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Post by mrholmes on Sept 4, 2019 6:59:28 GMT -6
I suffer from ADD.
For the ADD brain it's important to simplifying things.
ADD is not getting better, it means more trouble in my life the older I grow.
Here are my ideas and - you may have some additions for me?
1. Logic writing template.
Minimizing the Software-Instruments and just using the sounds I use most often.
2. Hiring more often real players.
I think it makes my life a lot easier working with humans. It's impossible to know all the subtle things of a B3 player or other instruments which have tons of options to create a sound.
Doing it on my own is time-consuming, because options are struggle for my ADD brain.
3. Favorite Audio-Plug-In Folder.
Avoiding struggle again!!
It's insane to have too many options in the folders. I ignore incoming E-Mails for more new fancy plug ins- no thank you I am already overwhelmed with options.
Started my FAVOURTITES folder yesterday - works wonders.
4. Simplifying the Hardware Rack.
Keeping:
RME MIC Pres (Modern Clean)
1073 Mic Pres (70s style)
ART PRO VLA II (Optical Compressor)
TLA 5021 (Optical Compressor)
SPL CHARISMA II (Tube Saturation) KT76 1176 Clone Midiverb 1 and 2 Lexicon verb
Selling: Gyraf SSL G 4000 with Turbo Board. (I just don't use it anymore.) May the Lexicon Verb goes as well I use more the Midiverbs...
5. Hardware Workflow?
I tend to use hardware in mixing. Will it make my workflow easier to use it more in tracking?
That's my first thoughts so far. Maybe there is more to come.
Your hints are welcome.
Cheers Holmes
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Post by Chad on Sept 4, 2019 7:29:20 GMT -6
Great ideas, MrHolmes.
You’re giving me some ideas as well. I think as a culture we all suffer from multitasking and constantly having our attention scattered.
I liked your idea of having a specific template in logic that you use only for writing. You could probably expound on that and have templates for various types of projects as well. You might even preload a specific songwriting template with only the virtual instruments or audio plug-ins that you wish to focus on. Ignore anything in plugins folders when you open the template, and only use what’s already loaded in the channels.
Anyway, good stuff.
Chad
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Post by swafford on Sept 4, 2019 8:03:43 GMT -6
I suffer from ADD.
For the ADD brain it's important to simplifying things.
ADD is not getting better, it means more trouble in my life the older I grow.
Here are my ideas and - you may have some additions for me?
1. Logic writing template.
Minimizing the Software-Instruments and just using the sounds I use most often.
2. Hiring more often real players.
I think it makes my life a lot easier working with humans. It's impossible to know all the subtle things of a B3 player or other instruments which have tons of options to create a sound.
Doing it on my own is time-consuming, because options are struggle for my ADD brain.
3. Favorite Audio-Plug-In Folder.
Avoiding struggle again!!
It's insane to have too many options in the folders. I ignore incoming E-Mails for more new fancy plug ins- no thank you I am already overwhelmed with options.
Started my FAVOURTITES folder yesterday - works wonders.
4. Simplifying the Hardware Rack.
Keeping:
RME MIC Pres (Modern Clean)
1073 Mic Pres (70s style)
ART PRO VLA II (Optical Compressor)
TLA 5021 (Optical Compressor)
SPL CHARISMA II (Tube Saturation) KT76 1176 Clone Midiverb 1 and 2 Lexicon verb
Selling: Gyraf SSL G 4000 with Turbo Board. (I just don't use it anymore.) May the Lexicon Verb goes as well I use more the Midiverbs...
5. Hardware Workflow?
I tend to use hardware in mixing. Will it make my workflow easier to use it more in tracking?
That's my first thoughts so far. Maybe there is more to come.
Your hints are welcome.
