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i have several friends with Rockits and i use JBL 305s which are comparable in price/response, and we're all happy with them. the rockits seemed slightly bassier but not quite as clear to me, although now that i'm typing that out i'm realizing that probably has more to do with me being the only one who did any acoustic treatment, so i think you'll be happy with either brand.
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Apr 28, 2019 16:03
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i don't know if it's still around, but there used to be a program called Audio Hijack that let you capture audio from internal sources. that's what i always used and it worked pretty well.
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May 3, 2019 16:37
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Colonel Taint posted:Does anyone have experience recording impulse responses in Studio One? I'm thinking of buying a condenser mic and trying it out because my band's recordings always sound way different than they do live while we're playing - mostly I'm guessing because the acoustics of our recording situation are kind of bad and I don't want to step on the toes of the guy who set it all up (it's in his house in a ~12x20 bedroom with no acoustic treatment and everyone's playing live together including the drummer on an acoustic kit) - anyway despite all that it actually sounds good enough while we're playing and I'm wondering if capturing the reverb response and applying it in post might be beneficial to recreating the sound? It sometimes sounds good when we play it back in the room, but I usually do all the post work in my own little studio and it tends to require a lot to get it to sound right through reference monitors. i've never used studio one—i used logic's impulse response thing—but it was pretty straightforward and i assume the studio one thing will be the same. i'd just look up a guide to make sure you're doing all the steps. sometimes you have to convolve the sound yourself as an extra step before you can use it, and other times you just give it the recording and it convolves it automatically, so it depends on how studio one is set up. theoretically that mic should work if you're looking for super flat response, but remember that whatever monitor you play the sine sweep through will also color the response. all that said, have you tried anything else? i know you said you don't want to step on any toes, but if it only sounds good sometimes when you're playing back in the room anyway then you might end up in a frustrating situation where you're not sure if the impulse doesn't work or if you just didn't record it the exact right way. you might experiment with a room mic if you haven't already just to see if compressing and blending that in with your mix helps (which you should probably do anyway just to find the sweet spot for your impulse recording). or for the price of that mic you could buy some furniture blankets and try to dampen things down so you can add/tweak reverb in post, or you could really work through mic placement on everything in the room to minimize phasing because i can't imagine that's not an issue with a full band in that size space. good to have lots of options in case the impulse thing doesn't work out!
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Jun 6, 2019 16:30
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seconding a pocket memo recorder. i know people who use a zoom h1 if you want to pay for slightly better built-in mics. i used to use a zoom h2 before i started using my phone (which i would also still recommend looking into because now i have it set up so that all my sketched ideas get uploaded to google drive so i can access them on my studio computer and sort the wheat from the chaff there)
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Jun 30, 2019 22:31
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i don't know reaper super well, but logic has a latency compensation setting in the same menu where you set your buffer sizes and whatnot, so you might check there. it might be worth a shot to see if reaper has something similar that's overcompensating.
