desire and it sounds good to everybody else it is the best practice. Sure you could probably cut down the amount of work you put into it with a multiband compressor and surgical cutting with an EQ, but like you said, if it works for your workflow there's really no need for you to change it. Thanks for the encouragement. I've just got legitimized Logic and Komplete Ultimate this year, that's my plugin budget for a while. Templates make things pretty painless 
mclast fucked around with this message at 05:23 on Nov 2, 2015 |
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Nov 2, 2015 05:19
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Picked up a Sterling Audio ST51 condenser mic and a PreSonus audiobox black 2x2 USB over the weekend. Found out my microphone cable from 8 years ago doesn't fit for some reason. It goes halfway in and gets stuck. Brought it back to guitar center and their cables worked fine. Weird. Excited to start recording again. (As soon as I buy a new cable online because screw their prices for cables)
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Nov 2, 2015 17:45
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Don't use the headphone out, though. Use the direct! Impedance is a bitch! 
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Nov 3, 2015 22:32
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Use the main out instead of headphone jack? I can just use a Y-adapter right?
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Nov 3, 2015 22:48
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hey everyone, im currently in the market for a good keyboard midi controller, considering most of what i do is electronic. I'd like to remain in a fairly attainable 200 dollars or less price range. Are there any recommendations, if not for brands then for features I should be looking for? I'm learning towards a 49 key controller, but part of that might just be that most of my keyboard experience is with 88 keys; would moving down to less keys be a smart move if I could get more bang for my buck (or a better controller in general)? In terms of midi controllers, I already own an Akai LPD8; I find it pretty okay, but the pads aren't as responsive as some of the really nice pads I've used before. Because I own that, though, a controller that also includes pads isn't a priority. I hope this isn't too vague!
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Nov 3, 2015 23:38
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I like Novation, all their stuff is solid and not too pricey either http://global.novationmusic.com/keys/
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Nov 3, 2015 23:48
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I should also mention I mainly use FL studio, and that I've noticed a lot of controllers are "designed" to work with particular DAWs. Is that a very important factor (for example, the novation launchkey is "designed to work with ableton) when looking for a product?
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Nov 3, 2015 23:52
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Get a Roland A49. Anything labeled as made for Ableton will likely work as a generic midi controller, but will lose most of the special features. Anything that requires feedback from the daw to the controller basically, like different colors of light behind drumpads meaning anything, for example. Might also miss out on some smart presets and automapping maybe, in some cases.
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Nov 4, 2015 00:39
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Cage posted:Use the main out instead of headphone jack? I can just use a Y-adapter right? Oh, I was talking about guitar amps.
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Nov 4, 2015 02:23
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lineout is better than headphone, but i think headphone is better than direct? Try it if you haven't, anyhow, I've always liked it better.
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Nov 4, 2015 03:17
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mclast posted:lineout is better than headphone, but i think headphone is better than direct? Try it if you haven't, anyhow, I've always liked it better. Eh it depends, Direct isn't a standardized term like Line Out is, but it usually means that the signal it outputs is either an exact copy of the input signal, or the signal after the first gain/preamp stage.
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Nov 5, 2015 04:44
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I've gone through a number of recording solutions and interfaces and realised that frankly the only thing I need is something to record my acoustic playing and maybe some vocals. I don't presently have an interface and so since latency isn't an issue I'm looking at something like this: http://www.amazon.co.uk/Samson-Meteor-USB-Microphone-Chrome/dp/B004MF39YS - how much of a bad idea is this?
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Nov 8, 2015 21:18
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Southern Heel posted:I've gone through a number of recording solutions and interfaces and realised that frankly the only thing I need is something to record my acoustic playing and maybe some vocals. I don't presently have an interface and so since latency isn't an issue I'm looking at something like this: http://www.amazon.co.uk/Samson-Meteor-USB-Microphone-Chrome/dp/B004MF39YS - how much of a bad idea is this? Very bad. strangemusic fucked around with this message at 00:57 on Nov 9, 2015 |
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Nov 9, 2015 00:54
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 OK , what's my best solution then? I really don't want to get involved with the whole interface thing again if I can help it
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Nov 10, 2015 10:34
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Southern Heel posted:
Any one of the small Zoom or Tascam portable recorders will let you make quaility tracks without having to worry about interfaces or anything like that, just point the thing at your guitar or mouth and then dump the wav files into a workstation for editing.
