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05-07-2016, 08:37 AM | #451 |
Demi-God
Posts: 270
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the squeak is coming from the hinges, when using expression pedal. or perhaps a family of mice living inside.
thanks for the ideas. |
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05-07-2016, 01:14 PM | #452 | |
Minion of Satan
Location: Banned
Posts: 8,851
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Quote:
I dunno, but the ones in the price range I was looking at don't tend to have one. |
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05-07-2016, 01:58 PM | #453 |
Braindead
Location: PROWLING THE BADLANDS
Posts: 17,399
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in my wildest, most secret dreams, somebody loves me unconditionally and i own a binson echorec
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05-11-2016, 04:59 AM | #454 |
Minion of Satan
Location: Banned
Posts: 8,851
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Looks like a cool machine. It looks like Catalinbread tried to replicate it in a pedal. Have you seen it?
http://www.catalinbread.com/product/echorec/ I was just recording a rough sketch of the vocals for a song I'm writing (just a bunch of nonsense placeholder lyrics for now). I'm not confident in my voice, and I noticed I was kind of too embarrassed to sing all that clearly because I wasn't sure if anybody could hear me (I live in a shitty apartment and my window faces the parking lot and I can always hear idiots out there), so I was pretty much whispering. I feel like I can't improve my vocals because in order to do that, I need to practice, and I don't like practicing because there's the chance somebody could hear me. It's a feedback loop. Also, I don't know much about mixing. I only recorded a single acoustic guitar and two vocal tracks, but it was hard for me to have them all sit comfortably in their own spaces in the mix. Doesn't help that my vocals were already very blended into the guitar due to the whispery-ness. Listening to myself is really cringey and it usually forces me to stop and give up but I tried to push through it this time. |
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05-11-2016, 08:04 AM | #455 |
Braindead
Location: TX
Posts: 16,289
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this is not a singing thread tho
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05-11-2016, 01:19 PM | #456 | |
Minion of Satan
Location: Banned
Posts: 8,851
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But I was singing over a guitar so
Also, I didn't want to put this in the "thread for posting your musics" because I wasn't actually posting my musics, just complaining about how my musics is a shit Quote:
Take a listen and tell me what you think. |
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05-11-2016, 02:27 PM | #457 |
Braindead
Location: TX
Posts: 16,289
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I kind of hate the beach boys I gotta be honest
Why they are so beloved I don't think I'll ever understand It all reminds me of Christmas music |
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05-11-2016, 04:20 PM | #458 |
Minion of Satan
Location: An oasis of horror in a desert of boredom
Posts: 7,742
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Elph are you talking Pet Sounds or radio beach boys? If the latter I can forgive. If the former, you need to try it on headphones with some bong hoots. The experience will thoroughly destroy your mind/soul then remake them for the better, I promise
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05-11-2016, 08:11 PM | #459 | |
Virgo
Posts: 42,781
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Quote:
Brian was a wizard at using found and natural sounds as parts of his compositions (running water, dishes clanging, fire crackling, people chewing, things like that). I used to feel the same way as you but it wasn't until earlier this year that it finally hit me. This song was my entry point. Guy was pretty messed up. It might help if you start with the songs he wrote the lyrics to. Lots of heartbreak and longing and all the good stuff that makes for good music, as opposed to "songs about surfing and cars" soniclovenoize would have much, much more to say on the subject. |
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05-11-2016, 08:51 PM | #460 |
Braindead
Location: TX
Posts: 16,289
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I tried listening to Pet Sounds and didn't get it sorry man
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05-11-2016, 08:55 PM | #461 |
Virgo
Posts: 42,781
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If you can find a way to separate Brain from the rest of the Boys (which happened within the group) you will be much better off.
Brian Wilson > Beach Boys Unfortunately he lyrically contributed less and less to every album although Pet Sounds and Smile (Smiley Smile) were his megaliths. |
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05-11-2016, 08:57 PM | #462 |
Braindead
Location: TX
Posts: 16,289
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Maybe there's hope for me
Idk I won't give up on them yet |
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05-11-2016, 09:35 PM | #463 |
Virgo
Posts: 42,781
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For the record I don't revisit it everyday but it's at least worth listening to once or twice with an informed ear.
