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Sometimes (read:rarely) it's possible to get a little bit more life out of a grinding drive by sealing it in a bag with some silica sachets (the moisture absorbing ones) and putting it in a freezer for an hour or so, then quickly plugging it in and attempt to recover the data while it's still ice cold. The idea here is it to make the internals of the drive shrink by a minute amount so if it's just the head assembly catching on something then it might briefly provide enough clearance for the read head to do it's thing. This has helped me a couple of times, but also made no difference on several other attempts, though worth a shot if you don't want to pay big money for the specialists and you won't hurt the drive if you keep any condensation in check with the silica.
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Mar 29, 2012 14:59
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Yeah you'll stumble upon some somewhere, check any shoe boxes/electronics packets/vitamin bottles to see if you can find any, if not then maybe just go to the nearest shoe store and ask nicely. I haven't tried it sans-silica but making the bag as airless and airtight as possible will minimize any in-freezer condensation, the real risk for it is when you take it out of the freezer and into the open air, it's best to keep the drive still mostly in the bag with just the connectors showing. Realistically though if it gathers any water it'll just be a fine sheen on the cold metal housing, I don't think the circuit-board material will be able to chill and keep it's cool well enough to get meaningfully damp, and the contacts on the board are hopefully small enough to not be an issue, but it's still better to avoid this if possible.
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Mar 29, 2012 15:39
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I've heard of bands practicing in those self-storage units, they are usually in an industrial section of the town so noise isn't a major concern but you'd just have to clear it with the owner.
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Apr 5, 2012 14:49
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Can you put the mixer after the preamp? Most electronic devices will put out a very low level of noise that usually isn't audible, but if you feed that tiny noise into any sort of amplifier then it can end up as a noticable hiss. The exact same thing happened to me with a new volume pedal, was noisy as hell until I put it into the send/return loop, bypassing the preamp.
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Apr 6, 2012 01:37
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Here is a quick overview of the basic functions that may be useful. Also check youtube as there is always dozens of tutorial videos for any given topic and there should be some for any of Garagebands' features.
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Apr 14, 2012 18:49
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Yeah the amp rating is the maximum it can supply so anything below that value will run fine (you could run 15 of those keyboards from that one PSU and it still be ok), it's the voltage value you have to be careful of as there is no leniency there. Seems a bit much to pay for a single adapter though, 12v DC is incredibly common and eBay is peppered with them, but you could probably walk into any Dick Smith or Tandy or whatever and walk out with a universal 12v DC adapter and a bunch of different sized tips for less than $20. If you have any large external HDDs hanging around you may even be able to use the PSU for that as they are all 12v DC centre-positive. I wouldn't worry about the "sensitive" qualification, it's probably intended for oscilloscopes or similar, I've used all manner of no-name 12v adapters with all sorts of musical stuff and have never noticed any excess noise or other sound problems.
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Apr 26, 2012 12:30
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Maybe they are preparing for the eventual integration into the Woolworths brand already by giving supermarket-level technical advice? loving really though that's such a fundamental error it's hard to believe they don't give their staff basic training to gain their so-called Techspert title. Last time I was in Jaycar buying a plug I got the 3rd degree to make sure that I knew what I was doing with it and wasn't going to do something daft like power a television set off it. But DSE? gently caress it, it'll probably work. That smoke? Normal. Next customer please! Here is an adapter that looks to fill your needs.
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Apr 29, 2012 02:48
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MockingQuantum posted:Does anybody know of any good free online resources for learning drums/percussion, along the lines of justinguitar.com or studybass.com? Try http://www.drumlessons.com/
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May 22, 2012 05:51
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Skabanero pePPers posted:Have a quick question regarding electronic drums. I saw Boz0r's question a few posts up, so I think I already know the answer to my own inquiry, but I'm going to ask anyways. The TD-6 looks to be a discontinued line so it's hard to gauge the current value, but as long as everything is in working order then it would still be a pretty good deal, especially if the additional $300 was spent on extra cymbals or mesh heads. Boz0r for that sort of money you are really restricted to the "practice" range of e-kits, unless you can find something second hand (like the Roland stuff or a Yamaha) there isn't anything that I personally would feel comfortable performing with. Some of the cheap kits are still OK but not really what you'd call gig worthy, and often they will have some pretty big playing compromises like poor feel on the snare/tom heads, ordinary sounds or even limited polyphony so that ringing cymbals and so forth could be cut off if too many new sounds are played after the cymbal hit.