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Aug 22, 2019 16:46
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i fully admit that i am spoiled by years of having space designer readily available in logic, but i can't stand any of the reverbs in adobe audition. despite using space designer for almost everything, i eventually picked up some waves plugin on sale for like $50 just to have something passable when i don't feel like taking things between programs. i do wish logic had the loudness radar from audition, though but also, this is something i've figured out over more than a decade. i used the hell out of audition's reverbs for years and they were fine until i outgrew them, and i think that's probably the case for a lot of built-in plugins. you don't need a boutique amp to learn a g chord, you know? CaptainViolence fucked around with this message at 00:55 on Feb 21, 2020 |
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Feb 21, 2020 00:50
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Preggo My Eggo! posted:Duh but how? I'm looking at a track in GarageBand, with lots of audio signal from the bass, and there's a click sound buried in there. How do I selectively remove a click sound without also removing the sounds I want? if you want to get rid of them afterward, you could try using a spectral repair tool like in audition or izotope rx. i don'y know izotope's very well, but i've definitely used audition's a ton, the most extreme example being to remove the sound of a necklace clacking against a lav mic in an interview. you literally just look for the out of place spike, highlight it with the repair tool, and pray that the algorithm fills the correct frequencies back in to cover it (it's usually really good for short sharp clicks)
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Mar 24, 2020 19:19
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TerminalSaint posted:Has anyone else run into EMI issues from their PC? I recently built a new PC and now my ribbon mic preamp is picking up a lot of noise it didn't before. Here's a short recording https://soundcloud.com/terminalsaint/noise/s-h3UVyeHkLAV i had a guitar that did this if i stood within a couple feet of my computer, and i spent forever trying to figure it out (i just got a new guitar  ). the major things that helped were getting a power conditioner, keeping my instrument cables away from the computer and each other, and then just making sure the guitar was far enough away when i recorded that the noise didn't show up or was at least minimized. i'm not sure if there's any shielding you can get, but you can also grab a noise reduction plugin of some sort—i like the waves ns-1 best, i think, because it's simple and sounds good as long as you don't crank the slider all the way up—i usually keep it at 10-15 to get rid of some really nasty cheap camera preamp noise at work. i wouldn't buy it at full price, though, because it seems like it's on sale as often as it's not so you shouldn't have to wait long for a deal.
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Aug 2, 2020 20:50
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i use both of them pretty frequently at work (the standard RX package and not elements, though). waves is more set it and forget it, with a single slider that does everything automatically under the hood. it works surprisingly well and i use that about 90% of the time just cleaning up dialogue recorded on variously noisy preamps. but on the occasions it doesn't work well, the RX stuff gives you waaaaaay more control and so you can dial it in a little better—but you have to spend the time to dial it in, or else it can end up sounding worse. it comes with presets that are nice starting points, but it really takes some fiddling with the sliders to get a combo that works. on the bright side, if you have dead air, it has a "learn" mode that can get you super close by creating a noise profile and generating settings based on that. it tends to go overboard, but it's really helpful nonetheless. the main draw to RX for me is having a few different modules. the noise reduction works pretty well, but also having the de-click, de-clip, and de-reverb have helped me save some pretty gnarly recordings. they still never sounded great, but they ended up being listenable. the main thing to keep in mind is it's easy to go overboard with either one, though—like i said before, i usually keep the waves plugin set at ≈10, and anything higher than 35 or 40 starts sounding weird. all the way up at 100 makes my head feel like it's turning inside out. RX is similar, so i usually bring its default 10 down to a 4 or 5 at most. i think as long as you remember to treat them as noise reduction plugins instead of noise removing plugins, you'll be golden with whichever process sounds more appealing to you (either the super simple or ridiculously involved).
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Aug 3, 2020 23:39
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curried lamb of God posted:I want to add 8 more line-ins to my interface (MOTU Ultralite AVB) - I'm going to use them for synths exclusively, no mics. The ADA8200 seems to be the go-to for this task, but I'd prefer to avoid buying Behringer if I can, and used units are pretty scarce right now. I've considered looking for older interfaces (MOTU 828 MK2, Saffire Pro 40), and there are plenty available in the $200 range. Is this a good idea, and are there any other options I should consider for $200-300? i'm still using a saffire pro 40 and i've been happy enough in the 5 years i've had it that i've never felt the need to upgrade (although seeing the new focusrite software in that video up above definitely piqued my interest). if you're not recording those channels, though, you could just pick up a mixer and send one through the other—i've got my saffire going through a 16-channel yamaha mixer to monitors, and when i have people over to jam on stuff i usually just plug them into the mixer instead of messing around in software to set levels and whatnot. it's way easier to have physical faders i can tweak in the middle of jamming, and the mixer has built-in reverb i can use to sweeten things as needed without digging around in a DAW. if you want the option to record just in case, you might even be able to find a mixer with s/pdif out and run that into the MOTU (although i've never tried to set something like that up, so idk how well it would work).
