This is some stupid blog shit.
So, we have all of the drum tracks down except on Stare at the Sun. For some reason Peter just can't nail it. Tonight was a night that we were to listen to the drum tracks for everything and get the last one done. All the other drum tracks were fine. And we've played this song at least 100 times. But for some reason, Pete just can't get it going. He was supposed to be done tonight and Villager was supposed to start her bass tracks.
Here's the thing. recording is always fun in retrospect. But it blows when you're actually doing it.
And, with Stare at the Sun, that is my signature song. I have to be there. I have to answer questions. I have to give direction. The most important directive I gave tonight was "two more takes, and we call it a night." I am a retard when it comes to percussion. All I need you to do is be a fucking metronome. But it doesn't work that way, does it?
We're going to nail it on Saturday. I can feel it. I just wish we could have tonight.
Hang in there, it'll come. Calling it a night was the best thing you could do, if it wasn't coming. If he's getting knotted up because he thinks he's fucking up YOUR song, between takes next time, excuse yourself to take a dump. ("Do this one without me, guys, I may be awhile.") Get out of his line of sight, for one take, see if that makes a difference.
I have no clue what I'm talking about, music-wise, but I get performance anxiety and getting blocked.
A few questions:
- What's the problem? Is he missing a beat, falling behind, speeding up on a particular passage?
- Do you guys practice to/with a metronome?
- Did you write the song using a metronome, or with you all jamming out?
- Are his drum lines repeated, e.g. each verse has the exact same drum pattern?
Possible advice to follow.
What, did you cover MDFMK - Stare at the Sun (http://www.youtube.com/watch?v=WuHvRX11mYs)? Because that is awesome!
(vid not available in my country, maybe it works for you. track is really awesome though)
Then again, there's more songs called by that title. Why's that anyway? There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
Quote from: Triple Zero on February 14, 2012, 01:03:32 PM
There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
Cram, I'm looking at you. Get on this, stat.
Quote from: Triple Zero on February 14, 2012, 01:03:32 PM
What, did you cover MDFMK - Stare at the Sun (http://www.youtube.com/watch?v=WuHvRX11mYs)? Because that is awesome!
(vid not available in my country, maybe it works for you. track is really awesome though)
Then again, there's more songs called by that title. Why's that anyway? There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
Well, there
is a Smashing Pumpkins song called "Drown".
And I hope the "Stare at the Sun" song isn't a U2 cover.
Quote from: Commissioner What's-His-Name? on February 14, 2012, 01:15:05 PM
Quote from: Triple Zero on February 14, 2012, 01:03:32 PM
What, did you cover MDFMK - Stare at the Sun (http://www.youtube.com/watch?v=WuHvRX11mYs)? Because that is awesome!
(vid not available in my country, maybe it works for you. track is really awesome though)
Then again, there's more songs called by that title. Why's that anyway? There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
Well, there is a Smashing Pumpkins song called "Drown".
And I hope the "Stare at the Sun" song isn't a U2 cover.
That one is called "Staring at the sun", and together with "Hold me thrill me kiss me kill me" and "Discotheque", are the only three U2 songs I like :)
The MDFMK one is better, though. It was included in that huge 5 part "Discordian Music" collection Cain made a while back.
Having been present when someone did urinate on an electric fence, I submit that the only way to actually capture that sound is an actual electric fence...
Quote from: LMNO, PhD (life continues) on February 14, 2012, 12:41:31 PM
A few questions:
- What's the problem? Is he missing a beat, falling behind, speeding up on a particular passage?
- Do you guys practice to/with a metronome?
- Did you write the song using a metronome, or with you all jamming out?
- Are his drum lines repeated, e.g. each verse has the exact same drum pattern?
Possible advice to follow.
1. Depends on the take. So, yes.
2. No. We keep saying we're going to, but then don't. Also, we're in the process of shifting practice spaces.
3. I wrote the music on my own without a metronome, presented it, and everyone else wrote their own parts (this is standard for us)
4. Yes.
I suppose also, to further complicate things, I think of the song as having triplets in 4/4 and the keyboardist thinks of it in 6/8.
Quote from: Triple Zero on February 14, 2012, 01:03:32 PM
What, did you cover MDFMK - Stare at the Sun (http://www.youtube.com/watch?v=WuHvRX11mYs)? Because that is awesome!