Cheers Holmes
1. I use a Logic template for starting. It makes my life easier. It includes the amount of pres I have as inputs and 8 auxs with the reverbs I use (2 x UAD Chamber, 2 x UAD plate, 1 x Nimbus 1 x R4, 1 x Fulltone TTE and 1 x open) I also have a track strip save (or whatever it is called) that includes the gain plug, my favorite channel strip plug (Metric Halos), 3 bus sends already set up for a chamber, plate, and TTE, and an I/O plug (probably some other things on that track strip, not in the studio now) so whenever I make a new track, I can add these things in one click. 2. Humans come with their own set of problems. I am quite fortunate to have swam with some of the big fishes in this medium size pond and have always maintained great relationships with my fellow musicians. I have a core of people I like to play (drum, bass, keyboards, guitar and violin) with and can count on to give it the right feel. On the other hand, these people have lives and can't always do things when I want to, so arranging a date with that core group can sometimes be a chore. Being 60, I don't care about the time now, I got no place to be, so when it happens, it happens. When I was 40, it was an issue. Having a pool of paid session guys (who are for real) is also a great thing. If they know what they are doing, it can greatly simplify the recording process. Of the 9 songs from the one album I made in Nashville with top flight session folks, only one song required more then 2 takes. Probably 75% were 1/4 - 1/2 play through then a final take. Everything was charted and folks just knew what to do and did it amazingly. 9 songs tracked in 6 hours versus 9 songs with my pals that might take 6 months, or these days, a year. The worst thing about paying people is you don't always get what you paid for, and in my universe, if someone has done the time, they get their dime, whether I like it or not. Other people can be dicks and screw people over money. I don't associate with people like that. 3. Choice paralysis is a real thing. Decide what you like and use that and get rid of the rest. Besides utility plugs (gain, tones, analytics) I use the MH channel strip (almost exclusively for HPF and LPF and shelves), UAD and Exponential reverbs, and the Fab Filter limiter. On rare occasion a transient designer (also MH) and de-esser (again, MH). 4. My hardware is limited by Analog I/O and patchbay inserts. The end. If I don't use something regularly, I get rid of it and find something else to replace it with. 5. Since I write, produce and engineer every session, I almost always leave compression and EQ till mixing. I've got to many things going on to give it the attention it needs and the only thing worse then leaving it till mix is doing it wrong when you track. No redos there! I've become familiar enough with each piece that I know where something will be used so patching in a mix session is pretty simple for me with Logic and Metric Halo templates all ready set up and ready to pass signals with out surprises. I'm making folk/country/rock, so my track counts tend not to be pretty minimal.
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Post by Deleted on Sept 4, 2019 8:37:46 GMT -6
1. The template idea is something I've been thinking about a lot lately. One for tracking, one for mixing. I definitely waste a lot of time setting up either/or and I basically do the exact same layout every time, so no reason to not have it ready to go.
2. I see being friends with mostly musicians as a real blessing. I know I can always call upon people I trust if I need to, and I never have to "hire" them. 12 pack'll do, far as that goes.
3. Now that I have a lot of plugins, I sometimes wish I could go back 5 years to when I had like 4. ha. I think putting the most used ones in folders is a really good idea, and I'm going to try to do that now, so thanks for that idea!
4. Simple is better. I'm not super hyped when I walk into a place that has a Gearslutz style rack. I'd rather have a few quality choices than 25 different mic preamps because "this one sounds best on the floor tom" or whatever.
5. I've been tracking with EQ/compression, etc. on the way in a lot more lately. I've noticed a pretty significant increase in how [relatively] "finished" things are sounding from the first playback and I'm doing much less later. More balancing, less fixing come mix time. I think if you feel confident enough to commit to things, go for it.
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Post by Martin John Butler on Sept 4, 2019 9:17:18 GMT -6
Template, template, template!
