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Old 06-03-2011, 06:46 PM   #841
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hey guys since this is the home studio thread check out mike shinoda's

http://www.youtube.com/watch?v=ahQg7kJljUE&feature=related
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Old 06-04-2011, 02:24 AM   #842
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http://soundcloud.com/alter-eden/tobacco-dynamics-test

What I've done on that one is just lower the volumes of everything so that nothing is peaking badly and everything is averaging about -2/1db with nothing on the master bus. Pick it apart for me if you'd be so kind, like, what should I put on the master bus? What's too loud/quiet (new speakers, need references)? Ignore the bass though, shite tone.
Holy Reverb Batman!
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Old 06-04-2011, 04:20 AM   #843
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Holy Reverb Batman!
On what?
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Old 06-04-2011, 08:20 AM   #844
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hey i need some advice.
Is there any recording software that can cope with two usb interfaces at same time and synch them, this would be a great cheap alternative to expensive multi track usb interfaces.
pt9.
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Old 06-04-2011, 03:38 PM   #845
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The problem is the clock on both interfaces will be different and they will tend to desynch. Or am i wrong ?
With aggregate devices on Mac OS X, the aggregate device uses the clock source of one of the hardware devices and the audio from the other devices is resampled for the other clock. I'm not sure what kind of effect this has on the audio quality, but I'm guessing it is inaudible because the sample rate conversion in OS X is pretty good.
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Old 06-04-2011, 05:00 PM   #846
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i habe win 7, and i wont buy a mac
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Old 06-05-2011, 04:57 AM   #847
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If you’re using DAW recording software and Windows, make sure your computer is set for best performance of PROGRAMS. To check your settings, go to your control panel:

Click on System and Security
Click System
Click on Advanced System Settings
Click on the Advanced tab
Under the Performance area, click on Settings
Click on the Advanced tab
Under “Adjust for best performance of,” make sure you click on Programs.
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Old 06-07-2011, 01:21 PM   #848
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How do people get guitar tracks to sound full, but not take up all the mix? Is it just a case of notching frequencies out?
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Old 06-07-2011, 02:52 PM   #849
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How do people get guitar tracks to sound full, but not take up all the mix? Is it just a case of notching frequencies out?
Having good tones in the first place.


Take a well setup expensive guitar with new strings etc etc. Then plug it directly into an amazing amp. Then put a 57 up and another expensive mic if you've got one. Otherwise the 57 should do.

Then plug that mic into a good preamp. Then plug it into some converters.

All listed in the order of importance.

Now none of that matters if either one of these sucks:

A) The player.
B) The Song.
C) The Engineer.

Again, in order of importance.

Also.

Guitar tones usually have a lot more to do with how they interact with the rest of the mix. I.e. Stop pressing the solo button.

And usually a 'full guitar tone' comes from a great bass tone. Get the bass interacting with the guitars and it will fill out the low end that guitars can't possibly do well.
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Old 06-07-2011, 02:53 PM   #850
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Or you know, if your lol vanwarp just buy a 200 Zoom pedal, you won't notice the difference!
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Old 06-07-2011, 03:09 PM   #851
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I'm not sure how to explain it really, it just seems that when I listen to proper recordings, the guitars won't be loud but they'll still be really clear and really separated (ie left/right) whereas when I do it, even hard panned, they just don't seem to have any clarity or separation until I turn them up quite a bit. I know part of it is using a pod but is it also that I need to notch out frequencies in other instruments to give the guitars space?
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Old 06-07-2011, 03:51 PM   #852
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Originally Posted by I_am_the_one View Post
If you’re using DAW recording software and Windows, make sure your computer is set for best performance of PROGRAMS. To check your settings, go to your control panel:

Click on System and Security
Click System
Click on Advanced System Settings
Click on the Advanced tab
Under the Performance area, click on Settings
Click on the Advanced tab
Under “Adjust for best performance of,” make sure you click on Programs.
Avid instructions said to do the opposite, and alot of other places I've read this said to use background services also
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Old 06-07-2011, 04:01 PM   #853
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I'm not sure how to explain it really, it just seems that when I listen to proper recordings, the guitars won't be loud but they'll still be really clear and really separated (ie left/right) whereas when I do it, even hard panned, they just don't seem to have any clarity or separation until I turn them up quite a bit. I know part of it is using a pod but is it also that I need to notch out frequencies in other instruments to give the guitars space?

