Q: For Folks Doing Mostly R&B, Hip Hop, House, Sampled Based Music (Runnin Logic..)

Umlaaat · 13th November 2003, 06:32 AM

OK.... Lets talk *non* live - based music.

Lets talk about music that derives from samples and electronic instruments...

I'm running Logic 6 on a G4 400, UAD-1 card, the EXS, and some MIDI modules (Trinity and Proteus 2000).

My question is for people who do music in which the vocals are the only thing thats really "live": (R&B, House, electronica, pop, etc...)

This is my studio set up...

I've got the outs of my MIDI modules, and Logic (via MOTU 1224) going into my Mackie CR-1604 (sounds not so hot, but for $15, u cant really complain). My AT 4033 > MP1-NV > RNC > XLR out > 1224, and the aux out to the board. The main outs of my Mackie go into my HR 824's.

This works OK. Latency is avoided mainly because of the board.

The set up is decent at best, and I can do what I need to do, but I'm sorely in need of an upgrade.

The Great River is the one piece of gear that I own that is stellar, and that thing ****ing rocks hard...

Except you cant really build an entire studio on a single pre.

So, my qustion is for the folks that started where I'm at now, but have stubled upon a boat load of money and have built some kinda work method/studio set up in which whats coming out of your speakers are very pleasing...

What convertors are doing it for ya?

Monitors?

DA convertors?

How do you avoid latency without an analog board of some kind? (got this question from reading about the DAC-1 thread)

Are you routing all the analog outs of your AD/DA convertors to a board of some kind, then mixing on the board as opposed to in the box?

If so, do you have compressors, EQ's, etc for each bus/channel?

What do you have your 2 mix going to if anything at all?

How do you avoid latency without an analog board?

And....

What pieces are of absoulte necessity in the beginning?

thanks, y'all...

thethrillfactor · 13th November 2003, 07:37 AM

Quote:

Originally posted by Umlaaat
OK.... Lets talk *non* live - based music.

The Great River is the one piece of gear that I own that is stellar, and that thing ****ing rocks hard...

Except you cant really build an entire studio on a single pre.

If all you are tracking is vocals than this is not necessarily true.

I think the vocal mics are more crucial, but this also falls by the way side if you are just working with one singer.

I run Logic through a PT HD system(HD192/Apogee/DAC1). I produce the Midi stuff in Logic, but prefer to mix the audio tracks in PT(I run both at the same time actually). I use a lot of outboard gear and almost no plugs. I sum the tracks either on a DB2LT,SBM2,SSL or internal.

They all can work for you when mixing.

I think if you are starting out, a great channel "up the middle" is the most crucial(right mic-pre/EQ-comp(optional)-A/D-D/A-excellent monitors).

The rest is just icing on the cake.

Umlaaat · 13th November 2003, 05:26 PM

so you dont use any MIDI gear? If so what do u use for latency issues?

what would you reccommend for something "up the middle"? an all in one unit?

so you basically mix on an analog mixer?

ixnys · 13th November 2003, 05:49 PM

As far as mics:

The B.L.U.E. bottle with the standard B6 capsule is the shit. It's about a $4000 mic. It has increased lows and increased highs. I mean this sucker needs NO EQ. Sounds so great. It would be perfect for pop or RnB.

The Nuemman m147 or m149 would be a great vocal mic. The orginals are always better..but the m147 is about a grand and the m149 is like 3 grand I think.

I would say check out the B.L.U.E. series mics cuz they really are terrific. I own a pair of blueberries that are great harmony/background mics as well as drum O/H's. A grand each.

I've tried an orginal U47 that actually sounding boring as hell. I've tired a U87 that was descent, but I prefer tube mics for vox.

So those are the only vocal mics I've had experience with.

As far as pres:

I own a Avalon AD2022 and a Millenia STT-1 twin. Both are great but I think the Millenia would be the best choice. Can't remember exact price..around 3grand I think. This MOFO is clean as a whistle. It can be nice and transparent as well as colored. It could be a tube pre or a solid state pre. It has EQ controls as well as DeEsser and Compressor.

As far as Compressors:

Distressors or a LA2A. Distressors are the shit...they can give you so much versatility. They replicate other compressors as well. But I always end up using my LA2A for vox. About 2grand I think. But that would be the shit.

As far as AD/DA:
I have a 192 i/o and an apogee psx-100se. The apogee is better. I feel more in the low end. Another expensive peice of gear. like 2-4 grand I can't remember.