I tried different templates for different purposes, but alway end up using one in particular. It has all the go to plugs I use regularly. I put reverbs, delay and a compressor on a bus. I have 3 virtual instruments ready to go, Piano, Organ, and Strings. The plugs I almost always use are there, turned off, but ready when I am. Lastly, I have my Superior Drums on a Track Stack. This way I see only one track, but at a click, I see all the individual drums. I have a shaker track (EZ Drummer) ready that I use as a metronome to track with. Colorize tracks in groups, this speeds things up more than you'd think it would.
My preamps are already plugged in, levels usually stay the same, plug in a mic, turn it on, and it's already sent to the right input in my DAW. So I can be ready to record almost as fast as I can plug a mic in and set the stand location. Just set tempo, and go. I add drums after I have a guitar track and sometimes a guide vocal.
All too often I end up keeping tracks that I'm 'just experimenting" with, so if it becomes a real project, it's all ready to go. This saves about as much time as can be saved. I dislike being my own engineer, but you gotta do what you gotta do.
I ask friends to record parts as often as I can. It's a lot more fun than me doing everything all the time.
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Post by Chad on Sept 4, 2019 9:24:24 GMT -6
Martin,
That info + screenshot = priceless. Thanks for sharing!
Chad
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Post by Martin John Butler on Sept 4, 2019 9:45:42 GMT -6
I forgot to mention I also have a simple straight drumbeat ready, in case I'd like to track with a drum instead of a shaker. One click, and I'm good to play along. (I don't like using clicks) All my typical settings are in the template, sample rate, various keyboard shortcuts, Low Latency button, etc.
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Post by kcatthedog on Sept 4, 2019 10:47:39 GMT -6
If you aren’t using your ob comps while tracking, I’d say try it as you will likely then need less plugs in your mix ?
I use my hardware while mixing with the utility plug in.
Just think simplify?
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Post by indiehouse on Sept 4, 2019 11:09:09 GMT -6
I am working on a tune in which I want a few cello tracks. I can learn to try and program them with my Spitfire string library, or I can go find a local cello player to hire for this part. Seems to me there are pros and cons of each. Learning to program will take time, but I will learn something along the way. However, having a real person play a real instrument is always best case. Plus, rather than writing the parts myself, I'd rather hear what this person can bring independent of my own ideas. Collaboration is a beautiful thing like that. Could bring something to the song that I hadn't considered before.
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Post by adamjbrass on Sept 4, 2019 11:34:53 GMT -6
Everyone must find what works for them, in their lives...But I say..embrace the Attention Deficit Disorder! Chaos is a challenge but the rewards are plentiful!
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Post by mrholmes on Sept 4, 2019 11:40:15 GMT -6
Ok with my new template I decided not to search for sounds anymore, but I also want to have the less possible distraction. I decided to go with track folders as much as I can.
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Post by mrholmes on Sept 4, 2019 12:01:22 GMT -6
If you aren’t using your ob comps while tracking, I’d say try it as you will likely then need less plugs in your mix ? I use my hardware while mixing with the utility plug in. Just think simplify?
I used the HW to 90% in mixing only, but its also more choices...bad thing.
I have to try to do it the other way 90% tracking / 10 % mixing.
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Post by kcatthedog on Sept 4, 2019 12:36:54 GMT -6
I have my pre and comps on my patchbay, so it’s very simple while tracking, dial in the sound, hit record!
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Post by popmann on Sept 4, 2019 20:12:59 GMT -6
While I know people love their templates, I've never found them useful like Steinberg's ability to save "track archives" for import....so, if you have say a group of 4+ VIs on instrument tracks all routed to a reverb and with whatever panning and such that make them "string quartet"--you can save out those instrument tracks and reverb into a folder....and any time you want a string quartet in a project, you can just "import track archive". There are some limitations to this....but, I find even when I template--and I DO have ONE(see below)....I end up changing them and THEN wanting some aspect back....anyway--I know logic allows track/channel presets, which can go a long way towards this modular concept, too. I just find that setting u pa template....just makes for bloat--and in Logic has a particular issue, because any template of mine will have disabled bus processing (available to flip on with whatever starting point), which throws Logic's compensation engine.
