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sidis

Burnt Ends

Everything posted by sidis

  1. sidis replied to Lurch's topic in Music
    i would definitely start with familiarizing yourself with a real daw. it is the centerpiece of being able to do what you want to do. garageband is great as an introduction and if you gave it to [insert your favorite artist], they would turn out something awesome but the reality is, it is a bit of a toy version of a daw. the two i know the best and i think fit your initial primary goals as well as long-term goals are pro tools and logic. pro tools is the standard, period full stop. every professional studio, every professional mixer, every professional of any type is going to use and know pro tools for recording and mixing. but i love logic and i think it is the most conducive to composing music because it does such a better job of integrating writing tools and samples/midi instruments than pro tools. and recording in logic is really good once you get the hang of it. you won't go wrong with either of those imo and learning how to use them is an essential first step. cubase is great for composition as well but it's a bit more niche. unless you are doing edm as your primary genre, i wouldn't really recommend ableton personally. but everyone's mileage varies and there are a million people that would disagree with me. but as someone who has been down the rabbit hole on them, if you are going to record everything with a mic or DI, then pro tools is a no brainer. if you are going to use a lot of midi/software instruments, then logic is a no brainer. logic is also one of the only remaining perpetual licenses in daws. everything is moving to annual subscriptions. other people love FL, studio one, and there are others but the horsepower behind pro tools, logic, and cubase make them the standards for most pros. so you will need a daw. logic is like 200 or 300. the pro tools artist sub is like $150 a year or something. you will need some external hard drives. just warning you now. recordings, plugins, software instruments, etc..., they take up a lot of hard drive space so just prepare yourself for that. the computer has the horsepower to get you going. budget some cash for that. for basic playing and recording, the computer is the first key. next key is an audio interface/converters. sounds like you have a scarlet and that will get the job done for sure. i love them because they make it possible for everyone to do this at an affordable price and they are simple plug and play. the next step up you will take will likely be to a UA apollo. i have a neumann mt48 and i love it but it is overkill for getting the basic infrastructure in place and it is going to blow your whole first year budget...however, what is really nice about it and the apollo is that they has really good preamps built into it so you don't have to spend a bunch of money on an outboard pre amp. if you are going to be recording using mics, then you will need a preamp to boost the mic signal to a line signal. you can do some of that with the scarlet but the quality will be lacking. familiarize yourself with gain staging and also familiarize yourself with best practices with connecting and disconnecting mics, especially when to turn on and turn off 48V power to the mics after connecting and prior to disconnecting. so i would get a scarlet 2i2 or 4i4. there's $200 down. you need xlr and trs cables to reach around the room so there's another $100-200. next you need mics. since we are talking about basic infrastructure here and just getting things down from guitars, bass, drums, and vocals, just like the scarlet...there is a mic company called shure that is here to make your dreams come true. the sm57 and sm58 mics. affordable, durable, predictable, and damned if they aren't a part of every professional mic locker on earth. they are dynamic mics but for our basic infrastructure here, they are $100 each and they can cover so much ground for you. probably makes sense to get 1 sm58 and 2 sm57s (for stereo sound capture). there's $300. next you need headphones for tracking and listening back and mixing as you go. there are people that will murder each other over this debate and there's nothing i can do to save you from that...but this is an area where i would probably invest some money to go above the introductory stuff. beyerdynamics is probably the most affordable. for tracking, you want closed back headphones and for mixing, you want open back. the DT770s and DT990s are good. i use audeze LCD for tracking and closed back and i used neumann ndh30s for open back but they will blow your budget again. i think beyerdynamic would be a great compromise and they are fucking fantastic cans that many pros use. they will not be the reason your music sucks. they are $150-300ish. on monitors, i'm the wrong person to ask because i will have you selling crack to kids to pay for some top of the line shit to stuff in a tiny bedroom and that is not the right path at all. there's lots of good options out there. adam, focal, yamaha...lots of great options that suffice completely for bedroom production. but this will be a big expense. also, if you're getting decent monitors, get some decent monitor stands with iso pads or put iso pads on your desk. this is going to be a big budget suck unfortunately. midi controller, you need to decide what kind of keys you need...synth action or piano bed hammer action. that drives a lot of what you will end up getting but unless you are creating legit piano performances through midi, you don't need 88 keys. 49 and 61 are totally sufficient for midi composition. i have the native instruments komplete kontrol S61 and enjoy it. i also have a roland a-88 and love it. this is a pretty personal thing on preferences. third party plugins that you need regardless of whether or not you go with pro tools, logic, or whatever... FabFilter Pro-Q4, no negotiating, no arguing, you must have this. A good reverb plugin, Valhalla makes a lot of really great ones for $50 each and they are fucking amazing. on getting things a bit more pro sounding on the back end, check out izotope's products. they can really help you get more polish. some other knick knacks to help, bass traps for the corners of the room will probably help. with all that, you will be in business and ready to start getting stuff down. these are just my opinions formed from spending way too much time making every possible mistake going down the path you're headed. the thing you will find out about the music production world is that every asshole has a lot of strong opinions about what is wrong and what is right (gearspace, vi control, etc... will make you hate humanity at times) and you have to figure out what works for you...but i think i've touched on most of the starting points. if you want to flesh any of this out in more detail, just say it and we can go farther down in the weeds on something specific.
