Using AI to help speed up figuring out how to do something in your DAW

[TAE]

Google AI ...pretty cool So I find it to be a tenuous, frustrating, time wasting, party pooping, kill the thrill experience trying to figure out how to use all the amazing things that are possible in these Daws these days. Even the most simple of stuff like setting up tracks can be arduous. Going deep...oh hell no! Watching hours of tutorial video ...ugh. I just asked the Google a couple of questions. First I googled Phil Spector recording hacks. Then when AI gave me the answer I asked how can I create the Wall of Sound effect in Reaper...Below are the first and second question answers. I think this is the tip of the ice berg for me as far as having my own personal audio engineering expert consultant for reaper or any other Daw for free. Kind of excited about empowering myself with this new "helper".

Phil Spector recording hacks

Phil Spector, renowned for his "Wall of Sound" technique, employed a series of innovative and distinctive recording methods that set him apart in the music industry during the 1960s
.
Here are some key "hacks" or techniques he utilized:

• Layering of Instruments: Spector famously employed large ensembles of musicians, often having multiple instruments like guitars, pianos, and horns play the same parts in unison. This dense layering created a rich, full sound that blended together, making it difficult for the listener to distinguish individual instruments.
• Overdubbing: He extensively used overdubbing to layer multiple recordings of the same instrumental parts, adding depth and complexity to the overall sound.
• Echo Chambers: Spector utilized echo chambers (often basement rooms fitted with speakers and microphones) to add reverb and create a grand, spacious quality to the recordings. The signal from the studio would be played through speakers in the chamber, the sound would reverberate, be picked up by microphones, and then sent back to the control room for recording.
• Strategic Microphone Placement: Rather than isolating individual instruments, Spector's microphone placement aimed to capture the blended sound of the ensemble. This helped create a cohesive sonic "wall".
• Monaural (Mono) Mixing: Despite the rise of stereo recording, Spector preferred mixing all the elements down to a single monaural track. This ensured that the music would retain its power and clarity when played on the prevalent low-fidelity equipment of the era, such as AM radios and jukeboxes. He believed stereo releases gave too much control to the listener over the carefully balanced sonic textures he had created.
• Focused on the Song and Performance: Spector's approach emphasized capturing a compelling live performance rather than obsessing over perfect sonic qualities or intricate stereo mixes, given the limitations of the technology at the time.

In summary, Spector's recording techniques aimed to create a massive, layered, and reverberant sound that would be impactful and cohesive, particularly on the audio devices popular in the 1960s.

7 sites

• Phil Spector's “Wall of Sound”: The Technique That Changed ...
  Oct 16, 2024 — The Genesis of the "Wall of Sound" Phil Spector, a renowned record producer, and songwriter, developed the "Wall of Sound" in the early 1960s. His goal was to c...
  
  
  
  
  
  
  www.nathanfieldsmusic.com
  
  
  
• Phil Spector’s wall of sound - Recording Techniques
  Dec 19, 2014 — I thought it was ingenious.” Microphones in the recording studio captured the musicians' performance, which was then transmitted to an echo chamber—a basement r...
  
  
  
  WordPress.com
  
  
• Wall of Sound - Wikipedia
  For other uses, see Wall of Sound (disambiguation). * The Wall of Sound (also called the Spector Sound) is a music production formula developed by American reco...
  
  
  
  
  
  
  Wikipedia

2nd question:

Using reaper as my Daw, what methods could I use to duplicate the wall of sound

Recreating Phil Spector's "Wall of Sound" in Reaper, or any DAW, involves emulating his core techniques digitally
.
Here's how you can do it in Reaper:
1. Layering of Instruments and Vocals:

• Duplicate Tracks: You can duplicate existing instrument or vocal tracks in Reaper to build up layers.
• Recording Multiple Takes: Record multiple takes of the same instrument or vocal part, encouraging subtle variations in performance for a more natural-sounding blend.
• Layered Recording/Editing: Reaper's "Free Item Positioning" feature allows you to stack multiple items (audio recordings) on top of each other within a single track. You can also set up Reaper's recording options to create new media items in separate lanes (layers).
• Varying Timbres: If possible, use different instruments (or virtual instruments) to double or triple parts for a richer tone. For example, you could double a piano with a harpsichord or a Rhodes piano.
• Varying Mic Positions/EQ: Even with the same instrument, you can introduce subtle differences by using different mic positions during recording or by applying slight EQ variations to the layered tracks in Reaper.

