Cyril: este ze ty si sa ozval a neskutocne plodne si obohatil debatu ako vzdy
TC Powercore & SONY OXFORD
no ja som si vsimol ze tomuto Martinovi sa uz vselico zda outdated, predtym Kurzweil, teraz Waves. tak to som teda velmi zvedavy ze co to vlastne produkuje, posli nejake skladby please nech vieme kde je sever...
Cyril: este ze ty si sa ozval a neskutocne plodne si obohatil debatu ako vzdy
Cyril: este ze ty si sa ozval a neskutocne plodne si obohatil debatu ako vzdy
Naposledy upravil(a) demsky dne 10 zář 2007 11:53, celkem upraveno 1 x.
hehe aby se ti nelibily kdyz jsem ti je doporucil ja:)))
Naposledy upravil(a) carloff dne 10 zář 2007 11:56, celkem upraveno 1 x.
Hudebník a producent, majitel studia Soundevice
http://www.boriscarloff.com | http://www.soundevice-studio.cz
http://www.boriscarloff.com | http://www.soundevice-studio.cz
Tak waves urcite jsou nejakej standard, ale vetsina z toho baliku je taky uz hodne stara, pridou mi dobry jako takovy utilitarni pluginy... jako neco co by melo byt soucasti cubase/nuenda apod. Urcite plati to, ze jestli nekdo neni s wavesama schopnej udelat rozumnej zvuk, tak neni chyba ve wavesech. Nesporna vyhoda wavesu je v ovladani, to malokdo od ty doby udelal lepsi.
Oxford je zajimavej uvidime, jaky budou postrehy... ja si mel moznost chvili hrat s dynamics, kterej jsme pouzivali jako de-esser a fungovalo to pekne - hladce
Oxford je zajimavej uvidime, jaky budou postrehy... ja si mel moznost chvili hrat s dynamics, kterej jsme pouzivali jako de-esser a fungovalo to pekne - hladce
Brickwall se mi libi moc
Hudebník a producent, majitel studia Soundevice
http://www.boriscarloff.com | http://www.soundevice-studio.cz
http://www.boriscarloff.com | http://www.soundevice-studio.cz
matucha: ved ja som pisal ze je to ZAKLADNY svetovy standard. Co viem, vela zvukarskych skol povazuje za zaklad Waves, proste ked s kalkulackou a tymi zakladnymi 20 timi vzorcami sa nenaucis robit cez waves tak sa to nenaucis ani na ULTRA COOL mastering suite.
myslim napriklad na toto
Assuming you'll be using a directional mike (a Cardiac pattern, which has a "hearty sound", for example):
Put the "talent" in the FRONT of the mike for normal recording.
Put the "talent" in the BACK of the mike only for backups.
If you have an Army-directional mike (why they're credited to the Army no one can tell, and you're not supposed to ask), which picks up both front and back (also all around, unlike ribbon mikes, which are only bi-saxual), you can do the recording and backup at the same time. This is usually termed "Bi-Sax-o-Mode", in honor of the American Bison, and Adolf Sax, inventor of the Saxophone and Saxbut.
The mike should be neither too close, nor too far from the sound source. A simple formula often used by professionals to calculate the optimum distance to the source, D, is given by:
D = 4.72 x 10^-3 x (2pi/SV)[sin(M/T) - cos(M/2T)] dM/dt
+ e^[h(H'- H) sqrt(H/H')] x log (1/[SVT^2]) +/- msp
Where:
D = the desired distance in inches
H = height of the sound source in meters
H' = height of the mike in yards
V = max volume of the source in dBm
S = sensitivity of the mike in millivolts per dBm
T = mean temperature of the room in degrees Melvin
h = Plank's reasonably constant
M = arc tan (area of microphone diaphragm, in round mm)
and msp = mistake someplace, in watt-kilograms/hour.
The best microphone for an accordion is none. (This rule-of-thumb also applies to bagpipes and rappers.)
If you are recording onto tape, good maintenance practice would be to clean the tape head and path. Do not use peanut butter for this, even the "creamy" kind. Mustard, crazy glue, or mayonnaise are also poor choices (trust me), but in an emergency, Vodka on a Q-tip will work, especially if recording Russian music (hint: save some for yourself, but substitute an olive for the Q-tip.)
