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Everything posted by MarkGifford-1

  1. The guitar is rough, but the vocal works pretty damn well, with the whole band... That's one of the better songs of the era, too. At the end of this, she say's "This PA is rotting my voice." Maybe the "soundguy" wasn't doing that great of a job with her monitors? [video=youtube;13QNXpJugBc]
  2. These guys have been printing money for 30+ years... http://www.nikentertainment.com/
  3. Hi Melody, We all start somewhere. It sounds like you have the list of everything you will need. Any interface will have a mic pre built-in, so you'll be fine in that regard. The only way to find out if recording DI and using amp sims for your sound will make you happy is to try it. Don't become overwhelmed by the sheer amount of various plugins and belles and whistles available - just pick a good EQ, Compressor and Reverb and learn how to use it. In 99% of e cases, it will be all you will ever need. You've got a long road ahead of you, if you've never done any of this before. It will take as long as it took you to learn guitar to become accomplished at recording, but it can be just as much fun! Good Luck! MG
  4. I've been in many bands w/female singers and in my experience, you generally get about a year or so out of one and then they move on. I don't think they're any more difficult to work with, but you just need to understand that most of them have different priorities and philosophies about life than the average male musician. You think you've got the bases covered, but it's always something you never have made allowances for or even considered...
  5. Use the Firestudio as your interface. Run the SPDIF outs of the API into the SPDIF Input on the Firestudio. Use whatever mic/pre sounds best for the third mic and run it into an analog input, or even the Insert Return on Ch 1 or 2 on the FireStudio. I do this all the time on a Scarlett 18i8 and it works beautifully. Good Luck, MG
  6. I'd probably go with the 240s, I've used them for 20+ years and they're very comfortable and accurate. I'll also disagree with the 7506 as being accurate - they're very hyped in the highs and lows. Sort of the headphone equivalent of a boom car. They're very loud, closed design and sturdy, which is why people like them for tracking.
  7. Possibly a Beyer M-69N? They have a weird half-windscreen. https://www.madooma.com/onTEAM/fotos/maxi/91298479324.jpg
  8. I'd stay away from the standalone units - they were developed 20 years ago to fill a gap when PCs weren't powerful enough, and any DAW will outperform them in every way possible. You need to keep looking for a studio. You should be able to find a room for $30-40/hr. that wil be exactly what you need. If you want to produce your demo in the most economical way, with the best results: 1. Track drums in a real studio 2. Go home and track everything else, do all o your editing and get a solid "pre-mix" together. 3. Go back to the studio and put the final touches on your mix. 4. Get it professionally mastered. Good luck, MG
  9. I'd substitute a Focusrite Scarlett 2i2 for the interface, and a CAD M179 for the LDC. Haven't heard the monitors, but I wouldn't expect much for that price. Do you already have headphones? MG
  10. I would use your ears - adjust the EQ for each mic so that when they're used together, they complememt each other and give you the sound that works best for the track. MG
  11. HI Jack, With just one mic, the standard starting point is 12-18" off the 12th fret, pointing at the soundhole. If you're recording stereo, try adding another mic 6-12" off the lower bout, pointing at the bridge, to pick up the "wood" of the body. Good luck, MG
  12. Hi Jack, For headphones, I like AKG K-240, comfortable, sound great and are industry standards. http://www.amazon.com/AKG-240-Semi-Open-Studio-Headphones/dp/B0001ARCFA Not sure how good the really cheap ones are, I spent around $50 for mine and it's worked well: http://www.ebay.com/bhp/microphone-boom-arm Good luck! MG
  13. You should be using the Scarlett for all of your recording/playback - the internal soundcard should be disabled. What are the specs of your existing computer? MG
  14. It's impossible to tell until you get drums on it. The guitars do sound a little too gainy, but once again, w/o drums I have no idea. MG
  15. You never finish, you just stop. Budget, time, whatever... Seriously, I know I'm pretty much done when I have a hard time telling which pair of monitors are on - it sounds virtually the same on both. Then I know it's close. MG
  16. You can tap off the "Insert" on Ch 1-8, by inserting a standard 1/4" TS cable in "one click," and then going into the inputs on the Tascam. You'll have to get more creative w/Ch 9/10 and 11/12 - maybe use an Aux Send of one, and the unused side of the Stereo Buss? MG
  17. I gave up live playing at 56, too. Just got tired, and the sea change in gigging realities - excessive volume restrictions, lack of markets for what I like to play, along with the fact that I've had a great 40+ year run of some amazing gigs and don't see anything coming that will be better, made me lose my mojo. Haven't gigged or really even played at all in 18 months - don't miss it, yet. I've also curtailed almost all recording projects, altho I've helped a friend with some mixing. It's sort of a strange feeling - I still love music, I listen, read about it, etc. but I don't feel like making it anymore. MG
  18. Reamping is a pretty standard process, today. I'm a bit more old school and like to just get a sound and roll, but the theory is that it allows for more choices/control later in the process, which is the way modern recording is heading. When reamping, the goal for the recorded DI track is to capture as close an approximation of the signal coming off the pickups. This will give optimal results when sent back out thru the reamp interface and thru the amp. Ideally, you would use something like a John Hardy "wire with gain" type pre. You would not want a "color" pre like a Neve or API. OP is noticing that the tracks from the Line 6 are a little duller, which is due to the capture of the initial guitar track and is showing the shortcomings of the Line 6 interface. Dynamics issues should be taken care of either at the reamp recording input stage by putting a comp/limiter after the mic pre, or in the DAW at mix time. Limiting the dynamics of the DI track will totally change the sound/feel of the way the amp responds during the reamp. MG
  19. I was tired of playing that in 1977... To the OP - none o those songs have any real solos in them. If you're trying out for lead/rhythm, I'd probably pick out a few with solos. Also, only about a third of their list is classic rock - I'd pick at least two that were the newer stuff. MG
  20. With the used prices of passive gear, I'd think that you could get some cabs for less than the cost of materials for building your own. Don't I see posts here about guys cutting up and burning old bass bins? MG
  21. Not much has changed there - that's still about the going rate for a cover band. MG
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