My ONE....is one I made, and literally modified three times during the process of this album, which is a Cubase template for a new song with Superior Drummer 3 loading my 7gb kit, broken out to 20 channels or whatever in the DAW--all to groups with channel level processing so that it can record the drums as multitrack AUDIO as they're being played by the Logic Drummer. Otherwise--bunches of routing to get the live streams going through compensated busses with processing and mono summing as needed to appropriate stereo or mono audio tracks--it takes a minute to set up, know what I mean? so I templated it....I've since stored the track preset for SD3 and a Track Archive of all the busses with processing--the combination of those allows me to bring that into any project with minimal effort. Anyway...I had to redo it a couple time during the album....once because an early version of SD3 had some kind of weird corruption on some snare bottom samples I didn't "hear" until they were all tracked....and somehow needed the whole kit torn down and rebuilt after a library update....THEIR fault....but, then the second redo was MY fault--I'd left the bleed out of the toms, and I realized how much nicer it sounded to put it in there....so, I rebuilt based that and I think modified some of the external processing....
My point being--templates are a bit of a mixed bag. You might ask yourself how much you can get away with other types of preset saving that Logic will allow. And also, if your fave drum kit takes .5 seconds to load....and it's the default when you open Addictive....I mean, that's the advtange in putting it into a template where "new instrument track: AD2" will achieve the same thing?
"real players": I've said this for years....that the irony is that the same software tech that solidified timestamped PCM file formats for exchange over the internet ALSO introduced a whole lot of people to the technical failure that IS MIDI....and is being used to do MORE one man band stuff than collaboration. As someone who remembers when someone brought their 16 track open reel desk to my studio to LEAVE there for the weekend for me to cut organs and such for him....the fact that it can be done over files and email....I mean....DO IT. Particularly drums--this is the first time I've done serious work with faux drums in probably 20 years....and I STILL think I spent WAY too much effort on them--even with all the AI....the fact is--these 8 songs, done like I've been working would've had solid drums with a tiny fraction of the effort that would also make for a better finished product (IME)--had I not been hell bent on doing the one man band thing. It's about efficiency. A real drummer just....gets it done in a fraction of the time--nearly always BETTER, TOO....but, even if it's NOT better...even if you want to say seperate but equal "quality"--there's no debate how much quicker it is.
Hardware: I either print it or I don't use it. I really don't think it's super different in the end result....but, I can promise that printing it is both more efficient one the course of the project, but it also sounds different than it does using that same hardware after conversion--promise. Don't fully understand WHY....it just "is".
Choices during mixing is a quagmire. When I think about people today who leave stuff MIDI--change drum samples and piano samples....change the Leslie and drawbars on the organ....record DI guitar so they can re-set up all the Amplitube mining and choose different cabs or re-amp outside....I just....wow--I can't imagine EVER getting mix done. Because part of what I'm doing is building a sound brick by brick....I'm picking THAT piano sample because of the way it sits with the part I'm playing in context....if you go and change it--it can be like a house of cards--now the bass sound needs changing....or the part because the new sample is muddy through that range, blah blah....I "get" it--when you're being John Mayer. The 6 tracks on every guitar (DI, two mics on two amps in two rooms)....but, end of the day....someone is wading through that stuff who is NOT John. They're doing it because they CAN....and maybe it ends up making a little better recording in the end. But, that is not a home studio....and you don't have someone else wading through it with fresh ears. Doing all that safety stuff in a personal production scenario is like a mental illness. I'm not saying lock down something contextual like crushing the vocal and putting 15db of high frequency peak in there to "cut through"....dont' try to guess the nuances--but shape what needs to be shaped. If a mic is a little dark, open it up with analog EQ on the way in. If a bass tone requires some "punch", patch in a compressor and do it. But commit to your basic sounds and print them.
