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Ball Cupper posted:Ah hell, it keeps happening - at least partially. I've been out of the loop with regards to Windows audio problems for years now, but would http://www.asio4all.com/ help at all?
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May 11, 2016 20:30
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Spanish Manlove posted:I got a kinda easy question about tracking and mixing that will probably boil down to personal preference. For the sort of (great BTW) stuff you do, a track per side should be ample, slightly different amp settings even if its the same physical guitar are the main thing. Something like Rammstein can get away with bajillions of multitracks but the pace you tend towards needs clarity and definition which gets lost the more tracks you do. I tend to pan 75ish percent for each side,unless I'm going for a spot effect kinda thing like in say Aesthetics of Hate by Machine Head. If a chorus is more "chordy" for want of a different word I'll sometimes add another layer of guitar on each side at 100% pan and lower in the mix just to give some more width. With 'solos' (I'm trying to learn that side of playing atm so dont have too much experience mixing in a finished tune) I'll generally pan it center but will often employ a bit if a stereo effect like delay or subtle modulation. This is my current take on things, it will probably change down the line though, especially when I am working with vocals again. General tip as well, I cut my guitars around 12khz to make room for the cymbals/hats as they will generally occupy the outer reaches of my stereo image NonzeroCircle fucked around with this message at 21:01 on May 11, 2016 |
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May 11, 2016 20:52
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NonzeroCircle posted:For the sort of (great BTW) stuff you do, a track per side should be ample, slightly different amp settings even if its the same physical guitar are the main thing. Something like Rammstein can get away with bajillions of multitracks but the pace you tend towards needs clarity and definition which gets lost the more tracks you do. I tend to pan 75ish percent for each side,unless I'm going for a spot effect kinda thing like in say Aesthetics of Hate by Machine Head. Thanks! I figured it might get a little too wishy washy at that speed but the real reason I haven't tried it yet is because I'm really lazy. It's hard to get two perfectly timed takes so most of the time I'll just take the first two and go "yeah that's fine, whatever." I'll give the extra tracks in chord heavy sections a shot since those sections are easy to play. Yeah I don't know the exact figure but I think I've been doing 85% a side with the same exact guitar and same amp profile (by "amp profile" I mean groups of settings in amplitube). That's mostly because I haven't really figured out another profile I like as much as the one I currently made but I've been holding out on that until I get a reamp box and my marshall fixed up. One day I want to experiment with blending amps together through reamps or modelling a bunch of stuff simultaneously. For "leads" I've heard stuff like the beginning of this which is sorta the style I'm badly imitating they have each guitar doing something separate. So I kinda wonder if they multitrack each guitar or do it like I have been doing and each guitar is single tracks. For actual proper leads it seems like most bands have a centered track but for point-counterpoint solos like iron maiden or slayer they seem do the first solo (King) as 60% right and the second solo (Hanneman) 60% left. Or maybe it's 75% and the main tracks are just 100% L/R. This all seems to just be a matter of experimentation and going with what feels right. Do you high pass cut everything past 12kz or apply a bandpass at that frequency? I just use a multi-band EQ in amplitube and cut 250hz, 2khz, and 4khz with like a 2:00low 3:00mid 2:30high
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May 11, 2016 22:04
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I just roll off all frequencies above 12khz using the high shelf on Cubase's basic eq (or the inbuilt one in Nadir if I'm using impulses). Rolloff happens after Amplitube/whatever, its the last thing in my signal chain. Regarding sides, say you're using the Metal Lead V, you've got your sound you really like, bass at 7 out of ten on the little counter thingy at the bottom , mids at 6 treble at 8. On the left dial the Mids back to 5.8, on the right bump it to 6.2 and bring the treble to 7.9. These numbers are obviously hypothetical but its tiny incremental differences that add width. Alternatively same amp settings but have an Overscream before one and the Overdrive before the other, both with the knobs set as similarly as possible. Look up mid/side processing too, its often more of a finished mix thing but it can work wonders on 'central' tracks: ie if you have a solo on the go, an eq with mid/side processing can add treble to just the 'outside' of the sound. I dig the Maiden style trade off panning on their lead lines, though I'd probably reign the the tracks more towards the middle, especially the rhythm guitar. Something like Avenged Sevenfold's older stuff where there's a central rhythm guitar keeping in with the bass in the middle whilst harmonies are shot out to the sides. Edit: don't sweat exact percentages too much, stereo imaging varies so wildly between devices, even this phone I'm typing on has adjustable stereo width, its more about feel than anything. Unless you wanna go the full KoRn and gently caress it, 100% out at the sides and never the 2 shall meet! NonzeroCircle fucked around with this message at 23:03 on May 11, 2016 |
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May 11, 2016 22:48
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I like to pan hard left and right for separate guitar tracks, but I'll parallel compress each guitar and have that bus sitting at 75%ish pan on the relevant channel so it's still wide but gets thickish closer to the center, and leave that middle spot for vocals/lead guitar/synth line or whatever.
