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Post by jjinvegas on Dec 27, 2016 7:02:22 GMT -6
I wonder if you would do that after you heard it. It is so classic sounding, not exactly speed metal material, but so warm and thunky.....
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Post by jjinvegas on Dec 27, 2016 6:23:39 GMT -6
I was out and drove by this auction, and I just gotta stop. Mostly housewares, but in a dusty pile was a bunch of drums. Nobody seemed to even notice them, when they came up it started at 200 bucks, then 100., nobody reacted. I raised my hand and said 35, and that was it. A practically new set of Mapex, with a few hardware pieces, and a combination Tama set with this Star Classic kick drum with Aquarian head and sealed front. Gee, street price on a Star Classic kick, somewhere North of 1000 bucks. After de-griminig and dusting, I had to try it out. Rest of tthe set was pretty cool also, pinstripes and mounts via the rim, huge upgrade to my little set. Thing sounds killer in the room, but getting that to come out of the speakers was not so easy. I suppose I will eventually mount some kind of mic inside, but on this thing I used a dynamic and a Rode NT2 on the front, and then fired a cross-stick sample off the dynamic and printed it. Then used that to key a gate on the condenser and also the room mic, which I multed. The sound of that kick influenced the rest of what I did, as well as some other things I have picked up in the last ten days for peanuts, couple of guitars, and a pair of Yamaha NS-4636 (2 bucks at Goodwill!!!) and a Presonus Dual Path mic pre-amp for 50. That Presonus is pretty nifty for guitars and bass, small, basically a tube direct box, the mic pres are not stellar but I don't mind as it cost 20 per cent of street retail. The main point being that switching things up and getting out of your comfort zone can get you re-engaged and reacting to different sounds impacts your art, hopefully in a good way......here is what I came out with....... clyp.it/gzmtjmzn
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Post by jjinvegas on Dec 23, 2016 10:15:51 GMT -6
Most of the times I thought I needed a gobo it turned out that all it did was make sure that the offending source now had all the high end rolled off, but the most obnoxious frequencies were still there and now the off axis noise was really awful. Natural bleed can be a good thing, compared to that alternative.
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Post by jjinvegas on Dec 23, 2016 9:03:41 GMT -6
Got the same episode here, seen it before so I just did a manual shutdown after hitting save on the work, as I couldn't exit the Chrome browser where it was having a party. A quick scan and then a boot scan revealed nothing. I removed a program I had used to open an odd file, sometimes i don't read all the fine print, but although it might be coincidental, it went away.
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Post by jjinvegas on Dec 23, 2016 5:30:30 GMT -6
My first thoughts were more along the line of how much do you want it to impact your tax liability, and inspectors hovering, and contractors, etc. If it were me considering it, and I have a little, I think I would look into what is commonly referred to as a shed. Pour a pad, have one delivered and assembled, and then do whatever you want inside without too much of the usual interference if you were building a traditional structure. You put up a building in the usual sense, appraisers for taxes are going to be coming by, you put up a shed, who cares? You pour a foundation for a bulding, codes start coming into play at every step. You pour a foundation for a shed, nobody cares..... You put in a 30 amp service for new construction, all kinds of inspections and considerations come into play. You put in a 30 amp service so that your shed has lights, nobody cares. You catch my drift???
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Post by jjinvegas on Dec 21, 2016 13:11:14 GMT -6
I basically use the same placement, about an inch and a half outside the rim, slightly angled down, the 57 aimed right at the rim. Pencil strapped above, which I often gate and use as the explosion part of the tone, and the 57 serves as thunk. I don't use 421s anymore, but I think a lot of that phase sound was more related to the typical approach of another 57 on the bottom with the polarity switch engaged, which you have to be very lucky to have those two mics a perfect 180 out. I always try to aim all the other mics at the primary target in a line toward the snare drum, serves to minimize off axis degradation to some degree of the all important two and four barking. I remember quite clearly the first record I heard that was just overboard on the wash hat, the second Black Crowes LP, or was it the third. i I found it extremely annoying. But tastes change, now a real pointy hat click makes my teeth hurt.
