#61
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Actually, it is panned. This one is panned automatically by selecting UR44 Mix 1 Left and Right. So when I listen to Rode Left on S (solo), it comes only to my left ear. The same with Rode Right.
On this picture is automatic panning disabled, so I can pan them manually, hard L and hard R. In both cases the track is panned and the sound is the same. So it should be in stereo. |
#62
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__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#63
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Start a new project - an empty project not based on a template. Up at the top, click on project, add track and select audio track; mono. There will now be one audio track in the project window. Right click on it and select "duplicate from the drop down menu. Assign one track to In 1 and slide the panner all the way to the left and another to In 2, sliding the panner all the way to the right and then assign both of them to Stereo Out. Plug in a mic to the left input of your interface and another to the right input. Record whatever you want. The other guys here are advising you to simply record to one stereo track and that is an easier way to achieve a similar result as what I've just led you through. But I think you need to understand panning mono tracks first. The nice thing about what I'm having you do here is you can balance the output volume with the fader on each track to get them even where if you record a stereo track that requires getting input and gain to the mics perfect up front. |
#64
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Same thing for adjustments in R or L time delay. Therefore I feel rather free to move around mike positions mainly focusing on the tone I want rather than other things.
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#65
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Seems right! In my view too you must record both, left and right track, in mono and than go to your mixer and pan hard left and right.
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#66
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Thanks for your help. |
#67
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Various plugins I have can work on the R or L stereo track individually, however for volume balancing and changes in R or L delay I usually use a free plugin from Voxengo called Sound Delay. Did I mention "free". On the interface shown below to do this click on the Routing button and select Dual Mono https://www.voxengo.com/product/sounddelay/features/
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#68
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https://soundcloud.com/luk-leng-l/panned-l-r/s-zxC9d And here is the same, except I choosed Audio track Stereo instead of mono. https://soundcloud.com/luk-leng-l/on...-track/s-u7nWu However, maybe I should be a little far for the microphones, sounds a little bit agressive to me. |
#69
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__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#70
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Thank you! Just curious, do you think, it's all because of that ''Stereo Out''? It seems, like it always has been panned, but never with that ''Stereo Out'' button.
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#71
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Both of the last two recording came out stereo. So?
__________________
Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#72
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You're right. Anyway, thank you all for your comments, tips and advices. It was really helpful and pushed me foward. Now I know more information about recording, mic positions, room tips etc, where I wasn't able to find such a tips online. I'll keep trying and learning my best. I also hope, this topic can help to other users, who might have a similar problem as I did.
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#73
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Hello guys,
since we finished a discussion about my recording problem, now I'm wondering about another issue. I don't want to create new topic for it, so let me write it down in this topic. Thanks to your help, I understand recording fingerstyle guitar better. Now I do all my records just with two mics as match pair stereo (got new Rodes NT5). I also have pick-up system L.R. Baggs Anthem with inside mic + piezo. I'm quite satisfied with the sound, experimenting with positions, room etc. But I want to add a little more "fullnes" and another sound from my Anthem, which alone sound just great. You know, I really admire players like Luca Stricagnoli, Mike Dawes, Marcin Patrzalek, Alexander Misko, Estas Tonne etc. Obviously, not just for their skills, but I also love their sound. They have various pick-up systems in their guitars, such as magnetic pick-up, mics and piezo. According to their studio recordings, I gues, that's combination of microphone, magnetic pick-up and piezo. I wouldn't say, the sound is just from one source (mic). A few link, so you can hear, what I mean. https://www.youtube.com/watch?v=gUarhwho0f8 https://www.youtube.com/watch?v=HU2DghZESxE https://www.youtube.com/watch?v=5qH_GyUONpY So now I have two mics, that is the basic and I want to add piezzo or inside mic from my Anthem system to the mix. My question is: Do you have any tips or ides, how to mix it together? I mean microphones are solved, 2 mics, to L and R, clear stereo, but what about the piezo? Do it L 50 and R50 or? Or do it also L and R, but with lower volume? And how these guys (or their mixing masters probably) mix songs with so many tracks and sound sources? I'm really curious, how this works. Thank you so much! |
#74
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This thread is 74 posts long, and most people checked out of it MONTHS ago. If you want enough eyes on it to get solid answers, I'd create a new thread. |
#75
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Anytime you have multiple sources of the same thing in play, it's a good idea to get them phase aligned. It's not a requirement but you'll be starting from a better place if you do. Next up for me would usually be compression. Depending on what I'm hearing, I might compress the tracks individually, I might use parallel compression, or I might do some combination. My goal would be to lessen the dynamic range enough to that the lower volume parts could be easily heard without having to blast the louder parts. A lot of people tend to over compress when they're first learning so it's a good idea to purposely over compress and hear how it makes a difference in the way a piece sounds. To my ears, over compressing sounds like someone has thrown a blanket over the music. Equalization would come next. If compression is about personal tastes, eq is even more so. But if you're trying to get close to a particular sound, load that sound up as a reference track and check the eq curve it creates. That can help put you on the path you're trying to find. Depending on the piece being played, I may strengthen or diminish the attack by using a plugin to address transients. At the end I'd apply reverb. I almost always use an aux track for reverb, and like so much else, it's really about personal tastes. I'll usually put an eq on the reverb and roll off the bottom and top. That's a very basic outline of how I approach most things. It doesn't really change if I'm mixing two, three, or four (which I've never done but it wouldn't change regardless) tracks of the same music. Depending on what a piece needs I may eq first and use compression second. Sometimes I'll use more than one compressor in different stages. The point is, there are really no constants that I can give you and say "This is what everyone who's good at this does." The more you do it, and the more you listen to your work critically and listen for your mistakes, the better you'll get. Developing a good ear takes time. Be patient, expect to be bad at it for a while, and don't beat yourself up. I've been doing this for years and I'm still learning stuff.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |