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It's been a while since I've looked at interfaces, but I realized my Tascam 16x8 isn't cutting the mustard and want to upgrade. A lot of better interfaces are now using Thunderbolt, but my Windows computer doesn't have that. Is there a work around for this? Or a USB interface that stacks up? My main criteria are at least 8 ins/outs (though of course more is cool), good sound and good headphone sound (my main problem with the Tascam is that the headphone out really sounds like garbage), and I'm looking to pay under a thousand.
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Mar 3, 2023 17:18
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i believe focusrite offers their clarett series in either usb or thunderbolt, and they might do the same for the scarlett series but i've never checked. presonus has a usb version of their studio series as well. i think their older M-Box series had some issues with usb, but i assume that was just on the lower-end stuff and has probably been fixed in the intervening decade since i used one.
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Mar 3, 2023 17:42
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What about a standalone headphone amp? There's a couple different types of monitoring solutions out there. If the rest of the interface is fine you can get a lot of headphone quality for that budget Otherwise I'd do a Apogee or RME or something + 8 channels of adat preamps of your choice (the behringer ones perform surprisingly well in A/B tests)
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Mar 3, 2023 20:44
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I recently got an RME Fireface USB (didn't pay for it, it's kind of a loan I guess but the guy I got it from never used it and probably won't think about it again) and to me I really can't stress enough how much of a joy Totalmix is for audio nerds who also happen to be computer nerds, you can pretty much do whatever you want with that thing, having a bunch of submixes ready for OBS\recordings\VOIP etc is just so much fun, and the fact that it all happens in 0 latency in the hardware like *chef's kiss*. So now I finally have enough inputs to also hook up my strat to the computer, which is nice, any goon recommendations for a nice and affordable guitar amp\effects emulator suite in this year old our lord 2023? I don't mind being patient and waiting for some sale, just generally wondering what you guys had fun with, I just want to jam with an electric guitar every once in a while after years of playing nylon string guitars and ukuleles.
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Mar 4, 2023 11:02
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CaptainViolence posted:i believe focusrite offers their clarett series in either usb or thunderbolt, and they might do the same for the scarlett series but i've never checked. presonus has a usb version of their studio series as well. i think their older M-Box series had some issues with usb, but i assume that was just on the lower-end stuff and has probably been fixed in the intervening decade since i used one. Been looking at the Clarett series and is a top contender, have to look more at Presonus and M-Box. JamesKPolk posted:What about a standalone headphone amp? There's a couple different types of monitoring solutions out there. If the rest of the interface is fine you can get a lot of headphone quality for that budget Well the headphone amp was the straw that broke the camel's back, but despite it's pros, the cons are still there, the pres aren't particularly great, it's been a little glitchy at points, and it's control software isn't very usable. For the approach you're talking about, I'd get a ad/da converter and feed it using adat, correct? I've never used anything outside of a straight up interface.
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Mar 4, 2023 15:16
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emanresu tnuocca posted:So now I finally have enough inputs to also hook up my strat to the computer, which is nice, any goon recommendations for a nice and affordable guitar amp\effects emulator suite in this year old our lord 2023? I don't mind being patient and waiting for some sale, just generally wondering what you guys had fun with, I just want to jam with an electric guitar every once in a while after years of playing nylon string guitars and ukuleles.
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Mar 4, 2023 16:38
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Vulture Culture posted:Guitar Rig has a free version that's surprisingly good, if heavy on the CPU usage Awesome! Seems perfect for what I need. Thanks.
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Mar 4, 2023 18:15
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ML Soundlab Roots Free is my go to freeb ampsim
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Mar 4, 2023 18:25
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emanresu tnuocca posted:
Neural DSP is pretty popular in the plug-in space right now. They usually have a couple sales a year where you can get up to half off so usually a good idea to wait if you can.
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Mar 5, 2023 04:26
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Neural plugins are top tier in terms of sound quality IMO, just be aware you're only getting 2-3 amps (and 6-8 FX pedals) per plugin, which each plugin aimed at nailing a smaller subset of tones (sometimes a single player's gamut, e.g. their clean, crunch and gain sounds). Whereas stuff like GuitarRig, Amplitube, BIAS FX, etc., are generally providing a full array of amps and effects that allow for a much wide range of guitar tones.