(vid not available in my country, maybe it works for you. track is really awesome though)
Then again, there's more songs called by that title. Why's that anyway? There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
There is always a specific reason why a song is called Stare at the Sun. In this one (http://www.youtube.com/watch?v=lgu64WOtXfA) it's because there's some sort of astronaut leaving the solar system for good, never to return to earth again. Which also takes a long time, so what else are you going to do.
In mine, I wrote the lyrics as a sort of disowning of our previous band. Villager's brother (who was the vocalist) kept writing songs about vampires, which I thought was retarded. So, I wrote it about how being immortal sucks since humanity goes extinct and then you have nothing but to wait for the sun to go red giant. And to show that the character isn't a shitty fucking vampire, I have him.... [drum roll] stare at the sun. Because vampires can't do that shit because they're retarded. :)
Quote from: Commissioner What's-His-Name? on February 14, 2012, 01:15:05 PM
Quote from: Triple Zero on February 14, 2012, 01:03:32 PM
What, did you cover MDFMK - Stare at the Sun (http://www.youtube.com/watch?v=WuHvRX11mYs)? Because that is awesome!
(vid not available in my country, maybe it works for you. track is really awesome though)
Then again, there's more songs called by that title. Why's that anyway? There's no songs called "stick your head underwater and inhale", "urinate on the electric fence" or "stand on top of a hill wet with rain holding a lightning rod" ?
Well, there is a Smashing Pumpkins song called "Drown".
And I hope the "Stare at the Sun" song isn't a U2 cover.
If only Billy Corgan would do just that.Ain't no way I'm covering U2 ever, except for that thing I'm doing at that library that my friend works at for various types of music that came out of Ireland. And you can be damn sure it's going to be one of their older ones and not something off of fucking Discoteque or How to Stick Your Dick in an Atomic Bomb.
Ah. I was going to ask about the meter. 6/8 (shuffle) is a tough one on the metronome.
Thoughts:
It's possible that as you've practiced, the natural tempos between the various song sections have found their own specific tempos. I've found that verses and choruses can have as much as a 5 bpm difference that may not even be noticed right away. This isn't unusual pre-protools.
Potential solutions:
- some metronomes have subdivision settings that can help clarify the flow.
- if the tempos are different, record them in sections, resetting the metronome.
- record in chunks, find the perfect 8 bars, and then cut and paste to fill out the sections.
- simplify the beat, and record it with overdubs (one track just kick and snare, a new track with just hi hat, another for fills, etc.
- drum machine.
Quote from: LMNO, PhD (life continues) on February 14, 2012, 03:42:03 PM
Ah. I was going to ask about the meter. 6/8 (shuffle) is a tough one on the metronome.
Thoughts:
It's possible that as you've practiced, the natural tempos between the various song sections have found their own specific tempos. I've found that verses and choruses can have as much as a 5 bpm difference that may not even be noticed right away. This isn't unusual pre-protools.
Potential solutions:
- some metronomes have subdivision settings that can help clarify the flow.
- if the tempos are different, record them in sections, resetting the metronome.
- record in chunks, find the perfect 8 bars, and then cut and paste to fill out the sections.
- simplify the beat, and record it with overdubs (one track just kick and snare, a new track with just hi hat, another for fills, etc.
- drum machine.
Actually pretty good advice, we'll see how he does the first couple of takes on Friday. I'll also make sure that he has some energy drinks, since that seems to be when he nails everything. Which will be weird for this song, since it's 84 bpm.
I forgot to mention the simplest solution: for this song, don't use a click track.
Quote from: LMNO, PhD (life continues) on February 14, 2012, 04:36:53 PM
I forgot to mention the simplest solution: for this song, don't use a click track.
Whaaaaaa?
Actually, I see the rationale behind that.
What's a click track? One of those things that goes beep boop boop boop beep boop boop boop ?
Yes. AND IT NEVER STOPS.
Now I have a click track stuck in my head.
Thanks for the onomatopoeia, Trip. :argh!:
:lulz:
Ableton Live has a button for that. It's annoying as fuck, I prefer looking at the waveforms and aligning them with the graphical timing tick lines.
It's like the Lorem Ipsum of music, right? ;-)
Quote from: Triple Zero on February 14, 2012, 08:15:50 PM
:lulz:
Ableton Live has a button for that. It's annoying as fuck, I prefer looking at the waveforms and aligning them with the graphical timing tick lines.
It's like the Lorem Ipsum of music, right? ;-)
I actually have a difficult time playing to a click myself. For some reason it's too easy to lose my place if it's not something based off of kick-snare-kick-snare. Maybe because a click is monotonous and and feels kinda like a sonic itch.
