OverCoat

That is still huge

Dude, no love for the keytar

I AM HUGE ASSHOLE

Basically you need a multitrack audio sequencer like Samplitude or ProTools, maybe even Adobe Audition if you wanna go on the cheap. If you also want to have virtual instruments, Sonar and Cubase come with some, you can download extra ones, you can also record audio into Sonar or Cubase. However, you also need a firewire or USB 2.0 audio interface to actually get your audio into the computer~ There's trillions of firewire/USB2 audio interfaces, and that's something you should ask ReMixing, I have very limited knowledge of all the brands and nuances of each interface. I'm assuming you have microphones already? And if you play live sets, you have your own PA system and equipment right?

Do me a favor and ignore everything Skrypnyk says about computers forever. The buffer size to 256 samples? lol Some computers don't need Asio4all. I don't. I got my latency down to ~13ms and that's fine for me until I try to record live audio. Don't just randomly tell everyone to download 3rd party crap, please. Some soundcards already have ASIO drivers, and you only need Asio4all if you're experiencing EXTREME latency problems. Go into your audio options in FL and mess with the audio latency, unless you've already done that. The lower it goes, the faster the audio response time gets. This is a very crucial element when trying to record live. However, not all systems can go down all the way, even with Asio4all. You can't just set your latency to 256 samples [~5ms] and expect it to work. If the latency is set too low, there will be artifacts in the audio.

Solution: turn the track volumes down. You may want to invest in a frequency analyser, though most DAWs that are worth anything have one built in [though there are elaborate, accurate ones you can get like this] It is a good tool if you do not trust your ears while mixing

lolololol And yeah, there's a multitude of reasons why the "volume race" is happening. Bands want their music as loud as possible without clipping, people don't have to adjust their volume EVER because the entire CD waveform is literally a brick, or it probably sounds better on the radio [though I believe most TV and radio stations run their own compressed signal!]. Compression and overcompression has been used extensively in TV commercials, that's why their volume is so much louder than the actual TV show you are watching. Though I think the FCC made some regulations guarding against this. I wouldn't know, I don't watch TV.

lol Well getting something to a decent volume is part of the whole "good mastering" part. What needs to happen is good EQ, normalization, compression, and good, balanced levels and panning on every instrument, then the same for the final waveform if you think it needs anything. There are a lot of different techniques to achieve maximum loudness, though I think most people here would prefer you go easy on the compression, I'm sure we all love dynamics.

U NEED 2 GIG OF RAM AND PENTIUM 4 OR AMD EQUVALENTTT YAY PROTOOSLS HD

I have an idea. Let's turn it into a huge database of original music for videogames. Then developers and labels can browse the page and look for cool music to use and t

http://www.dbpoweramp.com/ enjoy your re-encoding artifacts :3

You were very close to purchasing one of Mackie's fuck-ups Though I heard it was good if you didn't have to route anything.

Too much work. Like then you'd have to list stuff like Keith Emerson has like 300 moogs, or Vangelis used rlrllflghlbnlrl* in Chariots of fire *forgot

They can all sync to BPM. Unless of course you change tempo mid-song, but then if you can do that in a sequencer, you can automate the flanger/phaser knobs too.

I could be black if this heat keeps up D:

What do you even want to do live? Just a piano and some singing? That can be a good act if your songs are good, or you wow people with crazy shit [PIANO DRAGONFORCE]. If you can tell us the extent of what you want to do onstage, some of us can probably help you with the equipment you'll need to use. EDIT: wait a second, fuck all that shit, you say you need to practice first. Hahaha

Haha that actually looks like a short-haired me in the back D:

Emura, I did mention the Carillon tracker in the 1st reply. That one is completely free. There's some info on the wiki, then you go to Aleksi Eeben's page and hit "download" and the .zip is carilloneditor.zip. What a weird page

I have one. Let's hang out

Yeah, SM57 is a solid choice. The quality won't be as good as a nice condenser but enough so that you get a clean recording.

Well if you want to use a gameboy as a hardware synth via midi, that'll take some work. I realize this all may be frustrating at first, for something that seems so simple! The gameboy trackers are not exactly the best thing to learn tracking on. Everyone who stands out in the chiptune scene knows how to track incredibly well, but if you just want the sounds to use in your normal songs, that's fine too, and you can probably get away with using a normal synthesizer and basic waveforms in any modern sequencer.

Logic Express is $300. Anyway, unless you have a question about trackers I think I'm done here.

What kind of guitar? Because condensers are good for acoustics and clean electrics. Vocals too. Though a decent dynamic mic can probably get the job done, like a SM57 or 58.

I googled a bit for "USB2 vs. Firewire" and got this page: http://www.barefeats.com/usb2.html

Kind of. I doubt most synths handle vibrato, arpeggiation, pitch shifting, noise, or whatever else the gameboy synth has the same way, all in one package. I'm sure it's possible but it's probably a bitch. Same with the NES, only you add DPCM onto that :3 p.s. Aleksi Eeben has demo tracks for the Carillon tracker