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Old 28-01-2013, 12:05 PM   #31
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Yeh, this guy was tracking to tape for 20 years I think... proper old school. I do everything in the box too. Thinking about it, do you think you need a rack full of pretty outboard to make the studio seem professional?

If I can just create template sessions to start up with compressors on every channel, it's basically the same, except I'm not stuck with anything I can't change after.
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Old 28-01-2013, 12:20 PM   #32
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Originally Posted by cheddatom View Post
Yeh, this guy was tracking to tape for 20 years I think... proper old school. I do everything in the box too. Thinking about it, do you think you need a rack full of pretty outboard to make the studio seem professional?

If I can just create template sessions to start up with compressors on every channel, it's basically the same, except I'm not stuck with anything I can't change after.
Maybe just put whatever you do have on prominent display, even if it's completely irrelevant

I think one or two external might be nice as they can change the performance to an extent but yeah, some preset channel templates would solve the speed issues...
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Old 28-01-2013, 01:21 PM   #33
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hah, yeh, I need a couple of those rack tuners that have a demo mode for the lights... that should do the trick
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Old 28-01-2013, 06:49 PM   #34
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So yeh, the one negative for me was that I generally take a lot longer to get a good sound that he does... any thoughts on that?
Why do you think it takes you longer?


Regarding a template with plugins on, wouldn't do that when you're tracking as it can cause timing issues later down the line. Could turn off plugin delay compensation I guess, but that could make the problem worse?
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Old 29-01-2013, 08:53 AM   #35
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I'll be monitoring direct from the desk while recording so latency won't be an issue. I think that's what you meant?

I'm just thinking a template file with all the channels set up for a drum mix as I like it would save a lot of time.

The reason I think it would take me longer than pro dude with 30 years of experience is that I tend to take a little longer positioning mics, and I have to add and set all my compressors in the box, after tracking, rather than using outboard on the way in.
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Old 29-01-2013, 09:02 AM   #36
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Originally Posted by cheddatom View Post
I'll be monitoring direct from the desk while recording so latency won't be an issue. I think that's what you meant?

I'm just thinking a template file with all the channels set up for a drum mix as I like it would save a lot of time.

The reason I think it would take me longer than pro dude with 30 years of experience is that I tend to take a little longer positioning mics, and I have to add and set all my compressors in the box, after tracking, rather than using outboard on the way in.
i am about 99% sure that no pro compresses drums during tracking
also outboard is a bigger pain in the ass than plugins
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Old 29-01-2013, 09:38 AM   #37
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I know a fair few old time pro's that will track with compressors and all manner of outboard to tape.
The point is that if you have the sound you want, print it now and you won't waste time tweaking it later. With drums, it's very common to have a slow compressor on the kick and to compress during tracking. Recording in the box with comps on all channels will just use up your CPU. If you have quality outboard comps, use them for tracking, then they're free for use during mixing too.

I like to track vocals through a nice compressor, 1176 where available, but usually at a very tame setting. Usually 1.5 - 2:1 at around -20dB which means it won't kick in unless the singer is really pushing.
I almost always track bass through a limiter for obvious reasons, again, at a high threshold.
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Old 29-01-2013, 11:11 AM   #38
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I'll be monitoring direct from the desk while recording so latency won't be an issue. I think that's what you meant?
Not really.

If you were to record drums, then say guitar after. If you start adding plugins to the drums before you record guitar, then what the guitar plays along to will be ever so slightly delayed. If you were to decide you wanted a different compressor or EQ or whatever, this will cause the guitar to move slightly out of time. If you were using a linear phase EQ and change the settings or remove it completely, the latency involved can be quite extreme.

