Steenamaroo
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In specific do you think the L/R out to one track or two makes for a better stereo mix track?
Out to one track won't be stereo!!
In specific do you think the L/R out to one track or two makes for a better stereo mix track?
Good advice all around.
One thing to seriously consider with recording tracks from a keyboard, especially with multi-timbral layered sounds. You will find that even when capturing these as a stereo track that the panning given by the presets makes zero sense as far as an actual L/R relationship. I find a lot of these are out of phase as well as having the pan-centric anomolies.
It's usually stereo from the perspective of the player, so it makes sense when you sit down and play the thing - Bassier on the left, less so on the right.
Steenamaroo re-first post above,thx for keeping me on my toes w/this re-posts last week that gave me the needed viewpoint on how this stuff works...I meant by that the Stereo Mix Track produced in Mixing Mode,not the initial track or 2 tracks recorded to....
Thx for the clarification re-L/R being tied to keyboard L/R range,didn't think of that at all.....which is why I'm over here a lot so as I get a sense of whats' what w/recording processes this will be informed by the valuable tips from people like yourself.....
What about that though,also cavedog1 etc for other people that might want to reply over here-what approach from the ones described above do you think is going to produce the best result when making the SMT from the individual ones?
CD1 re-"A capture device is only going to have volume and left/right panning in it's abilities."- actually I have both input EQ and compression as well as de-esser/exciter available on each track(Eq along w/one of the three types of dynamic effects)...the input compression settings are complete while mastering compression just allows for threshold/ratio and makeup gain....
>>>Having additional devices to enhance or alter your recording is not what I was referring to. None of those things changes the initial capturing of a sound. A recording device no matter what it is, only has volume and pan for the capture. Compression/EQ/effects does not alter this basic fact.
To reply to the point you are making CD1,the term phase anomalies as you use it usually refers to miking techniques where the sound as recorded differs from one mike to another in terms of the balance/signal simultaneity if I'm not mistaken;is that what I referred to above in term of adjusting input gain levels and L/R output pan etc?
>>>>Phasing can occur in direct recordings as well as using a mic and this is my initial point. Capturing multi-layer multi-timbral settings from keyboards can exhibit phase problems due to the complexities in the layers that are used to create the image of spatial awareness from the sounds generated by the keyboard. It's not just the split where the low notes are heard left and the high notes heard right....but rather it's the effects that all key presets use to create this space when played live. There's an old mixing technique that's been around for many years where the source is panned dry one way and is then ghosted through a reverb added to it panned opposite. Then a balance is achieved with panning to create a larger than life sound. We did this throughout the 80's and 90's especially on heavy background guitars.
Capturing the sound in mono-I don't have stereo tracks available on the DP008ex so I am always using mono but I can record to one or two tracks at a time......or are you suggesting that I use the keyboard single-channel-out/ L channel mix of both which is a mono signal made up of what is also output through the L/R as a second option....?
>>>>Yes. You may need to simply record the entire output of the preset in mono and split to a stereo aux track at mix. But only if you find parts of the preset sound missing at playback from multi mono recording of L/R.
I understand what you're talking about in term of how the presets are configured...
I don't use layering in of itself ,just a single preset if that is the way you're using the term or do you mean in terms of the preset itself there is some layering involved in the signal as it is produced?
>>>>Yes. There is always something in the presets that is basically all on the left at a certain pitch but has elements that are present in the right side too.
As far as the " spatial ambience that you can hear when played but will be missing from the recorded tracks",again the best result for the SMT made from the individual tracks is my focus,appreciate your thoughts on the different approaches to this I described above......which do you think will be best?
>>>> Only your ear can determine this. My point was to call attention to these things that I personally have experienced in recording modern keyboard sounds. I will generally capture all keys in midi which seems to alleviate this and makes editing a snap as well.
Again thx to both of you for keeping this thread going-picking up some good info/ideas..........