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https://rogueamoeba.com/loopback/ Would be handy here.
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Sep 13, 2022 13:19
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Captain Apollo posted:https://rogueamoeba.com/loopback/ I tried the demo software but I had no clue what I was doing and ended up running out of demo time!
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Sep 13, 2022 15:50
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i have a vt-3 that i use similarly. there's a setting you have to change on the vt itself by holding down a button combination when you turn it on. if you look up the manual, it'll be listed as loopback or return, i think! edit: looks like it's different on the vt-4. on page 8 of the manual, it looks like you need to set playback to Out 1-2 instead of To Mic In 3-4 CaptainViolence fucked around with this message at 19:27 on Sep 13, 2022 |
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Sep 13, 2022 19:21
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CaptainViolence posted:i have a vt-3 that i use similarly. there's a setting you have to change on the vt itself by holding down a button combination when you turn it on. if you look up the manual, it'll be listed as loopback or return, i think! I'm looking at that page now and running into a similar problem I've had previously: I don't see where it describes how to set the playback to OUT (1-2) anywhere in the manual.  Here is the full manual edit: Is this a hardware issue on my side, because my microphone is connected to the Roland VT-4 via an XLR cable and not into the LINE OUT ports on the back? Would an XLR to 1/4" pin work? Something like this? Verisimilidude fucked around with this message at 21:15 on Sep 13, 2022 |
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Sep 13, 2022 20:59
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it looks like something you might have to set in the software that comes with the drivers, maybe? probably same for the Recording section where you'd set it to 3-4 if routing playback alone doesn't fix it. it definitely seems like a bit more of an ordeal than the vt-3, i had to set that once and haven't thought about it since except when i see someone else with the same problem 
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Sep 13, 2022 21:52
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Mixing monitors question. I've come to the conclusion that exclusively mixing on my DT770 80ohms is not doing me any favours so I need to upgrade. So I think conventional wisdom would be to go with monitors but this is a bedroom studio so I'll be unlikely to be able to crank them and I have no ability to treat the room which is very flat walls and windows. Therefore, if I'm going to spend £400 I'm erring towards open back headphones and likely HD600s or 650s. Or can you really not beat mixing on real monitors even if I can't treat the room?
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Sep 16, 2022 13:58
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Nigel Tufnel posted:Or can you really not beat mixing on real monitors even if I can't treat the room? It's really more about knowing your room/speakers/headphones/setup than it is having a flat room. By "knowing" I mean: knowing what frequencies they might boost/cut and compensating for it. Honestly, when I get the first rough mix that sounds remotely decent, I start trying it on every possible speaker I can find, from my phone, to a shower bluetooth speaker I have, to as many cars/vehicles as I have access to, etc., and start adjusting from there. Compare mixes of songs you like - compare them on all the same speaker setups, then you can kinda tell how you might need to adjust things. It's not perfect, but it's definitely been "good enough". That being said, there are some great headphones that work well for mixing if you are unable to use a monitor setup. You mentioned not being able to really crank them. Meh. Shouldn't be mixing super loud anyway. 
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Sep 16, 2022 14:12
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Are you saying I can't spend my way out of being bad at mixing? Well drat.
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Sep 16, 2022 23:37
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The Pat Finnerty video about August is Falling kind of blew my mind after a fer-real producer spent an some time punching up his tracks. I know the long answer is "experiment" but are there any good youtube series or classes about mixing/getting the best out of EQ and compression that aren't done by LA Dbags trying to push their "BRO I CAN HELP YOU GET A HIT WITH MY PATENTED SYSTEM"
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Sep 18, 2022 16:20
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Dan Worrall often demonstrates things that blow my mind. That man has a very good understanding of how audio works on a fundamental level and no time for hype, myths or garbage people.
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Sep 18, 2022 16:55
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NC Wyeth Death Cult posted:The Pat Finnerty video about August is Falling kind of blew my mind after a fer-real producer spent an some time punching up his tracks. I know the long answer is "experiment" but are there any good youtube series or classes about mixing/getting the best out of EQ and compression that aren't done by LA Dbags trying to push their "BRO I CAN HELP YOU GET A HIT WITH MY PATENTED SYSTEM" If you can put up with (or enjoy) how catastrophically ’80s this is, I found it really helpful when I was learning (and I have it on VHS somewhere…): https://youtu.be/TEjOdqZFvhY
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Sep 18, 2022 17:32
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Nigel Tufnel posted:I've come to the conclusion that exclusively mixing on my DT770 80ohms is not doing me any favours so I need to upgrade. You absolutely can mix on those. When you’re done leiten to the music in a car, on some cheap headphones, anything else the average listener might have. If you can’t get good mixes that way then the issue isn’t the headphones. e: late!