So price for a killer chain: 10-14grand.

Since everything else you do is electronic as long as you have the best vox chain possible, you're gold.

thethrillfactor · 13th November 2003, 07:53 PM

Quote:

Originally posted by Umlaaat
so you dont use any MIDI gear? If so what do u use for latency issues?

what would you reccommend for something "up the middle"? an all in one unit?

so you basically mix on an analog mixer?

Lots of midi and soft synths at he same time.

Latency?

Are you speaking of midi or audio?

And all in one unit for tracking vocals?

If you can afford it the GML2020 or the Pendulumn audio channel. But remember the mics are crucial, especially with vocals.

I mix on a summing mixer,SSL or internal(sometimes all 3 at the same time). Depends on the client and budget basically.

My own personal stuff these days is usually the summing mixer, with the occasional SSL thrown in.

Umlaaat · 13th November 2003, 08:06 PM

well, by latency i mean a setup in which you dont have a mixer. so the outs of your MIDI modules would go to the inputs of convertors, and the outs of convertors to the monitors. but then your compuiter eould haffta process the signal then send it on its outs...

and i'm saying this based upon that DAC-1 thread where Dave (or someone) spoke of bypassing the mixer altogether... the outs of the DAC to the ins of the moniitors...

do you do this? if so is it cleaner then first going into a mixer?

ixnys:

I would really like to get a four thousand dollar mic, but seeing that i dont have four thousand dolars, i guess i cant get one... i guess if i rob the deli on the corner, maybe...
how about something a bit lower? like if you had a grand and a half, the first piece would be...

matucha · 13th November 2003, 08:20 PM

What about CMV563? You can get it for $1500 for sure, M7 for normal use, M55 when you need very hyped hights. I just bought one for ~$700 in perfect condition...

Syki · 13th November 2003, 09:28 PM

Hey whats up fellow slutz. I do mostly R&B hip hop or as I call it (MIDI Produced and sampled noise)I only record vocals acoustic gtr occasional bass. The rest is all hardware synths samplers and drum macs. Anything over that I use the pros and book studio time. l

A few years ago I decided to do the unconventional and not go the way of the computer based recording, sequencing, plugins and soft synths. I could be missing out on something but I can't worry about that.

I invested in an Otari Radar2 to cover mostly vocals and fly most of my hardware synths virtual.I sequence with my MPC 3000 wth JLcooper midi patch bay. I started to invest into hardware preamps ( Great River is most deff on my short list) compressors, Eq's and FX processors. I own as of this moment 2x focusrite red6
2x Summit Tpa200b (and they are the real shizzle Ixnys)IMHO
(On order 1x Chandler Tg2 pre). I have 2x distressor matched stereo pr Brit mode stereo image,2x Chandler Ltd 2, 2x Dbx 160a, 2x Manly ELOPS.On order(Chandler TG1 compressor) 1x tube tec cl1b. 1 xPCM 70, 1xEventide eclipse, 1x eventide H3000 se,1 kurz KSP8, Ghost le 32, Adam s3a...akg c414btl2,1x Neuman tlm 127, ordered 1 AEA R84.

This is a lot of money for a midi production studio,but I have no latency problems and the mix is always satisfying. My clients are happy. Mic and pre are crucial.Sounds like you are pretty much on your way. I'm bitting the bullet and looking into a protools set up to tie into what I have already. All my synths and samplers and Rhodes are hardware.

And I got my eye on an Eluxe 251, didn't like the Blue to much, ahh but to each his own. No wrong or rights here

thethrillfactor · 13th November 2003, 09:56 PM

Quote:

Originally posted by Umlaaat
well, by latency i mean a setup in which you dont have a mixer. so the outs of your MIDI modules would go to the inputs of convertors, and the outs of convertors to the monitors. but then your compuiter eould haffta process the signal then send it on its outs...

and i'm saying this based upon that DAC-1 thread where Dave (or someone) spoke of bypassing the mixer altogether... the outs of the DAC to the ins of the moniitors...

do you do this? if so is it cleaner then first going into a mixer?

The benefit of the TDM system is the low-non existant latency when tracking.

When mxing its another story.

Right now I have a small mixer that I use for the midi stuff when I am producing and for headphone feeds(to hear the them). When its time to mix, i normally just track everything(usually 64 tracks and up).

