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himajinga posted:Can't you just use Voice Memo? That's what I used to do before I got a dedicated portable recorder. Well duh. Why didn't I think of that? A MIRACLE posted:Do you not have garageband? My 6 has it and its pretty sweet I haven't upgraded to ios8 yet on my phone so it isn't available for me. But when I do, I'm thinking this'll be a good $5 purchase.
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Oct 21, 2014 20:07
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I'm trying to move to an all-digital setup for my home studio. As it is now, I'm recording my guitar amp with an SM57 into my audio interface and into Cubase. I found the Digidesign Eleven and from the samples I've heard it sounds incredible for a digital modeler at its price; the problem is I won't get the full functionality of it using any DAW besides Pro Tools. I don't mind using Pro Tools, but since Pro Tools isn't compatible with VST it would throw a wrench into my workflow for when I add a MIDI keyboard. Should I suck it up and just use Cubase and Pro Tools? Do the VST wrappers actually work or are they a waste of money? Do I have any other options I'm not aware of?
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Oct 22, 2014 20:36
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Chalets the Baka posted:I found the Digidesign Eleven and from the samples I've heard it sounds incredible for a digital modeler at its price; the problem is I won't get the full functionality of it using any DAW besides Pro Tools.
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Oct 23, 2014 02:30
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I was under the impression you could only use the on-screen rack editor with Pro Tools 10 but I didn't realize Avid released a standalone version, so apparently I've got absolutely nothing to lose.
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Oct 24, 2014 22:52
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Agrikk posted:Can anyone recommend a good recording app for the iPhone 5? I don't know if "Recorder Plus" is still free but I like it. It can keep recording in sleep mode, or at least on an ipad.
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Oct 26, 2014 14:28
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Chalets the Baka posted:I was under the impression you could only use the on-screen rack editor with Pro Tools 10 but I didn't realize Avid released a standalone version, so apparently I've got absolutely nothing to lose.
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Oct 26, 2014 18:30
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Are there any decent substitutes for SoundForge? I basically want the equivalent of Reaper, in terms of same features but less...ummmmm.. bloat and a cheaper license. Audacity doesn't really do it.
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Oct 27, 2014 07:10
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I've been meaning to get a pair of decent monitors for a while, but I worry about not being able to physically orient them well, so I'm looking for advice. I like to record at the same desk I work at (because having my guitars next to me means I play more), but for work I have multiple computer monitors that are sitting right where I'd want to put audio ones. I think my best option is to get stands and then either put the audio monitors above the video ones, where they'd be about a foot above my head, or spread them very far apart and have them on either side of the video ones. I'm pretty sure neither option is optimal, but would either work? I just don't know how important placement is.
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Oct 28, 2014 21:41
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Having them above your head will be fine as long as they are angled down enough that the tweeters are pointed at your ears. Out to the sides will still work but you would need to have your chair pretty far back to hit the optimal listening position, you want to be aiming for a triangular layout with the speakers at two corners and your head at a third. I would go for the above-screen setup personally.
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Oct 29, 2014 04:26
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Seeing as this has become the defacto recording thread: I'm recording a band next week and I was thinking about renting a ribbon mic for the session, either a m160 or Royer SF-1 to throw on a guitar cab. We'll be using a Behringer x32 for all our mic preamps. I won't have enough in the budget to rent a dedicated ribbon pre for it. Would the X32 have enough gain for a ribbon if I'm throwing in on a loud source? Some of the songs have dynamics, but 90% of the time it'll be in the loud-gently caress-all-noise-rock category. If it won't be sufficient I'll just ditch the idea.
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Oct 29, 2014 14:36
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RandomCheese posted:Having them above your head will be fine as long as they are angled down enough that the tweeters are pointed at your ears. Out to the sides will still work but you would need to have your chair pretty far back to hit the optimal listening position, you want to be aiming for a triangular layout with the speakers at two corners and your head at a third. I would go for the above-screen setup personally. Pyrthas fucked around with this message at 16:06 on Oct 29, 2014 |
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Oct 29, 2014 15:25
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Sizone posted:Are there any decent substitutes for SoundForge? I basically want the equivalent of Reaper, in terms of same features but less...ummmmm.. bloat and a cheaper license. Same features but less bloat? So, like, fewer features? REAPER is $60 for a non-commercial license. How many tens of dollars is your budget? Also, SoundForge and REAPER have different primary applications. Are you looking for a wave editor or a multitrack DAW?
