Recording Basics-The place for recording beginners to ask and not feel dumb!greenspun.com : LUSENET : 3D Audio's Music Business Forum (SSS Temp) : One Thread
This is almost a "back to basics" question. What causes stuck midi notes and how can that problem be alleviated? I really would appreciate any and all responses. I use Cakewalk Pro Audio.
-- Gregory Howard (firstname.lastname@example.org), February 10, 1998
Assuming the menus are similar(I have 3.0) , go to "MIDI OUT" in the "Settings" column, and check "zero controllers when play stops". This should fix it.
-- (Twenty8000@aol.com), February 10, 1998.
In Cakewalk (at least in 6) there is a little "screaming face" at the end of the icons on the top. This is htere to stop just such an occurrence.
-- Kevin Thomas (email@example.com), February 10, 1998.
>>stuck midi notes<<
Twenty is right..check your MIDI out menu and check the box for "Zer Controllers"... also..if you are scrolling through patches or banks while the sequence is running, ocassionally you'll scroll during a sustain/duration command and the notes can stick that way...if none of the above works, make sure you have good midi cables.
-- Donny Thompson (Donny269@aol.com), February 11, 1998.
>>This is almost a "back to basics" question. What causes stuck midi notes and how can that problem be alleviated? I really would appreciate any and all responses. I use Cakewalk Pro Audio.
One thing that'll get you is if you play in say... an eight bar phrase, and one note lags 9 clocks into bar nine. Not noticing, it gets chopped off, hence no "note off" byte, so cakewalk thinks you're still holding down the note.
Oh, and then there's the sad fact that there's just a lot of voodoo going on with MIDI. Anyone remember hearing of the MIDI-2 spec that utilized the same DIN5 cables? (only three pins of the 5 are curently used for xmission) What happened?
I hope they don't change the cable! I've got a jack tattood on the back of my neck.
-- the artist formerly known as ai3000jfs (firstname.lastname@example.org), February 12, 1998.
Hi ya'll, me again! I'm still trying to get that "sound" without spending a whole lot to get that "sound". Question: Do you compress the keyboards going to tape or just on the mixdown? Question: What does "out of phase means", laymen speak please? Question: Do you always leave DBX on during recording and mixdown and if so, does that add more bottom to the tape?
Lynn said I could ask without feeling dumb, so I feel better now that I've asked.
-- Gregory Howard (email@example.com), February 17, 1998.
>>Question: Do you compress the keyboards going to tape or just on the mixdown? Question: What does "out of phase means", laymen speak please? Question: Do you always leave DBX on during recording and mixdown and if so, does that add more bottom to the tape?<<
Howard, fair questions, both of 'em. I assume you're using a cassette type multitracker. The answer to your first question is: it depends. If you are recording sounds such as bells, pianos, or other sounds which have a strong "attack" at the front of each note, or soundw which vary radically in volume over the time the notes are held, it may not be a bad idea to compress on the way in. However, a lot of synth and sampler patches, such as string pads, etc., are pretty limited in their dynamic range or, the range between loud and soft sounds in a patch, so compression isn't really necessary there.
As for out of phase....hmmm, let's use a simple example, that of the two stereo channels of the mix. Each sound is composed of both positive and negative voltages in its waveform. On sounds that appear in both channels, like a kick drum, for example, if the channels are out of phase, the positive voltage on one side thinks that it's negative. Then you have a case where the positive and negative are trying to cancel each other out, or put more simply, one woofer is "pushing" and the other is "pulling" which makes the bass drum sound thin, instead of both woofers "pushing" at the same time, in which case, your killer kick drum track knocks you across the room. This is as simple an example as I can think of, hope it helps.
DBX: If you are using a cassette multitracker, or narrow guage open reel with outboard DBX, you probably want to leave the DBX on all the time. The bass boost is most likely a side effect of the DBX, or in some cases, a slight mis-calibration of the DBX circuit will do this. My old Teac 3340 did this with DBX. It was kinda cool until you got to the 3rd or 4th bounce.
I babble, therefore, I stop. Hope this helps!
-- Tom Armbruster (firstname.lastname@example.org), February 17, 1998.