Usually it's preferable to put reverb on AFTER the solo tracks are recorded, as true reverb filters not only don't exist yet, but are unusually expensive, and difficult to abuse.
If you are recording onto the Hi-Fi tracks of a video deck, you may also wish to record the video feed that you monitor to observe if the talent behaves disrespectfully or slovenly. The tape can later be useful in preparing an MTV video... or blackmail.
If you are recording onto the Hi-Fi tracks of a video deck, you may also wish to turn on an air-conditioner near the "talent". The a/c will supply a white noise sound, to hide the AFM glitches in the Hi-Fi tracks. This is an example of the Masking Effect.
As the a/c gets louder, its masking effect may be measured via a "Signal to Noise Radio" and yardstick. These radios are portable, being battery powered. (The yardstick is also portable, but will need no batteries.)
CAUTION: do NOT wear a mask for a more pronounced masking effect. However, earplugs may be useful.
The "talent", however, can wear a mask, unless they are reading the part. In that case they're probably too professional for you to be recording anyway.
To the RIGHT is loud (only for rotary controls -- for sliders usually, it's UP).
Harmonic distortion is BAD. So is melodic, rhythmic, or contrapuntal. Usually the only effective remedy is to replace the "talent".
Check that no cables are plugged in backwards, or that an odd number of cables are connected together in series. This is called phase reversal.
Be sure the equipment is operating adequately, and the performer knows the music adequately. This phase is called rehearsal. (You may eventually outgrow this phase, as familiarity breeds contempt.)
NEVER plug the monitor speakers input into an AC outlet, even if you have a proper adapter cord. There are far better ways to test them (convenient spray cans are available.)
Be sure the sound passes through the cables, or at least very closely. If there is any signal leakage, you could damage your floor, especially while recording Acid Rock, Acid Jazz, or Grunge -- yechht!
Be sure the sound passes through the cables in the proper direction (note the arrows on the connectors or cord.) Otherwise, when a singer inhales, you will hear an exhale, and vice versa. This is as horrible as the worst possible vice: punning (and as you know, there is no vice versa.)
Do not wave at a performer unless seated. Good studio practice minimizes all Standing Waves.
Digital recording technology likes lots of digits. So keep all your digits busy while recording, moving faders and knobs and switches a lot. When your digits are happy, so is the master.
Reduce the oxygen in the air near all signal carrying copper wires, to keep them oxygen-free. Fire can be useful for this purpose, as it consumes most oxygen readily. (Summertime tip: pure silver wire only tarnishes, so you won't need combustion -- as long as silver polish is readily available.)
Keep the performers and yourself well supplied with caffeine and drugs. You need to perform at your best. The only amplifiers are not just in the rack. (But Mister Manners says: don't try this at home without the supervision of an adult/parent, preferably both.)
Don't place the mikes near the loudspeakers, unless one or the other of them is OFF, unconnected, or nearly so (the old "partially plugged-in ploy".) This can cause undesirable problems, of social and medical nature. However -- once your ears are fused, go right ahead.
To start a take, establish a safe recording level (your hardware store sells levels, which may help). Then place the tape or recording medium into RECORD, and signal the "talent" in an appropriate fashion: mallet, strobe light, firehose, whatever. (This is termed: Cue the Miracle, and is a definition of an Optimist.)
If the "talent" is a painter or mime, you may omit the first two steps. (Or move the mike in a LOT closer.)
If the "talent" is not very, you may omit all remaining steps. (Or move the mike further away -- for example to Block Island.)
Enhance the performer's crescendos by moving the fader up each time.
Enhance the performer's diminuendos by moving the fader down each time.
Variation, for extra points: do the OPPOSITE of the above, each time. Don't be too subtle about it, or you'll waste all your enhancements -- and what's the point of that?
There are TEN "dessies" in a Bel. Now you know. Note: the dB is metric, and you must pay a metric Scale. (Union musicians: pay the 12-tone Scale.)