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Aug 7, 2020 19:43
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in my experience things like the last two tend to add a boxiness of their own (more of a weird comb filtering depending on the shape) so the first one is probably best. sounds like you know, but it's way overpriced, though. i know you said you'd rather not build anything, but you could diy a kit that'd take probably about the same amount of effort as that one to assemble for closer to half the price if you wanted: two cheap c-stands with arms, a 6-pack of moving blankets, and half a dozen pony clamps. i use that as a vocal booth/mobile ADR setup that i can put together and tear down in 10 minutes or so. it works great and i can fit it all in the back seat of my car (or store it under the bed) if need be. i use a cheapo music stand or just have it set up to show a tv at one end depending on what i need it for. maybe not your cup of tea, but i figure it's worth throwing out there!
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Nov 17, 2020 11:16
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Applebees Appetizer posted:Cool thanks for the pdf is the already recorded track still armed to record or monitor input? if you turn that off, then the controls for that track shouldn't affect your live guitar at all. i've never used cakewalk so i'm not sure how to change it, but that sounds like it might be the issue
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Jan 6, 2021 22:15
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yep, that's your issue--the little red dot and orange speaker means that track is armed and monitoring, respectively. if you click on them, it should turn off, and then you can turn them on on a different track. there's definitely a learning curve, but the good news is that most of the things you'll learn transfer over to other programs and hardware pretty easily. it took me years to get good at using logic and audition, but i finally switched over to pro tools the end of last year and i'm already nearly as proficient at it as i am with anything else. not only will you eventually figure out recording well enough to lay down the music in your head, but you'll eventually have new ideas come from figuring out weird things you can do during recording!
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Jan 6, 2021 22:54
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PoizenJam posted:Hey goons- I could use some advice on my mic setup. you probably want a shotgun mic (like a Sennheiser MKH50 or ME64, or a Rode NTG3 or NTG4) mounted just above and in front of you out of frame. you could probably get away with a lav (like a Sanken COS-11d or Countryman B3) secured to the strap on your bass, run along the bass cable, and then hardwired off screen, although if you're turning away from your shoulder to talk then it'll still pick up a lot of room reflections. if you want the lav wireless so it's easier to properly wear under a shirt, a Tx/Rx pack set (like a Sennheiser G3 or Lectrosonics L-Series) is the way to go, but make sure you double check the frequency block of the kit for your area since some blocks have recently become illegal (or will soon, i can't remember when that's happening off the top of my head). all of those items are more or less industry standard for tv & film production (the Rode and G3s not so much on anything except low budget stuff) so they'd be good for doing video essays as well. CaptainViolence fucked around with this message at 05:40 on Mar 11, 2021 |
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Mar 11, 2021 04:30
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anything labeled "shotgun" will probably work for you, but i don't personally know of any super cheap ones. if gramps is happy with the AT875r that's probably a good bet. i found my ME66 on ebay as a kit with several other K6 capsules for ≈$300, so if you're patient you might be able to find a deal there or on reverb for one of the pricier ones. the main thing you're gonna be looking for is that it's super cardioid, or even hyper cardioid, though hypercardioids aren't as nice for indoors stuff since the node on the back is bigger and you'll catch more reflection from directly behind the mic. either way, it's probably a good investment to grab a square or two of 2-3 inch sound foam and put on the ceiling where the back of the mic is aimed. for mounting, if you for sure want a portable stand you could grab a boom arm like this to throw on top of a c-stand, and then attach the mic with a baby pin adapter. definitely put some weights of some sort on the bottom of the stand, though, because you don't want that tipping over. if you're okay with mounting something more permanent, you can grab a baby pin plate and just screw that into the ceiling 2-3 feet in front of where you stand. you can even get a swiveled version that'll make aiming the mic easier. you'll still need a baby pin to thread adapter with it, but overall it's much cheaper albeit less mobile. edit: looking at your videos again, the c-stand is probably overkill you could probably just get a regular mic stand with boom arm to sit right next to the camera and reach out and over. should be fine as long as you weigh down the base to keep it from tipping!
