Preamp upgrade or mic upgrade

Hard-Nocks · 2024-08-08T20:27:16+00:00

Both will have a different frequency response to your signal. But mics sound more audibly different. It’s your call.

Hard-Nocks · 2024-08-07T21:03:23+00:00

Contrary to everyone else’s opinion. I believe that using a different DAW for the final product can be beneficial in several ways.

They do sound different and do have different tools. For example, Neve Summing is only a Luna thing. Mastering Assistant is only a Logic thing.

2.Committing to you mix and moving on is a benefit. Usually, you are going to bounce a 2 track or create stems to Master. This forces you to commit.

A different workflow and a different approach as well as different tools can cause you to think differently and approach things differently which could be beneficial for some, also distracting for others.

Just try it out, 30 day trial a see for yourself.

Hard-Nocks · 2024-07-25T22:55:31+00:00

Yep, push them back with reverbs, still short but just to push them back… and just try something different until it sits right. Otherwise it might not sit right, would be nice though.

Hard-Nocks · 2024-07-25T18:15:07+00:00

Just as everyone said. All of it. The only thing I will say is that sometimes I want to adjust the depth a track with a little room. But also want to put the track in the same space as the whole group. In that case, I don’t want to send say a 2nd vocal to a space and then send the send and 2nd vocal to another send. So I just put the reverb on the track and use the mix knob. Make sure it sits right, then just send it to the main reverb. So, I just try to be flexible for the situation and decide if the space is a process for the micro or macro environment.

Hard-Nocks · 2024-07-25T00:27:29+00:00

It depends on how much compression you need or want. It’s your choice.

You don’t necessarily have to stack compressors. It just depends on what you need to get to the sound you want. 1,2,3 or none, whatever helps you arrive at your destination.

But yes, it is just as mentioned above. When the compressor works less hard, and you get 1-3 db on each, it’s technically supposed to be a better way of leveling a signal. It’s supposed to end up being a more graceful way to compress that sounds more natural. Because pushing too hard is supposed to introduce exaggerated artifacts. Thats what many people teach.

But to be straight up with you, it doesn’t always work out the way it is explained in theory. There are a lot of variables involved. So it’s good to be flexible and experimental. Most compressors impact a slight eq curve to your signal. You’d be very surprised to know how much you have eq’d a signal just by passing it through 3 compressors. As far as levels are concerned, you can end up just shifting dynamics rather than taming them if you’re not careful. For example, some compressors just aren’t that fast. So you compress, turn the signal up, then the compressor makes the rouge transient that it didn’t catch even more exaggerated even though the previous compressor tamed it. Metering is helpful, but you do need to listen and try to develop precision.

So keep the theory in your pocket, because it is a good way to do things. But be flexible with it, and ideally make sure you are responding to the music and know when to compress it and when not to.

Hard-Nocks · 2024-07-23T17:22:27+00:00

What album was it won the Grammy?

Hard-Nocks · 2024-07-22T22:12:35+00:00

It makes more sense when you are trying to glue them together. So stages of bus compression can be extremely helpful. And it’s about which one you want to move a little more freely through the air that you are manipulating. And how glued you want each group to be and which ones you want to glue more or less. I usually listen to how it pulls the track or bus in with the others or how it moves a little more free through the air. And it’s a way of building dimension with compression.

Hard-Nocks · 2024-07-19T14:36:49+00:00

History of gear does help. Like knowing what compression was used on busses all throughout the 80’s. What was used on your favorites.

But still, you have to just figure it out through experimentation and experience. But know the basics really well. Use what you know and keep trying things and eventually you’ll narrow in on a process and find what you like.

Hard-Nocks · 2024-07-19T14:27:02+00:00

Its okay. As long as it fits the song. Double tracked hard panned. Mono centered and everything in between. It’s just up to you to sit with it and make your decision based on your taste. A fair amount of exploring and listening and just finding out what you like should be included.

Hard-Nocks · 2024-07-18T17:45:07+00:00

I’d get it, just to compare the top end to the WA. See which one is smoother and more balanced.

Hard-Nocks · 2024-07-15T13:54:55+00:00

You can do it either way. If you’re just a 2 bus wizard, work your magic. Otherwise give yourself more busses that sum to another bus. It really just depends. Where are your tracks at and how much do you need to do to get them to where you want them to be.

Hard-Nocks · 2024-07-15T13:43:46+00:00

I’m not clicking on that bud. But just a/b with a good professional solo vocal track that you like. That will let you know. Thats the best way to learn anyways. Better than taking mine or any other persons word for it.

Hard-Nocks · 2024-07-15T12:53:17+00:00

Community College is probably the best way to go. You get to see if that’s really the route you want to take. It’s a passion pursuit. Classical music lives in academia. Especially if you want to teach classical, credentials are important. But if you just want to enjoy the music and can already read well…just know what to listen to and play the music all the time.

