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Darude

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  1. Hello dear fellow Logic Heads! My album 'Together' dropped on Friday November 3rd, so feel free to check it out thru the link below, or search for 'Darude - Together' on your fave platform. We also have a limited vinyl and CD batch available and EVEN MORE limited drop of 'Together' skateboards (!!🙂!!) and the extended mixes are available on Beatport.com. I welcome any comments and questions here, thanks for your time! ❤️ https://darude.komi.io
  2. Like I said before, I most often bounce a “complex” project to instrumental audio, then open my vocal recording template project, import it there, set the bpm correct and set the stock delay and platinum verb for the singer, if they want it. I have an adjustable mix of separate instrumental, dry vocals & the wet send going to a little mixer in the booth, so the singer can set those to taste. No latency issues. I often comp in that project as well, and when done I import those comps via the project/channel strip import function either dry or with effects, if I took a liking to them.
  3. I actually don't think I'm a very seasoned and great vocal producer and mixer and as much as I'd love to add something significant here, I don't think I have it to give, but quite standard stuff: Every track is different, depends on the instrumentation under/around the vocals both timing and frequency wise, and how in general you want the vocal to fit. Sometimes a very dry and in your face lead vocal is needed or wanted, sometimes a little smudgier/filtered/chorused/etc one blending in with the synths and guitars, almost like an instrument, is what you want. Starting point for vocals in my tracks usually is similar, though, if I am in charge of the recording & production, or if I work with someone who I can ask specific things for: I often work based on a rougher stereo demo vocal, even with placeholder delays and verbs printed in, so I can have a taster and to develop my own side of things more around and with the vocal (also, if at this point I decide that I don't like the vocal enough, then the vocalist lost the least amount of time). When possibly some ideas come up in that process, then I'll ask the vocalist either to come over again, or if they recorded themselves, to send me comped dry takes, often/usually L,R,C of the best lead they have, octave doubles, various harmonies and ad libs with their possible doubles etc. If I liked the demo sound, I might ask them to do a bounce with all the effects on stereo bounce and both dry and wet versions of the separate channels, just so I have closer reference to go for similar effects. Sometimes I even ask for their chains, if we're running the same DAW & plugs. I don't necessarily need them to do all my work for me, but that way I'll get going very quickly, I don't have to start from scratch and I get to a similar sound with least time & effort since I liked it and obviously them, too as they put it on the demo. I do clean-up EQ on the lead(s) and doubles and compress them some for both controlling the dynamics and also for wanted flavour and I often EQ and comp the collected stereo buses of bg vocals/doubles and harmonies and ad libs, not necessarily the individual channels of those. Sometimes I have delays and reverbs on the buses directly, sometimes I use send effects ie. will have a short and a longer reverb, a delay send and in any case I definitely control the wet signals by cutting low end off verbs to taste, could dim them a bit on top as well, the same with delays. Often for eg. S, K, T sounds on the lead of grid are ok, but if you have them delay an 8th or 4th off-grid it might be distracting or sound outright off-time, so cutting that range out of your delay might help, and similarly you might want to have an EQ prior to your bus reverb to take out sibilants, so that they don't ring forever on your long lush verb, if that verb doesn't have an EQ built in. I use flanger, chorus, phaser to both colour the sound and to widen the sound. Often not on the main lead vocal that is dead center, but maybe the bused doubles or often harmonies and ad libs and on some vocals some saturation is just what the doctor ordered, to add grit or texture or even noticeable, but controlled distortion. If I don't have doubles, then I can use doublers or Melodyne to make doubles by offsetting the formant, say left on the + side a bit, right the opposite, then delay one channel some milliseconds and nd humanise the timing a bit as well, so it sounds more like natural doubling. I usually bring all the vocal buses to one common vocal bus, which will potentially still get EQ, compression, in some cases limiter treatment, and I've even had sends to different verbs to add a bit to all the vocals in some cases. This also makes it easy to mute them all at once, bounce the full acapella and instrumental, fi need be. ...but... there's no magic bullet really. Some multi-FX processors like Waves CLA Vocal and Izotope Nectar do give you great starting points, but you still need to know what you're doing and why. I'd say err on the less side of reverb, if you're unsure. I know sometimes the reverb *sound* is not audible, but I usually in those cases mute the reverb and then realise there's a clear difference between the dry sound and with reverb in, so it's not necessarily that you need to hear it, but to realise it's there and it'd not sound great totally without it.
