LuIzA   Members

I found this awesome technique for recording hard-panned stereo guitar tracks in one take, I thought I'd share. I think it sounds pretty damn good, I'll have to study a way of making a "toggle-able" stereo mod for my guitars. http://forum.recordingreview.com/f8/stereo-guitar-demo-36944/

I'm wondering what are some of the best brush kit sound libraries. The ones I've heard are rather poor, especially when it comes to actual "brushing" as oposed to "hits". I realize that has a lot to do with the tempo of the songs, but I'd think there are more flexible sound libraries out there... are there? The only one I can say I own are the brush sounds that come with Superior 2.0.

Reminds me of the antenna cradle theme from Goldeneye. Bass sounds awesome, guitar has what I think of as a characteristic POD sound.

right, I may one day look into one. I just really don't like the floor design for amp simulations.

Nice clips, Neko. I actually liked the rhythm tone a lot. the lead sounded a little high-mid heavy. EDIT: is there a difference in quality in the different version of the HD pod, or just size and controls?

I also loved the 2.0, though I never owned one. I bought the metal add on (forget its name) for the XT, I then used mostly the amps that came with it, much better than the factory set for high gain stuff. I now just have the pocket pod, which is closer to the 2.0. I'm fine with that, but now, when I have time, I'd rather mic the amp, or I might pick the sansamp over the pocket pod.

Was I the only one who liked the PODxt's tones but hated the PODX3's?

Looking forward to hearing some clips, as soon as you can record.

I'll experiment with angling the SM57 next time. I did try putting the condenser near the grill, off axis at the other speaker, but I liked it better where it is on the picture. I didn't experiment moving around the SM57 though.

I do this extremely often, I keep my phone's little recorder as a shortcut, and it's pretty decent actually.

even soloed the low end is a bit excessive, quite boomy. but in a mix context, that boominess would muddy up everything like hell. so I had to filter it out to make room for bass and kick drum.

despite being master recording. it helps to have a reference track, that way you have attempt to shape the sound by comparing it your reference and find the frequencies that offend, and the ones that are lacking.

if you mean softsynth, then definetely Komplete. best buy I've made in years, has pretty much all you need.

It definetely sounds like a stringed instrument, but don't think it has any fx on it, at least the production doesnt suggest it. I initially thought it was a dulcimer, but i don't know if it can be played that way. I don't think it's a bouzouki or something like that played tremolo, because the sound decays fast. EDIT: looking at some youtube videos, I really think it's a hammered dulcimer.

for the longest time I've been trying to find out what this instrument is: http://www.youtube.com/watch?v=hQHp6IUN8P8&feature=fvst it plays at: 1:06 , 1:16 , 2:29 , 2:39 anyone know?

here're some samples: the SM57 track dry the AKG C-214 track dry both mics combined both mics combined and EQed to fit the mix and a picture of the setting.

I don't plan to buy, but out of curiosity, how is goliath compared to its competition?

I'm not sure how to explain it myself, but it's something like that, yes. it's like, when working with real instruments, you get ideas in the form of "so the piano plays this melody and the guitar plays the rhythm" for instance. How do electronic artists go about in their craft? do you start with a synth texture and then create a melody or whatever, or do you create your melody and then mess around with sounds for it? most of the time, I tend to think of instruments, before notes. it's like I get textures in my head, but they are called "piano", "guitar", "sax", "violin", etc so yes, part of my question is pretty much "how do I make patches" or "how do I get the sound that's in my head". I know how subtractive synthesis and its parameters work, though my head kinda spins at how many possibilities there are, in contrast to just "a piano"... I can add a crapload of FX, and I'm not afraid of doing so, but first and foremost, it's a piano. Finally, when it comes to other forms of synthesis, I just simply don't know how they work.

that much I already learned. I'll check out the thread, but yeah, I'm looking to learn other types of synthesis like wavetable, granular, and so on. Also some kind of "philosophy" for working with synths, as like I said, it seems to me like a whole different deal than working with real instruments

How did you guys do it? it's obviously a lot different from making music from physical instruments (or samples of physical instruments). How does one go about learning their way around them? Sure, it's easy to just browse patches and find the one that suits the music than editing it superficially, but that can be inefficient. I want to know how to get some of the sounds out of my head. Please don't just tell me to mess around with synths, with anything other than good ol' analog-ish synthesis, it easily gets over my head.

I can see what sloppy parts you mean, The intro is also MUCH too long. when it does start, it's pretty awesome, thought the sound seem kinda low quality.

I bought the Axiom 61 Pro's competition: the Novation 61 SL MkII. I'm mostly quite pleased with it. it has far better control than the Axiom, but (I'm no keyboardist/pianist, but) the keys action feel a little funny to me. I tried a regular Axiom before, I liked the keys better on that one, though they stick from time to time.

when I have the time to mic an amp, I never bother with a second mic, too many phase problems to deal with. EDIT: just a few moments ago, I re-recorded a project's rhythm guitars using 2 mics, my good ol' SM57 and my brand new AKG C-214, placed the SM57 an inch from the gril, off axis and the C-214 about a foot away facing the very center of the cab. Took me about 10 minutes to move around the C-214 to get the best sound I could for the time/patience constraint. But really, I was quite pleased with the result, while I could still use the SM57 signal alone, the C-214 signal complements it to come alive, though the latter doesn't sound good at all on its own.

I got Komplete 7 and therefore Guitar Rig 4 and Rammfire. I thought it's a little better than the Gratifier, but still "meh".