Greg_L mix contest/clinic/critique - just for shits and grins

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kcearl said:
yes unless the mono wave is treated by completely separate effects/filters, so in a words making two different sound waves, and/or delayed by up to 35ms...which is inaudible to the human ear and so will slightly "fatten" or widen the note..known as the Haas trick


glad you're paying attention :)
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Ugh. That haas shit is ass.
 
kcearl said:
yes unless the mono wave is treated by completely separate effects/filters, so in a words making two different sound waves, and/or delayed by up to 35ms...which is inaudible to the human ear and so will slightly "fatten" or widen the note..known as the Haas trick


glad you're paying attention :)
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I'm aware of the HAAS EFFECT. There's a little more to it than that, but thanx.

I think you know I already knew that doubling a mono track simply makes it louder.

Glad you finally paid attention. :)




Are we having fun yet? :D
 
RAMI said:
I'm aware of the HAAS EFFECT. There's a little more to it than that, but thanx.

I think you know I already knew that doubling a mono track simply makes it louder.

Glad you finally paid attention. :)




Are we having fun yet? :D
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lol@ you still not getting this


doubling a straight mono track will just make it louder, agreed, never said it wouldnt


taking a mono track, doubling it...treating one to a high pass and one to a low pass to cover two separate frequencies, EQing them, bit crushing one and putting the second through an oscillator then panning them slightly will not just make the mono wave louder...it makes them two different sounds


here's an example

http://soundcloud.com/the-trainset-ghetto/scythe

the sub and gritty bass are the same wav file...they are two separate sounds after being treated



Im starting to have fun now :D
 
kcearl said:
lol@ you still not getting this


doubling a straight mono track will just make it louder, agreed, never said it wouldnt


taking a mono track, doubling it...treating one to a high pass and one to a low pass to cover two separate frequencies, EQing them, bit crushing one and putting the second through an oscillator then panning them slightly will not just make the mono wave louder...it makes them two different sounds


here's an example

http://soundcloud.com/the-trainset-ghetto/scythe

the sub and gritty bass are the same wav file...they are two separate sounds after being treated



Im starting to have fun now :D
Click to expand...
I don't totally disagree with you there. Putting a different effect on each and panning them will give you 2 different sounds, though. Not a stereo track. If you're mangling each one in a different way beyond the point of recognition, then you're pretty much creating two different instruments at that point, no? But I agree with you that it doesn't remain a simple mono track.

As far as high-passing one and low-passing the other, think about it:

Let's assume that's all you're going to do with it. So, you double the track, which goes from -6db to -3db (I'm making that up. I don't know what the result of doubling a track that's at -6db would be, but it doesn't matter for this example.)

Then you cut the highs from track 1 and the lows from track 2. But you still have all the highs on track 2 and all the lows on track 1. Wouldn't that be the same as simply turning up the one track to -3db and then cutting the highs and lows by half the amount?

That's why I keep insisting on the fact that doubling a track does nothing. Because most of the time, when people think they've found a cool trick that they think can only be accimplished by doubling a track, it's usually something that can be done without doubling that track.

What you're talking about with oscillators on one track, and other effects on the other isn't the same thing. But I can see how that can be useful.
 
i totally agree with you...and by just removing the frequencies from one and vice versus on the other its just the same track, thats just how I start out making the two bass parts...a sub and a distorted part..most of the time theres another bass on top, hence my tendency to overdo the bass (and I just was trying to get you to listen to a track of mine ;) )


I get what both you and greg are saying doubling a mono track is pointless, and the haas trick is just that, a trick...just record another track, even I can do that...badly :D
 
Okay, not to be a prick by sidelining this thread and continuing to ask knube questions...

I have the Tascam 2488 Neo. It has "24 tracks". But, 6 of the 24 are stereo tracks(?). Say, 13 and 14 are linked...13/14, (as far as I am aware)I can't asign an input to 13 alone. I can only asign to the combo of 13 and 14...13/14. I can individually pan, eq, etc 13 and 14. But, of course, seeing as how there was one input, the identical source was recorded on each track. I originally put the drums(shitty machine) on all of those stereo tracks(13/14, 15/16, 17/18, 19/20, 21/22, 23/24) because, I guess, I was unsure what the best application of those linked tracks. I reckon because I could( :rolleyes:) I panned kick wide on each track...which after further consideration the light bulb went off, panning both equally wide did nothing but put it right back up the middle/center, perhaps making it louder(which I can't really experiment/test the loudness because I can't mute each track individually).

WTH?...what's the best use for those linked channels/tracks? I have a few considerations, some possibly being asinine.

Maybe it addresses this question in my manual, or makes a suggestion. Perhaps I should backtrack in the manual to see. Maybe someone else can offer suggestions/advice

Any advice?

Sorry Greg...but thanks for the reply.
 
