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I've been watching ebay a bit recently and have observed 2 interesting things. Digi 001 racks have been selling at rock bottom prices. I'm thinking of picking one of these up for the studio to replace the 10/10. I just use protools, and I believe up till about 6.4 or something , these where still supported. The value equasion looks good to me. The Digi 001 , to my ear, had niiice sounding ADC's and preamps, and with 8 ins, plus an ADAT input I can stick a little preamp strip on, I can happily record 16 tracks, which would happily bypass the channel crunch I always get recording my band on the delta 10/10 with M-powered protools. Thing is, I could happily work with an older version of protools, and as much as the right click on 7 is fun, I dont really need much of the newer stuff anyway. Secondly Im noticing some really nice 8 track tape machines being sold on ebay. I started recording 10 years ago on a 4track 1/4 inch, and then for a while on 1/2 inch 8 track. And honestly I love tapes sound , the saturation just sounds so warm and sunny to my ears. Is there much value in grabbing an old 8track 1/2 inch, to record into, which I can dump into protools afterwoods, or is it just more dry solder joints to gently caress my signal chain with?
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Apr 13, 2007 08:09
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For the goon who wants possibly the ultimate, and yet highly redundant, toy ever: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=300461979965#ht_19090wt_1141 A frigging fully specced synclavier. At the time Frank Zappa did his final orchestral opus on one of these bad boys, he'd spent around about 2 mil on bits and pieces for his synclavier. And the sad thing is, a fully specced one now probably has less features than your laptop studio rig with NI's komplete pack. But god drat, seeing that thing for sale gives me a boner. Not that I can afford to spend 10K on buying it and transporting it across the planet..  e: I bet this thing doesn't even do midi 
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Oct 5, 2010 14:17
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Any suggestions for a good USB midi keyboard with a bit of stage ruggedness. I had one of those behringer things and it just crumbled at its first knock. Being a two-tone ska band, things get a bit rowdy at times, and yeah, I managed to actually punch the volume slider right off the PCB. loving cheaply built thing. e: Just ordered an Icon Neuron 5. I'm going to break the old lovely behringer keyboard over the guitarists head at the next gig. It'll be rock-and-roll as gently caress. duck monster fucked around with this message at 03:23 on Nov 2, 2010 |
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Nov 1, 2010 03:42
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chippy posted:Bit off topic, but what's your band dude? I'm guessing maybe you're UK based if you're two-tone. I used to be in a ska-punk band and a two-tone band so I'm still pretty interested in the scene, much as it seems to have dropped off these days. Australian. Yeah its a two-tone thing, with bit of a rockabilly twist, kinda. Two tone was once really big here, and I'm hoping it'll be again, since the kids seem hell bent on the 80s lately. But I'd rather not be telling folks the band, been around SA long enough to know that this can lead to future hell-dumpery.
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Nov 4, 2010 00:59
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Don't use monitor speakers for parties. Monitor speakers are not designed to be loud (although oft they certainly can be), but rather accurate and listened to at ear height maybe a meter away. Different speakers have sweet spots as the best distance to get an accurate sound, and monitors are generally near-field, meaning you really want to be near to it. I mean sure I'll crank my KRKs up occasionally if folks are drinking beers in the house, but if your taking it seriously, you really want a set of speakers that are LOUD.
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Nov 24, 2010 16:07
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Anybody know whats a good place to find wierd old connectors? I've just purchased myself off ebay an old dbx 158 chassis with 8x dbx 140's to try and tame a bit of the tape hiss off my Tascam 38 reel unit (It could probably do with a bit of surgery to replace some of the old caps, but $$$ and all that) but god drat if it doesn't have some wierd rear end plugs in the back. In theory I might be able to get at the little RCA's inside it (I believe these ought work) but it'd be nice to actually plug this sucker in as god intended it to. But gently caress me if these connectors aint wierd as poo poo. Their sort of like scart plugs, sort of , but with this wierd little pole I guess designed to hold it all still. I have no idea as to how to identify the fuckers and find some replacements so I can wire up the cables. Wierd fucken things.