Or, you need to practice with it more. It's really quite unforgiving.
For me it's because it doesn't have a quick enough Attack-Decay. It's just a beep. Indeed, couldn't you just record a kick and a snare then electronically loop them? In fact maybe better getting them from a synth, even, so you can make them unnaturally snappy and slightly synthetic sounding so it's obvious they're not part of the music. Or maybe a series of (synth) open and closed hihats?
Quote from: LMNO, PhD (life continues) on February 14, 2012, 08:26:02 PM
Or, you need to practice with it more. It's really quite unforgiving.
Don't have the same problem with a drum machine though.
Quote from: Triple Zero on February 14, 2012, 08:27:39 PM
For me it's because it doesn't have a quick enough Attack-Decay. It's just a beep. Indeed, couldn't you just record a kick and a snare then electronically loop them? In fact maybe better getting them from a synth, even, so you can make them unnaturally snappy and slightly synthetic sounding so it's obvious they're not part of the music. Or maybe a series of (synth) open and closed hihats?
Sometimes I'll program and practice to a simple beat where the bass and snare hit on the quarter notes and the hi hat on the eighth notes. Works pretty well for me. Hammerhead loops automatically.
Quote from: Triple Zero on February 14, 2012, 08:27:39 PM
For me it's because it doesn't have a quick enough Attack-Decay. It's just a beep. Indeed, couldn't you just record a kick and a snare then electronically loop them? In fact maybe better getting them from a synth, even, so you can make them unnaturally snappy and slightly synthetic sounding so it's obvious they're not part of the music. Or maybe a series of (synth) open and closed hihats?
My metronome is hand-held, changes tempos at the touch of a button, multiple syncopation presets, time signatures, a "tap to set" function for instant identification of tempo, and doesn't need a computer or sampling program to function. For under $50.
I'm not really good with those "physical" instruments and their strangely-shaped GUIs. And if it's not on a computer, it won't sync with the computer! ;-)
Alright, so Peter, Villager, Anne Marie and I will be going over today. Pat will not be because he's got other plans. This should be good- it's a Saturday, and we're all going to be there around 3:30, instead of starting around 7:00. I don't expect to start tracking anything on my end. We'll probably finish up tonight recording Villager's bass lines.
(http://i196.photobucket.com/albums/aa66/dracolupus/readytorock.jpg)
Maiden t-shirt. check
Hawaiian shirt. check.
Pants. check.
Listening to Anthrax. Check.
Guitar I'm not bringing with me. check
Cap. Uh.... shit.
Twid,
Almost ready to rock
Drums are DONE. Pete got it in three takes.
Sweet.
Charley you may be interested to know were rerecording skinless for this one.
Quote from: Twid, not Billy. on February 18, 2012, 09:45:58 PM
Charley you may be interested to know were rerecording skinless for this one.
HELL YES! Let me know when it is available please.
Definitely. Were thinking of making the first half acoustic but we havent married ourselves to that yet.
Quote from: Twid, not Billy. on February 18, 2012, 09:50:00 PM
Definitely. Were thinking of making the first half acoustic but we havent married ourselves to that yet.
That might be very interesting.
Whats a rocker dude like myself do after a recording session? Quincy symphony orchestra. Naturally. ;)
Some one in the audience ripped one in the quiet in between pieces. Anarchangel is trying not to create a laughing disturbance.
So here are some pics.
First off, I have to describe the set up. You go down to Bill's basement. If you take a right, there is his control room. If you take a left you walk into a very unexpected Irish pub. Seriously. I felt I was back in Connemara escaping my dad's family for a few hours. Anyway, the drums were set up in the pub area. This is also where our amps will be set up.
Here's Bill:
(http://i196.photobucket.com/albums/aa66/dracolupus/billstudio1.jpg)
(http://i196.photobucket.com/albums/aa66/dracolupus/billstudio2.jpg)
Now, here is Pete in the pub area. I excluded my own pic, since my phone doesn't have a flash:
(http://i196.photobucket.com/albums/aa66/dracolupus/petestudio1.jpg)
Here's me taking a pic of myself in the mirror of the pub area:
(http://i196.photobucket.com/albums/aa66/dracolupus/twidstudio1.jpg)
Villager, one of which she is playing Angry Birds (if you are not tracking, you must entertain yourself)
(http://i196.photobucket.com/albums/aa66/dracolupus/villagerstudio.jpg)
(http://i196.photobucket.com/albums/aa66/dracolupus/villagerstudio2.jpg)
Anne Marie:
(http://i196.photobucket.com/albums/aa66/dracolupus/annemariestudio1.jpg)
The Quincy Symphony Orchestra, which has Anne Marie's sister Elizabeth on cello (hence, the mysterious falling over cello, since Anne Marie, Elizabeth, and Villager are all roommates), Anne Marie's sister Theresa on viola, and Theresa's gay ex-boyfriend on violin (I told you the Boston scene was fucking incestuous!). Elizabeth not in this concert but in the audience with us due to finger injury.