--Hi ya'll, me again! I'm still trying to get that "sound" without spending a whole lot to get that "sound". Question: Do you compress the keyboards going to tape or just on the mixdown? Question: What does "out of phase means", laymen speak please? Question: Do you always leave DBX on during recording and mixdown and if so, does that add more bottom to the tape? --
Here's a good way to explain out of phase- 1+1=0. Try triggering the same sample/same note at the same time and check the results. Unpredictable and thin! For most of us, common sense is much cheaper than a phase correlation meter or a scope, though they are nice to have around.
-- the artist formerly known as ai3000jfs (email@example.com), February 18, 1998.
>> IE DBX question...<<
Depending on the machine you are using, it's quite possible that it was biased and aligned with the DBX encoded. I'm not a fan of DBX, but have worked on a few machines where it is absolutely necessary. Besides the standard cassette based multi tracking units, the Tascam MSR 16 (1/2" 16 track reel) comes to mind....sounds absolutely horrible without the dbx function...(*although I'm still not a fan of this deck even with the DBX on..LOL) I find that DBX has a tendency to "muddy" up the low end, I'm not a fan really, I still have a DBX type I encode/decode rack unit that I used to use on a cheap 2 track reel to reel...it pretty much just takes up space now...anyway..you might have to use the DBX function on these lower $$ decks...it does affect the sound, but not as bad as when you disable it..(hisssssssssssss).
Just a thought..
-- Donny Thompson (Donny269@aol.com), February 21, 1998.
OK. Let's talk Internet audio basics. Who knows anything about Shockwave audio, and would care to enlighten me? I am very interested in the best audio delivery format for the web, and Shockwave seems like it might be a contender. Anybody have any experience with it? I have been playing with RealAudio for the past week and have reluctantly added RA clips to my web site. As you will hear, the quality is somewhere between telephone and tin-cans with a string. But when you shrink something from 5 Million bytes to 68,000 bytes, what can you expect? I guess it's pretty impressive that it can even be done at all. If you want to hear how it turned out, check the Audio Clips link from the 3D Audio web page. (Thanks jfs for the tip on how to do that!) This webcasting is going to get pretty interesting in the next few years. I guess the next step will be mastering houses for internet audio. After I finish my research, you can bet I'll be hanging out a "Web Audio Specialist" shingle. It's pretty daunting, and not terribly satisfying, due to the limitations of the medium. But we've come a long way with cassettes, so here's the next opportunity. Let's see how far we can take it.
-Lynn Fuston 3D Audio Inc Web Audio Specialist Hopeful
-- Lynn Fuston (firstname.lastname@example.org), February 22, 1998.
What kills me is that when I was examining some of the Real Audio sites, some of the sound quality was described as being "AM Radio" or "FM Radio" quality. Yiiiiiiikes! Are these people actdually listening to the radio? My lowly clock radio on AM still sounds better than any Real Audio clips I've ever heard.
BTW, I have a bunch of Real Audio clips on my page, if anyone's interested. On the site that is hosting my website, there are a bunch of Real Audio Radio Shows -- weird stuff, world music, female artists, etc. And then on my own Eleven Shadows website, there are a bunch of Eleven Shadows Real Audio things that you can listen to as well.
-- Ken/Eleven Shadows (ElevenShad@aol.com), February 22, 1998.
An internet music format worth checking out is Beatnik RMF. Although it's synth/sample based, the quality and the variety of sounds are inspiring. They have this great "atmosphere generator" that adds a whole new dimension to time spent on the internet. http://www.headspace.com/beatnik/
-- (Twenty8000@abac.com), February 22, 1998.
Hi, I have a question. While I'm recording my friend's voice with effect sound, I could hear effect sound. But after recording, when I listened to the sound, it was just dry, no effect sound. What happen?
Here is my equipment.
Mackie CR1604vlz ADAT xt Quadraverb
Sound runs from mic to Mixer to Quadraverb(aux1) to mixer to ADAT.
What should I do?
Asked by Ken Uchida (Axis email@example.com) from 184.108.40.206 on February 22, 1998.
