The Studio Log - What Did You Do In The Studio

Anything about MUSIC but doesn't fit into the forums above.
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Too cold to concentrate on much today ... I checked out the audio on a short film a friend is making, and wrote this ...

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From first plays with the Crucible module...
https://www.youtube.com/watch?v=Azg-xcuRlqk

Are you safe?
"For now… a bit like a fish on the floor"
https://tidal.com/artist/33798849

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Was playing with the two repetitor modules. I need to work out a way to get it to generate fills on the fly.
I'm thinking something like sample and hold on a clock divider switches things over to a different gate source to do the fills and then resets back to where it was after how ever many bars the fill takes.
https://www.youtube.com/watch?v=Lc6Gl6JLa3o
Looked on YouTube under "drum fills in eurorack" and there's nothing really there technique wise re using modules you already own. Maybe there's a gap in the market for a module that just fires off triggers for gate fills?

Are you safe?
"For now… a bit like a fish on the floor"
https://tidal.com/artist/33798849

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Beta testing something tasty. :party:

I also started mastering my Jamuary stuff. There's probably going to be an 80-minute mastered release, plus a 45+ minute release of as-is b-sides.

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Since finishing the CD a few weeks ago, directing my brain in a different direction for the creative change.

Experimenting with separating frequencies and triggering visuals from unreleased and previous material:

https://www.youtube.com/watch?v=XrS-fMiOAN0

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PatchAdamz wrote: Sat Feb 04, 2023 3:44 pm Since finishing the CD a few weeks ago, directing my brain in a different direction for the creative change.

Experimenting with separating frequencies and triggering visuals from unreleased and previous material:
That's just gorgeous! Reminds me of when I would play with various types of 'granules' that dissolved and left 'tracers' as they drifted down through liquid in beakers. 8)

And I love your laid-back minimalistic audio portion of the program, with so much of what you have shared. Refreshing. :tu:
I'm not a musician, but I've designed sounds that others use to make music. http://soundcloud.com/obsidiananvil

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This weekend I mastered 16 tracks. But in today's test listening I found a short section where crackling distortion was audible in a place where there shouldn't be any. Mostly in the 5k-10k range and more on the left side than the right. So this evening...

- RX7 DeClick didn't touch it.
- Waves X-Click made everything worse, as usual.
- Velvet Machine inside of a narrow band in Peel could silence the crackles, but also ruined the overall timbre/spectral balance.
- Trying to overwrite the left channel with the right channel in that band didn't work well.
- Noise and other tricks to mask it just sounded bad.
- Finally, I found that SpecOps with a bit of Fuzzy Freeze (but only with FFT size = 4096), followed by subtle use of Mishby to mask it a bit, within that band in Peel, did the trick well enough.

I probably spent more time fixing a 20-second section than I did recording the track in the first place. :dog:

The album's gonna be an hour and 28 minutes, and I'll just not mess with the rest of the tracks. These all turned out to fit within a consistent theme/style as if I did it that way on purpose, so I'm running with that.

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Massively rearranged two of my racks so one is mainly drums and the other mainly VCOs etc. Seems to work much better being able to concentrate on having everything in one case rather than having to constantly flit between two or three of them. Haven't before much played with Reaper recording while I change BPMs on the DAW on the fly and it's quite amusing seeing the way the playhead completely loses track of where the recording is happening.

TLDR - vaguely productive

Are you safe?
"For now… a bit like a fish on the floor"
https://tidal.com/artist/33798849

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Updated to the new version of D16 Phoscyon 2, it's such a fun little 303 clone to monkey around with.
Mapped params like Cutoff, Resonance and pattern speed to faders on my 16n Faderbank and jammed along with the D16 ripoffs of the 606 and 808, great fun. Think I may sell my Behringer TD-3, it's pretty superfluous with this around.

Are you safe?
"For now… a bit like a fish on the floor"
https://tidal.com/artist/33798849

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foosnark wrote: Tue Feb 07, 2023 2:48 am This weekend I mastered 16 tracks. But in today's test listening I found a short section where crackling distortion was audible in a place where there shouldn't be any. Mostly in the 5k-10k range and more on the left side than the right. So this evening...

- RX7 DeClick didn't touch it.
- Waves X-Click made everything worse, as usual.
- Velvet Machine inside of a narrow band in Peel could silence the crackles, but also ruined the overall timbre/spectral balance.
- Trying to overwrite the left channel with the right channel in that band didn't work well.
- Noise and other tricks to mask it just sounded bad.
- Finally, I found that SpecOps with a bit of Fuzzy Freeze (but only with FFT size = 4096), followed by subtle use of Mishby to mask it a bit, within that band in Peel, did the trick well enough.

