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SoundOnSound says that's a sidegrade, if anything. It will have a slightly different character, for sure, but who knows if that will suit you better. Otherwise it's completely in the same class. I'd maybe look at the Rode NT1, that has a reasonably flat response and an extremely low noisefloor for about £160 instead (if you've got the sort of kit to mount it already, otherwise about £240). That's an actual technical advantage that makes just about everything more convenient down the line. That said, what problem are you thinking of solving? Is there even something wrong with the AT2020? Maybe you're better served with some basic acoustic treatment or a better mic stand/desk mount, better headphones or even a can of compressed air to clean out your computer's fans or some software that makes life easier for you. A non-creaky chair? A visual metronome app to keep your pacing consistent? Not as exciting, but £100 doesn't buy you a lot of mic that's going to be a lot better than what you've got anyway. If you can try it out, by all means, though.
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Aug 11, 2016 20:28
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Hbomberguy posted:Are any of those little portable vocal booths any good, or should I start buying lengths of foam and carpeting my walls? I think there are no shortcuts in acoustics.
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Aug 29, 2016 23:15
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The pad switch on the mic is to prevent overloading the circuitry in the mic after the capsule. It won't do gently caress-all to prevent distortion physically created by exposing the capsule to extremely high sound pressure levels, which is what you're having. For the love of god, don't even think about putting the mic closer to the speaker, you're potentially damaging it with what you're doing now. The suggestion is definitely to increase the distance. At the cost of having more of the room acoustics show up in your recording. Your own suggestion to DI and use software simulation is sensible. However, the convenience of all-in-one sofware suites costs money as well and the latency of your driver/interface combo becomes important. But there is free stuff out there. Cheap dynamic mics are plagued with low sensitivity though, and in rough correlation, can stand higher pressure levels. You can probably pick up a basic ok-ish one for $20-$40 that can stand being used in that role. Another way is to use a power soak, to decrease the SPL coming out of the speaker. But that'll be as expensive as getting a good-ish dynamic mic anyway.
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Sep 8, 2016 14:40
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Not too familiar with Reaper, but since it has extremely flexible routing, I'm assuming you can at least record the output of one (or more) midi track(s) onto another to bounce the stuff down to one part. Whether you're just concatenating or also merging.
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Oct 12, 2016 12:29
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syntaxfunction posted:You can also open a MIDI item, select all, copy and then paste into another one? I'm not great with MIDI but I know you can do that. Looking into it a bit deeper, there's a "glue items" menu option that might work for midi too, but maybe not if you've got overlapping stuff. But there's an "export project midi" option in the file menu that seems fairly promising. I get the impression this is harder than it should be, though. I guess you tried selecting multiple parts and seeing whether the humanisation applies to all of them, right?
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Oct 12, 2016 13:12
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I feel the gain compensation stage and control is one that should have its own section under the basic compressor controls. It's sorely missing and thus skews the text towards suggesting a greater division between what limiters do and what 99% of people look for in a compressor, which are both messing with perceived loudness.
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Nov 1, 2016 21:10
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The benefit an audio interface with a low latency driver can give you (on top of having an input jack with the right impedance and voltage expectations) is that you can monitor yourself live while playing through amp/cab simulator plugins. Hearing the sound as you intend it to sound as you are playing, may heavily affect how and what you are playing versus recording clean-ish and then messing with it after the fact. The reason you haven't had any latency problems with your onboard sound is likely because you haven't used it in a situation where any would show.
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Nov 19, 2016 22:58
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There's no non-computer device that is going to give you satisfactory acoustic drums compared to what those vst plugins do. If recording stuff away from the computer makes sense to you at all, for whatever reason, then I'd still recommend the hybrid approach. You can record your other stuff to your portastudio against a click track or a basic drum computer sound for spontaneity and replace that with plugin drums later on.
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Nov 25, 2016 00:44
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strangemusic posted:Elektron Octatrack + acoustic samples at your discretion. Bam.
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Nov 25, 2016 20:43
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You don't need to find joy in the number of samples. You'll find joy in that all this poo poo happens in the background without any required user interaction, whereas in a hardware sampler you'll have to program in everything -velocity response reflected in volume, filter, envelope, sample switching- yourself to arrive at a halfassed approximation to faking it.