-- Ken Uchida (Axis27@aol.com), February 22, 1998.
Sounds to me like you were monitoring the FX return , but not actually bussing the effect to tape (your Adat).
You mentioned that you were using Aux 1 as an FX send to your quadraverb. How were you returning the effect to the board? Through an dedicated FX return? Through an actual Channel (or channels in stereo)? Basically, you were hearing the effect on your friends vocal input, but you weren't assigning the effect to the tracks on the tape deck. Just because you hear an effect while the tracking is taking place does not necessarily mean that the effect will go to the same track... if you are using a dedicated FX return on that board, (I'm not familiar with your console) make sure that the FX return is not just capable of sending the actual effect through the stereo buss out (for mixdown). You may want to try and return the effect through an actual channel I/O (or 2 channels if it's stereo) and assign those channels to the same track that you have assigned the vocal too... Be careful though...unless you are absolutely sure that you want that effect on tape..you are stuck with it once you print. I prefer to add FX on the mixdown stage myself, that way I can change my mind without sacrificing the original performance. Just a thought...
-- Donny Thompson (Donny269@aol.com), February 23, 1998.
Ok, here's a a series of stupid question on the matter of EQ: I recently aquired a spectrum analyzer demo which operates on my PC by evaluating inputs to the sound card. My intent was to perhaps improve the muddy quality my mixes seem to have, plus I was looking to improve my ability to isolate & discern various areas of the sound spectrum....
I've never used any type of SA before, so I wasn't really sure what to expect. The window came up with a standard algebraic type graph with an x & y axis, with Hz listed as I expected, but where I expected to see amplitude in dB, it was listed in some strange decimal Hz scale??? Such as 0.000003x10E-5 or the like. This really confused me... can anyone explain this?
I attempted to analyze several tracks individually, then 8 all at once. I found that the area of 20Hz to about 1600Hz registered a positive amplitude, and at about 1600Hz, everything (vocals, cymbals, everything) dropped below the x-axis -- the whole way out to 20KHz. I set the volume to my sound card to the maximum I could get without clipping each time. Does this mean anything of significance, ie, are my mixes extremely bass heavy? Or should I ignore relationship to the x-axis and concentrate more on where various instruments overlap in order to isolate them better?
That brings me to a final question. My mixing board has a basic hi/lo type EQ [Fostex DMT8-VL], and I could see little to no impact on the analyzer no matter what I did with the EQ....I mean full extremes. Does this mean my EQ is crap? Or is the analyzer crap? Or, maybe it's the operator??
I was hoping to get a better handle on EQ, clarifying my mixes, and training my ears with a spectrum anaylizer, but now I'm more confused than ever. Any help would be appreciated.
-- Mike Moncilovich (MRM917@aol.com), February 24, 1998.
[That brings me to a final question. My mixing board has a basic hi/lo type EQ [Fostex DMT8-VL], and I could see little to no impact on the analyzer no matter what I did with the EQ....I mean full extremes. Does this mean my EQ is crap? Or is the analyzer crap? Or, maybe it's the operator?? ]
There are a few flaws to this setup. One is that your computer may be a bit slow to show transients, etc., as they happen.
Two, it's analysis is only as good as what you give it, that is, if you're running a stereo pair of phono cables in to be analyzed, you've already compromised the integrity of the data.
Three, most programs under $1000 for either platform aren't designed with absolute technical accuracy in mind. A $200 oscilloscope program is not the same as having the real thing.
If you are really concerned about frequency analysis, I'd consider honing your listening skills, since you're playing your music for humans and not sound cards in the end, and maybe a RTA such as the behringer ultracurve to monitor and make eq adjustments. Using your ears is much cheaper and easier to do though.
-- the artist formerly known as ai3000jfs (firstname.lastname@example.org), February 28, 1998.
This isn't an answer, but a question. I have Cubase VST and need to buy another HD...for a small "hobbyist" recording project. I have a Mac 7500/200 with what the manual calls a SCSI connector. Excuse me, but is this the same as a SCSI card? It has a Internal Fast SCSI bus (up to 10mb/s), and an external SCSI bus (up to 5mb/s). What sort of HD do I need for audio recording? How fast? I was waiting for the "Orb" removable (see posts on "Ask 3DAudio"), but even in checking their own website, it sure looks like it will be sometime down the road before its out. What should I be looking for? Second Internal drive? External? "A/V" drive? thanks. You said we could ask dumb questions.
