I've never figured out how to do this...When I put stuff in the inputs (well, what I think is the input channel I suppose), I never hear any difference.
I'm using Nuendo, though.
For producer of Before Their Eyes (Sturgis)
- Thread starter mattia.7
- Start date
I've never figured out how to do this...When I put stuff in the inputs (well, what I think is the input channel I suppose), I never hear any difference.
I'm using Nuendo, though.
Wow, this is turning into a cool thread.
I do something simular. I just make a MIDI track for the click and set it up how I want. I can switch timebase from 1/4 to 1/8 for parts if nessassary, or use a second click tone to cue in sections of the song. Also, like you said, keep the click blead out of the OHs.
Only downside is you lose your quick C keystroke to turn the click on and off. You have to mute the MIDI track or the click return.
in PT you can set each tempo marker for whatever time-base you want... so you retain all the control of the metronome operations via keystrokes.
Nope, that's it...But I've never even paid attention in Nuendo...Does the input mixer even show the icon?
I've used it many times on the playback mixer but since I didn't hear an immediate result on the input channels, I've never revisited doing anything on input...The only reason I even explored it once was to see if I could track with my guitar straight into my Firepod using an amp sim (Juicy 77, IIRC).
Does it just change the time sig or the actual note value for the click? If it's the latter, that's pretty cool.
time sig changes happen in the meter track.. this is the tempo track. it changes the time value for the click,
it's the same dialog box in which you can fine tune the location and change the tempo of a tempo marker.
RyanUsesThis
Poon
Most of the bands I've worked with are either Noobs at recording, or just don't pay much attention to their time sigs... so sitting down to figure out the click track is painful.
What I've taken to doing is just showing up to their practice with 5 or 6 sm57s.. micing everyone up (Glyn Johns for drums) and just have them run through every song they want to record.
This gives me their live feel, and I just tap out all the tempos at home.
This goes against everything in Joey's "Important Requirements!!" list, because it allows the band to be lazy, and not pay attention to what they're doing... but in the end it saves me time, and I get separate tracks of everyone so later on when I'm showing the band their scratch tracks they can see what they and everyone else is doing and make adjustments as needed.
Once we figure out the tempos, and adjust the time of each part I just disable the drum tracks and use the guitars and bass tracks for the scratch tracks that the drummer records to.
What I've taken to doing is just showing up to their practice with 5 or 6 sm57s.. micing everyone up (Glyn Johns for drums) and just have them run through every song they want to record.
This gives me their live feel, and I just tap out all the tempos at home.
This goes against everything in Joey's "Important Requirements!!" list, because it allows the band to be lazy, and not pay attention to what they're doing... but in the end it saves me time, and I get separate tracks of everyone so later on when I'm showing the band their scratch tracks they can see what they and everyone else is doing and make adjustments as needed.
Once we figure out the tempos, and adjust the time of each part I just disable the drum tracks and use the guitars and bass tracks for the scratch tracks that the drummer records to.
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 peopleif 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.
Thank you for the insight. I haven't dabbled much with tempo mapping but I can see how it is very useful. I use Reaper currently as my DAW and I am still trying to get it down to science but once I do I think I will track a few projects the way you mentioned.
The only problem is usually people have a more limited time to record with me. Actually sitting down the guitarist and going through the process makes everyone impatient. I would like to eventually get to the point were I can record weeks at a time so I could take as much time as needed for this sort of thing.
Genius Gone Insane
http://www.¯\(°_o)/¯.com
Ehy.Joey,help me please..i have at 3035..do tell in an other thread that it must be use with a good preamp..can u tell me if i can do a good sound with the motu preamp only or i must buy a preamp(and what good pream do you advise at low cost)?last question,then i don't ask anymore,uad limiter,do u put it in the input chain or in the first insert of the track chain?and wich settings precisely?because in one thread you told attack and release 0,in another 100%..beacuse my vocal is always a little bit out of the mix..
sorry for very bad english
sorry for very bad english
Hey guys.
I recorded a band tonight, and without being mean. Lets just say.... As long as they are having fun.. Well for amps they each brought in line 6 things. I have a 5150, and 4x12 with v30s, but having then us it would only high light their lack of rhythmic fortitude.
I thought WWJD. you know "What would Joey do" : > ) I brought one of the heads into the control room, and plugged it directly into the instrument input on the front of my vintech x73.
After doing some tweaking. I actually got a pretty good guitar sound. WAY better then if I had miked a cab.
I doubt I would record a record that way. Just personal taste, but dang the session when really fast, and sounds a heck of a lot better then I was expecting.
I think it is a tendency for engineer's to be in the box of thinking that if it's digital it's going to suck. I still think 100% ITB mixes don't sound as good as something mixed on a LFC, but today deff way an eye opener.
Sorry If I'm going way off topic.
I recorded a band tonight, and without being mean. Lets just say.... As long as they are having fun.. Well for amps they each brought in line 6 things. I have a 5150, and 4x12 with v30s, but having then us it would only high light their lack of rhythmic fortitude.
I thought WWJD. you know "What would Joey do" : > ) I brought one of the heads into the control room, and plugged it directly into the instrument input on the front of my vintech x73.
After doing some tweaking. I actually got a pretty good guitar sound. WAY better then if I had miked a cab.
I doubt I would record a record that way. Just personal taste, but dang the session when really fast, and sounds a heck of a lot better then I was expecting.
I think it is a tendency for engineer's to be in the box of thinking that if it's digital it's going to suck. I still think 100% ITB mixes don't sound as good as something mixed on a LFC, but today deff way an eye opener.
Sorry If I'm going way off topic.
Huh?
Haha, I'm gonna guess...
"but having them use it would only highlight their lack of rhythmic fortitude."
Do I get a prize or something?
joeymusicguy
Member
joeymusicguy
Member
eh, not really a good example of my work
pick up the oceano record, or the plea for purging record, those are pretty sweet.
or if you wait until later this year, you can hear my biggest production ever, the devil wears prada's third lp. spent 2 months on it. its really legit.
Hi Joey,i have at 3035..do tell in an other thread that it must be use with a good preamp..can u tell me if i can do a good sound with the motu preamp only or i must buy a preamp(and what good pream do you advise at low cost)?last question,then i don't ask anymore,uad limiter,do u put it in the input chain or in the first insert of the track chain?and wich settings precisely?please help me..
Zombietakeover
Member
Just try it out !!!! It sounds like you are new....So use any preamp that you can get your hands on...And yes the more expensive the better...But if you are just starting out ....it really isn't going to matter....so grab the nearest preamp and track something .....I believe in some of his early early posts Joey was using a Behringer preamp(but dont quote me on that) and thats about as low as it gets but he was still getting good results
Joey has said before that instead of setting up 40 1176LN.....that he would just put it on the input to get it out of the way.....since he knew what the settings were going to be anyways.....but becareful with that....i would get some mixes under your belt before you start printing stuff.......
Joey has posted all of these Settings right on the forum, so look them up
Similar threads
