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Everything posted by Toast

  1. Okay, so like lots of aspiring home studio aficionados, I've essentially maxed out my channels and am experimenting with alternate solutions to opening some more up (rather than accumulating more hardware). I ran into an issue last night. I'm pretty sure I know what the issue is, but I don't know WHY it's an issue. Maybe someone here can help me out? So, split monitoring. I have a Mackie 1604VLZ Pro mixing board. The simple idea is you plug instruments/mics into channels 1-8, direct output those into tracks 1-8 of the DAW, output the DAW back into the mixer's channels 9-16. Don't assign output of the mixer's channels 1-8 (don't send them out to the mains (L-R) or the subs (1-2, 3-4)). Assign the output of channels 9-16 instead, and you can now monitor the DAW's output without affecting the signal being recorded (mixer 1-8 out to the DAW). But my DAW has mic preamps on tracks 1-4. So I thought I could save myself four channels on my mixer. Essentially: vocal mic straight into the DAW's track 1, outputted to mixer channel 9. Second mic straight into DAW's track 2, outputted to mixer channel 10. Two more instruments straight into DAW's tracks 3 and 4, outputted to mixer channels 11 and 12. THEN ... instrument into mixer channel 1, out to DAW track 5, DAW out to mixer channel 13. Another instrument into mixer channel 2, out to DAW track 6, DAW out to mixer channel 14. And on down the line. So ignore DAW tracks 2-4 for a moment. DAW track 1 is successfully outputting to mixer channel 9. HOWEVER, although DAW track 5 is supposed to be outputting to mixer channel 13, it is INSTEAD outputting into mixer channel 9 just like DAW track 1's output. So is DAW track 6, which should be outputting to mixer channel 14. And on down the line. Why do DAW tracks 5-8 output to the same mixer channel as DAW track 1, even though DAW outputs 5-8 are sent to mixer channels 13-16? I don't think it matters, but DAW tracks 1 and 2 are condenser mics taking phantom power from the DAW. They're the only tracks receiving phantom power. (P.S. I'm experimenting with a second alternate solution to making more tracks available which I may post in a new thread if/when this output issue is figured out.)
  2. Ooooh ... that's a pretty decent solution. I'll need to find one that takes 5 inputs and pushes out one signal, though. Send three direct to the mixer, and then five left for the last channel. Or failing that, I'll just be down a track in the headphones.
  3. So here's the situation. I have a Presonus D8 (eight-channel mic preamp), and I have eight microphones plugged into it for eight individual tracks. Recording digitally, no problem. However, I only have four channels left on my mixer to pump the analog output of those eight tracks into headphones/monitors. Is there a way to double up two analog outputs of the Presonus D8 into a single channel on my mixing board? It doesn't have to be perfect; the instrument has already been recorded. I just want the option to get all eight tracks into the headphones if possible. Thanks!
  4. Thanks as always for the response. From a recording standpoint, what's the purpose of grouping with the subs? Is it for adding rack effects? I've really only used this board for live performance before, so I don't really know all the ins and outs just yet. And really all I've ever done with the subs before is things like put my acoustic in one group because my direct in is noisy; if mic'd up, put the cymbals in one group so I could EQ the highs down ... that kinda stuff. I don't really have any rack effects other than a comp/eq but I only use that to EQ the room, not to EQ any specific tracks.
  5. Let me try to keep the long story as short as possible. Up until recently, I haven't needed to record more than one instrument at a time, so I have a little interface with two inputs. Basically, one input is an out from my mixing board, and the other is a mic I set up in the room, and I blend the two accordingly. Now, however, I want to record up to 8 tracks simultaneously but independently. I haven't acquired a bigger interface for that (yet), but my mixing board can definitely handle it. I have a Mackie 1604 VLZ Pro. So I thought the obvious answer would be to simply plug each instrument/mic into its own channel input, then use the 8 direct outs (on tracks 1-8) to connect directly into an 8-track digital audio interface. But then I checked out the owner's manual, and it's suggesting that I put the digital 8-track between channel inputs 9-16 and send to direct outs 5-8, and also sub outs 1-4. And THEN I read a review where someone suggested that instead I should run the eight sub outs to an analog/digital converter (like a Behringer ADA8000) to convert them to ADAT light pipe, then use four assignable subs and four aux sends to basically create 16 inputs ... but I don't quite understand what's going on there. So ... why shouldn't I just use the 8 direct outs on tracks 1-8 and plug them directly into an 8-track audio interface? Is it not that simple? Thanks.
  6. Really depends on how much you trust your headphones, and how well you've treated your mixing room. Either situation can artificially color your sound. I mix quite often with my headphones. I know they have a slight bass boost, so I hafta account for that. But on the other hand, my mixing room is currently untreated and sounds really muddy, so I light the tighter sound I get in the headphones. When I think I have something good, I burn it to a CD and play it in my car, and also play it on my son's clock radio. Those are usually pretty good indicators, at least for me, of how close I am to what I was going for.