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Mar 5, 2023 06:20
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Re-posting from the small questions thread as I didn't get any replies and this is driving me mad. I am recording something with tremolo picking (  ) and I feel like I'm going crazy because everything I record has a sort of high pitched quack sound on it. Example below, it's easy enough to hear.I have tried different guitars, different picks and different VSTs and nothing seems to fix it. It sounds like some sort of harmonic resonance. Is this a technique issue? I have tried deeper and super shallow picking to no avail. Picking in different spots on the string changes the pitch of the quack but doesn't make it go away. I can't seem to EQ it out either because the sound changes depending on what note is being fretted and where on the string I'm picking so it's a moving target. Help! Demo of stupid sound that's driving me crazy: https://soundcloud.com/tom-w-dillin...=social_sharing
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Mar 6, 2023 11:17
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Nigel Tufnel posted:Re-posting from the small questions thread as I didn't get any replies and this is driving me mad. It does strike me as a technique issue, where you're dragging the pick over the string at an angle. If I had to guess, you're carrying too much tension in your wrist, and it's causing the angle of attack of your pick to change in between strokes. A few months ago I met this really good guitarist in a restaurant—playing southern/blues rock but obviously trained and cut his teeth on Paul Gilbert and Eric Johnson—and he gave me some advice. Imagine the fingers holding your pick each have one job: one makes the pick go up, the other one makes the pick go down. Working on this really helped me start cutting down my tremolo pick noise, especially on string-skipping/pedal-tone runs. Since I'm more a singer than a guitarist, I apply those learning modes to guitar too. I find it's helpful to relate the picking motions to a motion your hand does intuitively. For me, the motion is "thumbs up", where I go really slowly from a pronated position to a thumbs-up pose. The muscles I use in that motion are the only ones I want to feel in my tremolo picking. As you do this, note which tendons you feel in your wrist as you go up, and which as you go down. You want to isolate those into your downstrokes and upstrokes too. Lastly: you hear this sound and it bothers you. It doesn't bother me. I think it actually sounds kind of cool and adds this extra layer of ambience to what you're playing. If you run totally the opposite direction, can you make the sound even more consistently?
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Mar 6, 2023 19:51
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ricecult posted:Been looking at the Clarett series and is a top contender, have to look more at Presonus and M-Box. yep, exactly! takes a bit of configuring (gotta match sample rates, get clocks to the child unit, etc) but once its set up they just show up as normal channels in a DAW from the parent interface
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Mar 6, 2023 22:56
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trying to decide between a Soundcraft 22 MTK and a Tascam Model 24 you get slightly more mix options with the 22 MTK, and I used to have a 12 MTK for a few years and really liked using it and thought it had a good sound. But it also had a bunch of frustrating quirks, like no onboard power-on/off switch and being pretty noisy a lot of the time, and people online seem to have complaints about the longevity of its parts and its relatively old drivers and performance with Windows, which wasn’t a problem for me before when I was just using a Mac but might be now that I have a desktop PC as well. so as I gear up to drop ~$1k on a replacement for the aforementioned departed 12 MTK I’m wondering if I should jump ship to the newer Tascam, which seems well-enough liked. It adds a bunch of nifty QoL features like Bluetooth and a power switch, plus onboard SD card recording which apparently, and bafflingly, cannot be used simultaneously with USB recording. It’s also prettier, clearly aping the classic days of Tascam recorders with its wood sides. I really like the Soundcraft’s preamps tho. I know that’s a weird, dumb thing to stick on when comparing a clearly newer and in many ways superior and more versatile machine, but it’s what I’m thinking right now. Also it’s like $150 cheaper. Thoughts?
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Mar 15, 2023 00:22
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playing around with a 4 track yamaha cassette. I've got a song recorded and I'm trying to bounce it to something with an A/D converter  it only has RCA outs and a headphone jack. it really does not want to cooperate with any of my rca to 1/4 in cables, even my insert cable in the headphone jack stops audio. like it can detect I'm not using an RCA male to male or I'm not using a headphone and shuts the audio off. anyone experienced something like this before? I can't find my rca-to-rca cables haha
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Mar 17, 2023 22:13
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Does that rca to 1/4 inch cable end in a single stereo trs jack? Are you plugging that into a 1/4 inch input that expects trs jacks to carry a balanced mono signal?