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Sep 18, 2022 17:43
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Just gotta get to know your gear. It's unbelievable what kind of results people have got in rooms that had objectively terrible acoustics, untreated, not even trying to meaningfully kill reflections into the mic, etc.; if you have a solid artistic vision of what it is you are trying to achieve and where everything goes in a track, you can get it done. I agree very much that it helps to listen to your mix played back thru various sources to get a better idea of how things you're doing are translating. Familiarity with your hardware is worth a lot. I do believe good monitors in a poo poo room are still a worthwhile investment, or maybe "good enough" monitors at least. Getting past outright deficiencies in playback helps. But it's relative. At some point on the price scale tools become luxuries & status symbols; by the time you're that into things hopefully you're a pro and they can be reasonably considered investments, to go in your nice-acoustics studio space with room treatment, impressing actual clients. Maybe don't add a sub to a boomy room, anyway, you can be misled. Agreed fucked around with this message at 04:04 on Sep 19, 2022 |
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Sep 19, 2022 03:02
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P0PCULTUREREFERENCE posted:If you can put up with (or enjoy) how catastrophically ’80s this is, I found it really helpful when I was learning (and I have it on VHS somewhere…): Lol I just ate 100mg of gummies and watched about 10 minutes of this and oh man Very good information but holy poo poo lmao
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Sep 19, 2022 05:13
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I need to go back and watch it when I’m not so high.
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Sep 19, 2022 05:13
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Agreed posted:Just gotta get to know your gear. It's unbelievable what kind of results people have got in rooms that had objectively terrible acoustics, untreated, not even trying to meaningfully kill reflections into the mic, etc. Yeah this is legitimately nuts. The best guitarist and music producer I know produces out of an 8x12' spare 'bedroom' with nought for acoustic treatment but some crinkled packing blankets. On NS10s. He's currently writing with an artist and they're in the millions of plays on Spotify, and it makes me green with envy every time I'm in that room listening to his work.
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Sep 19, 2022 05:42
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there's definitely no substitute for knowing your gear and having a definite vision. more expensive stuff won't make your mixing better, but it can make it easier if you already know what you're doing and what you want. i picked up a calibrated mic and room correction software last year and in the end i wouldn't say it made my mixes better, but it definitely made me have to do fewer rounds of listening to it on every speaker i could get my hands on before i got it sounding good across the board. that probably would not have been the case a decade ago when i was still basically fumbling in the dark when it came to making a decent mix because i had so much other stuff to learn and an ear to develop.
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Sep 19, 2022 07:21
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CaptainViolence posted:there's definitely no substitute for knowing your gear and having a definite vision. more expensive stuff won't make your mixing better, but it can make it easier if you already know what you're doing and what you want. Agree! Good gear can only get you so far. It's absolutely hilarious under what conditions a ton of amazing records were made. In the latest TapeOp, Dave Stewart was talking about how the original Eurythmics records were done in a tiny room and I remember reading how a bunch of Jazz records were made a living room in Hobokien by a teenage engineer who soldered his own mixing board and begged his parents to let him host bands. Conversely, the house engineer for Lookout Records, Kevin Army, somehow managed to bury the the bass in almost every record he engineered.
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Sep 19, 2022 12:31
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I always figured that that's one of the reason why you should always have a couple of reference tracks whilst mixing too ; That way you can hear how stuff you know sounds good already/has the sort of sonic landscape you're going after will sound in your current mixing situation, be it in a small perfect cube of a room or the best mixing room in the world.
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Sep 19, 2022 14:02
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I mix/record everything live on this piece of poo poo.  https://www.youtube.com/watch?v=hYXS-u8rngY https://www.youtube.com/watch?v=aZ3OrU1ML1c https://www.youtube.com/watch?v=lZQxuA-02QY https://www.youtube.com/watch?v=zKWSdAUyI7w Feedback is always appreciated on the mix and recording and everything really. I kinda have a set pattern I use to pan out the guitars to the sides, add some reverb and compression to the vocals. Then I eq the vocals a bit, cut the lows and give a tiny boost to the mids. It’s kinda my cookie cutter approach to everything I record, it all gets the same settings first then I tweak it a bit from there.