2. Using Reverb and Delay (Echo Chambers):

• Reaper's Built-in Plugins: Reaper includes plugins like ReaVerb and ReaDelay that can be used to simulate echo chambers and reverb.
• Reverb/Delay Buss: You can create a send/return track with reverb and delay plugins inserted. Send the signals from the layered instrument and vocal tracks to this bus to blend them with the effects.
• Adjusting Reverb/Delay Settings: Experiment with pre-delay, decay time, and dampening settings to mimic the sound of Spector's echo chambers. A useful tip is to create a delay with repeats slightly offset and panned left and right before hitting a reverb plugin on the same bus, creating a sense of space around the vocal.

3. Mono Mixing:

• Check Mono Compatibility: While you can mix in stereo, frequently check your mix in mono to ensure it translates well.
• Use Reaper's Width Control: You can set the width control on individual tracks in Reaper to 0% to collapse the left and right channels into mono.
• Render in Mono: When rendering your final mix, choose the mono option in Reaper to maintain the characteristic mono sound of the Wall of Sound.

4. EQ and Compression:

• EQ for Separation: Use EQ to shape the tone of individual tracks and create space for each instrument in the frequency spectrum. This is important when layering many tracks so they don't sound muddy.
• Compression for Gluing: Apply compression to individual tracks and instrument groups (buses) to control dynamics and "glue" the layers together, creating a denser, more cohesive sound.

In addition:

• Don't Be Afraid to Experiment: Spector's approach was about creating a unique sound. Don't be afraid to experiment with different techniques and settings in Reaper to find what works best for your production.
• Listen to Reference Tracks: Listen to examples of Wall of Sound recordings to get a feel for the characteristic tone and balance you're aiming for.

By implementing these methods in Reaper, you can capture the spirit of Phil Spector's "Wall of Sound" and add a classic, layered, and impactful quality to your productions.

 

[TAE]

Question 3

I want to be able to get nice sounding finished recordings using Reaper that emulate the end result of Phil Spectors "wall of sound", Brian Wilsons "Pet Sounds" album and Alan Parson's "Dark Side of the moon" album. What will be the essential plugins I should be using. And how should I approach this project to succeed at achieving this amazing end result?

Recreating Spector, Wilson, and Parsons in Reaper: A Blended Approach
To emulate the sounds of Phil Spector ("Wall of Sound"), Brian Wilson ("Pet Sounds"), and Alan Parsons ("Dark Side of the Moon") in Reaper, you'll need to combine their distinct techniques while leveraging modern plugins and DAW capabilities.
Essential Plugins (Reaper & Third-Party):

