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autistic cum slut posted:Question about the Saffire Pro 40 - with the 2 front inputs which can take both mic and 1/4", is it necessary/worthwhile to go through a DI to record guitar and/or bass if using the 1/4" input straight from the instrument? Unless I'm specifically micing an amp, I just run a 1/4" from my guitar/bass straight into the Saffire. The inputs on the back take 1/4" as well, but the two on the front have an "Inst" switch to change impedance for that purpose specifically. Someone should correct me if I'm doing something stupid, but I've never had any problems doing it this way (that I know of).
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Jul 4, 2014 23:48
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This page is what finally helped me figure out impedance (and why that Inst button exists on the Saffire), even if the writing style is a little obnoxious. The Wikipedia page on balanced audio is a pretty decent explanation of that. Other than that, I'm sure someone here can answer whatever questions you still have.
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Jul 5, 2014 16:02
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KING BONG posted:I recorded a voice over using Adobe Audtion CS6. I was able to clean up the background noise (hiss) using noise reduction process, but there seems to be a noise that sounds like a plate reverb in the vocals. What is this, and how do I eliminate it? Also, how do I tone down the 's' in the speech.? Noise reduction plugins and software tend to add musical noise if you go overboard with them. It's an artifact of the way noise is removed (analyzing the noise patter and cutting certain frequencies by certain amounts). Using a better noise algorithm helps (Izotope RX is my favorite), and also removing a little at a time and doing a couple passes helps. If it's too noisy, you probably won't be able to get rid of all the noise without adding in artifacting.
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Jan 31, 2015 23:35
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DavidAlltheTime posted:I have a problem with some demos I've just recorded. The main difference between your recordings and commercial recordings is the mastering. You might be peaking close to the clipping limit, but your overall RMS value (which is basically the perceived loudness) is still lower, because commercial recordings use compressors to reduce dynamic range and make the recording louder (they'll also often use a limiter at -0.1 to prevent weird transients like himajinga said). You can also do this to individual instruments in the mix to make them louder, as well. Compression and EQ carving are two very important parts of the mixing process, and help you make instruments both loud AND clear without clipping. It's easy to go overboard with them, though. Additionally, iPods and whatnot will usually have their 0 gain/attenuation level set slightly down from full volume, so they're actually adding gain to what's coming out of them if you have them all the way up. If you're already almost clipping, then that'll send you over. I keep my iPod at about 90% and just turn up my car stereo to make up for it, it sounds way better that way. Hope this helps!
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Mar 18, 2015 16:40
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I recorded a few shows with a Zoom (or tried, anyway). Some stuff I learned: If you want to plug into the board, bring your own cables. I only ran into 1 sound guy who had cables that would connect the Zoom to the board, and he messed up the tape out level so it clipped a ton and sounded like poo poo anyway. Speaking of which: bring headphones. Just because the level meters are doing their thing doesn't mean it sounds good. Also, make sure you're the one who hits record. Sound guys have a ton to do and probably wont remember. If they do, it might not be till partway through the show, and they may not know the intricacies of the Zoom (i.e. you have to arm it before it records, so you have to hit record twice) so it might get messed up anyway. That said, if you can get the thing hooked up properly, it's a nice little machine! I put a lot of hours onto mine before I upgraded.
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Jan 6, 2016 07:42
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I have this hooked up to my Saffire Pro 40's second headphone output: http://www.amazon.com/Behringer-HA400-4-Channel-Headphone-Amplifier/dp/B000KIPT30 It takes 1/4" in and out, but you can get like thirty 1/4"-1/8" adapters on monoprice for five bucks for your headphones. Also, it lets you adjust each volume level independently. There are bigger/more complicated/more expensive ones out there, but this one's been all I need to let the whole band listen to what we're doing when we record. There may be better options for that price, too, but I got this one from a friend for free so I haven't really looked around for a better deal.