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Sep 19, 2022 14:25
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Flipperwaldt posted:Dan Worrall often demonstrates things that blow my mind. That man has a very good understanding of how audio works on a fundamental level and no time for hype, myths or garbage people. Thanks! I confused him with that one guy whose thing seems to be "earnest production techniques delivered in the style of Rollins being sarcastic" P0PCULTUREREFERENCE posted:If you can put up with (or enjoy) how catastrophically ’80s this is, I found it really helpful when I was learning (and I have it on VHS somewhere…): I am 10 minutes into this and the line, "There is no god out there grading your recording..." has me emotionally invested + all the music on this are impeccably mixed.
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Sep 20, 2022 17:20
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That video taught me a shitload when I first saw it which was a long time ago now, I still use things it talks about though.
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Sep 20, 2022 17:25
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NC Wyeth Death Cult posted:Thanks! I confused him with that one guy whose thing seems to be "earnest production techniques delivered in the style of Rollins being sarcastic"
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Sep 20, 2022 17:48
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Flipperwaldt posted:I don't know who you're referring to but yeah lots of attitude, but it's more genuine personality than persona, which makes it more tolerable imo. Benn Jordan? Probably not but he was the first one that came to mind. https://www.youtube.com/c/BennandGear He's got a bit of the Rollins look but is way too chill for the comparison to work very well.
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Sep 22, 2022 13:18
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Welp Im having a real pisser of an issue and if anyone knows how to fix this Id be very happy. I have a drum machine, Korg Wavestate, and MicroFreak all going into a Xenyx mixer and from there into my sound card. When I open FL Studio or Reason and it switches AISO on, it suddenly is picking up and amplifying the voltage noises from my display adapter. So how do I fix this? I do have a harware workaround with the Tascam portastudio, but I would dearly love to be able to record to the pc. Any ideas?
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Sep 22, 2022 14:46
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P0PCULTUREREFERENCE posted:If you can put up with (or enjoy) how catastrophically ’80s this is, I found it really helpful when I was learning (and I have it on VHS somewhere…): probably a dumb question but are there any plugins that do something like what this video is doing at 4:30? like a visual representation of how everything is laid out in the mix in terms of volume, panning and frequency? I have heard of spectrum analysers and such but I don't think they make it quite so visually obvious where everything is (?). I assume that the video is a fancy and fake representation of the mix that can't really be done but idk!
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Sep 22, 2022 17:40
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possibly been asked a million times, but: my band is starting to put together some demos. we're recording the drummer with one mic atm. i'm doing the mixing to try to get everything to gel. what should i do to the one mic? what's a good guideline for the sort of EQ/compression i need to do?
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Sep 25, 2022 19:21
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If you are able to, scavenge more mics for kick and snare, this will make life so much easier. Eq and compression will depend on if all of you are playing at once, how far the mic is from the kit, how big the room is, how reflective it is, where the mic is in relation to the kit, the phase of the moon and many other factors. It's not impossible, but it's not going to be easy to get a good kit sound with just one mic. Definitely try to record the drummer on their own if you want the best control over stuff. Drums are one of the few things that eat up even more frequencies than distorted guitars, but problematic areas will likely be the very lows (just hard cut anything below 30hz. It's headroom eating junk.), the 400hz-800hz region will be the boxy area, and whilst 1.5-3k is where your drum shells attack lives, its also where cymbals and hihats have their grotty overtones. You'll note I'm not mentioning compression. This is because different parts of the kit like very different things, and it also depends on the parts and tempo. For big splatty sounds you would likely be looking at a fast attack, whereas a slower attack will let more of the transient through so the drums will be more attacky (counterintuitive I know). You'd probably want fairly small ratios (4:1 max) and only a couple dB gain reduction if it's all on the one mic or its going to mush out quickly. I know from the guitar thread you like to keep things organic but I'd really keep your mind open to drum samples-the new ML Sound Lab kit is free and very very good, as is the free Steven Slate kit. NonzeroCircle fucked around with this message at 19:40 on Sep 25, 2022 |
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Sep 25, 2022 19:35
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i think Sound on Sound has some articles in their Inside Tracks series from really early days of recording that might help. i only sort of remember the one-mic stuff, but it involved placing the mic about two feet high several feet in front of the kick and aiming it to balance out the top and bottom of the kit. alternately, record one full take with the mic set back as a room, then do a bunch of overdubs where the drummer only plays one drum at a time. i used to do that before i had any mics and it was a pain in the rear end (mostly because i'm not a great drummer so there was a ton of timing correction to be done) but it gets the job done.