• Reverb:
  • ReaVerb (Reaper's stock plugin): A powerful convolution reverb that can load impulse responses (IRs) of iconic spaces and vintage gear like plate or spring reverbs.
  • Valhalla Supermassive: A free plugin known for generating expansive, ethereal soundscapes perfect for both ambient textures and denser, "moon-like" effects.
  • UAD EMT 140 (or a good plate reverb emulation): Emulates a classic plate reverb used on albums like "Dark Side of the Moon," adding natural depth and shimmer.
  • UAD EMT 250 (or a brighter digital reverb emulation): Offers a brighter, less dense reverb for when a plate is too heavy-handed.
  • IK Multimedia T-RackS Sunset Sound Studio Reverb: Recreates the echo chambers, live rooms, and booths of Sunset Sound, the studio where some "Pet Sounds" tracks were recorded.
• Delay:
  • ReaDelay (Reaper's stock plugin): Provides basic delay effects, which can be sent to reverb busses for classic echo chamber emulation.
  • Valhalla Delay: A versatile delay plugin offering a wide range of rhythmic and ambient delay effects.
  • Audiothing Outer Space 2: A good emulation of the classic Roland RE-201 Space Echo, ideal for tape-style delays.
  • Wavesfactory Echo Cat: Another top-notch vintage tape echo emulation plugin.
• EQ:
  • ReaEQ (Reaper's stock plugin): Offers precise tonal shaping for individual tracks and buses.
  • FabFilter Pro-Q 3: An industry-standard EQ with dynamic EQ capabilities for greater control over frequency content.
  • Chandler Limited Curve Bender (Softube/UAD): Emulates the vintage console EQ used on "Dark Side of the Moon" and "Abbey Road," adding warmth and character.
  • Ruby 2 (Acustica Audio): Faithfully recreates a vintage tube equalizer, bringing analog warmth to your sound.
• Compression:
  • ReaComp (Reaper's stock plugin): A capable compressor for controlling dynamics and "gluing" layers together.
  • Various Analog Emulations: Look for analog emulation plugins (e.g., from Slate Digital, Waves, UAD) to add warmth and vintage character to your tracks.
• Tape Emulation:
  • Chris's Airwindows Plugins: Free tape and console tone emulation plugins (e.g., "ToTape", "Tape", "IronOxide", "Channel9").
  • Virtual Tape Machines (Slate Digital): Offers a selection of classic tape machine emulations.
  • FabFilter Saturn 2: A versatile saturation plugin with various tape-style saturation algorithms.
• Vocal Plugins:
  • ReaTune (Reaper's stock plugin): Basic pitch correction for smoothing out vocals.
  • Izotope Nectar: A comprehensive vocal processing suite with pitch correction, formant shifting, and chorus effects.
  • Chorus Effects: Use dedicated chorus plugins to replicate the unique vocal harmonies of "Pet Sounds" and similar effects.
  • iZotope Vocal Doubler: Specifically designed for creating vocal doubling effects.

Approach to Success:

1. Preparation & Organization:
   • Understand the References: Study the characteristic sounds of the referenced albums. Pay attention to instrument timbres, reverb styles, vocal processing, and overall sonic textures.
   • Plan Your Arrangements: Consider how you will layer instruments to build density. This starts with composition and arranging before recording even begins.
   • Recording Environment: If possible, work in a treated space to minimize unwanted room reflections during recording.
   • Project Organization: Maintain organized project files in Reaper, labeling tracks clearly and using folders or buses for related tracks (e.g., rhythm section, strings, vocals).
2. Recording:
   • Quality First: Prioritize clean, high-quality recordings, as a good source sound is essential for successful mixing.
   • Layering with Purpose: Layer instruments and vocals strategically, considering how each element will contribute to the overall texture and sonic landscape.
   • Vary Performances: When recording multiple takes for layering, encourage subtle variations to create a more organic and natural sound.
3. Mixing:
   • Start with Fundamentals: Focus on basic mixing principles like level balancing, panning, and EQ to establish a strong foundation.
   • Build the "Wall" (or Soundscapes):
     • Layering in Reaper: Use Reaper's features like "Free Item Positioning" and recording multiple passes to build up dense layers of instruments and vocals.
     • Reverb and Delay: Apply reverb and delay effects using buses or sends to control the blend and create a sense of space. Experiment with different reverb types and settings to emulate the desired vintage sound (plates for Spector and "Dark Side," possibly springs for "Pet Sounds").
     • EQ for Clarity: Use EQ to carve out space for each instrument in the mix, preventing muddiness and ensuring that each element contributes effectively to the overall sound.
     • Compression for Cohesion: Apply compression to individual tracks and buses to control dynamics and "glue" the layered sound together.
   • Vocal Harmonies: Focus on arranging and layering vocal harmonies, using plugins like chorus and tape emulation to add thickness and vintage character.
   • Emulate Parsons' Varispeed: Use Reaper's pitch and time manipulation features or specialized plugins to achieve a "vari-speed" effect on instruments or vocals, adding a chorusing effect.
   • Mono Compatibility: Regularly check your mix in mono to ensure it sounds good on mono playback systems, especially for the "Wall of Sound" aspect.
   • Creative Sound Design (for "Dark Side"): Utilize plugins and techniques for creating atmospheric effects and soundscapes.