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May 26, 2016 20:40
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Flipperwaldt posted:There are loads of interviews with recording and mixing engineers and related articles in the free archives of the SoundOnSound magazine. Also Q&A's and how-to's. They are full of little tidbits like that. Like, any tip brought up here in the last couple of posts is something I've read before, almost verbatim sometimes. I've definitely read the SOS Classic Tracks articles and got some (but not a ton of) useful advice from them, but you bringing this up let me stumble on the Secrets of the Mix Engineers series of articles, and holy poo poo. This is exactly what I've always wanted to know about mixing: how they set up their tracks to mix, exactly what effects and plug-ins they use to get whatever sound they're looking for, what sort of EQing and bussing they do. It's actually incredibly intimidating, and I'm just now realizing how basic and amateurish my mixing is compared to the professionals. This is amazing.
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Jun 5, 2016 03:33
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Flipperwaldt posted:This broader stuff I find more interesting than what specific mixer or compressor was used with what settings. I'll never be able to afford some vintage Neve desk anyway and settings are heavily programme dependent to the point there's no use copying them. Yeah, specific settings and stuff are useless, so I'm glad they don't get into that too much. It's not so much which specific compressor or pre-amp anybody's using that I'm learning from these, but things like in the article for the Muse song the dude talks about setting up different compressors and effects on each of the four mics on the kick drum (and the rest of the 30ish mics for the rest of the kit), then bussing that to the overall kit which had its own effects on top of that, then bouncing the final mix out of Pro Tools onto tape and ran it through his A/D converter back into ProTools. The work that goes into it all is mind-boggling.
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Jun 5, 2016 21:50
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I don't think there's anything I can offer in terms of advice other than a vote in favor of some sort of ventilation (my school's sound studio lacked ventilation and students referred to it as "The Sweat Shop" even after our professor managed to rig up a portable A/C unit of his own to get some air flowing in there). I'm definitely interested in a build thread, though! It's a project I'd love to undertake when I finally get my student loans paid off and get into a house of my own, so a thread would be awesome.
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Jun 15, 2016 04:07
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I don't know what DAW you use, but I think I remember Logic having a Binaural Processing plugin that does exactly what you're looking for. I've never used it so I don't know how good it is, but I assume it's designed to do exactly what you're thinking of.
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Jul 4, 2016 21:19
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Paperhouse posted:What are some good ways to give your track more "bounce", for want of a better word? I'm working on a hip hop beat and everything sort of sounds a bit flat, a bit constant. I can't think of any examples at the moment but I like the way the music on some tracks sort of goes in and out a little with the beat, sort of adding another layer of rhythm/groove. I apologise for this being pretty vague but I feel like people will have some ideas anyway You could try a Talking Heads-type thing and create a bunch of different musical layers that all fit over your basic loop that you can bring in and out in different combinations over the course of the song, maybe? I'm not sure exactly what you mean, but that will give you some ways to keep it from being too samey throughout the song, and depending on how you do it you can either make it super obvious or pretty subtle.
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Jul 24, 2016 19:37
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Captain Apollo posted:Home studio headphone recommendations? Looking for quality but I'm partially deaf anyway so...... Really depends on your budget and what you want to use them for. I use Sennheiser HD 280 PROs for pretty much everything and love them, but I also don't really mix on headphones. Those are anywhere between $80-$100 USD depending on when/where you get them. If money was no object, I'd probably buy a pair of Sennheiser HD 800s, but those are open-backed so they wouldn't be good for recording, so I'd probably still keep a bunch of 280s around for recording.
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Aug 3, 2016 02:35
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Nigel Tufnel posted:Where, if anywhere, do you guys go for mixing advice / feedback on a specific track? I have a mix that I think sounds good but turns to weak sludge when it comes time to master. I've got a nice -6db of headroom and I'm mastering with Izotope ozone but it sounds very limp. I'm thinking it's a problem in the mix somewhere but I'm all out of ideas. I know we used to have a thread just for this specifically, but I'm not sure how active it is anymore. There was some good advice coming out of it. I don't have too many friends as into mixing as I am, but there's a couple people I've played shows with that are and sometimes we send each other stuff. Otherwise I just read a ton of Sound on Sound's mixing articles and look for their solutions to things I deal with.
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Dec 13, 2016 16:32
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Sound on Sound just mentioned this in a recent column (whatever the mix rescue one is called). The guy mentioned the lack of bass below around 250Hz and ended up reamping the track (it was originally DI) to bring out some of the bass above that and get it audible on laptop speakers. The article is in the November issue, I think, if you want to track it down. I forget how long it takes SOS to make their articles free to read, but that column in general is super helpful if you want to check out older ones instead.