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Nov 25, 2016 23:04
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Scikar posted:Not sure if this is the right thread, but any suggestions on places to upload stuff to? I'm just recording short clips of stuff I'm playing at home so reverbnation seems a bit over the top, I thought SoundCloud would be best but if I send a link to my friends on Facebook they get a prompt to install the mobile app instead of being able to play the track (and they're not going to install the app to listen to 45 seconds of me jamming at home). And MixCloud seems to be more aimed at DJs and radio. Is YouTube my best bet?
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Dec 10, 2016 13:09
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Burying the vocals is like closing your eyes and thinking that no one can see you. Just work on your confidence and on owning your performance. Near any number of mistakes can be overlooked if they are brought with enough joy and positive energy. If I can feel you shrink and cringe with every bum note, I'll cringe along with you.
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Dec 13, 2016 15:35
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Just have a hint in the higher frequencies that a bass note has started/is playing and psychoacoustic magic will make your brain fill in the mising bit. That's what to aim for. At no point you'll be trying to make the laptop speakers reproduce the actual bass frequencies. Adding harmonic content is good, but sometimes it's enough to give a bit of that in the transient phase (at the beginning) of the sound if it's mostly about the rhythm the bass is playing. Added harmonic content during the whole note might, in some cases, interfere too much with the rest of the mix. Which you primarily want to sound good on good speakers.strangemusic posted:One of the producers I apprenticed with was extremely anal-retentive about phase-aligning, particularly for lots of stacked guitars: his reasoning being that if ALL the waveforms associated with, say, a chugging chord, are pushing or sagging the speaker cone precisely the same way at the same time, you're going to feel it more even if you're not making it louder.
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Dec 28, 2016 22:45
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s.i.r.e. posted:So I'm just trying to record some basic metal poo poo, just guitar and (electric) drums right now. My interface is a Guitar Rig Kontrol 2 pedalboard, it interfaces with my computer, has MIDI and FL Studio seems to work with it. My friend and I are just trying to record some jams but it seems like FL Studio is hitching up randomly and the sound cuts out as it records but comes back a half second later, the problem is those half seconds don't get recorded and are missing in playback effectively ruining the recording. I'm at a complete loss as to why this is happening but I want to say that maybe the pedalboard just doesn't make good recording hardware, if this is the case what's a good (cheap) alternative to buy to stop the cutting out? If you can control FPC through midi, FL should definitely be able to record the midi notes you're entering; you're probably doing something very basic wrong to get it to record the audio coming out of FPC instead. Watch some youtube tutorials on recording midi in FL Studio, my knowledge of how FL works is way out of date. FPC will do fine if you're fine with the sets of samples it offers. In your setup, everything should work for what you're doing. I'd do some proper troubleshooting before jumping to buying new stuff or bailing on the software. For the love of god, stay away from asio4all if you have an interface with proper asio drivers like you do. The SSD, if it otherwise works properly, is definitely not the problem. I'd say the same for any recent harddrive, but some seriously poo poo laptop drives are being made. JBL LSR305 are decent affordable studio monitors. I do not recommend trying to go a lot cheaper, even though just about anything purpose built will be an upgrade over a soundbar.
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Jan 6, 2017 18:35
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s.i.r.e. posted:I tried the YouTube route but I can't find anything exactly for my case. I guess it's the same procedure with a drumpad thing? s.i.r.e. posted:What's the issue with ASIO4ALL? It's the only way I can even get sound into FL Studio, I can't select any of the inputs on the pedalboard when I use it instead of ASIO4ALL. 1. using multiple usb mics with asio capable software. (Should have bought regular mics and an interface with enough inputs) 2. using a single asio device with multiple softwares simultaneously. (software where the use case seems to warrant this (like guitar rig!), will often have a rewire capable version or a plugin version available, which is the better choice for recording its output) 3. using input from one device and outputs on another. (Sometimes the wrong hardware for the job again, or maybe you simply didn't realize you're supposed to connect your speakers to the interface's outputs and use it for all your sound needs, completely replacing your onboard sound or other soundcard, so you can have inputs and outputs on the same device, just like asio capable software expects) I think you're maybe doing a number three and FL Studio won't let you select the inputs without asio4all because you have the outputs on another device selected? Not saying this is necessarily the cause of the dropouts or anything, but it's not helping.
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Jan 7, 2017 00:52
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s.i.r.e. posted:So in FL Studio I selected the wrong drat input/output device, there's one listed Rig Kontrol 2 Output which I had selected so I couldn't do poo poo with it but once I selected Rig Kontrol 2 everything went swimmingly and there's no strange buffer cut outs or whatever the hell I was experiencing. Basically I'm dumb.  s.i.r.e. posted:Now my main issue is that after I record MIDI it goes into the timeline but only for the first take, then if we try and rerecord it goes over the previous chunk of MIDI and then duplicates it wherever I started a take. So rather than having a bunch of takes on the timeline, like I have with the guitar, the MIDI only has one and it copies itself or something.