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Post by jjinvegas on Dec 21, 2016 12:07:18 GMT -6
I always leave the drums set up with microphones at the ready, pre-amps and routing all ready to go. And when I started doing that a long time Ago I discovered the real variable in snare sounds. Same kit, same mic, same everything except not the same hands. If someone hits them correctly, you can put about any microphone nearby and it will sound good. Unless we are talking someone who is very sensitive with brush technique, pretty uncommon, a snare drum is not that nuanced of a sound. When you read accounts of bygone sessions, remember, in those days there was no bargain pencil condenser. there were the German microphones and not much else in high-end studios of the period. So it wasn't like they were opting for a KM-84 or 451 over fifteen others. Just tape the SM-57 to a decent pencil, so that the capsules are aligned, you will get the best of both worlds, off-axia hat in the 57, and an upper midrange Shure cruack, with more detail in the rattle from the condenser, and then you can avoid mic'ing from the bottom and all the polarity issues. Get very familiar with the rattle, if you aren't already. An adjustment there is WAY bigger than any microphone or circuit... I see no reason whatsoever to use an SM57. All it can do is make things sound worse, at least with the vintage wood shell Ludwig I have. I can't can't imagine it adding anything to a metal shell, either, but I haven't tried it because I don't have a metal snare that's worth using. And I certainly don't want the off-axis 57 sound on hat - that's something I try to avoid. Well, thousands and thousands of songs have been recorded with that very sound. Of course, our mothers asked us if all our friends jumped off a cliff would we do that also? At least mine did. I got the trick of strapping a pencil to it from Bob Clearmountain, mid-eighties, it works but I am sure it is not the only way to skin a cat. Nobody I knew liked the sound of a microphone on the hi-hat, and with most rock drummers we wish there was an anti-mic because their touch was not exactly light on what cymbal makers seemed to think needed to be louder and louder. But I am going to totally disagree on that off axis bit, the quarter-note wash hat has become part of every rock drummer's arsenal once they figured out that a quarter note ride cymbal didn't always fill the vacuum as well. And that sound is totally about a 57, it is not exactly pretty, it almost sounds like someone changed the bit rate down to about four, but the sound has it use......
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Post by jjinvegas on Dec 21, 2016 4:56:38 GMT -6
I have a big box of hook up if anyone wants a bargain. 24 channel insert snake, about 20 feet long with patchbay, half dozen eight channel TRS--TRS fifteen foot. Some neutrik, some Proco. Enough TRS to BNC ADAT snakes to hook one up down the block, other odds and ends.....
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Post by jjinvegas on Dec 21, 2016 4:49:23 GMT -6
Plus four over 24 gauge chinese lo mein with plugs that look fine on the outside and inside are pathetic. Every one i ever used let me down. soldering your own cables gets you connected to your devices in more ways than one.....
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Post by jjinvegas on Dec 21, 2016 4:25:05 GMT -6
I always leave the drums set up with microphones at the ready, pre-amps and routing all ready to go. And when I started doing that a long time Ago I discovered the real variable in snare sounds. Same kit, same mic, same everything except not the same hands. If someone hits them correctly, you can put about any microphone nearby and it will sound good. Unless we are talking someone who is very sensitive with brush technique, pretty uncommon, a snare drum is not that nuanced of a sound. When you read accounts of bygone sessions, remember, in those days there was no bargain pencil condenser. there were the German microphones and not much else in high-end studios of the period. So it wasn't like they were opting for a KM-84 or 451 over fifteen others. Just tape the SM-57 to a decent pencil, so that the capsules are aligned, you will get the best of both worlds, off-axia hat in the 57, and an upper midrange Shure cruack, with more detail in the rattle from the condenser, and then you can avoid mic'ing from the bottom and all the polarity issues. Get very familiar with the rattle, if you aren't already. An adjustment there is WAY bigger than any microphone or circuit...