Three quick things that you might want to consider:

(01) Be sure you avoid "big mono": hard-panning two identical (or near-identical) tracks will only result in a louder track in the center of the stereo image. Even if a modeling device has stereo outputs, that doesn't mean that the left/right channels are particularly distinct from each other.

(02) Convectuoso already said it: "good guitar tone" is about how the guitar parts will sound in the mix, and not by themselves. Typically if the guitar sounds "awesome" by itself, it will basically get in the way of everything else (or vice-versa). Note that this assumes quite a bit about your definition of "awesome" for guitar tones.

(03) A lot of it may boil down to distinctions that are less obvious: placing two different-sounding mics at different distances from a physical amp provides differences in tone (i.e., slight differences in what each mic "hears"), color (i.e., the frequency response of the mics themselves) and timing (i.e., sound arrives at each mic at different times because of the distance disparity). You might have better success with double-tracking using multiple Pod sounds, or possibly with providing additional processing to each track that distinguishes them in terms of frequency (EQ), transients (dynamics) and timing (pure delays of a few samples). You can also use all-pass filtering (or other specialty filters) to mess with the phase of one or more of the tracks as well (basically a form of very short delay in practice).

Keep in mind that you want to make sure you get some separation while still keeping track of your mono-collapsed image: if your signals are very similar or different in a "bad" way, you can get phase cancellation, comb-filtering, or a big muddy mess when you collapse the image to mono.
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Old 06-07-2011, 04:02 PM   #854
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Avid instructions said to do the opposite, and alot of other places I've read this said to use background services also

There's conflicting reports on this, actually: each side has some seriously credible sources making recommendations.

It may possibly vary from program-to-program, but realistically I think that this really indicates that this particular tweak isn't as important as people might think.
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Old 06-07-2011, 05:26 PM   #855
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tbh I doubt it does anything
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Old 06-08-2011, 03:00 AM   #856
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Originally Posted by Sad But True View Post
I'm not sure how to explain it really, it just seems that when I listen to proper recordings, the guitars won't be loud but they'll still be really clear and really separated (ie left/right) whereas when I do it, even hard panned, they just don't seem to have any clarity or separation until I turn them up quite a bit. I know part of it is using a pod but is it also that I need to notch out frequencies in other instruments to give the guitars space?
You're missing the point.

You shouldn't have to notch out frequencies in other instruments. It won't change the tone of the guitars. That's a balance thing. No matter what, if you're tones are fucked, so are you!
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Old 06-08-2011, 03:59 AM   #857
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But if you get your eq-ing right in the first place, each instrument should sit nicely in it's own frequency range and not just blur into everything else.

easier said than done of course and that's why you sometimes have to go back and set up some filters on specific tracks to get some "space" between the instruments.
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Old 06-08-2011, 05:04 AM   #858
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You're missing the point.

You shouldn't have to notch out frequencies in other instruments. It won't change the tone of the guitars. That's a balance thing. No matter what, if you're tones are fucked, so are you!
No, that's not really what I mean. The tones are fine, I've used them before in mixes and they work pretty well, it's just they never have that 'space' that I hear on professionally recorded tracks, and I was just wondering if it was a case of clever EQ'g or just that real recorded amps sit better in a mix in general.
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Old 06-08-2011, 07:55 AM   #859
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No, that's not really what I mean. The tones are fine, I've used them before in mixes and they work pretty well, it's just they never have that 'space' that I hear on professionally recorded tracks, and I was just wondering if it was a case of clever EQ'g or just that real recorded amps sit better in a mix in general.
I think we're going to run into a problem here because it's kind of hard to pin down exactly what you mean by "space" given the context.