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05-12-2016, 01:04 PM | #464 | |
Minion of Satan
Location: Minneapolis, MN
Posts: 5,595
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Quote:
Just listen to this. Listen to the lyrics. Then go back and listen to the chord sequence. Then go back and listen to it as a whole, as a production. If you don't get it, don't bother. |
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05-12-2016, 06:04 PM | #465 |
Demi-God
Posts: 288
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A lot of their music has a dark undercurrent to it. Probably has to do with their backstory too. Surf's Up the album rules.
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05-22-2016, 01:05 PM | #466 |
Virgo
Posts: 42,781
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Starting to learn the importance of an engineer. I went through about 20 takes of a certain song and the only thing I could think was "man I wish the vocals were up a bit higher". Find the ones with the best sounding vocals and I think "eh this performance isn't as good as the others". I should have checked these things in between takes instead of just constantly recording until I got a performance I was happy with.
Or like a certain instrumental in 7 takes the best performance has a couple spots were another part could be a tad higher in volume but the others with the best "mixing sound" have booted performances where I completely mess up the ending or something. I do everything live in real time so it's not like I can go back into a DAW and click a button. I also write and make revisions while recording so take 1 of a song is usually not as evolved as what the final take will be, whether its specific sequences or lyrics or whatever. I know it happens to everybody but does anybody else have anything to share regarding compromising when choosing takes of your own material? Something other than "choose the one with the best feels, man". Maybe I should just start to take the time to listen to every playback between performances, or maybe listen to the day's performances as a whole instead of just recording a whole bunch of stuff and then a couple of months later go back through all the audio takes. I dunno, rambling here. |
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05-22-2016, 02:09 PM | #467 |
Minion of Satan
Location: Minneapolis, MN
Posts: 5,595
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Are you not multi-tracking? Are you recording live to like a 2-track stereo channel?
For basic tracks, I always prefer the spontaneity of first or second takes. Anything above four is over-thinking it; walk away from it and rehearse it more. Overdubs, same rules apply but sometimes it takes a few passes to get the right feel. But even then, after many takes, I just walk away and try again from scratch the next day and often nail it right away. I comp vocals like crazy now though. Last edited by soniclovenoize : 05-22-2016 at 02:14 PM. |
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05-22-2016, 02:59 PM | #468 |
Virgo
Posts: 42,781
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No I don't multi-track. Everything is recorded live to a stereo channel. I tend to over-record because when the recorder isn't on I'll often play something I wish was recorded.
I agree about over-thinking it though. Even if I do 20 takes of something more than likely I'll be choosing something in the first 4. What I do (instrumentally) leaves a lot of room for experimentation though, so I like to play around with the recorder running. Sometimes a simple take on the first pass will evolve into something more complex over the course of a day or a month. |
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05-22-2016, 05:46 PM | #469 |
Minion of Satan
Location: Minneapolis, MN
Posts: 5,595
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You are mixing looped/FX guitars and vocals, right? If so, I would recommend investing in at least a 4-channel interface, so you at least have the option to drop out a vocal flub over an otherwise good take of your guitar loops. Then you can also take elements of different takes and combine them, Frank Zappa's ideas of xenochrony.
Also, a few years ago I got into Can and I really liked the idea of taking epic, long jams and just editing out the best sections of one long piece and stringing them together as the final 'song'. You could try that, hard edits between different takes... Or maybe a crossfade of the different takes if there's some mixing differences? I'm playing in a newish project called FM Bells that has evolved into a sort of electro-jazz sort of thing. I can't remember if I've talked about that here, but we've been jamming with an electronic producer who makes live beats and sonic manipulations, with us playing live bass, guitar and saxophone. It's pretty cool, I've never done anything like it. But what's happening is everything is devolving into a droney 20 minute jam. I think it's great, and am pushing to do the Can thing of taking those jams and editing the best pieces and making it a six minute thing, idk. All four of us have a different idea of how to proceed and take these hours upon hours of just jamming and make it something feasible an audience might want to hear... Here it is if anyone is curious. https://soundcloud.com/soniclovenoiz...c-of-capricorn |
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05-22-2016, 08:09 PM | #470 |
Virgo
Posts: 42,781
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The material with vocals is something different than my normal guitar instrumentals. I was just using it as an example. I do a small amount of editing within a track, like you mentioned editing down a super long jam into a more defined piece, but the nature of what I do doesn't allow me to cobble different takes together, unless it's a distinctly different movement.