CaptainViolence fucked around with this message at 18:47 on Mar 11, 2021 |
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Mar 11, 2021 18:39
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it might be an issue with the zoom. i haven't heard of anything specific to the H6, but when the L12 came out i saw a couple reviews mention that there was bleed on some of the channels, which was the first time i'd ever heard of that happening on anything other than tape. i'm not sure if there's a way to fix it, though. maybe check that the firmware is updated?
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Mar 22, 2021 21:14
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Krustic posted:Perfect. I don't even know if the ART thing works anyway. i have an old V1 of those, and while it's been great for live and/or weird effects stuff, it's so noisy that i wouldn't want to record with it, especially over the clean preamps in my interface. the tube distortion is nice, though! Paperhouse posted:Mic/preamp question i think the main difference is the yeti is just less forgiving. caveat: most of the experience i have with the yetis is getting remote audio from people who don't know much about recording, but it seems very much like the yetis don't like being pushed at all, so you have to really find the sweet spot on your gain levels between too noisy on the quiet end and too thin-bordering-on-crispy on the loud end. i haven't used the 2035 but the 2050 never gave me that issue when i had it (or, more accurately, the preamp in my interface does not have that issue). i'd say that the scarlett combo wouldn't be bad money to spend, but if you'd prefer not to you can still get good results with the yeti. you'll just have to work a little harder for them.
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May 15, 2021 17:04
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i also really enjoy sony mdr-7506, but tbh that's more to do with comfortability. literally everyone i've ever met who does location sound uses them because they are super easy to wear all day long and sound pretty decent. i'm seconding the idea that it's much more about familiarity than a perfectly flat response, so just make sure to listen to lots of reference tracks and take frequent breaks. i've noticed that for me, ear fatigue sets in waaay quicker if i'm mixing on headphones.
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Jun 23, 2021 18:48
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not knowing which interface or monitors, my inclination is that interface is better just because it's one less set of components to color the signal. honestly, as long as your equipment is decent and you set up your gain staging right, the difference should be negligible.
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Aug 3, 2021 23:48
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Drunk Driver Dad posted:While I'm asking questions, how do people usually record in terms of how they set their sound up? I notice a lot of people use headphones. for the most part i use headphones when i'm doing more precise recording for the reasons you mentioned (easier to hear everything you need to without the room muddying it up), but the only reason you really need headphones is to prevent mic bleed and feedback. if you're going DI then you can get away with using monitors, and i tend to do that when i'm recording synths. in terms of what you're actually hearing, it really depends on what you as a performer need, so you dial it in the same way as on-stage monitors for playing live. for me it's usually a guide track and metronome to get drums down, then just the drums to get bass down, and those two serve as the foundation for everything else. i mostly keep everything else mixed low for recording unless i really need to tell how whatever i'm tracking at the moment is interacting with specific other parts. Rorobb posted:
good for you for getting back into it! if you want to specifically record yourself singing and playing at the same time rather than doing one at a time and combining them afterward, two mics is incredibly helpful, although not entirely necessary. a lot of early recorded music recorded entire bands with a single mic, it just gets waaaay harder the more you try to do with only one. sound on sound had a great article not too long ago that gave a good rule of thumb, which is that your mic should be about the same distance away from your sound source as the sound source is large. so, like, for an acoustic guitar, you want to capture the while top vibrating and creating sound (not just the sound hole) and also maybe a little neck, so if that's 2.5 feet, you set the mic 2.5 feet away, aimed so that all your elements are in balance, which in this case is pretty centered. once you add your mouth, suddenly that becomes 3 or 4 feet, and then you have to work out where to aim the mic so that neither your voice nor guitar overpowers the other. and if your room is untreated, you also have to worry about reflections and reverb muddying things up, and that gets worse and worse the further from the sound source you get. the good news is that the sm57 is a great all around mic, and if you picked up a second one that'd work for vocals. you can get a nicer condenser mic if you want, but a dynamic like the 57 (or a 58, which is the same mic with a different windscreen specifically for vox) is nice for this sort of use because they tend to drop off in sensitivity quicker than condensers, which means you'll have a little less bleed and more control over balance in your final mix. you won't have perfect seperation by any means, and you'll need to check your mic placement for phasing (which is a whole different beast that i am always still working on) but it will definitely provide a little more flexibility in the recording process. i think the 2i2 is a pretty standard suggestion for a two-mic setup. i use one of focusrite's older, bigger interfaces and i've always been happy with it, so i imagine their new stuff is as decent as everyone says and would be a good option!