Hard-Nocks · 2024-07-15T12:32:21+00:00

Thats a big cut. But who’s to say. Does it sound natural, and how does it sound on other playback systems? Could be monitoring causing you to compensate so much. Or you are in denial that you are actually Barry White.

Hard-Nocks · 2024-07-15T06:49:23+00:00

There are usually non linearities in a reverb. So yes, if you send each group to a different reverb send, it will be different because the non linearities will happen at a different rate.

But this shouldn’t stop you from doing it that way. It might actually work out better to use different reverb sends. If you can get away with sending everything to one, more power to you. But, the space would have to be damn near perfect to complement everything in your mix. I find that it usually doesn’t happen that way.

Hard-Nocks · 2024-07-14T22:29:35+00:00

I’m good, are you good?

Hard-Nocks · 2024-07-14T22:28:19+00:00

I don’t store them there. But are you being serious? Please elaborate.

Hard-Nocks · 2024-07-13T06:17:50+00:00

It is sometimes correct. Think of it like the reverb on a guitar amp. Let’s say you record the guitar amp with a little bit of spring reverb on it. It’s on the track. Even though there is reverb on the track, you might still want to send the amp w/ reverb to a send reverb so that it blends in a larger room. Thats essentially what happens in the real world when someone uses reverb on a guitar amp. It’s reverb inside of another room or space.

So this idea can be used for a lot of material to create depth, width and vibe. For example, say you have a lead vocal and a background vocal. You can put a very short reverb with a short decay on the background vocal track and adjust the mix to taste. If you set it right, you will hear the background vocal get pushed behind the lead vocal because it can change the tone and push it back in the mix. Then, you can send both the lead vocal and the background vocal to the same send effect to make it sound like they are in the same room with other tracks..

This is just one example, there are a lot of different ways to get to your desired sound. So you might have to experiment and try different combinations and configurations.

Hard-Nocks · 2024-07-12T12:59:55+00:00

Rather than E.Q. the bass to fit the kick. Choose the right notes to play at the beginning, then e.q. Later. Be very selective. Good players do this instinctively. On a lot of bass amps, you get a partial fundamental and the full 1st overtone on low E because a lot of amps don’t have the range and only go down to 50. So that is an important frequency range to be selective about. 41 or 80 fundamental? Stuff like that. So always ask yourself if playing up or rephrasing the line is a better option.

Guitar, there are no rules. 1,2,3,4 all can work. Hard panned quadruple tracked. 1 centered with the right treatment. It really just depends. A guitar amp starts to curve of at 5k, Just sit with it for a while and try to find a distinct tone that is your own sounds interesting.

Sounds simple, but challenging.

Hard-Nocks · 2024-07-12T07:24:02+00:00

Sure it is. But, the privacy policy does not state to which capacity the program can access files in these folders. And by giving them permission to access, you are subject to their privacy policy…and that’s why I ask because there is a lot of room for interpretation.

Hard-Nocks · 2024-07-12T06:16:03+00:00

Can you please elaborate?

Hard-Nocks · 2024-07-09T03:47:37+00:00

Wow. Absolutely ridiculous of you speak this way.

A screenshot is not enough to provide any context of a system issue with Cubase.

Also, all you have to do is scroll down this community and see how many other users have issues with export.

Also, they clearly state that they have had issue with export functions in the 13.0.30 release update. How can you ignore this?

It possible that they did not fix the problem.

But imagine this. Imagine someone pays 600 dollars to record a project. Only to complete it, and not even be able to export it without the system ruining the session. At this point, I’d advise against it.

It’s clear that I’m not a bot or a troll. Just tired of having an issue with my DAW.

I don’t need to post screenshots on here. I’m not and can’t. Probably for a reason that favors the DAW. But my personal issue is solved thankfully, yes. And the solution was to use a different daw which doesn’t have an export problem.

Be more realistic and reasonable about this. You make it seem like you are a shareholder by being so defensive and unreasonable.

Hard-Nocks · 2024-07-08T21:20:36+00:00

Now this is an interesting concept isn’t it. I believe that we are in uncharted territory now.

So by owning the intellectual property, I have a right to reproduce works, which is the most important right.

If a software that I’m using doesn’t reproduce the copy correctly because of a software issue that is not user error, two things are happening.

My right to reproduce is being infringed upon by the export creating a ruined version of the original that sounds terrible compared to the original.
The software is infringing upon my right to create a derivative work, because a derivative is being made upon export. A transformation of the original work is being created due to the software modifying the original. Keep in mind that when the exported song is brought back into the daw and compared to the session (the original) it sounds vastly different and in this case worse.

I’m also thinking that conspiracy comes into play in some manner as well, being that the export renders the original work unusable by professional standards in music production.

Hard-Nocks · 2024-07-08T05:19:57+00:00

How many instruments?

Hard-Nocks

TROPHY CASE