What things have you learned recently?

[wedge]

I have trouble believing that anyone like Brahms

I'm with you there, brother... It always gets my goat when I hear classical music stations doing Brahms, Beethoven, Bach programming, simply because, in my opinion, they get to use a stupid alliteration for marketing purposes. It ain't because of the quality of music, that's fer damn sure, because Brahms can't hold Beethoven's or Bach's jock straps, IMHO... If Mozart's name had been Bozart, then we'd have a real quality threesome to program lunchtime with...

[trodden]

I learned that the new Tick function in PTs rules... Take a group of songs with slippery groves, create a tempo map to said non-solid groves, slice up all audio to grid (Edit/Separate Region/On Grid), change the mode of each track from Sample to Tick, then delete your hard won tempo map (except for the first measure) and change the first measure to the tempo that you wish the song to be in. Watch in wonder as all the audio bits move in unison perfectly with the new grid.

Play it back. Aside from the pops from some gaps and overlaps that you'll have to spend some time dealing with (Event/Beat Detective/Edit Smoothing to the rescue), you'll be amazed at how effective this technique can be... I've been stunned, actually...

Just reading that confuses me.... but that is why i've been using protools for 6 years and still don't know what i'm doing!!!!

come over, teach me. i learn by watching, reading not good.

[Judas Jetski]

What I have (re) learned recently:

You can't polish a turd.




You just can't.

No, really, you can't do it.




Really.

[jakerock]

"You can't polish a turd."

nothing more true than that.


You also cant stop or control turd.
it happens.

-Jake

[jakerock]

What Ive learned lately...
...that Im probably schizophrenic because:

1. I now think its a good idea to commit to and color sounds while tracking if you are reasonably sure about what you are doing.

2. I love my new DI because now I take a dry channel for everything I can, so that I have a small safety net for item #1, and for adding / subtracting 'dimension' from inappropriate amp settings later... (commitment...NOT!)


This doesnt really make me MORE schitzo exactly...

3. Relax! Not EVERYTHING that happens in a recording session can be controlled by you.

Whew!

-Jason

[jckinnick]

I`m confused !!
I have a m-audio delta 1010 card and i cant get the meters on it down to
-18 dbfs (-6 dbfs is the lowest signal i can get when recording drums). The problem is that the gain volume on my outboard mixer channels is turned all the way down(i`m using the channel inserts i/o as direct out).
The 1010 card comes with input faders for each channel but these only affect the
input to logic(post converting A/D ) . I have no problem recording at -18dbfs in logic but as i see it the signal is already converted too hot.....or...ehhhhh
Help me out guys...

Sorry for my broken English....peace

Have you tried switching between "+4" and "-10" on the back for the inputs?

I have the 1010lt version but i`ll check if the outboard mixer channels are
set to +4, i need -10 for unbalanced inputs...right ?
BTW: i`m sorry for completly hijacking this thread...hmmm

Sounds like you kind of have the same problem im having in the hiss thread. I was going to say gain structure but im still not sure I know anything more than before besides getting them to match.

[floid]

before besides getting the to match.

i have recently realized (rather than learned) that three years of studying linguistics has taught me nothing about the myriad manners in which we humans communicate

[alex matson]

Recently I got a copy of the Pat Metheny Songbook. One song in particular has sort of haunted me for what....23 years? [snip...] Intensely, almost unbearably sad lump-in-the-throat stuff.

I can't hear anything in Metheny but (to borrow a Zappa phrase) "clouds of educated gnat-notes". I'm glad to hear that someone relates to Pat on an emotional level. But I have trouble believing you. I have trouble believing that anyone like Brahms, either. Pardon me, I'm rambling.

Having listed to PMG's 2005 album 'The Way Up' yesterday, I think I know where you are coming from. They were exploring Brazilian jazz with vocals on 1984's 'The First Circle' - to me it's very melodic, and mostly I've always been curious about unusual chord progressions. I get so tired of music that just uses the white keys sometimes. But yeah, atonal gnats....not so good.
Elliot Smith is a perfect example of someone who could write great pop with cool changes. Also stuff like Because (Moonlight Sonata backwards, I know.) For me, anyway, it's been effective to try to reverse-engineer songs like these to figure out how they might be done. Then hopefully I can file the information away and let it compost in my brain...hopefully to emerge as something original sometime.

[Knights Who Say Neve]

Recently I got a copy of the Pat Metheny Songbook. One song in particular has sort of haunted me for what....23 years? [snip...] Intensely, almost unbearably sad lump-in-the-throat stuff.

I can't hear anything in Metheny but (to borrow a Zappa phrase) "clouds of educated gnat-notes". I'm glad to hear that someone relates to Pat on an emotional level. But I have trouble believing you. I have trouble believing that anyone like Brahms, either. Pardon me, I'm rambling.

Having listed to PMG's 2005 album 'The Way Up' yesterday, I think I know where you are coming from. They were exploring Brazilian jazz with vocals on 1984's 'The First Circle' - to me it's very melodic, and mostly I've always been curious about unusual chord progressions. I get so tired of music that just uses the white keys sometimes. But yeah, atonal gnats....not so good.
Elliot Smith is a perfect example of someone who could write great pop with cool changes. Also stuff like Because (Moonlight Sonata backwards, I know.) For me, anyway, it's been effective to try to reverse-engineer songs like these to figure out how they might be done. Then hopefully I can file the information away and let it compost in my brain...hopefully to emerge as something original sometime.

I can dig it. What did you think of "Zero Tolerance For Silence?" I could probably relate to that one, but I've not found a copy.

[TV Lenny]

1) Recording too hot

2) Good uses for parallel compression

3) How much I enjoy (for my personal recordings) plugging in my guitar pedals and using them while tracking, with or without an amp, rather than adding effects afterward via plugs or reamp. It becomes a performance again!

4) Mice will talk to you if you stare at them long enough and consume enough beverages.

[wedge]

4) Mice will talk to you if you stare at them long enough and consume enough beverages.

I thought that was common knowledge!?!

[Judas Jetski]

If you've got to drink to get your mice to talk to you, there could be an underlying problem in your relationship with the mice.

[Slider]

I've learned for the 10th time this year that mastering is for mastering engineers.
Don't try clipping your shit, put the L2 away.
Just send it away to someone who knows what the hell they're doing.

[JGriffin]

I use a trackball, not a mouse, and it doesn't talk to me.

[tonejunkee]

I've learned, thanks to the latest Tapeop that I cannot continue my life without PSP Vintage Warmer plugin.

also learned the invaluable recording technique of set mics, levels and then record non stop for a good 40 minutes. It seems to help acheive the wonderful feeling of "wow, I forgot we're recording all this"