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Mar 17, 2023 22:28
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its a stereo pair of mono TS cables kinda stuck together that turn into a pair of rca cables on the other side. going rca out of 4 track into a stereo input on my soundcraft interface
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Mar 17, 2023 22:29
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Well it's not that then
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Mar 17, 2023 22:32
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def seems like a wire is crossed inside. connecting the rca gives off a loud pop through the headphones
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Mar 17, 2023 23:07
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A MIRACLE posted:def seems like a wire is crossed inside. connecting the rca gives off a loud pop through the headphones edit, power supply issue. or maybe i shouldn't run so many things off the same usb hub 
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Mar 17, 2023 23:34
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X-post from the guitar thread: Does anyone want some free reamps? Thanks to STL Tonehub I have access to captures of drat near every amp ever made so if you're curious what your guitar would sound like through something new I can make that happen. If you want to level up your tones for something you already recorded I can just pick out something for you as well. Just DM me and have a clean DI you can send me and I'll reamp it real quick and post it. I'm thinking I'm going to do a super in depth review of Tonehub and all the packs so I need as much source material as I can get my hands on. Might as well hook up some goons while I'm at it
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Mar 26, 2023 17:15
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A decade ago I bought a mic preamp for recording vocal tracks, and now I've undusted it for podcast use. Thing is, it kinda works if I directly plug it into my pc, but I have to crank everything to the max. So... my guess is I'm missing a device in-between the PC and the preamp? What do I need? This is the preamp : https://gearspace.com/gear/sm-pro-audio/tb101 It has two outputs, balanced and unbalanced. I currently use unbalanced, because I don't have the XLR cable for the balanced output. This is what I plug it into https://www.behringer.com/product.html?modelCode=P0484
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Mar 29, 2023 11:16
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Basic rear end mixing question cause I’m very new to it and am recording a rock song; is there a best practice starting point for eq when I am high passing guitars/low passing bass so they don’t step on each other’s toes? Should I not think too hard and just move blips around until it sounds good or is there like an obvious “start at 500hz and move up from there” I should know Also do people have favorite tape machine or similar plugins? I’m using the free spitfire labs drums vst and it works good for my simple needs but is pretty dry so I think a bit of compression/distortion could be nice
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Mar 31, 2023 09:20
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Wowporn posted:Basic rear end mixing question cause I’m very new to it and am recording a rock song; is there a best practice starting point for eq when I am high passing guitars/low passing bass so they don’t step on each other’s toes? Should I not think too hard and just move blips around until it sounds good or is there like an obvious “start at 500hz and move up from there” I should know If you get to this point, it really depends what frequencies they're both playing in when you look at your envelope. You're going to get very different results from an acoustic guitar in standard tuning than a hyper-compressed Jens Bogren tone on the low end of an 8-string guitar. Consider your openness and your overall approach to dynamic range, because if the instruments have a similar tone, there's a good chance your frequency overlaps will work themselves out in a multiband compression stage.
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Mar 31, 2023 14:17
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Wowporn posted:Basic rear end mixing question cause I’m very new to it and am recording a rock song; is there a best practice starting point for eq when I am high passing guitars/low passing bass so they don’t step on each other’s toes? Should I not think too hard and just move blips around until it sounds good or is there like an obvious “start at 500hz and move up from there” I should know Note: my experience is only with recording rock music: acoustic drums, guitars, bass guitar, keyboards and vocal. YMMV if you do something else. For starters, I would think long and hard before straight up HP/LP'ng instruments. What's going on with your input sound that you feel the need to make such drastic EQ changes? I pretty much only ever use EQ for minor tweaks, like notching out something that's bugging me. If my input sound was good, and my mic placement was good, then I hopefully won't need much eq. If I do, then why didn't I get closer to the sound I wanted going to tape? Many moons ago (oh god like 3 decades lol old) in some recording classes I took, we were taught to start a brand new mix by soloing the Bass guitar. If it already doesn't sound good and needs a bunch of EQ - then why did you record it that way? There are times when you've just been given the tape and the bassist has gone home and there's no way to re-record it, so you have to EQ the poo poo out of it to get it to sound good, but those are pretty rare. The instructor's reasoning here was: it's kind of the foundation of the mix and the most difficult thing to get right - so you start there, get it right, then everything else works around it. I have followed that advice ever since and am usually happy with my mixes. I typically add drums in next, get my rhythm section pinned down nice and tight. From there it's something like: - rhythm guitars (if I have acoustics, I usually do them first because they are tougher to get right than electrics) - keys (if any) - vocals - lead guitars or keys By the time I am pulling in rhythm guitars, I have a pretty good idea of my sound both vertically (pitch) and horizontally (stereo spread). Always think of your mix in both of those dimensions. Something you think is stepping on something else may not be if you just pan them out from each other. Try to get your mix to fill out the whole "square". Bass and Lead Vox are just about the only thing you want panned dead center. I realize that wasn't your exact question, but just slapping a LPF on a bass track is no way to go, my man.