Are you able to post some examples? Maybe in direct comparison to the type of sound you're looking for? That will probably help you get your point across.
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Old 06-08-2011, 09:08 AM   #860
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Yeah I'll knock something up.
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Old 06-08-2011, 02:54 PM   #861
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No, that's not really what I mean. The tones are fine, I've used them before in mixes and they work pretty well
But that's the thing, I've heard your mixes and the tones, whilst not horrible, and seem to be getting better, they're still the same POD bullshit I hear on everything. Another curse of a mediocre monitoring environment.
Quote:
it's just they never have that 'space' that I hear on professionally recorded tracks, and I was just wondering if it was a case of clever EQ'g or just that real recorded amps sit better in a mix in general.
EQing a guitar dramatically almost always sounds like poos. I mean the most I might do is filtering then cutting some low mids to give some room for the bass. That only usually clears any mud, then if I have to go boosting some highs I will, but if I need more highs on a guitar it means I probably need less highs on something else.

So yes you can do some 'clever EQing' (it's really just common sense and thinking about the big picture) but essentially yes real amps sit better in the mix 9/10. They push air in a way that clownfucked guitars don't.
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Old 06-08-2011, 04:49 PM   #862
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...but essentially yes real amps sit better in the mix 9/10. They push air in a way that clownfucked guitars don't.

What a cluster fuck feeble minded idea to think that real amps sit better in a mix. With your logic, musicians who spend thousands of dollars on a Fractal Audio Axe FX and record direct must be tone deaf? Furthermore, Porcupine Tree made extensive use of Line 6 gear when they recorded Deadwing and I donít know if you consider anything made by Line 6 as a ďreal ampĒ, but I donít hear any air being pushed on this recording (or any other recording for that matter ) and this album sounds very very good, considering the gear was probably all digital.

Congratulations for winning the knob jockey award for the most cluster fuck idea from a toady so far this year...

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Old 06-08-2011, 04:56 PM   #863
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What a cluster fuck feeble minded idea to think that real amps sit better in a mix. With your logic, musicians who spend thousands of dollars on a Fractal Audio Axe FX and record direct must be tone deaf? Furthermore, Porcupine Tree made extensive use of Line 6 gear when they recorded Deadwing and I donít know if you consider anything made by Line 6 as a ďreal ampĒ, but I donít hear any air being pushed on this recording (or any other recording for that matter ) and this album sounds very very good, considering the gear was probably all digital.

Congratulations for winning the knob jockey award for the most cluster fuck idea from a toady so far this year...

LMFBO!

So when you can write material like Steven Wilson then you can use Line 6 gear. And besides, if you didn't regurgitate everything you see on the internet, you will actually know he started to use real engineers and real amps a long time ago.


As we have already discussed, AxeFX is in a whole other league so just STFU on that one already.


Now Vanwarp, I would like to hear your examples of your own good tones from your all digital gear, mixed by you. Then anyone on this forum can realize how much your opinion really doesn't matter.
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Old 06-08-2011, 08:04 PM   #864
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Wait didn't he spend like 5 pages saying how the Axefx was no better than a Zoom G2 and now he's using it as an example of good digital gear?
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Old 06-09-2011, 05:35 AM   #865
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Wait didn't he spend like 5 pages saying how the Axefx was no better than a Zoom G2 and now he's using it as an example of good digital gear?

Still spitting out more fallacies...
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Old 06-09-2011, 09:48 AM   #866
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I'm currently thinking along the lines that using amp modelling / plug ins / whatever is rather like shagging a fat lass.

Great fun to do but you don't like admitting that you've done it.
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Old 06-09-2011, 10:34 AM   #867
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Still spitting out more fallacies...
jesus christ you fucking idiot, how is anything you highlighted a fallacy?
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Old 06-09-2011, 12:37 PM   #868
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Btw Steven Wilson only uses Line 6 effects, he doesn't use amp modeling on albums or live shows.
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Old 06-09-2011, 01:12 PM   #869
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Btw Steven Wilson only uses Line 6 effects, he doesn't use amp modeling on albums or live shows.

Actually, according to his TapeOp interview (#73), about half the guitar sounds on his solo album were done using Amp Farm only.
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Old 06-09-2011, 02:51 PM   #870
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I'm currently thinking along the lines that using amp modelling / plug ins / whatever is rather like shagging a fat lass.

Great fun to do but you don't like admitting that you've done it.
more like a fleshlight honestly. might feel good but it isn't the real thing.
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