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Post by Martin John Butler on Sept 4, 2019 20:25:14 GMT -6
My productions are relatively simple, so my basic template works beautifully. I can easily add a few things as needed, but since it takes 10X longer for a mic to warm up than it takes me to be ready to track, the template has proven to work well for my admittedly simple productions.
Popmann's situation is obviously more complicated than mine. He's right about one thing, getting a real drummer sure works a lot better than virtual drums, it just expensive.
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Post by mrholmes on Sept 5, 2019 4:35:58 GMT -6
While I know people love their templates, I've never found them useful like Steinberg's ability to save "track archives" for import....so, if you have say a group of 4+ VIs on instrument tracks all routed to a reverb and with whatever panning and such that make them "string quartet"--you can save out those instrument tracks and reverb into a folder....and any time you want a string quartet in a project, you can just "import track archive". There are some limitations to this....but, I find even when I template--and I DO have ONE(see below)....I end up changing them and THEN wanting some aspect back....anyway--I know logic allows track/channel presets, which can go a long way towards this modular concept, too. I just find that setting u pa template....just makes for bloat--and in Logic has a particular issue, because any template of mine will have disabled bus processing (available to flip on with whatever starting point), which throws Logic's compensation engine. My ONE....is one I made, and literally modified three times during the process of this album, which is a Cubase template for a new song with Superior Drummer 3 loading my 7gb kit, broken out to 20 channels or whatever in the DAW--all to groups with channel level processing so that it can record the drums as multitrack AUDIO as they're being played by the Logic Drummer. Otherwise--bunches of routing to get the live streams going through compensated busses with processing and mono summing as needed to appropriate stereo or mono audio tracks--it takes a minute to set up, know what I mean? so I templated it....I've since stored the track preset for SD3 and a Track Archive of all the busses with processing--the combination of those allows me to bring that into any project with minimal effort. Anyway...I had to redo it a couple time during the album....once because an early version of SD3 had some kind of weird corruption on some snare bottom samples I didn't "hear" until they were all tracked....and somehow needed the whole kit torn down and rebuilt after a library update....THEIR fault....but, then the second redo was MY fault--I'd left the bleed out of the toms, and I realized how much nicer it sounded to put it in there....so, I rebuilt based that and I think modified some of the external processing.... My point being--templates are a bit of a mixed bag. You might ask yourself how much you can get away with other types of preset saving that Logic will allow. And also, if your fave drum kit takes .5 seconds to load....and it's the default when you open Addictive....I mean, that's the advtange in putting it into a template where "new instrument track: AD2" will achieve the same thing? "real players": I've said this for years....that the irony is that the same software tech that solidified timestamped PCM file formats for exchange over the internet ALSO introduced a whole lot of people to the technical failure that IS MIDI....and is being used to do MORE one man band stuff than collaboration. As someone who remembers when someone brought their 16 track open reel desk to my studio to LEAVE there for the weekend for me to cut organs and such for him....the fact that it can be done over files and email....I mean....DO IT. Particularly drums--this is the first time I've done serious work with faux drums in probably 20 years....and I STILL think I spent WAY too much effort on them--even with all the AI....the fact is--these 8 songs, done like I've been working would've had solid drums with a tiny fraction of the effort that would also make for a better finished product (IME)--had I not been hell bent on doing the one man band thing. It's about efficiency. A real drummer just....gets it done in a fraction of the time--nearly always BETTER, TOO....but, even if it's NOT better...even if you want to say seperate but equal "quality"--there's no debate how much quicker it is. Hardware: I either print it or I don't use it. I really don't think it's super different in the end result....but, I can promise that printing it is both more efficient one the course of the project, but it also sounds different than it does using that same hardware after conversion--promise. Don't fully understand WHY....it just "is". Choices during mixing is a quagmire. When I think about people today who leave stuff MIDI--change drum samples and piano samples....change the Leslie and drawbars on the organ....record DI guitar so they can re-set up all the Amplitube mining and choose different cabs or re-amp outside....I just....wow--I can't imagine EVER getting mix done. Because part of what I'm doing is building a sound brick by brick....I'm picking THAT piano sample because of the way it sits with the part I'm playing in context....if you go and change it--it can be like a house of cards--now the bass sound needs changing....or the part because the new sample is muddy through that range, blah blah....I "get" it--when you're being John Mayer. The 6 tracks on every guitar (DI, two mics on two amps in two rooms)....but, end of the day....someone is wading through that stuff who is NOT John. They're doing it because they CAN....and maybe it ends up making a little better recording in the end. But, that is not a home studio....and you don't have someone else wading through it with fresh ears. Doing all that safety stuff in a personal production scenario is like a mental illness. I'm not saying lock down something contextual like crushing the vocal and putting 15db of high frequency peak in there to "cut through"....dont' try to guess the nuances--but shape what needs to be shaped. If a mic is a little dark, open it up with analog EQ on the way in. If a bass tone requires some "punch", patch in a compressor and do it. But commit to your basic sounds and print them.