Idk. Thanks for the replies. |
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06-03-2016, 06:02 PM | #471 |
Minion of Satan
Location: Banned
Posts: 8,851
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Finally got my noise gate to work how I want it to. At first I was stupidly putting it at the end of my chain before, because I was like "that way, it'll cut the noise introduced by all my other pedals," but when I did that, if I put the threshold high enough to cut out the noise when my first pedals were on, if I wanted to switch to clean playing, it's be inaudible because the clean signal was lower than the threshold, and I couldn't turn it up without making the noise louder and having to set the threshold up again.
I then realized that most of my noise is coming from the guitar, and is only being amplified by the pedals, so the gate is now in front of the chain, and it's working very well for me. Like, that feeling when there is total silence of maybe just a soft hum, but then you start playing evil fuzzed out bliss, but then you stop playing, and there's silence again. It just feels crisp and right. The worst thing is when you have a modulation pedal on, like a phaser or flanger, and you can hear it phasing through the buzz when you're not playing. I mean, I feel like that could be used for some cool effect, but it's annoying when you don't want any of it. My problem now, though, is that there seems to be a tradeoff between cutting noise and having crazy long sustain, because as soon as the guitar signal goes below the threshold, it gets cut off with the noise. What do I do if I want both a lack of noise and some good sustain? I'm guessing the only things I'll be able to do are (1) shield my guitar so that I don't need a noise gate or can set the gate threshold lower, and/or (2), get a compression pedal and set it before the gate, but set it just right so that the threshold is just above the gate's threshold, so that it sustains the guitar signal without boosting the noise. Are there any other options that don't require buying more shit or doing anything that takes effort though? |
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06-03-2016, 06:10 PM | #472 |
Minion of Satan
Location: Banned
Posts: 8,851
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Although sometimes I like doing this cool thing where I let a note or chord sustain and wait for it to fade back into the noise and pretend to be a rockstar in my room
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06-04-2016, 12:26 PM | #473 |
Virgo
Posts: 42,781
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Seems a bit goofy to be using a noise gate for playing at bedroom volume. Are you sure you just don't have a ground hum?
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06-04-2016, 09:50 PM | #474 |
Braindead
Location: PROWLING THE BADLANDS
Posts: 17,399
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lol how is it goofy
the second you turn on a fuzz pedal you're going to have shitloads of noise every time you're not playing, wether you're playing with earphones or to a crowd of 10,000 people |
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06-06-2016, 02:56 AM | #475 |
Virgo
Posts: 42,781
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why would you have your fuzz pedal switched on when you're not playing through it?
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06-06-2016, 03:04 AM | #476 |
Virgo
Posts: 42,781
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i mean, these foot switches were created for a reason. they can be turned on and off with ease.
if you're just standing there, resting for 14 bars, turn the goddam thing off or roll down your volume, something. or if you're recording, fade down the parts where you're not actually playing anything. |
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06-06-2016, 03:07 AM | #477 |
Just Hook it to My Veins!
Location: František! How's the foot of your turtle?
Posts: 32,741
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don't tell me what to do!
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06-06-2016, 03:12 AM | #478 |
Virgo
Posts: 42,781
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current chain: guitar < envelope filter < noise gate < octave < noise gate < fuzz < noise gate < phase < noise gate < delay < noise gate < reverb < noise gate < amp
i leave all effects on all the time and only control the noise gates. |
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06-06-2016, 03:54 AM | #479 |
Just Hook it to My Veins!
Location: František! How's the foot of your turtle?
Posts: 32,741
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this actually brings a tear of joy to my eye.
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06-06-2016, 09:15 AM | #480 |
Braindead
Location: PROWLING THE BADLANDS
Posts: 17,399
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lol slunken you're like being a smartass when it's you who's assuming that by 'not playing' we mean 'resting for 14 bars with fuzz pedal on'
how about riffs that stop and start, or when you solo and you want and pause your playing every so often, and not be concerned that every time you mute the strings you'll have a bunch of modulated static. noise gates are your friends |
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