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May 2, 2011 05:18
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fallenturtle posted:I've debated getting a decent pair of monitors, but it seems like from everything I've read that the cheap monitors aren't really worth the effort, so I think my best bet is to choose between these two sets I have and then listen to music on them until I get use to them, learn their weaknesses, and then mix with them (and of course try my mix on as many other speakers as I can). Even a cheap lovely set of behringers are going to sound more accurate than computer soundcard hifi speakers. The thing is , your not after "good" sounding, your after "accurate" sounding, and from there you just need to really get your ears used to the fucken things. The problem with home stereo speakers is they are tuned to sound cool by hyping up the bass and and poo poo, but they just are not accurate. In theory if you can get your mix to sound good on some proper monitors then it OUGHT sound decent on home stereo speakers, but that doesn't necessarily work the other way around, because your missing a lot of detail and mixing to a set of speakers that really just encoding to the assumptions of whatever company built the hifi speakers thought punters would enjoy. In the case of computer speakers, this is going to include explosions and guns firing and characters yelling "ROGER CAPTAIN" and poo poo that has nothing to do with music. If you can scratch the cash together for them, I honestly recomend some KRK's though. They really do pack a lot of punch for what you pay for them. Ultimately you want to just get some REAL monitors, even some cheap ones, and then listen to a lot of music through them to get your ears used to what a good mix should sound like on them (try and find music thats got decent dynamics, but whatever) and then aim at getting your mixes to sound like that.
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May 2, 2011 05:32
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coolbian57 posted:I am using a Cable to Line-in adapter, I think the technical term is like a 1/4in to 1/8in connector. I'm basically plugging into the line in on my computer. Does it really matter what sound card my computer has? Will I get a higher quality end product if I use a better sound card, or am I better off concentrating on my guitar, amplifier, microphone, and effects. By the way, I have been playing around with lining up tracks in Audacity and I got my input lag almost smack dab down, now that I can line up with the click track it's sounding wayyy better. But still not something I would want other people to hear yet. And that's what I'm going for. Any assistance is much appreciated! Yeah, sound cards on computers usually are passable for output but tend to be bloody horrible for input. Theres a few M-Audio type units that are pretty drat cheap and have pre's on them that aren't great but aren't terrible either. Your soundcard inputs are designed for little dinky headphone mics for using skype or whatever. You want something better than that. 57s are great little instrument mics, your doing it no favor by making GBS threads up their qualities with a generic soundcard input.
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May 2, 2011 05:37
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Yeah, that looks like its it. 8 channels balanced. For sure. Not cheap though! Almost as much as I paid for the bloody dbx unit.
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May 2, 2011 08:35
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Pre amps are basically about getting control over gain "structure" prior to getting the signal into the digital realm (or tape realm if your using reel). Your major aim with recording any signal is to try and get as much gain as possible without clipping your signal, and as minimal noise as possible. So you might have a small noise 'floor' of a few decibels and as much drat signal as possible but with absolutely no clipping. Clipping is not your friend. The problem is where as some signals are nice and well behaved (for instance coming out of a synth) and have a fairly predictable gain structure, some signals are loving crazy, like a DI'd bass guitar or maybe a mic on a drum kit. If you can't get good control over the signal, your quietest ones end up too close to the noise floor making it hard to mop up noise and the loudest ones end up clipping the poo poo out themselves, making themselves unuseable. So a good pre-amp (often coupled with a compressor in higher end setups) lets you try and find some sort of happy medium that gets you as much crank as possible without getting into the clipping. Some of the really nice valve pre-amps also exploit a feature of valves to provide a slightly more acceptable alternative to square-wave clipping called saturation. Basically as the amplitude gets closer to max it sort of squashes the signal in a little bit creating a sort of overdriven effect thats a bit easier on the ears than the mosquito buzz of straight out clipping. Analogue tape has a similar phenomena too where overdriven tape sort of saturates itself rather than just clips and sounds like a buzz saw (and arguably a "better" saturation too) HOWEVER, on anything but the nicest pre's , there really isn't a great line between tube saturation and digital clipping, and if you buy a pre hoping to utilize the saturation as a crutch against clipping, your really doing it wrong. Its a specific "effect" that should only ever be used sparingly, and frankly theres no great reason not just to just fake it with a good VST saturation plugin after getting a *clean* version of the signal in, unless you really know what