I just can speak for myself if I change the tools to often I don't know any tool right. The more I know the tools the more creative I get.
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Post by cyrano on Sept 5, 2019 6:52:02 GMT -6
Sorry for diverting. I read you suffer from ADD. That sprung an idea...
I've been working with data from audiologists lately. I also suffer from tinnitus. Since I had the occasion to get my hearing measured, I talked to several audiologists about tinnitus. Most of the good ones agreed a hearing aid could be a solution. So I've been wearing a hearing aid for a few weeks now. The tinnitus isn't gone. It's a bit less strong. It wasn't expected to be a solution in a few weeks either. Estimates go from 3 to 18 months before reaching a conclusion.
But.
It's the effect of that hearing aid injecting a tone to rectify the dip in the curve that the tinnitus caused that has amazed me. My entire body feels different. My concentration is far better. Sleep's better. I no longer wake up like a zombie, needing an hour and a half to get to a semi-human state. My hyperacusis is gone, completely.
It was at least 15 years ago that I had my hearing checked. The tinnitus came later.
Maybe it's a good idea to go for a hearing check?
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Post by mrholmes on Sept 5, 2019 7:06:03 GMT -6
I must laugh because we ADDs make the topic jumps often. ADD is a neurological Disorder something you are born with, my brain has a different function... it has nothing to do with hearing.
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Post by soundintheround on Sept 5, 2019 11:09:59 GMT -6
Smaller/less computer screens. Very slow or non-existent internet connection. Keeping everything plugged in and ready to go.
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Post by johneppstein on Sept 5, 2019 12:30:38 GMT -6
Well, I'm pretty sure that most everyone here is tired of my harping about it, but I've found that, for me, the most simplified workflow is to ditch the damn computer for all but basic recording functions and a bit of very, very rare remedial processing and to go to an (almost) all hardware approach.My "template" is the hardware; as an old live sound guy I generally have hard assigns for channels, plus a few spares in case something screws up. It does limit my number of channels, but for the kind of stuff I do I really don't usually need more than 24, plus 8 for returns and such. That fits well with my 24 track deck and 32 channel board and converters. All the outboard is routed through patchbays - the board has a pretty extensive one built-in, plus I've got a couple more in the rack.
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Post by popmann on Sept 5, 2019 22:43:57 GMT -6
While i don’t completely disagree-ive long complained about the nature of big bright visually stimulating screens in front of the creative’s face nearly full time....but, your advice for someone looking to make their DAW is don't use a computer?
Is your advice still the same when that person is also a one man band? You just multiplied the cost of instruments by a power of 20.
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Post by rowmat on Sept 5, 2019 22:48:22 GMT -6
My ideas for Simplifyng The Workflow...