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May 31, 2012 23:42
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If the interface is detected by your Mac as a sound input/output device then it should have no problems working with any DAW, those programs get their audio inputs/outputs through the Apple audio subsystems as opposed to directly controlling the interface device itself. The only issue you may encounter is monitoring latency if you decide to listen to the sound emanating from the Mac while you are playing, because the interface is USB there might be a tiny delay between the keypress and what comes out of your speakers (even firewire isn't completely immune to this but it is a bit better for latency). This can be solved by using the direct monitor out on your interface (it sends the sound out as soon as it hits the interface as opposed to being processed by the computer and then sent out) but this won't let you hear any effects you may have on those specific tracks. This is probably not likely to be a very big problem though if you just want to record multiple tracks to assemble later instead of trying to play it all "live". The music and midi thing is pretty simple, if you use Logic you would just create two new tracks, one as an "Audio" track which will record the sounds coming out of your synths and into the audio input on your M-Audio device, and the second one as a "Software Instrument" which will capture the midi data (sent via the midi out on your keyboard through the midi in on the M-Audio) which you can then then assign to a software synth or whatever. Also don't forget about Garageband, it can do a lot of the stuff that it's big brother Logic can, albeit with a much more simplified interface, and it's free on every Mac. That being said I moved to Logic a year ago and haven't looked back.
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Jun 1, 2012 15:10
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I use a Roland TD-9 and they are absolutely fantastic and I would have no problems gigging with it, but they costs several times more than you can spend. The main drawbacks of the cheaper sets are the rubber pads and low quality hardware and sound modules, but honestly any e-kit would work as long as the drummer is willing to adapt to whatever caveats the kit has. I feel that mesh heads are a must, but I haven't tried the porous rubber heads that the new Yamaha e-kits have and from all accounts they have a very good playing feel, but the Yamaha kits are still well above your projected budget. I have never used one but the Alesis DM10 gets pretty good reviews and looks more like a stage kit with the shiny cymbals and "Realhead" drum skins, and is pretty close to fitting in your budget. Rolands may have an edge in sound quality but you can always run midi out of the kit and into a PC running superior drummer or something, then you can have professional quality sounds for a lot cheaper than a professional quality kit. I guess your main issue will be how the drummers will react to a cheaper kit, if I showed up to a gig and they said I had to play on a lovely Legacy kit or something I would not be very pleased and I'm sure that negativity would affect my performance, and this is coming from someone who has used e-kits for years. Electronics are still seen as inferior by a lot of drummers, and having a first e-kit experience on a substandard kit could be quite detrimental to their playing and overall willingness to perform. If I saw that Alesis kit though I would have no qualms at all about playing it.
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Jun 2, 2012 03:36
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abske_fides posted:Moved from the Komplete thread: There might be some .plist files hanging around in your ApplicationSupport or Preferences folders (\Library\ApplicationSupport, \Library\Preferences, \Users\<username>\Library\ApplicationSupport, \Users\<username>\Library\Preferences), ridding the system of those would probably clear up the NI listings but you may need to reinstall Komplete afterwards, although you might get lucky and find specific files relating to the old instruments that you can delete without impacting the whole installation. Whatever you do though make sure you back up the files before deleting them just in case you make a mistake. Onyx can clean up application folders and such so it may be relevant here.
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Jun 19, 2012 12:18
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cat doter posted:shut up and have at it Dive right in and don't get hung up over differences in register and whatnot. Whatever idiosyncrasies you impart on the track will only serve to make it yours. No point covering a song if it's going to sound the same as the original.
