Saturday, January 26, 2008 (7:04PM)
+ compose
* I have some notes for the verse, and I think I have the chorus.
But, other than that, the song needs to be written. But the
chorus is, so far,
came the light
to carry you through the night
telling your heart it's allright
leading you on
making you strong
inside
* Create a new Sonar project to hold ideas.
- Insert a synth for the djembe.
> Create a quick pattern via the step sequencer.
Nice. enter and delete notes and edit velocities
on the fly (able to hear results immediately).
> Slip-edit to repeat the pattern for a few measures.
- Insert another synth for the "bird song." I have a vague
idea for a melody instrument being an analog synth that
sounds a bit like a bird singing. for now, the closest is
Analog Factory->ARP2600->LEAD->MINI07
Sunday, January 27, 2008 (11:42AM)
> Aaron wanted money, so I gave him a creative job:
find more sounds in Analog Factory that sound like
a bird singing ($1 per sound). Here are six he found:
GOOG-WEATHER2
CELM_SPACE_CLEAN PAD02
CELM_RAINBOW_LEAD
WORMLEAD1
WORMLEAD2
VARI-SHAPE1
VARI-SHAPE2
Friday, February 22, 2008 (9:07AM)
* Wow, a month went fast! I have been concentrating on just
playing the 414, getting the fingers used to it, writing
some lyrics, and letting the song develop--in the Crock Pot
of creativity! I now have enough definition to merit recording
a scratch of where it's at.
- Setup.
> Track one with the Expression System through
the BlueTube again. Set ES-bass at 2:00 (+3db?), else
flat and clean.
> Track two through the B-2 Pro mic through the BlueTube
(no tube). The only trouble here is that to separate
the two channels to the tracks, I have to pan hard
left/right, and this is the case in the headphones
as well (monitor the submix). I could fix it by
using an aux bus and soloing the bus, but it doesn't
sound bad enough to warrant that.
> TIP: Route metronome to Delta 3/4 (to send to the mixer
and get in the headphones) while rest of project is
routed to Delta 1/2 (control room matrix). I just dig
doing this stuff!
- Time for my first punch-in (goofed at bridge).
> I tried recording sound-on-sound, but dropouts kill
the audio engine. Change to overwrite. A new clip is
created on a new layer, but data from the first clip
disappears. That is fine--it's what I am used to.
> Setting the punch end time: just type "1000" in the box
and hit enter.
> Still had trouble with dropouts.
: Try disk caching. No effect.
: Bump Delta buffer up to 512 samples (from 256).
Better--mostly--at least enough to get it done.
> After punch-ins, combine the clips: select them,
right-click one, select "bounce to clip." But this is
very inefficient: the clips are 16-bit, but the mix
is expanded to 32-bit.
- I suppose I have a decent scratch. Now, how do I get a
groove clip to enable looping the fade-out at the end?
I managed to hack something sloppily together. The trouble
comes when the first note in the clip precedes the beat.
Then enabling looping moves it over, and a gap is left.
Sunday, March 2, 2008 (11:19AM)
* Record a scratch vocal (forgot to do last time)
- Setup:
> Shure Beta 87 flat and dry to sonar (straight out
mains), but use Aux 1 to route to another channel for
monitoring. Use first channel to feed reverb with no
compression, insert dbx266xl compressor on monitor
channel (3:1 ratio, moderate attach & release). Nice
sound in headphones.
> Insert an aux bus in sonar for the monitor channel,
route to Delta 3/4. That way I hear what I want in
the phones without messing up the mix or getting
extra vocal accidentally. Sonar goooood.
- One take is all it needs.
- Preliminary mix: add a little lows and ultra-highs, bring
in the multiband compressor with a preset saved from
Love & Truth (that is, Rain & Wind). Very nicely drops those
upper mids selectively when I get loud and bright. Patch
a reverb to an aux bus (Lexicon Pantheon->Hit vocal).