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Oct 30, 2014 00:08
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snappo posted:Same features but less bloat? So, like, fewer features? I'm looking for a wave editor. I'm using reaper for my DAW and I want, as stated, basically the reaper equivalent of sound forge (something like sound forge circa version 4 and not version 8).
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Oct 30, 2014 01:32
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Noise Machine posted:Seeing as this has become the defacto recording thread: I'm recording a band next week and I was thinking about renting a ribbon mic for the session, either a m160 or Royer SF-1 to throw on a guitar cab. We'll be using a Behringer x32 for all our mic preamps. I won't have enough in the budget to rent a dedicated ribbon pre for it. Would the X32 have enough gain for a ribbon if I'm throwing in on a loud source? Some of the songs have dynamics, but 90% of the time it'll be in the loud-gently caress-all-noise-rock category. If it won't be sufficient I'll just ditch the idea. Nobody answered your question so here I go: the M160 is badass and great great great for guitar cabs so get one, yes, do it. Double mic with a 57 on the other cone and blend to taste. The X32 is not the greatest but it's not poo poo... If you are worried, try to get a Cloudlifter and put that in your ribbon chain. Also: try not to think of preamp gain as related to the loudness of your source - think of it as your measuring stick for s/n ratio and possibly saturation, depending on the preamp. strangemusic fucked around with this message at 02:49 on Oct 30, 2014 |
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Oct 30, 2014 02:45
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Me and a friend or two are starting to dabble with recording stuff on seperate tracks and poo poo so this is relevant to my interests. We've got a fast track pro (2 clear inputs), a condenser mic, a ribbon mic(part of a kit the guitarist bought a while back) and another equally random dynamic mic. How should I set this poo poo up, I've been basically using the dynamic to get the guitar amp, and since it's all been just random jam recording, the condenser for the rest, and i am running my keyboard through midi to addictive keys into cubase. Should I just use the dynamic mic for all the instrument parts and the condenser for the vocals? Should I combine them on each instrument? Gonna pick up the sm57 as well. Should(can) i mix the signal from both mic inputs to one audio track? Or should I record two tracks and mix together later?
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Oct 30, 2014 10:40
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Depends on your mics, some condensers are great for instruments and some dynamics are great for vocals so it won't be cut and dry. Definitely don't record both mics into one audio track, not only will that limit your flexibility but it could end up giving you an unusable recording if it phase cancels a bunch of audio information. I'm a fan of blending two mic tracks, you can do cool things like heavily compress the signal from the dynamic and blend it with the condenser so you get the nice open sound that a condenser provides with a thick body from the dynamic, or you can distort one signal with a plugin to add a bit of bite to the recording, or use all three types of mic for vocals but in different sections of the song (verse, chorus, backing etc) to clearly separate the sections, plus a million other things I can't think of right now. The key will be experimentation, you will get a completely different sound depending on where you position the instrument mic when recording guitar no matter what mic you use, and some voices can shine with one mic while sounding thin and weedy with another, and then there's the post processing to deal with when mixing. Just dive right in and eventually you'll figure out what works best for you.
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Oct 30, 2014 12:17
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edit ^^ what he said ^^ Correct me if I'm wrong but if you double mic a cab do you have to correct for phase overlap?
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Oct 30, 2014 16:48
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strangemusic posted:Nobody answered your question so here I go: the M160 is badass and great great great for guitar cabs so get one, yes, do it. Double mic with a 57 on the other cone and blend to taste. The X32 is not the greatest but it's not poo poo... If you are worried, try to get a Cloudlifter and put that in your ribbon chain. Awesome, thanks. We're lucky enough to use a buddy's recording space, but taking a look at his mic locker he doesn't really have a lot of "dark" mics to choose from. The few he does have I'm already planning to throw on the bass cab, floor tom and kick.