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Dec 30, 2016 16:10
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Everyone else covered DAWs and latency pretty well, but my two cents as far as drumming plugins goes is that if you use an electronic drum kit then Superior Drummer is well worth the money even with just the stock library. The quality and control you get is amazing. They have a less expensive version called EZDrummer if you want to check that out, though. I think it still takes MIDI in, but you can't really mix it afterward so I never looked into it too much. It might be worth a shot, you can download a free demo to see if it works in Reaper.
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Jan 6, 2017 23:26
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This isn't home recording, exactly, but I'm hoping someone here can make a suggestion. The company I work for has a podcast and we're trying to come up with a solution to partially automate the mix process since we have four people and a lot of mic bleed. At my previous job, I was using a Sound Devices 788t to record field audio. It had an automix function where if two (or more) mics were active, it would just send the loudest one to the mix. I never bothered using it because that mix was only ever a reference for loggers and story producers, but it seems perfect for this situation. Is there an affordable plugin that can do something similar in post with automation, and with the ability to fix any areas where it messes up? Waves seems to have an automix plugin, but it's only available as part of a package that costs $600 and this podcast doesn't have a budget than can afford that, especially since the other plugin wouldn't get used. Is there something in the $100-$200 range that will do this?
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May 12, 2017 17:24
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I think a noise gate is how the current editor is doing it now, but it's tough because people laugh a lot and the bleed between the mics crosses over the threshold pretty frequently. Oh, and it is four inputs on their own iso tracks I also thought about sidechaining, but like you said, it wouldn't work when two people are saying different stuff over each other, and without things being written to automation, there's no way to fix the few problem spots afterward. I think I'd need an expander/gate that functions like Waves Vocal Rider but in reverse. I was just wondering if there was a cheaper way to get an easy baseline written to automation that can be modified when it needs to be, but it seems like the Dugan Automixer is the only one. It's only an hour long episode every two weeks, so it's not a ton of time per episode, but it was worth a shot.
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May 17, 2017 22:34
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syntaxfunction posted:I was wondering if I could get some production critique. I'm slowly finishing writing the songs for a potential EP and am now beginning to pay attention to the actual production. At the moment it's all MIDI drums and amateur recording in my living room. I hope by the time I get around to recording properly I'll have access to a treated room and stuff. I am looking to record and mix (but not master) the entire thing myself. I think your bass isn't as punchy as you want because all of it is sitting in the lows. If you add some mids back in above 200Hz or so, it should give the bass a little more definition. EQing might work, or you might try a send to a bus with Amplitube on it, putting it through some kind of distortion (EDIT: or even just a clean simulated amp) to get some higher harmonics going, and mixing that back in with the clean bass. Not enough for the bass to sound distorted, but just enough to beef it up a little. Drums sound very, very programmed. I don't really know much about drum programming beyond quantizing the poo poo out of stuff I play on an electronic kit so I don't have much advice on how to fix it, but humanizing the drums and maybe finding a more natural kit sound will probably go a long way. Other than that, I think sebmojo covered everything I can think of without digging around and playing with the iso tracks myself. A send channel with some effects to glue things together will help (especially guitars), and EQing things to get the guitars and bass to fit all snug together would help the Siamese Dream thing, I think. CaptainViolence fucked around with this message at 20:38 on Jul 1, 2017 |
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Jul 1, 2017 20:02
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Kilometers Davis posted:Armed with a DSLR and a zoom h6 with an sm57, what's the best path to record a guitar amp play through and get it synced on my iMac using iMovie(or whatever the standard free video editor on macOS is) + GarageBand? I've never simultaneously filmed anything and recorded at the same time and I know nothing about syncing audio if I even have to. As soon as you start recording, clap once really loud so your camera can see it and the mic can hear it. Then, in your video editing software, just line up the audio spike with the first frame of video where your hands come together.
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Jul 2, 2017 15:56
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Also, the H2 is just pretty noisy in general, especially the microphone. That's not to say it's not a good little machine, but its definitely not designed for how you're using it is the main thing. I used to use the H2 to record stuff, and my first demos involved using it to record vocals and also running my Xbox through it to use Rocksmith's amp simulation back when it first came out, but when I finally stepped up to the Focusrite Saffire Pro 40, it was night and day in terms of audio quality and ease of use.