  7. Thanks for all the ideas, guys. Lee I saw your post a little too late, so I went with something close to what Phil did. But Lee, reading your post game me the "no duh" idea. I should mark the "spacer" board BEFORE I attach it to the panel. So I don't have to measure my hooks while holding up an acoustic panel. Geez, sometimes I do stupid things. Anyway, with the spacer and the hook/eye attachment, I'm able to have about a 4.5 inch gap between the wall and the panel. Which is nice. Hooks are screwed directly into the studs. So I got some pretty beefy hooks. What do you think? Next, it'll be joined by 2x4 panels on either side. Then I'll tackle the corners.
  8. Hmm ... yeah, that's a pretty good idea. I think maybe I'll attach some sort of horizontal "brace" along the top of the back of the panel. The only logistical problem there might come from figuring out a good way to attach it. I'm gonna hafta be careful about where I screw it in, 'cause there are already quite a number of screws in the back (in the corners from building the frame and along the edge for attaching the grill cloth). Measure twice, drill once, I suppose. Thanks for the idea! I think You're onto something. I really like your use of foam back there. Cuts down on scuffs and scratches on the wall. Good trick!
  9. Hey, so I built a couple of acoustic panels for my backwall. They're 6' (w) x 4' (h) x 4" (d). I haven't weighed them, but they're not light. I built a wooden frame around them, and they're backed by pegboard. Picture of one included. It's the big black rectangle behind the Bandmaster. I want a little bit of separation between the wall and the panel. 3-4" should suffice. So here's where it starts to get tricky. The walls have a chair rail around them. It's kinda nice in the sense that it helps me get that gap between the panel and the wall. BUT, what I'm particularly concerned about is how to hang them in a manner that doesn't put too much stress on the wall. I was thinking about simply using my stud finder and screwing directly into the studs and hanging them onto the screws. But given that the screws won't be flush against the walls (they'll stick out about 3-4"), I'm afraid that there will be too much stress and they'll come out, taking a chunk of drywall and stud with them. Know what I mean? What's a good way to hang a big panel like this on a wall, with a few inches of gap between the wall and the panel? One that won't tear the wall down in the process? Thanks, forum!
  10. Well there are 1/4" inputs, as well as mic inputs and regular wire inputs. Hypothetically, what would happen if i went 1/4" connections to the left and speaker connections to the right? Would I fry something? (It's a dbx 2031.)
  11. Grr. I was hoping you wouldn't say that. I was trying to keep it in stereo somehow. Well thanks for confirming my suspicions! Guess I'll be in the market for a new eq/comp once the wifey loosens the purse strings!
  12. Hey there. Been years since I've been here, but I just got a bunch of my old gear back, and this was the first place I thought of when I hit a sumbling block. Hooking my eq/compressor to my mixer (1604 vlz pro). I'm trying to go through the main insert. It's stereo, left and right. My eq/compressor is a single channel effect. I can do the send/return thing into the effect just fine, but the other end of the cable is just a single 1/4" connector. So I can essentially effect either left or right but not both. Do they make a cable that's send/return on one end and left/right on the other? Or what else can I do here? Thanks for helping out an oldie but a newbie!
  13. Actually, an interesting topic of conversation. Guitarist/vocalist to start. Have my own PA. Can run live sound. Just dabbling into recording and that realm right now. Looking back on all the things I've dabbled my toes in, I wonder if I'd be better at one particular thing if I had stuck with it instead of trying to do everything. Jack of all trades, master of none type of thing.
  14. Thanks for the link. It mentions a Big Muff, but that's as close to "fuzz" as that web page gets. Surely there's more to his fuzzy goodness than that?
  15. I'm trying to figure out what kind of fuzz FZ uses. Or at least, what's out there that's similar. Is it just an old school fuzz face or what? Thanks all! I know I can count on you.
  16. I used carpet liner for mine. Dirt cheap.
  17. 335. But only 'cause I already own an SG
  18. Don't feel too bad. On two seperate occasions I had THE worst damned tone at a gig. All thin, bright and choked. Both times, I'm all adjusting amp knobs trying to make it DECENT. Then halfway through the set I go to kick on the wah and I realize ... oh {censored}, it's been on toe-down the ENTIRE FREAKING TIME! That's when I threw a big piece of duct tape on top and wrote "Am I on?" on it. The writing has worn off, but the reminder is always present.
  19. my band's myspace Yeah, the tunes up there are nearing 2 years old. But hey, since we're sharing myspace links ...
  20. I got my Top Hat used for around 800.
  21. Not looking for a trade or anything like that. My special lady's dad wants to get one of his nephews a cheap tuner. Guy's in junior high, so it doesn't have to be anything real fancy. It's for an electric guitar, so it needs an input. I suppose it'd be better if it was on the lights system vs. the needle system, but either way, doesn't really make much difference. Doesn't wanna spend more than $30 including shipping/tax. Any suggestions/recommendations about an affordable tuner? Thanks all!
  22. I always thought Jar of Flies by Alice in Chains had an exceptional sound.
  23. Originally posted by SUPER_VELCROBOY Only way to cure z gas is to buy a z. I cured what seemed to be Dr. Z gas with a TopHat and couldn't be more pleased with my decision.
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