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#37843 - 10/05/00 02:40 PM
Re: recording levels - a standard?
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Member
Registered: 10/31/98
Posts: 79
Loc: Fulton,NY,USA
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#37848 - 11/16/00 01:17 PM
Re: recording levels - a standard?
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Member
Registered: 04/14/99
Posts: 585
Loc: British Columbia
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>0< Db to me is optimum. At times it can be a little difficult to maintain, particularly when recording vocals. Once you've got your levels set, your pop screen or damper in place, lyrics at eye level, phone off the hook, you know the drill..everything set at the right position for recording and then you go ahead and begin laying down the vocal track not realizing you might be moving ever so slightly one way or another while singing, it's often just enough to put you over the top and into clip country. It can be hit and miss if you're doing everything..ie. all instrumentation and vocals. I've done some where the vocals just couldn't have been better and then a day later, similar track, it's either not there or distorted off the scale. If you're covering the role of both musician/singer and engineer, if you're like me, you're gonna be your own worst critic anyways. Remember, a lot of these artists you hear on the air have got someone doing all the magic for them so just do the best you can with what you've got. You can't expect any more from yourself than that. Good Luck
_________________________
...L
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#37850 - 11/17/00 09:33 PM
Re: recording levels - a standard?
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Member
Registered: 07/25/00
Posts: 296
Loc: Laguna Beach, California, Unit...
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Gentlemen,
No feather ruffleing nah K? Although I SHOULD HAVE ASKED, I presumed (like a fool)the recording media was mag tape a/o analog circuitry. ie., I quote myself in saying, " Keeping the bias and equalazation in proper tweaking helps tremendously when you are "riding on the cushion"." This obviously refers to mag tape, as there is no stepping bias involved w/DSP.
Smitty threw a dead ringer bullseye about the compression symantics in the nature of analog. Tubes are the extreme example as the electrons are going through vacuum space and hitting the grid, they "pile up on each other" creating the resulted sonic. The characteristic is not limited to only tubes though. When audio signal has capacitence applied to it electrolytically (whoa, I musta misspelled that?) it gets colored with a transient dynamic effect. ie. the punchy sound of a mediocre car power amp. You see? and those yunkers ain't got no toobs! As Back Asswards that it may seem gentlemen, the WTG is 'that danger zone' as far as drum tracks go. MOF, the sonic difference is phenom better than a perfect "text book" digital capture of the same signal! We are the ones with the trained ears, listen to that difference. Digital is a completely different animal. Like Smitty said, in order to achieve those sounds we have been used to hearing with 'big 'n hard' equipment, a texuring need be applied. This is done alogrithmically by a method known as fast fourier transformation or FFT. I do FFT's at work a lot, but let me tell you, when I went to school back in the 80's we had to use a calculator...ugh, not a good memory that is.
_________________________
MORPH! Sound
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