A few of my experiences
I have been using
my VS-880-EX for about a year. The learning curve was a real bitch. I had been using a four track Tascam for fifteen years and still it took me a week just to record my first two tracks on the VS880-EX. The first couple of months were like pulling teeth. Even though by now most functions are almost automatic to me, I still have to break out the books once in a while when I try something new, or have a mind fart. However, the initial struggle was worth it. The possibilities offered by the VS880-EX are limitless. I am continually amazed at what even a hacker like me can accomplish with it.
My process:
I always begin by laying down stereo drum tracks on # 5 & 6 and a scratch guitar rhythm track on #1, which may, or may not be replaced. I usually use the “dual compression” on the drums, and sometimes one of the pre set EQs. I am running my guitars through
a POD 2.0, so I usually don’t use the Roland effects for guitar (although the Roland’s are excellent – the POD is easer to set up).
Next I lay down a bass track on # 2. I use the onboard “Dual Compressor” and either “Bass 1” or “Bass 2” for EQ, but I still run the bass through the POD so I can dial in just the sound I want. Then I lay down guitar leads on tracks # 3 and 4, or guitar on one and keyboard or sax on the other, etc. I save 7 & 8 for stereo vocals, which I usually do last. I use a Rode NT1 mic. The onboard VS880-EX pre amps seem to be just fine. I tried a tube pre amp and didn’t notice any improvement. I also use a Digitec Vocal Work Station for delay, reverb, harmony, etc. (My saxes also sound great through the vocal workstation.) I always use the onboard “Dual Compressor” and often “Rock Male” EQ for vocals.
If I want more instrumentation, rather than bounce tracks, I use my Roland DR 5 drum machine and program it’s keyboard and bass tracks, sync it up to the VS880-EX via midi. It’s like having five extra tracks. You don’t have to record the output from the DR 5 until mix down, and can still control level and pan whenever needed.
I do not like to bounce (combine) tracks, as you no longer have control of EQ, Level, pan, etc. of each instrument. I play with my final mix for hours before I even get close to being satisfied. If I had bounced the tracks, I’d be screwed. The only exception is vocals, which I have been known to mix when I need a lot of background voices, etc. However, I always keep the two original vocal tracks available for reuse if needed. I also sometimes add another dual guitar lead on the vocal tracks, where there is a blank 8, or 16 bar (or whatever) space left for instrumental “breaks”. You can punch in the lead, or do it on a V track and copy it to the right location. I usually have several different mixes with different pans and levels saved to the “Scenes.” I use the onboard “Mastering” effects when I mix down (software 2.0 and above) – “rock band” and “Bright Mix” seems to do well, but there are many to chose from. I am mixing down to analog tape now, but will soon be mixing to CD. More on that later.
Do not allow lack of disk space limit you. Use all 128 V tracks if you need to. That’s what they are there fore. Of course, I have never used more than twenty or thirty and do “Cut” track I know I will never use, then “Optimize”. The space problem is easy to solve. I just got an ORB drive (se my post) and now have infinite space.
Another little trick. Try using the “Very Pitch” (speed control) to slow down the playback while you lay down a guitar lead (39.something is ½ step lower in pitch) – you can even slow down and record at 1 or 1 ½ pitches to really sound fast on playback. Then play back at the normal 44.10. You will be amazed at how much better the lead sounds. Also, see what you’re mix sounds like played back at 46.79, which is ½ step higher and a little faster then the original 44.10. I often record my final mix played back at 46.79. You can find the exact pitch of a speed (sample rate) setting by recording a known tone (E, for instance) at 44.10, then slowing it down or speeding it up and finding the exact speed for +/- ½, 1, 1 ½, 2 pitches, using a guitar tuner. The tuner will tell you when you are right on pitch. I made a little chart (which I do not have right here, or I would share it with you).
I am not a real keyboard player, so my keyboard parts are simple, and require a lot of punching in to correct – sometimes built note at a time. Therefore, once I get the first 16 bars (or 8, or whatever), I often just copy it as many times as required to fill out the song, to avoid having to “play” the entire 100 some-odd bars.
I also plan exactly how many bars the song will be, so I know exactly when to stop playing on the first scratch rhythm track. That way I can build an ending to the song, rather than ending up with the much over used fade out require when all tracks just sort of peter out, leaving a ragged ending. I have found that the drums can just keep on playing past the final note, and be “cut” later. The guitar, however, must play the final note and stop, or be left to degenerate to a natural null (hold the note until it fades out). Once you have cut the drum track at the exact ending note it is easy to stop at the correct note with the rest of the tracks. If you decide you need an extra 8, 12, 16, or whatever, bars for another verse, a break, etc, just copy and insert the required number of bars in the appropriate location in the song. It is easy to do, and is absolutely perfect. The only problem will be if you already have the vocal down. Often a vocal verse begins slightly before the first note of the next bar (overlap) so you may have to do a little vocal punching in and out to get the vocal to fit the added bars. The same goes if you decide to shorten a song by cutting a verse out. It takes a little adjusting, but the end result will be perfect.
I only use headphones for vocals. I use Tannoy near field monitors, and have found that when I am laying down guitar and keyboard tracks it is much better to hear the playback through the monitors. Headphones do not give you a realistic idea of the sound. They usually sound better than the real mix. For sure the final mix should be done using monitors. Of course if you are recording in a place where you need to hold down the noise, the phones are a lifesaver.
Good luck and have fun. That’s what life is all about.
D. Larry Patterson
