I feel really good about my ability to get natural reverb sounds that you don't hear but make source's sound real. I really like using room mic's and delays to extend snares and make vocals more full etc. What I really want now is the big lush unnatural great sounding reverbs. How to solve the problem.
I fundamentally believe that it is the engineer that matters more then the tools. I thought before I drop a bunch of cash on a new reverb I'd work with what I have
That's right. Lady Gaga has been officially busted for plagiarism. By whom? The New York Times? Rudy Giuliani? Lenny Dyskstra?
Nope. Me. I'm officially busting it right here. Rule #1 - You can use cliche chords all you want
Every new musician goes "Oh, X song uses the same progression as Y song....they ripped them off!". That's bullshit and everyone who's written more than 200 songs knows that there aren't that many damn progressions. You can
"Well, to overly simplify a long and very complicated story, you sing and play into mics. Now those mics plug into a magic box, and the magic box plugs into a computer. And someone sits at the computer while the person is singing or playing and tells the magic box what to do and how to do it. The computer records the sounds coming from the magic box, which come from the microphones. Does that make sense?"
I know we've ALL been there haha...that was my most recent attempt.
Analog is a total pain without automation and instant recall and not worth the trade off for the supposed benefit in sound. When I compare my perceived benefit in sound vs. my ability to go back quickly and tweak a couple things and/or switch to a different song and come back when I need to if it is not working. I can tell you that there is no contest I must have automation and almost instant total recall. My Bias
I firmly do not believe that summing does anything
Here it is: The long-awaited recipe to transform your already good Rode into something excellent. The one pictured is an NT-1, not NT-1A. There are only two surface mount components and everything is very high quality inside. The weak link of this mic is the fact that the headbasket rings, making it seem bright and awkward in a mix. The second problem with the early model is the rolled steel body. It's a little ringy, too. The capsule sounds great. The electronics are excellent with a nice clean
Updated 03-21-2013 at 02:49 AM by brandondrury
Skip to 45:06. If you are in a hurry, skip to 46:40. http://www.youtube.com/watch?v=gGwaHBH4_Oo
This is the mindset of A-list engineers doing music that people still, mostly, buy. While you may prefer the sonic aesthetic of 1970s levels, I think it would be wise to consider this approach. It's the mindset I've adapted.
To those who are having trouble making their music sound good AND loud, I'd do more
Updated 07-19-2011 at 01:51 PM by brandondrury
I get quite a few emails every day that talk about building a new computer for home recording and choosing Windows XP as the operating system. XP has been stable for a long time, maybe too long.
I switched to Windows 7 in December of 2010. It took me about two days to get used to what was new and what was different. After that, I've never looked back.
I've found Windows 7 to be CPU efficient, reliable, and easy to work with. The search function is dramatically
As most of you who use BFD2 know, this otherwise great piece of software is only able to use mono or stereo user samples, thus negating us the possibility of doing a direct/overhead/room/ambience/bleed (11 or 12 channels!) custom sample. There's no official way around it. When LSUTigh started this forum thread I knew I wanted to be able to use the samples we're sharing inside BFD2 without losing functionality. So I dug a bit and developed a method that works.
A few things I noticed:
Updated 08-02-2011 at 02:42 PM by Mackanov
I was in a position were I had a successful music teaching school, had been recording forever but it was second banana to teaching, income wise and facility wise. This went on for about 6 years or so until 5 years ago when I was purchasing a building for my business. I ended up purchasing an old mechanic's garage on the main street of a bedroom community just outside a major center. The main area is 3500sq feet with another 1000sq ft addition. The ceilings are high 13'5 ft sloping to 15.5 ft.
So I'm a 22 year old kid trying to become the next big thing in music. Just like that guy who did Anvil's last album or Uncle Bob.
What happened now to me is, I offered to some musicians I found in a pub the chance to record some good songs. 6 to count them. Everything seemed perfect, simple, and most importantly non-intrusive.
The story begins with 'Rain Dogs' a Tom Waits cover band playing in a local band, just after I came back from a town where I spent a few
Updated 10-17-2011 at 02:24 PM by brandondrury
Please note that I’m not an expert on acoustics or these products, I just did a lot of research. If anyone can point out anything incorrect that I said, I will edit this ASAP. Not the most interesting article, but I wanted to give a comparison of the insulation materials available and show people who were going to make some the inexpensive and simple process that it is.
So I was looking at making some cheap broadband absorbers, and was going to do the Owens Corning 703 wrapped in
Updated 10-17-2011 at 05:02 PM by na118
First, this machine and I are no strangers. Presumably you have to know someone pretty well for them to let you put some pipe in them. (see previous blog)
I am always trying to get the most out this machine. It hasn't failed to be at least competent and some things it can do are really great. Want to learn gain staging quickly? Pick up one of these things up at a yard sale.
After sound checking at drum kit and doing a bunch of EQ on each mic in the DAW, I thought,
I love that I am still learning a ton about this stupid obsession. It definitely is not just a job. Recording=insanity.
So title is a little grand but here is what happened. I've been on the search for 2 buss eq. I had 2 API 550b's delivered yesterday and had very disappointing results putting them on 2 buss. The Big Picture
If you read through my blogs you'll find that in October I said I was going to sell a bunch of stuff and get "the gear"
I have two sets of studio speakers KRK5's and HS-50's plus some little altec speakers. I have ARC'd all of them. These are low budget speakers but I can pull decent mixes out of them especially with the help of ARC. I find that the reduced low end of ARC can be a little challenging in the 100 hz range. I am still guessing there a little. One thing I started doing is using my monitors with and without ARC. Treating them as 4 sets of monitors that show different parts of the mix. This helped
Updated 02-02-2012 at 04:24 PM by brandondrury
I’m having voice lessons again. Not singing lessons – I’ve done my share of them and they never really suited me. I’m finally starting to realise why. I’ve signed up for 10 two hour lessons in a group session and thought I’d write down my thoughts, to try to remember stuff and make better use of it all… I thought it was pretty interesting so am posting it out just in case anyone else finds it interesting too..
The tutor is Sylvia Rands, a ‘voice work’ coach. Her work is a