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#30871
16th June 2011
Old 16th June 2011
  #30871
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Quote:
Originally Posted by SynthLine09 View Post
Well folks, its time I say goodbye! Tomorrow I leave to be with the Crossmen drum and bugle corps, where I'll be on admin staff. I will be helping a group of about 150 kiddos and young adults tour the country! Its really been a dream of mine since I was apart of the activity myself

I shall be back on July 25th, don't have too much fun without me here!


Good luck man --- I'm sure you'll have a blast! See ya soon!
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RawBeanZen
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#30872
16th June 2011
Old 16th June 2011
  #30872
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Warning....this might get boring!

Quote:
Originally Posted by QuadWing View Post
I'm still in the stages of trying to understand compression. I'm at the point where I'm figuring out instances where sidechaining would be useful, and more specifically what it's for. I've never quite understood the whole parallel compression thing! Compression is a confusing thing to me. Lol, I wish there were a "audio compression for dummies". Everything I find online on it has too technical of answers so it ends up flying through one ear and out the other. :P

And for saturation plugins: I've heard the term quite a few times here and I've probably already used them or at least come across them somewhere along the line, but what are some examples--as far as Waves goes, if you're familiar?
Compression is interesting...I use it for various reasons.

Sometimes the goal is to shape the envelope of a sound to give it more snap and punch (for example kick and snare), so a slow attack and fast release might be a good place to start. If a sound is too dynamic (quiet parts too quiet and loud parts too loud) then a faster attack and slower release can smooth things out. It's all about experimenting.

As an exercise you might try bringing the compressor's threshold down too far and then play with attack and release times to really get your head around how different settings shape the sound.

Sometimes it's not about reducing dynamic range so much as just wanting some of the character that a particular compressor imparts. In those cases I'll attenuate little if at all.

When mixing delicate music I tend to compress less and volume automate more to maintain the purity of things. For more rocking material, part of the glee for me is in squishing the heck out of stuff!

Parallel processing is definitely worth getting familiar with. It allows you to leave the original sound in its natural state while feathering in sometimes extreme amounts of compression, EQ, saturation, etc, to taste. This is a way to get things sounding huge without sounding squashed, when that's the goal.

For saturation I love Soundtoys Decapitator. It's really versatile, and small amounts of it all over a mix can add up in a very cool way.

Sorry for rambling...I hope some of this makes sense!

#30873
16th June 2011
Old 16th June 2011
  #30873
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Quote:
Originally Posted by RawBeanZen View Post
I hope some of this makes sense!
#30874
16th June 2011
Old 16th June 2011
  #30874
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Originally Posted by Unclenny View Post
Time to give something away.........

I have a BBE DI that needs a new home. I have used it quite a bit for my direct bass recording and well as on various keys. It has that way cool sonic maximizer chip that, if judiciously applied, can really perk things up.

BBE DI-100 ACTIVE/PASSIVE DIRECT INJECT BOX

So......if you are interested, give this new song a listen and tell me whose lawyers I can expect to hear from when it hits the charts.

Runaways
Just bumping myself here to make sure that anyone who feels the need for some serious direct injection has a chance to win this most excellent piece of kit.

General concensus is that even wrong answers to the above question will get your name in the Goat's hat.
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#30875
16th June 2011
Old 16th June 2011
  #30875
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Quote:
Originally Posted by Unclenny View Post
Just bumping myself here to make sure that anyone who feels the need for some serious direct injection has a chance to win this most excellent piece of kit.

General concensus is that even wrong answers to the above question will get your name in the Goat's hat.
I hear some John Mayer going on as well. For some reason I want to say the intro has a serious country feel to it, but I'm not very well educated on country musicians, so I couldn't name any. :'(
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#30876
16th June 2011
Old 16th June 2011
  #30876
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Quote:
Originally Posted by Unclenny View Post
Just bumping myself here to make sure that anyone who feels the need for some serious direct injection has a chance to win this most excellent piece of kit.

General concensus is that even wrong answers to the above question will get your name in the Goat's hat.
I can't answer your question because honestly i have no idea but i really like the song, nice work
#30877
16th June 2011
Old 16th June 2011
  #30877
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Quote:
Originally Posted by zoso2 View Post
I can't answer your question because honestly i have no idea but i really like the song, nice work
Thanks zoso........
sm7
#30878
17th June 2011
Old 17th June 2011
  #30878
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What about The Velvet Underground - Run Run Run?
#30879
17th June 2011
Old 17th June 2011
  #30879
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Quote:
Originally Posted by sm7 View Post
What about The Velvet Underground - Run Run Run?
That would be......incorrect.

Is this fun....or what?
#30880
17th June 2011
Old 17th June 2011
  #30880
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Quote:
Originally Posted by Unclenny View Post
That would be......incorrect.

