soundblaster the weaak link?

  • Thread starter Thread starter getuhgrip
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getuhgrip

getuhgrip

Bring Back Transfat!
Echo Darla on the way cuz though I'm new at "one man band computer recording", I can't believe taking a 1/4" plug down to 1/8" is a good thing even with a good mic. But my biggest concern is: I just started playing with Power Tracks Pro 6 (hope cool edit has similar features)on a P450, 128megs and SoundBlasterLive. CDs sound great on this system going through Denon reciever and Klipsch 3.1's as monitors, but everything I've recorded sounds "tinny", lifeless and hollow. The volume at playback really has to be cranked also. Is it in-fact the SB that is the weak link here?
 
Probably lots of things. The SBLive is almost certainly responsible for part of it, but what are you comparing to? Pro recorded CDs? I don't want to go overboard on this, but you didn't mention what other equipment you using. What mics, what mic preamp if you have one, what kind of cables, etc? All that will also factor in when you are trying to measure up to a professional recording, and tons of posts here on the BBS have discussed all of these things in much more detail.

I apoligize ahead of time if you already know all this stuff. It sounds like you are knowledgable about recording, but since you say you are new at computer recording I'm just going to ramble on for a few minutes in case it might help even the least bit. ;)Make sure you are getting good levels in the software when you record, and try to figure out the limitations of your setup and work around it. Once you do that you can start narrowing down where the problem is. Replacing the SBLive is a good place to start, but don't necessarily expect a miraculous sound improvement to a point you are happy with once you switch to the Darla. The things you describe (hollow sound, low volume) plague a lot of home recordings, including most of my stuff. The best thing I did to move towards fixing this problem besides getting tons of advice on better recording techniques from people here, was pick up some good editing software, learn how to use it, and do a little mastering with it. You said CoolEdit is on the way I think, so using it to monitor and increase your levels would be a good start. Lots of mastering type plugins can also be helpful for adding compression, limiting, adding effects, etc. Used properly, these things can really bring a hollow, low volume track to life. Getting a good strong signal recorded in the first place though is the best thing. Until I started recording, I never realized how elusive it is to get some of the recorded sounds I hear on commercial CDs. Especially good defined low end. I thought to myself when I heard good bass and drum tracks in a song "Why don't more people go for that sound?". Well, I think a lot of people do, it's just not as easy as saying you're going to record a song with great heavy bass that's still defined and then doing it. Combine that with the fact most home studios don't even come close to matching up with the Pro studios and you're already fighting a losing battle to some extent. It's not that it's impossible to get a great sound from a modest home setup, but it doesn't fall into most people's laps either. It's still a lot fun though. Good luck, and if you have any questions about any of this nonsense I'm spouting, just ask.
 
At the risk of sounding like a lazy study (I AM), I've learned to fly, build computers, and am faking my way through learning guitar. Somewhat "TEXT BURNT" and "RESEARCH SCORCHED", i'm trying to get a better sound and avoid scouring tons of info in the process. I'll buy or try anything, but I don't want to have to read "History of the Microphone" or "Hi" I'm your Mixer"! What an attitude! I'm sorry! Anyway, I appreciate your response and I'm willing to help someone help me. I'm in a 9X12 room (paneled) that I'm prepping for fabric covered celotex panels. I've got an Epi Les Paul, Mexican Strat and an Ibanez with a Peavy Bandit amp. A cheapy set of TKO's and a Washburn bass. Were not talkin gold end patch cords, but if you like 'em, I like 'em. I've browsed this site a bit and have concluded that Radio Shack isn't held in too high of esteem, so it is with my tail between my legs that I confess that 3 of my 4 mics are R.S. something-or-others. I do have a Samson R11 (XLR)that seems not to make as much feed-back as the others. I don't have a mixer yet and do not know what a mic preamp does....yet. I don't write music and what I've been doing typically is mic a speaker, record a song from cd on track 1 (Power Tracks), and monitor it thru headphones while I lay down guitar, drums, vocals and so on. The room needs to be tuned down some and like I said, I've got the Darla card that comes with Cool Edit on the way. I'd like to be able to mic the drums more advantageously and am looking at small 6-8 channel mixers. If any choices for mics and mixers are available, lay it on me or at least what I should consider looking at. Work takes me out of state all week so I only have the weekends for learning, buying, playing and whatever SHE wants me to do! I appreciate your time and advice a bunch, thanks.
 