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Mar 31, 2023 14:45
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My strat for this while mixing is to solo the track, then add the other instrumentation on top and see how it sounds. If I immediately notice something off, say when adding bass on top of a drum kit I seem to lose the kick drum, then it’s a matter of some EQ use. The quick technique comes from slapping an EQ on both channels, leaving it flat except for one band with a tight-ish Q (maybe around 1?), boosted wayyy way up. I’ll then slide that up and down the frequency range and see how it’s changing the mix. Often, I’ll find some overlap, so then it’s keeping my frequency there and just cutting it a little until I get the original sound I want without messing things too much. Reason I do both is to find out which one will benefit from the cut more, or maybe I need to do both at half-strength to not change the mix too much. You can also work subtractively, I.e start by cutting a band instead of boosting to figure out bad areas. Often I’ll go both ways, just to see how the specific sound reacts. In terms of when to use LPF/HPF, there’s two approaches I use: 1. To cut out inaudible stuff I can see on the spectrograph. This mainly comes from listening on a bunch of different sound systems. If I see a huge amount of energy around 40-60hz (or 15k+), I probably won’t be able to hear it clearly through my monitors. But I play it in my car, and all of a sudden the great sounding mix is insane bass with a piercing high tone. 2. To work with rough sources. Stuff like hardware bass synths, poorly miked bass cabs, bassy vocalists eating the mic, EM interference, etc.
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Mar 31, 2023 15:14
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I assume mixing is way more complex than it maybe is and I am snobby about guitar sound so I spent a lot of time adjusting the tone on the guitars and bass before recording so they are very different sonically, I've got two telecasters playing rhythm through a Vox style preamp (super bright punchy) with one panned hard left and one panned hard right. The bass is a gretsch with tapewounds so very little high end which was hard to achieve cause I only have guitar amps to use(used an orange terror stamp funnily enough). Lead guitar is a dano with a wah pedal on the whole track so it shrieks past everything else easily. Kick drum, toms, and snare are the only thing on the dead center, cymbals are like 20% to the right and bass/lead guitar are 20% opposite sides from each other. It's good to know I can trust my ears, I am not used to having to care about anything beyond guitar. This song is extra hard cause the rhythm part is a lot of unpleasant, dissonant chords so it kinda sounds like something's wrong even when it sounds exactly how it's supposed to. I guess I should also listen to it on a few more sound systems too, the lack of a sub on my monitors sounds very limiting.
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Mar 31, 2023 21:39
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The secret truth of mixing is that it's a loving ton of legwork and there's like an infinite depth of detail you can get lost in, every mix will come out better than the last and whenever you listen to an old mix you'll think to yourself "omg was I deaf and were my fingers broken I when I mixed this? loving hell", at least that was always my experience and kind of what made me realize that I'm never going to build true expertise in mixing because it's a shitton of work and it's a slow iterative process in which you also slowly build your own 'inner critical listener'. I know I'm just spewing cliches here but I think that mixing really adheres to the creative slogan of "in order to make a good mix you must accept that you're going to be making a whole bunch of bad mixes first", like, at the end of the day it is a fully artistic process, mixing is not merely technical, it's an aspect of the arrangement of a song. emanresu tnuocca fucked around with this message at 06:19 on Apr 1, 2023 |
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Apr 1, 2023 05:53
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I like it when I get all my settings perfectly and then it sounds like complete rear end the next day
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Apr 1, 2023 06:09
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Armacham posted:I like it when I get all my settings perfectly and then it sounds like complete rear end the next day ear fatigue plays a huge part in it, 45 minutes exposed to even 'acceptable' sound pressure level can change your ear's frequency response considerably, the ear drum loosens up and this makes you less receptive to high frequencies which is the reason why often 'the next day' the mix seems to be shrill and unpleasent, this is also something you can notice when you go to live shows and the PA system has an insane amount of treble to that point where it can physically hurt, the FOH guy is just a dude who has been doing this for decades and at this point in the evening (and his career) his frequency response rolls off at 8khz or some poo poo, he's bombarding the crowd with painful high frequencies which he's not even aware of, "fortunately" after a few minutes of exposure most of the crowd won't notice them as well, perhaps for the rest of their lives.