Is this fun....or what?
The RIAA?
#30881
17th June 2011
Old 17th June 2011
  #30881
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Sorry for the late reply. I was playing around with what you suggested for the majority of the day so I didn't think I would be able to make an educated reply without trying it all out first. So, here goes:

Quote:
Originally Posted by RawBeanZen View Post

Sometimes the goal is to shape the envelope of a sound to give it more snap and punch (for example kick and snare), so a slow attack and fast release might be a good place to start. If a sound is too dynamic (quiet parts too quiet and loud parts too loud) then a faster attack and slower release can smooth things out. It's all about experimenting.
Peak compression, right? I messed around with this concept today after reading the post. I actually noticed quite a difference on vocals, especially when I had made sounds which caused the waveform to spike a bit, or when I would go to a higher note which needed more air, it would keep the track from clipping. I kind of got a bit confused though when it came to keeping the lows (in volume terms) from getting to low without all the higher dB'd areas getting too squishy sounding. I would add some make-up gain--not a problem in the lows, but vocally, when things got a bit louder, I had a problem keeping it quiet enough without it sounding all... well, compressed. From what I've read in this post, this sounds parallel compression job, am I right right?

Quote:
As an exercise you might try bringing the compressor's threshold down too far and then play with attack and release times to really get your head around how different settings shape the sound.
I tried this, and found that I typically preferred the sound of a quicker attack. From what I can tell, I don't really see the use of a super-slow attack... Would a good scenario be softer music (acoustic, piano, etc.) where you wouldn't want the compression to be obvious?

Release-wise, I find myself pretty comfortable. It's easier for me to set a good release than it is to set a good attack, but I guess attack and release are an art-form in compression?

Quote:
Sometimes it's not about reducing dynamic range so much as just wanting some of the character that a particular compressor imparts. In those cases I'll attenuate little if at all.
What do you mean? If a compressor has a certain coloring that you think would fit the sound, you'll put it on there and not really apply any GR? So, basically it's just there to sweeten something up?

Quote:
When mixing delicate music I tend to compress less and volume automate more to maintain the purity of things. For more rocking material, part of the glee for me is in squishing the heck out of stuff!
So where would you find compression over volume automation in a more delicate piece?

Quote:
Parallel processing is definitely worth getting familiar with. It allows you to leave the original sound in its natural state while feathering in sometimes extreme amounts of compression, EQ, saturation, etc, to taste. This is a way to get things sounding huge without sounding squashed, when that's the goal.
I've fallen in love with this. Hands down. Quite honestly, I've gotten one of the best vocal tracks I've ever, ever gotten using this technique, so I really have to say, THANK YOU for turning me onto this! I'm can't even tell you how much of a help this was. Getting familiar with this has seriously made compressing vocals about 50x less complicated than it was for me. Something about it really compliments the voice and makes it sound a bit more full than it does. Now the next step is trying to get a thicker, wider sound without doubling or copying the vocals and offsetting them a couple of MS. Does compression have anything to do with this?

Quote:
For saturation I love Soundtoys Decapitator. It's really versatile, and small amounts of it all over a mix can add up in a very cool way.
I'm going to definitely demo this! It looks really cool, and useful. Does it help add warmth?

And what do you mean by "small amounts of it all over a mix".. like, through a bus using sends? Or multiple instances?

Quote:
Sorry for rambling...I hope some of this makes sense!
No worries! Your so-called "rambling" opened my eyes to one of the most amazing, useful techniques which will probably pull me through quite a bit in the future, so THANK YOU for rambling!!


Quote:
Originally Posted by NeedsMoreFuzz View Post
Just PM'ed you (so as not to bore anyone else )
PMing back!
RawBeanZen
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#30882
17th June 2011
Old 17th June 2011
  #30882
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I love that you dove right in and started exploring!

I'll reply to all of your questions tomorrow (probably via PM so we don't bog this thread down) when I have some time.

That enthusiastic desire to learn and grow is a beautiful thing, Sir QuadWing.

#30883
17th June 2011
Old 17th June 2011
  #30883
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Quote:
Originally Posted by RawBeanZen View Post
For saturation I love Soundtoys Decapitator.
I bought this plug recently, so much FUN!!!

Quote:
Originally Posted by RawBeanZen View Post
It's really versatile, and small amounts of it all over a mix can add up in a very cool way.
Looking back at the first mixes I did with Decapitator, I may have been just a little heavy-handed in it use!

Less is, so often, more.

