I'm not sure what a Porta5 is, but I assume it's a 4 track. Isn't it a small Portastudio, several years old, with a minimal 2 channel mixer, that records 2 tracks at a time, and plays back 4 tracks? (Like the precursor to the present Porta02?)
I like the Mackie mixers I saw recently. They seem pretty functional & well built. I've considered buying one, recently, but I'm holding off on new multitrack gear, for the time being.
I may get a CDRW standalone unit, some day. That would streamline my mastering process, a little. I'd mixdown directly to CDR and a MD, simultaneously, with the CDR being the first unit in the recording chain. I'd keep the CDR as the 'real' master, and have the MD as the 'road' master. Right now, my real master and my road master are the same, MD, but I have all my CD 'master' (.wav) files on my computer, and also burn CDR's on the computer.
Currently, I master to Minidisc and .wav file, but it's a more cumbersome process. My Minidisc is convenient, but for .wav files, I have to carry the Portastudio to the front room, where my PC that makes the best recordings is.
For 8 track masters, the Minidisc is the main master, with the .wav file being a copy of the MD. That's only because I can't lug my 8 track setup in & out of the room.
I do love the Minidisc, as well as my Tascams. Technology has brought a lot to home recording.
My short term goal concerning my studio,is to buy more 1/2" reels, and try to utilize my present setup as much as possible. I'll keep working on how to get the most from 8 track production.
My system rocks, and my most valuable recording dollar spent is probably on more reels, not more gear.
More tracks would be nice. The indulgent part of me reallys want to upgrade to 16 tracks or more, but 8 tracks keeps the production 'lean'. 4 tracks are great, too, but sometimes a little limiting, (a little too lean).
Face it. In multitrack recording, more tracks is better, especially for solo artists.
Think of all the DAW people with 24 or more tracks. That's a big allure of DAW (tracks), as well as editing power, but otherwise, I think DAW's are a pain. I really do get hand strain, wrist strain & eye strain from working on the computer too much, but that's just me. Also, I think the computer throws off too much ambient noise & other (crt) interference into the room, and in a 1 room studio, it's prohibitively high.
As far as pointers go, I'd say this. As I was alluding to, above, I think the CDR should be the first link in the mixdown-deck chain, followed by the MD. Then you could fire them off simultaneously, and get more bang for your buck, as far as making sure the 'uncompressed' device is the first device, before the 'compressed' device.
Technically speaking, the uncompressed version of your song (CDR) would be the best one to make the copy-master, but remember, I don't think the compression makes an audible difference, and I have very acute hearing. I certainly can't hear the difference between the MD and something mastered to (.wav) CDR. If anything, the MD sounds BETTER.
I've heard for recording voice and acoustic guitar, some compression on the mic helps even out the sound, & beef it up a little. That may be something you have tried.
I can't comment as well on effects, since I don't really use them in the recording chain, currently. I have a little
Yamaha R100 digital delay, and have used it plenty of times in the past, but almost never use it anymore. I don't use compression, or any other effect, but I try to make subtle adjustments in positioning (voice/guitar) to achieve the best overall sound. It's subtle & hard to explain,... mic technique, but I think you know what I mean.
I think acoustic drums are always better than drum machines, if you can swing it, in your particular situation.
Also, I prefer acoustic piano over electronic keyboards, but same as above, it depends on your situation. If all you have is a little keyboard, that's fine. The instrument is just a tool, a vehicle. My electronic keyboard is really old & cheesy, but it's good for a little pinch hitting on
some tracks. Newer keyboards are fine, but don't impress me that much. A lot of electronic newer keyboards get really gimmicky & complicated,... oops, there I go again.
Your basic studio framework sounds very similar to mine.
Whatever it is that I record, I mix & eq the inputs, until I seem to have gotten the most out of the sound, before I print a track. Then I listen back, to double check the actual recording, and make adjustments, as necessary.
For instance, just the other night, I used 3 inputs, mixed together, to record this killer sounding electric guitar track. The 3 inputs were: close/ambient mic (12-24"), line in from distortion box, and line in from clean output on guitar. --Well, my newest guitar, a Danelectro Innuendo, has 2 output. One for clean, and the other for a built in 4 effect switch, (on the guitar). (It's really cool, and looks super).-- Anyway, I mixed together this super-overdrive sound, with this boring, dry, in your face line in, and topped it off with a high amount of room/ambient mic, to get this really 'live' sounding track. The playing may be mediocre, but the sound is killer.