your doing. Low end tube pre's still sound like rear end overdriven, and at the end of the day, its just pre-amp abuse. So what I'd recomend is hunting about for a nice cheap pre-amp that has as much "headroom" as possible before any clipping or saturation occurs. Most pre's will also let you use 48v Phantom power , which is necessary for many of the more high end mics. One neat recomendation here is the inbuilt pre's on a Mackie recording desk. Many of the recording interfaces have passable pre-amps (I'm pretty fond of the pre's on the Focusrite Saphires. Some models have a channel or two of focus-rites heavenly liquid channel preamps). You should avoid the behringer ones, as they genuinely are worse-ifiers. pre-sonus are passable for the hobbyist ones to half-decent at the higher end. Heres a pro-tip: Golden age PR-73s will only set you back 3-4 hundred, and sound loving magnificent being an very loyal clone of the old old Neve 1073 pre-amps (A rack of 8 authentic 1073s in a lunchbox will set you back the deposit on a new house. However for a beginner one or two channels of the PR-73s will more than suffice). You can even mod the fuckers to upgrade the sound and performance even more. Couple these with a really sweet condenser mic, and your voice will sound like God. The Golden age PR-73's work great with bass guitars too. However, start with your recording interface first. Make sure you have a decent recording interface with basically functional pre's, then when you feel you need that extra bit of shine, investigate something like that PR-73. duck monster fucked around with this message at 06:42 on May 9, 2011 |
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May 9, 2011 06:35
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gypsyshred posted:I have a couple of questions regarding ghetto rigging some possible solutions. Its not a midi out. Its 6 channels of audio out plus some other poo poo for the knobs. You need rolands magical box to scan these into midi signals. You literally can not just wire that output into midi, because midi is a low resolution digital control signal,and whats coming out that pickup is 6 channels of audio and knobbage.
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May 9, 2011 06:46
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gotly posted:I already have a little Tascam recorder that I use for laying down ideas. Is there an open source version of something like Adobe Audition? I don't need 100 channels and a million effects or even recording capability. I just need to mix MP3#1 into MP3#2 with minimal tweaking. Basically all I see out there is the music version of Photoshop. Feature rich, expensive. I'm looking for the music version of Paint. Check out Reaper. Its not free, but its dirty cheap, and you get a 30 day demo. AFAIK they don't seem to mind you taking a bit longer to make up your mind if you want to buy it, but naturally you ought do the right thing and pay for it promptly. I just discovered it whilst looking for something that could do LTC synch so I can work with my 8 track reel setup without too much fuckery (I still have to drive it from the tape remote, but thats OK, I tend to treat daw's like fancier tape decks anyway). Seriously though it seems a really complete piece of software and seems to have great headroom compared to the lovely old copy of Cubase LT I've got. Nice and easy workflow too. The only things I've seen more intuitive would be Abletons pattern editing stuff and Traktion, which last time I looked a bunch of years ago was awesomely intuitive (and relatively cheap too). But check out reaper. Its fancy as gently caress, easy, really cheap, and the developers trust you to honestly demo run of it without cuntish DRM. e: Oh right, I get it, Audition is a sample editor, rather than a DAW. Then yes, Audacity is what your after. My bad. Guess I just wanted to spray a little bit of love for Reaper (which is not a sample editor) duck monster fucked around with this message at 16:54 on May 16, 2011 |
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May 16, 2011 16:16
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Anyone know where to get a cheap alignment tape for a Tascam 58? Looking around the net I found a third party place that sells third party tape for around $250. gently caress that. Theres got to be a cheaper way
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May 22, 2011 10:02
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Whats folks recomendation for restoring old lovely recordings. Just got passed some MP3s from my old guitarist of an old spazzcore band I was in in the mid 90s and its in reasonable nick for a cassette tape recording based off some old 4 track rehearsal room stuff, but yeah, needs some audio love. At this stage I'm thinking of putting it through some sort of noise reduction filter, but my worry is the drums seem pretty low in the mix (ugh) and the noise floor is pretty high. I know there are some noise filters can sample the ambient noise on the tapes, but I'm not sure what the outcome will be. From there I want to just compress it up a bit to control the gain on the recording (but this must obviously come after the noise reduction), then stuff it through Harbal and try and unfuck what was basically mixed on some paper home stereo speakers back in the day when home studio meant "tascam 4 track cassette". There is also one recording that was actually done in a studio that actually sounds pretty good except the mixer guy was a country music dude who seemed to think it was appropriate to mix the half off key punk vocals about 900 decibals louder than anything else. Not sure what I can do for that except very loving delicate eq + compressor fixage.