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Jun 26, 2012 13:25
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Allen Wren posted:Stupid drumming question. Lately I've found myself playing a lot of crash stuff where I'm hitting the cymbal on quarter notes for the loud bits, but often the cymbal will swing out of rhythm with how I'm hitting it, where it'll be further away than expected when I want to hit it or swinging back up to meet my stick for the next note, both of which make it tonally inconsistent as well as loving annoying. Is this a question of technique or hardware or both, and how do others handle it? Try tipping your cymbals toward you, they look pretty flat in the pic you posted in the other thread so having the balance shifted to one edge might be enough to make them go into their default position once struck as opposed to being level and wobbling around until the felt absorbs all of the momentum. Maybe try just tightening them into the felt a bit more also.
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Sep 28, 2012 09:56
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Captain Payne posted:Does anybody know of a good cheap microphone for basic recording? I need something to use for some piano pieces. The Behringer XM8500 is a surprisingly good microphone for the money and it fits neatly into your price bracket, but it has an XLR connector and if you are using a headset mic then it doesn't seem likely you will have a dedicated audio interface, I assume you are just using your onboard mic port?. You could use an XLR to 1/4" cable and then use a reducer to bring it down to a 3.5mm connector so you can use it as line-in but this will be a pretty bulky connection and may damage your input port, also I don't know if there will be any audio quality decrease doing this but it would still be leagues ahead of a headset mic. Another option would be a Guitar Hero or Rock Band wired USB microphone, there's bound to be tons of them flooding Gamestop and EB Games etc since the popularity of those games has dropped dramatically in the last couple of years. Definitely not going to be the best sound you can achieve but again will be better than a headset mic and the USB connection will allow you to skip any mic/line in ports and just record direct.
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Oct 9, 2012 08:41
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I take a set of Hearos to every concert/club/loud venue and they have paid for themselves a dozen times over. Are you wanting the plugs for music purposes? If so then the little foam ones will be pretty terrible but still better than permanent hearing damage.
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Nov 5, 2012 09:15
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The Dava Grip Tips are probably my second favourite plectrum, the rubber coating is wonderfully non-slip and you can adjust the flexibility of the pick depending on where you hold it. I bought a couple of Rock Control picks also but don't really like them, the plastic is too smooth to stay in your fingers and the ridges are hard and sharp, really need to squeeze into the tread to get it to stay still. My current go-to is the Awe-in-One Rock Vibes, very versatile picks and tremendous grip, I've never had one slip out of place. I had a boner for V-Picks at one point but ultimately they weren't as grippy as I need so I went back to the Awe-in-Ones and there I have stayed.
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Nov 10, 2012 12:10
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schmuckfeatures posted:I tried to find the answer to this via Google, but didn't get a definitive answer. It's fine. Excavation posted:Is there a program that can read guitar pro files and easily transpose parts to become suitable for Bb/Eb instruments? I'm trying to internalise more scales/fingerings and improve my sightreading via popular music and guitar pro files are the most widespread format nowadays. Guitar pro probably does this itself (I've never actually used it) but I'm wondering what other options are. Guitar Pro can definitely do this, there is a demo version to give it a shot. If you decide to buy it make sure you quickly google for "guitar pro discount" before you checkout because I was able to knock a third of the price off thanks to some random wesbite. TuxGuitar can apparently import gp5 files but I've never used it so am unsure about the transposition function. It's free though so you have nothing to lose if it doesn't.
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Nov 20, 2012 12:49
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You can cover glasswool insulation batts with cloth and a wooden frame and put them at various places to improve the sound in a room, I made a bunch and it definitely made a difference, but due to their size they can take a decent chunk out of your floor space depending on the size of your room. Are you looking to soundproof or just to tidy up errant reflections?
