Hi, i'm looking for a few expert recording engineer sugguestions on how to possibly improve a guitar sound a bit. Firstly, i'll give a little background on my setup. I'm running three mics: One cardioid to isolate the sound, one condenser for a little bit of crispness and a tube in the room. I am happy with the initial sound i'm getting running two of these mics (one compressed) from a processor into two separate analog mixer channels and one mic directly(condenser) to a mixer channel. I then send all three of these mics out together bused (one line) as a stereo pair (L&R), compress again, then to an external converter and go optical into a single track into my multi-track software. My question is would I be better off running more than one stereo pair to my converters (separate for each mic) into my software, recording more than one track simultaniously? I'm wondering if i'll achieve a slight bit better edge on my sound somehow that way.. or perhaps I should also compress the other two mics and stick to running them all together as one line into a single track. Thx for any helpful sugguestions, opinions or info from any knowlegable engineers. ~Jp, "The Box", Minnesota, US
Comments
Hey everyone, how's everthing? I've been reading posts here for
Hey everyone, how's everthing?
I've been reading posts here for a really long time, but I never registered.
Let me say that this thread has inspired me to register just so I could say thank you to jp22 for providing over 5 pages of pure comedy. I sat here at work, laughing out loud, with my co-workers wondering what was so damn funny. I really enjoy all of the threads about the serious side of recording music, but this has been a welcome break. Thanks agan..jp22...keep it coming! :D
It's people like this that make forums, let alone the entire mus
It's people like this that make forums, let alone the entire music industry, very unenjoyable to be a part of. What is it about music that makes people competitive, hostile, opinionated, and ignorant? Unwilling to learn, unwilling to accept the possibility that they might be wrong, or at the very least that there is no right or wrong, just different ways of doing things.
There's a sticky in the forum that I haven't even bothered to read called "The care and feeding of Trolls". Upon first seeing it, I was amazed that a forum like this would ever have such a problem. I mean, I could understand discussions that get out of hand when it comes to people who simply can't agree to disagree with something like, "what's the best kick drum microphone?", but I simply can't understand a stance like, "You are a fucking retard. Shure's Beta 52 is something that only a deranged monkey wallowing in it's own shit would use." `Yeah? Well only a mental midget who thinks about monkeys and their own shit all day would pick the AKG D-112 over ANY Shure microphone.' It's like two children, who both need to be taken out back and beaten to death so we can all feel the weight of the world on our shoulders get just a little lighter. "Do you feel that? The weight of the world just got lighter, a moron must have died" - Bill Hicks.
I have been working in music for 17 years. I've been recording for 14, and recording professionally as an engineer and/or producer for a mere 5 years. I do not think I know everything about everything, but I'm certainly not lacking in knowledge either. My clients are always more than happy with the work that I do, and I don't know what some people think is required to call yourself an "engineer", but I let other people call me that on their albums, and when they're calling for me to do their tracks. I am always trying to learn, and still always trying to share my knowledge to help others learn. Forums such as this one operate on the basic fundamental principle of sharing knowledge. I love this place, because of the knowledge available from many of the people who contribute here. I try to do what I can to contribute, when I can, but I'm no master engineer with 20 years of historic experience under my belt. However, when people like JP22 are allowed to exist, we all suffer because people like me leave and don't share our knowledge, and in turn, people like me suffer because we don't learn from other people's shared knowledge.
I guess the point I'm trying to make is, don't be ignorant. Save that for the people you fuck money out of. Save that for the people who have to deal with you on a daily basis. Save that for the unfortunates who have to hear your uninformed, closed minded, ignorant opinions that are rarely, if ever, based on any reality whatsoever. Music, like life, is not a competition, nor is it a dick measuring contest of what you have and what you can do. Is JP22 an idiot? Obviously. Why a moderator didn't just ban this moron is beyond me, but hey.. I don't run this place, I just try and contribute where I can, and hopefully learn something new as I read through the threads. I just can't believe that this type of ignorance is allowed to exist here, although it certainly exists all over the the industry.
I think I'm going to read that "Care and feeding of Trolls" thread now, and hopefully when I return in a month or so, this place won't still be a haven for retards like this.
Remember, your mileage may vary.
Angstaroo wrote: It's people like this that make forums, let alo
Angstaroo wrote: It's people like this that make forums, let alone the entire music industry, very unenjoyable to be a part of.
I have been working in music for 17 years. I've been recording for 14, and recording professionally as an engineer and/or producer for a mere 5 years.
However, when people like JP22 are allowed to exist, we all suffer because people like me leave and don't share our knowledge, and in turn, people like me suffer because we don't learn from other people's shared knowledge.