-- Patrick Altes (email@example.com), March 06, 1998.
>What sort of HD do I need for audio recording? How fast?<
Get a fast drive. At least 12mS access time and 3-4 M throughput. That's not that uncommon these days. I have Quantum 4G Atlases and Seagate 4G Barracudas. These are both good drives. The Seagate has been less trouble than the Quantums, in terms of repair returns. It costs more, but worth it. Unless you need to move the drive around, go with the internal and install it in your computer. For $100 more, you can get an external and take it with you, or take your soundfiles to someone else's computer. Having it external buys you a lot of flexibility too. My first choice would be external, for sure.
-- Lynn Fuston (firstname.lastname@example.org), March 06, 1998.
Lynn's advice was right on target..get a fast drive. Also, prices have dropped so drastically on HD capacity that you can get into a good fast 4-6 gig drive for not much cash...I recall a session about a year ago where the client brought in an external drive with audio/SDII files, and we couldn;t get it to work right..we kept getting clicks, pops and glitches; as a last resort, I transferred his original files to my hard drive and everything ran fine at that point. We later learned that the drive's speed was too slow..... I would opt for external, I am using a Charismac 4 gig on my 7100 Mac and it works great. Keep in mind that most Macs, to my knowledge, are SCSI based interface. This would allow you to take the drive to other studios that are Mac euipped and do further editing, as well as transfers to tape, etc...
Just a thought.. Donny
-- Donny Thompson (Donny269@aol.com), March 08, 1998.
Anybody know where to find a good video tape on mixdown and four track or 8 track cassette based recording? (I haven't the money yet for an ADAT or a TASCAM -DA38 or the Roland VS880). I want to know what can I do to get my music sounding close to CD quality. Will better reverbs (mines a Alesis Microverb) or a better compressor (mines a DBX 262) do the job?
Howard (answers can also be emailed to me at email@example.com)
-- Gregory Howard (firstname.lastname@example.org), March 10, 1998.
"I want to know what can I do to get my music sounding close to CD quality. Will better reverbs (mines a Alesis Microverb) or a better compressor (mines a DBX 262) do the job? " A good mixdown machine is critical. Without it, no one outside the control room will ever know how good your music sounds. You might consider MiniDisc (Craig would approve). Or hi-fi VCRs can provide acceptable results, but that won't be much of an improvement over cassette. I would recommend good reverbs over compression, for an overall improvement in sound. I worked on an 8-track machine for a few years, and the single biggest improvement in sound (other than the Neumann U-87 we bought) was when we added a full-size reverb plate. Before that we were using cheap analog verbs (yes, Virginia, there was recording before digital reverbs existed). When we got the plate, a massive behemoth that was 9 feet long by 18 inches wide by 4 feet tall, all of a sudden our demos sounded like real records!! Nice surprise. That was a real eye-opener to me.
Anyone else have suggestions?
-- Lynn Fuston (email@example.com), March 12, 1998.
....Anyone else have suggestions? ....
About four million.
When you have one verb and one dynamics processor, you need to use them as much during tracking as mixing. It's not 'proper' by any stretch, but if you can get a sound you like and can commit to, print it to tape, freeing up your units at mixdown.
And when working with cassettes, remember to add a little shine to the stuff as you track it, cassettes are not known for their high-quality high-frequency retention.
-- jfs (firstname.lastname@example.org), March 13, 1998.
Another Recording 101 question (I'm still on the bottom of the learning curve. Please be patient!). What about those pounding "P"'s on vocals? I was recording a great vocalist last night (using Cubase VST on Mac, Shure M58 mike, through an Alesis Microverb. Yes, low budget all the way!!!!!) and actually everything sounded pretty good if I say so myself, except for EXPLODING "P's (imagine this with a Christian worship song...P!raise the Lord!!, with the "P's" sending the meter into orbit!). What can I do?