Yeah with PT TDM you can get away with sending all of the synths to the convertors(return them on aux inputs).

I would still suggest something analog to send the headphone feeds for the singers.

Umlaaat · 14th November 2003, 01:07 AM

ok - but what about the logic behind going straight from the DA to the monitors? is there truth to this as far as the mix sounding better if one bypasses the mixer altogether?

Exmun · 14th November 2003, 01:08 AM

If all you're doing is recording MIDI modules and a mic for vocals, latency is not an issue to worry about (IMO) since all of your inputs have the same amount of latency. Audible latency in the analog world is a nonissue since we're talking a couple milliseconds. And since all inputs on your sound card have the same amount of latency, when you play the track with everything on the hard disk, all of it is coming to you at the same time.

Latency is really only an issue if you're using softsynths. Many soundcards have an auto correction for latency while recording another track to a prerecorded track.

IMO, your best bet is to beef up your mic and pre. The Great River is a good piece. Perhaps add a good two channel mic preamp. You can go for a "cleanish" one or a highly "colored" one. I suggest a cleaner two channel preamp first (Perhaps 2 channels of John Hardy M1). I own a Sebatron VMP 2000. It's a 2 channel tube preamp of the "cleanish" variety. It can be colored if you push it. Great sound, good price (under $1k for 2 channels). You could put your keyboards into the 2 channel pre when you're recording and bypass the mixer(this will get you a better sound than through the mixer). When you're just composing or playing, just keep the modules in the mixer.

Then get a better mic, many of the other suggestions were spot on. The 4033 is a keeper mic for stuff other than vocals. so just add to what you have if you can afford to. You'll also need a decent analog compressor. The Distressor is a nice unit for this. Perhaps try an FMR RNC (~$200) if you can't reach that high.

Umlaaat · 14th November 2003, 01:33 AM

ok -

i think in the audio world, as well as a lotta other ones, theres "things I think I need" and " things I actually need."

I can, and have been getting away with this 4033. Every vocalist thats come thru here has tracked with that thru a Mackie pre or recently, this GR. And it sounds OK... The emotion is conveyed, the idea, etc, etc..

Granted, its not gonna sound as good as a $4000 mic or a $4000 pre.

Most of the time i've spent in my studio has been on writing and figuring out how to sounds good with the limited gear thats at my disposal.

So the time spent on arrangement, songs, and getting a good performance out of my vocalist is heads and shoulders above any kinda mic or pre, et al...

but besides the signal coming in thru the front end, i'm also curious about the other components when making this kinda music...

Like say i say 2k.. Do you think its better spent on a decent ad/da or some kinda stereo compressor for my 2 mix to travel thru?

or better yet, what about something like a 16 cannel manley mixer. have the synths, midi, and outs of my 1224 going into that, have the manley color it the way I want, etc..

TOR · 14th November 2003, 06:40 AM

As far as the latency issue, does anyone here mult the outputs on their outboard, one to the mixer for monitoring and one straight to the converters? seems to me that would be the best of both worlds...
~TOR

shapemod · 14th November 2003, 12:22 PM

I do sample based music as well and the things that improved my sound the most was getting decent monitors(Dynaudio BM 15a) together with investing in the acoustic of my room(about a grand in acoustic modules). Hearing what you're doing definitely helps. Second the Distressor was one of my best infestation ever, I have two of them now, would like to have three, gives my that pressure no Plugin is able to deliver. And a good good EQ like API 550A or Focusrite ISA 110. So you have a decent channel, can rerecord stuff and so on. This stuff makes much more of a difference than the convertors, in my opinion. Good convertors make a difference but good EQs and compressors are much more obvious. Keep the Mackie, (Daft Punk is using one). It's great to have it for parallel compression, whatever. I do like Allen&Heath stuff more though, colors your stuff in a cool way.
Cheers

shapemod

Umlaaat · 14th November 2003, 10:13 PM

ah..

are you using your Distressors for the 2 mix or synths?
how do they compare to a fatso?

my room and monitirs are ok. i just got this sweetwater catalog and am flipping thru wondering if there was a single piece to really make a difference would it be like a 2 mix compressor/limiter or an ad/da?

shapemod · 15th November 2003, 01:05 AM

I'm using the Distressor for single drums and drumloops, just works perfect for what I'm doing, used to track guitars and bass and vocals through it, have a 1176 now and use that instead of an Distressor, gives me more of a rock-vintage sound(especially bass and guitars). i don't use the Distressors on the mix bus, wasn't happy with the result but what I'm doing lately with great success in many applications is routing the whole mix to a mono sub group(mono, because the other Distressor is on my bassdrum) compress it to Jesus and crank the Highs and the Bass on my API 550a. Then I mix that to the mainmix by taste just to get an certain excitement.

shapemod · 15th November 2003, 01:07 AM

Ah yes and when I'm tracking my analogue synths I run them through the Distressors as well, improves most of the stuff!

