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Post by schmalzy on Jun 1, 2023 21:47:00 GMT -6
I used an SDC near the bridge pointing upward-ish toward wherever the player was plucking about 8 to 12 inches back to get as much detail as I could (distance depending on movement - this is a full body instrument so it's probably going to dance around a bit) and an LDC a little further back aiming to get more warmth and bump.
Take the DI. I've never regretted it. Whether an acoustic guitar, an electric guitar, or an upright bass the DI always finds a way to be useful or at least a great backup to ensure no magic performances are lost to too enthusiastic a performance with too much movement.
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Post by schmalzy on Jun 1, 2023 21:39:46 GMT -6
My lowly AT4040 sounds awesome.
Outside kick. Clean electric guitars. Driven electric guitars. Distorted electric guitars. Bass amp. Fiddle. Aux percussion. Acoustic guitars. Mandolin.
All have been captured in super usable ways with my 4040.
I think Joey Sturgis - an early 2000s metalcore producer - said all the vocals he recorded for about 10 years were on his 4040. And many of those bands were on big indie or major labels for those records.
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Post by schmalzy on May 6, 2023 12:41:20 GMT -6
For something like this, I've really liked using a mid/side setup.
I get the opportunity to change the size of the room (or focus on the artist and create intimacy) in the mix.
My Vanguard V13s have been great for this; their V44 I bet would be fantastic, as well.
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Post by schmalzy on Apr 18, 2023 13:59:48 GMT -6
I have two layers of compression on my overheads. Both are plugins but I'd love to do it via hardware.
One is a multi band compressor. It's just knocking the shells down below 1kHz. Fast attack fast release high ratio. Often I'm tracking aggressive drums and sometimes there's just a little (or a lot) too much poke though of the shells into the overheads. Most often just doing a few db of reduction but I've had great results pounding out 10db of reduction when I needed it! It's nice because it's not pumping the cymbals but is managing the shell transients.
The other is a compressor that has its side chain high-passed pretty high (around 3kHz) and it helps to contain anything that bangs out really loud like a ride bell, a china, or a loud passage of hats. Pretty fast attack and medium release timed to the groove. Not doing a ton of reduction here; 3db as a target max if necessary and it's probably doing nothing for most of the song.
Those two compressors managing the stuff that pokes out gives me an opportunity to EQ less on my overheads. The less-fucked-with frequency shape of the overheads ties my kit together while I'm carving and smashing much of the rest of the drum sources pretty heavily.
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Post by schmalzy on Apr 18, 2023 6:00:49 GMT -6
M57 , While I'm with you that it's a little complicated, it's honestly not as complicated as you're making it sound. There's Kontakt Player, which is free, and there's Kontakt, which is not free. Kontakt is currently on version 7. Kontakt comes with a bunch of content included. (Maybe they should call Kontakt Player "Kontakt Lite" and Kontakt "Kontakt Pro"?) There are some third party libraries available that use Kontakt Player, but the developer has to pay a licensing fee for that, so a lot of third party developers' products only work with Kontakt. Still, there are some really good ones that use Kontakt Player. When I started getting my feet wet with NI, I started out using third party libraries I really liked that used Kontakt Player. I finally decided to spring for Kontakt during Black Friday last year - they do like a 50% sale. It has easily been worth it to me. Komplete is a collection of NI content (kontent?) in several tiers based on what all is included. The various tiers of Komplete are delineated on this page here. There is Select, Standard, Ultimate, and Collector's Edition. If you buy NI hardware, like one of their Komplete Kontrol series keyboards, or a Maschine drum pads unit, it comes with some level of Komplete. (Usually Komplete Select, but you can upgrade at time of purchase at a discount.) You can even buy hardware used and get the software included - just make sure the seller includes the license number with the hardware. That's pretty much it. See? Not too komplikated. Er, you know what I mean. Was going to post basically the same thing as Mark's post. I wanted to include a bit about WHY so I'm typing up a bit below. It's not super complicated. Kontakt Player and Kontakt (the more feature-rich and less limited version of Kontakt Player) are the software you can use to play libraries created in Native Instrument's proprietary format. That format is super robust and well-documented. It's used by Native Instruments and - because of it's capability and flexibility - many 3rd-party developers are able to develop libraries for that format. It allows library developers to make the sounds and not have to also create their own instrument player to interface with the MIDI signals and organize/play the libraries. Kontakt (or Kontakt Player) is the instrument that loads the library and executes the playing of the sounds. If you want to access a 3rd-party library you'll load the Kontakt (or Kontakt Player) VSTi onto a track, select the library you want inside Kontakt, and it'll load a user interface and pile of sounds that can be played through Kontakt. Komplete is the umbrella name to their varying packages of libraries and plugins. All new and most older libraries (whether they're Native Instruments's own libraries or 3rd-party libraries) are loaded by adding a serial number into Native Access, Native Instruments's instrument manager. Add the serial number, it'll congratulate you for doing so, then you can flip to the next tab to click a button to download the library which Native Access will manage, organize, and drop into Kontakt's menu of available libraries. I bought Maschine (a Native Instruments product) which is essentially a hardware MIDI instrument that sends a complicated MIDI signal to access a deep software instrument. It came with some Maschine-specific stuff, Kontakt Player, and Komplete Select (the lowest-level set of libraries and plugins in the Komplete line). Also included was Massive (an awesome synth) and Reaktor (a synth instrument builder...long story but it's cool). There's a learning curve to figuring it out right away. When you get it figured out you'll be so thankful that Native Instruments makes the whole thing so easy. It's really a fantastically implemented framework.