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Jan 17, 2013 04:46
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Manky posted:My bedroom is now next to a kitchen with a ramshackle wall in between, so my goal is mostly sound-dampening, if not sound-proofing. Of course this is also my practice and recording space, so an improvement in acoustics would be a boon. Foam and glasswool won't do a lot to prevent sound transmission through a wall, they are really only effective for reflection dampening within a room. Thick sheets of wood like MDF or particle board will be more effective at actually blocking noise, but you will need quite a lot of it depending on how much noise you actually make, and it won't be as simple as just putting a couple of sheets up against that particular wall as sound is a sneaky bugger and will go over and under the wall through the ceiling and floor into the adjacent room. I just built a soundproof vocal booth and the walls for that are comprised of 3 sheets of MDF with an airgap in between as well as a layer of soundproofing compound between the wood. Works well but is definitely not cheap. I was planning on doing my whole room but it would have been a gargantuan effort and one weak point on any floor, ceiling or corner can make all your efforts for nothing as all the sound energy will just escape from that point. The easiest, cheapest solution will be to just use headphones, it's what I ended up doing for all non-vocal stuff.
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Jan 17, 2013 22:36
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Yeah I do that with Shazam, Soundhound or some other song finding app, sometimes I stumble upon a cool riff and think "there's no way I could have made something that good" but sure enough no matches come up and I feel pretty drat stoked. They work pretty well, even just humming a tune finds matches with good accuracy. But as SK said don't get hung up on trying to be 100% original, the sheer amount of creative perople who have ever graced this planet combined with the finite combination of notes or chords means you are definitely treading on well worn ground. Have a watch through the Everything is a Remix series, it made me feel a lot better about my creative output.
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Jan 21, 2013 14:03
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MusicRadar is pretty good for news, reviews, interviews and tutorials. I think the forums are fairly active for guitars but the smaller groups like drums don't seem to get a lot of traffic.
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Feb 14, 2013 12:53
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I'm (slowly) training myself to learn relative pitch, I started out with the David Burge absolute pitch methods but gave up when he got to the idea of putting one of 50 marbles between bowls for every exercise you got right and tipping them back in when you get one wrong, I just don't have the forte for that sort of commitment. I have some skill in identifying notes, I just tried with my tuner and I got a few cents sharp of A by remembering the sound that my tuning fork makes (which I haven't struck in several months) so it might just be a memory thing for me, perhaps if I got a whole scale of tuning forks then I could advance my musical skill somewhat, but when it comes to figuring out a chord progression I still get pretty lost. I don't think I could identify an A in the reverse manner, I can vocalise the memory I have but if I were played a different octave or timbre of A then I don't think I could name it straight up. This is largely due to laziness on my part, I have multiple pitch training methods that I started and lost interest in when something shiny was waved at me. I have heard that absolute pitch can be an annoyance more than anything because a lot of the popular instruments like guitar and piano are slightly out of tune just due to their nature and thus a lot of music will sound slightly dissonant to someone who can actually identify that a given note is a fraction sharp. I'd be happy with ballpark pitch detection and strong relative pitch so that I can nail the first note within a couple of tries and then bang out 3rd, 5th, dim7th from there, and yet not feel uncomfortable when hearing something tuned to equal temperament.
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Feb 23, 2013 13:53
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Johnny Truant posted:I only have my space-phone as a video recorder but I have a pretty nice digital audio recorder, would it be acceptable to use both then just dub the audio over the video from my audio recorder? I'd let them know of course, I'm just wondering if that'd be an acceptable way of submitting a video. Can't you just record the video and the audio at the same time and then sync them up afterwards? I don't think you need to specifically mention the fact that the audio they are hearing did not in fact originate from the mic on your smartphone, and if you did both sides in one take you wouldn't have any visual inconsistencies that would make them think something is amiss.
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Apr 27, 2013 06:12
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Johnny Truant posted:Uh.. that's what I'm talking about. Recording with my smartphone, then using the audio from my digital recorder.... Sorry when you said dub it over I had assumed you would be doing two separate takes, doing the video first and then overdubbing the audio at a later session, which may have introduced little timing inconsistencies, otherwise why would you need to let them know the audio was from a different source? As far as they know you just have an awesome AV recording rig, there's no need to specify the equipment you used.