Important Considerations:

• Plugin Choice: While specific plugin recommendations are helpful, the most important factor is understanding the underlying principles and using plugins that allow you to achieve those results. Reaper's stock plugins are a great starting point, and there are many high-quality third-party options available.
• Experimentation: Don't be afraid to experiment and try different combinations of plugins and techniques to find what works best for your specific production.
• Reference Tracks: Continuously listen to the reference tracks (e.g., Spector productions, "Pet Sounds," "Dark Side of the Moon") to guide your mixing decisions.

By combining careful planning, effective use of Reaper's features, strategic plugin choices, and a commitment to emulating the characteristic sounds of your target references, you can achieve amazing results in your recordings.

 

[TAE]

Question 4
How do I use Reapers reacomp properly?


ReaComp, Reaper's built-in compressor plugin, is a powerful tool for controlling the dynamics of your audio.
Proper use involves understanding its key parameters and how they interact to shape the sound of your tracks.
Here's a breakdown of how to use ReaComp effectively:
1. Understanding the Core Parameters:

• Threshold: This determines the level at which the compressor starts working. Signals above the threshold are compressed, while those below remain unaffected. A lower threshold means more of the audio will be affected, while a higher threshold only compresses the loudest parts.
• Ratio: This sets the amount of compression applied when the signal exceeds the threshold. A ratio of 4:1, for example, means that for every 4 dB the signal goes above the threshold, the output will only increase by 1 dB. A ratio of 1:1 means no compression, while a high ratio (e.g., 10:1 or more) makes the compressor act as a limiter.
• Attack: This determines how quickly the compressor reacts once the signal crosses the threshold. A fast attack time results in almost immediate compression, while a slower attack allows the initial transient of the sound to pass through before compression begins.
• Release: This controls how quickly the compression eases off after the signal drops back below the threshold. A shorter release time means the compressor returns to its normal state quickly, while a longer release time allows the compression to linger for a more sustained effect.
• Knee: This parameter determines how smoothly the compression transitions as the signal crosses the threshold. A "hard knee" (0 dB) applies the full ratio immediately, while a "soft knee" (a higher dB value) gradually increases the ratio as the signal moves further above the threshold.
• Makeup Gain: Since compression reduces the overall loudness, you can use makeup gain to compensate for the lost volume and bring the compressed signal back to a desired level.