The maximum level setting for a rock drummer is: 60 x their IQ/your IQ, in "dessies". If you wish yours to remain undisclosed, just calculate: their IQ/2, for a reasonable approximation.
If this is to be yet another heavy metal session, it might be desirable for all participants to bear in mind the subtleties and nuances of the "MILD" principle: "Make it loud, dammit!"
In these PC aware times, equality is a good thing. So be sure to use plenty of EQ. Make amusing and interesting patterns of ups and downs with the EQ, to make the recording more interesting. Or amusing.
When each TAKE is completed, stop the recording medium, and signal the performer (see suggested methods above) either to prepare to do it again, or not -- your choice and tolerance. Try to write something down on a piece of paper. A pep talk is often given here (so you can GIVE before a TAKE.)
Tell them it was great, except, perhaps, for a slight clumsiness when they passed out. Tell them you'll fix it in the mix. Tell them you're known as "MagicFingers" in the studio business. Tell them: "Stick with me, kid, and you'll wear diamonds!" Be sincere (but not too honest...) Smile a lot.
Don't despair, tapes & media can always be erased. (Be sure to tell this to the performers -- often.)
Just a few lessons learned during many years of studio experience. Hope it helps
myslim napriklad na toto
Assuming you'll be using a directional mike (a Cardiac pattern, which has a "hearty sound", for example):
Put the "talent" in the FRONT of the mike for normal recording.
Put the "talent" in the BACK of the mike only for backups.
If you have an Army-directional mike (why they're credited to the Army no one can tell, and you're not supposed to ask), which picks up both front and back (also all around, unlike ribbon mikes, which are only bi-saxual), you can do the recording and backup at the same time. This is usually termed "Bi-Sax-o-Mode", in honor of the American Bison, and Adolf Sax, inventor of the Saxophone and Saxbut.
The mike should be neither too close, nor too far from the sound source. A simple formula often used by professionals to calculate the optimum distance to the source, D, is given by:
D = 4.72 x 10^-3 x (2pi/SV)[sin(M/T) - cos(M/2T)] dM/dt
+ e^[h(H'- H) sqrt(H/H')] x log (1/[SVT^2]) +/- msp
Where:
D = the desired distance in inches
H = height of the sound source in meters
H' = height of the mike in yards
V = max volume of the source in dBm
S = sensitivity of the mike in millivolts per dBm
T = mean temperature of the room in degrees Melvin
h = Plank's reasonably constant
M = arc tan (area of microphone diaphragm, in round mm)
and msp = mistake someplace, in watt-kilograms/hour.
The best microphone for an accordion is none. (This rule-of-thumb also applies to bagpipes and rappers.)
If you are recording onto tape, good maintenance practice would be to clean the tape head and path. Do not use peanut butter for this, even the "creamy" kind. Mustard, crazy glue, or mayonnaise are also poor choices (trust me), but in an emergency, Vodka on a Q-tip will work, especially if recording Russian music (hint: save some for yourself, but substitute an olive for the Q-tip.)
Usually it's preferable to put reverb on AFTER the solo tracks are recorded, as true reverb filters not only don't exist yet, but are unusually expensive, and difficult to abuse.
If you are recording onto the Hi-Fi tracks of a video deck, you may also wish to record the video feed that you monitor to observe if the talent behaves disrespectfully or slovenly. The tape can later be useful in preparing an MTV video... or blackmail.
If you are recording onto the Hi-Fi tracks of a video deck, you may also wish to turn on an air-conditioner near the "talent". The a/c will supply a white noise sound, to hide the AFM glitches in the Hi-Fi tracks. This is an example of the Masking Effect.
As the a/c gets louder, its masking effect may be measured via a "Signal to Noise Radio" and yardstick. These radios are portable, being battery powered. (The yardstick is also portable, but will need no batteries.)
CAUTION: do NOT wear a mask for a more pronounced masking effect. However, earplugs may be useful.
The "talent", however, can wear a mask, unless they are reading the part. In that case they're probably too professional for you to be recording anyway.
To the RIGHT is loud (only for rotary controls -- for sliders usually, it's UP).
