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Look for an interface that has a high impedance input (often labelled 'instrument' or 'hi-z'). That plus modeling software can get you a decent sound. Not all modeling software is created equal though. You could also use a physical amp modeller (e.g. line6 pod, sansamp) and route that into an interface. Some amps have a pre-amp or headphone out that you can route to an interface as a starting point without having to buy any modeling software.
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Dec 26, 2015 06:52
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homewrecker posted:Quick question; can I buy a USB audio interface, plug a guitar straight into it, and then use that with some kind of guitar amp modelling software? Or do I need to have a mic plugged into the interface (and use the mic to record a physical amp)? This is what I do for most of my playing and (very occasional) recording. If you have the money to drop right now, Positive Grid has all of their amp and effects modeling software on sale right now which is a killer deal. If you want to play around first, there's a bunch of free modelers/sims/IR loaders that still sound good but are less user friendly. It's a great way to play with headphones and be able to potentially get a killer sound without getting the cops called on you for the noise. Youtube will have a ton of tutorial videos (albeit mostly for metal sounds) if you do searches for guitar sim VSTs, impulse response loaders, and the like. A bonus, a decent number are pretty helpful.
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Dec 26, 2015 14:46
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Thanks for your helpful responses Splinter and Waldstein Sonata. I actually have a Vox Valvetronix modelling amp which has a line out jack on it, so maybe I can just try that out for now with an interface and see what I think before I decide to jump on any additional modelling software. The next step for me will be to figure out what audio interface and DAW software to get, so I'll take those questions to the Audio Interface thread.
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Dec 27, 2015 05:18
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homewrecker posted:Thanks for your helpful responses Splinter and Waldstein Sonata. I actually have a Vox Valvetronix modelling amp which has a line out jack on it, so maybe I can just try that out for now with an interface and see what I think before I decide to jump on any additional modelling software. The next step for me will be to figure out what audio interface and DAW software to get, so I'll take those questions to the Audio Interface thread. Do you have an iphone or ipad? There are guitar interfaces and amp sims available for iOS that are decently priced and sound great, I think a bunch of the apps have the capacity to record as well.
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Dec 28, 2015 11:18
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How easy is it in EZ Drummer 2 to create your own "stock" loops? Or should I just look into getting Cubase because I saw some videos from Misha Mansoor where he used that and it looked easy as hell to create some decently human sounding drums.
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Dec 28, 2015 22:12
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Spanish Manlove posted:How easy is it in EZ Drummer 2 to create your own "stock" loops? Or should I just look into getting Cubase because I saw some videos from Misha Mansoor where he used that and it looked easy as hell to create some decently human sounding drums.
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Dec 28, 2015 22:54
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Spanish Manlove posted:How easy is it in EZ Drummer 2 to create your own "stock" loops? Or should I just look into getting Cubase because I saw some videos from Misha Mansoor where he used that and it looked easy as hell to create some decently human sounding drums. I think it's incredibly easy to create stock loops in EzDrummer 2, I started using it a couple of months ago and I think I managed to make the drums sound pretty human (a few tracks below where I used it, you can check em out to see how they sound there) https://soundcloud.com/skriket/grav-djupare https://soundcloud.com/skriket/pendeln-svingar https://soundcloud.com/skriket/dansa-som-om-ingen-ser https://soundcloud.com/skriket/blackest-magic Some things I haven't yet mastered however is quick snare rolls, anything faster than 8ths and I feel like they sound a bit too robot. I think there's some humanizer (switching timing with a ms here and there on hits, and adds a minor variation on velocity) but I have yet to find it.
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Dec 29, 2015 00:08
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JohnnySmitch posted:Pretty easy. I like a lot of the features they added in 2 as well - like the ability to take a loop and dial up/down the complexity/number of hits for each drum and shift the power/leading hits around the set Awesome, I'd mainly use it for metal and didn't want blast beats and fast rolls to sound robotic.
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Dec 29, 2015 12:26
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Greggster posted:I think there's some humanizer (switching timing with a ms here and there on hits, and adds a minor variation on velocity) but I have yet to find it. I haven't used EZ Drummer but in BFD3 there are options for "swing" (loosening) and "quantization" (tightening) so maybe there's something similar in EZD?
