SnappleMan

Home sweet home.

Just do what you like and don't think about sounding original.

From what I know we're a lot closer to a release than everyone thinks. We're also breaking OCR tradition by making this album actually worth the wait... J/K THERE ALL GRATE LOL

:3 I totally out-assholed brushfire on an episode of OCAD. Made him ragequit his own show, in fact. He held a meeting afterwards about what a dick I was, it's an accomplishment I am very proud of.

That depends on how the MIDI was created. If the original composer moved chunks around from channel to channel (like in a DAW) then the imbedded channel data per note will be different from track to track. That means that MIDI channel 1 will have chunk of notes in it that were recorded originally to channel 6, so when you split that by channel you get a clusterfuck.

You try saving and loading one of my projects that takes up over 20gb of ram like that. Not to mention re-linking with old legacy external modules and effects, and legacy plugin stability that's not dependable even when bridged and it may not want to release your driver instantly. That's why most daws have a "revert" function so you can reload your existing project without killing your DAWs connection to your externals or releasing the audio driver.

You should be able to dissolve the MIDI type 0 parts into separate tracks without having to convert to type 1 and re-import. Search the help file in Ableton for that. One thing that I have to warn you about is that Abletons MIDI support is pathetic. It does not import MIDI tempo data from your files, so you'll have to set the tempo and time yourself.

Generally speaking I use the best preamps I have whenever it's possible. If you like the sound you get from your preamp, use it. As for using it on one channel of a dual channel setup, go right ahead. The only thing I do when miccing with more than one mic is to make sure there are no phase issues. Using a different preamp on one channel is similar to using two different mics for a different character to the recording. If both mics are condensers then it's not really a matter of gain, you'll have plenty of room to mix and EQ. If you're running dynamic mics, or a condenser+dynamic I would test the preamp with the different mics and positions on the guitar. This way you can get an idea of what each mic sounds like through the preamp and you can gauge the noise:tone ratio and figure out what you're comfortable to work with.

Hmmm, the next time you do this... sign me up. Star or novice doesn't matter.

I endorse this product. Simply because you can get a Squier strat for $99 and learn to play guitar the real way, but if you do that then I have to sit through "Hye snappulmen how is my playing almost as gud as urs i think but I dunno lol ~*PLINK PLINK PLINK*~" IMs 40 times a day.... so please, buy Shreddage instead

Thinking less and doing more helped me more than anything else. You can talk/read about this stuff all you want but at the end of the day it amounts to nothing unless you apply it in practicality.

1. Take original song, cover it, make sure you repeat it at least twice in the arrangement. 2. Stretch original song by 500-1000%. 3. Stretched out version is now a lengthy chord progression. 4. Build on new chord progression at full tempo (meaning if your original tempo was 150bpm and you stretched it out to the equivalent of 10bpm, write 150bpm music over the 10bpm progression) 5. When writing consider the rhythmic and harmonic properties of the original, so no matter what you write it'll feel like it belongs in the song. That's just one trick, usually it's easy enough to just write randomly in the same key and get away with it. Once you get some experience under your belt it becomes pretty easy to take a 30 second song and arrange it to 6-8 minutes, but don't expect it to be totally tasteful or musically meaningful.

Sup.

I use whatever sounds better in any given situation. I like using a soft knee on drums to really get the snap out of them, if that's what I'm going after. I almost always limit with a hard knee so I can push the gain and not clip as much.

Hahaha that Devin Townsend demo is hilarious. This does sound pretty good, for $50 it might be worth it. But it just looks like a bunch of presets, if you can't tweak and create your own then it's a no go for me.

That's how virt, protricity and I got our reputations as assholes all those years ago....ahhh memories...

Ahh man, haven't checked up on this project in a while. Memories...

Exactly this. Can you deliver a completed DDP image or CDR only? What bit depth do you dither to? What RMS do you aim for? EQ and compression are only the first step in the process of mastering music. When I have to master something I usually have to rent/borrow gear or acquire studio time to do it properly, that's why I ask if this is real mastering or some dude with a pirated Waves bundle.

I care because most people who offer mastering services have no idea what mastering is. If he is offering REAL mastering services for free then I'll definitely send my stuff to him, otherwise it's just some kid with a fancy compressor that he pirated and doesn't know how to properly use it.

What are your tools and your process? If people send you songs are they to expect some Ozone preset slapped on it and sent back? What kind of speakers are you mastering on?

+1 on computer noise messing with you during a mix session. My cheapo case starts to make this strange pitched vibration noise that's a few cents sharp of C# and it gets loud enough that it throws me off so badly sometimes....

M-Audio is really hit or miss, and by that I mean their PCI cards tend to be good, and their USB interfaces tend to be bad. Every person I know who uses an M-Audio USB interface has problems with it, if that means anything...

What's more important today is smarter software. There are plugins that use the same samples from legacy products that were recorded in 2001, but almost 12 years later smarter programming of the onboard sequencing engines and articulation maps turn those old samples into incredible new instruments. Disc streaming has come a long way also, all of this stuff combined makes almost any modern system an ideal DAW. Sure it helps to get the best hardware you can afford (and generally avoid AMD) but overall you can't go wrong these days. This all ties back to the sequencer/software argument that all the major DAWs out there do the same basic functions, and they all copy each other. Back when I started with computer music in 1997 the options were EXTREMELY limited and it's not till just in the last 3-5 years that the entire atmosphere changed and ease of use because paramount. So whatever, I'm rambling.

Macs do not use anything better. I own 4 Macs, 2 for music and 2 for video editing, I also own 4 equivallent PCs (meaning, same processor, same amount of ram, etc etc to their mac counterparts). I have benchmarked Cubase 4-6.5 and Protools 7-9 on all of them, and they all performed identically. I have gotten a consistent latencies and ASIO loads: Delta 1010 - 64 samples, 2ms digi001 - 64 samples low latency mode enabled (inconsistent, much more stable on MacOS) steinberg CI2 - 128 samples, 9ms presonus firestudio - 8ms echo audiofire - 6ms ASIO load remains even among equally equipped machines. Only differences are with a few plugins (some load samples faster on the mac some on the PC) and generally windows seems to stream faster from HDDs for me. I like Macs, and I like PCs, but neither is better. I don't know what you're trying to justify to yourself by claiming that macs are better, but give it a rest, you have a computer that's no better than it's PC counterpart. Deal with it.

I use Macs and PCs, there is no difference in performance, at all. None. Deal with it.