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Oct 30, 2014 19:02
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Noise Machine posted:Awesome, thanks. We're lucky enough to use a buddy's recording space, but taking a look at his mic locker he doesn't really have a lot of "dark" mics to choose from. The few he does have I'm already planning to throw on the bass cab, floor tom and kick. My general philosophy about mic choice is actually completely opposite. For things like floor toms, bass cabs, and "dark" sources I tend to go for a bright hard mic, and for bright sources I tend to go for a darker mic. I general bright mics don't have bad bass response, they just have exaggerated treble response, which can be helpful when trying to bring out the attack of a kick drum for example. Dedicated kick mics aren't the only thing you can mic a kick drum with, but there the only mics you should stick inside of a kick drum with ought risk or blowing up the capsule. Also I love the sound of a ribbon mic on female vocals.
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Oct 30, 2014 19:28
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HollisBrown posted:My general philosophy about mic choice is actually completely opposite. For things like floor toms, bass cabs, and "dark" sources I tend to go for a bright hard mic, and for bright sources I tend to go for a darker mic. I general bright mics don't have bad bass response, they just have exaggerated treble response, which can be helpful when trying to bring out the attack of a kick drum for example. Dedicated kick mics aren't the only thing you can mic a kick drum with, but there the only mics you should stick inside of a kick drum with ought risk or blowing up the capsule. This is a great post, I couldn't agree more: use the tonality of your mics to counterbalance exaggerations in the sound of your source! I have to give major love to putting LDCs in front of a kick (NEVER INSIDE!) Just put a pop shield/pad on the sucker. Big, fat kick tone comes from things like a U87 or even NT1A on kick - blend with a dynamic on the beater for that crack/bang you need to cut through. Or if you happen to have rich enough blood for a U47FET....  Also to whoever was asking about double mic phase on guitar cabs: it never hurts to experiment with hitting the flip phase button on one of your mics and seeing if it sounds any better. HOWEVER, as a general guide, you should make it so both capsules are the same distance from the cone/grille - this is a general way to go about getting good phase coherence. strangemusic fucked around with this message at 21:36 on Oct 30, 2014 |
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Oct 30, 2014 21:33
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strangemusic posted:This is a great post, I couldn't agree more: use the tonality of your mics to counterbalance exaggerations in the sound of your source! https://www.youtube.com/watch?v=U1TTc_UUbuI But I will also add that you can use bad phase coherence as extreme EQ to get really unique guitar sounds. Especially if you have a really dense mix.
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Oct 30, 2014 22:26
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I'm trying to use the "Bright mic, dark mic" technique, so I already have bright mics on the bass, the floor tom is acting "like a second bass drum" to quote the drummer. There's also a certain bit of foundation also set by a previous session by another band. (Long story short, 1/2 of this band was in the last band. One guitarist got married, said being in a band wasn't part of being an adult, and then GTFO'd leaving them with a 75% finished EP) So we're using the drum and bass sounds from that record as a starting point, and those require the dark mics we already have. I'm trying to see if I could do some odd jobs and squeeze a little extra to rent TWO M160s, for each guitarists now. I won't have access to rent or buy anything like a cloudlifter in the mean time, so part of me is a little worried that if this goes pear-shaped while we're getting tones, then I'm out for the session. Not necessarily money, but having gone thru my research and then not even able to use the f'ing things with the X32. I wouldn't be putting money on this though if I didn't think I'd be a step in the right direction. The guitarist has never really had success with recording. Part of this is that his Traynor 2x12 has the speakers angled in at a 45 degree angle. Great for playing live since he basically has a monitor, but it's a serious bitch to record, especially since he can't easily remove the speaker cloth. Noise Machine fucked around with this message at 23:00 on Oct 30, 2014 |
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Oct 30, 2014 22:54
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Noise Machine posted:One guitarist got married, said being in a band wasn't part of being an adult This is why mommy and daddy got a divorce kids
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Oct 31, 2014 18:32
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I have a question out of curiousity. I have an interface (Lexicon Alpha) and so does my friend (Akai EIE) which we use for me recording rough guitar-only demos and cutting a live demo with respectively. Due to lack of mics we typically run our instruments (Guitar and bass) through the interface into Reaper and AmpliTube. We've found that when I record stuff at home with the Lexicon it's fairly smooth but when we do any recording with the Akai the guitar sounds a bit "twangy" even with it on the neck and treble rolled right down. Is this sort of thing possible for interfaces to impact or would it be the result of speakers or something (I use HD280 Pro headphones to mix, but he only has some 6.1 computer speakers and a 'gamer' headset)? I've found running my guitar into my amp and then that into the interface with the Line Out reduces the twang to an extent too.
