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Discussion in 'F.O.H.' started by HandsOfDespair, Jan 4, 2010.
Are you suggesting to record the VSTi track in real time? Is that faster than Exporting (bouncing) into the .cpr project? 1/10 faster than bouncing?
Tracking and Mixing!!
LOL, I wouldn't spend so much money/time in studios. Not to talk about the quality :Smokedev: No more traveling thousands of kms to record. No more one-week-recordings in a rush. :hotjump:
It takes almost the same time if the track is as long as the project but this is a good way to do it, even more if it's for shorter parts in an arrangement.
* Graduate, find a proper job, and record at spare time or to help the income.
* Pro musicians not always behave as professionals. They're also human and can be assholes.
* reading manuals is actually worthwhile.
The Reflexion Filter is well worth the money IMO.
It seems like everybody has one these days and it sure does fix some of the issues when recording vocals in an untreated room. Of course it wont (and cant) solve all the problems but it will make a noticeable difference.
Just be careful not to place the mic too far inside it.
Also, its a heavy bastard! Get a proper stand for it and put some weight on the base of the stand. Otherwise it will easily fall over if someone accidentaly bumps into it and you wont like seeing your condenser mic slam into the floor along with it
excellent! cheers for that
looks like i'll be needing to invest in some quality mic stands aswell
The t.bone mic screen that Thomann is selling for 100€, is considerably lighter. A regular K&M stand can hold it with no problems. I'd say a t.bone mic screen is also worth considering.
I wish I had known that once I started recording my music into more than a micro cassette recorder, that I'd become too overly critical of how my recording sounded rather than how good the song was.
While I'm happy I went down this road, music has become much more of a chore than a pure endeavor. I find myself less prolific on the writing side since it takes me forever to find the "sound" I like. I used to knock out a song in a few hours, now it takes me weeks or months and in the end I'm still not confident in it's presentation.
There are times I miss the old micro cassette recorder I used to sit on a stool in front of my amp - no editing, no punch ins and outs, hell - no drums, but damn was it quick and efficient to get an idea down.
Good thing this is a hobby otherwise I'd probably be clinically insane.
I wish I remembered, and to this day I still do, to double check shit... like... is the phantom power on :Smug:
My big one is to look at how things fit in the mix, not just how great they sound alone.
God... THIS. It took me a month and a half of head-scratching to figure out that my distortion pedal was set to the wrong amp model, by which time I'd decided that I liked it better anyway.
After tracking, empty the trash in the projects pool, never really bothered before, so deleted takes/ideas etc would still be left in the pool and take disk space.
Freed up A LOT of space when I found out about it , hehe
I bought Vocal Rider to make a job easier. Oh no.
Optimizing OS to improve performance when recording at home.
Save project in a new folder/HD, everyday.
- That the "solo" button is the devil and never should be used
- ALWAYS record room tone
- Just because you're not clipping in the DAW doesn't mean you're not clipping somewhere else.
- Just because the Pro Tools fader isn't clipping doesn't mean you've gain staged your plugins properly.
- Louder always sounds better, but that's an illusion.
- Bands will always pick the louder mix. Make sure your favourite mix is the loudest when the band is choosing.
- Mixing with a Pultec on the master bus is like smoking crack. It's great in moderation, but oh man, as you get tired you turn that 60hz up....
- When getting sounds before tracking, ALWAYS compare them. So, stack up the bass to the drums to make sure it fits, audition the guitars over the bass and drums to make sure it fits, etc. Saves one hell of a lot of EQing later.
- Nobody cares what your drums or bass sounds like if the whole mix doesn't work together. You could have the most crushing guitar in the world, but if your bass sucks, well, you're sunk.
- Clients are always late. They are musicians after all.. so have a book on hand while you wait for Eddie Van Halen jr. to show up.
- Overheads are king. Get 95% of your drum sound from the overheads.
- Quad tracking is lame. A single, well-recorded, rhythm guitar track per side works WAY better.
- A basket of muffins doesn't cost very much and makes your clients feel like rock stars.
- Coffeemakers suggest 1 heaping tablespoon per cup of water. The studio secret is to just fill the bloody thing right up with grinds to make it as strong as possible. Studio-grade coffee can cut through steel.
- You are only as good as your last project. NEVER settle for doing less than your best work.
Craig, your 8 posts in and those are some great suggestions. I lol'd at the coffee and muffins!
When I first started, I used to absolutely hate panning guitars hard left and right. Even when I heard it in pro albums I thought it sounded horrible. So in my early mixes, I would try to center everything and now I realize why it took me 6 hours to fit guitars into the mix
I wish I got Pro Tools BEFORE 7 years of nightmare in Cubase. This thing realy fun's me every time I think about it. 7 f*cking years I was blind ))) thousands and thousands of wasted hours on simple things, editing, mixing routine etc.
But to be serious, most of all it is:
1) the above mentioned SOLO button sindrome. It is a pure satan.
2) Realy good results are usualy REALY simple, more simple then you think! do not try to overdo. I remember me sending evry single drum to a seperate parallell bus then returning it to a sub bus for limiting, Tons of compression, lots of duplicate tracks, di tracks blended with the amps... 8-10 plugins in the chain per track.. brrrrr. FUCK it all! Keep it simple, as simple as possible.
3) The ROOM does matter! My best mix still remains the first one which was recorded in a realy good room, I had no idea about all that things that I know now, it was just gentle EQ and basic COMP. The room did all the rest. This record still remains as my best work.
BTW great topic.
Don't scoop teh mids
Thing I'd wish I'd known:
An overdrive in front of a tube amp is the sound I'm looking for.
The first 57 I ever bought was broken. Took a few years of "why do these guitars sound like shit?" questions before I tried another 57.
Vintage 30's rule.
Spend the money on real guitar cabs. They have the sound I'm looking for.
10% of the musicians I work with will put in the required effort to make a record shine: This means singing in tune, counting to four, and generally being focused. The other 90% are a bunch of lazy cunts.