How many tracks do you use in your songs?
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- KVRian
- 689 posts since 5 Mar, 2003 from Sir Osis of Liver
I'm asking because I know KVR has a pretty wide variety of musical genres. Please tell me how many tracks you use per song and what is on each track (instrument, overhead mic for drums, etc). Thanks!
Buy my cd here (Prog rock/synth pop/classical/soundtrack-ish music):
http://cdbaby.com/cd/cyanogen
Newer songs/unreleased material:
https://soundcloud.com/cyanogenmusicpage
http://cdbaby.com/cd/cyanogen
Newer songs/unreleased material:
https://soundcloud.com/cyanogenmusicpage
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- KVRian
- 937 posts since 19 Nov, 2004 from Chicago IL, motherfuckers
Generally around 16-20.. I record live music usually so..
9 tracks for drums
4-6 for guitars
1 for bass
2-5 vocal tracks (overdubs, FX track etc.)
THan I usually have about 4 group busses...
9 tracks for drums
4-6 for guitars
1 for bass
2-5 vocal tracks (overdubs, FX track etc.)
THan I usually have about 4 group busses...
link to my Asspace page(Myspace) This has become a necessary evil http://www.myspace.com/worldofshit1
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dirty oscillators dirty oscillators https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=122600
- KVRAF
- 2739 posts since 4 Oct, 2006
usually two. one for the left channel and one for the right.
Eins zwei drei vier funf sechs sieben acht
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- KVRAF
- 1868 posts since 26 Oct, 2002 from San Francisco
For the vocal house I've been doing lately, 15 to 20 plus 3 to 5 sends
Fairly typical setup:
3 vocal tracks
2 bass
3 synths / sample mangling
2 special effects
8-10 drums
On the sends, I'll typically have a dense long reverb, a short reverb/delay combo and a couple of FSU combinations.
Fairly typical setup:
3 vocal tracks
2 bass
3 synths / sample mangling
2 special effects
8-10 drums
On the sends, I'll typically have a dense long reverb, a short reverb/delay combo and a couple of FSU combinations.
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- KVRian
- 587 posts since 22 Nov, 2005 from Music-journalist/freelance audioengineer from Helsinki, Finland
1 (mono), 2 (stereo) or 6 (surround)... and from the horseplay to the stuff:
Live-action music
3-12 for drums (used 12 only once, the drummer had 6 toms)
1-2 for bass
1-6 for guitars
2-6 for vocals
2-5 for keyboards
0-10 for others
3-4 for global fx : reverb, reverb, delay, (kick trigger)
Electronic music
1-2 for beat
1-3 for bass
1-5 for lead
0-6 for vocals
0-24 for others
2-6 for global fx
After that I usually divide them into 4-6 groups:
DRUMS (I might separate this to BEAT and KIT, where beat only contains kick+snare)
BASS
BACKLINE
VOCALS
FX
Live-action music
3-12 for drums (used 12 only once, the drummer had 6 toms)
1-2 for bass
1-6 for guitars
2-6 for vocals
2-5 for keyboards
0-10 for others
3-4 for global fx : reverb, reverb, delay, (kick trigger)
Electronic music
1-2 for beat
1-3 for bass
1-5 for lead
0-6 for vocals
0-24 for others
2-6 for global fx
After that I usually divide them into 4-6 groups:
DRUMS (I might separate this to BEAT and KIT, where beat only contains kick+snare)
BASS
BACKLINE
VOCALS
FX
Last edited by ahjteam on Mon Aug 20, 2007 7:49 pm, edited 1 time in total.
Basic EQ tip: highpass all that don't hit subs, usually all but bass and kick
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dirty oscillators dirty oscillators https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=122600
- KVRAF
- 2739 posts since 4 Oct, 2006
why do you need 3 tracks for the bass my friend?ahjteam wrote:1-3 for bass
Eins zwei drei vier funf sechs sieben acht
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- KVRian
- 587 posts since 22 Nov, 2005 from Music-journalist/freelance audioengineer from Helsinki, Finland
why not? 1 for line, 1 for mic, 1 for mididirty oscillators wrote:why do you need 3 tracks for the bass my friend?ahjteam wrote:1-3 for bass
Last edited by ahjteam on Mon Aug 20, 2007 7:52 pm, edited 2 times in total.
Basic EQ tip: highpass all that don't hit subs, usually all but bass and kick
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- KVRAF
- 1868 posts since 26 Oct, 2002 from San Francisco
I'm not who you asked, but I've been doing a lot of basslines with two instruments lately. Play basically the same tune on a nice deep synth patch and a sampled bass guitar. Hi pass the bass guitar a bit to kill the mud, and you get a really thick, rich bass. It's nice to play little bits between the main notes on one or the other too for a little tonal variation.dirty oscillators wrote:why do you need 3 tracks for the bass my friend?ahjteam wrote:1-3 for bass
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dirty oscillators dirty oscillators https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=122600
- KVRAF
- 2739 posts since 4 Oct, 2006
okay, but not three tracks at once, right?ahjteam wrote:why not? 1 for line, 1 for mic, 1 for mididirty oscillators wrote:why do you need 3 tracks for the bass my friend?ahjteam wrote:1-3 for bass
just curious, s'all. i'm still learning about multitracking and stuff.
Eins zwei drei vier funf sechs sieben acht
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dirty oscillators dirty oscillators https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=122600
- KVRAF
- 2739 posts since 4 Oct, 2006
cool, got it.jackson wrote:I'm not who you asked, but I've been doing a lot of basslines with two instruments lately. Play basically the same tune on a nice deep synth patch and a sampled bass guitar. Hi pass the bass guitar a bit to kill the mud, and you get a really thick, rich bass. It's nice to play little bits between the main notes on one or the other too for a little tonal variation.dirty oscillators wrote:why do you need 3 tracks for the bass my friend?ahjteam wrote:1-3 for bass
typically bass is mono, correct? so if you had two or three bass tracks, is it best to pan them center?