- Oops, I recorded stereo. Do I have to rerecord?
> Convert to mono. No good. Original recording is
16-bit stereo, and the conversion is 32-bit mono--NO
BENEFIT.
> Close Sonar. open the raw wav file in audacity.
convert. save to new file. open sonar. delete old clip.
import new file. Wah-lah! Adjust levels 3db.
- Mix a scratch.
> File|export|audio. A little tricky. If source category
is set to "Entire Mix", then both "Delta 1/2" and
"Delta 3/4" are selected and cannot be unselected.
set source category to "Buses" and select the master.
> Rendering takes about 1 minute.
came_the_light_scratch_a.mp3
Sunday, May 25, 2008 (7:07PM)
* Other instruments. It has been been nearly three months, but
I have been distracted with a challenging live performance
(Midwest Mountain Bike Festival) and stuff.
- I went back and checked out some of the Analog Factory
sounds Aaron found and really like WormLead1, though
some effects may be forthcoming when the part takes shape.
- I am also thinking in terms of an acoustic fretless bass.
Dimension LE provides a nice sounding one
(dimension_bass_a.png).
Monday, May 26, 2008 (12:51PM)
> Bass needs compression. See bass_compressor_a.png.
This brings out the "flare" of the notes nicely.
Saved as a preset "Dimension Acoustic Bass". The attack
time is long (160ms) compared to other bass presets,
but I like the transient coming through--for now.
Thursday, June 12, 2008 (1:39PM)
+ Tracking
* Acoustic Fingerstyle Guitar
Compare two microphones on acoustic guitar. That is,
- Track three is the AKG C414B XLII (cardioid, no low-cut or
pad) through the Aphex 207D preamp, direct to S/PDIF input.
MicLim circuit is active, but no other processing.
- Track four is the Behringer B-2 Pro (cardioid, no low-cut
or pad) through the BlueTube DP (no tube or low cut)
through the mixer (flat, no processing) straight to the main
XLR to input 1 on the Delta 1010LT. Note: I am comparing two
processes, not just two products.
- The mics are placed side by side (capsules 2.5" apart with
the C414 higher and slightly to the left) about 18" in
front and above the 12th fret.
- I suspended a throw rug on the music stand in the mirror
spot behind the mics to drop the 1st reflection. I placed
another in front of the computer to reduce the fan noise
and another over the crack in the door to reduce the air
conditioner's noise. The room is as quiet as it gets!
- I matched the gains by playing a tone into the mics so that
they both produce the same digital level.
- I moved the capo to the 4th fret because the wear on the
3rd fret was creating a real problem for the 2nd string,
which is usually played open.
- After tracking (which produced four clips) I cross-faded
one boundary and used Export Audio to export each track
to a 16-bit mono wav file. This joins the clips and
performs the cross-fade, but it takes the signal post-fade,
so I had to zero the faders.
- Wow! If there is a difference, it is subtle indeed.
> The B-2 may have a harsher top end, but that could be
psychological (I didn't know how to conduct the test
without knowing which mic was which track). The C414B
may have a more controlled high end--as if the B-2
distorts occasionally. Whatever the case, I am certain
I hear a difference, but the effect is subtle. It is
a little more discernible in the HD-280 phones than
in the B2031 monitors.
> I don't hear any difference in the lows or mids.
> I don't hear any difference in the noise floor. But
my studio runs at about 35dBA which is a bit high,
and I have a bit of electrical noise entering the
C-Control. The C414B has much better specs if I can
get quiet enough to take advantage of it.
> I was tempted to use the C414B's filter at 40Hz since
this passes all the useable lows while killing any
rumble. But, since all low-cuts on the B-2 were
at or above 75Hz, this would have been cheating.
> Does the C414B sound less "boxy" in the lows?
Doubt it.
> Compare price:
B-2 C414B
Mic $150 $800
Preamp $200 $500
total $350 $1300
Did I get nearly $1k more sound for my money?