getuhgrip,

I'm pretty new at this too, and I just bought a few things. So far not enough history to really recommend them honestly, but I have a Behringer MX1604A mixer which was under $200, and also a RODE NT-1 mike, which I haven't had a chance to use yet, for about the same price.

-AlChuck
 
Well.... A mic pre-amp. U know how if you plug your mic into you stereo and U speak.... nothing seems to happen? itz because the mics signal is REAALY weak. SOOOOO thats where the MIC PRE-AMP comes in. It amplifies the signal so up to a level that you can work with. Thats why with mics U usually have 2 level controls, the gain of the mic and then the fader on your mixer.

And for a small mixer I would go with a Mackie 1202-VLZ PRO. I have one and I love it... but it only have 4 mic pre's which isn't the best when it comes to drums... but other than that it kicks ars for the price. And for a new mic a Shure SM57 is always a good choice for a basic mic. Everyone here probably has at least one... or the Rode NT-1 is another good choice, but itz twice the price of the SM57.
 
Cool! I guess what was throwing me off was "pre" amp, which I would usually associate with something that shapes a signal before amplification, but this IS the power. I'll check out the shure's, and a mackie that has a couple more "ins". Musician's Friend carries a Behringer MX400 that seems bargain priced at $279. Ebay has become one of my best friends lately and I've seen three packs of Samsons for $69. Guess I'll look at the numbers for the Shure and the Rodnt for comparison. Damn! Look at me learnin! Thanks Sabith.
 
I think you'll like the Mackie. I personally don't care for the barringer compact mixers.
 
Hey Trac, I bow to the higher level of experience, but what is your preference based on? Don't leave me hangin', I'm trying to learn a little a little somethin' here. Thanks.
 
I don't have a mixer, so I won't comment on that part, but both the Shure SM57 and the Rode NT1 are good mics. The Rode is going to be about the price of two SM57s, and which ones you get depend all on what you plan to do. If you are recording instruments, like miking a guitar amp, the SM57 is the way to go. I would say you can always find a use for an SM57, it's a mic that can have multiple uses, sometimes even vocals. I have 2, and use them more than anything else. The Rode NT1 is a great condenser mic for the price, and is good for things like acoustic instruments and vocals. If you can compare different mics at a store, that's the way to go. You might find out your voice is more suited to being recorded with an SM57 than a more expensive mic. My point is, test the mics out if you can because you never know which mic will best suit you until you try it. Most places, like Musician's Friend, have ample tryout times where you can return something if it doesn't work out like you want. That way you can try it at home for 30-45 days.

Also, a mic preamp does help shape the sound and clean up the signal as well as bring up the mic level. Several people here use it during mixdown as well to enhance the sound. An inexpensive tube preamp would be the single channel Art($99). If you can afford a little more, look at the Art DualMP ($250), which has 2 channels and has some nicer features. If digital outputs are important to you on the preamp and you can raise the price even higher dbx has a nice one in the $500 range.

Yuu got the right idea, learn before buying. The search feature for the BBS appears to be back up and running (thanks Dragon) so check the Drum and Percussion forum for ideas on mics for drums and good ideas to getting better sounding drums recorded. You could probably find out a lot about the Mackie and what people think of it by searching on that as well.
 
Totally based on my on personal experience. I've used Mackie for years and it's a solid performer. You're not going to hear a huge difference between the two sonicly. I believe the Mackie stuff is just more "solid". The mic pre's in the new VLZ series are VERY quite and VERY transparent. They will not color the sound. A friend of mine and I were discussing this very subject and we agree that the Mackie "sound" is no sound at all, that is they impart only what the mic is sending to tape.
 
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