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Dec 29, 2015 15:21
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Speaking of drum machines is there a basic introduction to them anyone can recommend? Especially from a sampling perspective. I picked up a used Zoom R24 a while back and I'm having trouble getting my head round the 8 pressure pads. I figure you assign either a stock drum hit sample to each pad and use them to key in notes on a loop track, or you can bind a wav track to it instead but I don't understand half the terms relating to drum rhythm patterns or how to ask the right questions to find out more. I'm taking guitar and bass lessons, focused on slow drone/doom metal and moody surf rock but I'd like to expand that with some industrial drum programming and glitched to gently caress fuzzy samples.
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Jan 3, 2016 02:34
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so i've got a focusrite scarlett 2i2 and a sm57 i coughed up on a budget, but it's very quiet as a result of the preamp not really being suited for dynamic microphone ranges. i've got to put the gain up as far as it can go on my preamp to get anything audible, and it doesn't really create a nice sound as a result. would a fethead/cloudlifter enable me to get a louder, clear sound without the need for so much gain, or should i try something else?
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Jan 5, 2016 20:23
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ThePutty posted:so i've got a focusrite scarlett 2i2 and a sm57 i coughed up on a budget, but it's very quiet as a result of the preamp not really being suited for dynamic microphone ranges. i've got to put the gain up as far as it can go on my preamp to get anything audible, and it doesn't really create a nice sound as a result. would a fethead/cloudlifter enable me to get a louder, clear sound without the need for so much gain, or should i try something else? Well I can't speak to the "something else" but I have a cloudlifter for my SM7B and it's fantastic. Low effort, straightfoward, and clean.
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Jan 5, 2016 20:26
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So I bought myself an H4 Zoom. I'm looking forward to plugging into mixers at gigs and recording some live poo poo, and using it at home to put some stuff together for my soundcloud. Seems like it's a bit complicated to use the best way though, anyone use it for stuff like this? This is what I did today, just stuck it on my desk, sat a metre and a half away and played. Sounds pretty good to me, but I guess it could be better? I set the limit setting to "3 (Studio)". https://soundcloud.com/elijah-fynmore/between-the-wars-demo-1
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Jan 6, 2016 03:35
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I recorded a few shows with a Zoom (or tried, anyway). Some stuff I learned: If you want to plug into the board, bring your own cables. I only ran into 1 sound guy who had cables that would connect the Zoom to the board, and he messed up the tape out level so it clipped a ton and sounded like poo poo anyway. Speaking of which: bring headphones. Just because the level meters are doing their thing doesn't mean it sounds good. Also, make sure you're the one who hits record. Sound guys have a ton to do and probably wont remember. If they do, it might not be till partway through the show, and they may not know the intricacies of the Zoom (i.e. you have to arm it before it records, so you have to hit record twice) so it might get messed up anyway. That said, if you can get the thing hooked up properly, it's a nice little machine! I put a lot of hours onto mine before I upgraded.
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Jan 6, 2016 07:42
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I've been using a Toneport UX1 for a few years now, and have never been completely happy with the quality of my guitar/bass guitar recordings. Would upgrading my audio interface make much of a difference in the quality department? Edit: also I meant to ask what audio interfaces you guys would recommend.
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Jan 7, 2016 02:55
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mottbag posted:I've been using a Toneport UX1 for a few years now, and have never been completely happy with the quality of my guitar/bass guitar recordings. Would upgrading my audio interface make much of a difference in the quality department? It might improve a bit but not massive amounts, probably won't give you enough of an improvement to justify the upgrade. Are you doing any processing to your recorded tracks?
