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Mister Speaker posted:Since I'm already on the topic, and doing it sort of by feel... Are there accepted standards for how much to pan and duck dialog when it's coming from off-screen? like flipperwaldt said, dialogue is almost always dead center. you can hard pan for effect (someone offscreen shouting at the onscreen character to get their attention, for example) but within a regular dialogue scene it should all stay centered even when the conversation has L/J cuts going on. if you're mixing for surround instead of stereo, then you put dialogue and nothing else on the center channel (even reverb on the voice has a tendency to be assigned to the other speakers, although i don't know if it's a hard rule to keep the center dry)
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Sep 28, 2022 17:49
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yeah, for double tracking, the main thing is to have your timing be dead on, either in performance or with the help of editing. i only tried the demo of vocalign but it seemed pretty powerful (but also pricey). melodyne also works great (also pricey) but i usually only use it when i'm also doing pitch correction because it feels a little clunky to use compared to flex editing. when i mix double tracked vocals, i tend to hit the compressor on the main track a little harder and mix the other track a little lower to act as sort of pseudo-parallel compression. there's a little ebb and flow to it that way which i like, but that's more situational. if you want to get super wild with it, i've gotten some interesting sounds by formant shifting the secondary track a little bit, too.
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Sep 30, 2022 07:00
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barclayed posted:hey y'all. trying to record some rough demos of songs with a blue nano mic but i have a very sibilant voice and i'm not very familiar with the de-essing process. anyone got any tips? i try to have my mic off-axis 'cause i've heard it helps but it's still. really bad lmao. my two strategies in that situation would be to either get a better mic (sm57 or 58) either by buying or borrowing it, or if you don' t want to drop any money and don't know anyone who can loan you stuff, grab TDR Nova and put an internally sidechained eq notch around where your esses are hitting (somewhere between 5k and 10k). you'll have to play with the threshold and q to make sure you're not cutting other stuff, but it should help. Mister Speaker posted:Is a CloudLifter really necessary for big dynamic mics (or any mic at all, really) like the SM7B? Is there any increase in fidelity to come of it, or is it just a gain boost? I realize these are not mutually exclusive; even just a gain boost could mean a preamp not having to get into noisy territory. When I bought my SM7B a buddy insisted I needed one but I plugged it into my DJM and it sounded fine. Not that I ever use it these days, but I'm still curious. it's just super clean gain to counteract low signals in dynamic mics. it used to be pretty standard advice but i think that's because preamps used to be a lot worse in the lower price range and i don't hear it hammered on as much anymore (except by the company that makes them lol). my dynamic mics need the gain on my pro 40 to be pretty high, but i've never had a noise issue because it's a pretty decent interface. i had several friends with super cheap pre-scarlett era interfaces when cloudlifters first came out that absolutely needed it because anything above half on the gain was monstrously noisy and they basically couldn't use dynamics at all.
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Oct 29, 2022 04:05
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i use two of these furman power conditioners. i don't remember how they work on a technical level, but they "clean" your power so you're less likely to get hum when you plug in your gear. i think it's one of those things where you only need it when you need it, but several of my apartments have been old as poo poo to the point that i had to stand in very particular spots for my guitars to not be woefully noisy. with the power conditioners i just gotta make sure my cable's not physically touching any other cables and it's fine. i've been told they also get rid of gsm interference from phones, but i haven't noticed a difference with my (admittedly cheaper) ones. barclayed posted:thanks! i actually found out my college has a recording studio with a shure 58 that's avaliable to students so i'm probably gonna try to record it there. super excited haha.  i definitely miss having the run of my school's recording gear. let us know how it turns out!
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Nov 1, 2022 03:25
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yeah, i think you'd need a DI box for that one. sometimes they have a switch to go between line and instrument in, but i don't see one on the preview pic. it sounds like what you want is a mixer with usb. you might also look at a field mixer with interface capabilities, but keep in mind that they generally aren't designed for music so their usability is going to be iffy for your situation (especially the lower end stuff like zoom's H series--their L series might be more up your alley tho).
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Nov 24, 2022 19:36
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i use jbl 305s and i've never had problems with not enough bass to them. usually the opposite to be honest, and the last time i thought about upgrading to 8" speakers, i put that money into acoustically treating my room and i think it was a much better investment. the bigger speakers might be bassier, but my room already had a huge resonance peak at 75hz and a huge interference trough at 150hz, and i can't imagine how much worse those would have been with 308s.