Similar Threads
Thread	Thread Starter	Forum	Replies	Last Post
Logic 7x vs ProTools for R&B/ Hip Hop	huarez	Rap + Hip Hop engineering & production	4	23rd August 2006 02:46 AM
Sample Based Hip-Hop Production	gemstar	Rap + Hip Hop engineering & production	7	27th April 2006 05:56 AM
Sample Based Hip Hop hits, french link inside	Zacchino	Rap + Hip Hop engineering & production	4	5th April 2006 04:08 PM
some music that I'm working on, easy listening hip hop	illynoise	Work in progress / advice requested / Show & Tell / Artist showcase	0	6th February 2006 01:41 AM
EQ's for hip hop style music	Drayon	Rap + Hip Hop engineering & production	17	1st August 2005 07:15 PM

13th November 2003, 06:32 AM	#1
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	Q: For Folks Doing Mostly R&B, Hip Hop, House, Sampled Based Music (Runnin Logic..) OK.... Lets talk non live - based music. Lets talk about music that derives from samples and electronic instruments... I'm running Logic 6 on a G4 400, UAD-1 card, the EXS, and some MIDI modules (Trinity and Proteus 2000). My question is for people who do music in which the vocals are the only thing thats really "live": (R&B, House, electronica, pop, etc...) This is my studio set up... I've got the outs of my MIDI modules, and Logic (via MOTU 1224) going into my Mackie CR-1604 (sounds not so hot, but for $15, u cant really complain). My AT 4033 > MP1-NV > RNC > XLR out > 1224, and the aux out to the board. The main outs of my Mackie go into my HR 824's. This works OK. Latency is avoided mainly because of the board. The set up is decent at best, and I can do what I need to do, but I'm sorely in need of an upgrade. The Great River is the one piece of gear that I own that is stellar, and that thing ****ing rocks hard... Except you cant really build an entire studio on a single pre. So, my qustion is for the folks that started where I'm at now, but have stubled upon a boat load of money and have built some kinda work method/studio set up in which whats coming out of your speakers are very pleasing... What convertors are doing it for ya? Monitors? DA convertors? How do you avoid latency without an analog board of some kind? (got this question from reading about the DAC-1 thread) Are you routing all the analog outs of your AD/DA convertors to a board of some kind, then mixing on the board as opposed to in the box? If so, do you have compressors, EQ's, etc for each bus/channel? What do you have your 2 mix going to if anything at all? How do you avoid latency without an analog board? And.... What pieces are of absoulte necessity in the beginning? thanks, y'all...

13th November 2003, 08:20 PM	#7
matucha Lives for gear Join Date: Dec 2002 Location: Prague, Czech Republic Posts: 1,922	What about CMV563? You can get it for $1500 for sure, M7 for normal use, M55 when you need very hyped hights. I just bought one for ~$700 in perfect condition... __________________ Matous Godik

Thread Tools	Search this Thread
Show Printable Version Email this Page	Search this Thread: Advanced Search
Display Modes	Rate This Thread
Linear Mode Switch to Hybrid Mode Switch to Threaded Mode	Rate This Thread:

13th November 2003, 05:26 PM	#3
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	so you dont use any MIDI gear? If so what do u use for latency issues? what would you reccommend for something "up the middle"? an all in one unit? so you basically mix on an analog mixer?