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Jan 7, 2016 04:20
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Home recording thread I need help. I've downloaded about ten different VSTs for compression and I think my ears are broken. Once set to the same approximate threshold, ratio and attack they all sound the sound. I have the same problem with mic preamps. I've listened to a bunch of comparisons and buggered if I can tell the difference. I keep reading about how a mic preamp or compressor/EQ/whatever can make or break a mix/recording but I'm struggling to find any real difference. Any tips on what I should look out for? I can upload a clip of a loop I've been working with if you want examples. I'm just worried because I always see people talking about a preamp adding "warmth" or "air" and then I listen to the two clips and basically go, "Nope, same thing." I hear a difference in mics and the like but I'm struggling with signal processors. Edit: Well, I answered my own question. I took one riff (Four guitars layered, two on each side) and looped it, running it through a different compressor. I only did three because tired, but I was honestly surprised. I genuinely thought I could hear no difference. But the results speak: https://soundcloud.com/syntaxfunction/compressor-comparison-fixed First two bars are just the standard Reaper ReaComp compressor. The second is Molot which I threw in precisely because everything I read about it said it adds "color". The third is Modern FireChainer, also colorful supposedly. The actual guitar is just a physical Bad Monkey with high gain and lows, into a Lexicon Alpha interface, into ApliTube 4 running the JCM 800 model. No tweaks to amp EQ or cab/mic placement. I ran an EQ (ReaEQ) to boost the mids and smooth it a little (High pass at 100hz and low pass at some high frequency I forgot, it just sounded good okay) with low mids emphasised on the channel I used the neck pickup on and high mids emphasised on the bridge. I think that's it. EQ was the same on each compressor, run after the comp. The only thing that changed was the compressor model used. Interesting stuff. syntaxfunction fucked around with this message at 02:45 on Jan 10, 2016 |
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Jan 9, 2016 10:40
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Sorry to double post but I'd like some suggestions on mixing and a bit on mastering. I realise that the way to get the best results is to send it to a pro but I'm trying my hand at getting decent results myself. I spent today recording a couple bit and looped them to make a demo song, purely to see what I could get from my setup. This is the raw guitar from the mic: https://soundcloud.com/syntaxfunction/tabs-raw This is what I've done with it so far: https://soundcloud.com/syntaxfunction/tabs I've not mixed for volume although it is sitting fairly high. Realistically I'll mix it down while getting it balanced so I can just boost it in the mastering phase. My chain is a G&L Ascari -> Shure PG57 -> Lexicon Alpha interface -> Reaper. I have four tracks of guitar, two (One left, one right) using the bridge, two with the neck. The mic height is in the middle with it slightly off the cone, straight ahead. The bass is DI. For the mixed version I had the bass into a compressor and then into Amplitube's default bass model. EQ'd for a HP at 30Hz, LP at 20k and a scoop of -4.8db at 560Hz. Drums are the stock Kontakt model. It hits a limiter to smooth out the spikes and has a touch of reverb but otherwise default settings. First guitars (Bridge) are bumped down 2db at 4500Hz and boosted 2db at 250Hz. Compressor before the EQ to smooth any spikes mildly (2.0 ratio) but otherwise left plain. Neck are the same but with the 4500Hz bump changed to -5db at 7000Hz. Everything else is pretty much as the input came. Can I get some feedback on the mixing and general sound, please? Any advice, critiques and tips are welcome. Thanks.
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Jan 13, 2016 07:23
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syntaxfunction posted:Sorry to double post but I'd like some suggestions on mixing and a bit on mastering. I realise that the way to get the best results is to send it to a pro but I'm trying my hand at getting decent results myself. I'm sure you could do the HP at even 100hz without noticing a big difference in the sound of the guitar. The bass and kick&toms will get a bit more space in the mix as well. I think with the various instruments you're using you could probably cut a lot of frequencies on the guitar below the 1khz mark, that way you can boost the "core" (whichever note the toms are tuned to) frequencies of the toms to make them far more audible. Another thing I think you could start thinking about is where every instrument should fit. Right now it's a lot of guitar and a low murky bass that occupies the song. Work with some neat EQing on the various parts of the drums and instead of just boosting the frequency you like you should cut it from the guitar. As a general tips, I would say that cutting frequencies is always prefered to boosting. A forum thread that helped me a LOT when I was new to the whole mixing business is this: http://forum.cockos.com/showthread.php?t=29283 Other than that, I have to say I really enjoy listening to this! It's exactly the type of stuff I recorded (and it sounded pretty much like your recording) so it brings back a lot of memories 
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Jan 13, 2016 21:57
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Thanks for the feedback! I thought I mentioned it but apparently not, but there's a HP at 100Hz on the guitars with a LP at 20k. I really do need to figure out how to mix drums. That thread seems like a good read, too, so I'll check that out. My main worry was if the guitars sounded too muddy or fizzy, or just plain not punchy enough. I like the results I got, but I can't help but feel a better mic would help greatly. It sounds fine to my ears but it certainly doesn't capture the sound I get in the room fully.