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Apr 1, 2023 06:23
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Hearing one instrument separated from the rest of the mix for too long can make you wonder if the tone is good enough or not. I know after a while I feel like the settings on my Mesa Boogie Mark V sound kinda off but if I throw them into a full mix it sounds absolutely loving perfect like John Petrucci and Randall Smith came down from their thrones to personally bless my fingers. Context is super important for how different instruments sound.
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Apr 1, 2023 10:03
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Any pro mixer I have ever worked with barely listens to tracks individually, outside of whatever initial editing or settings they start with, really just to get rid of unwanted noise or large imbalances, and only solo it if they can't identify an issue while everything is on. In general, if a track isn't a solo instrument performance, it's being heard with everything else, and how everything works together is the name of the game.
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Apr 1, 2023 16:49
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If your isolated tracks sound full and perfect they'll probably sound way too busy and cluttered in the mix.
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Apr 2, 2023 01:20
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Vulture Culture posted:Not to oversimplify, but start by EQing each instrument until it sounds the way you want it, then only worry about EQing the instruments together if you have an actual problem. This is good advice, and if I can add to it, don't be afraid of using more than one instance of EQ on a track. Get an instrument how you want it to sound, and then introduce some other instruments; if they're clashing in a frequency range you don't have to go all the way back down your signal chain and add another band in the EQ (it might even screw things up if you've got dynamics post-EQ), just throw another badboy on there and do your complementary EQing on that instance. Slothful Bong posted:In terms of when to use LPF/HPF, there’s two approaches I use: I agree with this too. I was taught that you should 'bandpass' virtually every instrument with HPFs/LPFs, except for some obvious examples like sub bass or drum overheads. There's still plenty of energy there that you can see in your spectrograph, that could eat up headroom even if you're not really hearing it. Some of the first exercises we were made to do in school were building a mix without using EQ or dynamics, just volume... and pan. Pan is oft-forgotten as a way to separate clashing instruments, it's almost revelatory in how obvious it is. OP seems like they've got that part down with the pair of rhythm guitars, though I feel it's worth mentioning either way. And this discussion being started with a query on shaping guitar tracks with EQ reminds me of a quote I read here a while back, which I'll paraphrase: "Few things are more satisfying than tracking a guitarist with carefully sculpted tone and then making him watch as I nuke everything below 90Hz."
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Apr 2, 2023 02:12
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syntaxfunction posted:If your isolated tracks sound full and perfect they'll probably sound way too busy and cluttered in the mix. God, this is the truth. When I was a young musician, almost no one had access to a real studio. If you or a bandmate had equipment, recording anything more than 4 tracks required bouncing and all sorts of bullshit. But it didn't really matter, because everything went on cassette and even commercially produced cassettes sounded terrible. So, production wasn't a thought outside of individual tracks; getting cool synth patches, guitar sound, etc. Nevermind that there wasn't any way for people to hear these lovely demos unless you handed it to them. Now, for most of us, not only do you have to create something as a musician, you have to be a producer, mixing and mastering engineer. It's fun, but so overwhelming at times. I spend more time "engineering" than recording! I had to forget everything that I thought I knew about recording 30+ years ago, which apparently was all wrong. lol JeffLeonard fucked around with this message at 14:44 on Apr 2, 2023 |
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Apr 2, 2023 14:42
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Well listening to it on headphones (I have those cheapish akg's people always recommend for broke audio people) definitely revealed a lot of weirdness that did not come through on my monitors, and I did end up mostly just tweaking the volume on everything. I'm so glad I kept the crash cymbals on a separate track cause most things are only +/- 2 db from where I recorded them but for some reason those had to go down -7.5 to not just jam themselves on top of everything else. The only eq I've done so far was on the bass I brought down the highs a bit and I boosted the low mids a little cause it sounded good. It's gonna be really embarrassing if I actually post the song anywhere on here cause it's an exhausting song to listen to in the first place and this will all seem kinda pointless on such an ear fatiguing bit. Like if I spent a week building a birdhouse but then everyone found out I only built it cause I needed something to throw through a plate glass window
