LazerBeakShiek
It is a life preserver
Haha! He means well tho.
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Haha! He means well tho.
Yeah, something didnt add up.Lol no bro. Thats just the ones I own
Imagine what that would take to even try.
Bruh.
I haven't been working on this constantly, every day for two straight years. I first started tinkering with Studio One 2 years ago, and have gradually been learning it off and on, taking breakings, coming back to it, etc. since that time.
As for the samples. the first one here is probably the best mix I've done thus far. It's the intro to a instrumental I wrote called Spitting Nails. I actually wasn't a big fan of this song, so I haven't released it. It was too "thrash" for me. I'm going for more of a hair metal sound. But I kept this sample just to share to people for things like this:
These videos I made today. I was just tinkering with my Marshall amp trying to match Warren Demartini's Out of the Cellar guitar tone:
I would call it NECROMANCER , it would be for jamming with dead famous artists. You could summon them to play their samples from your favorite tunes.If I played a famous drum kit
Fiddle sticks., it would still sound terrible.
So you are saying like ambient style of reverb, not a wet plate or hall?If you want a more realistic guitar tone then a mic or 2 in front of your guitar amp will just get you there with little effort. If you want to build in some depth then you can pull the mics further out, or add a room mic, or just use an impulse response (verb). This will just push the guitar back so it is not so dry/upfront. But most of the time, dry/upfront is what I aim for so I like what you have here. I would just push it back only because in context of your mix I feel like it would just gel a little better.
I see it as 'all pro'. Knowledge is power. That particular trifecta makes you dangerous.You end up artist, producer and engineer, this can be both a pro and con.
Would you ever set up the mix like a football field, and have the limiters set lines of scrimmage with volume levels? That would set hard boundaries in the mix hopefully separating and making space in the tracks. Space to go back and forth in.Reverb always does the same thing, pushes tracks back. If you want it to transparantly push back, .2 second decay room verb .... it's actually much more difficult to get FX blooming around a vocal while keeping the vocal up front and dry. It's like Chorus, it depends how it's used, I use it to push tracks back, and other times use it to pull a vocal forward. Use a lot of it to push a track back (makes the track less intelligible compared to a dry element), or use a little to make a vocal a little more stereo, adds suble frequencies fills in gaps, stereo = closer, brings a vocal a little step forward.
I have not figured out how people reckon they can use reverb to pull a track forward. My best guess is that they can just get away with a louder vocal and then use the verb again to make the vocal sit properly in the track again.
I've worked with a number of artists that have tried to do it all and felt somethings always suffer in the end. Many just want to focus on their craft and find the learning curve is daunting. I'll add that a producer/engineer with a lot of experience can be invaluable. If you can eventually make it all work for you, more power to you. Many find it helpful to use studio professionals as part of the learning process.I see it as 'all pro'. Knowledge is power. That particular trifecta makes you dangerous.
Short pre-delay pushes stuff back, longer pre-delay (try 18 -24 msec) brings it forwardI have not figured out how people reckon they can use reverb to pull a track forward. My best guess is that they can just get away with a louder vocal and then use the verb again to make the vocal sit properly in the track again.
The knowledge should be free. Discussing the techniques used in a song only heightens our appreciation of it. Money should NOT be the limit or obstacle, only your minds ability to understand..I learned a ton in every session I paid for early on. You've got plenty of posts where you express your frustrations on working particular issues out. Imagine for around $75 an hour, being able to consult with someone that can short cut that knowledge base. Would it have value?
A long pre-delay doesn't bring it forward, it just doesn't push it back as much as a short predelay.Short pre-delay pushes stuff back, longer pre-delay (try 18 -24 msec) brings it forward
Let's see how far that "knowledge should be free" theorem takes us. Say I want to be a neurosurgeon? I should be able to just walk into Harvard Medical School and say teach me? For free? No prerequisites like prior education or aptitude? No limits at all? Free college for all? How do we pick and choose who gets in. Everyone? Any degree you want?The knowledge should be free. Discussing the techniques used in a song only heightens our appreciation of it. Money should NOT be the limit or obstacle, only your minds ability to understand..
I'll be interested if you think...
I liked the Spitting Nails. You're a great player.
Here are my thoughts, for what they're worth:
There didn't seem to be enough high end on the guitar.
Secondly, I thought it lacked space. We heard a very immediate guitar, so maybe it needs a different reverb treatment.
I'm no great expert, but am on a similar journey to you. I'm still experimenting on all aspects of recording, trying
to get the best sound out of my guitars, drums, and keyboards.
I am sure we'll get there, so don't lose hope.
Spitting nails is awesome actually.
You can tell it's an amp sim, so dry and up front, I like the tone though, in my opinion if you mixed it in properly with the drums this would be all that's needed. You can boost high end, it wouldn't hurt as previously said but honestly I didn't mind it.
It is just that it is sitting on top of everything, drums need some work, but that's just a taste thing. Having the mix like you have it is fine too, it will translate, it's not harsh.
If you have a particular sound in your head that you want and you are unable to get there then this can make your attempt seem very sub par - But only to you! As I listen to it, with no reference and no idea what it is you are trying to go for, this is not too bad at all.
If you want a more realistic guitar tone then a mic or 2 in front of your guitar amp will just get you there with little effort. If you want to build in some depth then you can pull the mics further out, or add a room mic, or just use an impulse response (verb). This will just push the guitar back so it is not so dry/upfront. But most of the time, dry/upfront is what I aim for so I like what you have here. I would just push it back only because in context of your mix I feel like it would just gel a little better.
For spitting nails, I wouldn't play that part twice unless you had a lead guitar wailing at the same time, or a vocal. I'd keep it down the middle.
I wish I could play like you