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Nov 25, 2022 20:28
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i haven't used garageband in a while so i was just poking through drum tutorials, but are you looking for the Beat Presets? if so you hit E to bring them up, but if not you might be able to dig through this article to see if any of the other things it talks about work. my other guess would be to check the Smart Controls panel.
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Dec 7, 2022 06:52
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ricecult posted:I ran some tracks out tonight to a Koma Field Kit and old yamaha mixer (emx-150), just to kind of blend them and introduce some parallel eq/coloration. I have the koma for the synth stuff I do, but it really did a lot for some guitar and vocal tracks. not quite the same thing, but i have an old teac reel-to-reel tape machine that i love using to get outboard saturation and manual flutter effects on stuff. i've also used a standalone preamp and old fire alarm speaker to do some weird reverbs by sending a track out and micing it up (mostly for drums, but also for background vox). experimenting with blending weird stuff like that back into the original is something i want to do more of, the results can really add a lot of flavor!
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Jan 3, 2023 18:52
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i use SoundID Reference, which does both. i tend to use the plugin rather than the standalone because i primarily do sound design for video and it adds enough latency that i need to be able to switch it off easily to check sync, but i boot up the standalone to mix or listen to non-video related music. the only other room correction software i know of off the top of my head is ARC, which i would assume works the same way but i've never used it so i have no idea. you can't use your own mic, unfortunately. its frequency response has to be specifically calibrated/measured so the software is only correcting for your speakers and room, so you either provide a mic measurement file or, if you get the mic from them directly, just punch in the serial number and it'll download the spec file automatically. i absolutely love it, because while my room is treated for high end, i don't have enough space for bass traps, and the software helps the giant 12db trough and peak i have around 150hz. budgetwise, the big expense was the software (a couple hundred bucks, but i luckily got my job the pay for it). the mic itself was less than a hundred bucks, and i think there's an open source room correction program available, which i think can use the included mic file to do calibrations. it's probably about as unwieldy as any other open source software, but certainly less spendy. either way, i would say it's worth it! it wasn't quite the same night-and-day difference in clarity that i got from upgrading to real monitors, but i definitely noticed i wasn't having to fight with the low end the way i used to. turns out i was waaaaay overmixing stuff to fight that peak/trough, and doing literally nothing at all was better than everything i tried. my mixes also translated to other systems much better with a lot less tweaking, and the time i've saved mixing has been more than worth the initial expense.
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Jan 6, 2023 01:57
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Mister Speaker posted:Ah yeah, that's another concern. So to clarify, the standalone version runs in the background of say, Mac OS and will actually stand in the signal path of any application going to your interface's master out? And this causes appreciable latency, such that you can't run it this way while editing audio for picture? I assume this means playing an instrument live into the interface, like a DI'd guitar, is also right out? yep! it's probably only around 100ms at worst, but it's plenty enough to notice when i'm timing to picture. the software has three different modes for low latency, high latency, and a compromise in the middle, trading latency for phase shifting and pre-ringing artifacts. the low latency mode might be fast enough for tracking if your machine has a good CPU, but i just keep it off until i'm ready to mix because i'm using a 2017 iMac and i'm not worried as much about the finer points of eq until the mix. as for the mic, i think i read that you can send in your own mic for measurement and they'll provide you with the custom profile for it, but i don't know how much it costs to do so. i definitely remember it being close enough that just buying their $80 mic was a better deal, so i assume that's only for people who already have a high-end measurement mic. i'm pretty sure you're right that use some sort of convolution/impulse measurement for it, but i think it might be more precise than what's doable without specialized equipment. and i'm always happy to help! getting advice from this thread over the years has been invaluable, so i'm glad i can pay it forward sometimes!
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Jan 6, 2023 02:47
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it looks like what you got is a converter to change those male trs plugs into a female trrs plug. that's intended to carry signals both ways instead of just one (usually on phones or headsets). i'd check the packaging to make sure, but if that's the case it's definitely not going to work like you want, and i don't know of any way to do what you want without a mixer.
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Jan 6, 2023 19:24
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i believe focusrite offers their clarett series in either usb or thunderbolt, and they might do the same for the scarlett series but i've never checked. presonus has a usb version of their studio series as well. i think their older M-Box series had some issues with usb, but i assume that was just on the lower-end stuff and has probably been fixed in the intervening decade since i used one.