13th November 2003, 05:49 PM	#4
ixnys Gear addict Join Date: Jul 2003 Location: Los Angeles, CA Posts: 324	As far as mics: The B.L.U.E. bottle with the standard B6 capsule is the shit. It's about a $4000 mic. It has increased lows and increased highs. I mean this sucker needs NO EQ. Sounds so great. It would be perfect for pop or RnB. The Nuemman m147 or m149 would be a great vocal mic. The orginals are always better..but the m147 is about a grand and the m149 is like 3 grand I think. I would say check out the B.L.U.E. series mics cuz they really are terrific. I own a pair of blueberries that are great harmony/background mics as well as drum O/H's. A grand each. I've tried an orginal U47 that actually sounding boring as hell. I've tired a U87 that was descent, but I prefer tube mics for vox. So those are the only vocal mics I've had experience with. As far as pres: I own a Avalon AD2022 and a Millenia STT-1 twin. Both are great but I think the Millenia would be the best choice. Can't remember exact price..around 3grand I think. This MOFO is clean as a whistle. It can be nice and transparent as well as colored. It could be a tube pre or a solid state pre. It has EQ controls as well as DeEsser and Compressor. As far as Compressors: Distressors or a LA2A. Distressors are the shit...they can give you so much versatility. They replicate other compressors as well. But I always end up using my LA2A for vox. About 2grand I think. But that would be the shit. As far as AD/DA: I have a 192 i/o and an apogee psx-100se. The apogee is better. I feel more in the low end. Another expensive peice of gear. like 2-4 grand I can't remember. So price for a killer chain: 10-14grand. Since everything else you do is electronic as long as you have the best vox chain possible, you're gold.

13th November 2003, 08:06 PM	#6
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	well, by latency i mean a setup in which you dont have a mixer. so the outs of your MIDI modules would go to the inputs of convertors, and the outs of convertors to the monitors. but then your compuiter eould haffta process the signal then send it on its outs... and i'm saying this based upon that DAC-1 thread where Dave (or someone) spoke of bypassing the mixer altogether... the outs of the DAC to the ins of the moniitors... do you do this? if so is it cleaner then first going into a mixer? ixnys: I would really like to get a four thousand dollar mic, but seeing that i dont have four thousand dolars, i guess i cant get one... i guess if i rob the deli on the corner, maybe... how about something a bit lower? like if you had a grand and a half, the first piece would be...

13th November 2003, 09:28 PM	#8
Syki Lives for gear Join Date: Jun 2003 Location: east coast Posts: 598	Hey whats up fellow slutz. I do mostly R&B hip hop or as I call it (MIDI Produced and sampled noise)I only record vocals acoustic gtr occasional bass. The rest is all hardware synths samplers and drum macs. Anything over that I use the pros and book studio time. l A few years ago I decided to do the unconventional and not go the way of the computer based recording, sequencing, plugins and soft synths. I could be missing out on something but I can't worry about that. I invested in an Otari Radar2 to cover mostly vocals and fly most of my hardware synths virtual.I sequence with my MPC 3000 wth JLcooper midi patch bay. I started to invest into hardware preamps ( Great River is most deff on my short list) compressors, Eq's and FX processors. I own as of this moment 2x focusrite red6 2x Summit Tpa200b (and they are the real shizzle Ixnys)IMHO (On order 1x Chandler Tg2 pre). I have 2x distressor matched stereo pr Brit mode stereo image,2x Chandler Ltd 2, 2x Dbx 160a, 2x Manly ELOPS.On order(Chandler TG1 compressor) 1x tube tec cl1b. 1 xPCM 70, 1xEventide eclipse, 1x eventide H3000 se,1 kurz KSP8, Ghost le 32, Adam s3a...akg c414btl2,1x Neuman tlm 127, ordered 1 AEA R84. This is a lot of money for a midi production studio,but I have no latency problems and the mix is always satisfying. My clients are happy. Mic and pre are crucial.Sounds like you are pretty much on your way. I'm bitting the bullet and looking into a protools set up to tie into what I have already. All my synths and samplers and Rhodes are hardware. And I got my eye on an Eluxe 251, didn't like the Blue to much, ahh but to each his own. No wrong or rights here

14th November 2003, 01:07 AM	#10
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	ok - but what about the logic behind going straight from the DA to the monitors? is there truth to this as far as the mix sounding better if one bypasses the mixer altogether?