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May 29, 2011 16:58
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What buffer size are you using. It sounds like your computers nuts are hanging out.
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Jun 11, 2011 08:49
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Schlieren posted:Do not buy monitors; you might get used to listening to monitors, but your mix is not going to improve by using them: the monitors aren't going to be in a treated room. Might I suggest some Series Ones? This is bad advice. You cant do an accurate final mix with headphones because headphones will always, no matter how good they are, not provide an accurate frequency response, because what you hear is heavily mediated by the effects of your skull on audio. Your ears are not designed to have sound directly injected into them, and as a result you'll hear an exaggerated bass response because of the way the sound propogates around your skull. On top of that headphones can fatigue the ears very quickly. Theres no substitute for a pair of decent monitor speakers, even in a cruddy room. If you place them properly at ear height between 1.5ft-3ft depending on the speakers (You need to experiment) , then adjust the volume so that your not fatiguing your ears but are able to still pick out subtlties in the mix. Theres still definately a role for headphones, particularly in recording audio to avoid bleeding, and headphones can get you a closer peak into some of the hidden depths of your audio , but they won't give you an accurate sense of EQ or compression at all. e: Some people report LESS bass on headphones, I hear it exaggerated. This only goes to show just how variable the effect of skull architecture is on bass perception. Don't trust it. duck monster fucked around with this message at 06:24 on Nov 28, 2011 |
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Nov 28, 2011 06:19
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Oh by the way, don't buy a Zoom R16 if your on a mac. The idiots still haven't released Lion drivers yet. I'm preparing to return my one, because it doesn't do what it claims to on the box. Shame though, its an otherwise fine interface, its just that they had nearly a year to get their drivers updated and still haven't.
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Nov 28, 2011 06:21
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wixard posted:Are you really suggesting that skull architecture has a greater and/or more varied effect on headphone frequency response than room architecture has on monitor frequency response? Absolutely. If your speakers are set up correctly so your listening directly to them, and no a tonne of muddled reflections, then your listening to the sound with far reduced mediation of lower frequencies by the architecture of your head. The audio response your hearing with headphones is bouncing allthrough your skull and very distorted. Your going to get a lot more detail, thats not contested, however your perception of eq will be totally out of whack, since your ears and psychoacoustical perception of sound are simply not designed to hear sound that way. duck monster fucked around with this message at 06:33 on Dec 12, 2011 |
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Dec 12, 2011 06:30
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By the way, if anyone has been going through the same problem of having a Zoom R16 and lion macbook(or whatever), Zoom have *finally* released a loving driver, what some 9 months late. It was probably a 3 line code change tweezling some pointer semantic or something but whatever its done. Will test tonight after work. loving gooses. I'm sure I wasn't the only one whos spent nine months yelling at them on the phone that if you sell a product as mac compatible it has to actually be compatible with macs that you buy from an apple store. But Its entertaining me speculating that they finally did this to shut my angry trap up.