Harmonic distortion is BAD. So is melodic, rhythmic, or contrapuntal. Usually the only effective remedy is to replace the "talent".
Check that no cables are plugged in backwards, or that an odd number of cables are connected together in series. This is called phase reversal.
Be sure the equipment is operating adequately, and the performer knows the music adequately. This phase is called rehearsal. (You may eventually outgrow this phase, as familiarity breeds contempt.)
NEVER plug the monitor speakers input into an AC outlet, even if you have a proper adapter cord. There are far better ways to test them (convenient spray cans are available.)
Be sure the sound passes through the cables, or at least very closely. If there is any signal leakage, you could damage your floor, especially while recording Acid Rock, Acid Jazz, or Grunge -- yechht!
Be sure the sound passes through the cables in the proper direction (note the arrows on the connectors or cord.) Otherwise, when a singer inhales, you will hear an exhale, and vice versa. This is as horrible as the worst possible vice: punning (and as you know, there is no vice versa.)
Do not wave at a performer unless seated. Good studio practice minimizes all Standing Waves.
Digital recording technology likes lots of digits. So keep all your digits busy while recording, moving faders and knobs and switches a lot. When your digits are happy, so is the master.
Reduce the oxygen in the air near all signal carrying copper wires, to keep them oxygen-free. Fire can be useful for this purpose, as it consumes most oxygen readily. (Summertime tip: pure silver wire only tarnishes, so you won't need combustion -- as long as silver polish is readily available.)
Keep the performers and yourself well supplied with caffeine and drugs. You need to perform at your best. The only amplifiers are not just in the rack. (But Mister Manners says: don't try this at home without the supervision of an adult/parent, preferably both.)
Don't place the mikes near the loudspeakers, unless one or the other of them is OFF, unconnected, or nearly so (the old "partially plugged-in ploy".) This can cause undesirable problems, of social and medical nature. However -- once your ears are fused, go right ahead.
To start a take, establish a safe recording level (your hardware store sells levels, which may help). Then place the tape or recording medium into RECORD, and signal the "talent" in an appropriate fashion: mallet, strobe light, firehose, whatever. (This is termed: Cue the Miracle, and is a definition of an Optimist.)
If the "talent" is a painter or mime, you may omit the first two steps. (Or move the mike in a LOT closer.)
If the "talent" is not very, you may omit all remaining steps. (Or move the mike further away -- for example to Block Island.)
Enhance the performer's crescendos by moving the fader up each time.
Enhance the performer's diminuendos by moving the fader down each time.
Variation, for extra points: do the OPPOSITE of the above, each time. Don't be too subtle about it, or you'll waste all your enhancements -- and what's the point of that?
There are TEN "dessies" in a Bel. Now you know. Note: the dB is metric, and you must pay a metric Scale. (Union musicians: pay the 12-tone Scale.)
The maximum level setting for a rock drummer is: 60 x their IQ/your IQ, in "dessies". If you wish yours to remain undisclosed, just calculate: their IQ/2, for a reasonable approximation.
If this is to be yet another heavy metal session, it might be desirable for all participants to bear in mind the subtleties and nuances of the "MILD" principle: "Make it loud, dammit!"
In these PC aware times, equality is a good thing. So be sure to use plenty of EQ. Make amusing and interesting patterns of ups and downs with the EQ, to make the recording more interesting. Or amusing.
When each TAKE is completed, stop the recording medium, and signal the performer (see suggested methods above) either to prepare to do it again, or not -- your choice and tolerance. Try to write something down on a piece of paper. A pep talk is often given here (so you can GIVE before a TAKE.)
Tell them it was great, except, perhaps, for a slight clumsiness when they passed out. Tell them you'll fix it in the mix. Tell them you're known as "MagicFingers" in the studio business. Tell them: "Stick with me, kid, and you'll wear diamonds!" Be sincere (but not too honest...) Smile a lot.
Don't despair, tapes & media can always be erased. (Be sure to tell this to the performers -- often.)