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May 2, 2013 03:07
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It's probably not worth spending 1/3 of the guitars price on a setup, cheap instruments like this are perfect for honing your setup technique so if you graduate to a higher-end guitar later on you are less likely to gently caress anything up. The knobs should just pry up off the body, some have a small hex screw holding them on but most are just friction fit. Spraying some electrical contact cleaner into the existing potentiometers should hopefully remove the sticky feeling, unless it's just actual buildup under the dials from years of cat secretions in which case just clean it off and see how the action feels. If for some reason it turns out to be the knob itself and not the potentiometer below causing the issues then any set of guitar dials will fit. Pickups work if they make sound is prettymuch the crux of it. If you get a decent amount of volume out of them and one isn't appreciably louder than the other then they are probably OK, but depending on the sound you want is if they are appropriate or not. Are you still into the punk stuff? I use a Seymour Duncun Super Distortion for all my 3 chord riffing and it sounds ace. Again probably more expensive than you would want to invest into a cheapie guitar but there are some decent low-cost pickups like the ones from GuitarFetish that might give you better results. I like to use fretboard cleaners and oils when I change the strings but I never clean the stings or fretboard outside of those times and my guitars stay perfectly playable for a long time (months/years), although my sweat and finger oils don't seem to affect the strings in a negative way so if you find yours developing tarnished areas around where you commonly fret then regular cleaning may extend the life of your strings. It might make the guitar sound and look a bit fresher for slightly longer if they are cleaned regularly as well, but it's up to you if it's worth the effort. Best compromise is to put a set of coated strings like elixirs or some of the d'addario ones and enjoy a long, corrosion-free string life.
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Aug 6, 2013 10:32
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It might make things louder but for $25 the quality is likely to be pretty terrible, and even if it turned out to be pretty transparent (or you bought a more expensive one) you may start to notice failings in your onboard audio once you push it up past current levels. As you mentioned dabbling in Ableton you may be better off investing in a dedicated audio interface which will give you much better (and louder) sound quality overall as well as giving you some more inputs and outputs which may come in handy as you go forward in your production ventures. Have a browse through the low cost audio interface thread and see what the current darling of the budget interfaces is and see if you can fit it into your price range.
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Oct 16, 2013 10:16
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I had never even considered faking calluses with glue, I'll be interested to see how it works for you. Mine were always so-so until a few months back when I started spending a couple of hours per night accompanying my voice with an acoustic guitar to improve my singing and now my calluses make clinking noise on glass, it's awesome. Have you tried dipping your fingertips into isopropyl alcohol? Back when I thought shredding was a worthwhile pursuit I saw it mentioned a bunch of times to keep a jar of iso and put the tips of your fingers in several times a day to dry out the skin and accelerate the forming of the callus. I never tried it but from dealing with the stuff when cleaning things it definitely dries out finger skin very well.
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Jan 19, 2014 13:24
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You could try using a bunch of notch equalisers to remove several tiny sections of sound from the eq spectrum out of the file you intend to hide within, and then apply the opposite processing to the sample you want to obscure so that all you end up with is a series of small sound points at matching frequencies to the holes you cut out of the main sound . Then hopefully the two files could overlay and it not be obvious that there is a spoken word sample scattered throughout the spectrum (maybe lower the volume of the words as well), and you could hopefully just isolate/exaggerate those frequencies to bring the hidden file to the front. You'd probably need an EQ that had a very surgical notch setting so you could make nice clean cuts without the surrounding frequencies interfering, and I don't know how many notches you would need to make the spoke word legible, making severe cuts will definitely make the resulting sound very thin and hollow. Another way would be to slow the sample down by a few times, then split it into heaps of equal little sections and spread them across at even points through the main track, like the first count of each bar. Then at the other end you'd remove all sounds that don't fall on the 1 and then join the resulting sections back together and speed it back up to parity and hopefully you'd have a somewhat similar file to what you started with, with a bit of warble included from the bits of the original track that got scooped up when cutting it back out.