I probably spent more time fixing a 20-second section than I did recording the track in the first place. :dog:

The album's gonna be an hour and 28 minutes, and I'll just not mess with the rest of the tracks. These all turned out to fit within a consistent theme/style as if I did it that way on purpose, so I'm running with that.
At what point did you find the distortion?

I was watching Mix with the Masters, featuring Idania Valencia where she was saying that she masters on monitors, but checks back on headphones after specifically to find distortion.

I still don’t master… I fake master where necessary, but I’m learning for future purposes.

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elxsound wrote: Wed Feb 22, 2023 8:32 pm At what point did you find the distortion?

I was watching Mix with the Masters, featuring Idania Valencia where she was saying that she masters on monitors, but checks back on headphones after specifically to find distortion.

I still don’t master… I fake master where necessary, but I’m learning for future purposes.
When it was already baked into the mix. I always record just the master stereo bus, with effects already set and levels set live during the recording. I generally leave lots of headroom unless driving stuff on purpose, but then I also tend to run things a little fast and loose. Only once in a while is it a minor issue (and still worth it for me to do things that way IMHO). Sometimes the mastering process reveals stuff that was masked or otherwise just went unnoticed, because I listen with a different kind of attention I guess. But usually it'll clean up with one of a few tricks.

I do almost everything on headphones, though I tend to keep levels a bit on the quiet side to protect my ears. When mastering I listen a bit louder, specifically for details like that.

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foosnark wrote: Thu Feb 23, 2023 3:39 am
elxsound wrote: Wed Feb 22, 2023 8:32 pm At what point did you find the distortion?

I was watching Mix with the Masters, featuring Idania Valencia where she was saying that she masters on monitors, but checks back on headphones after specifically to find distortion.

I still don’t master… I fake master where necessary, but I’m learning for future purposes.
When it was already baked into the mix. I always record just the master stereo bus, with effects already set and levels set live during the recording. I generally leave lots of headroom unless driving stuff on purpose, but then I also tend to run things a little fast and loose. Only once in a while is it a minor issue (and still worth it for me to do things that way IMHO). Sometimes the mastering process reveals stuff that was masked or otherwise just went unnoticed, because I listen with a different kind of attention I guess. But usually it'll clean up with one of a few tricks.

I do almost everything on headphones, though I tend to keep levels a bit on the quiet side to protect my ears. When mastering I listen a bit louder, specifically for details like that.
Sorry if I’m slow… it’s been a long day, but am I reading this right that you record live to a single stereo track? No multi-track recording to go back to?

I was thinking this was mastering for tracks received.

Nothing wrong with that. I think Vurt does the same.

I still recently got over the hump of printing all fx and virtual instruments to audio. About a year now of doing this, but it’s been a big productivity boost.

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elxsound wrote: Thu Feb 23, 2023 3:52 am Sorry if I’m slow… it’s been a long day, but am I reading this right that you record live to a single stereo track? No multi-track recording to go back to?
Yep, exactly, just the single stereo file of the full mix, no multitracking.

Although sometimes I will dub tracks separately. I'll play the existing mix in Sound Forge, but record a new track live in Bitwig while monitoring both, then Mix Paste it in Sound Forge. Usually just for adding a little extra support to a track, or more rarely to add a bass part when I just don't have enough hands :)

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foosnark wrote: Thu Feb 23, 2023 4:12 am
elxsound wrote: Thu Feb 23, 2023 3:52 am Sorry if I’m slow… it’s been a long day, but am I reading this right that you record live to a single stereo track? No multi-track recording to go back to?
Yep, exactly, just the single stereo file of the full mix, no multitracking.

Although sometimes I will dub tracks separately. I'll play the existing mix in Sound Forge, but record a new track live in Bitwig while monitoring both, then Mix Paste it in Sound Forge. Usually just for adding a little extra support to a track, or more rarely to add a bass part when I just don't have enough hands :)
Impressive. Rendering virtual instruments has made me perform complete passages in a single go, vs getting lost in the Session view of Live. I don’t know that I can get there (no multitracking) but I would love to try it sometime.

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It sort of naturally fell out of my shift from doing everything in software, I guess. I used to sequence everything in MIDI and just render it to audio in a single pass. If I wanted to adjust the mix I'd make my adjustments and render it again. When I started messing with hardware, I'd do the same thing but in real time.

Then I started playing along with the sequenced stuff once in a while. As I got into modular and had more synth voices happening in hardware, and eventually got out of the habit of sequencing in the DAW at all, I just never transitioned to multitracking.

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