Hot answers tagged

10

Before spending a lot of money in a studio (as studios can be expensive) it's a good idea to demo a few songs yourself beforehand. You don't have to be an expert mixing engineer, all you need is just enough to get an idea of how your band and songs sound. Listening to yourselves back on recording and performing live is as different as night and day. So you'd ...


10

A DI box breaks the galvanic connection. It's most important use is breaking ground loops, and also for changing unbalanced signals to balanced (the latter transfering better over long connections). If your effect boxes are running on battery and are not mounted on metal and go to an instrument amp (rather than a mixer) next, the DI box will not do much ...


10

The simplest way to do a guide track, is simply to record the vocals for a song, along with one accompanying instrument (maybe guitar or piano). These parts don't need to be recorded well enough to be used in the final recording, but they would need to follow the same structure (length of sections and order of sections). These parts can then be recorded ...


8

Stage monitors generally come in two varieties- powered and unpowered. The first need AC power (220v in U.K.) to run, just as an ordinary guitar amp., p.a. etc. would.The other is passive, in that it is a speaker cab.As such, it will need an amp. externally to run it, as well as being connected, often by jack plug, to the sound out. Phantom power is DC, and ...


8

The only measurements of speaker parameters made before and after alleged break-in periods I could find online support the notion that break-in is almost entirely a myth. The essence is that any physical changes that a speaker undergoes when it is first made to move are almost instantaneous and almost always occur doing factory testing, so any "break-in" ...


7

One simple "technique" can improve your solo recording drastically: whenever you start recording a song, begin with recording a guide track. This is a track where you sing the song, accompanied by a rhythm instrument such as an acoustic guitar or a piano. You don't need to play or sing everything right in this track, but it's important to get the rhythm ...


6

I would say more important than that is to have a goal on each recording session. Based on experience with your band you could say: We record one song per day or We record 3 songs per day. I think you should try it. When you set a goal for the first session and you see that the bands concentration is gone after 2 hours, then set sessions with 2 hours. If ...


6

In band rehearsal, the mix typically isn't really good anywhere in the room. And it needn't be, because since everybody has their own amp, there's very good spatial separation. Which is almost as useful as frequency separation for making everything audible. To fully exploit this, make sure everybody hears everybody else from a different direction, i.e. place ...


6

Very simply: a DI (direct input) box is a utility, not an effect. It lets you run the input of an instrument directly into, say, the mixing board. This is sometimes necessary for the grounding/balance reasons user15196 mentions. Other times, it's desirable for aesthetic reasons. For example, I've seen bass sometimes recorded directly: bass -> di box -> ...


6

It sounds like your problem is you've been told (as we all have) that the quality of a recording is determined by the quality of the recording equipment, which is completely false. The quality of a recording is determined by the skill and experience of the recordist. You wouldn't post a question saying, "when I play bass, it doesn't sound like Les Claypool. ...


4

I think this would belong more on the audio site. However, what you're looking for is an audio interface. You can get them ranging from 1 to maybe 10 inputs, possibly more. As the number of inputs go up, so does the price, in a big way. Also, with mic's, you may get some bleed of other instruments into the mics unless you've got a really nice setup with a ...


4

I can't tell you what might work best for you to reduce the amount of time you are spending on your recordings. But I can tell you what works for me. Before I am ready to record a demo of an original song, I have carefully written a lead sheet with lyrics and chords and practiced playing the song and singing with it as if I were performing it solo. Once ...


4

The situation is normal in the sense that it happens very often. From what I know the most popular way of avoiding it in the future is building your personal experience and working with highly experienced professionals. Ideally, everyone involved in the bass tracking would have both been aware that fretboard noise is a common problem and also been listening ...


4

In the end, the relative levels of the different tracks (instruments) in a mix is a matter of taste and it's an artistic decision. However, as you are just getting started, there is one basic skill that, if you master it, will help you acheive whatever relative levels you want to have in a mix. The hardest mix to make is one where all the instruments have ...