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Mar 3, 2023 17:42
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HaB posted:What's the new hotness in a decent set of studio cans these days? i mostly know people who do field recording more than studio work, but just about everyone i know uses sony mdr-7506s. they sound good and fairly flat, and they're not super tight on the ear so they don't hurt to wear for long periods, but the downside is that they're a bit more susceptible to bleeding into vocal mics. i also see people use sennheiser hd-280s in the studio which have much better separation, but always made my head hurt if i wore them for more than 15 or 20 minutes at a time.
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Apr 14, 2023 01:44
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sounds like i need to try these 240s
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Apr 15, 2023 08:02
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I said come in! posted:Does anyone here like putting their recordings onto obscure / dead physical formats? i don't know anything about minidiscs, but i've put out albums on 1/4" reel to reel tapes before. i don't know if it's helpful to anyone, but it definitely took me some time to figure out that i needed to calibrate 0 on the analog VU to -18dbfs from the daw. i just used a 1khz sine wav because that's what i always used to calibrate camera hops when i was doing tv, but idk if that was optimal. i love dead formats, i hope the minidisc stuff goes well!
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May 5, 2023 23:08
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did you do a lot of takes? if those are still part of the project, they'll take up disk space even if you're not actively using them. i'm not sure if reaper also has it, but logic has a Clean Up Project command that gets rid of anything not currently being used on a track, including project file backups. it's not generally something you want to do unless you're absolutely sure you won't want any of those other takes for comping or whatever (so usually once everything is finalized) but reaper might have something similar if space is a concern. warning, though: recovering anything that command deletes will be difficult if not impossible, so i wouldn't touch it mid-project unless you absolutely need to. even then, i'd probably test it out on a copy just in case.
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Aug 7, 2023 03:55
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it's been a minute since i've used 7, but that's what i had at work for the longest time till we upgraded to 9. i think for field recordings you would probably be fine, since most of the new modules were more geared toward film & music post-production (i.e. 9 has a guitar de-noise that specifically targets things like string squeaks and pick attacks, which i don't think 7 had). the one module i'm not sure is in both that might be good for field recording is the de-wind, which functions pretty similar to de-plosive but is a little more effective/less destructive in the mids & highs. i would take a look at a feature set comparison and just go based on what modules it sounds like you'll need. i haven't noticed any drastic improvements in the processing quality--not that they haven't improved, but the improvements are pretty incremental--so it's more about what specific modules you think would be useful. the names are pretty self-explanatory, but i think their youtube channel has good breakdowns of what each one actually does. i've never had things come out quite as well as their examples, though, so i wouldn't assume the miracle repairs in their videos are entirely reflective of the standard experience (although maybe i just suck at moving sliders around  )
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Oct 7, 2023 04:24
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ohhh, yeah, i forgot they do the essentials/standard/advanced stuff. i definitely had to talk my job into upgrading to advance because i needed a single module (probably de-wind or de-rustle). i kinda wish the lower version just gave you a certain number of modules to choose from and let you customize your setup, but i'm guessing they sell a lot more copies this way. and yes, the whole thing is really fun to play with once you get up and going, and you got a great price!
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Oct 8, 2023 17:53
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i think part of the problem is that the horn stab may not be an actual trumpet. it sounds to me like an "orchestral hit" sound bank like from a yamaha of some sort that was all over a bunch of 80s/90s stuff like "owner of a lonely heart" by yes: https://www.youtube.com/watch?v=xi0Ys2y4J0s edit: i think yes used a DX7 for theirs, which sounds more like yours, but doesn't have the big trumpet on top. maybe it's a layered sample? if you could track down what got sampled, you might be able to transcribe easier from the source and then transpose as needed edit 2: 13:35 in this video is the sound i was thinking of, he says it's a fairlight synth a few seconds after and solos it at 14:30. if that's the right sound, maybe this will help you track it down! CaptainViolence fucked around with this message at 22:37 on Mar 13, 2024 |
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Mar 13, 2024 22:23
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| # ¿ May 13, 2024 06:58 |
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David Byrne talks about some of that in his book How Music Works. it's much more conceptual than technical and i remember it focusing on performance environment more than equipment (i.e. how Talking Heads' writing changed as they went from playing dive bars to stadiums as a reaction to the differing acoustic spaces), but it ties into what you're talking about enough to be worth a shot, i think
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May 6, 2024 19:11
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