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I play in a cover band (mainly 60's-90's rock and pop, upbeat stuff to dance or sing to in a bar), and we usually do pretty long sets as the "house" act (somewhere on the order of 40-50 songs a night, spanning 3-4 hours). We often prepare for gigs by putting together a set list based on how we think the ebb of the evening will go. For example, we put the laid-back rockers up front for the earlier crowd; more dance-type stuff in the middle for after everybody has loosened up; and some weirder/darker/psychedelic stuff for the 1am crowd. Of course, not every evening goes according to these strategies, and we've been wasting a lot of time on stage lately bickering about what song to do next when the vibe in the bar unexpectedly changes. My question is whether it would be better to just scrap the whole set-list thing and go completely off-the-cuff, or whether we should just set the set list in stone so that we don't have those "What do we do now?" moments.
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Jun 28, 2011 23:33
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After debating on a good field recorder for discreetly collecting ambience/samples for tracks on the fly, I recently got the Sony PCM-M10. I chose it over models that had XLR mic capability mainly based on its size/stealthiness. Originally, I was planning on just using the onboard mics for the above purpose. Now I'm starting to move on to collecting whole instrument tracks (stuff like our band's drummer on a conga, for example), and I'd like to use better mics without lugging my laptop rig along. My question: since my current recorder only has 3.5mm input, will I see any noticeable difference using some sort of XLR-to-1/8" adapter in conjunction with higher quality condenser mics, or should I just bite the bullet and get a new recorder with XLR capability?
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Dec 22, 2012 17:15
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I usually have dozens of tracks going in Cubase on any given project, each sometimes with numerous automated effects. My timeline can start to look pretty massive pretty quickly. This might sound silly, but should I be in the habit of routinely exporting as .wav and re-importing certain tracks (or groups of tracks) once I've got their effects and automation where I want them, or is there some sort of drawback to editing this way? (Assuming I don't need to adjust the automation or effect on a track after I do this.)
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Jul 14, 2014 05:54
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A friend of mine has been sending me files he recorded in Audacity for me to re-edit in Cubase. When I export the .wavs out of Audacity and attempt to manipulate them in Cubase (copy/pasting, or just using any processing commands), they tend to crash Cubase for some reason. Any idea what might be going on? So far, the only solution seems to be to import into Cubase, re-export, then re-import again which results in a more stable file.
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Dec 23, 2014 19:58
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On a track like this: https://soundcloud.com/colorcode-1/night-owl, which (except for the drums) was just recorded to one track, how would one remove the crazy ear-splitting frequencies while still keeping the effect of me fiddling with my keyboard's resonance knob throughout? With my usual EQ (or any other VSTs I have), I can't seem to figure out how to cut or even identify the harsh stuff without taking out something else I like. Am I asking for too much?
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Jan 24, 2015 01:50
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I'm pretty new to drum machines, thinking of buying my first. Can I midi my arranger keyboard into an analog drum machine (like Korg Volca beats) and have it play, say, the preset drum patterns from the arranger?
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Oct 1, 2015 23:03
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What type of cable or adapter would I want to use to send a stereo mixdown from a Tascam 414 cassette recorder into the 1/4" input of a typical digital interface? Would something like that be an unbalanced or balanced signal? Stereo or instrument cable?
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Mar 25, 2016 21:28
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Flipperwaldt posted:1x 2 Male RCA / 2 Male RCA Cable Just a little Alesis iO2 right now, though soon upgrading to either a Zoom R16 or a Digi 003
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Mar 26, 2016 00:25
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I'm getting a Windows-capable Mac ready for home production work (mainly just running Cubase). I don't really care much for Mac OS, though. Any reason I should stick to it vs. Windows?