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Nov 2, 2014 07:59
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OOOOF, ok. So that x32 I mentioned is now not going to be there for the session, but the guy is giving me two presonus interfaces so I'm not totally hosed. This'll still be enough gain with the ribbon, right?
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Nov 2, 2014 20:52
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It depends what you're using them on, for guitar cabs, yeah, drum overheads yeah, acoustic guitar, probably not, maybe not for vocals either.
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Nov 2, 2014 20:55
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Definitely a guitar cab. Edit: Is there any way I can get discrete left and right channels on SPDIF in? That'll give me two more channels, I might route the stereo room mics thru a separate interface that has SPDIF out that way. Noise Machine fucked around with this message at 22:50 on Nov 2, 2014 |
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Nov 2, 2014 21:51
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I asked this in the audio interfaces thread, but I thought I'd ask here too since this thread seems to get more traffic. I'm completely new to audio interfaces and recording. I want to play my bass and guitar (mostly bass) through something like amplitube or guitar rig, record bits and pieces, and generally mess around making some drumbeats and stuff to play to (and record over). I've been loving around with Rocksmith (and their cable) but it's been an overall crap experience and I don't really want to play a game, I just want to play bass/guitar and now to record as well. I was thinking about picking up a Scarlett 2i2 or 2i4 interface, but there's a lot of talk about latency, and that's a big turnoff. So from reading this thread and various reviews and stuff, it looks like if I pick up a Komplete Audio 6, I'll not only get a good (hopefully non-laggy) interface, but also the software I need to play/record and maybe make some electronic drums or whatever. Is that a good choice given what I'm planning on using it for? Also, I'll be plugging into computer speakers for now, and if I've understood this thing correctly, it will just act as a soundcard and all I need to do is pick up a 2 x 1/4" to 1x 3.5mm cable. Right? Future plans are to pick up some mid-range monitors, but for now it's going to be computer speakers + Audiotechnica M50s. One more question - does plugging in headphones mute the main output? Or is there a way to change the output from main to just headphones? Didn't include this in the other thread: My computer specs are: Intel Core i5-4570K Asus Z97M-Plus motherboard (currently using onboard audio, want to use the KA6 as system audio instead of the onboard) 8gb G-skill RAM MSI Geforce 760. Samsung SSD system drive (I guess installing the audio stuff on this is the best idea?), 2 platter drives with games/apps/media.
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Nov 5, 2014 04:04
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AlphaDog posted:I asked this in the audio interfaces thread, but I thought I'd ask here too since this thread seems to get more traffic. Your computer specs should slay anthing you'd run with recording software, I have an i5 750 w/8gb and I can run however many plugins I want no sweat. Yes, you want to get a two 1/4" mono to one 3.5mm stereo cable for the speakers and plug them into the main outputs on the interface and set windows to output system audio to the interface main outs in the audio settings. Cubase LE should work fine for what you're doing. As far as headphones go, the headphone jack won't defeat the main outs as far as I know. The easiest way I think to switch back and forth between headphones and speakers is to turn off the speakers when you want to use headphones but if they're rear switched what you can do on the KA6 is to set all of your audio going out of outputs 1, 2, 3, and 4, plug the speakers into the main outputs, set your KA6 for headphones on 3/4, and mute 1/2 or 3/4 depending on whether you're using your headphones or speakers.
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Nov 5, 2014 17:47
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Thanks! I picked it up today. Installation was simple: Install driver > plug unit in > set it to system input/output > fire up old amplitube demo > rock the gently caress out. Zero problems, no perceptible latency, gently caress yeah! Now to see what I can learn about using all this software. e: God drat Cubase was frustrating to install/register. Done now, but 
Elector_Nerdlingen fucked around with this message at 09:10 on Nov 6, 2014 |
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Nov 6, 2014 04:14
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Right now I record using a mixer going RCA to 1/8" into my computer's mic input. Is there a way I can record with a click track like this? Do I need to send the click from the headphone output on the computer back to the mixer? How would I go about doing this correctly?
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Nov 7, 2014 00:07
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Has anyone built their own recording desk? I want to give it a shot but I don't really know exactly how I want to set it up yet. Are there any free plans on the net I could take a look at and modify?
