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Latest Activity: May 16
Started by Ray. Last reply by Michael Recchione Apr 26.
Started by Gary Clements. Last reply by Fran Guidry Mar 1.
Started by Pascal Proust. Last reply by George Quinn Feb 27.
I use an iMac for recording with Garageband. Just getting started and haven't learned how to clean up the sound dynamics (I feel like I need a sound engineer).
I use an Allen & Heath ZED FX10 as a mixer. I also just got a Roland GR55 synthesizer for my Godin Multiac. Lots of gear to figure out but lots of fun. Some initial practice recordings here: http://intelexe.com
Since Forrest had said "My budget is limited.", I was trying to go with what may already be available to him, ( did I mentiom that I like "no extra costs" ) Sometimes a little imagination and creative wiring will pay off.
Hi Forrest, I don't use a mac but use an E-Mu 0404 usb for interfacing with the pc. (I make up for the lower pc speed by using a DSP card)
For an inteface, compare max sample rates, good quality 24bit or better a/d converters, with monitoring facilities. I still however use a mixer (Folio F1) before this as it warms up the sound, allows you to have a little bit of gain on the mixer and a little bit of gain on the interface equals less background noise than loads of gain on the interface alone. Also with the interface, you tend to get just 2 balanced ins or so , whereas with my desk I have loads. I can put 3 mics on my acoustic guitar rather than be limited to 2.
I use an iMac for recording (used it for recent album). Like Arlie said, you'll need an interface to connect any audio stuff to the Mac ie to convert audio to digital. There's quite a few on the market - I suggest you google 'em and look at magazine reviews - Sound on Sound mag does a lot of reviews.
I use an Edirol UA25EX, which is spot on - but I think they've been taken over by another company - 'Cakewalk' possibly. I'd advise you to get a good one because the interface is the first stage in getting the sound from your instruments and mic into your Mac/Garage Band setup so it's crucial to how your recordings will end up sounding.
I'm using LogicExpress - which is the next step up from Garage Band and wasn't too expensive at all for what it does. Never used Garage band but it looks straightforward to use.
The Edirol interface I use also has an audio output which I feed into a pair of decent monitor speakers which are much much better quality than the Mac internal speakers.
To sum up - I'd say get a decent audio interface and a decent pair of active monitor speakers (or separate amplifier and speakers).
Oh, and one other thing... you do need a good spec fast Mac with plenty of RAM so everything runs smoothly - digital recording does ask a lot from the computer.
Cheers and good luck!
There a some rather inexpensive interfaces out there with XLR inputs.
I'm not familiar with Macs, do they have a stereo "line in"? and do you have the PA mixer from your gigging days? If you answered yes to the 2nd Q, does it have a "Line out"?
Perhaps you can see where I am going with this line of questions.
I used to have a Tascam 424 connected to my PC in this fashion
monitor out to PC line in
I'm a newbie to home recording. I've got a Mac and I used to gig. I have a couple of pretty good AKG mics I used on stage and I want to know if I can use them to record on Garage Band, and if so, what I need to make this happen. My budget is limited.
Here's my latest track, that I've recorded myself (forgive imperfections) using my Tascam DP-008 portable recorder. I'm a beginner at sound engineering, but I guess the result is not that bad! It's a personnal arrangement of Pink Floyd classic Wish You Were Here. Hope you like it. Enjoy!
Wish You Were Here by Pascal Proust
Interesting article from Guitar Squid website:
Learn Mixing | Monitoring
By Michael Cooper | Thu, 15 Dec 2011
Listening session at Rutger Verberkmoes—Music Composition & Sound Design . . . that''s a lot of speakers!
If your mixes routinely fail to achieve the level of excellence you strive for, maybe the problem isn''t with your skills in juggling faders, equalizers, and compressors. You might just be listening the wrong way. Use these simple strategies for changing the way you listen, and nail your next mix.
LET IT SUCK It''s a misconception that your mix should sound great on all consumer playback systems. If a killer mix for a major-label release in your music genre sounds boomy on your car stereo, your mix should also sound boomy—to the same degree—on that system. If you were to EQ your mix so that the low end sounded balanced on that lopsided equipment, it would sound paper-thin on most other stereos. Learn how great mixes sound on each of your monitors, professional and consumer. Then aim for those benchmarks in your own mixes.
