[medifastwoman]

Just got my indirect summer job "salary"

RME Fireface 400
Ibanez BTB555MP natural finish + case
And some misc stuff: strings, stand for 5 instruments, tools and cables

Here's the first recording. A small cover of At the Gates' Cold:

http://koti.mbnet.fi/juhau/tj_cold.mp3

"Can you hear that?"
"No"
"Exactly"

The noise floor is non-existent [thumbup]

Pics (click for larger):

All together

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Ibanez BTB555 MP natural finish

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RME Fireface 400

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Guitar stand

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Gig bag and case

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[h4z1XBI7]

Watch your levels- the track clips to hell and back, I don't know if you did the damage in the mastering or the mixing or recording, but be very conservative! Oh and have fun! I got a saffire a while ago (quite similar to the unit you just got) and have been enjoying the capabilities a daw box offers. One of the best investments ever, if you enjoy music or are interested in it.

And how was this all created, who provided the drum track?

[xsexymasterix]

sounds terrific, really! The quality is great.. I might have to pick up some similar recording equipment.

[mesZibeds]

who provided the drum track?

http://www.xlnaudio.com/index.php?pa...s&p_page=audio

And how was this all created

First I laid out the drum track. Then I recorded the bass:

Bass -> Tech 21 SansAmp Bass Driver DI -> Fireface -> Cubase SX 3

Sansamp settings:
Level 15:00, Blend 13:00, Treble 12:00, Bass 12:30, Drive 14:00, Presence 13:30

Then I recorded two quick guitar tracks (panned 70 % L/R) going:

Schecter 007 Blackjack -> DI box -> Fireface -> Cubase SX 3 -> Revalver Mk II

In Revalver, I took the Nikko bank and the first preset (Recto Rock) and did some tweaks to it:

1) Removed the triode clipping
2) Changed the speaker impulse to a custom one recorded by a fellow Sneap-forum guy called GuitarHack, and the impulse was BBAC-Half.wav. His impulses are pretty famous these days, so might have heard of him

Listing all the plugins and adjustments would take a long time, but basically I just first adjusted the kick drum to have a nice punch and clarity, then the snare to match and parallel compressed them along with toms. Then just a basic highpass to the hihat and overheads at around 400 Hz and a minor shelving presence boost. For bass, I only did a small EQ as I took the distortion from the Sansamp. A bell boost at 100 Hz and a bell cut at 60 Hz, highpass at 30 Hz. For guitars, just a highpass at 150 Hz as it's a pretty perfect starting sound (mix-wise) in Revalver with my settings

On the master channel, I've got an EQ, multiband compressor and a limiter + a spectrum analyzer.

[JeremyIV]

http://www.xlnaudio.com/index.php?pa...s&p_page=audio



First I laid out the drum track. Then I recorded the bass:

Bass -> Tech 21 SansAmp Bass Driver DI -> Fireface -> Cubase SX 3

Sansamp settings:
Level 15:00, Blend 13:00, Treble 12:00, Bass 12:30, Drive 14:00, Presence 13:30

Then I recorded two quick guitar tracks (panned 70 % L/R) going:

Schecter 007 Blackjack -> DI box -> Fireface -> Cubase SX 3 -> Revalver Mk II

In Revalver, I took the Nikko bank and the first preset (Recto Rock) and did some tweaks to it:

1) Removed the triode clipping
2) Changed the speaker impulse to a custom one recorded by a fellow Sneap-forum guy called GuitarHack, and the impulse was BBAC-Half.wav. His impulses are pretty famous these days, so might have heard of him

Listing all the plugins and adjustments would take a long time, but basically I just first adjusted the kick drum to have a nice punch and clarity, then the snare to match and parallel compressed them along with toms. Then just a basic highpass to the hihat and overheads at around 400 Hz and a minor shelving presence boost. For bass, I only did a small EQ as I took the distortion from the Sansamp. A bell boost at 100 Hz and a bell cut at 60 Hz, highpass at 30 Hz. For guitars, just a highpass at 150 Hz as it's a pretty perfect starting sound (mix-wise) in Revalver with my settings

On the master channel, I've got an EQ, multiband compressor and a limiter + a spectrum analyzer.

get rid of the limiter, if you must compress, use a compressor (compressors are gentle), limiters are really bad (these are the brick walls). Try it out and see if you like the result

[brraverishhh]

get rid of the limiter, if you must compress, use a compressor (compressors are gentle), limiters are really bad (these are the brick walls). Try it out and see if you like the result

The limiter has the threshold at 0.0 dB and level at -0.4 dB, ie. it only acts to prevent the mix from clipping digitally (THAT is ugly ). If I take the limiter off, the sound will be the same, except there may be the occasional digital clip distortion.

