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Post by jazznoise on Feb 1, 2014 12:10:26 GMT -6
What was the difference of the two signals? Some DAW's will apply different dither when rendering.
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Post by jazznoise on Feb 1, 2014 6:01:26 GMT -6
I have many friends who are music producers in EDM styles - DnB, Psytrance, House, Techno - that would be excellent at working within their paradigm but will 9 out of 10 times ask me to get involved if they have a band going or other live performance based situations because they know their workflow wont give them what they want. They can ONLY go full smash, full quantize, tuning 10,000%. The idea of riding vocals, brass parts, automating EQ's, reverb levels, input gain for compression seems crazy to them because they don't feel comfortable with musical parts that are non-static - even their own! And even after hearing and seeing me do it.
When they are put in that situation, they generate an EDM response to the style, and that is a response that focuses on structure for the Mixer/Producer and will sacrifice anything that might complicate that because they still sort of see themselves as the talent in the room. I feel as though that culture is a big part of what I hear in really bland productions.
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Post by jazznoise on Jan 31, 2014 6:44:14 GMT -6
Ribbon overheads are great, the off-axis roll off is nice and even. Makes life much easier for achieving a balanced sound and softening up any particularly venomous hardware - brash hats and drummers who tend to slap the bell of the ride being examples.
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Post by jazznoise on Jan 30, 2014 17:57:49 GMT -6
Uh, yeah they do.
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Post by jazznoise on Jan 29, 2014 9:22:44 GMT -6
Can I be here before it was cool? It's not enough that I know - other's need to know too.
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Post by jazznoise on Jan 29, 2014 6:30:57 GMT -6
Actually, Tony, since it would be your own equipment it would be your own findings. They mean nothing if they're giving you answers you don't want to hear, I suppose, but the idea that it's meritless is wrong. There is no basis for giving that sort of thinking any credit, it's just a defensive reaction not exactly dissimilar to the whole Science Vs. Art dichotomy. If there's a difference, there is. If there's not, there's not.
There are advantages to Higher SR's that have been mentioned - plugins using internal SRC can sometimes cheap out and introduce artifacts, like Bob mentioned, or you can reduce hardware latency (Since 128 samples at 88.2Khz is the same speed as 64 samples at 44.1 Khz)without using tiny buffer sizes. But the sonics of a raw .wav that is sampled above 20Khz and has effective anti-alias filtering should be identical because, asides from your hearing not hearing ultra-sonics, your ADC stage consists almost entirely of the same circuitry regardless. The signal is feed into a Sigma Delta running the Mhz and then truncated down to your desired sample rate.
The math thing is definitely bogus, though I don't have the programming muscles to shoot it down off hand, I've read papers that demonstrated as much.
Files will be up later. Hold on to your jimmies.
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Post by jazznoise on Jan 29, 2014 6:24:09 GMT -6
Excellent post!
Dark hits and cymbals are indeed the way to go - trying to brighten your snare or your toms is a nightmare if the cymbals are already prepped to cut your head off! +1 for the EQ'ing remark too, sometimes people don't think that when they EQ a close mic they're also EQ'ing the relative quantity of spill, too. Really can change the sound of a mix.
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Post by jazznoise on Jan 28, 2014 19:03:49 GMT -6
I'm telling you that you'll not hear difference between 192/24 and a 320 kbps mp3 and struggle to hear it at 256 kbps. On AAC you'd probably still fail an ABX down to 192 kbps.
I've some orchestral recordings in full HD audio that I keep as reference. I'll transcode them and upload. Sticking them into anything except your media player of choice makes you a poopy because analyzing the signal with anything other than your ears is not the point.
And proving me wrong doesn't educate you. And even my test won't be conclusive. Ideally you need to stick 2 identified samples into Fubar's ABX comparison and guess that way. After doing about 30 comparisons, if you can't show a 90% success rate you're left with a strong probability it's entirely guesswork.
You'd better do it without cheating, cause uploading .wav's on Irish internet is a bitch.
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Post by jazznoise on Jan 28, 2014 18:14:36 GMT -6
Rolling Stones Bob Dylan Arcade Fire The National The Beach Boys
Loads of stuff. I'm a hater!
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Post by jazznoise on Jan 28, 2014 17:22:19 GMT -6
I like to compartmentalize my foolery. But thanks for the option of multi-platform disdain!
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Post by jazznoise on Jan 28, 2014 15:57:50 GMT -6
I would ask those who swear by 44.1, have you ever actually recorded at 48khz? 88? 96? More than one track once, didn't hear a difference and moved on? I'm always interested in the road that brings people to where they are as much as where they are. I do 48Khz all the time, any compositions I work on with film in mind start life at 48. I've heard 88 and 192. Sounded the same. I've done up ABX tests for MP3 before and had those who decried compress formats shirk away into the darkness. I can do the same for SR rates where I'd downsample a wav and then bring it back up to 88 (loosing all the information that make the 2 different) and see what people say. But I'd need a couple of people to be willing to participate.
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Post by jazznoise on Jan 28, 2014 14:51:27 GMT -6
Software "pan pots" do not influence the sound. They work on multiplication in the same sense as a fader in a DAW does.
Now "Panning Laws" are a whole other thing. They will influence how a pan sounds if you pan from L to R, or changes in balance.