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May 12, 2016 05:34
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Does anyone in here have any experience in making impulse responses of guitar cabinets? I've done it before but this time I thought I'd try out my newish cab. I used a 4 second 20hz-20khz sweep and somehow the results have come out a bit too loud and boomy sounding. None of the recorded sweeps clipped while recording. I used ReaVerb in Reaper both times though I think I may have missed a setting. Edit: Just looked at the profiles of them in the X-50 guitar amp plugin and the boominess seems to be at around 80-100hz on all four of the resulting impulses. Any ideas? Wrath of Mordark fucked around with this message at 15:22 on May 12, 2016 |
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May 12, 2016 15:19
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Are you using the same sample rate for everything? Apparently that can make a difference?
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May 12, 2016 15:39
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I'll try reducing the volume of the recordings a little. While they aren't clipping, the profile of the IR looks like the lower frequency range is exceeding the top of the spectrum thingy. edit: Kind of got it working in the end but there's some annoying room noise. Gonna have to build one of those isolation boxes. The sweep file was 32 bit rather than 24, but the resulting IRs were still a bit loud. edit 2: Actually this is really weird. The reference tones I recorded to find the good mic positions sound fine with no room noise, the IRs captured in the same positions sound way too boomy on the bottom end and have some kind of room reverb, I'm definitely doing something wrong in the deconvolving process as the previous ones didn't sound this bad. Wrath of Mordark fucked around with this message at 22:33 on May 12, 2016 |
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May 12, 2016 16:52
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Wall of text eq/mixing question incoming. I've recorded some tracks on my 4 track and bounced them to cubase to mix and touch up, and thought they were sounding pretty good. I sent them to a friend who asked if he could tweak them, kind of in between a secondary mixing and a mastering stage since he was working with the "mixed" stereo wavs I sent him but went a little more in depth with eq than a mastering engineer would. He sent them back and they sound way more "expensive" since his eq carving removed the boxiness of the room and really created separation and definition for the drums, guitar, and vocals. My only objection is that I think he brickwalled them slightly harder than I would like and the high end is a little breathy. I feel like they sound great these caveats aside. Consequently I can't hear my old mixes without being overwhelmed by their boxiness. This wouldn't be a problem as I would just release the whole thing on Bandcamp as he adjusted it maybe after bouncing it through a tape emulator to round it out a bit, but he forgot to send me one of the most important tracks on the EP in its finished state and had to leave the country suddenly and won't be back for over a month and I'd like to start booking shows with this material/make cassettes. I used CurveEQ to see if I could match the EQ on the missing track myself to try and get it to sound close enough to the rest of the tracks to post but now I've found that the version that I make with CurveEQ is even better to my liking than the ones my friend sent me except that I can't figure out how to get rid of this particular harshness in the high mid range that's driving me crazy. As I see it I have three solutions to my problem. Solution one is to try and screw around with this one missing track to make it fit in with the rest of the tracks that I like second-best, solution two is remixing all of the tracks using this new found EQ curve that I like and try and figure out what the harshness is and eliminate it, or solution three is wait a month which I really really really don't want to do and have my friend turn down the compression on all of them and send me the full thing. I've been on the verge of being finished with this thing for two months now and it's driving me crazy, I just want to put this out into the world and play some shows. Thoughts? Should I post an example of one original mix with its remixed counterpart and the missing track in each of its versions? E: I understand that there's a fourth solution which is just putting my original mixes up on bandcamp and saying gently caress it, but I really think my new versions sound great and I want to be proud of what I've put out so its a no-go for me now that I know what's possible. himajinga fucked around with this message at 02:19 on May 13, 2016 |
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May 13, 2016 02:16
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Alright here's a little section of something I'm making. This part's a little different from what I normally do in that it's slow. Drums are placeholders as they're just fast beats slowed down to 1/6th speed. Version 1 is centered "lead" part which admittedly is a little hard to hear since it's meant to just add a subtle layer https://soundcloud.com/lfranco321/office-space-centered Version 2 is taking the centered take and shoving it into the left channel https://soundcloud.com/lfranco321/office-space-split I'm not sure which one I like better. But at this speed I'm kinda liking the centered one. Maybe what I should take from this is to be flexible by applying different things when they sound right and experiment with things, like this. Spanish Manlove fucked around with this message at 18:35 on May 14, 2016 |
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May 14, 2016 18:30
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Got the impulses done today, came out way better. It could have just been the fact I trimmed the sampled cab wavs to the bar* rather than using auto punch in, but using it worked and the IRs are waaaay more workable than the ones I did last week. *I then soloed each track and bounced them down one at a time and although having no effects on the master bus, this may have been what hosed them up.