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Jan 14, 2016 03:32
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In regards to your compression conundrum, there's a few factors at play. How heavily are you compressing your signal (what ratio, threshold etc)? The signal you are compressing has a huge impact on how it will sound: A distorted guitar is already a fairly compressed sound from the way the pedal affects the signal, especially when playing something with fewer dynamics for the vst to chew on such as your power chords. Try your compressors out on a drum loop instead, something with some space in it. Put a soft limiter after the compressor so you dont blow your speakers and set the compressors to their most extreme settings (threshold -40ish, ratio at 1:infinite) and you will probably notice more of a difference between them. You will probably have to apply a lot of makeup gain. Then dial back to more sensible settings. Molot can be savage at full whack. Bass heavy signals can also affect how well a compressor works, so the stuff about high passing in the previous posts replying to you is well worth bearing in mind. When used correctly compression can really make a mix, but if overdone it can kill it: subtlety is key. Its often better to run a signal through a couple of gentle compression stages than it is one harsh one. Hope this is helpful in some way
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Jan 15, 2016 01:16
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Hello home recording thread! Tell me why it is okay to finally ditch my PCI-based M-Audio Delta-44 in favor of my USB-based M-Track Quad. I realize that this is a hyper-specific post that probably isn't very relevant to most people in this thread, but the reason why this is important for me is that I am going to be building a new PC and most new motherboards don't come with PCI slots anymore. I trust the Delta-44 interface even though (or maybe because) it's a million years old and I bought the M-Track to use with laptops as a portable rig and I've only used it a handful of times so it's still new to me. How does latency compare between a PCI interface and a USB interface? It's strange to be asking this question after owning both interfaces but meh. I think I'm just nervous about committing to USB after my Delta-44 has been rock solid for so long.
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Jan 15, 2016 06:58
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USB drivers have come a long way, you'll almost certainly be fine- just leave any really hardcore processing like say Izotope Ozone til after you are done recording.
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Jan 15, 2016 09:36
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Hey thanks! I feel like I've started getting the hang of compressors, and have been using them with a fairly light touch to get errant peaks tamed. I've even started having a preference, and I don't know why exactly! I've been using Molot for bass and ReaComp for guitars. I haven't recorded vocals yet but I'm sure that'll be an issue in and of itself. Drums are causing me an issue now. Basically, I have mixed things to where I'm pretty happy guitar and bass wise with this: https://soundcloud.com/syntaxfunction/tabs-new I scooped the mids a lot equivalent to a Big Muff (-5db at 1kHz) just to try and I'm liking the sound as it makes the bass and guitar really pop to me. It'd be a nightmare live (No mids live? Screw that) but I like the effect in the mix. With drums though, basically what I really want is the drum punch and sound from Siamese Dream. I'm not sure if the kit I'm using is just weak (the standard free Kontakt Player Pop Kit) but I've pushed it hard with EQs and limiters and even dropped the relative levels of everything else and it still feels really weak. It's audible, but there's no in your face attack. The bass I prefer having it laid back and throbbing rather than really attacky and bright. Any suggestions on how to get a similar drum sound other than "Hire Chamberlain"?
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Jan 15, 2016 11:37
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See about other transient processors perhaps? A bit of room reverb on a send can make a huge difference too. Make sure you are cutting eq so that the bass and kick aren't occupying the same sonic space: if for example your bass drum is most powerful around 90hz, cut some 90 from your bass and maybe boost a little lower.
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Jan 15, 2016 20:28
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What is the consensus on this setup as of late?: Jazzmaster -> fx -pedals -> Orange Micro Terror -> Palmer PDI-09 or Radial JDX Reactor -> Scarlett Solo -> laptop Essentially, I've been blindly searching for the solution to making the DI sound of the Orange sound as good as it does through a speaker. Dummy me finally hits upon that I need a DI box for this and the Palmer and Radial seem to be the top two choices. The headphone output on the Orange is not loving cutting it.
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Jan 18, 2016 03:46
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Are you going into some kind of cabinet/impulse simulator vst? Try that before forking out on a DI box. Voxengo have a free impulse vst. Or download the free version of Amplitube and use just the cabinets on that
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Jan 19, 2016 00:09
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NonzeroCircle posted:Are you going into some kind of cabinet/impulse simulator vst? Try that before forking out on a DI box. Voxengo have a free impulse vst. Or download the free version of Amplitube and use just the cabinets on that Thanks I've tried: Amplitube 3 and direct + cab IRs from Rosen Digital. The signal sounds thin and doesn't break up in the same way at all no matter what the output volume/input level/gain is set at. Bear in mind the signal is going from a stereo 1/4" out jack on the amp -> 1/4" instrument cable -> focusrite scarlett line in. Not exactly the best signal path, I figured. The amp sounds amazing hooked up to 4x12 cabinet and even my cute little 8" orange speaker cab sounds better.