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Sep 25, 2022 20:19
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NonzeroCircle posted:It's not impossible, but it's not going to be easy to get a good kit sound with just one mic. Definitely try to record the drummer on their own if you want the best control over stuff. Yeah this. It sounds like your demo situation is that you're all playing together in a room and you only have one mic to spare for the drums, is this correct? Drums are probably the most important thing to overdub, so record your full band takes (taking into account as much isolation from the drums for everyone else) and then use the mics left over to do a drum overdub - this also almost certainly means your drummer should be playing to a click. As NonzeroCircle says, even having just dedicated kick and snare mics will make things so much easier, and lead to a better-sounding demo in the end.
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Sep 25, 2022 23:39
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Honestly I'd put the mic somewhere just above the shoulder of the drummer, you'll get the sound of the drums that the drummer hear and it should drown out any leakage from the other instruments as well.
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Sep 26, 2022 10:10
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landgrabber posted:possibly been asked a million times, but: Every time I record drums with one mic it sounds like poo poo and I can never get a good drum sound. Something is always way to loud and something else is way to quiet. Need at least 3, kick snare and an overhead for the cymbals. Buy a cheap small mixer, run all the mics into that and then send the mixer out to the recording board.
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Sep 26, 2022 15:42
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Make the drummer buy the mics and mixer, sometimes you gotta pay to play. And if he/she is a serious musician they will get the equipment necessary.
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Sep 26, 2022 15:46
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Especially if you are recording live, the drums are gonna get drowned out and then when you bring them up the other room sounds the drums mics picked up is gonna bleed into the mix and you are just gonna be annoyed.
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Sep 26, 2022 15:47
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If quality matters, I'd just do what they used to do on old jazz records- give the rhythm person a wooden block and mount a tambourine on a hardware stand.
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Sep 26, 2022 16:27
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Greggster posted:Honestly I'd put the mic somewhere just above the shoulder of the drummer, you'll get the sound of the drums that the drummer hear and it should drown out any leakage from the other instruments as well. This is what I do as well. Depending on the mic and the pickup pattern, you can fine tune quite a bit to bring out what you need. Start about 1 foot above the drummer's right shoulder, pointing at the midpoint between the center of the snare, and the point where the beater is hitting the kick. Adjust as needed. Your adjustments will be SMALL at that distance, but just angle it slightly more towards what you need. Obviously it's not gonna be great with a single mic on a drumkit, but pointing it almost straight down will cut WAY down on bleed from the other instruments.
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Sep 26, 2022 19:52
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So I'm basically finished the audio edit for that friend's short film. Just some automation tweaks to do and it's done. I'm exactly 6dB off of a -24dB Integrated LUFS measurement, which I think is good, it'll give me some headroom to push louder dialog. But drat, I really should get my Avid license fixed. Mixing for picture in Ableton is loving stupid. Also, lastly, Mister Speaker posted:Can't Notch Out Cicadas It feels really good to be flexing my audio skills again. :3
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Sep 27, 2022 01:02
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Oh man I'm working on sound design for a film project where cicadas are a big part of the film itself. I grew up with that racket and am used to it, but when you see it in the context of other animals' calls it really drives home for you how much they are taking up the entire goddamn soundscape.
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Sep 27, 2022 06:55
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Someone turned me onto iZoTope's Spectral Editor and I'm gonna spend the evening tonight taking out the cicadas that way. Unfortunately, firing up Ableton just now, it seems like all of my audio is pitched down slightly. Changing the sample rate to 44.1 and then back to 48 seems to have fixed it, but drat is that ever annoying. Turns out I do have a 'perpetual license' for ProTools, there was just a problem with my iLok. Next video project I'm definitely NOT doing in Live. Maybe I'll ask this in the Ableton thread, but let's say I'm taking a consolidated audio region into iZoTope and editing out some spectral information. If I save the file in RX, will it overwrite the original file? Will Ableton see that the file has changed right away? Mister Speaker fucked around with this message at 21:40 on Sep 27, 2022 |
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Sep 27, 2022 21:37
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So I figured out my recording issues, I plugged the Xenyx usb cable in and the signals from my hardware is getting to the DAW so yey. Im still getting some mild static noise through AISO picking up the either the display adapter or the mouse itself, but the music I do is very distorted so ehhhhhh?
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Sep 27, 2022 21:42
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