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Jan 7, 2017 11:21
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s.i.r.e. posted:poo poo, so I have to either record all of the drums in a single, perfect take, or Mickey Mouse a solution because FL Studio literally can't do takes with MIDI.... Hmm... Does Reaper do takes with MIDI? Does it even do MIDI? If you record in midi, you can replace the sounds later, though when switching presets or plugins, you may bump into the issue of what note is mapped to what sound. This would mean you'd need to select all, say, D3 notes that used to play a cowbell sound but now play a bongo sound and dragging them up to F#3 where the cowbell now is, or whatever. There's somewhat of a standard in GM or XG drum mapping and most plugins will follow them loosely, but it's not always perfect, because those standards are old and new stuff is going to want to drop stuff that was in there to make it universal (no guiro in this rock drum preset) and add stuff that there was no place for in the old standard (more differently tuned snares, sampled flams, whatever). This is sometimes a non-issue and otherwise certainly not insurmountable, but if you have all sound options available to you at the time of recording, it probably pays to pick one and stick with it anyway. If you're going to buy superior drummer later, well, maybe some minor editing is going to be involved, but ok, no big deal. With midi recording you definitely have the massive advantage of it being possible at all to swap out sounds later. That's not to say it can't be completely reasonable to commit straight to audio, but you've got to be fairly happy with what it is and ideally you'd have kick and snares and everything still on separate audio tracks, otherwise you're completely stuck with how they are mixed inside the plugin, which to modern standards is considered severely limiting. Paperhouse posted:Another janky FL Studio question - I'm using FL ASIO in order to record vocals into the program (ASIO4ALL just makes everything mute for some reason) which is fine, but the latency is annoying. I can play through a track fine with the buffer set high, but when I try to record the latency is offputting when I do it and it results in everything being behind. When I change the buffer to the minimum setting recording works in time but there are stutters in the track as I hear it. There doesn't seem to be a compromise in the middle, does anyone have any idea what can be done? ASIO is all about cutting out intermediate layers and providing direct access to the device to the software. Any generic driver will probably still have to do some translating or pass some of the job on to the OS and that eats up time and cpu cycles.
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Jan 8, 2017 13:33
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^^^ Yeah, that's way off base. Wrong direction host-hosted device-wise.AlphaDog posted:This is probably a weird question....
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Jan 13, 2017 01:44
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AlphaDog posted:OK, thanks! "Class compliant" seems to be the keyword I was missing to get the info I need from google. To just throw the question out here too, does the Roland TD-1KV's usb-midi count as class compliant? There's a thing in the manual about connecting to ipads, but I'm not sure if that's for usb-midi or if it's for their specific software. Please note that there is a strong element of "should work" with the Kenton Midi Usb Host (even with it being on mkII now). There are still random class compliant devices that don't. You pretty much won't know until you try or until you find someone describing how they tried successfully. If you look at the compatibitlity tab on the page of the earlier link to the Kenton site, you'll see -among broader info about what works and what doesn't- that people apparently often contact them with questions about compatibility. I guess that's worth a a shot as well. Edit: CerebelUSB is an alternative device with oly midi out, but you'll see it has similar compatibility issues. Everything else is build-and-program-yourself stuff, using arduino or raspberry pi. Flipperwaldt fucked around with this message at 12:10 on Jan 13, 2017 |
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Jan 13, 2017 12:00
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Wow, the manual of that thing is impenetrable! But I think the second jack on each channel is for looping the signal through to another amplifier? As in: you can ignore it for your uses. The equivalent xlrs on it switching from female to male would somewhat support that hypothesis. Which would mean you could get away with a simple switch, like this (for example, seems a bit expensive for what it is). Maybe? I'm really not sure. The Stereo/Vintage thread in IYG might know.
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Jan 14, 2017 23:13
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In what sort of moon dollars is the 18i8 $600? Have you looked at the MOTU Ultralite? Or the 18i20 if you need a lot of preamps? They're going to cost more, but you wouldn't paint yourself in a corner as far as your conundrum goes.