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Aug 4, 2021 05:30
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for a third opinion, i frequently combine the other two suggested approaches in situations like this! if you create different voices that you act out yourself and keep your formant shifting to only 2-3 semitones (anything more than that starts sounding obviously treated imo), you get some nice differentiation that makes it less obvious it's all one person while still sounding pretty natural
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Aug 30, 2021 18:10
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ProperCoochie posted:Is what I want even possible with my hardware? (Is the MobilePre so old I should buy something with 4 outputs regardless?) I have a couple stereo pedals as well i'm not sure what sort of routing software your interface comes with, but it should be possible, sort of. the major problem i think you're running into is that you're sending line out when the pedals are expecting instrument in, and they are just not made to handle an input that loud and balanced. i believe the headphone out is even louder, so that's even worse. you can try turning the line output waaaaaay down (which still isn't perfect and likely won't eliminate the noise), or get a reamp box that converts the signal back into an instrument level signal and grounds it. you can also rig up a DI box in reverse, which will take care of the grounding and impedance but not the signal level. Drunk Driver Dad posted:I just got an Axe Fx 2 from some wheeling and dealing, and can someone tell me the easiest way to hook this up to my PC? i'm not sure about leaving it on all the time (i used to do that with my mixer and still do it with my interface and it seems to be okay, but i do worry about it sometimes), but can you set the scarlett as the output and just use the axe as input? i'm not sure why you have it sending through USB and the scarlett, because one or the other should give you basically the same signal into the computer, just from different spots. the main difference is that i think usb will be tied together as stereo, but the scarlett will treat it as two mono tracks that you have to pan yourself. the only thing i can think of that might be weird with your proposed setup is that the tracks might record at different levels, but that should be easy to catch as long as the routing software lets you hard pan the inputs for direct monitoring.
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Oct 27, 2021 17:29
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is the gain cranked on the speakers themselves? i keep my JBLs at 80% for that reason, and it's still loud enough that i can keep my mixer low enough to not add much noise either.
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Nov 23, 2021 08:56
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pokie posted:I tried setting the gain just above -inf, and it made no difference in the noise. I also tried a bunch of dip switch configurations, moving them around the house, and even turning off wifi. huh, that sounds like maybe something is wrong with the speakers themselves, especially if it's happening with nothing plugged into them. at this point i'd try returning them for another set and hope that fixes it 
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Nov 23, 2021 21:44
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i got an RTA Producer Station for myself this year after ordering one for work last year. it's a beast to put together and took three months to show up because it ships freight and everything's all covid-hosed, but i'm extremely happy with it and it was the cheapest i could find that still seemed solid. i don't look forward to hauling it around when i move out, but i highly recommend it.
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Nov 25, 2021 02:31
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i'll also throw out a recommendation for Sonarworks Sound Reference which has a hundred dollar headphone edition. it has average calibrations for a bunch of common headphones to help even out those weakspots mentioned earlier, and it absolutely makes a difference when i use my 7506s. it's still not quite as good as my main monitor setup with the custom calibration, but it's been absolutely worth every penny i convinced my employer to drop on it
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Dec 31, 2021 20:15
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Drunk Driver Dad posted:
i think they'll definitely help. for positioning, i think the best tip i ever got was to sit in your listening spot and have someone hold a mirror flat against the wall and move it around. anywhere you can see a monitor in the mirror, put some foam down. that looks like 1-inch foam, so doing the strips on the back to separate it from the wall is probably what i'd do, too.
