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Majoria's Achievements


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  1. My top tips in random order: Import a few different commercially released audio files into your session to use as a comparison. You know what these sound like, if they sound a little different from your studio speakers then you need to compensate your mix accordingly. But use more than one. Run sound with your ears, not your eyes (ignore labels and price tags). Sometimes the best sounding mic for an application may be more budget-priced and not the four figure option. And as Lou does, intentionally include a set of lower end speakers for your mix comparison since many people are going to be using those anyway. Nothing replaces natural reverb, if you can capture it in the original track then go for it. Just don't get too much. Inside the box is great and easy to save, but don't be afraid to use outboard hardware. I've had better luck with my hardware compressor than any plug-in, maybe I haven't spent enough on them.... And hardware doesn't usually have compatibility issues with different DAWs, etc.
  2. Awhile back I did an A-B comparison with my 7b and a 57 and the 7b certainly sounded better but I did have to give it more pre. No hiss so it must be in your signal chain. Do you have other dynamic mics you could try? Comparing the AT3035 to the 7b is not an apples to apples comparison. Maybe take dynamic and place it further away from the source so you have to use the same amount of pre as the 7b, then compare the results. If you have the same hiss, then its not the mic but the pre. Remember the signal chain is only as strong as its weakest link.
  3. I took my PDP FS kit to a coffeehouse where the owner also ran a recording studio. After the gig, he asked if he could try out my kit so I handed him the sticks. After a minute of playing he stopped and said "Man, I know what this kit is but it sounds better than most $3,000 kits that I record." The right heads and tuning go a long way. And of course, your studio's acoustics and mics/signal chain will be another big factor.
  4. I use homemade acoustic treatment but not Roxul. I used rigid fiberglass and wrapped with burlap. Works great.
  5. When recording myself on drums, I've had to space the cymbals further away from the drums at times. No drummer wants to have cymbals out of where they would naturally want them, but sometimes for the good for the recording you need to elevate/space them. I was at a concert once where the crash cymbals were about 6 feet off the ground, good separation but looked weird watching him play.
  6. Is this still available?
  7. I upgraded in the spring to A7's after comparing to some Focal's and love the improvement. Still need to have good treatment in order to hear all the improvements. I've made several panels from OC 703 and none are permanently mounted, thus I can move them as necessary for tracking and for mixing.
  8. Hmmm, I need just the opposite functionality. I need it to always be muted and only allow signal flow with the button pressed.
  9. Another vote for 44.1 kHz/24 bit.
  10. I'm disappointed to hear about your neighbors. I am what society would call a very conservative Christian and am offended when someone uses the term to describe behavior that is anit-Chiristian. Hypocrisy at it's worst. While I agree that high end studios likely aren't using a Roland unit, I have used my VS880EX to get great results. I have since moved to Pro Tools as it works better for me but as I mentioned on another thread, I still have the Roland. Put it this way: Take a cheap hi-hat on it's stand and put it in hands of a high end jazz drummer. Then take a high end 7 piece kit and give it to a rookie. Who would give a more impressive solo? Easily a hi-hat solo by a highly skilled drummer will be way more impressive than anything a rookie will do, even with cheap hats.
  11. My brother-in-law just showed me his Mac, a dual quad core (8 cores theoretically) 3.2GHz with way too much RAM for a normal person. For his works (digital photo editing, some video editing) it's justifiable, has both OS 10.5 and XP on it. Not that I'm going to get that carried away, but would all of that really be able to be used by Pro Tools 7.3 LE or 8? I like the desktop concept with the more power but the Macbook Pro may be the most efficient.
  12. I posted this in the recording forum but received no responses, so I'm trying here. I've been contemplating updating my computer for my Pro Tools LE 7.3 rig, currently I use a Dell Dimension that I bought new 3 years ago, single 2.53 GHz processor and 2 GB of RAM, XP home. My use is just as a hobbyist, I use my rig for recording my own projects, my two bands, and also for song writing. I use a lot of plugins, some of which are very tasking on the system. I was looking at the various new PC options but came across some comments about Macs that peaked my curiosity. Can someone clarity if a PC and a Mac each have 8 GB of RAM, does each have the ability to allocate all available and not needed RAM by the OS to use for Pro Tools or are do they cap Pro Tools at a fixed amount, like 2GB or something regardless of the amount of RAM? My DAW doesn't see the internet. What other advantages/disadvantages are there to consider for Macs? I know about the stability issues of Macs and that PC's only come with Vista now (which I'm not really interested in), what other factors are there? I'm curious if I really can justify the price of a Mac as they appear to be much higher than a PC. I'm really just looking at desktop computers, not laptops. I'm not planning on making a purchase in 2008, not really sure when, just looking at options at this point. My brother-in-law is very familiar with Macs but not from the DAW perspective.
  13. 44.1 kHz and 24 bit. The bits make a bigger difference than the frequency so I keep the frequency down and save file size so I can have more plugins. Besides, CD's are at 44.1 and so it will end up there anyway.
  14. That's incorrect actually. But you're on to something. In the case of a 10:1 ratio, 1/10th is not how much it will be compressed, but how much you will be left with (9/10 will be compressed). Hence a 10:1 ratio compresses more than a 4:1 ratio. Well, actually that is not quite right (but I think you may have meant right). Everything above the threshold is compressed, not just 9/10 of the sound at a 10:1 ratio, it's just that the post compression sound is 1/10th of the db over the threshold as compared to the raw signal. Also remember that the signal is distorted in order to be compressed. 80's hair metal drums were a good example of compression creating an unnatural yet big sound. If you are looking to tame the wide range of sound dynamics without much change in the tone, you'll have to experiment a bit. I use several compressors one after another with a low (2:1) ratio. This is sort of how the Super Nice feature on the RNC works.
  15. In short, the formula is: Final sound level = threshold + (amount over threshold divided by the ratio) -9.75 = -12 + (9/4) 0.25 = 0 + (2/8) Attack of course plays a factor in terms of peak volume and release also factors in.
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