  4. All that work with M1, they should. Architecture is not changing. If you're on Intel, you'll want to check developers' sites about compatibility. ALMOST all the big ones and smaller devs, too, by now have Apple Silicon native versions of their plugs, BUT, check them yourself to be sure. https://www.quora.com/What-VST-plugins-are-compatible-with-the-Apple-M1-chip
  5. Not in the studio anymore. Will do when I have a chance, but I don’t appreciate the unnecessary 3 centimeters or whatever, 2-3 plug-ins worth of space that is just taking real estate. I have very little tolerance for dumb stuff that huge companies like Apple should not let out at all.
  6. I *CAN* see the 2-3 lines (and notes if I used them), but I have to scroll to them, when my mixer is the proper height ie. the above mixer dead space removed by making the window smaller (or like it was before 10.7.5). Opening the mixer it defaults to showing that damn blank space, so I have to scroll down. Yes, I can resize the window to have the dumb extra space, lock it, but it’s then showing that extra space, which I do not wish to see nor take the unnecessary real estate.
  7. Not just you. This behaviour can't be desired, it's BS. It used to resize exactly to what is needed, if there was enough space, like on a big 4K display. Now it does something ugly/space-wasting, plus it doesn't automatically show 2 or 3 lined track names in the bottom, either. 👎🏻
  8. You can apply parallel stuff by changing the trigger output to a bus/output that is muted, so that the trigger tracks plays, but doesn't go to the desired bounced output, so all the ducking etc effects are heard on the stem you're bouncing. You can bounce thru your mastering chain stem by stem, so any colour or other desired effect will be present in the individual stems. Be aware though, that any dynamic processors and similar might SOUND different when fed lower signal, as it would be one stem coming thru, compared to the whole mix, so you might have to compensate for that, but it might (or might not) affect the balance between the stems. The NI stems format lacks a lot, or the Stems tool to create the stems file does. Naming and other editing is cumbersome and there's no proper re-editing, you have to start from scratch every time, or at least it was like that last I used it. Also I'd let go of trying to make it as loud as commercially mastered tracks and then use Traktor's auto gain and compensate the rest in the DJ mixer, it's no big deal really. I'd do it 3-6dB quieter, though now that latest Traktor has Izotope Ozone Maximiser it IS better than Traktor's own, but still, you don't NEED to crush it. It'll sound better with more dynamics and detail preserved and you CAN compensate for the level loss in the mixer. You can try and hard cut some peaks in the individual stems with a clipper or L2 etc so that combining them together again in Traktor would lead to smaller piled-up peaks, but I'd go less than more there to preserve detail.
  9. I think it’s just whatever processing is on the channel(s) is causing the latency and is unavoidable with those plugins. Nature of DAW production workflow. Solutions are hardware monitoring with compatible audio interface (with or without low-latency processing on its DSP) or lighter plugs (temporarily for recording only, if processing is needed for singer’s comfort or confidence) or low-latency mode ie. dry recording to keep the latency as low as possible. I bounce an instrumental to be imported in a specific recording project where I have nothing else than maybe Channel EQ, Comp and some stock delay & verb, if the singer want a bit for vibes. Never had bad latency issues that way. Singers, even good ones can be off 50 or even 100 ms with their ‘t’, ‘k’ etc hard consonants, so 12 ms definitely is not the bottleneck here.
  10. I'm not sure I understand... It could of course always be better, but for vocal recording going thru a DAW 12 ms is not really that bad of a number? Having strictly no latency you probably need one of those audio interfaces that has a direct-thru (or whatever it's called) feature, so you can monitor in (or as close as possible to) true real time. Anyone else?
  11. Selecting an audio region in the arrangement, going to the audio editor, pressing play = works. Clicking to preview somewhere else in the waveform either mid playback, or stopping, clicking, then hitting play = no sound? WTF? See video: https://www.dropbox.com/s/f5nch09n1lw40w9/Logic%20audio%20editor%20playback%20bug.MOV?dl=0 Anyone else?
  12. I understand your frustrations and you're well within your rights to move on. Check out Waves Studio Rack. It's a free plugin that in itself has Waves' S1 Imager plugin built-in for each band/instance and is a wicked good parallel & serial plug-in "rack", if you will. https://www.waves.com/plugins/studiorack#introducing-the-new-studiorack-plugin-chainer
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