Hardly. That shows what the technology revolution
is doing to the recording industry. Still, I got
features that may be worth the price:
: more polar patterns
: More low-cut frequencies
: The MicLim circuit is a biggy!
: Direct to S/PDIF (though I cannot yet hear the
difference)
: The Aphex has a better low-cut filter.
: The C414B is famous and may help lend credibility
to my work as a recording engineer--for what it's
worth.
- Actually, I would have to say this is probably a
final track.
Sunday, June 15, 2008 (4:05AM)
* Back to bass.
- Rob had a great idea: prototype the bass on my
Jazz Bass +V, convert pitch to MIDI, and use to drive
the upright sample. I did this yesterday for the bridge
getting a pretty good note sequence.
> One lesson: pitch bend is not always the same. The
pitch wheel has a range of ±8192, but this maps to
the chosen pitch bend range. The upright bass sample
has a bend range of ±2 semitones, but I allowed
V-Vocal to create a range of ±24. This created sound
errors because V-Vocal would sometimes use large
corrections that mapped to small bends. Convert again
using ±2 semitones. See bass_pitch2midi.png.
> OK, that was a great trial-by-fire in MIDI editing!
See bass_piano_roll_a.png.
Sunday, June 15, 2008 (9:32AM)
- Add compression to the mix bus as per an article in
Sound On Sound magazine. See mix_compressor_a.png.
Subtle settings. Save preset "Will's Complete Mix".
- Wow! I am really liking the way the guitar and bass
play off each other.
* Djembe.
- I want more sound options. But I did not export WAV files
for them yet. Do so in Powertracks.
> Difficult to find well-damped hits. Use markers
to help sort. see parse_ta_mute.png
- Edit the kit in Battery 3. See djembe_battery3_kit.png.
> The kit now has eleven syllables (notes).
> Save the kit as a zip file,
- Set up the map. See djembe_map_setup_a.png. Notice the
discrepance between Battery 3 notes and Sonar notes.
> Boost the volume on the scrape to get it in the mix.
- Use the step sequencer to write the parts.
> Beware: when copying a clip, it is linked to the
original. Use the hidden popup menu to unlink.
> came_the_light_scratch_b.mp3
Monday, June 16, 2008 (5:36PM)
- Ken noticed something not quite right about the Djembe.
After listening again, I determined that hits were poorly
timed--often late. Edit the raw WAV files (ouch!).
> Method:
: Drag three mic files into audacity from Windows
Explorer--e.g.,
djembe_slap_omic_f.wav
djembe_slap_smic_f.wav
djembe_slap_bmic_f.wav
Sort by date for quick access. Copy these into a
backup subfolder just in case.
: Drag-select across the three tracks to have all
three selected with the same start and stop times.
Move the selection start accurately.
: Trim outside selection
: Choose File|Export Multiple...
Split files based on tracks (the track name is
automatically the WAV file prefix). Name files
using label/track name. Overwrite the original
files. See trim_starts_a.png
> I found one hit with 50 ms of lead-in! Do ALL the files!
> I am ashamed to see how much clipping I allowed in
the recordings. Clipping is at 80% full scale, so it is
analog and more forgiving, but still--how did we set
the gains again?
> 346 WAV files done!!! Update djembe_b_kit.zip.
> That sounds much better!
* Synth. Analog Factor 2 by Arturia (I have waited a long time
for this moment).
- Freeze the bass and djembe synth tracks to free some
resources.
- Play around with. Wait.
- Tidy up the low end. Unfreeze & solo djembe & bass.
Djembe goon and doon have too much ring--at Db! I could
pitch-shift (with a lot of study), but I have a bass.
Switch to muted doon.
Tuesday, June 17, 2008 (4:55AM)
- I am having a difficult time with WORMLEAD1. It does not
respond to velocity, and it is hard to keep it from
really cluttering up the song--especially without a vocal
reference (the vocal track is now a semitone flat since
I moved the capo for the guitar). I love the sound and
may try to tie an expression pedal to MIDI volume or
something. Or I may pursue a string-type pad since the
guitar and bass are producing plenty of melody.