Despite what you may have been told, all limiting is not bad. Limiting is bad when it's completely overdone; say, 15 dB of gain reduction and a pRMS of -6 dB or even higher (!), which is completely absurd. But that's what they do nowadays Compare that to mine, which has a modest 2 dB of gain reduction and pRMS at -11 dB.

[blogforlovxr]

The limiter has the threshold at 0.0 dB and level at -0.4 dB, ie. it only acts to prevent the mix from clipping digitally (THAT is ugly ). If I take the limiter off, the sound will be the same, except there may be the occasional digital clip distortion.

Despite what you may have been told, all limiting is not bad. Limiting is bad when it's completely overdone; say, 15 dB of gain reduction and a pRMS of -6 dB or even higher (!), which is completely absurd. But that's what they do nowadays Compare that to mine, which has a modest 2 dB of gain reduction and pRMS at -11 dB.

oh no I understand completely- I would never allow for the tracks to get to the point of clipping internally- Always give a ton of headroom to retain all of the dynamics. Even if you are mixing at 16bit, you have about 100dB of range to work with- just mix at a lower level, and if you need to raise volume, do it in post- but never mix internally to the point it clips. There is no reason to do this. If you would indulge me, lower the track levels by 10dB each, and turn off the limiter (if you want the compressor, if you think it really helps, leave it on) and check that out. Every little bit helps.

[TNOULbr2]

oh no I understand completely- I would never allow for the tracks to get to the point of clipping internally- Always give a ton of headroom to retain all of the dynamics.

I'm lazy enough that I mix and "master" at the same time Hence the effects on the master channel. But personally I don't like doing a quieter mix (peaks at -12 dB or so, with 24-bit) and then slamming it a lot to get nominal RMS levels (around -12 dB or so). I prefer doing it so that the mix peaks at just under 0 dB without any master channel effects. But of course there's always that stray bass peak that can take it above 0 dB, and caring for those via volume automation is too much hand work for my patience

The compression is there to glue the mix together, not as much for increasing volume. In fact, I don't really use compression at all for volume boosting on anything except for the parallel compressed group track with the kick, snare and toms, and sometimes a second group with kick & bass guitar.

[urbalatte]

I'm lazy enough that I mix and "master" at the same time Hence the effects on the master channel. But personally I don't like doing a quieter mix (peaks at -12 dB or so, with 24-bit) and then slamming it a lot to get nominal RMS levels (around -12 dB or so). I prefer doing it so that the mix peaks at just under 0 dB without any master channel effects. But of course there's always that stray bass peak that can take it above 0 dB, and caring for those via volume automation is too much hand work for my patience

The compression is there to glue the mix together, not as much for increasing volume. In fact, I don't really use compression at all for volume boosting on anything except for the parallel compressed group track with the kick, snare and toms, and sometimes a second group with kick & bass guitar.

if you need to, compress on a per-track level and only when you absolutely need to. Doing it the way you are doing it is sloppy. And again, never mix that high. Just trying to help ya out [thumbup]

[seodiary]

I would have gone with the MOTU ultra mobile for the sound interface. I have never heard of the one you purchased.

[Evoryboypoto]

I would have gone with the MOTU ultra mobile for the sound interface. I have never heard of the one you purchased.

RME is one of the most known and used brands Much better quality than MOTU. I think RME may not be so familiar in the US, since it's a German company.

[vforvandetta]

lol wtf are you guys talking about [rofl]

[Kinds Of Pain Meds]

I thought it sounded pretty good. Nice job.