-- Patrick Altes (JPAltes@aol.com), March 17, 1998.
"actually everything sounded pretty good if I say so myself, except for EXPLODING "P's (imagine this with a Christian worship song...P!raise the Lord!!, with the "P's" sending the meter into orbit!). What can I do? "
Pat, here are a few things you can try. First and foremost, use a windscreen. If the situation is severe, which it sounds like yours was, use the foam type that fit over the end of the mic. If less severe, you can make a popper-stopper from a coat hanger with panty hose stretched over it. You can always move the singer farther away from the mic, but that may have severe sonic consequences. Or have them sing across the diaphragm of the mic, instead of straight into it. Have them stand 30-45 degrees off axis and sing directly to the center of the mic. Any or all of these will work and sometimes you may have to combine them. Given that you are using a 58, I would probably suggest the foam cover on the mic head. These are available cheap at Radio Shack. Let me know how it goes. -Lynn Fuston
-- Lynn Fuston (email@example.com), March 17, 1998.
<< and actually everything sounded pretty good if I say so myself, except for EXPLODING "P's and actually everything sounded pretty good if I say so myself, except for EXPLODING "P's>>
Lynn's suggestions are right on and are the first things to try. Simple, effective and cheap, pretty much my prime criteria! If you find that that take was THE take, and it just can't be reproduced, a compressor with side chain patch points, run through any old cheap graphic EQ with all the low end sliders pushed up and the rest of 'em pushed down, can help to grab the exploding P's and compress 'em without squashing the rest of the track too horribly. You'll need to twiddle some knobs and sliders to get it right, but that's the basic deal.
-- Tom Armbruster (firstname.lastname@example.org), March 19, 1998.
Both Lynn and Tom made excellent suggestions, the only suggestion I would make is that if you choose to use a pop filter, I'd opt for the wire frame/mesh screen type that you can place anywhere in front of the mic... I don't really care for the pullover or "condom" type filters that actually fit over the mic, I feel they affect the high end clarity...
Just a thought..
-- Donny Thompson (Donny@aol.com), March 20, 1998.
It's me once more. Thanks for following my trials and tribulations of Home Recording 101. So now I've got several decent sounding tracks recorded via Cubase VST onto my HD (got a great deal on a Seagate Barracuda external 4.0 gig for around $315). Now what? Is there a way to give this data to someone to "master"? How would I do this...these files are huge! Too big for a Zip. I've built a ship in a bottle! O.k., get ready....dumb question coming up: Assuming I could get the file to them, could someone at a real studio be able to open up a Cubase file with a more-common software program, let's say Pro Tools, and work on the song that way? I mean, all the Cubase song is a MIDI file and some AIFF files stuck together, right? Once again boys and girls I greatly appreciate your assistance.
-- J. Patrick Altes (email@example.com), March 30, 1998.
>>So now I've got several decent sounding tracks recorded via Cubase VST onto my HD (got a great deal on a Seagate Barracuda external 4.0 gig for around $315). Now what? Is there a way to give this data to someone to "master"? How would I do this...these files are huge!<<
Typically, you would mix all those elements together down to a stereo soundfile (on DAT or CD) that you would then send to a mastering facility, like 3D Audio (shameless plug) and we would make it sound its best and then generate a PMCD that you can send to manufacturing for duplication. If, on the other hand, you are looking for someone to actually do the mixing for you, you will wither need to transfer everything over to a common tape format (ADAT/DA-88), or find a mixer/studio that has a similar setup to yours so that they can mix it for you.
-- Lynn Fuston (firstname.lastname@example.org), March 30, 1998.
Howdy... here's a question I brought over from the Digital Recording area.
When using the new Sony DAT machines with the SBM function, is there anything to know about or be aware about when mastering; or lets say that you might want to transfer your DAT master onto a CD burner? Does the SBM mess up the D/A converters of the CD burner or pull any tricks that screw up the process? Anything to worry about? Just curious! Thanks!
-- Cam Millar (Ccmillar@aol.com), March 30, 1998.