Ok, something cool to share - my grandfather received an Order of Australia medal on Monday, for a lifetime of service to the Lawn Bowls Association, among others He's 92 and still going strong and I'd like to salute him here to you my friends. I didn't know my own father growing up, but I still knew what a real man looked like as long as Big Ernie was around (aka "The Bulldozer", feared opponent of all in the Northern Wheatbelt Australian Football League )
He still comes along to the occasional gig of mine, bloody legend.
I know who I'll be sharing my Friday beer with this evening

Have a great weekend giveslutz!
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Quote:
Originally Posted by Unclenny View Post
Is this fun, or what?
www.myspace.com/misterandsunbird
#30884
17th June 2011
Old 17th June 2011
  #30884
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After much urging from friends, I'm bringing back my Tin Lunchbox writing and recording, so I present you all with one of the new songs:
Attached Files
File Type: mp3 TL 06-16-11.mp3 (6.03 MB, 14 views)
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#30885
17th June 2011
Old 17th June 2011
  #30885
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Quote:
Originally Posted by QuadWing View Post
I tried this, and found that I typically preferred the sound of a quicker attack. From what I can tell, I don't really see the use of a super-slow attack... Would a good scenario be softer music (acoustic, piano, etc.) where you wouldn't want the compression to be obvious?
if you have a slower attack time you let the transient of the sound through without being affected by the compressor coupled with a quick release this can really exaggerate the transient which may or may not be what you want.

compression is a bitch to understand, for me it started to make sense when i thought about it shaping sounds rather than simply controlling dynamic range even though that is what it does.

Quote:
Originally Posted by QuadWing View Post
And what do you mean by "small amounts of it all over a mix".. like, through a bus using sends? Or multiple instances?
yeah i'd have most of my tracks with small amounts being sent to a decapitator on a return track. as with anything though try both ways and see what happens.
#30886
17th June 2011
Old 17th June 2011
  #30886
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Quote:
Originally Posted by tinlunchbox View Post
After much urging from friends, I'm bringing back my Tin Lunchbox writing and recording, so I present you all with one of the new songs:


If there's nothing I could wish more, it's how much I wish there was delay on the intro and outro. :'( But the sonorities are amazing. This song really appeals to me!

Around 35 seconds in, what's that sustain sound in the background? I like it a lot.


Quote:
Originally Posted by symmetricalSound View Post
if you have a slower attack time you let the transient of the sound through without being affected by the compressor coupled with a quick release this can really exaggerate the transient which may or may not be what you want.

compression is a bitch to understand, for me it started to make sense when i thought about it shaping sounds rather than simply controlling dynamic range even though that is what it does.
I can't seem to think of sound in any other way than a waveform, or as some higher entity. To me, it's Godlike. So as far as seeing it in a "shaping" form of way, I don't really get it. If there's a very slow moving sine wave, I can understand the "shape" of that, but not much else. :\


Quote:
yeah i'd have most of my tracks with small amounts being sent to a decapitator on a return track. as with anything though try both ways and see what happens.
I got the demo. I'm gonna mess around with it a bit and see how it goes!
#30887
17th June 2011
Old 17th June 2011
  #30887
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Del Shannon, Runaway. Do I win?
#30888
17th June 2011
Old 17th June 2011
  #30888
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Quote:
Originally Posted by tinlunchbox View Post
After much urging from friends, I'm bringing back my Tin Lunchbox writing and recording, so I present you all with one of the new songs:
love this
#30889
17th June 2011
Old 17th June 2011
  #30889
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Quote:
Originally Posted by Elliot1129 View Post
Del Shannon, Runaway. Do I win?
Yay, you're from Las Vegas too.
#30890
17th June 2011
Old 17th June 2011
  #30890
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Quote:
Originally Posted by Elliot1129 View Post
Del Shannon, Runaway. Do I win?
You are now in the big hat.

Tonight I shall draw a name.

#30891
17th June 2011
Old 17th June 2011
  #30891
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Quote:
Originally Posted by RawBeanZen View Post
"That enthusiastic desire to learn and grow is a beautiful thing, Sir QuadWing."

#30892
17th June 2011
Old 17th June 2011
  #30892
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Bravo Big Ernie!

Quote:
Originally Posted by FarWestWrenchCo View Post
Ok, something cool to share - my grandfather received an Order of Australia medal on Monday, for a lifetime of service to the Lawn Bowls Association, among others He's 92 and still going strong and I'd like to salute him here to you my friends. I didn't know my own father growing up, but I still knew what a real man looked like as long as Big Ernie was around (aka "The Bulldozer", feared opponent of all in the Northern Wheatbelt Australian Football League )
He still comes along to the occasional gig of mine, bloody legend.
I know who I'll be sharing my Friday beer with this evening
Congratulations to Grandfather Wrench!! ...
#30893
17th June 2011
Old 17th June 2011
  #30893
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Quote:
Originally Posted by Unclenny View Post
C O O L !
#30894
17th June 2011
Old 17th June 2011
  #30894
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Quote:
Originally Posted by FarWestWrenchCo View Post
Ok, something cool to share - my grandfather received an Order of Australia medal on Monday, for a lifetime of service to the Lawn Bowls Association, among others He's 92 and still going strong and I'd like to salute him here to you my friends. I didn't know my own father growing up, but I still knew what a real man looked like as long as Big Ernie was around (aka "The Bulldozer", feared opponent of all in the Northern Wheatbelt Australian Football League )
He still comes along to the occasional gig of mine, bloody legend.
I know who I'll be sharing my Friday beer with this evening

Have a great weekend giveslutz!
YAY to Gran'Pa Wrench, congratulate him from France, Dave !!!