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May 25, 2016 00:15
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Seventh Arrow posted:I'm looking to jam out some of my song ideas with a drummer and keyboards, maybe guitar. I want to record the session and my local music stores has these handheld recorders available: I'm not an expert, but I'm pretty sure all these should accomplish what you're hoping to do as long as you set them right. (Set your levels so as to avoid clipping. Most of them may have an "automatic" level adjust, though.) They're a step above your typical little handheld voice recorder, which I'm guessing is what you used before. These Zooms are pretty commonly used recorders, I think largely because of the XLR and other mic inputs. If you don't care about using an external mic, though, you might want to look up the battery life of these models. The H series I think tend to drain batteries pretty quickly. Personally I swear by my Sony PCM-M10. The battery life is incredible, and the sound quality on the internal mics is pretty great for a "set it and forget it" device. You can record high quality WAV or MP3 and there's a lot of hard drive space. Plus it's roughly the shape of cell phone so it doesn't draw as much attention to itself. I've recorded many a jam on it. Only downside is you can't plug XLR into it. EDIT: I'm pretty sure most of these devices (at minimum, my Sony for a fact) have internal hard drives and USB connectivity, so you can just drag and drop your files to your PC instead of messing around with the SD card if you don't like. Drink-Mix Man fucked around with this message at 03:48 on Jun 4, 2016 |
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Jun 4, 2016 03:33
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gmq posted:I can buy either the Novation Impulse 61 or the Yamaha PSR-E443. Two different machines that can end up doing the same thing. I have no idea how to play the piano/keyboard (or any instrument at all) but I want to learn. I know I can't learn how to play a real piano (with their 88 keys and fancy weighed keys) with one of these but I can learn the basics and at least produce music, right? It really just depends on what you're trying to do. If you just want a basic learning instrument for music in general (to practice fingerings, learning notes and chords, etc.) I'd say the Yamaha since you can play with a variety of sounds. Plus in my experience it makes it easier to learn when you can just switch on an instrument and jam whenever you feel like it (as opposed to booting up a computer and some software). The Yamaha doesn't have MIDI, but apparently it has a USB jack that-- when used with the right drivers-- can control virtual instruments, so you can still do that later on if you want. The Novation would may be better if you want to learn more about actual electronic music production using software and such. Also, why not learn a real piano (digital or otherwise) with 88 weighted keys? If you don't know how to play anything at all yet, I don't see any drawback to learning on one. It might even serve you better in the long haul.
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Aug 3, 2016 02:10
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Vargatron posted:Are there any good guides on how to do EQ on a keyboard amplifier? I'm running a Casio PX-5S through an amp, but most of the piano settings sound flat and muddy. I've messed around with the EQ sliders on the amp, but I don't really have a good idea of what I'm doing. Is it better to set the EQ on the amp or just set the amp to flat and do EQ through the keyboard? I'm not the biggest expert, but I have the same problem and it seems to me like some of the cheaper mid-range keyboard amps like Behringers just make my keys sound boomy/muddy no matter what I do with them. I usually just significantly roll the low end off my in-keyboard EQ, sometimes boost the mid or high slightly. In-keyboard FX like exciters sometimes help sharpen up the sound a little.
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Aug 30, 2016 18:44
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Is there any reason— assuming I'm okay controlling it from another device if necessary— affordable samplers like the SR202, SR505, or Korg Volca sample would't make a decent straight drum machine if I loaded them up with the right kit samples? (IE 808, 909 kits and such.) On a budget, I'm torn between getting a sampler or a strict drum machine and am wondering if there's any reason I wouldn't want to just get a sampler and use it as both.
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Oct 3, 2016 01:13
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NonzeroCircle posted:Do you mean the Boss SP202/505? Yep, my bad.
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Oct 3, 2016 22:24
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NonzeroCircle posted:They aren't bad for their age but storage media for older samplers can be a fucker, I had one of the 808s that ran on Zip disks of all things and it was a nightmare sourcing them. Just accompaniment. I want to record live keyboard jams and have the drums on a separate channel for ease of remixing later if I so choose. It would be nice to have a decent (or at least unique) enough sound out of the drum box, though, so every drum track I recorded wasn't necessarily a scratch track. I was also considering a sampler, though, because I tend to incorporate some quirky sound effects and field recordings into my tracks and I thought it could be fun to experiment with. And to get it out of the way, I'm considering hardware vs. software because A) it would be nice to play out with the gear if I chose 2) software just doesn't seem to click (no pun intended) with me for various reasons. Drink-Mix Man fucked around with this message at 02:00 on Oct 4, 2016 |
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Oct 4, 2016 01:57
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I've got a problem editing my 10+ minute jam tracks down to a manageable length because I'm always reluctant to "cut my darlings." Any advice on training myself to be more ruthless tightening things up?
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Nov 4, 2016 08:46
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Key player here. Any recommendations for a budget solution on quality brass ensemble sounds for live performance? I need it for covers of stuff like Earth, Wind, and Fire or Huey Lewis and the News. It seems to be a tough nut to crack. Just wondering if anyone knows of any old gear or software ideas that won't break the bank.
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Apr 16, 2017 01:25
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I have some tracks that are 50 cents flat and I'd like a quick and dirty way to tune them up in Cubase. I have a pitchshifter vst but it colors the sound in an undesirable way. I was thinking it would be nice to be able to tune things in my DAW the way you can with an old school tape cassette recorder, by speeding them up or down slightly. Is there a VST that will let me do this with accuracy, or a way to bounce the tracks mess with the sample rate for precision tuning?