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Jan 30, 2014 13:11
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Unlikely, violins have come up a few times in threads here and there but I don't think there's enough demand for a whole megathread. Feel free to go ahead and make one, it's always good learning about different instruments, but don't be surprised if it only gets a couple of posts before it disappears off the first page never to return from the thread graveyard. Musicians Lounge is a cool place but is probably one of the lowest traffic areas of the forums.
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Feb 11, 2014 11:37
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I think the only realistic answer will be do a bunch of note identification drills for each instrument until you no longer have to think about where your fingers need to go. This will take some time I imagine (ie months/years), it's hard enough just learning one fretboard but perseverance will get you the results you need, and doing two instruments at once will be definitely beneficial for training your musical ear. Record small audio bites of you saying the letters A through to G and then play them on shuffle while you sit there with whatever instrument and try to locate the note on the fretboard before the next note is called. Start with one string, then move on to the next string when comfortable with the first, then both strings, then a third etc, repeat until you know the fretboard inside out.
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Feb 16, 2014 14:01
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I'd do both daily, you will get faster and more consistent results than focusing on one instrument weekly and the more you throw yourself into it the quicker the feeling of confusion dissipates. Don't spend tons of time on it, just 5 mins of dedicated note location per instrument per day will be enough to see improvement, spend the rest of your time learning chord shapes, scale patterns and general technique, and have some dedicated improvisation time to get to know the instruments. Can't comment on that sightreading program as I can only read staff for drums, I'm pretty sure there are plenty of free resources around but for $30 a year that site would probably good value for the amount of content it looks to offer, plus there would likely be some community of other users formed around it which is always a good thing.
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Feb 16, 2014 16:49
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Yeah I'll take a listen, I have GP6 and I'll give you all the honest feedback you want. I'll send an email shortly.
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Mar 27, 2014 04:37
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Nice work on that track. If you want some criticism I think the small melody line needs to come forward a bit, it blends in too much with the pads and I don't know if I'd even hear it if I wasn't listening through my monitors. The drums don't need anymore variation in the pattern, there's nothing wrong with keeping a consistent pattern as a solid foundation to the track, maybe put a few more snare samples across the arrangement so it sounds a bit more natural as the current dynamics of the snare seems to loop into a pow-pow-puh sort of repetition, as if it was clearly the same drum section being looped. The drums sounded nice and spacious but it felt that the space they were in was different to the rest of the track, like the drums weren't sharing the same reverb as the pads, lead and vocal samples so their tails were all alien from one another instead of blending in like they were being played in the same room. It almost felt a little disconnected in a sense that two distinct songs were being laid upon one another like a remix, it did make the drumline distinctly stand out but it never really felt to me like they fully meshed together with the ambience of the rest of the track. What's the process behind licencing background music to television? Gym Leader Barack fucked around with this message at 05:00 on May 10, 2014 |
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May 10, 2014 04:57
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Yeah exactly that, just write song after song and you'll improve solely due to repetition. Write one song per day, in a month you will be 30 times as good a songwriter as you are now. This will have the unfortunate side effect of you hating your earlier work, as newly educated eyes glance over your previous attempts in disbelief that such poor attempts at songwriting could possibly be belched from you. And by you I mean me. gently caress my early songs.
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May 20, 2014 05:33
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The SM57 is very much an industry standard, they are cheap, well built and have decent sound. It's not designed specifically as a vocal mic (but can easily be used as one with a pop filter), the SM58 is the alternate version with an inbuilt wind shield aimed more at vocalists and perfect for live purposes. I use an AKG D5 and I really like how it sounds with my voice, it's in the same price range as the SM58. I think there is a decent Sennheiser in the same price bracket, prettymuch any of these mics at this price point will give you a good result. Be careful who you buy them from though especially if you go looking on ebay, the Shure mics are heavily counterfeited so if the price seems too low it's likely a fake, but if you get it from a store then it's probably genuine.