…and a huge WE of fun to y'all, friends !!!
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#30895
17th June 2011
Old 17th June 2011
  #30895
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Quote:
Originally Posted by FarWestWrenchCo View Post
Ok, something cool to share - my grandfather received an Order of Australia medal on Monday, for a lifetime of service to the Lawn Bowls Association, among others He's 92 and still going strong
Hey, he'll probably know a relation of mine, Phil Skoglund of New Zealand, he got a few medals in lawn bowls at the commonwealth games, was inducted into the New Zealand Sports Hall of Fame, and is close to the same age as your grandfather.

He's my grandma's cousin (or something like that), (which I admit doesn't make it a great claim to fame for me.. )

Only a few degrees of separation tho

Matt
#30896
17th June 2011
Old 17th June 2011
  #30896
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And on another note...

The songwriter in me could not let this slip by...

Del Shannon wrote "Runaway" with Max Crook - awesome & inventive keyboard player...

Max Crook took a small guitar contact microphone and wedged it onto the soundboard of the studio's Steinway grand piano with a piece of newspaper. "I then started setting up all of these little 'boxes.' Needless to say, the entire studio came to a halt. Everyone came out of the control booth and gathered around me to scope what I was doing. They were maybe hoping to pick up a trick. But in those days, I had all of my equipment camouflaged, because I didn't want anyone to steal my ideas. I hooked up a 'box' that had a hole on the top. What that did was control slap echo. I arranged it myself with a garden spring, and when I played a note on the keyboard, it would fade out: 'wap, wap, wap, wap.' I could control the speed and amount of feedback. It wasn't reverb, it was true echo."

Thirty-seven years later, in Del Shannon's small hometown of Coopersville, Michigan, Crook revealed his secret keyboard to Del's legion of fans at the annual summer tribute. "The Musitron is a three-octave, monophonic (single-note playing) keyboard with a slide on it that will allow me to play at a range of two-cycles-per-second up to beyond human hearing. Also, I can bend the notes, which was something uncommon at the time for mini-keyboards. I bent the notes in the middle of "Don't Gild The Lily, Lily", the B-side of "Hats Off To Larry". The Musitron is also totally tunable. I can tune it to anything. I built the Musitron out of a variety of things. A clavioline was part of it, but I also threw in some resisters (too early for transistors), tubes from television sets, parts from appliances, and other such household items. That's basically what it consisted of." And by electronically rigging the grand piano, Crook was able to ripple the notes on "Jody." (excerpt from delshannnon.com)

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#30897
17th June 2011
Old 17th June 2011
  #30897
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Quote:
Originally Posted by Unclenny View Post
You are now in the big hat.

Tonight I shall draw a name.

Hurah! Good tune too. I listened through a few times and really dug it.

@QuadWing - Yup, been out here 4 years and my blood is just starting to thin
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#30898
17th June 2011
Old 17th June 2011
  #30898
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Quote:
Originally Posted by Elliot1129 View Post
Hurah! Good tune too. I listened through a few times and really dug it.

@QuadWing - Yup, been out here 4 years and my blood is just starting to thin
I was born here and have been here on and off, but I officially live here now. I'm trying to do whatever I can to get out.
#30899
17th June 2011
Old 17th June 2011
  #30899
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Quote:
Originally Posted by Unclenny View Post
Just bumping myself here to make sure that anyone who feels the need for some serious direct injection has a chance to win this most excellent piece of kit.

General concensus is that even wrong answers to the above question will get your name in the Goat's hat.
Just thought I'd pop in and get my hat into the Goat's and Lenny's ring. Busy, busy, busy. I've missed a lot. Nice tunes all. Sorry I haven't got time to critique them but this is busy time for me and our band.
I'm not sure if I'm allowed to enter since technically at the moment I'm still a Scaper, but Jefferson Starship's lawyers might be asking me for your number. Good tune Brother. Happy Beer Friday to all.
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#30900
17th June 2011
Old 17th June 2011
  #30900
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I got a little trigger-happy with compression. Lets see, on the vocal track alone (channel 3).... I have 1, 2, 3 compressors plus some parallel compression going on so 4... Strangely enough, it doesn't sound horrible. I'm also parallel compressing the piano on channel 1.

This is what happens when I learn things.

...If it makes things any better, the PuigChild is only on there for coloring.
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