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May 22, 2017 03:52
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The Shep posted:I was recruited to play keys and synths for a 80s and 90s rock cover band. What do other keyboardists here do on songs that have no native keys? Do you sit those songs out, copy the bass line, do something else? Would really like to do something even if it's basic for the 50% of the set list made up of 90s alternative rock that has nothing going on in it for keyboard. What does your band do? Sometimes I'll sit out and focus on singing backup or something like that. More often, though, I'll just introduce a simple backup key part. Most people I talk to are of the opinion that there's always room for keys in a mix, and generally my audiences tell me they like having some simple key layers in songs even when they weren't in the original track. It can help tie the rest of the band together sonically and give your group a little something extra that the glut of guitars-only cover bands don't offer. Usually, I'll just introduce some simple Hammond organ chords, piano, or strings/pads and think in terms of supporting the ensemble but not getting carried away. Like the organ in Pearl Jam's "Crazy Mary" for example. Same thing goes for vocals, too, so if you sing sometimes this is a good opportunity to introduce a little something extra with some selective harmonies. Drink-Mix Man fucked around with this message at 17:08 on Jun 7, 2017 |
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Jun 7, 2017 17:01
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A common critique I hear on my electronic tracks is that my drums aren't loud enough, lack punch, are set too far back in the mix. I know there's probably not a "one-size-fits all" answer, but anybody know some quick "rules of thumb" for appropriate mixes on electronic drums? Like, the drums should typically be [x level] compared to your lead instruments, should always be panned to such-and-such position, or something like that? (An example of the type of music I'm making garnering the critique: https://soundcloud.com/eric-zak/jade-city-remix)
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Jun 27, 2017 18:19
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Red Garland posted:Guys, I feel so stupid. I can't figure out the 4th chord in a four-chord progression song. Here it is: Sounds like C#maj
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Aug 14, 2017 05:09
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So, then, how exactly does one get their record to pick up steam? Curious especially for my situation, where I'm a solo composer who doesn't even have a live act.
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Sep 7, 2017 23:06
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TheQuietWilds posted:Can anybody come up with a great song to mashup with careless whisper? I'm in a group that's playing a one-off show and want to include CW as a joke but it doesn't warrant playing it for the whole song. Key is Dm, tempo in the 75-ish BPM range. Go for the saxophone double-play and do Baker Street. JamesKPolk posted:Don't touch the master fader. Potentially dumb question, sometimes mastering engineers send me instructions that say "turn everything down to give me some headroom BUT DON'T JUST TURN DOWN THE MASTER FADER." What the heck are they talking about? What difference does it make?
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Oct 26, 2017 05:09
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I'm stockpiling a lot of electronic tracks I think are pretty good and that I want to get "out" there but I don't really have the money/ability to professionally master all of them. What do other recording artists do in this situation? Do you have certain favored techniques for self-finishing on a budget? Do you just not over-think it and do the best you can with the skills you have to get it in peoples' ears?
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Nov 9, 2017 01:47
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Thanks for the tip on Ozone Elements! As luck would have it it's on Black Friday sale for $29 on iZotope's site along with RX Elements and Neutron. Scooping it up. https://www.izotope.com/en/store/deals.html?gclid=EAIaIQobChMIrd_Ao5nQ1wIVjMVkCh2nFwbIEAAYASAAEgLnoPD_BwE
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Nov 21, 2017 18:32
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edit: ignore me
Drink-Mix Man fucked around with this message at 19:29 on Dec 15, 2017 |
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Nov 28, 2017 18:12
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I put out an album in 2015 that nobody listened to because I knew nothing about promotion and barely even tried. Would it be idiotic to send it to bloggers, reviewers, radio stations and the like at this juncture, given that it's no longer a new release?
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Dec 15, 2017 19:29
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Tell me about playing wedding gigs and how they differ from corporate or bar gigs. What considerations might not occur to me doing one for the first time?
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Feb 3, 2018 23:40
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I'm auditioning for theatre musicals and they want to know my highest and lowest note. What is the proper method for determining this? Is it just supposed to be what I can hit comfortably, or do I include what I can hit with falsetto and sort of silly-sounding bass notes? When I try it out I get C2-G4, though at topmost I can go up to E5 with a sort of wacky falsetto.
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Mar 19, 2018 20:04
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Pablo Nergigante posted:Okay probably a hard question to answer but: I've been playing music for years, played bass in bands, etc. but I've never really written my own songs. Sometimes I get little bits of melodies stuck in my head but they go away quick, and also I have a really hard time coming up with any lyrics. How can I get over the initial hump and start writing stuff. Does anyone have any tips for writing or getting inspiration or anything like that For me, I have to carry a pocket recorder to hum or sing fleeting ideas on the fly into it. Keep it by my bed sometimes to capture those early morning ideas. Also I set up a jam recording space that I can get good, quick takes in easily (without wasting a lot of time turning stuff on and plugging stuff in). I record all my noodling so that I have a good recording (or sometimes useable take) of stuff that comes up when I just sit down randomly to goof off.
