redroque

[quote name='slaphappygarry' post='47392' date='Aug 19 2007, 02:44 PM']can you not hook both macs up and drag and drop garage band from the applications menu's on your mates mac to yours?[/quote] Hook them up using a firewire cable and then boot up your mates mac in target mode (start up pressing t). Think that's right but do check apple faq's first! max

[quote name='Timface' post='47082' date='Aug 18 2007, 10:11 AM']I am a blonde[/quote] ahh! In the example above by tinyviking, tell the foh man to take his feed from the monitor one out socket and set the levels you want to come out the main pa with the monitor one knobs. Set the main mix faders as you want for on stage and connect to the C300's and then point them at the stage. I'm also reasonably sure that you can send power to the monitor either with a switch or a patch lead (mon out to power amp in) then connect the c300's to speakers out. Then get pa guy to connect to main mix [i]line out[/i]. Anyway, either would work - sorry if too simple! max

do a search on the [url="http://www.soundonsound.com/"]sound on sound[/url] site for building a studio - there's a 4 part article, very useful indeed that was published 4-5 yrs ago. Egg crates are useless, tho' there's a lot of room deadening products that [i]look[/i] like egg crates out there. max

i use [url="http://www.noisebox.co.uk/"]Noisebox[/url] in Norwich - have done for several projects, never had a problem. If your project has any covers on it, you will need a prs clearance certificate. max

a quick look on behringer site says..... [quote]It’s jam-packed with everything you need for the most demanding sound reinforcement gigs like a 2 x 400-Watt amplifier to drive your FOH and/or monitor speakers.[/quote] The above suggests that you don't need an extra power amp for the monitors as you can use the power amp in the mixer to drive the monitors, no harm will come of it. max

Just found this - nice looking job, good pics and review. I hope it inspires more people to have a go. you don't need to know anything about wood to have a go and turn out something that sounds great. I must say, yours looks a lot better under the carpet than mine! The carpet covers a multitude of sins! well done max

E and L do a specialist music insurance for gigging and studio muso's max

Some 20 years ago, was playing a gig supporting Dr Feelgood and a friend turned up in her car at the house post prang. Thought I would be helpful and straighten some metal out, get the wheel arch off the wheel, try to secure the bonnet so it shut. All was ok til the last part - there was a light cluster in the way which I attempted to move, slipped and the rather broken light unit made a mess of my hand! Played a bit bandaged! max

re Pino - he's not in the Who is he. He's a session guy so either the tv guys thought no-one was interested or more likely, the production team were instructed not to film him, I only saw a tiny bit of Pino - there was more of PT's brother who placed himself better to be filmed in the background. Session guys are paid to play. It's all about exposure for the band and money. The music industry has bugger all to do with talent. I do it cos I love it but I'm under no illusion. Cynical, no! max

what he said!

[quote name='Crazykiwi' post='21190' date='Jun 21 2007, 07:45 AM']Just thought we could start by seeing what kind of software are people using.[/quote] I'm not keen on starting a argument but a mac option might be interesting too - I speak of course as a mac user! Using Cubase SX3.1 and logic express (depending on the project). max

[quote name='alexclaber' post='19806' date='Jun 18 2007, 06:40 PM']Ours is a rare breed - he's recording using my pedals and the drummer's amp so you can see he's remarkably open minded![/quote] rare indeed - you'd better keep him hidden otherwise bands everywhere will try to poach him! max (had a bit of trouble with axe men!)

i'm another leftie who plays right handed - this is because when i started guitar lessons ( I was 10), i was *told* that this was the way to hold it! I maintain that i would be brilliant if i ever swapped over! max

Sounding good - cymbals have come out well - the toms get a bit lost ( in the last track - just heard that!) in the middle - compress the toms as a sub group and raise the level a bit. Can you treat the snare independently of the rest of the track - slightly different level of reverb or maybe some delay (remember I'm from the 80's!). Not all compression is bad either. I love optical compressors on drums (the Jo Meek/ted fletcher units). I tend to have a stereo unit connect to the drum subgroup permanently! The valve based modelled ones sound great on bass and drums (the real ones sound even better!) The FNR is a nice unit. EQ is a subjective affair but you do need to use it to give each instrument it's own space. If you don't then the track will sound cluttered and muddy. Remember, the track's the important thing not the ego of a particular band member. An instrument may sound bad in isolation, but as long as it sits well within the context of the track, it's the right sound. tho' convincing the guitarist of that isn't always easy! Keep up the good work and don't forget to enjoy it! max