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May 18, 2016 00:41
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I'm almost done with some new recording, and i'm thinking of hiring a producer to mix and polish everything up. Do you guys have any tips on where to find a decent producer online? Is anyone here available? My music is fairly simple rock. I've heard there are websites where producers can be contracted out. Are they worth it? Any sites you would recommend?
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May 19, 2016 15:40
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I record a podcast with a Focusrite Scarlett 18i8 and 4 shure m57 mics. I use headphones to listen to the audio but I realize now that I should get my co-hosts headphones too because they are terrible at staying close enough to the mics. Is there an easy way to split the monitor line to 4 headphones?
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May 26, 2016 20:18
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I have this hooked up to my Saffire Pro 40's second headphone output: http://www.amazon.com/Behringer-HA400-4-Channel-Headphone-Amplifier/dp/B000KIPT30 It takes 1/4" in and out, but you can get like thirty 1/4"-1/8" adapters on monoprice for five bucks for your headphones. Also, it lets you adjust each volume level independently. There are bigger/more complicated/more expensive ones out there, but this one's been all I need to let the whole band listen to what we're doing when we record. There may be better options for that price, too, but I got this one from a friend for free so I haven't really looked around for a better deal.
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May 26, 2016 20:40
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CaptainViolence posted:I have this hooked up to my Saffire Pro 40's second headphone output: Ordered. Thanks!
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May 26, 2016 22:36
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CaptainViolence posted:I have this hooked up to my Saffire Pro 40's second headphone output: I use the same setup for monitoring when I record full bands that need a click or a reference, works great
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May 26, 2016 23:49
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Disco De Soto posted:I'm almost done with some new recording, and i'm thinking of hiring a producer to mix and polish everything up. Do you guys have any tips on where to find a decent producer online? Is anyone here available? My music is fairly simple rock. I could give it a stab, hook me up with a multitrack to any track of yours and I can see what I can do with it and if you dig it we can talk more about it. astrom.georg at gmail
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May 27, 2016 01:19
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I think it'd be handy if we had a section in the first or second post of tips and tricks for us home producers/mixers. I've stumbled my way through a lot of poo poo thanks to Google and trial and error. I mainly deal with "traditional" rock set ups, with MIDI drums since I don't have a drummer right now. Some tips I learned the hard way (And could be completely wrong so please correct me! I love to learn) are: - If you have to EQ anything to hell and back (I'm talking 3+-dB boosts everywhere) then your source material is probably lacking. Especially when it comes to guitar you should have a good sound to start with. It doesn't have to be perfect because that's what mixing is for in my opinion, but it should at least be in the same ballpark. I had one clip recently where I must have spent hours trying to massage a good sound out of it and in the end all I got was "okay". Said gently caress it, went back and redid the micing and settings and all that and got a sound that needed minimal tweaking because it started off close to what I wanted. - The "punchiness" of a mix doesn't usually come with the guitars. For ages I tried pushing my guitars up and up and up in volume, drowning out everything and still having none of that oomph you get on records. Turns out that walls of fuzzy or distorted guitars sounds loving awesome, but guitars generally don't have the punch by themselves. In my experience it's the bass/drums combo that gives what I'm looking for. I came to this realisation when I got frustrated at my lack of power despite having tonnes of guitars going and looked up some isolated guitar tracks for heavy alt rockers and metal bands. Turns out that the guitars sound awesome, but in a production environment there's no "pushed air bias" that influences the sound to your ears. So yeah, get a good sound foundation for your guitars and for that push look at your bass and drums. - Bass DI is so much goddamn easier to work with. You can always reamp if you have that beast of an amp (I really want an AD200B or SVT), but for bedroom stuff just DI and hit it with a