Argitoth

Thanks for your help. My questions are pretty much answered.

Oh shoot, I never did put, "two inputs needed for stereo recording." I want to use two directional condenser mics for recording soundscapes of a location. That's really the ultimate goal. SGX, could you PLEASE shorten your link? It makes the thread hard to read. I have to scroll left and right. Just do a [ url=bla]hi-md

Is there any benefit of getting something like: http://www.sweetwater.com/store/detail/PMD670/ over an EDIR1 for field recording?

I agree, it's what I was trying to say.

Thanks Yoozer. Actually I think this thread should be deleted. After reading a huge article on how great 24-bit recording is, I'm convinced. I'd rather wait till I have $800 laying around to get a professional field recorder. I'll get the TASDP01 if I'm desparate. I was pretty much more or less convinced when the article said something about how 24 bit recording is the future and 16 bit is old old old. Edit: Article: http://www.24bitfaq.org/

yeah. ok. screw the first post. I just want to know what I would need to harness the portability of a laptop and at the same time record highest quality possible. Edit: WAIT WAIT... scratch the laptop idea. The laptop is too noisy... well maybe if I got huge extension cords to be far away from the laptop when recording... that's just bizarre. Any other suggestions? (including use of a laptop)

>_> Laptop? you know that's not such a bad idea...... but what hardware would I need?

I was looking for something that would fit my requirements, but I can't seem to find anything. I'm looking to specifically use it for sound design (field recordings). Here's what I'm looking for: -Around $350 -Rechargable battery -A way to send files to computer Let me explain what I DO NOT need. -Effects -Convenience -Pretty design -Built-in mic I don't care if it's bulky, I don't care if it's as ugly as a garbage can, I don't care if it's as big as a computer. I just want the HIGHEST quality of recordings possible with a good price tag. The handheld ones I've been reading about just don't fit the professional bill. I'm beginning to think I'll have to pay at least $800 to get what I want. thanks in advance for your help.

Why is everyone so amazed? Having that much stuff is cluttered. It's a bad enviornment for creating music. That's a horrible workflow. Think of the money required to buy all that stuff. She could have spent that money on things to improve her workflow. Now, I bet you anything that richer musicians have much less stuff than her, and those musicians are superior. EDIT: OHHH, she's a collector. Well, my statement stands in a hypothetical case if she got all that equipment specifically for music.

ok I pmed him.

Well ok, but Miku is just mean for not responding.

But each post is a day apart. The first to second post is actually 3 days apart. Hmm, I couldn't find Medwyn Goodall nor could I find his song, "Raven". The database is very incomplete and so it would never be able to track down bedroom artists which are the leaders of genre that Miku is looking for. I could be wrong.

Yo miku, I am interested in your feedback. I want to know if you found the music you were looking for.

You should try: http://www.soma.fm and go to "Beat Blender" station. It might have more acoustical instruments than you want, but go ahead and tell me if that's close to thing you're looking for. Lots of jazz, retro-funk, a good helping of electronic processing and synths.

Miku! Go use winamp or iTunes (or RealPlayer) and find a chillout shoutCAST station. You can search here: http://www.shoutcast.com/ (search with the term "chillout") 1.FM Digitally Imported those are some good stations to check out. I think I know what you're talking about and if you listen long enough you will hear a song that fits your description. Be sure to get the artist name and song title when you do hear something. Miku, from what I can gather you're talkin some sweet flute lines, jazzy rhodes and a funky bassline. Throw in some DnB style stuff in the background and some punchy beat in the foreground? Don't forget some sweet ambient pads to set the right mood and then a screaming synth lead that evolves over time?

why would you spend money on usb stuff? you are wasting those precious slots! If I were you I'd spend money and a good soundcard (specifically for composers? 1/4 in/out spdif, you know, the works?) and then you have an unlimited selection. like an emu 1212m for $200 BETTER YET, screw usb all together. Go get yourself a FIREWIRE pre-amp

If music is going to be a career you could easily add sound design as a service by buying sound libraries and remote recording equipment to record stuff outside your studio. It's what I plan on doing. Of course, you would have to practice sound design.

Thanks for that, Splunkle.

I'm asking about sound design, but I realize it would take long posts of careful organization to teach something that I could already figure out on my own. I didn't put much thought into my question of many posts ago. What I'm trying to say is: nevermind about my question. Does anyone else have anything to contribute to this thread? BTW: I got Absynth 3 in the mail todayeeee

I'm digging. Effects within the syntheziser are the main thing to creating the sound because all those effects can be controlled by lots of LFOs and envelopes. Absynth all by itself can create awesome sounds. Of course outside could change the sound completely. When I say spacey I mean heavily ambient with little musical content. Lots of slow evolving pads, sound effects going in and out, sprinkled with heavily destructed percussion and a cherry on top. Also, when I think of spacey music I think of emotion. This music I am thinking of should be very emotional. When it is dark, make it VERY dark. When it is mysterious, make it VERY mysterious.

I figured that was your point, it wasn't obvious enough for me. It's not so much that I am rejecting his advice because I will surely use sound effects. It's more that I'm continuing the discussion, trying to get more information or something... know what I mean? Well, I got some advice from someone at KVR saying I should use a contact mic (if that's the right term, which is a mic that records off of surfaces). Didn't know my dad owned one till today. Found out he lent it to someone who has taken it to Japan. Just my luck. The contact mic will provide some good material to work with for SFX; like tapping the metal railing of the staircase or hitting a glass cup with a spoon.

http://www.spectrasonics.net/libraries/distortreality2.php - The demo for Distorted Reality 2 was very nice. Zircon, I didn't say I need many tools to create something spacey. I'm not sure what you mean by advanced oscillators. I'll take your word for it that Distorted Reality came out before softsynths were prominent, but I don't understand how it supports the point you are trying to make. I am not sure what your point is.

Zircon, when you say, "turn even simple waveforms into great sounds," I'm not sure what you mean. Taking simple waveforms and turning it into great sounds is what synthesizers are made to do. Are you not referring to synthesizer architechture? Earlier I was talking about "formulas". Listen to the sound example at wikipedia for "ring modulation". It's a diatonic scale played with ring modulation set to 2500 Hz. Quite inspirational IMO. Listening to simple stuff like this always gives me ideas.

Effects are easy to slap on, the hard part is getting the oscillators to produce the right sound. You probably know what I mean by spacey. Something strange, unidentifiable, like weird sound effects but with fast decay.

GET ZEBRA2 OR OCTOPUS!!! You know I really feel octopus should be called octoPULSE like square wav... thing... that would be so cool of a name I think.