(http://i196.photobucket.com/albums/aa66/dracolupus/quincyorchestra.jpg)
And silly Anarchangel band pic (note, just because I am in the middle does not indicate that I am the front person. We do not have a front person. The anarch in the band name should be taken semi-seriously in that we're a direct democracy with no leader and no lead vocalist)
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangelfun.jpg)
Feel free to use the last for wompage.
Also, Villager starts recording (looks at clock, Boston time) tonight.
That last photo is EPIC.
Quote from: Nigel on February 22, 2012, 06:21:00 AM
That last photo is EPIC.
We took a lot of promo pics near city hall. It was kinda cool because people thought we might be important just based on our dress and our bearing. The last one is just one of a few shits and giggles shots we took, but the colors really strike me in it. It is a really excellent pic. It's funny, because we're always insisting on an anarchistic model (and out of all of us, I'm probably the closest to being an actual anarchist aside from Peter (we call him Buttons).) But here's the thing. All of the really the shit pics of us indicate wrongly some sort of leader. One of the best pics we have suggests that Anne Marie is running the show. Honestly I'd like Buttons to look like he's in charge since he really doesn't give a crap and is the only member who never gets behind the mic.
And, he's a fucking dago badass. Just look at him. He gets all sorts of attention. :lulz:
Side note.
Every last member of Anarchangel is of Irish descent. (Cleary, Lydon, McLaren, Mulkerrins... and quarter Irish with Buttons.) It makes it funny because all of the rest of us consider ourselves Irish and Buttons is just as Irish as not (quarter of each: Irish, Italian, Lebanese, Scottish). But in his mind, Italian, and he fucking acts it. It's a riot because I mean, I would never consider himself anything but Italian. It just works. Smile, accent, fashion sense. No. He's one example where I'm like, "You may be a Gael, but.... er.... no. Just be you dude. LOL"
Quote from: Twid, not Billy. on February 22, 2012, 06:01:32 AM
Also, Villager starts recording (looks at clock, Boston time) tonight.
I'm wicked drunk but maybe you will find this funny.
Anne Marie and Weeds (Villager) are both left handed. Pete and Pat are both right handed. No one actually wants me. ;)
For the record, I am also right handed. It's just a funny coincidence that the two chicks would find themselves in the handed 10%
Villager's finished half of the bass tracks. She was going to go again a couple of hours ago and finish her end, but she can't drive at night and we had a "snow storm" forecast, which I don't want to take I-93 during. Of course, the storm pussied out and turned into rain so it's just cold and gross outside, but nothing un-navigable. Anyway, we rescheduled for Sunday. I'll take some pics of Villager jamming out on the bass. It's possible that I'll start on my tracks as well, in which case, Villager will have to take some pics of me.
Quote from: That'll be five Twid, please. on February 22, 2012, 06:00:47 AM
So here are some pics.
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangelfun.jpg)
Feel free to use the last for wompage.
http://www.youtube.com/watch?v=0_EFdod4YDo
:)
I clean up nicely, from what I hear.
And villagers tracks are done! Pats going in on wednesday night and were both going in on sunday. Gotta start figuring out what im going to do for any last minute adjustments.
Guitar time! Pat villager and myself are rolling up there now with like seven guitars two amps and beer.
Don't forget to layer the rhythm guitars at least three times.
Fuck that, layer them 8 times. I want the goddamned notes flying out of the speakers and hitting me in the face!!!!
So far during the heavy part of stare at the sun we have two acoustic guitars (one tuned an octave up) one distorted guitar and were going to throw on a clean guitar track with arpeggios.
Also- im pretty sure bill used at least two different mics on the amp. Im very pleased with how it sounds so far. This is also a song were having anne maries sisters come in and so cello and viola on.