compressor. Maybe use a bass amp sim if you want. Sometimes I use one, sometimes I don't. Bass tends to be played clean most of the time, and going DI really helps to maintain the "character" of a particular bass. Hitting it with a compressor (My favourite is Molot, it really gives a nice smoothness, but isn't exactly great for people new to compressors) helps smooth the peaks and lets the bass hit hard in attack without doing too much peaking. - VSTs are awesome. Free VSTs are awesomer. As someone who is just trying to get something together to go "this is basically what I'm after" (In other words, I'm not doing this for money) free VSTs work well. Amazingly, even. There's VSTs for strings, compressors (So many goddamn compressors), drum kits, sequencers, etc. If you're after that pristine quality then yeah, pay for Kontakt or something. But if you're just thinking "Man, I wish this section could have some strings" then it's but a Google away. I think I have like four string section VSTs. There is the VST thread too, which comes in handy. - Mix low. Yeah, people say this all the time but realistically it's not even a matter of where you "should" be, rather it's simply that if you mix low and everything gets brought up at the master then you can add a tonne of stuff and not worry about peaking. It's just easier, and more practical. And if you need volume then... - Use a limiter. I like BuzMaxi (Some version, I can't find it anywhere). I don't crush things but I like to leave it in the master bus while mixing, just turned off. Why? I find if I'm tweaking things that affect the level in any way (Tape saturation and EQing are common examples) then I can get hit by the idea that the "better" one is the louder one. If you have a limiter on the master you can isolate the part you're messing with, hit the limiter on and A/B. That way you can see the result outside of volume bias. Then when you're happy, turn the limiter off. It's a simple but effective way to make sure you're going for the sound, and not just having everything gradually just get louder. There's a load more, but I was hoping you guys could all mention a couple key things you've learned or noticed on the way. Hopefully I'll learn something new!
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Jun 1, 2016 11:57
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So, somewhat of a random, niche post, but if anyone ever happens to be looking for a good microphone for beatboxing, I can highly recommend the Audix Fireball (http://www.audixusa.com/docs_12/units/FireBall.shtml). My awesome fiancée surprised me with one for my birthday after seeing me reading a blog piece about it, and I am in love with this thing. SM58 was my go-to model before but this is a great improvement. Everything comes through really crisp and punchy, and it has a good amount of extra bass response to fatten things up. Compared to other dynamic mics, you can hit this thing really hard and it just doesn't overload or distort or get that horrible wind-against-diaphragm noise at all. Oh and you can cup it for extra bass and it just doesn't feedback. Thing is genius. I feel like it's instantly upped my beatboxing game.
chippy fucked around with this message at 12:44 on Jun 1, 2016 |
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Jun 1, 2016 12:40
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syntaxfunction posted:I think it'd be handy if we had a section in the first or second post of tips and tricks for us home producers/mixers. I've stumbled my way through a lot of poo poo thanks to Google and trial and error. I mainly deal with "traditional" rock set ups, with MIDI drums since I don't have a drummer right now. Some tips I learned the hard way (And could be completely wrong so please correct me! I love to learn) are: I've kind of been fighting with a mix on my new EP and I couldn't really figure out a good balance. I got it sounding really close to where I wanted it, but there was always some frequency in the high mid range that I felt sounded fatiguing and made my ears kind of hurt or a frequency in the upper bass range making the whole thing sound boxy. A friend of mine suggested that I take a studio EQ plug-in, turn the Q factor all the way to Max, boost the EQ +24DB and sweep left to right until I found a frequency that just screamed out. That was the frequency that was driving me crazy and a mild cut, three or four DB at that specific frequency made a world of difference. I also used the same technique to tame overly harsh high hats, make my modern sounding vocal mic sound slightly less crisp to fit in with a more vintage sounding mix, and boost slightly anemic guitars. His explanation was that after years of mixing professionally you eventually get to understand what frequencies sound like what and you don't have to seek them out every time but for the beginner it's really good ear training to do it with the EQ sweep method to find the frequencies that are driving you crazy.