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Jan 25, 2022 20:34
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i don't remember exactly how the math works out but in addition to density, a material's sound absorption is related to the thickness of the material vs the wavelength of the sound, so the lower the frequency you want to cut, the thicker your material has to be in order to not iust have the wave pass through it with minimal energy loss. it's why bass traps less than like a foot thick don't do much, and why you'll sometimes hear that you shouldn't bother with panels less than two inches thick. i'm not sure what you mean by foam vs panels (all my panels are made of foam), but in general soundproofing is focused outward rather than inward. in acoustic treatment you're looking to control and diffuse reflections happening inside a room, but you're (usually) not trying to kill them completely like you are with soundproofing. acoustic treatment is definitely not my specialty by any means, but my guess is that you're not going to be able to cut it out super easily with just panels because the wavelength at 200 Hz is around 5 or 6 feet, and even if you block the window it's probably still coming through the wall. you might be able to clean up the harmonics enough that a low notch filter or two on your recordings would suffice, but i would start with grabbing the narrowest mic you have and figuring out how much of what you're hearing is from the window and how much is from the walls, and maybe doing some initial testing hanging a couple heavy blankets up if you have any.
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Mar 10, 2022 21:44
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Cyril Sneer posted:Thanks for the info. I should mention I'm not actually doing home recording, this is just a quality of living thing. I just figured the folks here would know a thing or two about sound proofing strategies. ahh, gotcha, that does sound annoying to live with! basically putting heavy stuff like bookshelves against that wall (with a small air gap, not directly against) will help. at that low a frequency, it's not gonna do great compared to actual soundproofing, but you'll probably be able to dampen it a bit. if you want something over the windows specifically as well, you can find all kinds of DIY plans for acoustic panels that might help. i've never built one myself, but i've got friends who did it to pretty good success, though they were worried about resonances coming from inside the room more than outside. you might also look into something called tube traps (also available as DIY plans) that's similar to the bass traps i mentioned, but shaped in a way to make them more effective. they'd only really be effective the corners, but that would at least help a bit.
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Mar 11, 2022 00:35
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i've used a Roland VT-3 plugged into my old macbook for this exact thing before and it worked pretty well. it functions as an external audio interface so you can't use the computer's built-in mic for it, but it accepts either XLR or 1/8" mics so a headset mic should work. i will say the i've started having compatibility issues with other interfaces in the last few discord updates, so i would recommend having a friend jump in a channel and make sure they can hear you at some point during the return window if you get one.
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Apr 11, 2022 19:51
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Verisimilidude posted:I actually ended up getting the Roland VT-4 and an AT2020 microphone but I'm running into some issues, not sure if anyone can help me out. to solve the second problem, make sure you select the vt-4 as your audio device for both output and input, and if that doesn't fix it then check the manual for how to turn off the USB return on the vt-4 itself. the first problem with discord cutting in and out a bunch is the compatibility issue i mentioned before. the only fix i've found so far is sending it through another virtual audio device (i use one called Loopback but i think you could do the same thing for free in OBS) before it gets to discord, and even that has seemed a little dodgy sometimes. if you find a better fix, i would love to know!
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Apr 14, 2022 03:50
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you just want it to change pitch as you change the clip length right? you just need to set the time stretching mode to varispeed instead of monophonic or polyphonic. logic and pro tools have that in the track header, but i'm not sure about ableton. i wouldn't think you'd need a vst for it. it should be built-in, unless i'm misunderstanding what you're looking for.