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Post by jjinvegas on Dec 20, 2016 8:43:46 GMT -6
Because I can? The idea was to give the second verse a different dynamic than the first, which used hi pass filtering to get that late bass entry. And there was this lovely guitar part that I wanted to showcase just a little, without the multi files I used another method. It was for educational and entertainment purposes only. Maybe you can be Santa next year......smile...jjj666
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Post by jjinvegas on Dec 20, 2016 8:37:20 GMT -6
If anyone wants some free pretty interesting and usable strings and things, Big Cat Audio put together some free players which use the University of Iowa's extensive sample library. The envelopes are sort of plain jane, but for the price of searching Big Cat on Google they are certainly well worth that. I can't remember where i got the oboe on song, maybe from Acoustica Instruments, some of it is from a Proteus module, but the piano and cello and most of the other orchestral instruments are all from Iowa. They are known for corn, this song is slightly corny, maybe, an experiment we shall call it. goo.gl/photos/TNGkYpThbmk9Bu1t8
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Post by jjinvegas on Dec 19, 2016 13:56:08 GMT -6
Since what you are trying to do with the string instruments is to give them more realism, probably ought to judge them in context. What is usually lacking in sampled or synth parts is texture, so even if the instruments sound a little edgy by themselves, that is usually just what is needed to make them more convincing. Probably closer to the bowing so you get the missing details. I would be tempted to mic the oboe with LDC on omni if your room is okay, and then use some kind of cardioid to give it a point source. Dynamic might be just the ticket as you could get close to the bell without too much handling and fingering noise....
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Post by jjinvegas on Dec 19, 2016 13:06:06 GMT -6
Some of that might be me. To give the feeling of movement from verse to verse some filtering was done to highlight elements, as I didn't have anything but the stereo mix to start with. Especially verse two, to bring out the guitar just a smidge, which did give her voice a little edge...
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Post by jjinvegas on Dec 18, 2016 18:04:08 GMT -6
Okay, I lied about the free gift, but anytime Bob _"the grand freaking poobah" Ohlson puts on the red suit, it is party time, people. The featured song is by our somewhat cuddly host, not my type exactly, but we are all generous at Christmas time. You may be mentioned, and if you feel like suing John Kennedy Productions, well, he is already rethinking my admission to his fine clubhouse and debating/mutual admiration society. Enjoy, and CHEERS!!!! jjj666
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Post by jjinvegas on Dec 17, 2016 2:21:39 GMT -6
And then after all the hard choices, your average guitar strangler comes in, plays through your rig and can't function because he is used to a buzzing bee square wave to develop sustain. At least you have a good circuit for re-amping.....smile.....
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Post by jjinvegas on Dec 17, 2016 1:58:22 GMT -6
Just out of curiosity, what will Reaper do for me that I can't, or can't easily do in Pro Tools? Put price aside. If they were both completely free, why choose Reaper? Okay, this is something I think is only Reaper. Every song I do has drums, typically played by me. Setup is a total breeze, I add a track, choose how many inputs this SINGLE track needs, and then select the range of inputs to feed it. Two clicks of the mouse, and ten inputs are routed. Now, I duplicate that channel several times, as I am probably going to need some alternate takes, and then at the end I always just play with the click on another channel with all sorts of rolls and alternate transitions. So, typically I have four tracks, with alternate full takes, and different rolls. I always duplicate the blank track enough times so that there is one left over for assembly that has the same routing, as a target for the various things I decide I want to include. So in assembly, I am not messing with ten tracks of drums just one. Or trying to figure out which take to use where, if you were stacking takes in the same channels. When it comes time to set up a mix of it, one mouse click explodes this single track into however many tracks were selected to accommodate the inputs. When I am sitting in the throne, running the mouse and peering at the screen from several feet away, this means I never have to get up and mess around, just two mouse clicks to mute one take, and record enable the next attempt. Tell me how Protools does that?