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Jun 1, 2016 18:17
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There are loads of interviews with recording and mixing engineers and related articles in the free archives of the SoundOnSound magazine. Also Q&A's and how-to's. They are full of little tidbits like that. Like, any tip brought up here in the last couple of posts is something I've read before, almost verbatim sometimes. Anything from 2000 on up until 6 months ago has the full article freely accessible online, I think. Open a couple of tabs while you're on the shitter. Probably skip the gear reviews for these purposes. I'm sure there are books, blogs, podcasts and video channels a-plenty as well if the article format doesn't suit you. What I'm saying is don't wait for problems to crop up to then google for a solution someone almost equally inexperienced posts on some random forum or re-invent the wheel yourself. Pre-emptively read up a bunch on the experiences of people that have been doing this for a job for years. None of the problems you're (bound to be) having are new.
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Jun 2, 2016 00:19
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One of the best things I've learned when mixing is to treat it like you only have so much bandwidth per frequency range and that if you try to cram too much into them it will sound like poo poo. The workaround is that there are two pathways and subtle panning is the key to getting more sounds to be clearer when you have overlap.
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Jun 2, 2016 03:21
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I think one of the most important things I've learned, is that everything starts with the source material. lovely source material is only going to sound just like that ; Like poo poo. Something that helped me immensly too, when starting out was this forum thread; http://forum.cockos.com/showthread.php?t=29283
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Jun 4, 2016 00:56
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Flipperwaldt posted:There are loads of interviews with recording and mixing engineers and related articles in the free archives of the SoundOnSound magazine. Also Q&A's and how-to's. They are full of little tidbits like that. Like, any tip brought up here in the last couple of posts is something I've read before, almost verbatim sometimes. I've definitely read the SOS Classic Tracks articles and got some (but not a ton of) useful advice from them, but you bringing this up let me stumble on the Secrets of the Mix Engineers series of articles, and holy poo poo. This is exactly what I've always wanted to know about mixing: how they set up their tracks to mix, exactly what effects and plug-ins they use to get whatever sound they're looking for, what sort of EQing and bussing they do. It's actually incredibly intimidating, and I'm just now realizing how basic and amateurish my mixing is compared to the professionals. This is amazing.
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Jun 5, 2016 03:33
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CaptainViolence posted:I've definitely read the SOS Classic Tracks articles and got some (but not a ton of) useful advice from them, but you bringing this up let me stumble on the Secrets of the Mix Engineers series of articles, and holy poo poo. This is exactly what I've always wanted to know about mixing: how they set up their tracks to mix, exactly what effects and plug-ins they use to get whatever sound they're looking for, what sort of EQing and bussing they do. It's actually incredibly intimidating, and I'm just now realizing how basic and amateurish my mixing is compared to the professionals. This is amazing. But also general good practice, like eq'ing without soloing, which at one time was something that really went against how I used to work. Basically only solo while fixing real technical shortcomings. Otherwise let the context point you in the right direction. Or the simple realisation that even a basic folksy track in a professional studio is built up from five times the number of tracks I would use at home for anything, with stuff double mic'ed from different places, an ambience mic, re-amped guitars and extensive level automation. Like, if you're also a performer, it's good to know that even the most legendary musicians' recordings go through a bit of tarting up and that you shouldn't be embarrassed per se if your vocals aren't perfectly level already going into the mic. You should work on that, probably, but not cower in shame when comparing it to finished professional recordings. I also love the interaction between people involved. Some are closer to the process than others and each has different vision and input, which can contrast with the tunnel vision (or lack of vision) when you're just one person doing everything at home. It can be really hard to be in that situation and also try to be the guy that can say: "this isn't it; let's wipe the slate clean and start over". This broader stuff I find more interesting than what specific mixer or compressor was used with what settings. I'll never be able to afford some vintage Neve desk anyway and settings are heavily programme dependent to the point there's no use copying them. Though I do love me the Q&A section as well. How do I mic up a banjo? In essence, I don't care. Wouldn't have come up with the question in a thousand years. But the answer will probably make a comparison with general guidelines on how to mic up an acoustic guitar, which maybe is useful to me. Or tell me about how microphones in general perform differently under different angles.