  2. sidis replied to Lurch's topic in Music
    yes? you'd like me to explain the value of sus chords? okay. a sus chord is a replacement of the third in a traditional triad chord with scale degree 2 or 4...sus2 or sus4. they are neither major, nor minor and remain as ambiguous and open as NowThis and his obsession with besthugecocks. they are used to create tension without creating unnecessarily dark harmonies and create a feeling of anticipation and delay the resolution payoff...much like tantric sex. they decide when the emotion will ultimately land on the runway while retaining forward motion. when they resolve, it is very satisfying and when they don't, they leave the listener in an emotional stasis. nothing is more effective at dictating listener expectations than some good sus. as for bedroom production, the details of my studio are quite inconsequential…very well, where do I begin? my father was a relentlessly self-optimizing bedroom producer from belgium with mild tinnitus and a pathological obsession with signal flow. my mother was a former french prostitute who insisted that “real music” didn’t need a DAW and loudly reminded me of this during every vocal take recorded to tape on my studer. my father would upgrade interfaces, he would sell them at a loss, he would make outrageous claims like he could hear jitter. sometimes he would accuse midi of having “no soul,” the sort of general malaise that only the truly gas-afflicted possess and the sane lament. my childhood was typical: summers spent waiting for plugins to authorize, winters spent reading forum threads about converters i could never afford. in the spring we’d build bass traps out of rockwool and regret it immediately. when i clipped the master, i was forced to remix the entire track from scratch, pretty standard, really. at the age of twelve i received my first cracked copy of pro tools and learned that creativity peaks when everything is unstable. at fourteen, a man named “AnalogTruth88” and "Paul Wesley" on a forum ritualistically informed me that everything i loved was wrong and that my mixes would never translate. there really is nothing like a perfectly gain-staged signal chain, it’s breathtaking. i suggest you try it. @Lurch , what is your plan, bud? what daw are you comfortable with? what type of computer are you planning to use? what is your primary goal? recording live? amassing an embarrassing number of plugins? are you planning to drive towards recording live drums in your room? is it for laying down tracks or more for mixing and mastering? what kind of budget are we allocating here? there's no end to this hole just so you know. but something that has been mentioned throughout this thread that cannot be emphasized enough...you can spend $10 million on the most amazing studio imaginable and if what is being recorded or created is not any good, it does not matter. there is zero point to you allocating any budget to "soundproofing" the room if you're going to be doing live stuff - particularly drums. utterly pointless waste of money that i'm ready to spend elsewhere treating your room, getting a good interface and computer, getting a good midi controller, $50K worth of plugins, and another $50K of analog gear. i'm just kidding. but it would help to know what your specific first goals are to help decide where to spend time, effort and money. you need a good computer first and foremost. then a good interface, then some good mics, then some good monitors or headphones, then some good cable management. fill us in a little and you'll probably get some good and diverse feedback to consider.
  3. lurch, you are among friends/enthusiasts here. i actually started something like that before but it kind of died and this took over for most of that type of talk. let it rip.
  4. Mmmm, sorry but your story doesn’t hold up, F4H. it would have most likely been your car sine it was your phone connected to CarPlay. If it was your friend’s car, your screenshot likely would not have grabbed the CarPlay screen. Very suspicious. I think my reconstruction of the scene is materially more likely.
  5. hey chatgpt, is it possible that there are people that have never taken a screenshot in a car while carplay is running and don't realize that when you do that, it screenshots the phone and the carpplay screen both as an image and further aren't aware that if you send it somewhere without deleting the latter image, it will show precisely what was on their carplay screen including their need for directions to get somewhere in rochester, new york that requires directions (i'm guessing toast factory)? chatgpt: only idiots. and if you want to know precisely what fireman4horn was looking at right when he snapped that, here you go: he was clearly scrolling while waiting for the light to turn green. probably screenshot and in the middle of uploading, the guy behind him honked at him that the light had been green for 10 seconds and to put his fucking phone down and drive.
  6. Those drums are poppin'! Sound rich and good depth...don't have to cut through the mix as they are right up front.
  7. you know i love me some programmed drums and samples...i've looked at a few of these and I like a lot of them. but just seeing the ez drummer name is giving me ptsd of providing sms-based technical support to a certain, short-lived prog rock band's drummer each time said band was working on a new song.