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Post by jjinvegas on Dec 17, 2016 1:24:59 GMT -6
What has struck me, from this admittedly small sample size, is that the people who found Reaper are very interested in spreading the Gospel. Every other company you could think of that has this kind of product approval would be having groupthinks about how they can turn that into an increase in their bottom line. Avid, Steinberg, Presonus/Studio One, all the major players try to get you into their user base and then market peripherals and hardware to the converted. Reaper is the only one who doesn't differentiate platforms, update to stimulate re-purchase, or send you endless emails promoting their latest scheme. Their only advertisement is their user base, which tells you something about their underlying philosophy and values. They are very attuned to their forum and if you discover a problem or something that could be improved, more than likely their latest and quite frequent free updates will probably address it, even if it seems picayune to the majority of users. I have found their forum to be like a lonely highway in my home state of North Dakota, if you break down every single person who drives by wants to check and see if you need help. Other places you break down, you start getting the heebie jeebies with every car that slows to see if there is an opportunity to profit. Where do you want to live?
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Post by jjinvegas on Dec 16, 2016 0:45:44 GMT -6
Yes, cardboard should be like vaseline on a lens, smoothing out the wrinkles and softening the texture. My old Sano GS-30 has a single 15 inch CTS in all it's non-responsive glory. At one point it was the tubes i worried about, it has some 7xxx tubes that they had stopped making. JJ fixed that, but once common, CTS speakers are hard to find. This amp is the ultimate vAlium for Telecasters on their period. Just smooths everything out without a square wave, and that is the CTS at work...
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Post by jjinvegas on Dec 15, 2016 23:59:49 GMT -6
One thing about the preferences, once you set them they go wherever you go, from version to version, as do the layouts and themes. I am not sure what system you are using, but Reaper is backwards compatible I think to the Beta version, ask your local Protools nailbiter how that is working for him. Oh, no wonder he is nervous, all those plugins he bought are obsolete. Nice. As for hardware inserts, it is no different than how i used to approach it if I wanted to insert a limiter AFTER the EQ stage in a console, send it out from the direct output and bring it back in another channel, which is far more painless when you have unlimited tracks. I undersand that latency might be a factor, monitor the return in your software mixer just like an analog overdub. This kind of thing just doesn't really bother me too much, but I spent many years freelancing, showing up at places where the patchbay labels were optimistic, head contact was suspect so time code was a constant issue, crosstalking SMPTE being such a lovely accompaniment in those quiet, sensitive passages. Situation Normal, All Fucked Up. Maybe asking some newcomer with a 320 GB hard drive filled with pictures of Carmen Electra if he wants to save his track might be a good thing, Carmen is sort of a looker.
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Post by jjinvegas on Dec 15, 2016 21:31:56 GMT -6
But, also...."what it offers" is quantifiable....what it offers that YOU need/want/utilize is a whole different discussion. I do all my "photo editing" on the iOS photos app. I would turn down a free copy of Photoshop. Let alone...pay however much for one.... Well, i am sort of with Svart on the quantification of what it does do, the list is so long I haven't really scratched the surface, maybe you can quantify it for us. I checked out your song on Bandcamp, it sounded good, but I didn't think that you would somehow be unable to get the exact same results in Reaper. Conventional aesthetic, pretty straight ahead, I liked it. I guess my photo editing experience is a sum total of using what came with Windows, so i am not sure about your point. But I started recording people back in '81, when the idea of being able to make a video to accompany a song, for free, and just a little fiddling around was crazy talk. Now I can do this, and make a client smile..... goo.gl/photos/7M8xxLzgLuA5PZxHA
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Post by jjinvegas on Dec 15, 2016 20:37:58 GMT -6
Make it $500....remove the "endless demo" period....it's use base becomes 1% of what it is. Love the idea. So much that I demo it every time there's a new release hoping it matures. It hasn't. Well, I am not sure if one percent would be the actual number, but hopefully we will never find out. I am sort of curious what you meant by waiting for it to mature, as I can't think of anything I want to do that it doesn't have a pretty intuitive solution available. I am not sure why anybody would have a CPU issue, you can find a fifth gen i5 with Windows 7 for peanuts these days, you are going to have to run a lot of cabinet sims and reverbs before you even get close. And it does some things that suit certain approaches really well, like drums. You can record them all on one track for ease of handling/editing. Or anything else that has multiple microphones that you might want the ease of fiddling with one track instead of many. The elastic engine is really amazing, once you figure out some little tricks for applying markers you can make unruly, sloppy teenagers sound all organized in short order. I came from a hardware background, and first worked on PT for a bit, but then ran into Avid's stubborn protectionist tendencies trying to activate a donated PT 6.3 that came with an Mbox 2 that was never used and was about five years out of date, just so I could get up to speed. Thankfully, they managed to piss me off at every turn, because Reaper was custom made for someone with conventional signal path preferences. I understood the routing immediately, there were no limitations on what a channel could be, summing, midi, audio, midi control of other devices, it has worked with everything I ever plugged into it, from a Sabrent dongle that cost 7 bucks to eight inputs plus eight more lightpipe, without any mystery or headache. I justt recognized them and worked. I do some sequencing, but it is not my primary focus and I guess longtime Cubase users fell like the MIDI editor was a little clunky, but compared to everything I had used before it was intuitive, quick, and that is key for me. Do I want to read or spend time on forums, trying to find answers, or just have a system designed in a logical fashion that took me very little time to start flying around as a stubborn digital virgin, at least on computer-based sytems.