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Jul 20, 2017 22:19
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Southern Heel posted:OK so now I've got my backing track tuned, I've realised how, unsurprisingly I can't pull off a flawless take immediately. Just out of interest, is it typical to have to do many, many takes of a part to get a perfect one? Or am I overreaching? For example, some sections of the song I'm slightly leading, flub a chord here and there, etc. - nothing dramatic. Like others said, comping takes is super common. I don't think I've ever laid down a whole track in one take, I always flub something at least once no matter how well I know it. A trick I've developed is to just lay down 5 or 6 takes one right after another, making mental notes of my flubs in each one so I can really focus on the few bars around it in the next take. By the time I get to the last take, my playing is relaxed and free of major flubs and I know that any minor issues have at least one good take somewhere. Saves a lot of time relistening to takes and punching stuff compared to what I was doing before.
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Aug 6, 2017 17:26
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I am 100% on board with the mix exchange idea. I've been binging through a bunch of Inside Track and Mix Rescue stuff on Sound on Sound, and I've been dying to have a go at a mix of something other than the punk band I've been working with for the last year. It'd also be great to hear what other people can do with some of my own music, it could definitely use fresh ears.
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Sep 21, 2017 15:35
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I'm all for going even lower, tbh. YouTube, iTunes, and Spotify are all volume normalizing closer to -12, but even if we split the difference I feel like the extra room for dynamics would be nice I know the adobe stuff comes packaged with Loudness Radar since that's what I use at work, but I don't know about any free ones
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Sep 22, 2017 00:20
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another thing to check in case you haven't is whether you're picking up interference. does the noise change as you move farther/closer from your computer? i had to straight up get a longer thunderbolt cable and move all of my recording poo poo a few feet away to get rid of the noise i had with my focusrite.
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Dec 23, 2017 01:07
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Pondex posted:Can anyone tell me how well those zoom recorders that can double as a audio-interface work? I think both the h4n and the h6 does it, but are they any good in that role? Or is it just trading a lot of sound-quality for a little bit of convenience and saving some money? I've used the H6 as an interface in a pinch before, and my experience was more that you're sacrificing a little sound quality and a lot of convenience for a little money. It worked, but it's definitely designed as a field recorder so using it as an interface just felt very jury-rigged in terms of controlling trim and cable management. If you don't need the field recording capabilities, you'd 100% be better off looking into a Scarlett or something. If you do need both, you'd almost assuredly be better off with one of those SoundDevices MixPre3s that came out last year that's designed from the ground up to do both. Those are a bit more expensive, but SoundDevices is top of the line for field work and the reviews I saw made the interface capabilities look a lot better than what I experienced with the H6.
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Jan 11, 2018 18:33
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MrSargent posted:Shameless bump. Willing to spend a little more than $100 if there is a particularly good mic just above that price. I would also like some basic vocal recording advice. I have a Scarlett 18i8 interface that has pretty decent preamps but am unsure of what else I should just have on my vocal chain within Ableton. I have an acoustic shield and pop filter which should help with noise since I have no vocal booth to record in my little office studio. I have Nectar 2 and use that a good bit when I want a quick preset that gets me most of the way there but would like a better fundamental understanding of how to record vocals. Would appreciate any suggestions on resources to help me along as well. the go-to suggestion for a good $100 mic is the sm57 (or in your case the sm58, which is the same thing but with the larger grille for vocals). i've read that preamp impedance affects them pretty noticably, but i've always enjoyed how mine sounds on the occasions i use it for vocals. i don't have much advice for vocal chains, especially for rap. i do indie rock and punk type stuff, usually, so my go-to chains usually involve compression, delay, and reverb, and from there i might use some distortion or modulation or formant shifting based on that particular song. i don't know how much if any of that might work for you. also, if you haven't already, check and see what your vocals are like both with and without the shield. the way they're designed can do some weird things with reflections in the low midrange, and i end up not using mine on 80-90% of the vocals i record. i will note that i don't do much rap, so your needs may be way different than mine, but it's something to check and listen for. i ended up just getting a dozen thick moving blankets and layering them on the walls and ceiling in a closet as a vocal booth.