TURN DOWN THE VOLUME Resist the urge to work with your control-room monitors cranked up. Listening at a loud volume introduces three stumbling blocks that are sure to trip up your mix. First, it causes ear fatigue. Second, it excites room modes. And third, the Fletcher-Munson Effect comes into play.
When your ears get fatigued from listening to loud music for an extended period of time, your ability to hear high frequencies becomes compromised. Your natural reaction will be to boost highs on your tracks so you can hear them more clearly. The next day, after your hearing has recovered, your mix will sound piercing and brittle. To mix highs in proper balance with mids and lows, keep your playback volume quiet as a mouse for most of your mixdown session.
Loud sound pressure levels (SPLs) also amplify the effect of room modes. Room modes are acoustic phenomena that cause very narrow dips and peaks in your control room''s frequency response. (Even the best studios suffer from room modes to some degree.) The dips and peaks occur at different frequencies depending on the dimensions of your room and are most troublesome in the bass range. A room mode causing a boost at 100Hz, for example, might trick you into cutting that frequency in your mix to reduce boominess. When you listen to your mix in other rooms that don''t exhibit a peak at 100Hz, your bass-starved mix will sound thin. Fortunately, listening at a low volume makes room modes sound less prominent. Turn down your monitors, and you''ll hear a truer representation of your mix''s spectral balance.
Mixing at loud levels also introduces the Fletcher-Munson Effect, a phenomenon wherein our ears become progressively more sensitive to very low and high frequencies as SPLs increase. Listening with monitors cranked, you can easily be tricked into thinking the bass and highs are muscular when in fact they may be weak relative to midrange frequencies. To avoid a dull and thin sound, EQ the top and bottom ends of your mix while listening quietly. When you crank the playback level later on, the intensified bass and highs will blow you away!
CRUISE THE ROOM If a room mode or other acoustic anomaly makes it hard for you to evaluate your mix''s bass balance at a certain frequency while sitting in the mix position, sit or stand somewhere else to suss it out. You can bet that frequency is going to be reproduced truly at some other place in your room. (The “true” spot will be different in each room.) Listen to bass tracks on major-label releases while walking the room to figure out where that frequency sounds right. For example, I can''t get a true read on how prominent 43Hz (roughly a low F on the bass) is in my mix while sitting at my mix position. But standing three feet from the back and four feet from the left wall of my control room, the picture becomes clear. I always stand in that spot at some point during the mix process and initiate playback on my DAW using my Frontier Design TranzPort remote control. I evaluate the 43Hz neighborhood while at the back of the room, return to the mix position to tweak its EQ accordingly, and repeat the process until the low bass is perfectly balanced with the other spectra.
LEAVE THE ROOM It''s sometimes hard to tell whether or not the lead vocal and guitar solo are at the proper level in the mix. To gain perspective, stand outside your control room—leaving the door open—for a listen. You won''t hear much detail, but you''ll get the big picture.
SEE WHAT DISAPPEARS LAST Listen to your mix on bass-deprived, midrangey monitors such as the Yamaha NS-10M or Avant Electronics Avantone MixCubes. Slowly turn down the monitor level until your mix is almost inaudible. If the lead vocal and guitar solo disappear before other elements of the mix, they''re mixed too low.
MAKE A SWITCH Wire all your reference monitors to a speaker switchbox that allows you to hear your monitors separately and in combination. Engaging the switches in turn while mixing, listen to your near-fields with and without your subwoofer in-circuit. Switch between your full-range speakers and consumer-playback proxies (your midrangey monitors) often, listening to each pair separately. You''ll know your mix is in the can when it sounds great on every reference system, big and small.
I own 2 Rode NT1-A mics. They are quite good for inexpensive mics. They work especially well on acoustic instruments of all sorts (guitar, hand percussion, etc.). They are also very quiet mics, which is a good thing, and they are efficient, meaning they don't require a lot of gain to get a solid signal. I use them with a Presonus Firepod with success. If I had any complaint, I would say they are somewhat bright, so maybe not the best for getting a warm vocal sound.
I've been offered a Rode NT1-A mcirophone and wondered if anyone uses this mic in a home recording setup and can tell me how it performs.?
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