Just a few lessons learned during many years of studio experience. Hope it helps
Co se tyce vyberu studia, kam bych daval svoje veci, tak by slo nejvic vzdycky o cloveka, pak o mistnost a monitory, nejakej ten HW a pluginy... to by mi bylo uplne jedno, protoze v tu chvili by uz mohl pouzit uplne cokoli k dosazeni kyzeneho vysledku... a popravde vetsine lidem je dost jedno, jestli bylo pouzito toho nebo toho...
Asi tak .... pluginy jsou to úplně poslední co by mě na nějakém studiu zajímalo.matucha píše:Co se tyce vyberu studia, kam bych daval svoje veci, tak by slo nejvic vzdycky o cloveka, pak o mistnost a monitory, nejakej ten HW a pluginy... to by mi bylo uplne jedno, protoze v tu chvili by uz mohl pouzit uplne cokoli k dosazeni kyzeneho vysledku... a popravde vetsine lidem je dost jedno, jestli bylo pouzito toho nebo toho...
-
ECSON WALDES
- Profesionál
- Příspěvky: 1859
- Registrován: 16 zář 2002 14:52
matucha píše:Co se tyce vyberu studia, kam bych daval svoje veci, tak by slo nejvic vzdycky o cloveka, pak o mistnost a monitory, nejakej ten HW a pluginy... to by mi bylo uplne jedno, protoze v tu chvili by uz mohl pouzit uplne cokoli k dosazeni kyzeneho vysledku... a popravde vetsine lidem je dost jedno, jestli bylo pouzito toho nebo toho...
jj. vzdycky jde prvorade o cloveka.
Nicmene v dnesni dobe jsou nejzasadnejsi 2 veci:
- kvalitni monitory a akustika
- DAW a pluginy na kterejch lezi celej audio prumysl (Bez tech si dnes clovek v tomhle oboru neskrtne)
pak je moc fajn mit HW, ale rozhodne ne zasadni. Ale i tak analog outboard uz brzo rozsirim, brzo budou " vanoce:) "
uz jsme ale dost OT
.
Suhlasim s Ecsonom. Este jedna super linka na "najlepsi kompresor na svete"
http://www.record-producer.com/learn.cfm?a=3106
http://www.record-producer.com/learn.cfm?a=3106
no SW zatim nejde udelat zatim spousta veci co HW..
pro mastering povazuju HW celkem za stezejni..
LONG LIVE ANALOG!!!
pro mastering povazuju HW celkem za stezejni..
LONG LIVE ANALOG!!!
Hudebník a producent, majitel studia Soundevice
http://www.boriscarloff.com | http://www.soundevice-studio.cz
http://www.boriscarloff.com | http://www.soundevice-studio.cz
no kompresory se prestaly celkem davno pouzivat jako pouhy omezovac peaku ale jako plnohodnotny nastroj, ktery meni celkovy zvuk...
zalezi samozrejme na zanru ...
zalezi samozrejme na zanru ...
Hudebník a producent, majitel studia Soundevice
http://www.boriscarloff.com | http://www.soundevice-studio.cz
http://www.boriscarloff.com | http://www.soundevice-studio.cz
Ano, dostáváme se opět na tenký led off-topicu, ale v rámci objektivní reality a praxe všech současných hi-endových studií ve světě, musím s podobným konstatováním nesouhlasit. Pokud se nebavíme o domácích nebo demo-studiích, základem práce a zvuku každého špičkového studia kdekoliv ve světě je špičkový hardware - od konzolí po bohaté sbírky outboard analogových procesorů. Ať už se jedná o studia nahrávací nebo masteringová. Stačí se podívat na stránky kteréhokoliv z nich. Pluginy jsou většinou jen druhotná nebo doplňující záležitost. A to z jednoduchého důvodu - zvuk obojího je zatím stále neporovnatený ... Ano, pluginy jsou mnohem levnější než špičkový hardware, ale na věci to nic nemění ...ECSON WALDES píše: - DAW a pluginy na kterejch lezi celej audio prumysl (Bez tech si dnes clovek v tomhle oboru neskrtne)
pak je moc fajn mit HW, ale rozhodne ne zasadni.
.
-
freecoolin
- Příspěvky: 264
- Registrován: 25 lis 2004 09:53