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Jan 19, 2017 14:19
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I'd go with an expanders instead of gates, but yeah, that's going to be the closest you're gonna get at that price. Apparently. I spent some time thinking what you could do with gates/expanders with sidechain ability, but even with just two mics, you'd run in to problems when two people speak at the same time. Both get muted, because the plugins aren't aware of each other. The benefit of an integrated multi channel plugin is that it can apply more complex logic. You'd think this is pretty basic functionality with a lot of alternatives available, but that doesn't seem to be the case.
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May 17, 2017 17:56
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surebet posted:hello thread, the guys over at the computer hardware thread in sh/sc suggested i come here with some voice recording hardware questions i have. You can wash regular foam covers under the tap, you don't need an endless supply of them. They'll stop most of whatever is coating everything when there's smoking indoors. But it would take many years of build up to actually damage a mic anyway, even though you'll lose all resale value on day one whatever you do, due to the smell. You don't necessarily need a pop screen if you teach yourself a bit about microphone technique.
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Jul 20, 2017 11:38
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surebet posted:just realized i skipped the noob-iest question of them all: where do i buy all of this stuff? i'd rather a single retailer for everything, sweetwater seems like a nice place to grab all my stuff in one go, anything else i should look at? I bought a Roland Quad Capture from a local pawn shop for ~$90. Lacked the box, the driver cds and the usb cable, but who cares. As new otherwise and $160 off retail. Also bought an NI Traktor Audio 2 interface for half off from some random guy. I'm paranoid enough not to risk the same for something like a microphone without being able to test it though. Sweetwater should be good, but I'm not American so 
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Jul 20, 2017 20:25
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DavidAlltheTime posted:Speaking of audio interfaces, in the past when recording into Audacity on my laptop, I've used my Zoom H2 as a recording interface. I use the H2 as my microphone for vocals/other live instruments, which plugs into the laptop via usb. If I'm playing a keyboard, I plug it into the 'line in' on the H2. I don't see this setup mentioned anywhere, but instead people use a purpose-built recording interface. What's the advantage? Other people might prefer (having a selection of) other microphones because of character, noise floor or whatever. Other interfaces have more input/output and internal routing options, allowing for multi mic setups, direct input of guitars or the use of outboard gear. Or traditional midi devices, sometimes. Multiple headphone outputs with different mixes. Things like that. I don't think the H2 has low latency drivers (though I'm not sure). But an audio interface that does, will allow you to use software effects on captured audio and hear the result live without annoying latency delay. Good for guitar amp simulators or singers who need a touch of reverb in their headphones. You can also use software synthesizers with midi input devices (keyboards etc) in real time without delay. These are often things people are specifically looking for. I'm guessing that a lot of people are also simply unaware some field recorders have audio interfaces in them.
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Jul 20, 2017 21:27
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The above is in reference to to Reaper, just to be clear. Here's what the dialog looks like:  If the pitch shifting sounds like poo poo, you should be able to adjust the playback rate instead with preserve pitch unchecked, though this will change the tempo along with it. Some maths may be required to translate number of semitones to the percentage type number playback rate expects though.
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Aug 5, 2017 12:03
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tricksnake posted:Looks dope but I just thought of something. Right now I'm using a set of speakers + subwoofer that connects to my PC using a single 1/8" jack. Eventually I'm gonna upgrade to studio monitors so is that single line output gonna be enough? The latter will be what you do while you keep your old speakers and save up for monitors, with your old speakers connected to the new audio interface's outputs. When you get the monitors, you connect them to the interface's outputs instead and either plug the old speakers back into your computer or maybe not even bother with that because the monitors should sound a lot better anyway. Beyond that it's just a matter of buying cables with the right jacks to connect it all. The TV doesn't need to come into it at all.
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Aug 12, 2017 17:22
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tricksnake posted:it only has one RCA output and im trying to connect it to two powered studio monitors  The UR12 has one pair of rca outputs, suitable for both a left and a right speaker.tricksnake posted:that model has enough outs to be able to connect it to studio monitors but it seems like it only has XLR inputs and no 1/4" inputs which I need at least 1 of.
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Aug 13, 2017 17:52
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At $300 JBL LSR305s are the best buy easily. At $550 I'm a huge fan of the Yamaha MSP5 Studio.