  8. ever since i got my atc's at home, i actually love mixing (as long as it is either my own music or something i really like from someone else) because it's a fun sonic journey. i am way too slow at it though. but this was truly the first time i went soup to nuts on my own on drum recording and it's definitely the hardest on a drum track with 12 different tracks. luckily, paul's go-to engineer is as patient and generous as he is talented and he weighed in on a few of my detours to help me figure out how to push through a number of roadblocks i was having. for example, i was getting a really washy sound on cymbals in the second half that was driving me apeshit...they weren't there in isolation and then when mixed with the rest of the song, there it was all washy and distracting. it was an issue with the release time on the 1176 on just the kick drum in the parallel drum buss...the bleed from the cymbals was coming through the kick, kick would trigger the compressor (whose attack was way too fast and the release time was dialed all the way out to max length) so the cymbal bleed all the way down on the kick was getting pulled way too far up by the 1176 on the kick. stupid shit like that. Gate out the cymbals on the kick mic and dial the 1176 attack to slowest possible and release to fastest possible and voila, i'm no longer a dipshit. gating and debleeding all the close mics but the overheads and rooms was a key to getting to a point where i could figure out where to nudge things. it was a good learning experience but is the kind of thing i suppose you more effectively pick up working as a button pusher in a real studio for 10 years before actually doing it instead of trying to autodidact myself through trial and error.
  9. thanks, yeah i agree. it was a fun couple of hours getting them down...a pretty silly number of takes but we were having a good time an i got them pieced together. i just learned a hell of a lot about how to work with 12 different mic recordings of drum takes in pro tools and how to mix and work with that drum buss. we captured two kicks (one running through an 1176) and then the kick and snare had a parallel track through the bricasti. everything else was just eq'ing and a little gating on the ssl channel strips. but my god, once i got home and started working in pro tools with just the drums, i learned...a lot. started with two kicks and just overheads. got them where i wanted, brought everything else up slowly and killed a few mics entirely. full parallel with a nuked el-88 distressor mixed in at about 50% of the primary track. each mic/track had a de-bleeding gate (black salt silencer is wizardry if anyone needs to do this) pro-q4 eq on it that was scooping and boosting all the nasty stuff. drum buss had an api 550a, soothe2, spiff, and a few other things. put that all that into the logic session where the rest of the song was. did a little sample supplementation on the kick and snare in a few spots, the toms in a few spots, and a few crashes where the performance lacked. bussed all that to a reverb send and used the 7th heaven bricasti emulator. then volume and panning automation to finish. tldr: holy shit recording and mixing real drums is a lot when you're really doing it on your own for the first time.
  10. thanks, jj. drums were at paul's place...pix on the drum porn thread. drummer is a friend of mine. not a regular pro so keeping that non-public. but while not the most challenging drumming given it is all in half-time, still a nice outcome that musically enhanced the track IMO.
  11. so it only took me like three months to get the damned drums recorded but i did indeed follow through. Here is the updated version of @Goredho absolutely lighting the world on fire with a fabulous lead. Had a session drummer for the drums. I did everything else.
  12. every orchestral player i have worked with or observed uses one of these two: https://us.donnermusic.com/products/donner-wireless-page-turner-pedal-for-digital-devices-black https://www.airturn.com/ i inquired once about a page flip butterfly and was told they were finicky. eta: paul wesley makes an important point though. be careful when recording because i have had to de-click string sessions a few times due to an overly enthusiastic cellist getting carried away.
  13. i can't imagine the most perfect random number generator algorithm in the most sophisticated system possible can be more effective and generating the most random fucking shit possible than the patented surly long thread pop-in surprise. haven't checked in on a thread in a day or two? just pop in on to the last page of a thread so that you can see this Sherrone moore downfall crash out thread turn into people's take on the nastiest shit ever invented...big red. because of course. love you people.
  14. he can do things with guitars i could never dream of doing. he's an insanely good player. music is boring after 15 mins.
  15. Absolutely no one is “crashing out.” They’re just telling the dumb bitch to shut the fuck up and to go be a circus monkey in some other context.
  16. i'm sure as long as you keep posrepping a shit-for-brains troll for white-knighting overtly racist behavior as you have done in this thread, i'm sure it will.
  17. sidis replied to ohchaucer's topic in Music
    When you say this, are you referring to Seventh Heaven by Liquidsonics? Or something else? I have Seventh Heaven as well but man, it's just not the same. While I love Seventh Heaven and Cinematic Rooms both, the computer just simply can't replicate that many processors doing its thing. I was actually really happy with SH until using Paul's actual M7 this past weekend and now I'm like "god damnit."
  18. sidis replied to ohchaucer's topic in Music
    No, it was the drummer's. A pretty old yamaha kit.
  19. first vinyl was a 45 single of solsbury hill that my dad bought me when i was in kindergarten because i loved it (still have it). first tape was purple rain (don't still have it). first cd was a dire straits greatest hits anthology that they titled "money for nothing" that i got for christmas the same year i got my first cd player in 1989 (still have it - the cd, not the player). i went back and looked and it appears my first ever actual purchase download (not ripped off the jester ethernet) was "roads" by portishead.
  20. sidis replied to ohchaucer's topic in Music
    Tracked some drums this past weekend at the studio. Lots of fun mic’ing it and recording (with a pro actually calling balls and strikes). Got a good sound. Pics look a little weird behind the kit due to “cleanup” mode to protect the innocent session drummer. 17 total mics, lol. A little bit of preamp, one parallel compression on the kick, and toms/snare through a Bricasti M7 (erotic).
  21. sidis replied to C-Man's topic in Football
    those guys weren't kooky trolls...they were just morons.
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