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Feb 8, 2012 04:17
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Hogscraper posted:The Icon Neuron 6 is pretty rad but have fun dealing with them on the phone to get ahold of one. I ended up getting mine from a distributer in Canada. Mine lasted about a week before it stopped talking to the outside world anymore. loving thing Shame too, solid as a rock, which is why I wanted it, since I keep accidently destroying keyboards drunk on stage. Pro-tip for behringer controller keyboard: If a part dies , open it up and pull it out. The less behringer parts in your behringer, the more reliable it is. The most reliable behringer would be an empty box. I literally killed the pitch dial with my crotch when some drunken 6.?foot skinhead dude im the crowd decided to pull me over my rig into the audience. loving SKA audiences! duck monster fucked around with this message at 20:36 on Mar 7, 2012 |
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Mar 7, 2012 20:33
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Welp, just decided to murder my credit card on one of those Focusrite liquid 56s. Had a play with one at the music store with my modded Rode and those pre's just sound heavenly. Hope the drivers don't suck on my mac! Should turn up in the mail over the coming week. I think my record chain should be pretty nice now. I wonder how the liquid channel stacks up against the Golden age pre. Next step: Figure out how to get this old Tascam reel-to-reel to timecode slave off wordclock.
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Mar 18, 2012 02:28
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wixard posted:That's not happening. You can convert MTC to SMPTE, but it's not exactly cheap. I think the piece everybody used to use was the MotU MIDI Timepiece but they don't make that anymore. I was actually making GBS threads out timecode from reaper onto a tape, then using it to just drive the interface. It *sort of * worked. The MOTU timepieces are available on ebay for around $100, so that might actually be the go here
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Mar 19, 2012 03:20
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My shiny new focusrite liquid saffire 56 turned up. Very initial reaction: The pre's sound like peaches and cream. Really loving nice for interface pre's. The liquid channels even more. That said I still think my Golden Age 73 sounds nicer with my modded Rode, but that really shouldn't be surprising since the Golden age is pretty much a faithful clone of the neve 1073s (seriously if you can afford one, DO IT, they sound spectacular) When I get some more quality time in with it, I'll drop a review on the gear review thread. But I'm finally feeling like my digital audio chain (daw) is as "nice" as my straight analogue one (tascam reel). I doubt I'll be letting go of doing mastering via the tape though. Theres just *something* about that saturation.
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Mar 28, 2012 07:34
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Franz Liszt 96 posted:Well, the media took it seriously at one point. It's pretty funny. Binaural beats are still a real effect. No it isn't There have been no serious studies that have found these actually have any serious effect on the brain, but plenty that show no correlation. Don't buy into pseudoscience. duck monster fucked around with this message at 08:21 on Mar 28, 2012 |
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Mar 28, 2012 07:51
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I had to ask my audio engineer (as in "designs TV studios and architects concert hall audio insulation type audio engineer rather than "fiddles knobs on a dirty old soundcraft desk" type audio engineer) father about this one, and his take is basically that yes in theory putting them on the side could increase the perception of comb filtering between the speakers, however if your getting that chances are the crossovers in your speakers are not doing the job and/or are garbage). He did add to that that crossovers in speakers are by design a bit leaky so there *will* be some sort of potential there, but in practice it really doesn't matter anyway. Also I just came to post a discovery for mac users who have trouble getting firewire audio devices to wake up when they are turned on AFTER the things booted up. This is how you fix the problem with a chainsaw;- sudo killall coreaudiod .. in a terminal will totally reset your macs audio driver subsystem. Works a loving treat on my saffire anyway. gently caress focusrites "Plugging in your firewire into a turned on computer will BLOW poo poo UP" warning. Its not true, its just focusrites software is too lazy to give coreaudio a kick when it detects a new device. No idea if theres a similar solution for windows. Shits funky under a windows hood. I have no idea if there is a similar trick for
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Mar 28, 2012 15:32
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Manky posted:What do people think of this article on doing getting the best results you can with only one mic, One-Mic Madness? I only have one dynamic mic and one condenser mic at my disposal, so I'm hoping these are good tips. You can do amazing things with a single mic. My father has been specializing in live recording bands with a single microphone for decades and confounding even the harshest critics with the result. It'd never work with electronic instruments or drums though, he just focuses on bluegrass where everyone stands in a circle around the mic with their banjos and guitars and stuff and if someone wants to be louder they walk up to the mic, and if they want to be quieter they stand back from the mic. Live, it turns into choreography as musicians walk back and forward from the mic to do their leads. Its all in mic placement and fine control of gain and (compression in the case of angrier signals like loud amps and drums). Get the best mic your money can buy and go spend some money on a decent pre-amp. I heartily recomend the Golden age pre-73s as something thats seriously cheap but competes brilliantly with stuff 5-6 times the price.