4

It's definitely difficult to truly weigh in on this without actually hearing the audio. It's hard to speculate as to what the sound might actually be and how present it is in the recording. Based on the image, it appears to have a decent amount of amplitude but if it is a result of a technique, then it may blend in better than the amplitude suggests. Is ...


4

The only result of 'not enough signal' would be a raised noise floor as a low level was brought up. And I don't think that's what you're talking about. No, you don't need a tube preamp to add 'interesting' distortion. A condenser mic will be brighter, but the SM58 was designed to flatter vocals, and still does a pretty good job of that. Paradoxically, ...


3

Most cities have rehearsal rooms, and most I have used have been very well soundproofed, so you may have just not found a good one. Hunt around - ask other bands where they practice. In city centres, practice rooms I have hired over the last 7 years have been anywhere from £20 for 3 hours to £50 for 4 hours, so not really a high cost. Aside from that, in ...


3

There are some good answers with good advice. I can think of a few things to add to what the other answers have said. You did not mention if booking the studio includes booking an engineer or technician who will be running the studio equipment or if you are bringing your own engineer and simply renting the studio time/equipment. I am going to assume ...


3

Your 1/4" plugs should have three conductors (TRS) instead of two (TS) since you can plug TS cables into a TRS passthrough but not vice-versa. Both TRS and XLR connections can use the same wire between them. Here's a list of different brands and price points from Sweetwater: http://www.sweetwater.com/c789--Bulk_Wire?params=...


3

There is no significant difference between two unbalanced mono connections and a single stereo connection. However, with two mono lines you have the option of making both balanced, which is usually a good idea for longer connections. With single-cable stereo, this is typically not possible because suitable 5-lead connectors aren't available (at least not ...


3

I think one of the best resources to learn Reason is the Reason's operation manual itself. It's free, in-depth, and made by the Reason producers. Other resources' relevance will depend on the Reason's current version and the literature that covers that version specifically. For example, the only third-party book that covers version 7 (the later version at ...


3

Most of the suggestions in the comments are good ones. However, let me add a few suggestions of my own here that might help steer you in the right track: Do some research on your desired sound All of the artists, producers, and so on, that produce the sound you want to make -- How do they do it? Ask this question and do the research around the subject, and ...


3

My first instinct would say its unrelated to the outage and more likely a ground loop issue. Have you tried taking your amp to another part of the house (or at least a new outlet) and trying to plug it in and see if it still makes the same noises? I know there are some product from EbTech and Furman (plenty others too) that are suppose to condition or ...


2

I suggest you get a stand-alone multi-track recorder like the Zoom R16. In stand-alone mode it is a simple 16-track playback, 8-track simultaneous recording device. It can also be used as an 8-input audio interface connected by USB to your computer, and is generally bundled with a lite version of Cubase. If you record 'live' using microphones - all ...


2

Phantom power is just a way to transmit DC power over microphone cables. It's most used for condenser mics and direct boxes (DIs). Phantom powering consists of a phantom circuit where direct current is applied equally through the two signal lines of a balanced audio connector (in modern equipment, usually an XLR connector). The supply voltage is ...


2

Let's say you play guitar at a band. You (obviously) don't play every single second of the song you want to record. Suppose that you have an intro, then there is a vocal intro (where you don't play) and then the first verse comes etc. How can you follow that if you don't hear it? One way is to count bars. So, you play your intro and then count 57 bars and ...


2

A DI box makes an instrument look like a microphone electrically, so it may be plugged into a mic input on a mixer or recording interface, using a long cable if needed. There will also probably be a ground-lift switch, which can cure hum problems when the instrument uses mains power. But a DI box is a bit more than just an isolating transformer.


2

This really depends on the musicians. There are people that can play/record for many hours or days on end, without getting tired and get an excellent result. There are others that might get tired sitting all day for a few days on the studio. What I suggest is to talk it over with your band. See how they can work. If you have a person (or more) that might ...


2

My wag: Something on the bassist unintentionally hits the bass as he/she adjusts his/her playing position. The scenario I'm envisioning is that something, a ring, a button, a belt buckle, maybe even just his/her foot or the heel of his/her hand, is hitting something and making enough sound to get picked up by the mic. I see the bass itself, as a big ...


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