14th November 2003, 01:08 AM	#11
Exmun Gear addict Join Date: Jul 2003 Location: Fort Myers, FL via Columbus, OH Posts: 412	If all you're doing is recording MIDI modules and a mic for vocals, latency is not an issue to worry about (IMO) since all of your inputs have the same amount of latency. Audible latency in the analog world is a nonissue since we're talking a couple milliseconds. And since all inputs on your sound card have the same amount of latency, when you play the track with everything on the hard disk, all of it is coming to you at the same time. Latency is really only an issue if you're using softsynths. Many soundcards have an auto correction for latency while recording another track to a prerecorded track. IMO, your best bet is to beef up your mic and pre. The Great River is a good piece. Perhaps add a good two channel mic preamp. You can go for a "cleanish" one or a highly "colored" one. I suggest a cleaner two channel preamp first (Perhaps 2 channels of John Hardy M1). I own a Sebatron VMP 2000. It's a 2 channel tube preamp of the "cleanish" variety. It can be colored if you push it. Great sound, good price (under $1k for 2 channels). You could put your keyboards into the 2 channel pre when you're recording and bypass the mixer(this will get you a better sound than through the mixer). When you're just composing or playing, just keep the modules in the mixer. Then get a better mic, many of the other suggestions were spot on. The 4033 is a keeper mic for stuff other than vocals. so just add to what you have if you can afford to. You'll also need a decent analog compressor. The Distressor is a nice unit for this. Perhaps try an FMR RNC (~$200) if you can't reach that high.

14th November 2003, 01:33 AM	#12
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	ok - i think in the audio world, as well as a lotta other ones, theres "things I think I need" and " things I actually need." I can, and have been getting away with this 4033. Every vocalist thats come thru here has tracked with that thru a Mackie pre or recently, this GR. And it sounds OK... The emotion is conveyed, the idea, etc, etc.. Granted, its not gonna sound as good as a $4000 mic or a $4000 pre. Most of the time i've spent in my studio has been on writing and figuring out how to sounds good with the limited gear thats at my disposal. So the time spent on arrangement, songs, and getting a good performance out of my vocalist is heads and shoulders above any kinda mic or pre, et al... but besides the signal coming in thru the front end, i'm also curious about the other components when making this kinda music... Like say i say 2k.. Do you think its better spent on a decent ad/da or some kinda stereo compressor for my 2 mix to travel thru? or better yet, what about something like a 16 cannel manley mixer. have the synths, midi, and outs of my 1224 going into that, have the manley color it the way I want, etc..

14th November 2003, 06:40 AM	#13
TOR Gear nut Join Date: Sep 2003 Location: Montreal Posts: 109	As far as the latency issue, does anyone here mult the outputs on their outboard, one to the mixer for monitoring and one straight to the converters? seems to me that would be the best of both worlds... ~TOR

14th November 2003, 12:22 PM	#14
shapemod Gear nut Join Date: Jul 2003 Location: Berlin Posts: 132	I do sample based music as well and the things that improved my sound the most was getting decent monitors(Dynaudio BM 15a) together with investing in the acoustic of my room(about a grand in acoustic modules). Hearing what you're doing definitely helps. Second the Distressor was one of my best infestation ever, I have two of them now, would like to have three, gives my that pressure no Plugin is able to deliver. And a good good EQ like API 550A or Focusrite ISA 110. So you have a decent channel, can rerecord stuff and so on. This stuff makes much more of a difference than the convertors, in my opinion. Good convertors make a difference but good EQs and compressors are much more obvious. Keep the Mackie, (Daft Punk is using one). It's great to have it for parallel compression, whatever. I do like Allen&Heath stuff more though, colors your stuff in a cool way. Cheers shapemod

14th November 2003, 10:13 PM	#15
Umlaaat Lives for gear Join Date: Jul 2003 Posts: 711	ah.. are you using your Distressors for the 2 mix or synths? how do they compare to a fatso? my room and monitirs are ok. i just got this sweetwater catalog and am flipping thru wondering if there was a single piece to really make a difference would it be like a 2 mix compressor/limiter or an ad/da?

15th November 2003, 01:05 AM	#16
shapemod Gear nut Join Date: Jul 2003 Location: Berlin Posts: 132	I'm using the Distressor for single drums and drumloops, just works perfect for what I'm doing, used to track guitars and bass and vocals through it, have a 1176 now and use that instead of an Distressor, gives me more of a rock-vintage sound(especially bass and guitars). i don't use the Distressors on the mix bus, wasn't happy with the result but what I'm doing lately with great success in many applications is routing the whole mix to a mono sub group(mono, because the other Distressor is on my bassdrum) compress it to Jesus and crank the Highs and the Bass on my API 550a. Then I mix that to the mainmix by taste just to get an certain excitement.

15th November 2003, 01:07 AM	#17
shapemod Gear nut Join Date: Jul 2003 Location: Berlin Posts: 132	Ah yes and when I'm tracking my analogue synths I run them through the Distressors as well, improves most of the stuff!