[quote name='bass_ferret' post='17871' date='Jun 14 2007, 08:53 PM']Dare I say OBBM?[/quote] I think you should, he is the man! max

always pick up the interesting ones late! Re drums and coherent kit sound. I can recommend the current Sound on Sound for a good article on this - in very brief - use the over heads first and then bring up the close mikes to support them as required. Don't over pan. You can get an online sub for SOS instead of the mag - cheaper and gives you access to thier considerable database of reviews and more importantly, how to's. Not an SOS contributor - just a subscriber! It does increase any GAS problems tho'. But hell, your'e recording now so you can just throw money away for the next x many years. The Tascam is just the start...... max

don't understand that cache thing - but i put lot of stuff in that subject ( as redroque1) - poss words to use LED, par56, stairville, i-colour I use 4 x par 56 LED cans ( 2 a side at present) with a stairfille controller so they all change colour together. Power consumption is 15 watts each and I love 'em! They all connect together in a daisychain arrangement with xlr terminated 110 ohm cable for the dmx control. The 6 channel ones i have i thnk hav been discontinued from thomman but they have 4 ch one still at about £45 each. There are some new ones just available from KAM with adjustable beam spread - 15-60 deg, not horribly priced either. [url="http://www.jbsmusic.co.uk/kam-led-par56"]KAM par56[/url] is just one supplier - not tried them - just googled it! max

multicores need careful looking after as chasing a broken cable is both a pain and expensive so budget for a reel to store it. Don't have an opinion on the ones you mentioned - have you priced making one yourself - if soldering is an issue, practice a bit and by the time you've finished the multicore, you'll be an expert! max

I use a 3060 in my rack and have done for years (before that I had a Audio Logic comp which was great but it broke!). It keeps my level under control, add sustain to longer notes, it does reduce dynamic range a bit but the gains in punch and overall control keeps me and the drummer sounding even tighter. That tends to be my focus - workng with the drummer and putting a bottom end in for the rest of the band to do their thing. If I wanted to be guitarist, I'd join a band doing that! Compression will reduce bottom as thats where most of the energy that affects the threshold level when setting a compressor up. You can put some back by setting the comp pre eq. In the studio I use a TC electronic powercore modelled 1176. When I can afford one, want a DHA valve comp/pre thingy! max

[quote name='Crazykiwi' post='14761' date='Jun 9 2007, 07:33 PM']I was thinking it would be kind of nice to set up a discussion on using MIDI for all those were interested. Thats kind of why I was testing the water. [/quote] good idea. I'm happy to add anything if i can - i'm also well up for learning more. MIDI is a difficult concept to get your head around to start off with but it's worth persevering with as it's a useful tool when recording (never used it live) and once you get over the first hurdle it gets easy quite quickly. max

bit late in the day but any way - i use a 2 x keyboard, 1 x module midi set up + vsti's in Cubase SX3 and external digitech/TC/lexicon fx units also controlled via midi (on/bypass/prog change/mod levels/decay/ delay tempo/feedback etc. It connects to the mac vis a MOTU MidiTimepiece AV - almost vintage these days but reliable! max

4U rack with amp (Warwick 5.1) alesis compressor and behringer tuner - have also got a DHA valvetone1 rack which is at home in my studio rack but should be in the gig rack. I've also got a 2U case with a 2x200 power amp for my monitors and another 4U case with a 3u lighting controller and 1U 4xDI unit. Looks a bit mad when they are all stacked up..... max

If any of this sounds patronising, then I apologise - it's not meant to! MIDI is just numbers, not sounds so you need a sound generator - eg, a vst instrument (LM7/ BFD etc) or a external drum machine capable of receiving midi. In cubase, create a midi track, if you can, make it a drum track - not sure if that's possible in LE - as then you can work with little diamonds rather than the piano roll style entry. You then have to send the midi info to a sound generator. If you have a vsti drum machine, load it up as a vst instrument. then click midi output and select the vsti that you loaded. If using an external machine, select the midi output channel that the module is connected to. You then need to route the output of the vsti to your mix bus or in the case of the external module, connect the audio outputs to a mixer so you can hear it. Audio doesn't travel through midi cables. You can record the external into the pc as an audio file, but that rather defeats the ability to edit later on. having done all this, you can programme away. It's not as complicated as I made it sound - once you have a setup that works, save it as a template and you can get it every time you create a new song. Hope i haven't missed anything max

can you describe the what you are doing so we have something to work on - sorry didn't get back earlier - been in studio - got to make all this gear do something!

Midi's great - once you get your head around it - the answer is always between 0 and 127 or 1 and 128 - even the basic no's sometimes aren't agreed on! You can use it for lots of stuff - not just drums - controlling external fx/mixers (if so equipped) and sound modules, soft synths etc. As for muddy, when you're mixing, try to give each instrument it's own space in the mix. Don't solo each bit and eq it to sound good on its own - it all has to be done to work together - that can mean in isolation, it sounds crap! With eq, try to cut rather than boost. Be awre of how your mixing environment impacts on the mix, listen to it outside the room before committing - it's a good way of picking up imbalances. My preferred option is to check the mix very quietly - just above off. If i can hear the whole thing at this vol, it seems to work anywhere. It also doesn't tire out the ears as quickly. I must urge extreme caution tho at this stage in your recording venture. it is VERY easy to get sucked into the gear vortex where you can't stop spending. I've been trying to get out for years! enjoy max