"If someone was writing a book about ways to improve home recordings, what are some topics that you think should be covered? What are questions that you have, and would like answered. These should be questions about recording that would be common to everyone, not specific equipment related questions. Any ideas?"
------------------------------------------------------------------ I'd want to see something that offered an overview of various kinds of recording equipment with the advantages and disadvantages of each from not only the author, but perhaps several other people. These opinions may be dissenting somewhat, but at least the topic would be well-covered. I think that people are genuinely confused when they are trying to enter into the recording world. The book should cover the advantages/disadvantages of MDMs, HD recorders, computer recording, analog tape of varying sorts, etc. etc. Same with mixers, microphones etc.
This will not help recordings sound better at all, but I just thought I would say that! What will help recordings better is the second half of the book, or Volume Two! Microphone technique/selection, how to really use a compressor, how to use reverb without swamping everything in a hideous floating miasma of sound, and EQ basics (when to use it, when not to use it, the advantages of cutting vs. boosting, etc.)., how to get sequences/drum programs to sound just a little bit more natural, arrangement basics (ha! now *this* oughtta be interesting!), constant reminders to stop using factory patches on all your sounds (!), and all that fun stuff. And then finally, mixing tips, including how to mix so your drums and bass are actually audible the next day...a list of common microphones and their applications may be a handy little chart for people...
I have all sorts of ideas for books like these and once in a while will get a comment from someone on one of the newsgroups or one of the people who record here that I should write a book about this stuff. However, that is quite an undertaking, and then, who the heck would publish it? They'd probably say, "Who the !&(*(%! is Ken Lee? And what are his credentials?"
(Q and A reprinted from the Business of Music folder in the hopes that people will Lynn's very interesting question and comment on it)
-- Ken/Eleven Shadows (ElevenShad@aol.com), March 31, 1998.
That supposed to say, "...people will *see* Lynn's very interesting question and comment on it." Little gremlins snuck on and stole that word. Really, whenever you see me write something that is obviously wrong, ungrammatical, or mistaken, it's undoubtedly something that's occurred in the all-too-fragile process of having the words transferred across those oceans of computers, just to get to Lynn's website. Thanks for understanding...
-- Ken/Eleven Shadows (ElevenShad@aol.com), March 31, 1998.
''Where do I start?''
That's the question I would ask... But divided up into sections. In other words, when I use a new piece of equipment, that I haven't ever tried before, it takes quite a while to REALLY learn what it could do. Or more specifically, what the controls would do. An example...
A few years ago, with my first compressor (that actually had attack and release controls!!) I took quite a while to learn what each control did. I could read in a multitude of books that the threshold control sets the level at which the comp. starts to work... but I think I'm still learning exactly where to set it for whatever type of material.
A book that maybe gave a starting point to begin learning about compressors... Or reverbs or EQ or whatever. Maybe even some exercises to hear exactly what is happening to the sound for each different effect... (Now that's weird... Instead of the word effect, I almost typed 'plug-in'!) (The computer must be getting to me already.)
Now that's another idea! Exercises! Say, like... 'Record a steady snare drum hit, about one hit every second or two. Now, play back the track and [insert reverb adjustment here]. Hear the difference? ' Now, what sound would be good for compressor? EQ? Delay? Come on, people! Let's REALLY teach people... (I think I'm already set to buy a copy!)
-- Andrew Mazzocchi (MeatWeasel@aol.com), April 01, 1998.
It's not so much a book but a video, or avi, or mpeg file that will help the most. Books don't carry the audio examples that is needed to clarify the differences in sound. I agree with most of the other supporters of this idea. But a book...nah. Video, cd rom tutorial or some other computer visual format. I bought a video some years ago that helped a whole lot better than the 50 or so books I had read. Now a combination of the two would be the best concept!
I love the work you're doing. I'm still having problems getting that cd quality sound (even with all the mechanics I purchased).
Talk to you later.
-- Gregory Howard (email@example.com), April 04, 1998.