Guitarwise stare at the sun is done. It just needs keys vocals cello and viola. Pat and i started on trojan horse tonight.
Well- its been long enough that ive repeatedly played barre chords that ive scuffed up my index finger a bit. On the bright side guitars will probably be done next week. Now im waiting for the bus.
Lmno- would you be interested in mastering this? Bill apparently doesnt have the software for that. He could but wed have to spring for the software. Pat brought you up since you were interested in working on the demo.
Actually i should also know this but i dont. What is the difference between engineering mixing mastering and producing?
Engineering: Setting up microphones that best captures the intended sound
Mixing: Blending the intended sounds together, and adding effects such as reverb and EQ
Mastering: Some sort of sourcery* that delicately smooths out any weird frequencies in the intended sounds, and maximizes track volume**.
Producing: Decides what the intended sounds should be.
So...
Producer says, "This kick should sound like it's being played in the Grand Canyon".
Engineer tightens the front head and places the mix just at the front edge of the drum.
Mixer jacks up 60-200Hz, and adds some deep reverb.
Masterer pokes it with a magic wand to improve the quality.
* Read as: "I don't know how they do it."
** Cf: Compression Wars
Quote from: LMNO, PhD (life continues) on April 10, 2012, 02:24:12 PM
Engineering: Setting up microphones that best captures the intended sound
Mixing: Blending the intended sounds together, and adding effects such as reverb and EQ
Mastering: Some sort of sourcery* that delicately smooths out any weird frequencies in the intended sounds, and maximizes track volume**.
Producing: Decides what the intended sounds should be.
So...
Producer says, "This kick should sound like it's being played in the Grand Canyon".
Engineer tightens the front head and places the mix just at the front edge of the drum.
Mixer jacks up 60-200Hz, and adds some deep reverb.
Masterer pokes it with a magic wand to improve the quality.
* Read as: "I don't know how they do it."
** Cf: Compression Wars
I'm assuming that means you don't have a magic wand and a grimoire handy. Damn.
There was only one mastering class at Berklee, and it got filled fast.
I mean, I can take a listen to the final mix and fuck around with it, but I can't (won't) make any promises it'll sound better.
AND I AM DONE WITH ELECTRIC GUITAR!
AND NOW ALL MY GUITARS ARE DONE! WOOOOOOO!
The only thing left is keys and vocals. We realized last week that we needed a band meeting to discuss the other things about the album, like what we're going to call it and such.
We decided that what we're going to call it depends largely on the album artwork.
Villager and Pat have been... suggesting a few, like these:
(http://i196.photobucket.com/albums/aa66/dracolupus/skinlessalbumcover.jpg)
(http://i196.photobucket.com/albums/aa66/dracolupus/dingel.jpg)
(http://i196.photobucket.com/albums/aa66/dracolupus/wankers.jpg)
On this last one, note how the band name is spelled. Apparently Pete has to keep stopping himself from spelling it that way, which Pat was more than happy to mock. As was I, but I think the references to R'Lyeh were lost on some of them.
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangle.jpg)
Quote from: LMNO, PhD (life continues) on April 10, 2012, 02:24:12 PM
Engineering: Setting up microphones that best captures the intended sound
Mixing: Blending the intended sounds together, and adding effects such as reverb and EQ
Mastering: Some sort of sourcery* that delicately smooths out any weird frequencies in the intended sounds, and maximizes track volume**.
Producing: Decides what the intended sounds should be.
So...
Producer says, "This kick should sound like it's being played in the Grand Canyon".
Engineer tightens the front head and places the mix just at the front edge of the drum.
Mixer jacks up 60-200Hz, and adds some deep reverb.
Masterer pokes it with a magic wand to improve the quality.
* Read as: "I don't know how they do it."
** Cf: Compression Wars
Now I wanna know how they do it.
http://en.wikipedia.org/wiki/Mastering
Sounds like it's partly about preparing the final mix so that it is best recorded for the final medium and playback hardware, part oenology-like elite snobbery, and part audio magic.
The audio magic consists of "equalization, compression, limiting, noise reduction and other processes" (limiting is the opposite of compression, cuts out sounds below a certain volume, kind of noise reduction sorta). Then there's the part where you probably want to apply compression and limiting differently to different parts of the track (otherwise you lose all the dynamics), and you could possibly experiment with side-chaining the compressor/limiter with an EQ'd version of the same track, or a temp mix of other tracks in the same song, or something though I'm not sure if that would sound subtle, or more of a signature effect, like Pendulum's wet/plopping snare drums.