2. Step-by-Step Usage in Reaper:

1. Insert ReaComp:
   • Select the track you want to compress.
   • Open the FX window for that track (by pressing F, for example).
   • Find "ReaComp" in the list of plugins (you can filter by "Cockos" to see Reaper's built-in effects).
   • Double-click ReaComp or select it and click "OK" to insert it on the track.
2. Adjusting the Parameters:
   • Start with a Ratio: A good starting point for many instruments is a ratio of around 3:1 or 4:1.
   • Set the Threshold: Play the audio and watch the gain reduction meter in ReaComp. Lower the threshold until you see the meter indicating compression (gain reduction) on the loudest parts. A general guideline is to aim for around 2-3 dB of gain reduction on the peaks.
   • Adjust Attack and Release: Experiment with these settings to control how the compressor reacts to the incoming audio. Faster attack times are good for controlling sharp transients, while slower attack times can let the initial punch of a sound through. Release times influence the sustain and overall dynamics of the compressed sound.
   • Experiment with the Knee: A hard knee provides more immediate and noticeable compression, while a soft knee creates a smoother transition.
   • Use Makeup Gain: Once you have the desired amount of compression, use the makeup gain to restore the overall loudness.
   • Consider Auto Makeup: ReaComp has an "Auto make-up gain" option which automatically adjusts the output level as you change the threshold. This can be helpful for initial adjustments, but you might want to switch it off later for finer control.
3. Refining the Sound:
   • Listen Critically: Don't just rely on the meters; listen carefully to how the compression is affecting the sound.
   • Bypass and Compare: Toggle ReaComp on and off (Ctrl+B on PC, or using the plugin's bypass button) to hear the difference it's making.
   • Make Subtle Adjustments: Compression is often most effective when applied subtly. Don't be afraid to make small adjustments to find the right balance.
   • Consider Multi-stage Compression: For significant dynamic range control, you can use multiple instances of ReaComp (or other compressors) in series, each performing a lighter amount of compression.

Tips for Specific Instruments:

• Drums: You might use a faster attack and release with a harder knee for a more aggressive, punchy sound. For a drum bus, try compressing between 3-6 dB.
• Vocals: Compression can help to even out vocal volume and make them sit better in the mix. You might use a moderate attack and release with a softer knee for a smoother sound.
• Bass: Compression can help to make the bass more consistent in the mix and provide a solid foundation.

By following these guidelines and experimenting with the parameters, you can effectively use ReaComp to control the dynamics of your audio and achieve the desired sound in your Reaper projects.

 

[TAE]

Question 5

What do you mean by "softer knee"?


In the context of a compressor like ReaComp, the "knee" refers to the way the compressor transitions from an uncompressed signal to a compressed signal
.
Imagine a graph representing the compressor's action. The horizontal axis represents the input signal level, and the vertical axis represents the output signal level.

• Hard Knee: With a hard knee, the threshold is a sharp cutoff point. Once the audio signal crosses that exact threshold level, the compressor immediately applies the full ratio you've set. The transition from uncompressed to compressed is abrupt and noticeable, creating a sharp "knee" in the graph. This is often used for controlling fast, dynamic peaks, like those in drums, where you want an immediate and forceful reduction of volume spikes.
• Soft Knee: A softer knee, on the other hand, creates a more gradual transition. Instead of an immediate cutoff, the compressor starts applying compression at a lower ratio as the audio signal approaches the threshold. The ratio then gradually increases until it reaches the full ratio you've set, eventually passing the threshold point. This smoother transition makes the compression less noticeable and more transparent, which is often preferred for things like vocals, where you want to level out the dynamics without the compression sounding obvious.

In simpler terms:

• Hard knee: Think of it like an "on/off switch" for compression. When the signal hits the threshold, the compression is immediately at its full strength.
• Soft knee: Imagine it as a "dimmer switch" for compression. The compression gradually increases as the signal approaches and passes the threshold, making the effect less abrupt and more natural.

ReaComp allows you to adjust the "softness" of the knee, giving you control over how gradually the compression is applied. This allows you to fine-tune the compressor's response to your specific audio signa

 

[DrewPeterson7]

Google AI ...pretty cool So I find it to be a tenuous, frustrating, time wasting, party pooping, kill the thrill experience trying to figure out how to use all the amazing things that are possible in these Daws these days. Even the most simple of stuff like setting up tracks can be arduous. Going deep...oh hell no! Watching hours of tutorial video ...ugh. I just asked the Google a couple of questions. First I googled Phil Spector recording hacks. Then when AI gave me the answer I asked how can I create the Wall of Sound effect in Reaper...Below are the first and second question answers. I think this is the tip of the ice berg for me as far as having my own personal audio engineering expert consultant for reaper or any other Daw for free. Kind of excited about empowering myself with this new "helper".

