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Contributors: Jules, mw
Created by Jules, 9th January 2008 at 11:45 PM
Last edited by mw, 28th March 2012 at 11:30 AM
Last comment by dmp on 3rd January 2010 at 11:31 PM
9 Comments, 826,172 Views
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(9) Comments for: Tips & Techniques Page Tools Search this Page
#1
20th November 2008
Old 20th November 2008
  #1
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Can't find the "post new article" option! :/

The Tips & Techniques menu only shows "Tips & Techniques"...
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#2
14th January 2009
Old 14th January 2009
  #2
Lives for gear
 
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Quote:
Originally Posted by TheNoize View Post
Can't find the "post new article" option! :/

The Tips & Techniques menu only shows "Tips & Techniques"...
Me too, maybe it's a glitch. I'm definitely hitting the Tips & Techniques at the top with the small triangle.
Jules
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#3
16th January 2009
Old 16th January 2009
  #3
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Yes its broke and needs to be fixed.

BTW just to be clear this forums isn't for questions

Its only for posting tips and reading them - you can comment on tips by hitting the comment link..

OK, I will get on with fixing it so new tips and be posted
#4
28th March 2009
Old 28th March 2009
  #4
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Thank you Jules.

This is a goldmine!!!

Les
#5
11th August 2009
Old 11th August 2009
  #5
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the hook-up

how to hook-up my roland vs-1880 to my computer and do i need software.
#6
17th September 2009
Old 17th September 2009
  #6
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Surround Sound Mixing Technique - MSS - Multi Stereo Surround

One approach to surround sound mixing that I've developed is to use all the possible speaker pairs in a surround speaker setup as stereo pairs.

In a 5.1 surround speaker setup there are 10 possible stereo pairs (I'm ignoring the LFE since it's not full range and won't work well for my purposes):

Left Front + Right Front
Left Rear + Right Rear
Left Rear + Left Front
Right Front + Right Rear
Left Rear + Center
Center + Right Rear
Left Front + Right Rear
Left Rear + Right Front
Left Front + Center
Center + Right Front

In 6.1 or 7.1 systems there are even more possible stereo pairs; 15 and 21 respectively.

Here's a few examples of what you can do:

The common one that everyone tries: Piano recorded in stereo. Left and Right channel panned hard left and right between the front speakers. Then send to a stereo reverb that returns to the rear speakers.

Then take that approach and use it between different pairs.

A guitar recorded in stereo. Pan hard left and right between the Left Rear and the Center Speaker. Send to a stereo reverb that returns to the Left Front - Right Rear pair. And so on.


Advantages with mixing this way is that you can achieve a nice sense of envelopment without putting all the individual sources in all the speakers (which the built in surround panners in DAW software will do unless you disable some outputs or pan hard) and the phase issues it can lead to.

A big reason why mixing in stereo requires so much compression and EQ is that since everything is crammed into only two speakers, you have to work hard to let everything get its "space" in the frequency spectrum.

Then there's summing. Analog hardcores often complain that digital summing doesn't sound good. Well, how about summing in the air. Now that you've got additional speakers available, why stay within the traditional confines of stereo and only use the other speakers for ambience or effects?

For more info on this, you can check out my website: Unne Liljeblad - Mixing Engineer - MSS, Multi Stereo Surround
Jules
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#7
23rd September 2009
Old 23rd September 2009
  #7
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OK I added that!
#8
5th November 2009
Old 5th November 2009
  #8
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People seem ill-informed or confused about DIs:

What is a DI?

Instruments, whether pickup-equipped or vintage synths, typically have a high impedance output. Connect this to a low impedance input like a mic pre (without a DI) and the frequency response and other characteristics will suffer (mics typically have a low impedance output, so they don't sound very good when connected to a high impedance input like a guitar amp).

A DI turns the high impedance source into a low impedance output, to match what a mic pre wants to see. There are two kinds of DIs - passive and active:
  • A passive DI is typically just a transformer; it can work great, but it can change its characteristics with different output impedance sources (or change as you turn up and down the volume and/or tone controls of passive source like a pickup equipped guitar or bass). And it will impart the sonic character of the transformer, good or bad.
  • An active DI uses a balancing amplifier, sometimes much like a microphone amplifier circuit (what you find inside the mic); it will not be reactive with different sources (so it will work consistently with passive magnetic pickups, vintage synths, or piezo acoustic pickups, for example) but as with all amplifier circuits it may add some character or noise or distortion. The amplifier can be solid state or tube, and as with all gear one will sound different than another.

Just remember the building blocks: DI-mic amp-line amp. Some devices, active, passive, or both, are just DIs. Some are DIs with line amps (like the Reddi) some are mic amps with DI inputs.
dmp
#9
3rd January 2010
Old 3rd January 2010
  #9
dmp
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Noisy guitar amp - elmono

I have often been curious about using Tom Dowd's suggestion to elmono about eliminating a noisy amp by recording two tracks and then switching the phase on one track. I know theoretically this should work, but it often does not. I think it is becasue if the guitar amp buzz or noise isn't 100% consistent, the two wave forms will not be identical and therefore the reverse phasing will not nullify the amp noise. Any thoughts anyone? Dave
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