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Discussion in 'Production' started by ahjteam, Mar 13, 2011.
can you read?
that means they're double tracked (1 guitar track per side)
Joey, do you pan everything hard left and right 100%?
Joey away for a week, probs repost then if you want an answer
haha Brian I fear there will be tons of these /facepalm type posts on this forum
lol I agree, but we are all human, it happens ya know.....
Quick question I've always been curious about but haven't found anywhere: do you use the Instrument Input on the fireface 800 for guitars? Or an external DI box?
Every thing ive read up until this point suggests that for guitars usually uses a country man DI which than goes in to the RME...
I've heard from tons of people that you record breakdowns at half speed every time. Is that true?
I don't like doing this. Recording anything half speed is just kind of stupid I mean. Maybe if you're trying to do something really weird, it could be cool.
There have been times where I've slowed stuff down to record impossible riffs and such. An example would be "the crimson armada". But for the past year or two, I just make the guy play the riff as best possible, and then make a composite of several takes. It's a lot more natural sounding that way.
Riff building kinda sucks if you ask me. But it depends on the type of band. Some bands it works well for their sound. Kind of a like a futuristic modern metal ala Fear Factory.
rthm gtrs go like this
left side = one of the rthm gtrs
right side = the other rthm gtr
some of my work has been at 48 kHz 24 bit, but all of it is now at 44.1 khz 24 bit. I find that 48 makes your high end more clear, and allows you to mix a lot more separate elements into a very dense mix. I don't know why, and I don't care if there's any science to disprove it. My experience is that its very different but doesn't necessarily warrant using 48 all of the time. I use 44.1 kHz all the time now, because it allows me to run a lot more plugins, and I always get a "what you hear is what you get" result while I'm working on the project. 48 down mix to 44 always causes a frequency tilt (loss of treble).
the fireface 800 because i've had it forever and it never messes up, ever.
bounce song, import into new project (with exact same time code) and add about 32 blank stereo tracks. Fill all 32 tracks with a predetermined plugin chain that works with the vocalist(s). add one more track at the top, same settings. Recording everything on that track. Drag each take after edit into one of the 32 tracks. add fx / settings / automation / etc as needed. i edit every take (if needed) right after i record it.
i also hate tracking bass. its just one of those things man. i've been doing this for a really long time and im really only interested in the producing AND the mixing side of things. i don't like all the grunt work it takes to get all the ideas finished... I like to come up with new recipes with each song or band, but the execution to get to the final result is something i don't always need to be a part of... producers are like architects. we're not into moving steel beams, we just know where we want them to be.
the common mistakes are when people get all the same gear and try to do the same thing. there's not enough room in the world for two of me. go get what you like, and go do your own thing with that stuff. i idolize a lot of people, but i'm pretty sure i don't have any of the gear they have, and i don't try mimick their work. idolization should just inspire you to be awesome as your self.
i think its a great thing that i can inspire a lot of people, even when what i do is a weird thing to be doing in life. i am very grateful to have any sort of following at all, and i appreciate the people who respect my work.
i dont put reverb on drums (yes i'm serious) unless its intended to be heard as "an effect". in otherwords, i don't use it as a "tone" or "mix" choice, its always as an effect.
and yes, i use roomworks SE most of the time, when reverb is needed. the reason this happened is because i went through a reverb phase where i tried a million different reverb plugins and just learned that i fucking hate reverb. unfortunately, recordings can't survive without it. so its a necessary evil that is needed. but for some reason the very generic algorithm of roomworks se satisfy's my ear. if its something fancy, sure i'll use another reverb, maybe even an IR. but most of the time it's not necessary for normal things.
i do a lot of different stuff with vocals, and it hardly ever repeats from project to project. but i do find my self always recording doubles on choruses, and using the double as my "effected" vocal track, and leaving the other one pretty dry, so that the character in the voice is audible, and the lyrics are audible. this seems to be pretty standard with everything i do. sometimes harmonies are recorded mono (one take) or stereo (two takes) depending on what im going for within the part. i'm always using delay on every song, because it can make vocals sound wet without a build up of unnatural frequencies.
you can get them on my wiki page. not all of them are listed, and my wiki is locked so i can't add more, but some of the songs are there. i am working on a cd so i don't really want there to be a buntch of places to get the songs for free.
vocals? no, unless its an effect or production thing
anything else? it depends.
Actually you can edit the page if you register an username to wikipedia.
Someone told me that when your recording scream vocals, you have the input volume to the point where its clipping to get that "distorted" sound on the screams the entire time tracking scream vocals, although I really don't think that's true when i listen to your stuff. sounds pretty "clean" to me. other than on the spots that have intentional vocal distortion.
nope, false. clipping on input is the dumbest thing you could do, at least at the digital stage. its ok to clip with an analog unit, like an API or something, but I don't even do that.
haha thanks, i didnt think so. also, Is there any advise you give to screamers when they come into the studio to record? "push it out as hard as you can" "make it loud" "stay close to the mic?" etc. prob none of these but just examples
I tell them to do what they do. I hate being the coach, so I kinda let them do their thing and correct them if needed. I am sounding like I am REALLY good at this, but I am not...=P I just rather not rob them of their comfort zone and let them be them. I just adjust input volumes based on their style. Some people scream really loud, some pretty much whisper scream. depends on the person and style of music.
yeah thats probably the best way to go with it. It's just whenever i do it, i cant get a decent vocal unless im like literally BELCHING it out of my self. and to be honest it rlly starts to hurt, not my throat but my head haha. http://dl.dropbox.com/u/23702650/reverb%20swell%202%20breakdown.mp3
idk i dont think ive found my "spot" yet.