I'm hoping that this will develop into a useful resource thread for us all.

What I propose is that we share any audio production (both pre and post, so pretty much anything) related tips here with the community,

The tips themselves don't have to be grandios, as my first offering below will show, just something that the individual finds useful and wants to share.

What I don't want is pages of arguments over whats right or what wrong with what an individual posts, a simple thanks or no thanks will suffice here.

Nuff said, on with the show.

Couldn't really see a better place for it than this, but move it if I'm wrong.

 

Last edited: Dec 7, 2017

We all know that a gentle high pass filter will sound more natural than a severe roll off.

But we also know that a gentle roll off will not get rid of as much unwanted muck as the more severe cut.

My solution to this has been to combine the two in a way that gives the best of both worlds.

In the example below I'm removing some unwanted kak from the low frequencies of a acoustic guitar within a full mix.

To do that I have a 6dB/Oct HPF @ 114Hz, a 12dB/Oct HPF @ 84Hz and a 36dB/Oct HPF @ 59Hz

The end result is that the bottom end sounds smooth like the 6dB/Octave roll of but with more of the kak removed and so freeing up space.

 

How to Tempo Map an audio track with variable BPM in Studio One.

 

Good plan, are requests also allowed?

 

Little diy tip for amp mic placement

If you have a loop pedal, just let a good versatile riff play while you place your mic in peace without having to drag the guitar with you and play it constantly to try out.

 

@Boosire, never thought of using a looper to do that, that's a really awesome tip.
Currently, I'm using the DAW, and reamping a DI guitar line back through the amp. So it's sort of similar to what you're doing. There are various re-amping boxes available to get the impedences all correct. Personally, I use an ART MPA Pro II which has 1/4" instrument and XLR out's per channel. So one channel is used for output into the amp, and the other channel is used for input from the mic back to the sound interface. Also, for recording the original DI, the MPA works really well for this. Input from guitar through the front instrument jack, output from the XLR to the interface as well as out from the 1/4" jack back to a guitar amp for live latency free monitoring. Plus the DI gets that nice tube tone on it which many are using a tube screamer pedal or such to get.
It's a pretty flexible setup that lets the guitar player record monitoring with the sound they want to play to, while you can adjust afterwards for the sound needed for the mix.

 

I think it might be best we just take whats offered............kinda like the sister site.

 

@Seedz .. great idea! Here is my first post...electrical chord wrapping for gigs.

 

Roger

 

Nice idea, haven't done yet.

Alternative solution [Edit: In case your eq doesn't support three lowcuts] :

 

Last edited: Dec 9, 2017

My tip:
Be a mobile friendly musician!

Smartphones are everywhere. they can be used for more advanced tasks and mobile apps are way cheaper.
Android latency issue is being dealt with (flagship devices are down to 15~ ms) but most of the market is in hands of Apple and kids are making great music with Apple devices. shit I started music production with a 2nd gen iPod.

Lots of well known developers have ported their products to mobile and most of the creative apps come from indie devs. many apps are dirt cheap for example you can buy a great sounding synth for $10 or get a full-fledged daw (like Auria) for $50. Audiounit v3 is ported to iOS. you can route audio between apps with Audiobus and to your PC/Mac with Studiomux. Ableton Link is almost universal for wireless syncing and you can connect any kind of class-compliant USB hardware (Interface - mics - midi controllers).

 

You know you can always start a thread in the related section and ask whatever you want

 

One for the geetarists.

I was lucky enough to buy one of these in the 90's



Great wee box, but after randomly checking what they were worth a couple of years back, and after I picked my jaw up and then doing a double take I started wondering if it was actually worth that kinda money or if it was worth keeping...

Anywaze, as you'll know because of its popularity there are a large number of clones out there now as well as the later version made by the man himself, so with the help of my friendly neighbourhood git shop I started borrowing and ABing all the clones I could get my hands on.

There are a couple that are identical both component and soundwise in as much as one box can be identical to another identical box, but I eventually found one which did exactly the same job but with a tiny but noticable bit more bottom end and the option of a little bit more top if it was required, so I ordered one and then did another 3 months ABing with the Klon and it to make absolutely sure...........nothing worse than selling a bit of gear then regretting it.....

Anywaze I sold the Klon and ended up with one of these


The knobs are a bit to close together for my liking, but other than that its an improvement in sound for me, and £1350 cheaper.

There's also a version that has an EQ and a hot/normal gain stage as well but the little box above is all I need.

Now the Klon might continue to rise in price for all I know, but even if it does I'm gonna be happy, 'cause like I said I did this swap to improve my sound, the fact that it saved a lot was a bonus.

Here's a Klon Klone taster

 

Ableton 'Quick Fast' Tips - Session scenes to Arrangement