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Jun 5, 2016 09:56
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Agreed, I love the SOS stuff. I've actually been reading it for ages and a lot of stuff they've said has preemptively solved problems for me. Like I'd be reading an article and go "huh, that's neat" and then later on it comes in handy. I can't agree with the SOS recommendation enough. I think I mainly just enjoy hearing from people that know their poo poo, because they save me all the time they spent to learn what they're saying. I think that's neato. But yeah, everyone should read SOS. It's awesome even if you're a bedroom demo producer like me. Edit: Oh yeah, a useful tip that took me way too long to figure out (I am dumb): When people say to get a fat guitar sound by double tracking they mean literally playing twice and layering it. What they don't mean is playing it once, and copy pasting it and then panning one left and one right. It's just the same as having one track. I want to slap younger me when I go back to some old demo projects. syntaxfunction fucked around with this message at 11:10 on Jun 5, 2016 |
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Jun 5, 2016 11:04
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Is there an equipment "stupid / small questions" thread I'm not finding? I've run out of inputs on my USB audio interface - currently a Scarlett 6i6 - and am looking to upgrade. I've also started consolidating my setup - before it was a bunch of synths I had lying around the house and now they're all interconnected on my table. My choice has come down to either the Focusrite 18i8 or a Yamaha 10GXU, unless someone in the thread has other recommendations. The price difference is fairly huge, and while I like my 6i6 I'm having a hard time figuring out why the 18i8 merits the price difference. Is it just the USB latency and MIDI? If so I can easily just use the Yamaha MG10 (unless the effects are worth it and get the XU - considering I've no effects pedals, maybe) and run its audio through the 6i6. The salesmen I talked to said the Yamaha was alright for home or live use but awful for recording, but I'm assuming he meant over USB. I don't use microphones at all, so while the mic preamps are apparently great on the Focusrite they're no use to me. Any recommendations would be great. Thank you.
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Jun 5, 2016 11:34
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Why not just get a small mixer? Are you recording everything all at once? A little Peavey or similar with 4-6 inputs would probably be fine for you
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Jun 5, 2016 13:18
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NonzeroCircle posted:Why not just get a small mixer? Are you recording everything all at once? A little Peavey or similar with 4-6 inputs would probably be fine for you Everything gets recorded at once, yes. I have four devices; a Monomachine that also sequences up to three external devices. A long ways ago I had an entry-level Behringer mixer with USB and had a lot of line noise; I have much less with my Focusrite and just want to avoid the same issue if I get another entry-level piece of equipment. Best case scenario, everything gets routed through the mixer and I can sell my 6i6 to make up the cost. Worst case, I have a mixer output to my 6i6. I'm mainly concerned about throwing good money after bad.
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Jun 5, 2016 13:39
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There is an audio interface thread, but it's very low traffic these days. One of the surprises that came forward in there was the Zoom R8 as a low cost, low noise, low latency marvel with a bunch of added in extra conveniences. These plusses would also go for the Zoom R16 that can record 8 inputs simultaneously. If you're vaguely swayed by internal effects and stuff, this thing is great. Also works as a stand alone, battery powered recorder to sd cards. Doubles as control surface and what have you. I just had my hands on a predecessor of that Yamaha mixer and it's noisy as hell. Don't know if that counts as reliable data on the new one though. There's nothing wrong with the 18i8, but I'm personally absolutely swayed by the novelty factor of that Zoom thing. I'm not sure if combining the two Focusrite interfaces through the digital connections is possible (ie use one as a sort of port extender on the other). But that would set you for inputs for the future, of course. The new behringer mixers with the red sides can function as a multi-in audio interface as well, and are supposed to be better than the previous generation as well, but you're not saving any money with them. Only if you were looking for mic inputs and hands on onboard eq in the first place.
