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PostPosted: Fri Oct 07, 2005 2:54 am 
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G-crazy
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Joined: Fri Jul 09, 2004 7:44 pm
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Now that I have your attention, my answers will certainly disappoint. In fact, I'm making this up as I go along primarily because I'd like to see what others here have to share. But I'll list a few of my own recording "learnings" (whether G-specific or not) just to see if anyone's interested in this game.

In my past (nearly) 3 years with my G, here are of the few biggest lessons I've learned from reading, talking, guessing, trying, and often failing. In no particular order, I've learned, or begun to learn that...

IN GENERAL
1. Using the full stereo and depth fields, via panning parts and applying subtle reverb and such, can dramatically improve the sound of recordings.

2. Doubling parts really elevates their importance, and that while copying a track (and pitch-shifting it) is good, actually playing a part twice in unison is even more effective--and good for the chops. Can't do this with every track, though, or the effect is lost.

3. Processing the sound as little as possible is often a preferable thing, resulting in a cleaner final sound. Reverb and compression, especially, can be the worst offenders, especially when such effected tracks are piled on each other.

G-SPECIFIC
1. Starting a new song with a clean "default scene" eliminates those nasty
carry-over surprises from previous tunes. Really a pisser when that happens during early efforts on the G.

2. Recording parts at the appropriate relative volume, rather than maxing everything out, makes for an easier final mix and one with better headroom. I try to use the "straight line" rule, meaning that when the faders are basically flat, the mix is almost there.

3. Using scenes (scene memory) is an great and easy way to fine-tune each section, but creating the scenes near the end of the final mixing process is preferable, when everything's already recorded and waiting.

BONUS LESSON LEARNED
"Save" anything recorded as soon as satisfied. One good freeze or crash is all it takes to learn this lesson, but the sooner the better. Save it now.

Anyone else have anything to share, especially for our newer folks here?
Actually, I'm hoping I can pick some ideas up, too. Any givers or takers?

J.

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PostPosted: Fri Oct 07, 2005 3:50 am 
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Wants You
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Good points all J. I'll jot my own little list down and get it out here soon.


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PostPosted: Fri Oct 07, 2005 6:49 pm 
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G-crazy
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Good, Bob. I'd like to see your thougthts.

And how could I forget this key lesson? Having a great monitoring system, one that can really be trusted, is essential for producing solid mixes. Constantly running mixes back and forth to other stereos, with constant surprises, is frustrating and ineffective.

J.

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PostPosted: Fri Oct 07, 2005 8:05 pm 
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Guitar Ho
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Yup, really counterproductive if for anything the depression factor.

Still, even the finest set of monitors is no guarantee that the result will be stellar either; besides the room your listening in, it also depends on what's your target. You can pretty much bet that jazz will probably not be played on a boom box with bass enhancement. Rap is sure not to be played (as a rule) on a top of the line stereo either.

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 Post subject: Huge point here
PostPosted: Fri Oct 07, 2005 8:28 pm 
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The General

Joined: Tue Aug 10, 2004 11:20 pm
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DCinFrance wrote:
Yup, really counterproductive if for anything the depression factor.

Still, even the finest set of monitors is no guarantee that the result will be stellar either; besides the room your listening in, it also depends on what's your target. You can pretty much bet that jazz will probably not be played on a boom box with bass enhancement. Rap is sure not to be played (as a rule) on a top of the line stereo either.


Oh, I dread the days when I would burn a CD thinking I had a perfectly mixed masterpiece only to play it in my car (sometimes in the wee hours of the night) and have it so frickin bass heavy and muffled that I would just sit there and bum out.

Things have gotten better with experience, lots of advice and experimentation.

I would add that understanding how your monitors translate might be more important than the quality and accuracy of the monitors......and I'd attribute this to not having a sonically acceptable room.

Good points DC.

Gary


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PostPosted: Sat Oct 08, 2005 3:57 am 
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City Slicker

Joined: Mon Jun 06, 2005 5:01 am
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Well, I have crappy monitors. If you can make it sound good through crappy monitors, maybe it will sound great through a Bose radio.LOL


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PostPosted: Sat Oct 08, 2005 4:05 am 
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Wants You
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Location: Hamilton Square, NJ
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3 OF THE COOLEST THINGS SINCE SLICED BREAD FROM AN EX 8-TRACK CASSETTE USER:

1. auto punch
2. midi sync with a drum machine
3. virtual tracks


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PostPosted: Sat Oct 08, 2005 5:21 am 
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Mr. Electonica Dude
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A very slick auto punch I might add.

The waveform display

Markers

The entire editing engine is very nice.

The digital ins /outs are a nice touch.

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