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Post by jjinvegas on Dec 15, 2016 16:10:08 GMT -6
There are lots of ways to skin a cat, I am very concerned with translation in this fairly annoying climate where people are listening on their phone speakers. You spend hours trying to get something right, only to have decision makers listening on a device that sounds little better than the transistor radios people used to hold to their ears at the ball park, I guess watching the game in person wasn't enough. I really am not an Apple admirer, I think iTunes basically ruined the industry, instead of saving it from little pirates, we gave it all to one big pirate. But I launch all my mixes to iTunes, never actually paid for a download there, but for creating CDs and MP3s for reference away from studio monitors it is the bomb. Sure beats trying to tell yourself that cassette in your car sounded good, when it so obviously didn't......smile...
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Post by jjinvegas on Dec 15, 2016 8:49:46 GMT -6
I can't understand why some guys offline bounce. Even if I was completely in the box I wouldn't do this. You have to listen to the mix anyway to proof before sending off to a client right? (Right?! Please tell me you check before sending to a client...) So what is the harm in listening to each pass as it is played down? At what point is saving time more important than making sure you don't send your client a messed up file because you didn't listen to it? Not only do I offline bounce, I do it at the highest speed, but I include the project file for that mix in the destination folder. Then I can listen and compare and submit, and when everything is decided, call the appropriate mix up, render it in snail crawl, check it for glitches (not sure why, never had one). That way you can get more mixes in, serve the project with more options and actually eat dinner before midnight, although I never do. One thing that was never mentioned in this thread was the very real impact that ITB mixing has on a person's bottom line. It is a lucky man who can only buy gear that appreciates, once in a while certain pieces retain their value so that depreciation isn't a really bad hit, but even as the book says this Urei flavor of the year is worth X amount of dinero, sometimes getting that cash in hand is not a cinch. I do a little checking now and then, plenty of people here who do very respectable work are quoting prices on their website that just does not justify having their gear list, so basically they are working to have the equipment. That is not tool acquisition, that is just hobbyist-styled gear lust. Just my humble opinon, but there is a difference between pro and aspiring pro, one makes the majority of his income from football, or poker, or audio engineering.
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Post by jjinvegas on Dec 15, 2016 8:19:05 GMT -6
My songs are mostly written with a guitar - I love piano / keys but my playing is really clumsy... Enter EZ Keys - incredible writing tool, really versatile, if you've got a basic idea of what you want then it will pretty much play backing for you... ( saves asking your keyboard playing mate who's always depressed or got the flu to help out )Any favourites that help with your songwriting? I wonder what that EZ keys would make of this thing. It has exactly two chords, so I suppose it would come with something very depressed sounding, maybe with the flu. Or you could call me, and i will drink some medicine, about three with coke, corn liquor being good for what ails ya, and then i will rip it in one take. The slideshow took longer than the recording, but getting just the right photos of some iconic Hammond organs got me sidetracked. And then when I found that pic of Goldy McJohn, well , I had to get a dose of ny first favorite band LOUD.....Pretty good sounding records, BTW, way ahead of the majority of their 15 minutes of musical relevance.
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