Sloan
Sounds like shit!
haha, awesome.
first some asshole is slamming your techniques and then you get some mega-praise!
first some asshole is slamming your techniques and then you get some mega-praise!
For producer of Before Their Eyes (Sturgis)
- Thread starter mattia.7
- Start date
joeymusicguy
Member
ShredderForhire
Member
alan1990
Member
IF pod farm is running as a plugin why do you need to record a di at the same time??? Couldn't you just copy the track later on and turn pod farm off??
He's running podfarm on the INPUT channel. That way he only has to run one instance and it won't bog down his system, even after 8 or 10 layers or whatever. Downside is if you don't like the tone at mix, you'll have a lot of offline processing to do.
alan1990
Member
Yeah, I didn't pick up on that either at first, so thanks for the clarification, makes a lot of sense!
Sean in Silence
Member
Hey Joey
no quadtracking?
How do you get your guitars to sound so big now then?
Love your stuff by the way!
haha
no quadtracking?
How do you get your guitars to sound so big now then?
Love your stuff by the way!
haha
K Odell
\=/Varnisher\=/
How can he do it now and then? haha I kid. God I am lame and tired, but yes Joey all I am gonna say is I love your productions man.
Hey, this forum is pretty cool. I joined tonight after reading some of the posts and such. I have a question and hopefully Joey will get back on here and answer it for me sometime:
I noticed in a video on youtube you holding a dtxpress module. Is that what you use for your drum sounds? I know on your myspace it said that you have the DDRUM triggers and I was just wondering what you go into from the triggers to get that sound?
Also, do you usually have the guitarist lay down a track to a click and then do drums? or do you do drums first? What is your technique on that?
Thanks for any answers you can give!
RCW
I noticed in a video on youtube you holding a dtxpress module. Is that what you use for your drum sounds? I know on your myspace it said that you have the DDRUM triggers and I was just wondering what you go into from the triggers to get that sound?
Also, do you usually have the guitarist lay down a track to a click and then do drums? or do you do drums first? What is your technique on that?
Thanks for any answers you can give!
RCW
joeymusicguy
Member
joeymusicguy
Member
depends on the recording, i literally do everything different everytime, it seems like.
limiters are nice on guitar tracks.
joeymusicguy
Member
joeymusicguy
Member
i require all bands to have demo's
and urge them to have bpm's, if they dont, i tap out their demo's
i dont mess around with tempo, its super super super super super important to have the right tempo for a song.
after that, i have the smartest person in the band sit next to the next smartest person in the band and make the scratch tracks with me. this requires smart people
if you dont, you'll end up with a short verse or something retarded will be missing. i repeat, WILL be missing.then when it comes time to track drums, its just ME and the DRUMMER. no worrying about having a buntch of other people come in on time, possibly fuck up the drummer, get bored of playing the same thing over and over, bitch and complain blah blah. the scratches are already there, the drummer just jams to them with the click on.
i tend to make very complete scratch tracks (every single part is recorded, and in stereo). its worth the effort when you do a few albums and go, oh if i had known this part was going to be here, i would have had the drummer do this instead.
I've definitely had the "oh shit didn't know that part was in there, would have had you play something different" thing happen more than a few times. I'm still to impatient to do super complete scratch tracks. Some guitar players have trouble playing tight to just a click, and if the scratch guitars are loose its just gonna fuck the drummer up. And fuck spending hours editing scratch tracks.
Best case, IMO, is to have the band demo everything to a click then just lay it in the session and leave it muted. It's there to reference and is easy enough to chop up and stretch it if the arrangement or tempo gets changed. Sometimes I'll even high pass it a little and feed it to the drummer's mix just enough to give him some familiarity.
Best case, IMO, is to have the band demo everything to a click then just lay it in the session and leave it muted. It's there to reference and is easy enough to chop up and stretch it if the arrangement or tempo gets changed. Sometimes I'll even high pass it a little and feed it to the drummer's mix just enough to give him some familiarity.
I end up doing something similar, but with a DI and a miced cab. One thing I find annoying about Nuendo / Cubase is not being able to group tracks for editing like PT. I think they kinda tried to solve that with folder tracks, but those just suck.
I've thought about trying to solve that for a DI and amp situation by recording to a stereo track with one on either side but somehow only monitor the amp side in mono. Im sure you could do it with the nuendo panner or some plugin. That way the edits would be locked together and stretching etc. would be phase coherent. It would be a cool idea, but I guess I just got used to shift selecting both tracks and figured it would be more of a pain in the ass than it would be worth.
joeymusicguy
Member
I end up doing something similar, but with a DI and a miced cab. One thing I find annoying about Nuendo / Cubase is not being able to group tracks for editing like PT. I think they kinda tried to solve that with folder tracks, but those just suck.
I've thought about trying to solve that for a DI and amp situation by recording to a stereo track with one on either side but somehow only monitor the amp side in mono. Im sure you could do it with the nuendo panner or some plugin. That way the edits would be locked together and stretching etc. would be phase coherent. It would be a cool idea, but I guess I just got used to shift selecting both tracks and figured it would be more of a pain in the ass than it would be worth.
oh dude i know what you mean, if i had a dollar for how many times i've had to re-select something because of this crap RAWR
your opinion, and you're def welcome to it.
however, many many amazing sounding CDs are quad tracked, and it's my preference when the music warrants it, and the players are capable.
hey, how's that Sea Of Treachery you did Joey? saw it in Best Buy, but shy of plunking down the shekels for it, not having heard any of it.
that's pretty much my exact same workflow, from pre-pro to drum tracking session. every song, very tightly double-tracked scratch guitars to click... all tempos, meters and markers in place and confirmed correct and more importantly... good and right for the song.
one extra little thing i do here, that i've not seen anyone else doing, is that i automate a mute on the click channel immediately after the last beat is played... keeps click out of OH's during cymbal decay at the end of the song.
i don't care though if some band members are present at drum session though, in fact i prefer for the main songwriter of the band to be there with us, just to confirm that he is also happy with what the drummer and i come up with.
Similar threads