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Jun 5, 2016 15:54
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Flipperwaldt posted:This broader stuff I find more interesting than what specific mixer or compressor was used with what settings. I'll never be able to afford some vintage Neve desk anyway and settings are heavily programme dependent to the point there's no use copying them. Yeah, specific settings and stuff are useless, so I'm glad they don't get into that too much. It's not so much which specific compressor or pre-amp anybody's using that I'm learning from these, but things like in the article for the Muse song the dude talks about setting up different compressors and effects on each of the four mics on the kick drum (and the rest of the 30ish mics for the rest of the kit), then bussing that to the overall kit which had its own effects on top of that, then bouncing the final mix out of Pro Tools onto tape and ran it through his A/D converter back into ProTools. The work that goes into it all is mind-boggling.
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Jun 5, 2016 21:50
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I mention it because according to the introductionary chapter of every book on mixing I ever read, the overvaluing of memorizing compressor and eq settings is a widely held mistaken belief. Even though I've never seen anyone really ask for stuff like that and most books subsequently can't help themselves providing tables with instrument specific frequencies and good starter settings for compressors anyway  That Muse setup sounds insane and borders on acoustic synthesis.
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Jun 5, 2016 23:59
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WorldWarWonderful posted:My choice has come down to either the Focusrite 18i8 or a Yamaha 10GXU, unless someone in the thread has other recommendations. If you think the price jump from the 6i6 to the 18i8 is steep, wait until you start looking for 32in/out interfaces 
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Jun 6, 2016 00:27
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Okay this might not be the right thread to ask in but what the hell, my jamming group lost our jam space a while back, so I was wondering if there was an easy way to get the sound from a bass, guitar and electronic drums into one mix and pipe it into three sets of headphones (or maybe 4 if we get like lead and rhythm guitar) This way we could conceivably play in an apartment since we have no access to just normal houses right now. Is this as easy as just getting the outputs from the bass and guitar and drum amp to some kind of mixing thing? I'm poo poo at audio technical stuff but I want to get this thing going again if possible. My other so far theoretical idea is if you can do amp modeling on a computer for bass and guitar at the same time and do it that way but no idea if that would work.
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Jun 13, 2016 00:34
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Yeah everything pumped into a mixer and then out into an active headphone splitter will let you do all that. Cheap stuff like Behringer stuff will be fine for jam space, I had a 24port mixer and 8 port headphone splitter both in that brand that worked fantastic for the exact setup you describe. From a computer is also feasible if your audio interface has enough inputs, load up the guitar sim and bass sim on different tracks with the appropriate input set and that's all you need, you can have as many guitar tracks as your interface's ports and CPU can handle and you can add in drums or vocals very simply. A little bit of mixing will help a lot, some EQing and reverb sends will help the mix mesh together and improve the headphone experience. From this point it's just a matter of hitting record and you can make decent sounding demo tracks with little effort. You'll probably still need a headphone splitter but they're pretty cheap, it's best if you can all be using the same type of headphones because there won't be issues where someone has too much bass and another too little just due to differences in the sound quality of their headsets and there's no way to individually adjust anything except volume with this setup.
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Jun 13, 2016 02:21
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I have no idea how good it is but Jam Hub is a product that is specifically designed for this.