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Apr 3, 2023 09:30
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JeffLeonard posted:God, this is the truth. Yeah, this is the things that’s killed me a bit getting back into recording. There’s a lot of really good competition out there now all recorded/mixed in bedrooms, and those kids have learned it that way from the start. So I’ve gotta make something that sounds good, regardless of the musical content. Can’t coast on “this was done in a home studio” anymore! And then the stylistic stuff - I’m working on a modern metal, 8 string, 15/8 song, and I’m just stuck on guitar tone and how I want the mix to be. Do I go for a super loud, heavily compressed mix like the new Periphery album to get even clarity of all instruments, at the detriment of tone? (Answer is no lol, but it’s an example I’d originally considered) Do I pull from Haken’s new album, with loud kick and snare, somewhat restrained guitars with a smooth high roll off, and a bit more breathing room? It’s a lot easier to actually hit those goals now, and I’m realizing I’m not sure what I want. I do a mix one way, like it, then the next day I listen to another song and immediately like that mix better. Gonna take a bit to sort out where I want to go I think, and I’ve got major song fatigue so I think I’ll need to start another track as a distraction.
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Apr 3, 2023 14:20
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Pan and volume then let your heart tell you what to do. Don't go in thinking "I'm gonna do x, y and z", just get your panning and volumes roughly right, and then just go from there. Fundamentally the core tenets haven't changed. You still usually want to carve the EQ so things don't sit on each other, avoid smearing, etc etc. Things are just easier and quicker to do and undo. The nicest thing about DAWs is you can try some really weird poo poo non destructively. Got a djent mix? Mix the drums like they're in an 80s synthpop track why not? If you don't like it, gently caress it, just undo it. But honestly compression and EQ haven't changed, they just instant now instead. PS: please no one go down the rabbit hole of needing a specific vst just to get the job done. A free EQ or compressor will give you professional results if you know how to use it. Just like giving someone new a API console to work with isn't gonna make things magically good.
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Apr 3, 2023 15:47
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Slothful Bong posted:Gonna take a bit to sort out where I want to go I think, and I’ve got major song fatigue so I think I’ll need to start another track as a distraction. That's good self care! A friend of mine is a master wood carver. He carves amazing sculptures: merry go round sized creatures that take him years to complete. He gave me some excellent advice that really helped me: have several projects going at once in different stages of completion. That way, you keep your brain fresh. Don't feel like writing lyrics today? Work on drum programming! It really does help me stay fresh and creative.
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Apr 3, 2023 18:44
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syntaxfunction posted:PS: please no one go down the rabbit hole of needing a specific vst just to get the job done. A free EQ or compressor will give you professional results if you know how to use it. Just like giving someone new a API console to work with isn't gonna make things magically good. I’m going to second this so hard. I fell into this trap shortly after I started recording, at school it was all Neve/SSL/Pultec/UA, and gear choice was considered critical. I’m sure much of it was “clients will expect an SSL board”, but it was relayed to us as “you need the best gear at all times”. My early DAW setup was a mass of UA/Waves/PSP/etc plugins, just tons of poo poo I really didn’t need. I sure as hell couldn’t tell the difference between UAD’s LA2A and Waves CL2A, much less comparing those to the optical settings in RComp. But yes, I definitely needed 3+ models of the same drat limiter. Now, it’s a million times better: Stock Ableton plugins Some choice waves stuff I still occasionally use (mainly the renaissance series, HVerb/Delay, and their L3 limiters) The couple of compressors/EQs/verbs/delays from the latest NI komplete. Fake edit: Holy poo poo this reminded me I’d even bought the TC Electronics Powercore FireWire, a hardware-based VST setup. Sure, offloading latency was nice, but I didn’t get anything I didn’t already have for the $1200 or so I spent on it in 2005.
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Apr 3, 2023 19:06
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