I have a question. I am in the process of setting up a home-based studio and I have an extra bedroom I would like to remodel into a recording studio. I would like to build a 6 foot by 6 foot sound proof room within the room and use the rest of the room as the control room. My question is how should I build the room in terms of acoustics? Should the 6x6 room be covered in sound deadening foam for a completely dry sound or should there be some room ambiance? I've read some information on reflections and standing waves, etc., and was planning on building the walls at vaious angles to prevent this. Is this the correct approach? Any and all help would be greatly appreciated. Thanks in advance, --Joe--
-- Joe Bajuk (firstname.lastname@example.org), April 04, 1998.
You're only going to be able to accomplish so much in a room the size of a standard bedroom. I would be more concerned about sound leakage (both externally and internally, you don't want to piss off your neighbors by recording a Marshall stack, but you don't want tracks ruined when your neighbors decide to work on their lawnmower either..) As far as soundproofing for reflections, I've found that a little "sonex" (or any other brand of foam) goes a long way.. if you would take 12" x 12" squares, you'll find you get a lot of absorbtion if you stagger them ala' checkerboard style...and you'll save money by not doing the whole room ceiling to floor. Avoiding parallel walls does help against standing waves, but again...in a room that size there's only so much you can do. You won't get a tremendous amount of ambience anyway (I'm assuming that your bedroom is a "basic size", 9x11, 10 x12, something like that?) Like I said, I'd be more concerned about leakage. Another thought... you may want to forego permanent installation of any sound absorption material, and use blankets or curtains on the walls, and carpet (unattached) on the floor...that way you can make the room as live or as dead as you want depending on the tracks desired.
Just a thought... Donny
-- Donny Thompson (Donny269@aol.com), April 07, 1998.
Help with MIDI!
Okay, I figured out how to record the sync signal to track 8. Playback with Alesis SR16 drum machine was fine. ( I went out of Pocket Sync to Midi in on SR16).
Now here's the catch. If I go out of SR16 into MIDI in on the computer and midi out of the Computer into Midi In on the Korg and out of Korg into Midi in on the JV30 (will that play the sounds from the Korg and Roland with the beat activated on the drum machine)?
Now after that, how do you go out of the controller to record more tracks while the sync is playing?
P.S. I got scared. I thought I lost this board. It didn't come up earlier. Whew.. I don't think I could take another (software cold turkey). I remember SSS and Craig.
-- Gregory Howard (email@example.com), April 23, 1998.
I'm a cheapskate at heart, so keep that in mind.
Radio Shack makes a big deal that some of their mikes are manufactured by Shure. One of their condensor mikes looks EXACTLY like a Shure BG4.1 as far as I can tell. Theirs is $69.00, the Shure around $160.00. What are the chances....???
-- Pat Altes (firstname.lastname@example.org), April 28, 1998.
>> One of their condensor mikes looks EXACTLY like a Shure BG4.1 as far as I can tell. Theirs is $69.00, the Shure around $160.00. What are the chances....??? << Shure manufactures a lot of mics and diaphragms for other companies. Frequently the casing or diaphragm may be similar, but the quality of the contents may vary widely. The only way to tell would be to put them side by side. I would try the Radio Shack and if it sounds good, then for $69, you can't go wrong. Radio Shack also carries PZM mics which are made by Crown, and they are cheaper than the Crown equivalents, though not identical.
-- Lynn Fuston (email@example.com), April 28, 1998.
I'm looking ot get a small mixer for my midget setup... something with 12 channesl or so. I've looked at the Mackie's, and noticed that Tascam has a model, and was wondering if anybody had any suggestions, reccomendations or caveats. What I'll use it for is recording some synths, a drum machine and assorted acoustic and (mainly) electric guitars onto 4-track and into the computer.
-- Kevin Thomas (firstname.lastname@example.org), May 25, 1998.
O.k. how about a good recommendation for a basic CDR? Wanting to archive Cubase VST files, and also create a audio CD to send out for mastering.....I would appreciate your feedback.....!
-- Pat Altes (JPAltes@AOL.COM), June 09, 1998.
I would suggest you call Mac Mall and get a CD-R. They're CHEAP!!!!
Get Toast bundled with it and it works great with VST!
Are you using a Mac?
E mail me for more info. I use VST and burn CD's like crazy...
-- Matt Fortier (Matt Fort@AOL.com), June 10, 1998.