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May 4, 2012 02:31
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Brekelefuw posted:I am thinking of buying a Zoom r16 for some recording I am doing. Avoid it like the plague if you have a mac. Zoom haven't had a sane driver since snow leopard (And for about 8-9 months after lion came out, none at all, leading me to have to lobby *very* hard for them to accept mine back on warranty mainly by threatening to drag them into the ACCC for false advertising re mac compatibility). That said, if you have a PC or a pre-lion mac, they are great. The pres are only servicable rather than great, but hey for this price and the fact you can stick an SD card and some batteries and take it on the road, its a great little bargain.
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Sep 30, 2012 10:22
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Are there any known problems with Focusrite Saffires and win 8.1 (In my case the liquid 56). Got a new machine, and I just cant get a stable connection. Went through three firewire cards, and now am on a SIIG one which is supposedly the bees knees and its still dropping out and having driver issues. The unit works great with my MBP, so its not the interface. Seriously contemplating launching it out the window at this point. edit: Maybe firewire cable? I use an 800->400 cable from the mbp, and a 400->400 from the PC.
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Jun 15, 2015 22:26
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RandomCheese posted:Are you running it on bus power alone? Some systems can't pump out the required juice to power an external firewire device (macs are generally OK on this front becuase of the native firewire integration, some PCI FW cards need an internal molex connection to get the current they need), try plugging a power adapter directly into the interface and see if it remains stable. Hell no. Its a 240v rack mounted beast of a thing. Tried a different cable. Turns out the problem wasn't hardware, but software. Windows 8.1 has a garbage firewire driver that breaks all sorts of things and doesn't support "legacy mode" , whatever the gently caress that is, and Microsoft has no plans of fixing it because windows 8.1 is terrible at computers and now we all can use fingers on our screens in tellietubby hellworld. So I installed Windows 7, and it works perfectly. Was depressingly contemplating trading it in for a USB box, but I really do love the liquid channel pres on this thing. Seriously nice (watch the impedence with a multimeter over the input when you change emulation. Through some sort of dark magic it actually changes to match the emulated pres setting, which makes a huge difference with mics. I still use my golden age for my main mic though) edit: Apparently its possible to arm-twist windows 8.1 into using the windows 7 driver which fixes it, but it involves disabling driver signing and other such voodoo duck monster fucked around with this message at 06:54 on Jun 17, 2015 |
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Jun 17, 2015 06:50
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Marxism posted:
The major difference between recording talking and singing , philosophically, is with singing you seek to capture musicality, and with talking you seek to capture intelligibility. There are subtle differences. With singing , things like sibilance can be unwelcome (can be, not always), whilst siblance is part of the phonetics of speech and actually aids intelligibility in speech. within reason. With all that said, just get a good radio microphone. Theres some decent USB ones out there these days that do a surprisingly good job. But in general you want a condenser mic with a nice wide diaphragm and a balanced output so you can use it with a decent audio interface (You can pick up pretty cheap digidesign M-Box's on ebay for dirt cheap that'll do the job spectacularly). You'll also want a decent mic stand (Podcasters and Youtube types tend to favor the boom ones. As to if you need a pop filter. Buy one, they are cheap, but if it makes your consonants less crisp to the point you sound mumbly, ditch it. We're talking not singing, here. Regarding software, if your doing a lot of video work, factor in workflow. duck monster fucked around with this message at 00:42 on Jul 5, 2015 |
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Jul 5, 2015 00:37
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Whats the difference between singing and talking?
