What SPLS Block Size in REAPER?

I’m really confused now. Are we adjusting parameters intended to adjust latency to create an effects? That’s just a receipt for disaster. Surely you set your system up and adjust things so the latency of the system cant be heard by you, so if you mic up a snare and hit it with the volume up a little bit but not feeding back you hear one snare hit, not two. At the point two became one, you declare a win, and store that setting never to need to adjust it. On my system the out of the box setting works. I’d have to go into the software to even tell you what the latency delay actually is, because it’s unimportant to me. Now, any delays, phasing, chorusing and other time domain effects get set on a what I hear is what I record basis.
I don’t understand why this is causing so much grief. If you keep changing the overall system settings it wrecks things.
 
When I did band effects the rack units were midi linked. It helps tighten things up. Modulations in time with each other.

The initial DAW measurement and latency correction fixes the alignment problem I had. It seems I can layer 4-5 instruments no problem. I did an experiment and the timing seems ok.

Experiment
 
If you listened to that, notice the wonky bass. Is that muddy, or muffled, or boomy? It has to be microphone placement at the cabinet.

Keyboard is too abrasive in the mix. my fault. I will fix on #-017.

In the main channel I have master limiter kissing it, ReaEQ set mild bass cut -6 shelf, and a gate to seal in the air.

Instruments are in time . Effects are synching via USB midi, so things look quite good.
 
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The bass sound could use some more midrange (when was the last time you changed the strings?) and compression. It's kind of hard to tell in that mix because everything is all over the place. The keys are way too loud and the bass doesn't mesh with the drums.

Start with the bass and drums, get them to work together. You might need to give the bass more midrange and compress it a lot, so it doesn't disappear when you go for the higher notes.

Then bring the keys in, but put them in the bass and drum mix, not on top of it. Then bring the guitars in.
 
Listening with earbuds, the high end - keys and cymbals are way too bright, the bass is way low in the mix, so hard to tell how muffled it is.
 
Too bright. Ok. My monitor system is suspect. Perhaps it is coloring the sound.

Which one sounds better? Experiment2 is raw as recorded. Then to "fix" it like the radio, I added EQ and Compression on Experimement2b. Neither are great, but am I ruining it?

On my speakers the 2b sounds more exciting.


 
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2 sounds better - 2b has that harsh high end again. But the bass still has no definition. Why are you adding compression to the whole mix. why do you say 'like the radio'? YOu need to fix your monitoring situation.
 
mjbphotos said:
2 sounds better - 2b has that harsh high end again. But the bass still has no definition.
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Yeah, I kinda started over on the same beat. The bass didn't record well. Or sounded better on its own, but with the others not so good.
mjbphotos said:
Why are you adding compression to the whole mix.
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Because, I don't know what Im doing.
mjbphotos said:
why do you say 'like the radio'?
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That is my gauge, to me songs on the radio are very similar dynamically. One can lead right into the next.
mjbphotos said:
YOu need to fix your monitoring situation.
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Yes, please recommend some high quality monitors.
 
Radio stations do a lot of processing at the transmitter. If your mix sounded like that to begin with, it would sound like crap if it was played on the radio.

So far, it seems we have established that you record good guitar tone, but because of your monitoring situation, you tend to mess it up in the mix.

We also established that your reference material (the radio, probably listened to though the same monitors) isn't a realistic or good goal.

The compression, limiting and eq of the whole mix is usually done in mastering, as a separate process. This is where processing is used to make all the songs on an album flow and sound like they belong together.
 
It might be that I have the Klipsch speakers set to flat. So I am pumping the high end, and compensating for the flat setting.
 
That's probably part of it. Those speakers are probably contributing to the boomyness too.

Are you using a stereo receiver to power the speakers? Do you have the "loudness" button on?

Studio monitors are built for a different purpose than home stereo systems. Home stereos tend to mask flaws and make things sound exciting, studio monitors are designed to do the opposite.
 
LazerBeakShiek said:
So normal people don't do that? In the main track , I have the master limiter after the ReaEQ. I have the high shelf starting around 10k. The master limiter after is not set real aggressive.
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As Jay says, that's for the mastering step. You shouldn't be applying EQ or compression to the whole mix at this point. Getting each recorded track to sound good and blend with the others is MIXING.

Have you considered using a white noise generator, setting up a mic, recording the sound you get in your room from the white noise through your speakers? Then put a graphic EQ or spectrum analyzer on the track and see what it looks like - its likely to be anything but flat.

As to monitors - what's your budget? Does the room have any acoustic treatment? You may do better using a decent set of headphones.
 
mjbphotos said:
Have you considered using a white noise generator, setting up a mic, recording the sound you get in your room from the white noise through your speakers? Then put a graphic EQ or spectrum analyzer on the track and see what it looks like - its likely to be anything but flat.
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Normally one would use pink noise for that, but it's time blind. Better to use a tone sweep. Also, you really need a proper reference mic, measurement software and a fair bit of skill to really understand the results. I use Room EQ Wizard because it's free.
 
...and also realize that if you move an inch or two in any direction, the results will change.
 
I started using dire straits money fir nothing as a live sound test track when it first came out on CD and still do as it’s so established in my head. It reveals in just a few seconds where systems and rooms have problems. If I play it and it sounds right, I rarely need to do remedial work, just normal EQ. I find it usually identifies the same things pink mouse does.
 
Sometimes I start thinking that it is hopeless, then in minutes people start replying. I dont know. Are they real?

Could I suck? Nah.....Im fuckin awesome.

If I don't use the ultra clean keyboard presets, it sounds pretty muddy. Too me. Raw.

Could you recommend some fair monitors?

Here it is,my latest attempt, on my Upgraded ZenBook. Whatever..ADA MP1 preset 6 , sm58


I forgot to gate it, and seal in the air. Damn, its gonna all leak out..

Here another? ADA MP1 preset 2 ,sm58
 
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The first one does not sound bad, the guitar is a touch out of tune, and there is some 'room' sound on the guitar.
The second one sounds ok, again with some room sound, but the vocal has some room sound (if its reverb, find a new setting!) and does not have any air.
 
mjbphotos said:
The second one sounds ok, again with some room sound, but the vocal has some room sound (if its reverb, find a new setting!) and does not have any air.
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It must have leaked out. Shoulda used a gate like an airlock.My experimets were leading me to tipping the mic axis toward the center of the 4x12. I wasnt there yet. The suggestion by mjbphotos to point the axis towards the coil, was money. Best advice. Great starting point. I'm confident that is correct.

Mointors?How bout these? I cannot see them being better then $1000 Klipsch monitors , but Amazon has a return policy. Give it a shot.
Screenshot 2021-06-15 074949.jpg
 
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I thought the guitar on the second one sounded pretty good, almost a Chili Peppers type of vibe. My issue was that the vocals sounded dull, boomy and dark. On the first one, I didn't much care for the guitar distortion. It sounds raspy, I'm not a fan of that sound.
 
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