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Post by schmalzy on Apr 12, 2023 15:49:14 GMT -6
Has anyone compared the Heil PR40 and the PR48? I was at a conference at Webster University a couple weeks ago. The PR40 about half in and half out of the hole, angled toward the beater, plugged into schools new API aXs console (212 pre) sounded GREAT! I haven't directly compared them, no, but I use my PR40 at the studio for kicks pretty regularly. One of the bands I do sound tech work for uses a PR48 in the kick. I get good sounds out of both. The PR40 needs more EQ because it's an un-messed-with-preset-EQ curves-mic. It can also get super hard/aggressive sounding in the 2-4khz area. The PR48 seems to be relaxed there and have a click up around 6-8kHz. I love the PR40 and use it all the time because I'm happy to EQ the stuff out I don't want for the additional benefit of having some midrange frequency content in the 700-1.5kHz area. I love that area on kicks and most "kick mics" pre-EQ it out.
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Post by schmalzy on Apr 5, 2023 11:05:35 GMT -6
SNIP To my ears and taste hi-hats sound better panned way closer to the centre than you would imagine would sound good, something only really possible when you're programming drums. How does one even effectively pan hats anywhere? They go everywhere! They're like cats . . . Roll off the very toppy top of your overheads plus mic the hihat, pan it, and push it up a little (it doesn't have to be rippin' loud) so it helps skew the hat location psychoacoustically. I place the hat mic closer than the overhead is and leave it a little brighter in the mix. It really ends up defining the location that way - it's brighter and earlier than the related sound in the overhead - and then we hear it develop into the overheads and the rooms and become as spacious as the rest of the drum mix. I treat ride cymbals the same way. My overheads kind of shy away from those sources so the combo of the spot mics on hat/ride plus the decreased prominence in overheads equals a little freedom in placement. I also do the "line connecting kick/snare is the middle" overheads. If I need a compact kit I'll use an x/y over that line moving along that line to get the balance I'm looking for. If I need more spread I'll do a spaced pair where - essentially - the mics end up over the outside rim of the rack tom and over the center-ish of the floor tom (in a 1-up-1-down setup). Measure to be in phase/equidistant with snare (kick is normally pretty prominently coming from close mics and a mono room so the little bit of kick potentially slightly off center in overheads isn't a problem). Depending on the kit sometimes the floor tom side overhead will be a little closer to the ground than the rack tom side. Angle the mics to prefer what I want them to prefer (oftentimes away from the snare a little to keep the snare transient from being too crazy loud in the overheads) and go up/down with the whole overhead setup if I need to focus more/less on cymbals. Worth noting: I tend to mix my room mics pretty loud compared to my overheads. My room often ends up having kick a little louder in one mic than in the other. Same with snares but mostly opposite the kick. That slight off-centering from a non-symmetrical room sounds to me a little like panning something 3 or 6%. Something I've only tried a few times (but chickened out each time and still put up overheads as backups anyway) is not even going with overheads and just doing pairs of room mics to gather the whole kit. I'm sure that pulled-off-center thing from the room mics would be even more prominent in that case even with loud close mics. But I'm not looking for pulled-off-center kicks/snares. Most of my favorite records from the last bunch of years (and my clients are all trying to make records that sound modern so that's my touchstone) are all kick and snare in the middle. Design the kick/snare sounds to let the prominent parts of the vocal come through and you're golden!