1. Quit the recording business 2. Go fishing
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Post by mrholmes on Sept 6, 2019 3:39:47 GMT -6
Well, I'm pretty sure that most everyone here is tired of my harping about it, but I've found that, for me, the most simplified workflow is to ditch the damn computer for all but basic recording functions and a bit of very, very rare remedial processing and to go to an (almost) all hardware approach.My "template" is the hardware; as an old live sound guy I generally have hard assigns for channels, plus a few spares in case something screws up. It does limit my number of channels, but for the kind of stuff I do I really don't usually need more than 24, plus 8 for returns and such. That fits well with my 24 track deck and 32 channel board and converters. All the outboard is routed through patchbays - the board has a pretty extensive one built-in, plus I've got a couple more in the rack.
I have a compromise on this already.
I can be happy that I can use a friends' studio @ 50 bucks an hour including his assistant AE.
Anyway I have to dig deeper on workflow......
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Post by Guitar on Sept 8, 2019 18:30:50 GMT -6
Cubase template, carefully maintained and updated, has been huge for me the past year or two. Can't believe I ever did without one.
Drums are pre-miked (changes gradually over weeks/months) and pre-mixed. This makes for a super fast workflow with a live drum set.
Bass DI is ready to go at all times, with its own preamp. Guitar amps are miked, individual preamps for those as well. Vocal mic never changes unless I grab a handheld. Found the right mic for my voice, built it myself actually.
Patchbay makes hardware/hybrid stuff easy enough if I am in the mood. Mixer has all keyboard/hardware synth type instruments pre patched and available. All are chained to a MOTU MIDI interface as well, so I can play anything in the room with the MIDI keyboard that sits in front of my mixer/screens. Virtual instruments are easy enough.
It's all about workflow, working quickly. I load all kinds of plugins as needed, I use the Cubase "search" to load most of my plugins, I just know the names, it's fast.
I like the feeling of having a system and a vague sound in mind. I'm imagining that I'm some baby version of a Motown type operation, it's a fantasy anyway. If a song isn't working, I move on to the next one. If a song is working, it gets overdubs, extra attention, and more effort/time on the mixdown. Recall is effortless due to being 95% ITB regarding mix processing.
I'm trying to put out albums more frequently than in the past. It's easier now because I'm finishing more material. In the past, inefficiency actually led me to finish fewer ideas. Lots of half-formed stuff is floating around my hard drive, some strong ideas among them. Plenty of other stuff that didn't match the sound in my head and will live forever getting smaller and smaller. If you generate a lot of work, then you have the benefit of being choosy about what gets heard.
Need to make a point of collaboration but for a while now I am a "one man band." I have embraced it. It was hard at first but that was just the learning curve. I never have to argue with myself. I can do anything I want. It's mildly intoxicating. I'm slowly getting better at various instruments as well. Even getting better at guitar, which is kind of crazy because I've been playing for 20 years.
Collaboration has a lot of staggering advantages but it also can have drawbacks, often in the form of compromise, or dealing with someone else's incompetence. I know some great players, some of whom I have played with extensively, but they generally don't make themselves available for some reason. My impression is they want the same thing that I want, which is unfettered individual expression, so I can't blame them. There are some who are available in the sense of online collaboration that Popmann was talking about but I'm reluctant to jump into that. I don't know why.
Still love jamming with great players, etc, but cranking out material in my small studio is my general lifestyle. For now.
I'm not sure really what the end goal is or the master plan, but feeling like a kid in a wonderland is a good place to start.
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Post by chessparov on Sept 8, 2019 20:41:47 GMT -6
Less "recording needs" than any of you. So... Been happy with Multitrackstudio and Audacity for further editing. Still have the 'ol Mbox2 Mini (2009), and recently snagged a Mackie Onyx Blackjack. Stay'n Windows 7, as long as possible. Also have a mini-Elephant Graveyard of some 90's stuff. Vestax digital 6 track/Bellari LA-120/Nanocompressor/Nanoverb/Aphex Exciter Type C (which I hear is now curable!). Chris
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