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Nov 11, 2015 08:49
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I want to mic my cajon to make loops with my loop pedal, and maybe also want to mic it up for shows. Are there any good contact or clip-on mics (or something else) for this?
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Nov 12, 2015 03:40
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RandomCheese posted:Any one of the small Zoom or Tascam portable recorders will let you make quaility tracks without having to worry about interfaces or anything like that, just point the thing at your guitar or mouth and then dump the wav files into a workstation for editing. Is that really significantly better than a USB mic?
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Nov 12, 2015 22:16
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Southern Heel posted:Is that really significantly better than a USB mic? From what I hear, USB mics are notoriously finicky with drivers and noise issues and frequently have build quality issues, Zoom and Tascam portable recorders are really decent pieces of equipment and getting wav files off them is like plugging in a hard drive, super easy.
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Nov 12, 2015 22:55
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Also, I don't know about the Tascams but the Zoom recorders can also work as an interface with a built-in mic.
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Nov 13, 2015 01:52
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Bill Posters posted:Also, I don't know about the Tascams but the Zoom recorders can also work as an interface with a built-in mic. Yeah that's a good point, my tascam dr-40 can do this and even has xlr input.
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Nov 13, 2015 08:22
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I recently purchased a set of 5" monitors (HS5) but I would like more bass response for producing dance music. My small room is untreated right now, but I'm willing to invest in treating it lightly (~$200). Should I look into bumping up to HS7's/HS8s, getting a subwoofer, or getting 5" monitors with a little more bass response? I can see a sub actually being a little more practical for me as it requires less desk space/no stands but I keep reading that subs are difficult for beginners to use in small rooms. I also don't want to make my neighbors hate me forever either, so maybe this is a fool's errand?
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Nov 13, 2015 21:34
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kuf posted:I recently purchased a set of 5" monitors (HS5) but I would like more bass response for producing dance music. My small room is untreated right now, but I'm willing to invest in treating it lightly (~$200). Should I look into bumping up to HS7's/HS8s, getting a subwoofer, or getting 5" monitors with a little more bass response? I can see a sub actually being a little more practical for me as it requires less desk space/no stands but I keep reading that subs are difficult for beginners to use in small rooms. I also don't want to make my neighbors hate me forever either, so maybe this is a fool's errand? Best thing I bought in a loooooonnng time: http://www.thebuttkicker.com/gamer2 Easily dismissed because of the stupid name but hear me out... It's a device that just resonates bass through your chair and into your body, like a big rear end bass speaker but the device itself is silent, so you get loads and loads of bass vibes and no one else can hear it. Also great for practising bass guitar with. I got one and it works with games, music and audio recording, awesome stuff
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Nov 14, 2015 00:31
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Hey guys. Looking for a recommendation for a keyboard. My workflow consists of ableton looping in session view to get out ideas really fast and in the moment. I have an APC40 I rigged up to work with a foot switch to record (touching the clip simply highlights it instead of recording, which lets me stomp a footswitch when it's time to loop.) I don't like vsts and much prefer an actual instrument that makes sounds that I can use separate from my computer. I'm pretty close to pulling the trigger on a Roland FA-06 workstation for alot of reasons. I've done a good amount of research and it has a lot of cool small features that make it great for my workflow. I would also use the gently caress out of the built in sampler. I just wanted to know if there was anything similar to this that just made sounds. No extra sequencing nonsense. I'm most likely going for this and just using it to record audio loops. I'll probably learn the sequencer anyways and bring it with me on trips for on the go idea sketching, but I'm still totally open to having a similar box that just does sounds. I wound definitely need the realistic acoustic sounds though, so a synth would not be an option for me.
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Nov 15, 2015 05:39
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peter gabriel posted:Best thing I bought in a loooooonnng time: Very interesting. I ended up trading up for HS8s. They're not /as/ unwieldy as I thought they would be, at least they barely fit on my desk. Might have to get stands or something but I guess that's just how this poo poo goes
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Nov 16, 2015 21:11
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