Jump to content

SnappleMan

Members
  • Posts

    1,732
  • Joined

  • Last visited

  • Days Won

    5

Everything posted by SnappleMan

  1. Also I'm pretty sure he used my recorded performance of that solo in this song, so really it could be a collaboration.
  2. Well it seems to me like you don't seem to have a solid understanding of how that would work (you'll have to forgive me if I'm telling you basic stuff that you already know). Cubase can handle both audio and MIDI data at once, and record/export to and from both simultaneously. It all comes down to how you interface with the software. What you want to do is make sure that you're using hardware that's designed for what you want to do. What you want is a soundcard (audio interface) that has ASIO drivers, audio inputs and outputs, and MIDI in/out. If you already have a good compatible soundcard then <3 for you! If not look into it (google Audio Interface and do some research). Once you have that set up you want to hook everything up to be used and to work right. You said you use a little phatty? which model? Does it have USB and MIDI or just MIDI? If you have the option of recording via MIDI i/o on your soundcard, then use that as it's faster and more reliable than USB, if your soundcard does not have MIDI i/o, then go USB. Connect the audio outputs of the littlephatty to the audio inputs of your soundcard (or mixer going to a soundcard). Once you hook it up to your PC (and install the drivers if you're going the USB route), open Cubase and start configuring. It should automatically detect your MIDI and USB device and have it ready for use within the track options. Go into the Devices tab and make sure that your soundcard is selected as the primary driver. Then go into VST connections and configure your audio ins and outs, save it as a preset for future projects. Now you're ready to record. - You can create a new MIDI track (right click in the track view) to be used with your VST rack (F11 opens the VST rack and you can load any installed VSTs through it). In the tracks properties (shown in the inspector on the left side of the screen) you can route the track to any input (make it your MIDI or USB input from the keyboard) and any output (make the output the VST you want to control in your VST rack). Hit record and you're set. ALso, when you load a VST, it loads it's respective audio channels with it. So if going via the VST rack route, you'll have one AUDIO and one MIDI track for every plugin. - You can create a new Instrument track that's a combination of audio/MIDI. This is basically an audio track that loads a VST into itself and accepts MIDI input. When you click to create the instrument track you'll be prompted to choose a VST to load, you can choose to load no VST and then change whatever is loaded into it via the track inspector on the left hand side of the screen (where the track properties are). You can also set the MIDI input there. The advantage is that you have only one track to deal with and you can apply your insert effects (EQ, compression etc etc) to the track directly, without having to look for it's corresponding AUDIO track like when you use MIDI tracks. The disadvantage is that you cant use MIDI effects on it (MIDI effects are like insert effects except they affect the recorded MIDI data to add manual note delays or transpose or whatever). - You can create a new Audio track and record your LittlePhatty's audio output (why WOULDN'T you?). Load a new audio track (stereo or mono) and use the inspector to route it to your audio inputs (the ones you configured in the VST connections tab earlier). Hit the record enable button on the track, and also hit the monitor button if you want to hear what you're playing. Check the levels and record, you got an audio recording. Now what I do is I create a MIDI track for every track of audio I want to record from my synths. That way I record both the audio output from my synth and the MIDI data of the performance. Anyway, those are the basics of managing audio and MIDI recording, if you need more help hit me up on AIM or in PMs and I'll get into details with you if you like. And good luck!
  3. I do everything starting with vgmusic.com. I find a source midi there (if they have a remix midi uploaded I just use that as it's pre-remixed for me), I load it into Cubase, load up some presets and export.
  4. Sup dude! Just got settled into my vacation here, time to get the song done for FFIX. I'll hit you with a WIP sometime soon if you want.

  5. I still haven't heard anything better than Ivory II by Synthogy.
  6. Open the volume control mixer panel in windows (right click the little speaker at the bottom of the screen) and see if your main windows volumes are turned down. Windows 7 lets different applications run at different volume levels, so turning up/down the master volume fader wont help if the internal windows mixer has things set at different volumes.
  7. I just make sure to practice enough so that I don't have to strain while playing things to the point of my fingers being cut open. Just sayin.
  8. 7-10ms is the ideal DOUBLE delay effect for guitars, I think.
  9. I usually compress my bass to the point where it's literally just a square wave.
  10. And again, it's not a question of pro-audio or not. Most studios use low impedance headphones just as much as high. It's a matter of electrical and physical need, like if you need to connect a few sets of headphones in parallel while they're being powered by one amp. Modern day mixers and professional interfaces are designed with low impedance headphones in mind, so you get optimal quality from them. If you were to plug in high impedance phones into them you'd have to crank the volume to max and it would still not be loud enough in some cases.
  11. From my experience low impedance is anywhere from 24-70ohms (give or take like 10 ohms ) and high impedance is around 500-600ohms. Keep in mind that thes values are relative to headphones! 600ohms is generally low impedance when talking about something like guitars.
  12. Oh and one more thing: when a headphone is advertised as a "monitoring" headphone, it mostly means that it has a clearly defined range that makes it good for monitoring during tracking in a studio, so your singer/guitarist/drummer gets a nice and clear image of what he/she is performing to. Don't think it's the same thing as monitor speakers, which are meant for mixing.
  13. You cant hear true 20hz on headphones, or like true 200hz for that matter, it must be felt for you to get an accurate image of those low frequencies (which is why professionally you would never mix a record without monitors). Having said that, the only time you want to care about the impedance of your headphones is when you're considering using them with a headphone amp. The reason people use headphone amps isn't just headroom, as good tube headphone amps give a very nice warm colour to the sound that help in the reproduction of the low end and keeping your signal cleaner of noise, and using low impedance headphones on these amps will cause distortion and whatever else that you don't want. From my personal experience, most studios will order high impedance phones because they have really good amps they want to use which have a chance of blowing out low impedance phones. But seeing as you're not even interested in getting good speakers, I think you should stick to good low impedance phones, unless you want to spend lots of cash on a decent enough amp to make high impedance phones worthwhile. Any decent pair of (low or high impedance) studio headphones will give you great mixes once you learn them, as long as you make sure to constantly reference other speakers and headphones you have access too.
  14. What it comes down to most is the feel of your guitar. The string gauge determines how easy the guitar is to play (lighter strings bend easier and aren't as damaging to your fingers) and also the tone of the strings (heavier strings tend to have a little bit more bottom end definition to the sound). And the pick gauge determines the string attack sound, a little of the string tone, and most importantly the playing feel in your hands. Heavier picks give you a more controlled and rigid feel, and smaller picks give you more control. There are also other factors like lower tuning stability with heavier strings and different types of attack dynamics with light/heavy picks etc etc, but mainly what it comes down to is playing comfort.
  15. That's the attitude to have! Assholes like me will come at you every step of the way, you gotta be able to power through the negativity. But do learn to get something out of it. Sorry I helped turn your thread to shit. :3
  16. You need to start making sense, man. I know English isn't your first language, isn't mine either, but at least I tried to learn it! Anyway, I hate coming off as a bitter old asshole, but cmon, ice cap? lol
  17. I've been around long enough to have heard every single dance/trance/techno (and all subgenres) variation possible on the icecap theme. You have done nothing new. For a first remix it has elements of good music, you should take that and build on your arrangement style.
  18. All this time you're wasting by arguing could be better spent improving your music! Get to it!
  19. Well what makes these bad remixes is that they're not good remixes, the source is beside the point. It's just annoying that they're both bad remixes and overused sources. It's enough to drive someone insane!
  20. <3 Anytime. This is like the 3rd icecrap wip posted here in the last 24 hours. Can't you kids find some original source material?
×
×
  • Create New...