Also this: http://www.digido.com/mixing-tips-and-tricks.html which I'm going to read later.
Quote from: Nephew Twiddleton on April 25, 2012, 05:07:53 PM
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangle.jpg)
"Anarchangel - Fuggin Pohked Kehd"?
Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.
Quote from: Nephew Twiddleton on April 26, 2012, 12:15:51 AM
Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.
I'm just sayin' if you're going to spell phonetically, spell all the words that way. :lulz:
Quote from: Doktor M. Phox0 on April 26, 2012, 12:21:07 AM
Quote from: Nephew Twiddleton on April 26, 2012, 12:15:51 AM
Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.
I'm just sayin' if you're going to spell phonetically, spell all the words that way. :lulz:
Ah. Pat did that one. :lulz:
Quote from: Nephew Twiddleton on April 26, 2012, 12:23:26 AM
Quote from: Doktor M. Phox0 on April 26, 2012, 12:21:07 AM
Quote from: Nephew Twiddleton on April 26, 2012, 12:15:51 AM
Someone jokingly suggested that we name the album Porked and have two pigs fucking as the cover.
I'm just sayin' if you're going to spell phonetically, spell all the words that way. :lulz:
Ah. Pat did that one. :lulz:
Well, beat him about the face and neck.
Anne marie is doing her keys this weekend. Also- http://mideastclub.com/upstairs.html 8/24/12
While this wont be the first time weve played the mideast upstairs it will be our first time booking a show at a venue that size rather than being invited on the bill. So if you live in the greater boston area or relatively nearby buy some tickets! We want to fill that place up as much as possible.
000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.
There's a reason that mastering is often the most expensive part of a recording.
The cops pulled me over once when my frequency exceeded my envelope.
:crankey:
or more likely wah wah wah.
Shuddap Kirk Hammett! :argh!:
Quote from: LMNO, PhD (life continues) on May 08, 2012, 12:44:58 AM
000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.
There's a reason that mastering is often the most expensive part of a recording.
I've been wrestling through these articles last week:
http://www.digido.com/articles-demos.html
Yeah I just started from the top :)
There's a bit more skill in it than I had expected, but a lot of it I'm not really sure how much of their tricks are audiophile paranoia for potential theoretical quality loss. Most of it seems to boil down to: Don't compress too much, don't make your stuff too loud, record more tracks and mic positions to keep your options open, don't do any more AD/DA conversions than strictly necessary.
Also a lot of advice seems to be oriented at what the mixing/recording person should do and not do, before passing it on to the mastering studio, and not so much about what the mastering studio actually does, and how to do it.
A lot of it is also not really practically useful to me, the way I like to play around with sound and mixes, and I don't really plan to record/mix any kind of live/non-electronic instruments any time soon. Still it's interesting as fuck so I will continue reading :)
Since you DO occasionally do that kind of recording/mixing, I can highly recommend browsing those articles. Buried between the extreme audiophile quality paranoia tricks are quite a few useful gems about mic placement, dynamics and really really subtle effects that nobody notices but possibly make all the difference. And apparently dipping a track through analog magnetic tapes gives audio magic compression warmth.
Quote from: Reverend What's-His-Name? on May 08, 2012, 02:16:40 AM
Shuddap Kirk Hammett! :argh!:
:lulz:
He does like that wah pedal. But you mentioned envelope, so...
Quote from: Triple Zero on May 08, 2012, 02:32:47 AM
Quote from: LMNO, PhD (life continues) on May 08, 2012, 12:44:58 AM
000 - Yes. It literally is more art than skill. If you get a narrow EQ that identifies a single frequency that's muddling the mix, you can put a downward expander on it that will duck just that bit when it exceeds a certain dB.
There's a reason that mastering is often the most expensive part of a recording.
I've been wrestling through these articles last week:
http://www.digido.com/articles-demos.html
Yeah I just started from the top :)
There's a bit more skill in it than I had expected, but a lot of it I'm not really sure how much of their tricks are audiophile paranoia for potential theoretical quality loss. Most of it seems to boil down to: Don't compress too much, don't make your stuff too loud, record more tracks and mic positions to keep your options open, don't do any more AD/DA conversions than strictly necessary.
Also a lot of advice seems to be oriented at what the mixing/recording person should do and not do, before passing it on to the mastering studio, and not so much about what the mastering studio actually does, and how to do it.