Mick Doobie said:
Okay, not to be a prick by sidelining this thread and continuing to ask knube questions...

I have the Tascam 2488 Neo. It has "24 tracks". But, 6 of the 24 are stereo tracks(?). Say, 13 and 14 are linked...13/14, (as far as I am aware)I can't asign an input to 13 alone. I can only asign to the combo of 13 and 14...13/14. I can individually pan, eq, etc 13 and 14. But, of course, seeing as how there was one input, the identical source was recorded on each track. I originally put the drums(shitty machine) on all of those stereo tracks(13/14, 15/16, 17/18, 19/20, 21/22, 23/24) because, I guess, I was unsure what the best application of those linked tracks. I reckon because I could( :rolleyes:) I panned kick wide on each track...which after further consideration the light bulb went off, panning both equally wide did nothing but put it right back up the middle/center, perhaps making it louder(which I can't really experiment/test the loudness because I can't mute each track individually).

WTH?...what's the best use for those linked channels/tracks? I have a few considerations, some possibly being asinine.

Maybe it addresses this question in my manual, or makes a suggestion. Perhaps I should backtrack in the manual to see. Maybe someone else can offer suggestions/advice

Any advice?

Sorry Greg...but thanks for the reply.
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Im really out my depth with standalones, and like i said heatmeister was having difficulties that were similar


but say I look at my mixer...there are also linked stereo tracks, but I can use these for mono, by say just inserting in the left input which is only activated as a stereo input when you put a 1/4" into the right input as well...is there anyway of separating them like this in the manual?


also you mention you have a Juno, is that a stereo output?

so keyboards or your drum overheads and room mics (which you dont have on a drum machine) also some tracks with outboards effects are stereo, like delay say...


sorry I cant really help on this one, it seems pretty ridged if these cant be split....try asking on the tascam forum, or maybe even pm getagrip, he had a tascam standalone??
 
Mick Doobie said:
Okay, not to be a prick by sidelining this thread and continuing to ask knube questions...

I have the Tascam 2488 Neo. It has "24 tracks". But, 6 of the 24 are stereo tracks(?). Say, 13 and 14 are linked...13/14, (as far as I am aware)I can't asign an input to 13 alone. I can only asign to the combo of 13 and 14...13/14. I can individually pan, eq, etc 13 and 14. But, of course, seeing as how there was one input, the identical source was recorded on each track. I originally put the drums(shitty machine) on all of those stereo tracks(13/14, 15/16, 17/18, 19/20, 21/22, 23/24) because, I guess, I was unsure what the best application of those linked tracks. I reckon because I could( :rolleyes:) I panned kick wide on each track...which after further consideration the light bulb went off, panning both equally wide did nothing but put it right back up the middle/center, perhaps making it louder(which I can't really experiment/test the loudness because I can't mute each track individually).

WTH?...what's the best use for those linked channels/tracks? I have a few considerations, some possibly being asinine.

Maybe it addresses this question in my manual, or makes a suggestion. Perhaps I should backtrack in the manual to see. Maybe someone else can offer suggestions/advice

Any advice?

Sorry Greg...but thanks for the reply.
Click to expand...

If you put one input into a stereo track and it prints the signal to both sides of the waveform, you still have what is essentially a mono track. It just looks like a stereo track. Treat it like a mono track. In this instance, you brought in a mono track onto a pre-made stereo track, right? No big deal, it's still mono, even though it looks stereo.

If you want to use those permanently linked tracks as mono track, just plug in one input. It may split the signal into a "stereo" loking waveform, but it's still mono.
 
I have the TASCAM 2488. You can assign a single input (let's say Input A) to channell 13 by making Input B go into chanell 14 and panning the Inputs hard left and right.

But, why record on those channels? The only linked channels I record on are 13/14 where I put my overheads. They're not stereo channels, they're linked mono channels. They're good for overheads, stereo back vocals, keyboard trakcs, etc.... So, if you just want to have a single track on track 13, record record on any channel from 1-9 and paste over to 13. But those linked tracks are good if you record a bunch of back vocal tracks on 1-9 and then bounce them over to 13/14 or 15/16 or whatever to have a stereo mixdown of those tracks.
 
Greg_L said:
Hey Ramrod, can that Tascam be used as an interface with Reaper?
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I could be wrong, but computer recording sounds a lot easier/simpler.

Plus I can steal drum loops and samples. :D

...or do that trigger thing I hear you guys talk about sometimes.
 
Mick Doobie said:
I could be wrong, but computer recording sounds a lot easier/simpler.

Plus I can steal drum loops and samples. :D

...or do that trigger thing I hear you guys talk about sometimes.
Click to expand...

Reaper is damn near free and it can do anything you can possibly imagine. Download that shit and figure out how to use it. I briefly used a standalone a while back, and in-the-box DAW's blow it away.
 
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