I believe practice is important, as well as open experimentation (noodling around). Enjoying the music of others, learning good songs, and using them as a springboard for your creativity, is important.
Most of my recording philosophy revoles around mixing all the right inputs, experimentation, and the eternal quest for the next better sounding track. A lot of it is listening as objectively as possible, in a totally subjective medium, (music & home recording).
And, in order to sound as live as possible, BE as live as possible. There's no way to fix something 'in the mix', if it's lackluster to begin with. If you're gonna play, play like you really mean it. If you're gonna sing, sing like you really mean it. Don't hold back. Don't worry if the neighbors hear you. Let them complain if they want. I mean, be reasonable, but don't let anybody rain on your parade. Express yourself. Of course you look silly. So do I!
Last extranneous tip: Be yourself, ok, but if you have to sing in falsetto, either nail it straight, change the part to a more comfortable range, or have your girlfriend sing that part.
I listen A LOT to my own recordings, especially when I'm mixing, working on, or brainstorming a project. Then, I 'come up for air', and try to listen to as much 'real' music as possible, mainly 'Classic Rock', also including other styles too.
The best music is ethereal, and is better being experience than explained.
Try to practice enough, so that you can hear and play the right notes, without your head of having to think so much about it.
I'm constantly progressing in my musical & recording skills, like everyone else. I've made some trashy sounding recordings in the past, but over the years have learned a few techniques that I mix & match, and currently, I'm pretty pleased with the high fidelity I seem to get on my recordings. Not bad for some guy in his room.
I'm not commercial, it's a personal thing.
I have no mp3 posts, no web page, and I'm not that web savvy. I have a few narrow interests on the web, and use the computer as a utiltiarian appliance. I don't think emailing a 30 or 40 meg file would work so well. That's way too big for the 56k modem. You'd need a broadband internet connection for that.
I don't think I can post any mp3's, since my most current, best sounding recordings are cover tunes. Copyright law may prohibit me doing this.
I'd be glad to send you a CDR or Minidisc. I could describe my music or sound all day, but listening is always better. Check my other posts, and I'm always trying to say what a 'live' and 'full' sound I am able to get.
I was Long Time User, on the Tascam BBS, but I seem to have been exxed from that board. A few days ago it said my user name no longer exists. I might have pissed someone off, by either ragging too much on Tascam, (I'm mostly pro Tascam, but was very unhappy with
the US428), or for writing too many long, boring posts, which were technical in nature, but filled with lots of opinions (and using lots of disc space). I'm very opinionated when it comes to knowing what works for me. I'll try not to go on & on, but just to say only what I think is relevant, to music or to getting better recordings. I don't want to come off sounding like a know it all, I'm surely not.
Anyway, unless or until I get the Tascam BBS thing worked out, I'm not going to be posting on Tascam's BBS. That's ok, it had run it's course, and I can give people Portastudio advice or 8 track reel advice, but have nothing to say about the newest Tascam products.
I was on the Tascam BBS to get in touch with some of the technical issues and responses to the newest gear, but won't have much else to say until I get something new, and use it for myself.
I'm not likely to get a 788, or anything else soon, but I think the 788 has its merits, and I can understand why people would like it. The US428, I can't say as much, but all the feedback I got was that either my system couldn't handle it, or I was probably doing something wrong. I definitely got a 'crash' course on the pitfalls of DAW. I was all gung-ho for DAW, before I tried it, but soured on the idea after that. I'll probably think some more about DAW, but I'm stifled by concerns about a few low-tech limitations and problems of DAW, not Tascam specifically.
One interesting BBS is enough (Homerecording.com), and there are only 24 hours in a day. If I go on too long, here, they'll probably boot me off this BBS too.
Anyway, I find music & home recording subjects of endless fascination, but these responses take me a long time to compose, and I'm gonna get down off my soap box & go practice.
I'm not doing music for money or to be famous, I just do it for fun, and the pure love of music.
