The DijonStock Digital Home Recording Support Forum

quotere: piano
i think the brightness works once the other instruments are in.
might need fattening or widening and darkening for the intro./quote

mcnewsxp - nail on the head my man

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Oh, in my firsts I forgot to mention, this is the first time I've ever used Cubase in my life.

I love the automation...it helps. Now if I can figure out how to automate EQ and effects, we'll get this...let alone a dizzying array of plug-ins.

Also found the limit to my machine. I have to keep things to about 20 tracks before BS starts cropping up...fookin' PCs.

So, now that I have your constructive comments in, thanks. I left everything in place to get people to respond...especially the artists. I hate cutting someone's work unless it's their own idea, so to speak.

Aye, Doc, I'd love to re-record this and do it right--we were still experimenting on how to get ourselves down to 8 subgroups. Tudan is right, the weakest point in this studio is the G. Though, I think what we did to separate the combined bass/keyboard track was nothing short of brilliant--

Here's what we did. We had the bass and keyboard in the same stereo subgroup into the G. Unfortunately, the bass was just a little heavier than the piano and the piano needed to be boosted in places. So, we took the track and made two copies. In one we rolled off completely the low end and the other the high end. Then we blended each back to the original track to bring back just enough character in each. With that we had separate bass and piano tracks to the fullest extent possible. So, that is really where the brightness on the piano is coming from.

On Goin'West...aye, aye, that was easy. A little dynamics, touch of EQ here and there and a little automative level control to work the piano and guitar in places.

For the CD, there'll be jam sessions and songs. If all the jams are as easy, half the CD is done. Good thing too, because I have a lot of recording yet to do for the songs.

So, I'm going to continue to sit back and listen to Gods because I think it deserves more effort. Yet at the same time, I don't want an ultra-slick production. I want NiceStock. The feeling. The colaboration. The mistakes that were so much fun to make. I'll never forget the feeling of working on that level; with people who were much more talented and intelligent than I.

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David

The piano bass seperation was a fun and interesting thing to do as I have never tried anything like it before. To create more tracks why don't you leave the singing initially, although have the singer sing in the room for the song to be complete to the players. You re-record the vocals anyway because of all the bleed through from the room - even with cans on. also you may wish to mono the guitar and bass then effect them later on.

How about this combination...

Stereo Pair- drums
Stereo Pair - keyboards
Mono - Bass
Mono - Guitar

That leaves you 2 x spare for either percussion, another guitar or the drums (allowing bass drum and snare to be individually miked maybe?)

Once you've got all that lot in the G you could then bounce them down to a stereo pair to use as a ghost for re-recording or put them in virtuals to create more space.

Gotta run - hope this helps

Roberto

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Well, I've got another tune and I was already to go. But, then something strange started happening on my PC. Sound would disappear. So after fine tuning for 24 my PC...making more disk space, defrag, defining more virtual memory, getting things out of memory...well, come to find out that I have some demo plug-in's at work creating 10 seconds of silence every 3 minutes. Super.

The Doc lead me to a download site where I downloaded them, and it appears that I snagged the demo version of Blue Tubes. Bummer. $500 to buy them as well.

So, does anyone have a definitive site where I can download the Nomad Factory Blue Tube bundle? Lys? This was your idea!!

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Check your PM mate.

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I will use my robot hand for good.

You're a life saver...to face all this editing and mixing on the G all at once is just too much, but that's what I was falling back to. Thanks, man.

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Lot's of work done...but man, this is a big job. I've broken up some more of the huge jam files. We have more than enough material for a CD.

Today I'm laying down some acoustic tracks. One song that's turning out really well is Lina's cover of the Coors tune. This was kind of an experiment. I loaded the original tune in the G and Lina sing with it to record her vocals. Then I had Robert, who didn't know the song, work up a piano score for it and we recorded it. Now, I've taken out the original and are adding the rest of the tracks...like adding Lys on bass and now myself on acoustic, creating a hybird between the original and The Doc's piano arrangement for the acoustic. The result is turning out very different from the original, and very, very nice.

Well...back to work! Man it's too hot, but the passion overrides all.

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Good to see you getting a sweat up David - and Im lookin forward to hearing your good work

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Okay, one think's for sure, I do not like the Taylor direct. Spent the afternoon laying down 3 tracks trying to find the magic, and it ain't happenin'. It was good practice, but this thing has to be mic'd. We had Sleepy use it on Gods direct as well and I ended up scrapin' the tracks.

Gettin' just a tad disillusioned with the 610...my Martin put out a great direct signal...but the whole guitar was conceived for the stage whereas the 610 was not. So, we take it down to the live room tomorrow and see if it makes a difference.

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Honor is a debt you owe to those that see it in you.

Yeah, he's right I don't sound of a direct acoustic either, it's discusting...
He had tried recording an acoustic guitar with two different condensor mics in the past... it was like magic, un-comparable with anything else

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NiceStock code #3256: Red means "go"

Its your mission to find the right set up David - both those guitars sounded beautiful when played (both apart and together).

good luck

Doc

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It's just too metalic sounding...and with Lina's sweet voice, that just won't stand...won't stand I tell ya!

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Honor is a debt you owe to those that see it in you.

Well, it's into the live room today to take another wack at this Coors tune for Lina (and I'm probably not spelling her name right either)

I think we'll go for a blend. I'll bring the direct line in anyway, but we are going for a two mic setup. One is the Neumann pointed between sound hole and bridge, and other is a tube mic, a Studio Projects TB-1, pointed at the 12th fret. Hopefully this little combo will let the sound of that Taylor shine through.

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Honor is a debt you owe to those that see it in you.

Well, all tracks are laid and I put a quick mix together. Again, nothing too special done and there's work yet to do, but I thought I'd let you all take some shots at it.

This is Lina's tune...her cover of At Your Side.

http://mp3.dijonstock.com/mp3/NiceStock%20-%20At%20Your%20Side.mp3

Edit...forgot about the damn %20.

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Honor is a debt you owe to those that see it in you.

Okay...why aren't the URL commands working now??

http://mp3.dijonstock.com/player.html

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Honor is a debt you owe to those that see it in you.

They do work, but you have to replace the spaces by %20. I don't know why, I'll figure it out. I've seen spaces being replaced by %20 in the past.

Well, now that I did the %20 nonsense, it doesn't open the mp3 player, it tries to either download it or open my iTunes.

Oh...something else. I listened to the mix here on the mp3 and it sounds really heavy on the high freqs and the harmonies are buried compared to playing here through the WAV files. Someone else mentioned high freqs on another upload...part of the mp3 conversion process?

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Honor is a debt you owe to those that see it in you.

The player works over here.

Amazing.

David
damn! you made it up earlier than me again, i woke at 6, i see you were here at 5.20!!
I remember you said you were going back to work today... i hope it's not too tough It might actually be more relaxing than sweating over a mixing desk?
as they say in these here parts, bon courage

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