A lot of it is also not really practically useful to me, the way I like to play around with sound and mixes, and I don't really plan to record/mix any kind of live/non-electronic instruments any time soon. Still it's interesting as fuck so I will continue reading :)
Since you DO occasionally do that kind of recording/mixing, I can highly recommend browsing those articles. Buried between the extreme audiophile quality paranoia tricks are quite a few useful gems about mic placement, dynamics and really really subtle effects that nobody notices but possibly make all the difference. And apparently dipping a track through analog magnetic tapes gives audio magic compression warmth.
Even though LMNO explained it, I still honestly don't really get what mastering does that mixing doesn't.
As mediocre as my last band was, the sound quality on our final album was pretty good, and I don't really see how it could have been improved. It was with the same guy that did LMNO's most recent CD (quite the character, btw), and I don't know if he actually mastered anything or if it was just mixing. But we were happy with the outcome. I still listen to that album from time to time, mainly because it amuses me how my tone sounds on it, and sometimes I miss the riffs.
Richard mixes all the tracks into left and right channels.
Mastering applies effects to the 2-mix.
It's a different kind of mixing, one more attuned to how to treat the entire mix, rather than individual tracks.
For example, if you mixed the guitar too high, there isn't much mastering can do however, if there's a resonant pitch that's sweeping through the mix (for the sake of example, let's say A440-- though it's usually ~90hZ or upwards of ~18KhZ) the mastering guy will carefully identify the offending tone and soften it to let the other tones come through. It's mixing, but a lot more subtle. You need to have a really good ear. I once watched a guy in a blind experiment discern between a single decibel difference. For those that don't know, decibels are logrythmic, which means a 1dB difference is negligible.
Quote from: Bruce Twillis on May 08, 2012, 04:45:43 AM
Quote from: Reverend What's-His-Name? on May 08, 2012, 02:16:40 AM
Shuddap Kirk Hammett! :argh!:
:lulz:
He does like that wah pedal. But you mentioned envelope, so...
I am fully convinced that St. Anger had no solos in it because the guys pulled a prank and hid all of his wah pedals.
Quote from: Reverend What's-His-Name? on May 08, 2012, 10:53:16 AM
Quote from: Bruce Twillis on May 08, 2012, 04:45:43 AM
Quote from: Reverend What's-His-Name? on May 08, 2012, 02:16:40 AM
Shuddap Kirk Hammett! :argh!:
:lulz:
He does like that wah pedal. But you mentioned envelope, so...
I am fully convinced that St. Anger had no solos in it because the guys pulled a prank and hid all of his wah pedals.
:lulz:
Bump.
I am about to listen to the final masters.
Mind you, I should have listened to the final masters about 3 months ago. But hey. We're releasing this shit on Friday.
Note also that I'm copyright guy.
Once I send it off, that's it. That's the album.
Hmmm.... I am satisfied with my vocals on Stare At the Sun, but, I wouldn't mind doing another layer or two. No time.
I, NEPHEW TWIDDLETON, ALSO KNOWN AS, IN IRISH, TRANSLATED INTO ENGLISH, LITTLE-HANDSOME-GUY GRANDSON-OF-THE-FOLLOWER-OF-SAINT-CIARAIN approve of this final copy of Without Armor. Final credits forthcoming.
SKINLESS
Acoutic guitar: Patrick Lydon
Nashville acoustic: Kevin better known as Twid
Bass guitar: Deirdre better known as Villager
Electric guitar: Pat and Twid
Lead vocals: Anne Marie
Drums: Pete/Telarus lookalike
Further info on Skinless:
Electric six string: Patrick Lydon
Electric 12 string: Twid
Trojan Horse:
Vocals: Anne Marie
Guitar: Pat Lydon and Twid
Bass: Villager
Drums: Pete who looks like Tel
Stare at the Sun:
guitar.
Main Vocals: Twid
Back up vocals: Anne Marie
Lead guitar: Pat Lydon
Rhythm guitar: Twid
Bass: Villager
Drums: No surprise Buttons
Though on this whether I am playing lead or not is questionable. I am playing most obvious guitar.
Quote from: Nephew Hiroshima on August 21, 2012, 05:03:34 AM
Stare at the Sun:
guitar.
Main Vocals: Twid
Back up vocals: Anne Marie
Lead guitar: Pat Lydon
Rhythm guitar: Twid
Bass: Villager
Drums: No surprise Buttons
Though on this whether I am playing lead or not is questionable. I am playing most obvious guitar.