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Aug 16, 2017 19:25
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surebet posted:is there such a thing as real time noise reduction? depending on where i'm recording there's always an annoying environmental contaminant (a laptop fan, hvac system in the distance, stuff like that)and while i've been having fun knocking them out in audition cc, i'd love to do have the same clarity in my live vocals (skype, voip & screaming at noobs in overwatch). Note that this stuff works on a sliding window, so real time is relative. There will always be a latency of x samples. As far as I recall anyway. You could also look into an expander (like a gate, but with a less abrupt cutoff) to reduce the need for noise reduction somewhat. Fans that run at a constant speed can be partially tuned out with a hum reduction plugin. Most of the time at a cost though. edit: looking at it, Izotope's RX Essentials is reasonably priced at $99 as well, for the additional stuff you get. Flipperwaldt fucked around with this message at 11:41 on Sep 16, 2017 |
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Sep 16, 2017 11:36
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Nova88 posted:I've been noticing that after rendering my project from Reaper, the output .flac file of the mix seems to have a weaker low-end compared to when I'm listening to it via the master track from within the project. I'm rendering from the master mix so I would have though they would sound the same. For god knows what reason, my Quad Capture has a higher maximum output level for anything piped though ASIO versus what goes through the Windows stack. Apart from things like that, obviously whatever player you're using can also be applying replay gain settings. If you could compare between your project and a project that just has the flac file in it, that should confirm whether or not all this is the case.
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Sep 21, 2017 16:03
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If you're going to deliver stems for someone else to mix, I'm not sure it matters what the sum mix level is at delivery, or what the level of the individual stems is as long as they aren't clipping or so ridiculously quiet that bringing them up to a sensible level brings a lot of noise with it. The whole point is that someone else is going to look at it with fresh ears and start from scratch. I would have thought anyway. The question is more how "dry" you leave your stuff. Do you push any sort of agenda by baking in compression beyond pure technical requirements? Reverb? Reverb on a separate track? Do you just provide what came into the microphones/out of the instrument plugin, as an excercise in letting go of artistic direction? Including different takes? Direct In signal that can be re-amped? Midi score, where available? I guess that might be going a bit far. Somewhere in between, at the point that all obvious technical errors are already fixed and some timbral choices are made? Or really a half/fully finished product for someone to polish? Not as some kind of directive, but as questions you can ask yourself, I guess. If you're going to include an mp3 of the finished product to communicate what you had in mind, you can obviously consider if it should have a playback level in common with everybody else's. That'll be pretty hard to coordinate though.
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Sep 22, 2017 11:20
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If you're using relatively long, unbalanced cables that are poorly shielded to connect your monitors, they could be acting as an antenna for EM garbage. In that case, a ups won't help. I have a cable going into a mixer that picks up my fridge switching on and off. Since it doesn't show up in the heaphone out for you, you know that if you've got something similar going on, it has got to be the cables going into your monitors tough.
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Oct 6, 2017 13:42
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s.i.r.e. posted:Thanks, just the files have all of the data I recorded? Below image suggests that perhaps by default wherever you find a project file, there will be an associated subfolder called Audio containing the media files for it.  It's likely a good idea just to backup every folder you find an rpp file in with all its subfolders. Make use of Windows search or voidtools' Everything (or Finder on mac or whatever it's called there) to find wherever everything is.
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Nov 18, 2017 22:50
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Honj Steak posted:There is a metallic-sounding vibrato throughout the recording that's not intended.
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Dec 8, 2017 17:40
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Rode NT1 (the not A version) is just plain great and also ultra low noise. But less cheap.
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Dec 13, 2017 20:58
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ASIO4ALL won't do anything helpful for the noise. What sort of level is the noise at without normalizing?
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Dec 22, 2017 19:34
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Tweezer Reprise posted:-70dB, apparently? God, it seems very noticeable to me in my monitor headphones. Should I not worry about it? There are definitely preamps that just plain do better, but this is fairly normal and reasonable. Operating within the specs of a budget preamp, certainly. Useful signal will mask it out. Use gates, like they did in the 60s-70-80s when -70dB self noise was beyond state of the art even in professional studios. They certainly managed back then. Apart from getting another interface or using an external preamp, a more sensitive microphone would also alleviate the problem somewhat. e: or a CloudLifter possibly, as another avenue. Flipperwaldt fucked around with this message at 20:02 on Dec 22, 2017 |
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Dec 22, 2017 19:58
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Spanish Manlove posted:Is it normal for a SM57 to sound really quiet? I have to nearly max out the input gain on my 2i2 in order to get anything from it and then in my daw I have to boost it even more.
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Dec 22, 2017 20:38
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Just look into the CloudLifter. The 2i2's preamps are absolutely fine when presented with a decent signal level.
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Dec 22, 2017 21:15
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