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May 23, 2022 05:35
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i think the shotguns are definitely gonna be too narrow to be the main mic, but if you're pairing it with an ldc then you might be able to really emphasize a particular part of the sound by using it as a secondary mic. a shotgun is really only going to be useful if you're taking advantage of the seperation instead of fighting it, imo. like, if he wants to sing at the same time as playing, you could try the 416 positioned so the guitar is as off-axis as possible, but if you're not doing a tiny desk concert kinda thing, it's probably just easier to put a dynamic up. or you could try aiming it almost parallel to the neck so you're getting sound hole and 12th fret and very little body resonance. basically, experimenting with the 416 could be fun, but imo it's probably not gonna lead the charge unless you figure out a very specific sound you want you have inspired me to play around with a 416 on my resonator 
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May 29, 2022 17:37
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Captain Apollo posted:Hey I don’t know if this has been covered. But, good home studio desk recommendations? I have an RTA Producer Desk that I love and would recommend. I got one for my job in 2019 and then ordered one for myself in 2021 because I liked it so much. A couple caveats, though: it's pretty fuckin heavy, so if you're not on the ground floor then it'll be a pain to move and there's a good chance the delivery person will hate you, and also because it's so heavy it gets shipped by freight and once COVID hit the shipping time on freight stuff seemed to triple, so you could be waiting a while for it. Also, the screw holes in the 19" racks are all jacked up and not consistently spaced. I don't think I've ever seen rails where that is not the case, but I've only ever purchased lower-end stuff so I have no idea if it's universal. Either way, it mostly seems to mean skipping a row or two down from the top and then things seem to line up in 1U increments well enough that you can mount stuff without gaps between. some kinda jackal posted:
My first inclination would be to send everything to a send or bus and then output that to the amp. That would just make the bus fader control your amp while the master fader did headphones. I've never used an O1V (closest I've ever gotten was an O2R) so I'm not sure how you'd set that up, but it's super easy on my little 16/6FX so I assume it's possible on a bigger mixer.
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Aug 3, 2022 18:33
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lol these are the joys of a good manual. i love finding stuff that i ignored the last time i read it because i didn't know why i'd need it. glad you got a good setup going!
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Aug 4, 2022 03:31
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i have a vt-3 that i use similarly. there's a setting you have to change on the vt itself by holding down a button combination when you turn it on. if you look up the manual, it'll be listed as loopback or return, i think! edit: looks like it's different on the vt-4. on page 8 of the manual, it looks like you need to set playback to Out 1-2 instead of To Mic In 3-4 CaptainViolence fucked around with this message at 19:27 on Sep 13, 2022 |
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Sep 13, 2022 19:21
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it looks like something you might have to set in the software that comes with the drivers, maybe? probably same for the Recording section where you'd set it to 3-4 if routing playback alone doesn't fix it. it definitely seems like a bit more of an ordeal than the vt-3, i had to set that once and haven't thought about it since except when i see someone else with the same problem
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Sep 13, 2022 21:52
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there's definitely no substitute for knowing your gear and having a definite vision. more expensive stuff won't make your mixing better, but it can make it easier if you already know what you're doing and what you want. i picked up a calibrated mic and room correction software last year and in the end i wouldn't say it made my mixes better, but it definitely made me have to do fewer rounds of listening to it on every speaker i could get my hands on before i got it sounding good across the board. that probably would not have been the case a decade ago when i was still basically fumbling in the dark when it came to making a decent mix because i had so much other stuff to learn and an ear to develop.
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Sep 19, 2022 07:21
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i think Sound on Sound has some articles in their Inside Tracks series from really early days of recording that might help. i only sort of remember the one-mic stuff, but it involved placing the mic about two feet high several feet in front of the kick and aiming it to balance out the top and bottom of the kit. alternately, record one full take with the mic set back as a room, then do a bunch of overdubs where the drummer only plays one drum at a time. i used to do that before i had any mics and it was a pain in the rear end (mostly because i'm not a great drummer so there was a ton of timing correction to be done) but it gets the job done.
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Sep 25, 2022 20:19
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Mister Speaker posted:Maybe I'll ask this in the Ableton thread, but let's say I'm taking a consolidated audio region into iZoTope and editing out some spectral information. If I save the file in RX, will it overwrite the original file? Will Ableton see that the file has changed right away? i haven't used ableton before, but their website makes it look the same as how logic handles it. if you have izotope set as your external audio editor and open it via whatever command ableton has to do that, anything you save in izotope will get propagated back. if you're manually searching through files to change stuff, it might still work but opening izotope from within ableton should definitely do it. edit: the ableton page in question CaptainViolence fucked around with this message at 22:13 on Sep 27, 2022 |
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Sep 27, 2022 21:50
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