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Nov 8, 2014 17:02
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Whale Cancer posted:Has anyone built their own recording desk? I want to give it a shot but I don't really know exactly how I want to set it up yet. Are there any free plans on the net I could take a look at and modify? A friend of mine has built one that's absolutely great. I'll see if I can get the plans off him. It's three buckets with something like 4 or maybe 6ru per bucket as I recall?
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Nov 9, 2014 21:33
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Recommendations for a rack compressor? Tube compressors are tempting, but all seem ridiculously overpriced vs a dedicated tube amp & FMR RNC 1773 / DBX 160a / 166xl..
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Nov 10, 2014 06:15
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Trip report on the m160: When the you pull up the solo'd track and the guitarist starts dry-humping the gobo in slow motion, mission accomplished. We even made the executive decision to use only the ribbon on Saturday, which gave us an extra mic for the snare. Second guitarist was a little miffed he didn't get a ribbon, or I didn't talk to him about it, but it could have gone pear shaped to begin with. And then he proceeded to spend 40 minutes tweaking an A/B amp rig he had never used before. Mic'd him with a 414 on his Fender and telefunken m80 on his VHT 1x12 6 watt stack. Pretty good sound overall. Noise Machine fucked around with this message at 07:18 on Nov 10, 2014 |
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Nov 10, 2014 07:15
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Panda Time posted:Recommendations for a rack compressor? This is like asking for a recommendation for a car. What price range? Front or rear drive? Four door? Two? Basically compressors boil down to a few major types depending on the element that is used to perform the gain adjustment, and the controllability of attack, release and ratio. You can have VCA based, optocell, vari mu (the tube based kind, quite exotic) or FET, and they're each ok at different applications. FETs for example tend to do amazingly well at drums because you can get very fast attack time and get the compression dialed in to really make the transients crack. Opto compression generally has slower attack and gentle release, great for vocals and acoustic guitar. VCAs are famously used for the SSL console buss compressors for adding "glue" to full mixes in a subtle but tangible way. Vari-mu is amazing and owns bones on everything, basically, but you pay for the privilege. The WARM Audio 1176 clone is pretty nice, relatively inexpensive and you can use it to learn the fundamentals of how to manipulate compression using a classic circuit design and control set. It also sounds a hell of a lot like a real 1176. strangemusic fucked around with this message at 17:56 on Nov 10, 2014 |
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Nov 10, 2014 08:41
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Can anyone recommend a good brand for cables? I need to get a bunch of new RCA.
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Nov 11, 2014 03:41
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strangemusic posted:This is like asking for a recommendation for a car. What price range? Front or rear drive? Four door? Two? This is good info, thank you! Purpose: Punchy live aux effects chain. Budget: ~$300 for 2 channels gate-> compressor-> limiter-> amp I'm probably going to pick up a used DBX 166xl just because it's 2 channels with everything in 1U. [2 channels @ ~$100] 160a seems to have a reputation having a better low end response, but it's twice the price and would be 2U for 2 channels. [2 channels @ ~$320] FMR RNC seems to have a great reputation, and Funk Logic makes a 1u Rack that holds 2 mono units. [2 channels @ ~400] Is the WARM Audio 1176 clone the WA76? $600 is out of my budget, and I'm looking more for a compressor to help emphasize a punchy bass synth, and to tone down a loud pad/percussive/rhythm effects chain yet keep it punchy in a live mix. If it makes a difference I'm not that concerned with brilliant studio mastering, this is more for harnessing a relatively improvisational live mix. Computer Serf fucked around with this message at 04:29 on Nov 12, 2014 |
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Nov 12, 2014 04:26
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Panda Time posted:This is good info, thank you! Ah live stuff is its own animal, I'm not as qualified to talk about that specifically. RNCs are pretty awesome, I'd vouch for them! Only trick is the unbalanced connections.
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Nov 12, 2014 04:53
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I love my BBE MaxCom dual compressor. It's good value for the money and does everything you'd ever need it to. http://www.amazon.com/BBE-MaxCom-Compressor-Limiter-Maximizer/dp/B0006GSEME/ref=sr_1_1?ie=UTF8&qid=1415935243&sr=8-1&keywords=bbe+maxcom
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Nov 14, 2014 04:21
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