Eins zwei drei vier funf sechs sieben acht
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- KVRAF
- 1868 posts since 26 Oct, 2002 from San Francisco
Oh yeah, mono for sure. Occasionally I'll have a wide chorus'd bass instrument, but I'll hipass that one and have the main bass tone in or near mono.dirty oscillators wrote:typically bass is mono, correct? so if you had two or three bass tracks, is it best to pan them center?
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- KVRAF
- 10597 posts since 13 Jun, 2004 from Alberto Balsam
16-50, most often 37 or so. Mostly for sound design reasons and because I'm a control freak. When I get above 40 it's usually already overkill.
In general, when I make a submix, I have a habit of sending the submixed elements to two submixes with different processing (most often dry and distorted), and then one more combining the two submix for a true submix channel.
I'll have 3-12 (more often 10 or so) tracks for bass, because I do DnB and I will often use multiple takes of parallel processing to get the sickness I need in a bassline.
Drums: 1-4 (most often 4) channels (dry, distorted, compressed, master) for each of Kick, Snare, Hat, and Ghost hits. Then I will do the same for the drums submix as I did for each of the elements - submix dry, submix distorted, submix through compressor, drums master. So drums usually take up something like 5-22 (more often 20 or so) channels in total.
Then often I like to send Drums and Bass to a submix (doing drum and bass and all) for more parallel processing...DnB submix dry, DnB submix distorted, DnB submix master.
For pads/leads I'll do the same I do with bass, layering multiple parallel channels with very different processing on all of them and lots of bussing between them, usually to something like 3-6 per pad, and I usually have 3 or so different kinds of pads, plus a submix of all of them, so 3-12 for pads and/or leads.
Also when i use something like reverb I put it on it's own track, to do processing only to the wet signal (almost always just EQ, but sometimes I like to put modulation effects before and after it). So by the end I have 2-5 tracks of just wet reverb on different elements. I don't like using global sends.
Effects like swells and noise sweeps always get their own channels. 1-6, usually like 3.
On top of that, when I'm doing something that needs to be loud, I'll bus all the tracks to psuedo master tracks in parallel - "master" mix dry, "master" mix saturated, then a channel combining them. I don't like using my actual master for the master track just in case I want to do some more bussing. When I have to limit a signal I much prefer to layer a channel of the signal very heavily limited than just putting a limiter on it...much easier for me to achive loudness without smashing it to compressed bollocks.
If I'm doing side-chaining I need to send the side-chain's modulator signal to its own muted channel, and I usually have 1-3 side-chaining setups.
If I ever do a project where I'm recording or doing a live setup I can't even imagine how many tracks I will use.
In general, when I make a submix, I have a habit of sending the submixed elements to two submixes with different processing (most often dry and distorted), and then one more combining the two submix for a true submix channel.
I'll have 3-12 (more often 10 or so) tracks for bass, because I do DnB and I will often use multiple takes of parallel processing to get the sickness I need in a bassline.
Drums: 1-4 (most often 4) channels (dry, distorted, compressed, master) for each of Kick, Snare, Hat, and Ghost hits. Then I will do the same for the drums submix as I did for each of the elements - submix dry, submix distorted, submix through compressor, drums master. So drums usually take up something like 5-22 (more often 20 or so) channels in total.
Then often I like to send Drums and Bass to a submix (doing drum and bass and all) for more parallel processing...DnB submix dry, DnB submix distorted, DnB submix master.
For pads/leads I'll do the same I do with bass, layering multiple parallel channels with very different processing on all of them and lots of bussing between them, usually to something like 3-6 per pad, and I usually have 3 or so different kinds of pads, plus a submix of all of them, so 3-12 for pads and/or leads.
Also when i use something like reverb I put it on it's own track, to do processing only to the wet signal (almost always just EQ, but sometimes I like to put modulation effects before and after it). So by the end I have 2-5 tracks of just wet reverb on different elements. I don't like using global sends.
Effects like swells and noise sweeps always get their own channels. 1-6, usually like 3.
On top of that, when I'm doing something that needs to be loud, I'll bus all the tracks to psuedo master tracks in parallel - "master" mix dry, "master" mix saturated, then a channel combining them. I don't like using my actual master for the master track just in case I want to do some more bussing. When I have to limit a signal I much prefer to layer a channel of the signal very heavily limited than just putting a limiter on it...much easier for me to achive loudness without smashing it to compressed bollocks.
If I'm doing side-chaining I need to send the side-chain's modulator signal to its own muted channel, and I usually have 1-3 side-chaining setups.
If I ever do a project where I'm recording or doing a live setup I can't even imagine how many tracks I will use.
Last edited by The Chase on Mon Aug 20, 2007 9:28 pm, edited 1 time in total.
- KVRAF
- 10286 posts since 17 Sep, 2004 from Austin, TX
I usually have about 100 automation tracks just for VST instrument and fx parameters.
Then again everything I make comes out sounding like playing a malarial platypus with a weed whacker.
Then again everything I make comes out sounding like playing a malarial platypus with a weed whacker.
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dirty oscillators dirty oscillators https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=122600
- KVRAF
- 2739 posts since 4 Oct, 2006
jesus, i don't think my computer could handle all that. it's a 2.6 ghz machine but i only have one ram slot (with only 256 in it right now); if i want to upgrade to 1 gig of ram i have to buy a whole stick of ram rather than two 512's or four 256's.The Chase wrote:16-50, most often 37 or so.
Eins zwei drei vier funf sechs sieben acht