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Is it just me or does the Presonus 1824c lack a bit of headroom. I've retired out my old Focusrite liquid56 , which always sounded great to my ears, I'd probably stick with except they just dont make firewire anymore, and replaced it with the presonus box on the reasoning it has decent integration with Studio one. I've just noticed though that when you push it a bit, it clips really really nasty. Kinda thinking its not the end of the earth, might even be a good thing even as its giving me a bit more notice that hey, stop pushing poo poo into the red (Bad habit from my old tape days). But still, I'd have assumed newer interfaces would have even more dynamic range
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Nov 5, 2020 00:43
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Oh heres something SUPER WIERD. I accidently formatted the thumbdrive where I keep all my licenses for Waves (platinum, studio classic, and a bunch of dumb poo poo brought in those specials they keep pumping out), aaaaand ...... it still works. Was able to transfer them off the USB key and back on again. God knows how.
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Nov 5, 2020 00:46
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Greggster posted:Maybe something is saved in the Keyreg of your computer? Either way, glad they didn't start whining about licenses This was on a different machine to where it was last used!
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Nov 10, 2020 16:54
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Question. I recently grabbed a pair those Eris 3.5" monitors to replace my bulky aging KRK Rokkits. The mixes Im getting out seem distintly worse when I do the laptop speaker test after mixdown. Are te Eris just crappy or would this be more my ears not having to learn how to judge them right
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Nov 11, 2020 17:21
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The bass just sounds a little bit hyped in them (which is a bit weird for smaller speakers) compared to the KRKs and theres not as much detail But that might just be a subjective thing. I've been listening to mixes on my KRKs for 15 years now, so I've gotten pretty good at judging how the audio is from those.
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Nov 12, 2020 10:54
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How does that Tascam 388 sound? Ever since I heard this;- https://www.youtube.com/watch?v=k_3IXWN8yrk I've covetted those fucken things. I grew up on 4 track tascam reels (and for a while an 8 track), but those things look beautiful, and all the 388 recordings I've heard have sounded amazing to me.
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Feb 11, 2021 00:27
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Barry Foster posted:Hi guys, I'm sorry if this is a really common question, but I was wondering just how decent lower priced monitors really are these days. I'm getting back into home recording after a, like, 16 year hiatus. I've got a behringer UMC404HD for recording guitar/vocals/etc and a Akai MPK mini for beats and synths and things (this is new to me and a lot of fun!). However, the only way I can listen to what I'm doing is with headphones right now. I've got a pair of old AKG K270s which seem pretty good to me, but sometimes you get tired of wearing headphones after awhile. I've been running a pair of KRK rokkts in my studio for 15+ years and they've never let me down. Ignore the gearsluts/reddit/whatever weirdos. While I cant speak to that particular model, nothing in their history tells me it'll be any different. Uh , I'd avoid the IK and M-Audio ones though. But the KRKs should be fine.
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Mar 11, 2022 03:27
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Question for folks: How many channels of plugins do those UAD sattelites run? I'm having an issue with large mixes that even with my firebreating Ryzen 24 core after about 60 channels of channelstrip (I'm usually using the softube console one plugs here. Something about that 'british' strip tends to integrate well with my lunchbox rack of golden age '73 pre knockoffs) things start falling apart. What are we talking with the quads here? 60-70 channel strips, more? Less?
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Oct 20, 2023 14:32
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20 Blunts posted:oh yeah spectrograms have been deployed! just tried that compressor thing on a song with punchier vox and i think i liked it I'm *really* enjoying Eventides split eq right now that lets you have separate EQ for transients and body. You find the 'click' of the bass (Its higher than you think) and just boost that for the transient, and it just sounds like the whole bass is cleaner in the mix. Sidechaining compression with the kick drum and the bass can do a lot for clearing up mud in the low end too from my experience.
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Oct 20, 2023 14:40
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Ok yeah I found it. Its not promising looking unless I use the "legacy" plugins. Whats the sound quality differnce like between the legacy and non legacy ones (Particularly the neve 73 if I'm going for consistency with the hardware? That seems to be a channel strip that psychoaccoustically works with how I like to think about sound. Or at least its what my ears are used to. Apparently the Console One (the softube knobs and dials hardware) is compatible with the UAD DSP plugs but not the UADx ones *for some reason*)
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Oct 20, 2023 15:51
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