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Jan 16, 2018 20:19
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you're right that LDCs are definitely going to be better in the low-end, but their whole price bracket is shifted up from dynamics to get similar quality. the $100 rec is usually the sm57 for that reason, and i'd say it wasn't until i paid $600 for an LDC that i found one that i thought sounded good enough to use instead of my 58 more often than not. if you're not pressed for time, you can find decent stuff on ebay or reverb. i've definitely managed to snag a couple of deals that would normally have been out of my budget just by keeping an eye out for a couple months, and i've been super happy with them. that said, the reviews for the 2035 do look good, so it's probably not a bad option, especially if it gets you up and recording!
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Jan 18, 2018 19:39
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Cultural Marxist posted:I’m aiming towards a portable, no computer/laptop set up for recording, so if I’ve got a few Vocas, and eventually the nifty Volca mixer, is there a thread recommended digital recorder to buy so I can save my digital noise for posterity? i dunno about thread recommended, but it looks like for coming out of the volca mixer you could just grab an rca to 1/8th inch cable and a zoom h1 for maximum portability. someone else might have other recommendations, though, especially if you don't have the mixer yet.
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Jan 28, 2018 19:23
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you wouldn't happen to be using an mbox 2 as an interface, would you? a friend of mine had one a few years back, and we found out while trying to record a trumpet that the firmware on those was hosed up and wouldn't actually turn the trim down when phantom power was on. that's the only time i've ever not been able to turn a mic down far enough to not clip, so maybe check your mic with a different interface if you can?
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Mar 5, 2018 08:55
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I got a big thing of Foamily foam last year (this one) and I've been pretty happy with it. I think I've read that 2 inch foam is the smallest thickness you'd want. I don't remember the exact reasoning behind it, but having ordered some 1 inch foam by accident at one point, it definitely doesn't do anywhere near what the 2in stuff does. One thing to note—and I noticed this with all the brands of foam I tried—is that command strips and topstick and stuff like that does not work worth poo poo on these. I ended up buying some 12x12 cardstock and spray adhesive, gluing the cardstock to the back of the foam, and then using command strips to hang those. I haven't had any pieces fall since then. Also, if you haven't already, check out some Sound on Sound articles on acoustic treatment! I still haven't gotten all of my foam up, but just using the mirror trick they talk about in that second article was like day and night.
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Mar 20, 2018 19:25
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MrSargent posted:Thanks a lot man, this is perfect. Quick question, what do you do for the corners of the room? i bought some bass traps, but i wouldn't recommend whatever ones i got. the measurements were advertised super weird, so they're a lot smaller than i want them to be but i don't have the budget for new ones yet. we use some 12" ones like this where i work, and they seem to do alright, but it's hard to tell because we're only recording voice stuff and nothing with any low end to speak of. also they're expensive as hell for how much real estate they cover. i've been thinking about doing some diy bass traps for the corners, i just haven't gotten around to it, so i can't offer any advice on that end, but if anyone else has any i am all ears!
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Mar 20, 2018 22:47
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i kinda remember seeing a review last year for something along the lines of what you're talking about--a modular mixer, basically, right? i'll check when i get home and see if i can find out the brand, but i think what you want to do is pretty similar to a setup i've seen/borrowed from, which is basically just having a mixer sending to an interface. i've started doing that when i'm recording scratch tracks, and yeah, it's nice to just jump in and get stuff down and worry about rerouting things for a perfect take later. edit: this is what i was thinking of, if it helps: https://www.soundonsound.com/reviews/schertler-arthur-modular-mixer seems pricey to me, but i don't know if there are cheaper alternatives out there CaptainViolence fucked around with this message at 23:50 on May 23, 2018 |
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May 23, 2018 23:45
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Paperhouse posted:Something that's pretty difficult to google: portamento, i think. or that's what it's labeled on my korg synth, anyway
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Jun 21, 2018 00:09
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yeah, i've stuck with mac entirely for logic and firewire/thunderbolt interfaces, but now that usb interfaces are decent logic is pretty much the only real reason
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Jun 21, 2018 00:30
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it's worth going through and fiddling with all your buffering settings if you haven't already, especially if you're using ASIO4All or something. i haven't done audio stuff on my windows machine in a long time, but that and manually aligning stuff was how i got around it. that was a while ago, so other people probably have better/more up-to-date advice, but it's a start.