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Jun 14, 2016 01:23
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I recently purchased a weird, awesome, fortress-like house with multiple outbuildings. The best and biggest building was used as an exercise studio by the previous owner and I think it's going to make a fantastic music space. It would be amazing to have a place that I can make tons of noise as late as I want without impacting my wife sleeping or my neighbors, and I'm going to try as hard as I can to make that happen. I envision the space being a combination project studio and jam room. Here she is, nestled in the back corner of my lot and about 50 yards from either of my neighbors houses. SO CUTE! Once I'm finished I'm going to have someone do a mural on it.  And here's what the inside looks like. Additional views: 1 2 3 4 It's a good size, about 12' x 15' with a slightly vaulted ceiling. It's solid, but it definitely has some funky construction going on - it was built on top of an existing concrete slab that sloped downwards a bit, with poured concrete for a foundation that's about 8" tall and 8" thick. As seen here. The walls are all vertical within an 1/4" of an inch or so, but the floor is very much not level. The other bit of funky construction is the door opening [see #1 ] which is only about 6' tall. There currently isn't a door installed, just a security gate, which isn't much of a deal because there's no real need for HVAC or anything in Oakland. This was something I've been puzzling over how to fix but I've finally decided to just have my contractor reframe and install a pre-hung door, plus a second door swinging the other way. I'm also having him build up the floor to be level, then I'll be tackling the electrical, drywall, flooring and finish work myself. For soundproofing, I've ruled out doing a second wall because it would take the size of the room down from a decent-sized-smaller room to a plain-old small room. Instead, I'm going to do acoustic clips, hat channel, and two layers of drywall with Green Glue in between. First I'll be tackling electrical, and will be tying all of the power outlets to a common ground and redoing the lighting to LED track lighting to prevent noise issues. Also will get ethernet from the house and to a Ubiquiti in wall access point. Aside from adding a couple more outlet boxes I don't think this is going to be a big deal. Here are the things I could use some advice on: * For the floor, do I need to do anything for insulation between the concrete pad and the plywood? Sand? Fiberglass insulation? I don't think I'm worried about it as a sound transmission vector, but I don't want to to be resonant on its own. There's probably 3" of drop from the highest to lowest point of the floor so it'll have a bit of volume. * How to handle the windows and ventilation? My initial thought was to build soundproof boxes I could latch in to the window openings. There are currently simple sliding single-pane windows with screens on the outside of the frame, so I could just duplicate the same thing without the screen on the inside (with double-paned glass, though.) But, what about ventilation? Will I need anything beyond just opening the door to let it cool down and let fresh air in every hour or so if I'm rehearsing? * The roof is vented on one side and I feel like this is going to be where sound will leak out once I deal with the windows. The plan is to drywall it just like the other walls. Anything else I need to do? (Here's what I mean by venting: From outside. From inside. ) Any input is appreciated. I'll post a build thread once I get going if there's interest.
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Jun 15, 2016 01:11
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I don't think there's anything I can offer in terms of advice other than a vote in favor of some sort of ventilation (my school's sound studio lacked ventilation and students referred to it as "The Sweat Shop" even after our professor managed to rig up a portable A/C unit of his own to get some air flowing in there). I'm definitely interested in a build thread, though! It's a project I'd love to undertake when I finally get my student loans paid off and get into a house of my own, so a thread would be awesome.
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Jun 15, 2016 04:07
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I am in the process of trying to find a decent MIDI keyboard for my home setup. I don't have much desk space to waste so I have the following criteria: 1) at least 61 keys along with octave keys, pitch bend and mod wheel 2) should be at most 90cm/36in wide 3) semi-weighted keys or just a good keybed in terms of being able to play dynamically 4) preferably no encoders/faders/drum pads to keep the overall size small 5) not very pricey, less than $500 So far I have found: Arturia KeyLab 61 - would buy in a heartbeat but it's filled with buttons I don't really need, and it seems the buttons are mainly meant for controlling the bundled software and for custom MIDI mapping I only get 2 banks. (http://www.thomann.de/gb/arturia_keylab_61.htm) Korg microKEY Air 61 - looks really good, but I am wondering if it feels like microKorg? (http://www.thomann.de/gb/korg_microkey_air_61.htm) M-Audio Keystation 61MKII - a bit too bulky and also I am not too sure about the keybed, because it seems too cheap to be good (http://www.thomann.de/gb/m_audio_keystation_61_mkii.htm) ESI KeyControl 61 XT - looks very nice, but also too cheap to be good (http://www.thomann.de/gb/esi_keycontrol_61_xt.htm) Doepfer D3M - nice size, though a bit expensive, and because it is an organ keyboard, I don't think it can be classified as semi-weighted. (http://www.thomann.de/gb/doepfer_d3m_orgelkeyboard_schwarz.htm) Does anyone here have experience with any of the above?
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Jun 15, 2016 15:44
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| # ? May 11, 2024 07:30 |
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Greggster posted:I could give it a stab, hook me up with a multitrack to any track of yours and I can see what I can do with it and if you dig it we can talk more about it. Thanks, I'll get in touch when we are ready.
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Jun 23, 2016 12:28
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