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May 25, 2014 14:23
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For me it sounds bad because the guitar tone isn't very interesting, and is way too high in the mix for how clean it is. It sounds like you've played the track twice instead of just doubling one and panning which is good, I would try and make each track much more distinct from each other as far as guitar/pickup/gain choice is concerned (even play chord inversions on one side), that should give you a unique sound that is a combination of guitars A and B instead of just one guitar sound that seems like A and almost-A for a very A-ish tone. It seems like it needs a lot more grit on the guitars, those sort of riffs need a lot of chunk to them (especially with a name like Crush and having the genre label Thrash Metal), put a bunch of distortion effects on there and see how it sounds. Are you micing an amp up or using digital effects/amp sims? Timing is also an issue, especially when the change happens at 0:40 it feels very off, very loose and almost pulls the whole track down for a second. Metal stuff needs to be tight as gently caress, each strum should be lined up exactly with whatever drum hit falls beneath it, this is a huge part of chunky, chugging riffs. You can always align the waveforms in the DAW but getting it as close as you can while recording will help a lot. There are a couple of tuning flubs throughout the track but they might just be finger slips and whatnot, but it goes without saying to make sure the guitar (or guitars) are tuned before each take to make sure they all sit nicely together. The drums have no balls at all and are buried almost entirely by the guitars, they need to be up much louder, kick needs to thump and snare needs to snap. Have you done any EQ work to the track at all? The guitars will need the low cut out (150hz is a good starting point) to let the bass through, and the bass will need either a low cut (60-80hz) or put some mild ducking on the bass track sidechained from the kick drum so that the volume dips slightly when the kick happens to allow the kick to cut through. Look into parallel compression (or New York compression), it's a good way of fattening up a drum track (guitars and vocals work well too) without needing a lot of work. The basics of it is sending the drum track to another channel, heavily compressing it (like really heavy, get rid of all dynamics and just have it flat and loud), maybe EQing and effecting it a bit (mild distortion works nicely on a drum kit in this situation) and then blending it slowly back in with the original drum sound which should give a nice thickening to all the components in the kit. The solo is OK but it sounds like the only part of the track that has any reverb so it sticks out a bit (and makes the rhythm guitar almost unhearable when listening in mono. Always check your mixes in mono). Again with EQ cut out a lot of the low frequencies in the solo track (maybe up to 400hz, maybe more) as all you need is the high freqs to add on top of your already packed midrange. Set up a reverb channel with a spacious reverb sound on it (church, hall etc) at 100% wet and feed a bit of every track into this channel (maybe not bass but everything else for sure) and gradually blend this reverb track into the main mix, this will add some coherence to the track and make it sound like it's all coming from the one space. The more reverb you send the further back each component will appear to be so play around with levels depending on where you want each part to sit.
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Jul 15, 2014 17:02
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What's your buffer size set at? Sometimes having it set low for latency purposes can cause weird pops and clicks, try boosting it up to 1024 samples and rebouncing.
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Jul 19, 2014 03:40
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40 OZ posted:I have a guitar instructional DVD. The latest VLC has an AB repeat function, just press shift-command-L at the point you want it to start, then again at the end point and it will loop endlessly, then use the shortcut once more to cancel the loop.
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Jul 20, 2014 06:22
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| # ¿ May 13, 2024 12:21 |
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A small cheap mixer like this will let you hear what you are singing, as well as plug in some external audio for karaoke etc. In fact a cheap karaoke unit from Target or wherever would also let you do the same thing. Won't be the best quality but will give you an idea of what you sound like. If you have an iPhone you can get Vocalive and sing through the phone mic or spring for the iRig mic if you want better quality. There are a lot of apps to help with vocal training, Erol Singer's Studio is a favourite of mine and has helped me a lot with pitch training. Be careful though, if you just practice singing at low levels you will only get better at singing at low levels and won't develop proper technique for air movement and vocal projection. I understand your issues about not wanting to disturb people with terrible singing though, I built a 700KG soundproof vocal booth to hide my off-key wailing from the world until my voice is refined. Not exactly feasible for every budding singer, but you can make ghetto vocal booths by hanging thick blankets and such if you want to get a bit louder. Alternately, buy some noise-cancelling earphones for your roommate.
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Aug 5, 2014 09:42
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