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Mar 11, 2019 17:45
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yeah, they're great little products for the price. i used to do a ton of field recording stuff with the original H2 and it served me well for years before i upgraded (for reasons i didn't realize/understand until i had been using it for almost that entire time). on the occasions i used it for dictation-type stuff it sounded significantly better than anything i saw marketed as specifically for dictation. you might have a hard time isolating sounds in some situations, but if you're looking to chop up and sample things for music (as opposed to doing sound design for lord of the rings or whatever) i think the H1 and its built-in mic are fine. i keep meaning to pick one up to have on me just because carrying around my entire field recording setup can be a pain.
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Mar 12, 2019 18:40
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Paperhouse posted:Sort of half a songwriting question and half a recording question, but I don't know if we have a quick question thread for songwriting tips what kind of drums/percussion do you have? if it's acoustic stuff, keeping the same rhythm but playing harder will help. if it's electronic, then doubling it with bigger sounds could work—maybe even doubling it with an acoustic kit. also, it sounds like a lot of your instrumentation is in a higher register, so the overdriven bass idea will probably help a lot. slamming some heavily-played low octave intervals on a piano would also help bring more into the low end without coloring your harmony too much. you could also try recording some octaves on the guitar with the tone rolled down and fuzzing that up to pack some heat in the midrange. basically, you have an entire frequency spectrum that you can fill up, so if you don't want to go faster, just go more. you should definitely post the track when you're done, too, i'm curious as to what it'll sound like!
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Mar 17, 2019 23:33
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sounds like you've got it. i mean, long story short: if you don't already have a use for S/PDIF in mind, you probably don't need it. from what i understand it's basically just a way to transfer digital audio without going through digital/analog converters, and it's not really used by too many instruments (mostly synths, i think?) but instead by various pieces of hardware. i've got an old-rear end digital mixer board, for example, and it has S/PDIF out so you can hook a digital recorder up to it. some interfaces are also set up so you can daisy-chain them together with S/PDIF to get more inputs (although i think there are better ways to do that). there are some outboard effects that can use S/PDIF to avoid going back and forth through analog/digital converters, and i've also heard of studios running S/PDIF from their interface to an outboard D>A converter. i think it's pretty popular in home theater setups, too. but yeah, at it's base it's the same "connect an output to an input" connection, just with different devices than with XLR or whatever. basically, you probably don't need it unless you have a specific digital instrument or effect box that you know you want to use (maybe your digital piano?), and even then you only need it if you're really concerned about quality loss going through analog converters. it's not going to hurt having it there, but it also sounds unlikely you'll miss it. CaptainViolence fucked around with this message at 03:08 on Apr 3, 2019 |
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Apr 3, 2019 03:04
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yeah, from what i've heard, the main area where issues pop up with behringer stuff is pre-amp, QA, & overall build quality, which are all things that focusrite nails ime. that said, i've only had a couple behringer things and i've been very happy with them. i've heard their mixers are especially noisy but my well-reviewed Yamaha mixer is still really noisy compared to every interface i've ever used, focusrite or otherwise, so idk. like, i don't think you'll ever regret getting the focusrite over the behringer even with the price difference, but i would make sure to look specifically at the negative reviews just to see what pops up for other people.
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Apr 3, 2019 21:02
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tossing in my vote on the "windows is fine for music" side. i feel like i've had the same amount of trouble upgrading hardware for either OS, but windows is a hell of a lot cheaper to do so even if you have more variables you can mess up. the only reason i still use mac is because i still use logic with a firewire>thunderbolt interface and haven't needed to change. whenever i finally replace my interface i'm probably going to look into moving back to windows. if you're just jumping in, there's no reason not to just use whatever OS you already like/are comfortable with since most everything besides logic is platform agnostic and logic is close enough to pro tools that most everything usability-wise translates pretty easily. also, dang rupert, you should back the stems from that stuff up while you can! the thought of losing music to incompatibility makes me anxious as hell. CaptainViolence fucked around with this message at 20:34 on Apr 9, 2019 |
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Apr 9, 2019 20:31
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