ilovefuzz.com

What I thought it'd be... I found one online at a store that's $400 but also 80 for shipping. I emailed them and they said it's been there a year so I'm wondering if I can offer them to take the price down a peg.

conky wrote:I'm using Acid Pro 6.0. I started out on 2.0 and have been stuck on it ever since. I sent the drums to their own buss on the last recording. Thought about doing the zoom on its own buss and the 4 mics on another. Eq and reverb I have a grasp on but compression has always been an effect that I don't understand. Its one of those effects that when done right you don't hear it. My mind and ears aren't used to that when tweaking knobs.

Okay, I'm not familiar with that DAW so I might not be that much help but your dual buss idea could work. I'd squash the zoom and do the light comp on the others. The light comp should be just enough to make the kit feel less like individual mics and more like a single entity, the squashed track should be a noticeable difference like its got ZERO dynamics. Compression is to me the hardest part of mixing to nail down.


So my Tax return is a gonna leave me with a decent amount of spending cash, so should I expand the current guitar rig or build a badass bass rig..... decisions decisions......

Ancient Astronaught wrote:

conky wrote:I'm using Acid Pro 6.0. I started out on 2.0 and have been stuck on it ever since. I sent the drums to their own buss on the last recording. Thought about doing the zoom on its own buss and the 4 mics on another. Eq and reverb I have a grasp on but compression has always been an effect that I don't understand. Its one of those effects that when done right you don't hear it. My mind and ears aren't used to that when tweaking knobs.

Okay, I'm not familiar with that DAW so I might not be that much help but your dual buss idea could work. I'd squash the zoom and do the light comp on the others. The light comp should be just enough to make the kit feel less like individual mics and more like a single entity, the squashed track should be a noticeable difference like its got ZERO dynamics. Compression is to me the hardest part of mixing to nail down.


So my Tax return is a gonna leave me with a decent amount of spending cash, so should I expand the current guitar rig or build a badass bass rig..... decisions decisions......

Would it be best to add compression to each individual tracks or just put it on the buss so they all get the same treatment?

Id do a bass rig if I had my guitar setup pretty much down, but the correct answer is both.

Both! Comp should be on the individual track as well as as eq, then light comp on the buss.

Haha I think I'm gonna go bass as my guitar rig is definitely covered.

I have no idea what I'm doing whenever I use compression. Half of the time it makes the track sound big and full. Half of the time it makes it sound like I recorded in a well made out of aluminum. Then again, I just do demo stuff in my home office, so it doesn't have to sound great.

AxAxSxS wrote:the purist's are going to hate this and that's a plus in my book



Lao Wiz's the man.

That's like relic'ing your guitar. Gross.

I still love ya though, buddy.

Oh hai guys. I have nothing constructive to add, but thought I would post since I actually made it here.

What's the general consensus on the Ibanez Artist reissues? Someone has one...Pelliot maybe?

emptyparadigm wrote:I have no idea what I'm doing whenever I use compression. Half of the time it makes the track sound big and full. Half of the time it makes it sound like I recorded in a well made out of aluminum. Then again, I just do demo stuff in my home office, so it doesn't have to sound great.

Same here. I think I lucked up with the sound on our 7". Its not the greatest but it fits the song. I'm hoping I can get this one sounding better. Starting on the guitars tomorrow.

Ancient Astronaught wrote:Both! Comp should be on the individual track as well as as eq, then light comp on the buss.

Haha I think I'm gonna go bass as my guitar rig is definitely covered.

Sweet, thanks for the help man.

t-rey wrote:Oh hai guys. I have nothing constructive to add, but thought I would post since I actually made it here.

What's the general consensus on the Ibanez Artist reissues? Someone has one...Pelliot maybe?

Yup! It's a really great guitar for the money. Feels very similar to my Les Paul (which is juuuuuust right) and the coil tapping is wonderful for switchin up dem tones. Stock pickups are good. Much better than the ones that came in my Epi LPC. Plus it looks hot. Chicks dig it.

conky wrote:

emptyparadigm wrote:I have no idea what I'm doing whenever I use compression. Half of the time it makes the track sound big and full. Half of the time it makes it sound like I recorded in a well made out of aluminum. Then again, I just do demo stuff in my home office, so it doesn't have to sound great.

Same here. I think I lucked up with the sound on our 7". Its not the greatest but it fits the song. I'm hoping I can get this one sounding better. Starting on the guitars tomorrow.

Ancient Astronaught wrote:Both! Comp should be on the individual track as well as as eq, then light comp on the buss.

Haha I think I'm gonna go bass as my guitar rig is definitely covered.

Sweet, thanks for the help man.

Compression is a tricky thing. A lot of engineers still have trouble with it and don't really know what to do with it.

For drums you want to focus on getting a good snare hit and kick hit first. You can use compression on those individual tracks a little more heavy then say the toms to try and bring them out a bit more. You want to pay attention to the attack time and release time. On the snare you can back off the attack a bit as you might not want to squash the initial transient of the hit but want to bring up the trail of the hit so you can have a slower release but not too long as to go into the next hit. Different comps can also give different sounds. I like the 1176 with drums. Waves has a decent version if you can get a copy of that to work with Acid.

Eq plays a big part here too as it can give a bit more snap to the snare and more umph to the kick. You might want to focus on subtractive eq rather than boosting for now. It will help clean up the sound and kill some mud or kill some ring in the snare while hopefully leaving the drums sound like real drums. You mainly want to help the drums not sound boxy. Some light boost may be ok but people tend to over boost and then you have a drum that is super loud in a small frequency range. This can sound kinda fake like a drum sample. I also tend to set up a mic a few feet away from the set that I compress heavy too. This helps add in a bit of attack but is a little bit more roomy and open then the close mics. This would be in addition to some "real" room mics that are set further back to get more of the actual room sound.

I also usually do what Skip said with a parallel drum track that is compressed heavy almost to the point of distortion that is mixed under the normal drum bus track to add in some solid hits. The main drum track is only lightly compressed and probably not eq'd, to help it hold together. But only if the room mics and overheads don't do enough to make it sound like a complete set rather than a bunch of different mics. You can also use reverb to put the set in a "room" so to speak. If you were just recording in a smaller room like a practice space this can help a lot to give the drums some breathing room. Use a bus send from the drum bus to send the sound to a reverb alt track but keep the send level kinda low so the reverb sound is under the main drum sound.

sorry if this was a little too long and ranty

i'm not caught up on the page at all, i've been busy as shit, but that simms watts badge looks great i think. people are still going to ask you what the hell your amp is though.

t-rey wrote:Oh hai guys. I have nothing constructive to add, but thought I would post since I actually made it here.

What's the general consensus on the Ibanez Artist reissues? Someone has one...Pelliot maybe?

the ones i've played have felt really nice. pretty good for an affordable korean guitar. at least i think they're korean. you can still track down MIJ ar-50's for a similar price if you look hard and they're nicer. less options, but overall a higher end vintage feel to them. nicer wood too. the reissues really are pretty sweet though.

mah dudes
check it

WHADAFUCKISDAT

Do those two neck pickups work together always or can you split them?