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Post by schmalzy on Apr 5, 2023 10:34:00 GMT -6
I've developed preferred chains that work well for each source. I primarily stick to those not necessarily because it's the most perfect ideal for that individual instrument that day after eating that much salt the night before but because it reliably gets me results I like.
I've developed optional chains for when that first chain doesn't work. How do I want it to be different than what I'm getting. I've got a chain for that.
I'm familiar with some wildcard plugins that can make big changes if you need to dramatically alter something.
And then I use that batch of plugins until I find something that's limiting my results. I don't ever look at new stuff coming out until I find myself constantly running into the same problem.
I have a pretty narrow batch of plugins. Softube channel strips and stock EQs for most channels that need them. Compressors, transient designer, EQ, and saturation is part of those channel strip plugs. Some compressors that accomplish things the channel strip plugs don't. Some EQs that accomplish things the strips don't. Some specialty saturation to accomplish things the strips don't. Fabfilter stuff for when I need surgery. And then a grip of often used reverbs, delays, modulations, off-the-wall stuff.
Only thing I really need right now is an EQ with a different low shelf for buses/mix bus/mastering. I'm not super happy with the low shelf options I have right now. I'm often looking for something different than what I'm getting. I've been complaining about my low shelf difficulties for months - I end up auditioning a few to find the right one - and I think I'm finally motivated to find something because I'm seeing real lost time in that department. What am I going to get? No idea because I don't pay much attention to new plugins. But I'll figure it out when the time's right!
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Post by schmalzy on Mar 13, 2023 23:54:14 GMT -6
Looking for a plugin to do this sort of thing? Boz Digital Labs makes Bark of Dog. It's a slightly resonant (or not depending on your tweaks) high pass filter similar to the hardware (and UAD plugin) Voice of God. Bark's cool because it can work in stereo or on either part of an M/S signal. Plus it's free and the resonance (or lack of) is adjustable.
I don't have a ton of low, low stuff on my sides. Mostly downtuned guitars and toms but the low guitars are often high-passed to relieve the woofiness anyway. Sometimes synths and sound design. For sounds that are not center-panned I'm mostly choosing them for their ability to provide size/space on top of their specific timbre/role. Low frequencies don't tend to satisfy me in that way. Plus I always feel the low frequencies punch better when they're mono. That's probably phase-related.
I really dislike the feeling I get when a mix makes me feel like one of my ears is heavier. If the weight/size/power of a mix is off-kilter, my whole listening experience is off kilter and I find myself twisting my head. Of course, this is a super useful idea when it's in agreement with the emotional content of a song...but if you want me to listen to it for more than 30 seconds it had better pay off in a big way!
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Post by schmalzy on Mar 13, 2023 23:33:08 GMT -6
My M88 is from the late 60s/early 70s based on what they told me about the serial number. It regularly sees rippin' loud guitar cabs, snare side or top, drum close room, and overkick duties. Some bass cabs. Some vocals (with additional windscreen because I'm paranoid about breaking my favorite dynamic mic).
Heil PR40 gets a lot of love inside my kick for aggressive-music kick drums, snare bottom (GREAT there), snare top, guitar cabs, and bass cabs. If I had 5 of 'em I'd use them on toms and either snare bottom, overkick, or kick in. I have 1 because I'm cheap and I only buy used gear.
SM57 gets used for the things 57s get used for.
Fake SM57 gets used for the regular SM57 things. It doesn't sound as good but has been completely useful a number of times. I'm always THIS CLOSE to putting a different transformer in just to see what happens. I never do. I probably never will.
SM7B is a great mic no matter what anyone says. Great on aggressive vocals. Great for unhyped kick drums inside or out. Great for drum room. Great for snare. Great on guitar cabs. Great on bass cabs. It's a 57 but better (unless you need the 57's proximity effect).
Shure SM59 is midrangy and somewhat telephone-ish. I love it for dirty, shitty stuff that needs to be dirty and shitty. Crunchy tambourine? Fuck yeah. A little "kah" in your snare? Yes please. An especially midrangy distorted guitar track intended to augment a main distorted tone? Perfect.
