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Discussion in 'F.O.H.' started by LeSedna, Apr 6, 2009.
What are you talking about? Where do you add what?
I understood you wanted to record real guitars this weekend ? I noted it in the beginning of the thread. And I therefore added "we need a solo track" if someone is interested or have a good solo idea. I did the same for the bass, and the voice.
Next weekend starting saturday I'll have a week off, i'll be gliding (I mean, plane gliders) in the Alps. But it seems I'll have an internet connection so I'll get all the plugins and Reaper on my laptop pc, and I'll take it with me to be able when I have time to communicate here, and mix. That was my little info!
okay, edited drums available in ~30 minutes at http://www.drop.io/ahjdrs3
Can you send me to a thread about quantizing audio ? I think Elastic Audio is integrated inside reaper. I discoverd the slicing option with the transient detector, is that what you do and then replace the items with a grid to 1/4 setting for example ?
EDIT : no, elastic audio is not integrated, another plugin has "elastic" in its title.
I think the elastic audio makes hits sound weird, so I prefer the cut-move-crossfade method, which is really more simpler than people think. Just remember to start from the beginning and only move from left to right. I made a picture for ya how to do it (and its pretty much non-DAW dependant):
Just a question : why do you cut all the tracks ? cause if there is a difference between two tracks (like when the kick is not synchronised with the charley) that doesn't solve the problem ?
USE TRANSPARENT EVENTS
i dont know what a charley is but
if the drummer is hitting the kick before or after the cymbal, then you need to tell the drummer and re-record it
if its very minor (the drummer is doing a good job, but on hit 482 on the second verse he had a little mishap) you can usually get away with a little scoot LATER (after you've made another edit, so you dont mess up subsequent edits)
wow yeah thats weird but i think i dig it, thanks
OK now I got it, I missed the thing that you're editing the first post.
As I will start recording the guitars today and I did not read the "Clayman"-thread... Does anybody has preferences regarding the placement of the SM57? I usually put it right on the grille, 90 degrees and about in the middle between the edge and the dustcap (with results that do not make me that happy, I have to admit). The e606 must be placed fairly centered anyway, because it sounds pretty dark.
I can (and will) record a guitar solo, coz nobody else seems to be man enough to do it ;-). I just had the idea to let somebody else participate...
OK, I just finished recording the miced guitar tracks. While they are uploading to drop.io (10 tracks total, 190 MB zipped), here are the details:
I quad-tracked the whole rhythm thing and recorded a lead track, too. The lead has some little interesting rhythmic anomalies , but we are not that picky about the musical performances, are we?
For the rhythm tracks, I did 2 takes with my Les Paul Standard and 2 takes with my Charvel 750 XL. All takes where recorded with 2 mics simultaneously (SM57 and e606), I photographed the mic placement, see it here.
Les Paul rhythm takes: The 6100's crunch channel has been boosted with a H&K TubeFactor pedal.
Charvel rhythm takes: The 6100's lead channel get's the direct guitar signal.
Les Paul lead takes: The 6100's lead channel has been boosted slightly with the TubeFactor, too.
The files can be found here:
http://drop.io/RiFLead Lead and Charvel.
http://drop.io/RiFGtrs2 Les Paul.
http://drop.io/RiFGtrs3 DI (this has been my Toneport's DI-output from the guide tracks).
I will add a cab-impulse-ready version this weekend as well. This will be recorded with my Palmer PDI-03 line outs, which capture a half cranked amp's speaker output (without cab simulation, that can be added later with IRs).
Dammit... how to I do group-channels in Reaper? Does it has something to do with track receives or the routing-matrix? I want my Sonar or PT back!
just make a track and set it to have recieves from the tracks you want in the group. It's the funny USBlike button on the track or you can use the routing matrix
Okay, heres the version with new guitars. I used only one mic per take, it made the tracks sound cleaner. Any questions on the settings?
http://www.ahjteam.com/upload/freeware_mixproject_snip-03.mp3 (RMS -15dB)
http://www.ahjteam.com/upload/freeware_mixproject-03.png edit: changed pic into a url
PS: The project is turning out to be quite of a resource hog
Whooa... some beefy drums you have there, dude! Distooooortion, yeah! I will come back discussing your snare treatment in detail, because I had some major difficulties, taming the snare. And here's my first mix (my absolute first use of Reaper, too):
I used 3 guitar tracks and both mics of each, so it's triple-tracked with dual-mics (I left out the Charvel e606 tracks, because they did not add anything useful to the others).
I almost forgot: -14,5 dB RMS...
Distortion/Saturation plugins usually eat CPUs to do their stuff.
The thing is that I mix everything with the full mix playing, so I'm not just shooting in the dark by soloing the tracks. I do solo them, if I am looking for like screetching frequencies from the guitars for example. In the end the snare alone sounds like shit, but it fits the mix quite well. Just a comparison of the same clip with no plugins at all: http://www.ahjteam.com/upload/freeware_mixproject_snip-03-noplugins.mp3
Well, not actually. I disabled most of the plugins and actually it seems that those EQ:s take over 50% of the cpu usage in that project... Everything else takes only like 35% cpu. But I use the Electri-q posihfopit because it sounds good and is super versatile and it has virtually unlimited bands for my needs (if you need more than 16 bands, or even the 64 bands that the plugin can deliver, then there is something really really wrong with your mix). The bass distortion I used (Studio Devil BVC) took like 10% cpu usage, but it uses an impulse so its understandable. I have one automation that in the "verse" the bass-copy track is mute, otherwise I have no other automations.
For those who are interested in what I did, here are some comments to stuff I would like to point out:
- Due to the fizziness of the SM57, I applied the usual Lo-Pass filter @8000Hz to get rid of it. A Hi-Pass filter at 136 Hz makes room for the bass. Both are on the guitar buss. No additional EQ applied (because I am not allowed to use my Pultec or VibeEQ...)
- To even out the guitar-levels a bit, I have a compressor on the guitar buss at a 2:1 ratio, attack to leave the transients where they belong to (20 ms, could be even longer, I guess) and a fairly fast release.
- The lead guitars are lo-passed even more because and got +3dB at around 1000Hz to push them to the front. Even more hi-pass at @200 Hz get rid of everything we do not need here. This EQ makes the guitars sound more round and less fizzy.
- No special treatment, except for a Hi-Pass @80Hz (PODs have boomy basses).
- I widened the ROOM track using a short stereo delay, because ahjteam only had a single overhead mic and I want a more stereo image. Additionally, I panned the TOM-tracks a bit left and right coz they have a lot of room sound in them. First I gated the room sound away, but now I left them there.
- I usually have a buss compressor and a saturator on the drum buss to beef things up and needed to find some free stuff. I used Ferox for saturation and did not find a cool compressor, yet. The W1 limiter squishes everything a faily bit.
- I wanted to make the snare sound crisper, but I am not really done with the mixing. I added Camelcrusher for this purpose and the EQ Hi-Passes @200Hz and adds some 4KHz presence.
- The kick sounds already very good on it's own. I used a gate (a transient designer would be better) to make it more defined and the EQ adds the usual 3500 Hz click and dips at 300 Hz.
and RiF, heres the settings for the snare (the overlaps are not covering anything crucial, all the settings are visible):