Phil Spector recording hacks

Phil Spector, renowned for his "Wall of Sound" technique, employed a series of innovative and distinctive recording methods that set him apart in the music industry during the 1960s
.
Here are some key "hacks" or techniques he utilized:

• Layering of Instruments: Spector famously employed large ensembles of musicians, often having multiple instruments like guitars, pianos, and horns play the same parts in unison. This dense layering created a rich, full sound that blended together, making it difficult for the listener to distinguish individual instruments.
• Overdubbing: He extensively used overdubbing to layer multiple recordings of the same instrumental parts, adding depth and complexity to the overall sound.
• Echo Chambers: Spector utilized echo chambers (often basement rooms fitted with speakers and microphones) to add reverb and create a grand, spacious quality to the recordings. The signal from the studio would be played through speakers in the chamber, the sound would reverberate, be picked up by microphones, and then sent back to the control room for recording.
• Strategic Microphone Placement: Rather than isolating individual instruments, Spector's microphone placement aimed to capture the blended sound of the ensemble. This helped create a cohesive sonic "wall".
• Monaural (Mono) Mixing: Despite the rise of stereo recording, Spector preferred mixing all the elements down to a single monaural track. This ensured that the music would retain its power and clarity when played on the prevalent low-fidelity equipment of the era, such as AM radios and jukeboxes. He believed stereo releases gave too much control to the listener over the carefully balanced sonic textures he had created.
• Focused on the Song and Performance: Spector's approach emphasized capturing a compelling live performance rather than obsessing over perfect sonic qualities or intricate stereo mixes, given the limitations of the technology at the time.

In summary, Spector's recording techniques aimed to create a massive, layered, and reverberant sound that would be impactful and cohesive, particularly on the audio devices popular in the 1960s.

7 sites

• Phil Spector's “Wall of Sound”: The Technique That Changed ...
  Oct 16, 2024 — The Genesis of the "Wall of Sound" Phil Spector, a renowned record producer, and songwriter, developed the "Wall of Sound" in the early 1960s. His goal was to c...
  
  
  
  
  
  
  www.nathanfieldsmusic.com
  
  
  
• Phil Spector’s wall of sound - Recording Techniques
  Dec 19, 2014 — I thought it was ingenious.” Microphones in the recording studio captured the musicians' performance, which was then transmitted to an echo chamber—a basement r...
  
  
  
  WordPress.com
  
  
• Wall of Sound - Wikipedia
  For other uses, see Wall of Sound (disambiguation). * The Wall of Sound (also called the Spector Sound) is a music production formula developed by American reco...
  
  
  
  
  
  
  Wikipedia

2nd question:

Using reaper as my Daw, what methods could I use to duplicate the wall of sound

Recreating Phil Spector's "Wall of Sound" in Reaper, or any DAW, involves emulating his core techniques digitally
.
Here's how you can do it in Reaper:
1. Layering of Instruments and Vocals:

• Duplicate Tracks: You can duplicate existing instrument or vocal tracks in Reaper to build up layers.
• Recording Multiple Takes: Record multiple takes of the same instrument or vocal part, encouraging subtle variations in performance for a more natural-sounding blend.
• Layered Recording/Editing: Reaper's "Free Item Positioning" feature allows you to stack multiple items (audio recordings) on top of each other within a single track. You can also set up Reaper's recording options to create new media items in separate lanes (layers).
• Varying Timbres: If possible, use different instruments (or virtual instruments) to double or triple parts for a richer tone. For example, you could double a piano with a harpsichord or a Rhodes piano.
• Varying Mic Positions/EQ: Even with the same instrument, you can introduce subtle differences by using different mic positions during recording or by applying slight EQ variations to the layered tracks in Reaper.

2. Using Reverb and Delay (Echo Chambers):

• Reaper's Built-in Plugins: Reaper includes plugins like ReaVerb and ReaDelay that can be used to simulate echo chambers and reverb.
• Reverb/Delay Buss: You can create a send/return track with reverb and delay plugins inserted. Send the signals from the layered instrument and vocal tracks to this bus to blend them with the effects.
• Adjusting Reverb/Delay Settings: Experiment with pre-delay, decay time, and dampening settings to mimic the sound of Spector's echo chambers. A useful tip is to create a delay with repeats slightly offset and panned left and right before hitting a reverb plugin on the same bus, creating a sense of space around the vocal.

