Protip: Next time you get bored tidying, clean up to EPIC MUSIC. Takes it to a whole nother level.
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Protip: Next time you get bored tidying, clean up to EPIC MUSIC. Takes it to a whole nother level.
:hmm: Could you please clarify what you mean by the above statement? :confused:Quote:
Originally posted by Contact Point
You don't know what EPIC music is? Lucky you. It's a special type of soundtrack music. Put it on, and the day becomes full of instant drama.Quote:
Could you please clarify what you mean by the above statement?
You can try it and get back to us if you want:
https://www.youtube.com/watch?v=WU7SGn0MeP0
Miles was amazing. He invented several genres in his career. Listening to On the Corner right now:
https://www.youtube.com/watch?v=9wkK7Kid5Tw
BTW, does anyone know why Dr Bob/Bubb's favourite bird is? I need to know the answer for a net question. I never met Dr Bob?
Who's Dr. Bob (or is it Bubb?)? :)Quote:
Originally posted by Contact Point
MILES DAVIS QUOTE:
When Reasoner implies that blues and jazz talent in the black community stems from the suffering of slavery, Davis chuckles at the question and says, "It's not that "cliché." He shares a story from his teenage years about a music teacher he knew while attending The Julliard School:
"She started talking about, 'Well, you know, the black people was despondent at night and that's where the blues came from.' So I raised my hand. I said, 'Listen, my father's rich, my momma's good looking, and I can play the blues.' I've never suffered and don't intend to suffer."
I don't know. That's the mystery. Anyway, I think I found the answer... Cheerss...Quote:
Originally posted by Aragorn
Miles was a legend. I've never met him, but I did meet someone who has worked with him -- this guy here...
https://www.youtube.com/watch?v=1HilgDpAtvA
(Hint: it's the guitarist.)
Thanks Aragorn,
Pete Cosey is my favourite Miles Davis guitarist, and Sco, of course... I look forward to listening to this track when I get time.
Here's a track I recorded this afternoon, on a Sony Dictaphone:
Collateral Accounts Blues/God Save The Queen.
I welcome any feedback on recording techniques or mic placement, as I am still figuring out my set up. I think I had the mic too close and overdrove the mic. I still like the take, however.
I don't know how to embed soundcloud links here. If a mod can do it and teach me how, I'd be grateful.
Track:
[sc]https://soundcloud.com/voiceofagartha/collateral-accounts-space-bluesgod-save-the-queen[/sc]
As if by magic! Thanks for the embed.
Sounds like you were using a bottleneck. Did you use an open tuning for that? ;) Also, what kind of guitar did you use? :)Quote:
Originally posted by Contact Point
I'm still listening to it right now. The recording in itself sounds okay to me, though. You can never go wrong with close-miking, and you can always add a bit of an ambient effect by adding reverb. ;)Quote:
Originally posted by Contact Point
Just put [sc] tags around the URL, rather than [URL] tags. ;)Quote:
Originally posted by Contact Point
Yeah, I saw your post and decided to fix it. :pQuote:
Originally posted by Contact Point
I just tuned the A string down to G. Plus my treble e string broke. I haven't fixed it because 5 strings are easier. See Keith Richards. I used a standard Jim Dunlop Plexiglass bottleneck. That was me strangling an Epiphone SG.Quote:
Sounds like you were using a bottleneck. Did you use an open tuning for that? Also, what kind of guitar did you use?
Close micing gives it an in your face intimacy that I really like. The mic was about a centimeter away from the amp grille. Even when I moved it 1-2 inches back, the sound got worse. On the downside, I noticed was when I attack the guitar hard, there's a kind of thud/clunk sound. I don't know if that's because the levels are wrong, or because I am monitoring on really old cybercafe headphones. I don't have the net in my house in case I get addicted.Quote:
I'm still listening to it right now. The recording in itself sounds okay to me, though. You can never go wrong with close-miking, and you can always add a bit of an ambient effect by adding reverb.
I will remember those embed tricks, Cheers.
Listening to it and staring at the Golem pic was quite a powerful experience for me:
http://agarthanalliance.blogspot.tw/...nts-blues.html
Is there any way to fully embed the SC link here so people get the pic, like on the site?
Well, I figured that it had humbuckers, but I couldn't tell what guitar it was. ;)Quote:
Originally posted by Contact Point
The clunk sound is probably due to the close miking and the sensitivity of your speakers. ;)Quote:
Originally posted by Contact Point
Well, I just had to fix that website link in your original post as well... :pQuote:
Originally posted by Contact Point
Hmm... I don't think so. The SoundCloud support is something we've only added to vBulletin yesterday, and my own browser is too old to support all of its functionality, so I can't really tell. ;)Quote:
Originally posted by Contact Point
You can hear it has humbuckers? Wow.
So how to benefit from close micing without the clunk? I guess I'll have to mess around with placement and angles.
Thanks for the html fixes.
Oh yeah, that's something I can easily tell. Humbuckers sound darker than single-coils -- except for the Gibson P-90, which is a very dark sounding single-coil -- and the attack is creamier, and the output is generally higher too. ;)Quote:
Originally posted by Contact Point
I'm not an expert on that, though. I used to record my own guitars by way of a line-out on the amplifier itself. I suppose you could use a limiter or a compressor, but that would color the sound somewhat.Quote:
Originally posted by Contact Point
No problem -- we do that sort of thing all the time. ;)Quote:
Originally posted by Contact Point
I like the sound of mics in a room. To me it's all about picking up the energetic imprint of the guitar, location and player. I like tape hiss too, always have done. Lots of information encoded in white noise.