> Try some pads. It will take forever to get through
them all, so filter on characteristics (ambient,
dark, quiet, soft, simple, long, short). Set a loop
on the last chorus and audition perhaps hundreds of
sounds. Sonar crashed twice, but not a bad technique.
2nd 3rd 4th
name pass pass pass
84-ANGLIDE
ACC-PULL
AFTERPAD01
AIRPAD2
AMBIENT4
AMBIENTPAD2
COOL_DOWN_PAD +
DUCKEYE
HRPC-SYN-01
JMB-HOLLOW-PAD +
JMB-VOICES
JOURNY + +
KBF-FILTERS +
LUCYINTHESKY
PAD_COUNTRYMAN
PEARLS + +
POLYMOOG_SOFT3
QUIET DRONE
RICH_WATARU + +
RISING-SUN + + +
RR.PAD1
SAWPRESIVE
SQUARE_SUSTAIN
STRINGS + + +
SWEET_PAD02
SWEETPAD01
: Take a second pass, and play with parameters.
Some sounds are particularly attractive because
of the effect of slowly sweeping a parameter.
: Take a third pass, looking for the best parameter
combinations:
# JOURNY. Filter/cutoff, P2, P3
# PEARLS. P3, P2.
# RICH_WATARU. P2
# RISING-SUN. P2, P3
# STRINGS. P3+4,
Interesting: the final five contains two prophets
and three moogs.
: Fourth pass. It is down to RISING-SUN and STRINGS,
both moog patches. Now I know something about why
that box is so famous. RISING-SUN holds a little
more interest, so leave it there for now. That
was a 2.5-hour process.
> RISING-SUN may have trouble: it does not sustain, and
that will be a problem at the end of the bridge.
STRINGS does. But the ADSR parameters may allow
something. Study Analog Factory manual.
: RISING-SUN has a problem. Setting the release
parameter to 0.500 or above gives a very long
release, but just below 0.5 (even 0.499) gives
an abrupt release. STRINGS has the same issue.
I get the impression that release is an ON/OFF
parameter here. OK, that is the instrument.
Now learn to play it!
: A sustain value of 34% ends the bridge nicely.
: Found a tip in the manual: convert MIDI control
data to an envelope via
Edit|Convert MIDI to Shapes...
: (8PM) It just "dawned" on me: the song is about
The Light brightening "to the full light of dawn."
I just realized I chose a patch named "Rising Sun"
from a library of thousands!
Wednesday, June 18, 2008 (12:40PM)
- I have a full synth part. Rising-Sun is definitely THE
patch! I just need to add some parameter automation.
Default parameters are P2=25% and P3=60%.
> Create envelopes for P2 and P3:
P1: Width Osc1 (0.5). I presume this is the width
of a square wave.
P2: Voltage-Controlled Amount. This is how much
the filter opens in response to the ADSR
signal.
P3: VCF attack time. This is how long it takes
to open the filter.
P4: VCF Decay (0.4). I presume this is the
decay time of the filter ADSR.
Together the parameters take the sound in interesting
places. Raising P2 while dropping P3 gives a drastic
effect. Changing one at a time gives a more subtle
effect.
> Try using the Envelope Draw Tool to create
asynchronous sinusoidal variations that will give
the drastic effect at the end. Oops, the period
of the sine wave equals the snap setting which
cannot exceed one measure--I need about 4-6.
Unless I use ticks: 960ppq*4 = 3840. Nope, the
snap to grid dialog reset it to "whole".
> Create nodes manually where I want the peaks
and troughs. Then set the intervals to fast or
slow curves to simulate a quarter cycle of a sine
or cosine wave. See rising_sun_param_env.png.