3. Mono Mixing:

• Check Mono Compatibility: While you can mix in stereo, frequently check your mix in mono to ensure it translates well.
• Use Reaper's Width Control: You can set the width control on individual tracks in Reaper to 0% to collapse the left and right channels into mono.
• Render in Mono: When rendering your final mix, choose the mono option in Reaper to maintain the characteristic mono sound of the Wall of Sound.

4. EQ and Compression:

• EQ for Separation: Use EQ to shape the tone of individual tracks and create space for each instrument in the frequency spectrum. This is important when layering many tracks so they don't sound muddy.
• Compression for Gluing: Apply compression to individual tracks and instrument groups (buses) to control dynamics and "glue" the layers together, creating a denser, more cohesive sound.

In addition:

• Don't Be Afraid to Experiment: Spector's approach was about creating a unique sound. Don't be afraid to experiment with different techniques and settings in Reaper to find what works best for your production.
• Listen to Reference Tracks: Listen to examples of Wall of Sound recordings to get a feel for the characteristic tone and balance you're aiming for.

By implementing these methods in Reaper, you can capture the spirit of Phil Spector's "Wall of Sound" and add a classic, layered, and impactful quality to your productions.

How much of that is actually helpful, though? I think you do a better job at getting it to explain what the various parameter controls of a compressor do and while I only skimmed that none of it seems wrong, so if you don't have that kind of working knowledge of what the various compression controls do, I can see that helping with the lerning curve...

...but for the "Wall of Sound" tutorial, how much of that is REALLY going to help you replicate that approach, and how much of it is stiff you wouldn't have done anyway? Like, if you were after a wall of sound, would you really not have tried layering different instruments, or EQing different instruments differently, if AI hadn't told you to?

If you want a wall of sound, by the way, spin Devin Townsend's "Terria." Man.

 

[TAE]

How much of that is actually helpful, though?

I guess the easiest way to find out for yourself is ask Goggle AI questions you don't have the answer to ...or better yet how to do something in Reaper or whatever DAW you are using you don't currently know how to do... It may or may not surprise you...me I'm surprised and am pretty sure I am going to be using this as a new resource that before today I had not thought of using.

 

[DrewPeterson7]

I guess the easiest way to find out for yourself is ask Goggle AI questions you don't have the answer to ...or better yet how to do something in Reaper or whatever DAW you are using you don't currently know how to do... It may or may not surprise you...me I'm surprised and am pretty sure I am going to be using this as a new resource that before today I had not thought of using.

That's not really what I was asking though - was the answer it gave you on a "wall of sound" production actually helpful - i.e. - are there actionable insights in there that you wou;dn't have done otherwise?

I've never played with it for recording insight, but in a few other areas the experimenting I've done suggests it can be used to provide generalist-level answers in fields that aren't rapidly evolving, but if you're getting into specialized topics or ones with significant development in the last say five years, it becomes less and less helpful.

I don't know what your experience is like... but for me, I don't think there's really anything non-obvious in what it's suggesting, so it seems like it's just telling you a lot of what you already know.

 

[Papanate]

That doesn’t appear too helpful unless you don’t know anything! And Specters Wall Of Sound was created by have multiple instruments playing the same or simliar parts - an example he often used 5 Guitarist - 3 playing the same thing and two playing either accents or slightly different voices - he would have 2 or 3 bassist - usually playing the same thing but with different setttings on the basses - 2 drummers etc….6 backup singers singing in pairs - 2 lead vocals singing with the Main Lead Vocal but mixed downward tp thicken up the sound - The Reverb and such things were just icing on the cake - reverb to create space etc...