Beta57 on snare when you need to minimize hihat bleed and don't mind adding a drum sample to make the natural performance sound better. I never like how it sounds but gets me a usable natural performance dynamic if the drummer hits the hats too hard. I can use a sample to blend and help the tone out but the Beta57 gives me the raw material of a high-velocity drum performance.
I have 5 Sennheiser e604s. 4 have all be hit countless times by metal drummers and 1 stays on the sidelines unless a drummer comes in with 5 toms specifically for the reason that I want to use it to compare to the others so I know when one goes bad. They all sound as identical as I'd ever expect them to. Still sound great. Also saved my ass in a pinch on batter-side-kick a couple times where pushy drummers came in wanting aggressive attack but wouldn't go with a port in their kick reso. I always know I'd have other battles I need to win so that e604 is a solution that buys some good will I can spend on other pushy moments I NEED to win.
D6 I don't have anymore (I had one on longterm borrow - basically a guy just left it with me and eventually wanted it back when he got a band together). Great as a quick solution for aggressive rock/metal kick. Better as a downtuned heavy music guitar cab mic to blend with a 57/M88/i5 because it can represent all the extended low end but has that scratchy, articulate top that's a little higher than the 57. Some big name metal guys use them on toms. Can be really good on bass cab when the kick drum sound you have is the opposite of what the D6 will give to a kick drum.
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Post by schmalzy on Mar 10, 2023 1:15:06 GMT -6
Gotcha. That's an interesting method, that I don't think I would have thought of. Just load up the template (in Reaper of course, I'm in the cult now) and get to work. One of us. One of us.
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Post by schmalzy on Mar 8, 2023 13:55:14 GMT -6
Or even better that leftover coin? If the artist & their camp is really hip? Goes towards promotion! Getting the music out there and into peoples earholes is never ever terrible. I get more excited about stuff like that then making an extra couple hundred bucks. This is what I encourage people to do. Are they going to go with a $50-per song mastering engineer? Not if that ME can't beat my quick-masters in a test-master. I've beat some $150 per song guys, too. I'm not magic. Some people are just shitty at their job but somehow convince people to pay 'em for it. I'm good with doing all the metadata and sequencing stuff. (Paraphrased) "Put that $50 per song in your pocket for marketing/promo and come back to me the next time you guys are trying to do anything. Here are 20 different promotional resources I've built up and curated over time for bands like yourselves."
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Post by schmalzy on Mar 6, 2023 15:12:39 GMT -6
Many of my clients have tried having outside mastering.
The result is - while there are many good mastering engineers - the clients have chosen the audio from my masters every time. One time we used a mastering engineer who is a bigger name guy. They went with him because he'd publicize and feature/share the record through his content channels, etc.. He didn't do that so they paid too much, liked the result less, then didn't even get the promised publicity.
The budget that my clients often have doesn't include the extra bunch for someone else at the end. I'd definitely prefer things to be mastered by a really great mastering engineer but also I'm fine with the process we've been doing. I've had too many "affordable" mastering guys mess up my artist-approved mixes (which are always sent as reasonably hot quick-masters) and blow deadlines. I mix into some light mix bus stuff, pushing that mix bus stuff a little more as the mix develops. As I get every source in to the mix and things working reasonably well together I start iteratively mastering (oftentimes it looks a little like this: light limit, EQ, compress if necessary, gentle saturation, EQ, light limit, clip for volume, limit for volume). All that automation and all those dynamics changes interact with the eventual mastering. Knowing how the mastering is going to interact with my mix moves helps me make better mix moves during mix version 1.
And then when I'm done mixing I'll bounce out an all-but-the-loudness-specific mastering version of the mix and a no-master-chain version of the mix. I take both to the mastering session I set up for the record and I have an option for if the in-mix mastering still holds and I have an option for if that needs to be completely reworked to satisfy the rest of the record in context.
Pushing into the mastering chain informs me of what is and isn't working in my mix. Plus all of the reference material I listen to is in the pretty loud range. Transients don't sound finished to me until they're tucked in appropriately so I finish my mixes while listening to my most-of-the-way-there master.