The P3 dip creates a "stabbing" sound while
the combination at the end creates a penetrating
sound for the fadeout. This stuff of drawing
envelopes just rocks--I can even edit while playing
in a loop!
* I NEED a vocal reference. Though I am down with the flu,
record a quick scratch vocal.
- Beta87->Aphex 207D->S/PDIF.
- Monitor off mixer mains which includes compression and
reverb.
- Last time I accepted the scratch way too quickly; the
vocal was downright embarrassing. This time, one take, three
punch-ins, and done.
- A little more MIDI editing on bass.
- I am really enjoying this song now...euphoria rushes--or,
possibly, a fever...whatever. 1:40 to render direct to
came_the_light_scratch_c.mp3
Thursday, June 19, 2008 (10:28AM)
+ Another great idea of Rob's: he found an impulse response of a
Walkman on the internet and suggested using it for the start
and finish of the song.
* Google it. http://www.xs4all.nl/~fokkie/IR.htm
- It has a lot of files. Load the Cakewalk PerfectSpace
plug-in into the bin of a new bus, solo, and try lots.
The winner is "Erres tube radio v2.1"
* Automate the output levels of the walkman and submaster busses
to do crossfades at beginning and ending of song. Automate
dry level in the walkman's reverb to simulate walking away
in a tunnel. See walkman_bus_b.png.
* came_the_light_scratch_d.mp3
Friday, June 20, 2008 (12:03PM)
* I am wrestling with the effect. Is does it add something
authentic to the song, or will it sound gimmicky? Will it
help tell the story, or will it distract the listener?
I shall produce another mix without it and bounce these
questions off friends.
- Simple: clear the read-automation button for the
SubMaster and walkman buses.
- But how do I get a fadeout? Copy the fade from the
SubMaster bus and paste into the master bus, and enable
the master bus' read-automation button.
- How do I get a good fade-out in Sonar? The fader has a
coarse resolution (7-bit, or 128 steps), and the sound
suddenly disappears when the last bit clears.
> I notice the sound dies right below -58db. Set the
envelope to bottom at -57db. Then use Audacity to
fade the rest of the way.
- came_the_light_scratch_d.mp3
Tuesday, July 1, 2008 (3:44PM)
+ Clean up the low end.
* Rob rightly pointed out that the bass and djembe are
combining poorly on beat 1.
- Try the doon mute on beat 3 and the ta mute on beat 1.
- Reduce velocities on the doon mute--typically
from 120 to 100.
* A little more editing of the synth parameter automation.
* Use a fast curve on the master fade-out as discussed above
(not reinstating the radio effect).
* came_the_light_scratch_f.mp3
Thursday, July 10, 2008 (3:14PM)
+ Create a mix I can play live with.
* I need a metronome when the djembe is off.
- Clone the track and create a metronome-sort-of sequence.
- How do I do this? The metronome must exist on the left
mix only and the program on the right.
> I could create a second instance of Battery 3 and pan,
but that is CPU-intensive. I can automate the pan, but
what will that sound like in my phones? Actually, I want
the left track to contain nothing but metronome so I can
mix it in my monitor.
> How about an aux send on the synth routed to the
metronome bus. Make the bus mono panned left. Then, for
the performance mix, do the following:
1 unmute the metronome bus
2 make the submaster bus mono, pan right,
& reduce fader 3db.
Automate the send enable and mute for the synth channel
mutually excusive using a linked group. That way,
activating the metronome (the send) automatically
mutes the synth's output to the submaster bus. Nope,
send enable is not automatable. Automate the channel
automatable mute and the send level as a linked group,
then just automate the mute.
(see djembe_metronome_mute_group.png).
Nope, the group link works manually, but the send
does not follow automation. Automate both with
inverse envelopes. And not bus-mute automation!
What a drag!
* Mute guitar and vocal.
- render came_the_light_backtrack_a.mp3
It seems to work OK.
- BTW, delay time is 411 ms (tempo=146).