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Jan 19, 2016 01:26
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The Palmer looks like a good choice for your needs, as far as I can guess you want some sort of attenuator so you can crank the amp for that breakup but not blow the Scarlett. Also perhaps silly question so sorry if it sounds dumb, are you using a stereo cable and is the input channel in your DAW set to stereo? Could be some issue there- took a little bit of fiddling with my Scarlett Solo to get my mono-rear end inputs to work as I wanted.
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Jan 19, 2016 01:55
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Mono instrument cable. I'll have to test with a stereo cable. Thanks for the help! The Palmer will probably be what I get.
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Jan 19, 2016 02:14
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I just finished an EP on my 2011 MacBook but it was really feeling the strain. I'm thinking about picking up a used imac for music production. Question is - what's a comfortable spec considering I'm using quite a lot of VSTs including CPU hungry stuff like EZ Drummer 2, PositiveGrid Bias and polyphonic soft-synths all at once. Something like Intel i5/i7 2.7 ghz and at least 4GB RAM?
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Jan 19, 2016 19:11
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I'd suggest at least 8 gigs of ram but look into 16 if it's not too expensive.
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Jan 19, 2016 19:12
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Get a refurb off of their website when you buy
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Jan 20, 2016 14:40
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ThePutty posted:so i've got a focusrite scarlett 2i2 and a sm57 i coughed up on a budget, but it's very quiet as a result of the preamp not really being suited for dynamic microphone ranges. i've got to put the gain up as far as it can go on my preamp to get anything audible, and it doesn't really create a nice sound as a result. would a fethead/cloudlifter enable me to get a louder, clear sound without the need for so much gain, or should i try something else? Following up on this, did you find a solution? I have the same interface and was looking at getting an SM57 but if the preamp kinda sucks for dynamic mics, what should I be looking for instead? Condenser mic? It'd mainly be for vocals and electric guitar.
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Jan 20, 2016 16:33
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Hey home recording dudes. I'm relatively new to trying to record at home and I'm trying to get some ideas. For context, I'm doing mostly acoustic guitar and vocals, and have a compression microphone, Focusrite Scarlet 2i2 interface and I'm recording using Logic. What I'm looking for advice on is speakers. My PC has had the same crappy set of Creative speakers for years now and I'm looking to get some new bookshelf speakers, but ideally I'd like them to be useful for my recording exploits from my Macbook as well. What sort of setup would I be looking at (if any) to make this kind of thing possible? Would I be looking at two different sets of speakers? Also any advice on recommended mid-price monitor speakers would be ideal. Fuegan fucked around with this message at 17:48 on Jan 20, 2016 |
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Jan 20, 2016 17:43
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Can I make a motion to encourage people to get the scarlet focusrite 2i4 as a general recommendation? the i4 is better equipped to handle all the problems that keep coming up in this thread and I think it would be a better recommendation. I LOVE mine.
Captain Apollo fucked around with this message at 17:55 on Jan 21, 2016 |
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Jan 21, 2016 17:51
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Captain Apollo posted:Can I make a motion to encourage people to get the scarlet focusrite 2i4 as a general recommendation? the i4 is better equipped to handle allt he problems that keep coming up in this thread and I think it be a better recommendation. I thought the extra inputs wouldn't be needed so I went with the 2i2 
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Jan 21, 2016 17:53
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Spanish Manlove posted:I thought the extra inputs wouldn't be needed so I went with the 2i2 It's extra outputs, not inputs. Also has MIDI din in/out and pad buttons for each of the inputs.
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Jan 21, 2016 18:20
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Roland Duo Capture Ex is $20 cheaper than the 2i4, has half the latency and cleaner preamps that can actually properly accommodate instruments.
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Jan 21, 2016 18:28
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Bolange posted:It's extra outputs, not inputs. Also has MIDI din in/out and pad buttons for each of the inputs. That's why I was dumb.
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Jan 21, 2016 18:30
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