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Post by jazznoise on Jan 28, 2014 13:47:43 GMT -6
I typically do the lowest pitch, I'm gonna get a Tunebot and some heads and experiment with it. Don't wait for the tunebot. Sit down with a MIDI keyboard and a floor tom and try out some different tunings. First get the head to tune so it's sings nicely - I guess it's the shell resonance, I've never measured the shell as its never been my drums I've tuned. Then tune the bottom head to the same. It'll ring pretty pure, nice but needs dampening. Let's say that note, for a 16" is probably around A (I could be wrong, depending on the length of the tom). Try tuning the resonant head to C now. It's kind of more complex. Tuning it slightly sharp of a C will help reduce the beating (Equal Temperament minor thirds are about 6 cents flat?). Then try C# (if beating heavily, reduce by about 10 cents),D and E. They're all different flavors. Moving that up and down within the drum will change it again. Lower isn't necessarily better.
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Post by jazznoise on Jan 28, 2014 12:49:56 GMT -6
Do you always tune a tom to it's lowest pitch?
I'm not a strict "Tune in key" guy, but I'll nudge a drum a semitone down or up if it's gonna make life easier come mix-down.
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Post by jazznoise on Jan 28, 2014 3:39:52 GMT -6
If you want more lows I'd definitely try tuning both heads to the same pitch. A little bump around the first few harmonics and a cut from 400-800 and you should be good to go! For the cost, I'd try some different sticks too. Round ones maybe, or Nylon. Can be a bit of a compromise as your cymbal/hat sound will change too!
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Post by jazznoise on Jan 27, 2014 19:17:07 GMT -6
Sort of off topic, but I just did up my 2009 Fender Mex Strat. Reset the neck, intonation, deburred the saddles, set the break angle a little softer, set up the tremolo (Took one of the springs off, 4 springs is overkill - 3 is nice), got the action right (for me, I like it a little higher than most).
Forgot what an awesome guitar a Strat is. So nice to play and it sounds great.
I have a Squier VM Jazzmaster and while the neck isn't the smoothest to play on, it's a great sounding guitar. The tremolo sounds beautiful, though it really does need some home-brew DIY to get the thing gig worthy. Literally one of those guitars you plugged it in and everyone went "Woah, that's a great sounding guitar! How much was that?". Wouldn't hesitate to buy Squier again, but I'd advise anyone squeamish of dismantling a new guitar to stay away as mine did have a teething stage.
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Post by jazznoise on Jan 27, 2014 18:35:29 GMT -6
You'll have to give us some eye candy on the Post Your Studio thread once you have it racked!
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Post by jazznoise on Jan 27, 2014 15:36:19 GMT -6
Bottom head is really important. If you want that really heavy pure tone thing, tune them both to the same pitch. Minor or major thirds are really common. Tuning them to a 5th can sound awesome! Use perfect intervals, ET intervals will cause beating which I usually don't like on a drum.
If you want the most stick you gotta go dead center to where you hit and use hard sticks - maybe even those plastic tipped ones. If you're not getting enough stick attack it's because your hits are so loud that the "click" of the stick can't cut through. Have tried using fast comp/gate settings to accentuate it?
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Post by jazznoise on Jan 27, 2014 9:27:35 GMT -6
Heard that Paul McCarnety/Dave Grohl collab referred to as "Sirvana". Fucking lol.
So many better albums out this year than awarded. Every bodies been going fucking ape for Yeezus and it's a great record (even if that music video as a PR disaster). Beyonce's new record is good and a total sleeper. Nine Inch Nails had a solid record. Deerhoof
As for Macklemore (And his insincere leftist platitudes)and Daft Punk? Didn't get either. Get Lucky was a badly mixed tune with stupid lyrics and song writing that I really feel belittled everyone involved. Pharrel, Chic and Daft Punk are all more capable of greater things on their own. It was raw repetition that pushed that tune onto the masses and in regards to the whole project: it's probably the only album by any of those 3 that only had 1 single.
Robin Thicke got robbed and even Muse deserved more credit for finally abandoning ship on the political pretenses and doing what they do - bombastic 70's rock revival. Skyfall getting an award for Adele's contribution is slapstick - might as well give The Hobbit II the award for Ed Sheeran's stupid song. Best actual score (Not a "lah lah lah" blaring at the credits) was Gravity, to me. Really artfully done, the foley and the music interwove beautifully and at times were indistinguishable.
I never like these awards things, but this one this year looks like a bunch of retirees trying to relive their golden years. And while I'll rip on Kanye as a human - he had the best rap album of 2013, and I don't see how you could deny it.
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Post by jazznoise on Jan 27, 2014 9:03:24 GMT -6
Today is a mix of cleaning, editing and mixing. Tomorrow I'll take a photo of my home set up and my portable recording rig. Promise.
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Post by jazznoise on Jan 26, 2014 10:51:09 GMT -6
Except that once the colonial trade routes were established the sole interest of the UK was profiting from colonies rather than ruling them.
The Civil War lead the UK to the conclusion that it could avoid administrative costs on the Commonwealth and still profit from trade. They hands down won every time - Ireland, India, America, Africa.
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Post by jazznoise on Jan 25, 2014 20:46:18 GMT -6
I haven't done banjo, closest's I've done is mandolin.
For what we were doing we mostly wanted the attack portion of the sound, so a KM184 was used about a foot back. I liked my ribbon on it on solo, but it just didn't suit the mix.
I've heard good things about an MD421 on a banjo.
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Post by jazznoise on Jan 25, 2014 14:44:27 GMT -6
Jesus christ someone ring Amnesty International
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Post by jazznoise on Jan 24, 2014 19:29:52 GMT -6
VCA you say?
I've an Alesis 3632 I'll swap you for it - it even has gates, too!
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Post by jazznoise on Jan 24, 2014 14:09:28 GMT -6
Most DAW's don't need a Trim function. PT's volume automation was just designed by moon babies or something.
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