Thursday, July 24, 2008 (1:33PM)
+ Track the vocal. The time has come--empty house, not sick, etc...
* Setup:
- AKG C414B XLII through Aphex 207D. S/PDIF to Delta 1010LT,
but use analog send to mixer for monitoring with
compression and reverb.
- No wind sock. Use the pop screen 2" from the capsule,
and sing 4" from the pop screen.
- Set the SE Reflexion Filter around the mic with the mic
in the center of the half cylinder. A quick A/B demonstrates
this thing's effectiveness. Without it a definite room
ambience reverb is audible in the upper-mid frequencies.
Dramatically reduced with the Reflexion Filter. But, due
to the mounting hardware, a second stand is required to
place the pop screen in front of the mic.
- Engage the MicLim on the 207D, but not the low-cut. Use
the mic's 40-Hz low cut filter.
- Wow! This thing sounds cool on my voice! I could almost
sing! Not sure which polar pattern I like yet--finally
settled on cardioid. More air than tighter patterns,
less room ambience than omni.
- Just sing along with the main mix for now. Route the master
bus to Delta 3/4 to send to the mixer. I may not need a
custom monitor mix.
See vocal_mic_closeup_b.jpg
See tracking_vocal_wide_b.jpg
See preamp_setup_b.jpg
Thursday, July 24, 2008 (10:31PM)
* Got three takes in with Mike here. But I am not as spot-on
as I thought. This song demands more of the vocal than I am
used to, and I have not memorized or internalized the lyrics
or the message sufficiently. Try again tomorrow.
Friday, July 25, 2008 (9:14AM)
- Mike and I were up past midnight discussing this. He had a
suggestion--one I have read about but feels very
awkward for me: Forget about laying several takes and
comping. Instead, focus on getting a single best take.
He might be right. The hold up is not intonation or
timbre or anything technical; it is emotion--spiritual.
Fortunately, I do not have to put anything away or
change any settings for three days. Just leave it set up
and do a take once in a while. In the mean time, render
an MP3 I can sing along with informally to connect with
the song as I work on...dark things.
- 10:27 AM. Fourth layer (take):
came_the_light, vocal, Rec (298).wav
- 1:30 PM. Fifth take:
came_the_light, vocal, Rec (306).wav
I may not have very many G#s left in me. Beyond that, I
think the whole take stinks.
- 3:23 PM. Sixth take:
came_the_light, vocal, Rec (314).wav
came_the_light, vocal, Rec (318).wav
I like this take except for the ad-libbing at the end.
Maybe Mike is on to something. Something in my biology
and/or psychology changes too slowly to take advantage
of in a quick "session." And I don't think it is getting
better because the emotion gets more intense but that
it gets more appropriate for what is being sung. There is
a tranquility that is called for here, but it is not a
passive or indifferent one but rather an intense, almost
brooding, one. The project is now at 760Mb.
Saturday, July 26, 2008 (2:40PM)
- 2:40 PM. Seventh take:
came_the_light, vocal, Rec (325).wav
This one felt surprisingly good. Emotion rush just before
bridge. The G# is nice and clear, and the ad-libbed
notes are well constructed. There is a nice high-frequency
timbre to my voice (e.g., the first "light").
Hmmmm...
- Send scratch mixes of all seven takes to Mike for feedback.
Sunday, August 3, 2008 (2:21PM)
* I am not sure I like the vocal ad libs at the end. They fail
to convey the tranquility I am looking for, and I am not sure
a climax is really called for here. I want a pensive exit.
- Create a new layer.
- Split the la-la-la's on measure boundaries in the same
way so they can be selected and placed easily in the new
layer.
- Use markers and clip names to sort out which clip came
from where.
- Use the last two layers with clip muting to A-B different
arranges and find something that blends.
- See comp_end_vocal_a.png. Sonar rocks!
- I fiddled with the vintage channel, but the Sonitus
Multicomp (multi-band compressor) creates a magic with
the vocal that I could not reproduce with the vintage
channel. Some other time.