Related:
I know a Grammy nominated mastering engineer whose starting analog chain is: limit, EQ, limit, EQ, limit, EQ and then goes back in the box to clip and limit if volume is a concern. His argument is that a good mix often just needs some gentle limiting to tuck in the impacts, some EQ to shape the tone and to guide what the next processing stage sees, a limiter to shape the new peaks from the last round of EQ, a little more limiting to control those new peaks, and then the final touch to get the mix's shape right before he goes back into the box to handle loudness stuff if that sort of thing is a concern for the record. His masters sound crazy good. Most of my clients can't/don't want to afford it.
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Post by schmalzy on Mar 1, 2023 21:24:56 GMT -6
Currently my drum bus is pretty simple: ReaEQ (simple stock digital parametric EQ); Console 1 Channel Strip - often either the API or the Neve channels - that has filters (which I'll often use to hpf the compression detection circuit) EQ, Compression, and saturation; and a clipper (probably Stillwell's Event Horizon or JST Clip). If I need to soften transients rather than clip them I'll use something like the D16 Frontier limiter instead of the clipper.
I also run two parallel drum buses; not because I always use both but because I always use one or the other and sometimes use both. One is set up for slow attack/med-fast release to really exaggerate transients. One is set to be fast attack and fast release to really destroy transients and exaggerate the tone/sustain/body of the drums.
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Post by schmalzy on Feb 25, 2023 19:36:27 GMT -6
I'd be curious about the "like to/don't like to flip between two apps" groups and see how many of the people in those groups have done live sound. Especially for live sound in a more upper level "assistant engineer running the monitor console" sort of way.. Or even worked in a studio on a console where some channels were patched to print to tape/disk and the other channels were patched for playback. I guess I like the two apps thing. I want to be able to give the artist their monitoring preference (which often times is their part out-of-balance with the rest of the track and with way too much or too little ambience) but I also want to be able to flip to playback and have the level/fx/mix be closer to a real mix and less like an out-of-balance mess. That second app is just a monitor console set up only a cmd+tab away. I'm in the 'don't like to flip' group and fit both categories mentioned, mixing 4 live shows this weekend and have 120 more on the calendar, plus my studio Trident indeed has a dedicated jukebox that flips between monitoring the multi-track bus sends and dedicated tape returns. The separate monitoring app with no tie in to the recording application is a productivity killer in a full tracking session, I actually find it's the home recordists that just stack full takes and edit later that don't run into the limitations. I'm in the "like two apps" and "punch to get the right performance" camps. I like having the two different mix snapshots, basically. I'm not interested in comping later if I can at all avoid it. I'd rather get it right away, know we have it, and not waste time/brain power worrying about it again later. I think that's super interesting - you having so much live experience but not liking the two-apps thing. For me it feels like two things for two separate tasks similar to FOH console and a separate monitor desk. That throws my theory right out the window, I guess!
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Post by schmalzy on Feb 24, 2023 10:41:58 GMT -6
Haha. Totally! But the “being civil about it” is key. New Reaper feature I discovered. Taking literally any plug-in parameter and adding it as a “knob” on the mixer channel. Wow. Are there other DAWs that can do that? I know Logic and S1 can’t. You can also automate ANY parameter in a plug as well. The only downside is that the plugs typically name the internal parameters weird things so you have to experiment with them sometimes to figure out what is what. Inside the plugin's GUI: Click the parameter you want to automate. Some of them I've had to actually move but most of them it's simply a click. Click the "Param" button in the upper right region of the plugin window. Select "Show Track Envelope." That'll make that parameter's envelope visible in the edit view. No more hunting for whatever the plugin maker named the parameters!
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Post by schmalzy on Feb 24, 2023 9:56:47 GMT -6
I'd be curious about the "like to/don't like to flip between two apps" groups and see how many of the people in those groups have done live sound. Especially for live sound in a more upper level "assistant engineer running the monitor console" sort of way..
Or even worked in a studio on a console where some channels were patched to print to tape/disk and the other channels were patched for playback.
I guess I like the two apps thing. I want to be able to give the artist their monitoring preference (which often times is their part out-of-balance with the rest of the track and with way too much or too little ambience) but I also want to be able to flip to playback and have the level/fx/mix be closer to a real mix and less like an out-of-balance mess. That second app is just a monitor console set up only a cmd+tab away.
I'm looking forward to someone deciding they can part with their BF Apollo 16 for a decent price. UA stuff holds an inflated 2nd hand value for a reason I don't quite understand. I don't need THE MOST PERFECT conversion. I need a stable rig of conversion/interfaces with medium ol' pile of decent sounding i/o and I WANT IT IMMEDIATELY or whenever the right deal comes up.