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May 31, 2018 22:51
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Pablo Nergigante posted:Thanks for the suggestions - I actually took music theory in college so I do have some background. I think lyrics are the thing I have the hardest trouble with honestly I'm not the biggest lyrics guy either, but something that's been helping me out lately is something I learned about David Byrne's writing style. He does rough takes where he just sounds out the vowel sounds and/or consonants he thinks sounds right with the music. Maybe he makes up nonsense words or phrases, sort of like scatting but it can be even less defined. Then he goes back and figures out actual lyrics that fit those sounds. This lends itself to coming up with those phrases that are open to a lot of interpretation, because he'll come up with stuff he never would have if he were taking a more literal approach.
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May 31, 2018 23:14
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I've known about the loudness war for quite some time, but am I alone in thinking it's especially out of control on services like Soundcloud? I feel like I'm constantly reaching for the volume knob in annoyance whenever I click on peoples' stuff there, especially amateur hip hop producers.
Drink-Mix Man fucked around with this message at 21:31 on Jun 10, 2018 |
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Jun 10, 2018 21:24
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Not sure where else to post this since the "How do I recreate a sound?" thread has been archived, but my cover band does this song and I've been scratching my head forever trying to figure out how to recreate that resonant sort of wah-ish plinking sound in the intro and after the choruses on the keyboard. Any idea what's going on there? https://www.youtube.com/watch?v=VjATZYHs4Tc
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Jul 6, 2018 20:32
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Can anyone recommend any reading (online or otherwise) about promoting recorded music in niche markets? I'm always on the lookout for guidance about gaining an audience, but usually what I find is geared towards people making mainstream music. I want to know how ambient, underground, and avant-garde types do it.
Drink-Mix Man fucked around with this message at 19:33 on Jul 31, 2019 |
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Jul 31, 2019 19:30
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I'm having a hard time search-engining this question. Can I play Breaktweaker as a drum machine? (One sample assigned per pad, instead of having the pads trigger patterns?)
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Jan 15, 2020 20:19
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DreadCthulhu posted:Where do most people start when composing something new? I will often sit for an hour or two with a couple of instruments and try to squeeze something half decent out, but it all sounds like poo poo. Is there a "one weird hack" that composers use, or is it like that for everybody? I know a bunch of bands basically start with an existing chord progression or melody from a different song, and then just evolve it to something else entirely, but at least that way they have a foundation to work with. I just improvise until I stumble upon a part that sounds pretty good and that I want to expand on, and take it from there. Sometimes this results in 1-2 hour jams I just throw away, but every fifth one or so yields a decent jumping off point.
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Feb 7, 2020 00:43
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I have been learning a little lately about how to use distortion and saturation plugins effectively to introduce analog-style harmonics to tracks, to give it the sense it has been recorded in an analog studio. If my plan is to have a professional mastering engineer finish my track, though, am I best off not really getting into all that so as not to interfere with their work, the same way you usually don't want to mess arround too much with mastering compressors before handing it over?
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Mar 7, 2020 22:26
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NonzeroCircle posted:If its part of the vibe of the track and you aren't overcooking it it'll probably be fine. Are you mixing yourself then sending it to be mastered just to do that last bit of 'polish' and loudness? Yeah, I usually send stuff out for the little bit of polish and the peace of mind that a professional is having the final look at it. I like working with people that run my tracks through some analog gear to put a little (or sometimes a lot of) authentic crunch to it. I've liked some of the results I've been getting cranking some of my saturation VSTs on individual tracks to get a driven sound throughout, and am probably laying it on a little thick ATM because I'm having fun. But I was concerned that maybe that could take away from a mastering engineer's ability to handle those elements a little more deftly and authentically. I'm doing dance and instrumental electronica FWIW Drink-Mix Man fucked around with this message at 23:26 on Mar 7, 2020 |
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Mar 7, 2020 23:22
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What are some of the best mixing techniques for sharpening up the sound of something that was recorded with too much reverb on it?
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Apr 13, 2020 23:41
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Do you guys have any preferred online resources for bouncing creative ideas off of other people that aren't necessarily of technical or of the "give me feedback on my track" sort of nature? Stuff like album art, band names, branding ideas, that sort of thing. As a solo artist trying to get stuff out there and not having a big circle of like-minded creatives yet, sometimes I feel like I can go crazy with indecision over this sort of stuff.
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May 17, 2020 20:18
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