+ Mix
* I need some motion from the djembe and bass in the ending.
But how? I could convert the step sequencer clip to a MIDI
clip (bounce to clip) and edit the notes. Or I can split into
multiple step sequencer clips which are easier to work on.
I think I am more comfortable with the latter, but I should
try the former since it is more flexible.
- I just can't do this through a grid--there are too many
variables (multiple notes to choose from each having
multiple velocities). I have to get my fingers on it and
play it. Drag the piano over, and open the kit in Battery 3.
- The bass mic on a couple bass notes puts out too much bass.
> Add a high-pass filter on the notes that are not
supposed to be "bass" notes, but only on the bass
mic (see hipass_djembe_notes_a.png).
> I found another goodie: I have not been using the real
bass notes (Goon and Doon) because they ring too long.
I thought about using a gate to dampen them, but
Battery 3 does not offer a gate. Perhaps that is
because it offers something better: a fully featured
amplitude envelope! Use the AHD (attack-decay-hold)
mode and tune to taste (see ahd_djembe_bass_a.png).
> The bass notes ring on a C#. Can I improve this?
The song is in G#m and G#. I tried playing with simple
tuning and the pitch envelope, but not sure I want
any of that. The AHD envelope did the trick.
> Save changes to Battery-3 kit, djembe_b.kt3
- Create a fill at bars 149-150 (just before the vocal
changes from "la" to "light"). Play in with keyboard into
roll window (which, thankfully, includes note names taken
from the drum map).
> Drag-quantize is my friend (Ctrl-middle mouse on note,
drag upward).
> I stumbled on an awesome sample of "goe mute" at a
velocity of 116 (but higher velocities lose the magic).
That is why I need to be able to play the keys!
Monday, August 4, 2008 (2:34PM)
- Create a new groove for the last half of the ending.
> Basically the djembe part now consists of a track
for step-sequencer clips (groove loops) and a track
for fills (a MIDI track).
- Create a new bass groove for the last half of the ending.
* came_the_light_scratch_g.mp3
- vocal needs automation or more dynamic treatment to
sit properly.
- double-check the limiter--hitting too hard?
- voice a little thin in HD280's.
Sunday, August 10, 2008 (10:12AM)
* I am struggling with the song. And I can't put my finger on the
problem because it goes away sometimes.
- A little more vocal comping. I ended up using a different
approach to comping: Mute the layers that have no
contributions. Layers 6 and 7 both contribute, so they
are unmuted. Split clips and mute the clip (Alt-Click the
clip with the mute tool) that is not selected in unmuted
layers. I like this approach because it becomes easy to
undo.
- Automate the vocal volume (See automate_vocal_a.png).
- Check in B2031A's, DX4's, and cheap Kenwood surrounds.
Sounds good.
- It's a mix! Render.
came_the_light_mix_a.wav
came_the_light_mix_a.mp3 (192kbps)
came_the_light_mix_a_128.mp3 (128kbps)
console_mix_a.png
tracks_mix_a.png
Monday, August 11, 2008 (7:06PM)
* Goofed. The subwoofer in my car is flapping too hard. Not sure
if it is the djembe or the bass.
- I mixed with my subwoofer engaged, but perhaps not high
enough. Can I reproduce anything close to the car? I think
so, but the PC subwoofer does not distort, so the extra
bass is not offensive. Nevertheless, I think I can use
it to adjust.
- The EQ on the bass mic for the goon and doon syllables
had a 6-db peak at 36Hz. Kill it. Tighten the decay time
to 141ms.
- The bass also contributes. Enhance the low shelving filter
to -9db at 86Hz (Q=0.7).
- Drive the boost11 limiter harder (from 5db to 7db).
- It's a mix! Render.
came_the_light_mix_b.wav
came_the_light_mix_b.mp3 (192kbps)
came_the_light_mix_b_128.mp3 (128kbps)
Total Production Hours: 42