On second listening, the track is too indulgent, and needs editing.
A tiny bit of compression would probably do the trick. But only a little I like a raw sound. Most modern music is way overproduced. This is a good essay by Jack Endino:
http://www.endino.com/archive/arch4-0.htmlQuote:
HOW TO OVERPRODUCE A ROCK RECORD!
[2002 ADDENDUM: On some circulating versions this title has mysteriously changed to "HOW TO PRODUCE A HIT RECORD!"... attributed variously to F. Lee Harvey Blotto, or to no one]
Written by Jack Endino, Xmas 1998; also available in "The Tape Op Book", published by Feral House Press.
First, spend about a month on "preproduction", making sure that everything is completely planned out so that no spontaneity is necessary or possible in the studio. If there are no "hits" there, make the band collaborate with outside songwriters. [On one of the uncredited versions of this essay that I still get unwittingly forwarded to me from time to time, someone added here "... or better still cover an old hit!" Thanx, good point.] Line up extra studio musicians who are better players than the band themselves, just in case.
I'm inclined to agree with that. I prefer the "human feel" in a recording, and I don't even mind little mistakes. That's what makes it organic and real. ;)Quote:
Originally posted by Contact Point
I just started playing around with trying to record and mix stuff I've wrote, and though I hardly know where to start and am learning through trial and error, one thing I do know is that I'm not getting the kinds of sounds I want. I was using a cable to input my guitar directly into the mic jack on my computer, and then simulate amps and effects pedals through some VSTs in Reaper (Amplitube and Guitar Rig), but the sound that produces just sounds really frail. So I was thinking of buying this:
http://www.amazon.com/Lexicon-Alpha-.../dp/B000HVXMNE
I thought about buying a dynamic mic to stick in front of my amp too, but I don't have a lot of money to be throwing around for this kind of stuff anymore, so I'm trying to be economical.
Also Coursera.org has a free online course on music production from the Berklee College of Music, and I've been watching through all of that. At one time I was studying electronics engineering at a local college until I realized this is not something I'd like to do for the rest of my life, but I still got enough of an education to understand all of the physics involved with spectrum analyzers and compressors and all that. It's just getting them just right for that sound that's what I'm try to learn.
Any tips or tricks or good buys you guys know of would be appreciated. ;)
Well, I don't know much about recording either, because I've always worked in live settings, and without a microphone in front of my amp. But that said, I have a BOSS GT-10 floor effects processor -- I'm not sure whether they're still making them these days, as BOSS regularly replaces their products by newer versions -- and it can be connected to the computer via USB. That way, you can record your music directly on the computer, and you can download sound patches and software updates directly to the device.Quote:
Originally posted by bsbray
In terms of effects, the device has an enormous amount of them on board, and I think you can use up to 18 effects simultaneously: several boost/overdrive/distortion/fuzz effects, compressor, limiter, graphical and parametric equalizers, different choruses, flangers, phasers, Univibe, various wah models, volume pedal, pitch shifter, harmonizer, pitch bender, two guitar synths, slow gear, reverbs, delays, a loop station, noise suppressors, auto-wah, pickup type simulator, guitar type simulator, et al.
It also has the BOSS COSM technology, which is an advanced digital sampling technology, and with that, you can also simulate lots of different effects from other manufacturers -- e.g. a Vox CryBaby wah pedal, or an Electro-Harmonix Fuzz Face -- as well as a great number of amplifier models, including all the usual suspects: Vox AC30, several Marshall models, Fender models, Mesa Boogie, et al. And if you use the amp modelling, then you can switch between a rhythm and a lead channel. And of course, it's all also MIDI-compatible. ;)
The downside is that the software for downloading patches and upgrading the firmware is for Windows or OS X only, whereas I exclusively use GNU/Linux on my computers. But then again, I keep my computer activities and my musical activities separate anyway. ;)
I've got a CryBaby, and that's probably about the only thing that my software can't simulate well by itself. I have more effects installed as VSTs than I even know what to do with. Of course some of it sounds better than others. Guitar Rig sounds a little more digital, but has some amazing effects and is simpler to use. But even though it has a very effective noise gate setting, that noise isn't taken out of the signal once I'm playing. So the noise only goes away during moments of silence, no hiss or anything until I start playing. I downloaded AmpliTube and it has a much more realistic sound, modeling tube amplifiers (and also modeling lots of real pedals), but also a little noisy. So my conclusion is either my cable (which is an adapter type, 1/4 inch to 1/8 inch) or the adapter I use to go into the headset jack on my computer (which was only $5) is introducing a lot of noise into the signal.
If I get that thing I linked to above, it'll go in through the USB in digital, so I only have to worry about any noise my 1/4 to 1/8 inch cable might pick up, and not the other cheap adapter. And the signal should be a little meatier too by the time it reaches the PC.
Once I get those things set up then I can better assess what the real damage is as far as me just being new to the mixing process and all the other tricks going on within the DAW itself.