Oh, and if there is keyboard, that's Anne Marie. I accidentally left it out on Stare At the Sun.
Nightmares:
Female vocals: Anne Marie
Male vocals: Twid
Guitar: Pat, just Pat, no Twid
Bass: Villager
Drums: Pete
Keys: Anne Marie
MONSTER:
Vocals:
Female: Anne Marie
Male: Pat
6 string guitar: Pat Lydon
7 string guitar: Twid
Bass: :Villager
Drums: Pete
Quote from: Nephew Hiroshima on August 21, 2012, 05:14:23 AM
MONSTER:
Vocals:
Female: Anne Marie
Male: Pat
6 string guitar: Pat Lydon
7 string guitar: Twid
Bass: :Villager
Drums: Pete
Also, I am the clean delayed bridge.
Good Vs. Evil
Female vocals: Anne Marie
Male vocals: Pat Lydon
6 string guitar: Pat Lydon
12 string guitar: Twid
Bass: Villager
Drums: Peter
Keys: Anne Marie
Quote from: Nephew Hiroshima on August 21, 2012, 05:03:34 AM
Stare at the Sun:
guitar.
Main Vocals: Twid
Back up vocals: Anne Marie
Lead guitar: Pat Lydon
Rhythm guitar: Twid
Bass: Villager
Drums: No surprise Buttons
Though on this whether I am playing lead or not is questionable. I am playing most obvious guitar.
Oh. Except for the solo. That's all Pat. All guitar solos are Pat on this album.
Quote from: Nephew Hiroshima on August 21, 2012, 05:07:20 AM
Nightmares:
Female vocals: Anne Marie
Male vocals: Twid
Guitar: Pat, just Pat, no Twid
Bass: Villager
Drums: Pete
Keys: Anne Marie
This, incidentally, the one song I had no input on.
Interestingly, since I am lead male vocals.
Well, Jesus H Eris Sweet Flamin Brid.
I don't know what happened other than, I am all about Without Armor.
Look guys, I'm a perfectionist, and I can't find any fault.
Download this album this Friday.
Seriously. I'd but it except I hear it every Thursday.
Seriously, I'm not overly fond of myself, and I'm my own worst critic. But goddamnit, this album is worth buying. No shit. I'd buy it.
So I've been advised to keep this here.
Quote from: Nephew Hiroshima on August 21, 2012, 07:07:08 AM
OK
This is the only time that TWID is going to complain about TWID's nameless band whose name we all know the name of.
Now. 4/5 us have been in a previous band. 3/5 of us have cut it real goddamn close.
I as 1/5 should have been louder. I should have said. No. Do not book the show until we are done.
But no.
Just no.
My other guitarist is my best friend. I can't say, "DON'T FUCKING BOOK A SHOW YET WE DON'T HAVE ANYTHING DONE!!!!"
Well, we now have everything done. On Monday. When it's due Friday. With shipping and handling.
So yeah, if a bandmate decides to call a CD release party, be adamant and say, WE DON'T HAVE THE ALBUM YET.
I don't fault him. I understand it completely.
But like I said before, I should have been more forceful.
I'm totally stoked for you guys. :D
Quote from: Freeky Queen of DERP on August 21, 2012, 07:21:12 AM
I'm totally stoked for you guys. :D
LET US HOPE THAT THE ALBUM GETS RELEASED FRIDAY I NEVER SAID ANYTHING WHY ARENT YOU DOWNLOADING IT RIGHT NOW PLEASE DONT DOWNLOAD IT TIL FRIDAY
ALSO IM TOTALLY DRUNK
AND YES;
I TOTALLY DONT REPRESENT CORPORATION RIGHT NOW.
WE IS ENTIRELY WITH TIME.
Twid has been conveniently
assassinated. crossing the street while not looking
Quote from: That'll be five Twid, please. on February 22, 2012, 06:00:47 AM
So here are some pics.
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangelfun.jpg)
Feel free to use the last for wompage.
Is that a...POWER TIE?
Quote from: TEXAS FAIRIES FOR ALL YOU SPAGS on August 21, 2012, 09:41:27 AM
Quote from: That'll be five Twid, please. on February 22, 2012, 06:00:47 AM
So here are some pics.
(http://i196.photobucket.com/albums/aa66/dracolupus/anarchangelfun.jpg)
Feel free to use the last for wompage.
Is that a...POWER TIE?
... we've been know to wear business casual in black and red....