Most plugins don't create latency of any significance, but its still something to consider.
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Old 29-01-2013, 12:27 PM   #39
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Originally Posted by Don'tPostThePear View Post
i am about 99% sure that no pro compresses drums during tracking
Trust me, this dude is a pro

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Not really...Most plugins don't create latency of any significance, but its still something to consider.
Yeh, good call

I guess I could do with a couple of rack comps then, not just to save time but to avoid any latency problems

Looking at a DBX266XL at the moment. Not sure what else I can afford on a budget
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Old 01-02-2013, 01:49 PM   #40
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OK, I was in a potential premises last night with my new sound level meter. The live room is about 10M square (although not exactly square I don't have the right measurements) and the loudest noises are from a passing train, and from a rehearsal space below the building (but not directly below the potential live room). The readings on my sound level meter at the loudest times were:

A weighting 60db
C weighting 72db

is this too much for a recording studio? How much would I need to reduce this by?

(I'm looking at you Jaicen )
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Old 01-02-2013, 03:07 PM   #41
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Really, you should be using A-Weighting, though it's only really valid for sounds around 40dB for reasons i'm not even going into right now!

I would look somewhere else to be honest, a noise floor at 60dB is just too high. What sound level meter do you have? Can you measure an LEQ over a few hours? That will give you a better idea of the average sound levels. But to be honest, I think that it's probably going to be too noisy.
Can you give me more details about the construction of the building, doors etc.??Also, when you say 10M square, is that 10x10?? Sounds about right in terms of dimensions.
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Old 01-02-2013, 03:58 PM   #42
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yeh I'd say it's about 10m x 10m but one wall could be 9, the other 11, not sure really

The building is brick and the walls in this room seem like brick with plasterboard

Doors are just standard light affairs. Obviously I'd replace these with weighty fire doors or the like, and we could do double doors on every opening.

The main issue for me seemed to be the noise coming through the floor, and I'm not sure how to effectively reduce that. I could spend up to £1K I guess but is that really going to help?

I have a Silverline sound level meter. I was there for an hour trying it pointing in all directions and it didn't go above 60db on A weighting. I guess a standard singer into a close-mic would be at least 75db?! So if I compress that some of the background noise could come through. Other than that... But yeh I am guessing so any advice is most appreciated.
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Old 01-02-2013, 05:46 PM   #43
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I actually did some building work on a few recording studios and a live room at a local college. We used two layers of 15mm decibel check plasterboard with dense insulation behind to minimise noise The first layer was screwed to a metal rail which was hung from the wooden beams and the second layer was glued to the first layer to stop sound transferring through the screws. I think that was a little overkill though.
The problem was, they spend all that money on the treatment for the walls and ceilings and then hung standard firedoors and you could still hear everything from the next studio space at the opposite side of the hallway which had the same treatment, and same firedoor.
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Old 02-02-2013, 12:14 AM   #44
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Quote:
Originally Posted by Don'tPostThePear View Post
i am about 99% sure that no pro compresses drums during tracking
also outboard is a bigger pain in the ass than plugins
you are 100% wrong - I can vouch for plenty of producers who range from no compression to tickling the kick and snare and perhaps dirty the rooms up a bit to full on compression. If the pros know the sound they want, why waste having to route it all out afterward when they could get the sound they are going for on the way in? Outboard is only a pain in the ass for the assistant engineers who have to patch it all in, even then theres nothing quite like watching a rack full of outboard flashing away in time with the drums

I am quite reluctant to overly EQ and compress in the way in (usually just notch EQ nothing additive and compression only in the most obvious applications)
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Old 02-02-2013, 11:59 AM   #45
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I actually did some building work on a few recording studios and a live room at a local college. We used two layers of 15mm decibel check plasterboard with dense insulation behind to minimise noise The first layer was screwed to a metal rail which was hung from the wooden beams and the second layer was glued to the first layer to stop sound transferring through the screws. I think that was a little overkill though.
The problem was, they spend all that money on the treatment for the walls and ceilings and then hung standard firedoors and you could still hear everything from the next studio space at the opposite side of the hallway which had the same treatment, and same firedoor.
Interesting! Any ideas on separating a floor from the room below?
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