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Post by schmalzy on Feb 16, 2023 15:01:53 GMT -6
...and I'll be sitting here waiting for the announcement and hoping people decide they need to get into a new interface and out of their perfectly good in-use ApolloX (hell, even a blackface Apollo 16).
I just don't care about the UAD processing much...but it's been a rock solid interface for me after doing all of my own troubleshooting and tech support and research (no thanks to UA for putting their hands up and saying "we don't know but it's someone else's fault probably").
If anyone wants to get rid of their Apollo, I'm looking for anything blackfaced or newer with 8 or more channels at a decent price!
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Post by schmalzy on Jan 9, 2023 6:18:54 GMT -6
Just used the Deathwestern amp sim today on a modern rock song. It was great! It's super useful on lead/texture guitars. One was a countermelody and one was a texture/density thing. Both turned out great and we'll see what the artist says. I used the built-in cab for one track and an outside IR for the other. The amp sounded great and behaved in both situations.
Worthwhile to note: Sam makes records that stand up to anything else in the loud rock/pop rock/punk/hardcore areas. The more intense range of those styles often require aggressive processing in tracking and in mixing (especially in compression). It doesn't surprise me this compressor plugin tends to be a little more aggressive.
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Post by schmalzy on Jan 9, 2023 6:01:04 GMT -6
I've only used it for electric guitars, maybe once in a blue moon on a vocal. I love that sort of chorus sound on a bass. I often split my bass into multiple tracks (think of it like DIY-ing a 2-frequency-range multi band compressor in-DAW) and one of the main reasons is because I like to treat the midrange and top end of bass instruments with different compression characteristics, different saturation types/amounts, and chorus. Just thought I'd mention it since I didn't use chorus on a bass instrument for a long time and - not too terribly long ago - tried it and appreciated the extra bit of dimension and width and specialness that comes from blending it in on the mids/highs of a bass. Related: I've also recently embraced "getting the sound on the track" earlier rather than later. That whole mental space is next-door neighbors to the "on the track rather than on an aux" approach for stuff like modulations or specific effects. For a long time I'd hold off on printing reverbs or modulations or distortions (or a million other attributes) on tracks because I wanted to tweak it later - especially when I'm using software instruments. But just getting something that's inspiring and cool, committing, and continually moving forward rather than backward seems to be putting me in a better spot come client review time.
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Post by schmalzy on Dec 18, 2022 23:27:16 GMT -6
Exactly what Ragan said. If you want a multi-velocity sample you need a .tci. That would mean printing out a pile of snare samples out of SD3, carefully cutting them up so that ever hit starts from the same point just as the waveform starts moving, then using Slate's .tci creation software. Then place that .tci in the folder that slate looks into for all the samples.
If you want a single hit instead just print a hit, carefully cut it, export it as a .wav file, and drop it into that above-mentioned folder. I make my own one-shots all the time of that drummer on that snare for that song's tuning when they leave some to be desired in the consistency department.
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Post by schmalzy on Nov 7, 2022 22:46:59 GMT -6
Out of DA converters -> reamp box -> pedals -> DI -> AD converters.
I do it pretty regularly. It works great. For a while I was using a delay box as my favorite snare drum distortion.
I'd do a stereo solution if I could justify it but I don't really need that and I tend to buy things to expand my capability rather than give me under-utilized options.
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Post by schmalzy on Nov 2, 2022 16:24:47 GMT -6
"Even when I think I'm wrong I'm right. I am all-knowing."
Rush Limbaugh
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Post by schmalzy on Nov 1, 2022 9:40:39 GMT -6
The political discussions that pop up around here every-so-often are perfectly fantastic on-the-nose case studies in Dunning-Kruger. It's truly amazing.
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Post by schmalzy on Oct 26, 2022 15:08:39 GMT -6
as the owner of 5 Apex 205s, I cannot encourage you enough to get someone to pull out the extra mesh and stick a lundahl in there. worth every penny. I literally use them (at least 2 of them) on every session i do. 3 205's here - all with Lundahl's and mesh removed and Joly ribbons. Excellent mics. I'm sure Jon's take would be great as well. I'd have Lundahl's put in while they were getting repaired. Now to find a second 205...
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