Is JP22 an idiot? Obviously. Why a moderator didn't just ban this moron is beyond me, but hey.. I don't run this place, I just try and contribute where I can, and hopefully learn something new as I read through the threads. I just can't believe that this type of ignorance is allowed to exist here, although it certainly exists all over the the industry.
I think I'm going to read that "Care and feeding of Trolls" thread now, and hopefully when I return in a month or so, this place won't still be a haven for retards like this.
Remember, your mileage may vary.
Now its time for you to remember and learn a little something yourself, mortal. I CREATED THIS TOPIC YOUR IN RIGHT NOW AND ITS THE ONLY ONE I POST IN. Who's the "troll" now? Its the person who just spent the time to type 5 entire paragraphs above bragging and insulting me. So listen up buddy, next time you talk about other people, speak for yourself first. Enough said, NOW GET THE HELL OUT OF *MY* TOPIC.
And thanks so far goes to user "pr0gr4m" for helping me out, your technique has been doing me a little justice today. Thank You. Also Reggie (disregarding his belittlements) for your input. All you other rude and insulting self-centered 'let me ruin your mix how I want it to sound because i'm the big shit market whore engineer who don't care what the musicians think' jerkoffs can blow me.
gnarr wrote: [quote=Jp22]Enough said, NOW GET THE HELL OUT OF *M
gnarr wrote: [quote=Jp22]Enough said, NOW GET THE HELL OUT OF *MY* TOPIC.
You don't own this topic.. Recording.org does.go eat a soap or something. just to know you're here annoys me.
I never said I "owned" it. I said I CREATED it. Furthermore, i've already been helped somewhat by a few people who could get by all the rude, insulting behaviour. So go ahead and ruin it some more if you wish, I don't care. And for all the people who don't like it (including yourself), as the guy from Iceland says.... "go eat a soap or something".
Jp22 wrote: I'm not Canadian. And furthermore my mother isn't a
Jp22 wrote: I'm not Canadian. And furthermore my mother
isn't a hermaphroditic crack-smoking porn queen.
Drat! i've been exposed! How did you know???????
You prove that not only do you posess superior knowledge in the art of recording, but your ability to provide a psychological profile, AND my past history are unprecedented.
Do you accept interns? I have some time coming up and my mom/dad(the aforementioned hermaphroditic crack smoking porn queen) says she'll let me out of the basement if you'll take me on.
Actually it might be a symbiotic relationship. You could teach me all about:
-compression, limiting, dynamics, EQ, etc.
-tape vs. digital
-how to get the worlds greatest sound out of a non-tube guitar amp
-how to restore squashed dynamics with EQ
-the unknown secrets of the Syntrillium Engineers
-how to navigate the recording industry while avoiding the pitfalls of the Market Whores
-Which monitors to buy(NOT NS-10's of course!!!)
...and I could show you how to hook up and record three frigging tracks at the saaaaaaaaame tiiiiiiiiiiiiiiime.
So? What do you think? If you're in, I'll talk to my mom tonight...oh, wait a minute, tonight is crack night at our house. Tell you what, I'll e-mail you later.
oops, gotta go, I think mom's coming down the sta
This is fun............ But someones missing the whole idea of t
This is fun............ But someones missing the whole idea of the forum. We are all here to learn and support each other, this post has just been nonsense, it would be better to exchange phone numbers or something like that to solve it somewhere outside this forum, this is not the place to discuss about something thats gone out of context.
Anyway, its not that hard to notice who is out of context. I believe most of us share the same thought, without mentioning any names.......................
supercharry wrote: This is fun............ But someones missing
supercharry wrote: This is fun............ But someones missing the whole idea of the forum. We are all here to learn and support each other, this post has just been nonsense, it would be better to exchange phone numbers or something like that to solve it somewhere outside this forum, this is not the place to discuss about something thats gone out of context.
Anyway, its not that hard to notice who is out of context. I believe most of us share the same thought, without mentioning any names.......................
I wouldn't call this forum a total waste. As a relative noob to capturing distorted guitars, I've found some of this useful, not to mention entertaining!! Thanks guys! 8)
Hello Everyone/JP22 I actually see what he is doing.... He's j
Hello Everyone/JP22
I actually see what he is doing....
He's just pretending to be mentally ill, just to illicit responses to his arguments, in order to harvest more information than he would have got *maybe* by coming in here and being polite. You have to admire his strategy, even if it is so obvious & dull.
I wouldn't try to argue against any of his posts with correct info... merely as this is a bad strategy in dealing with future comedians... i'm sure you'd love more of them with the same tone... but is this a comedy/crack abuse forum, or an audio forum? I'm sure u'd get sick of more of them. ;-)
Anyways, i have to say, i joined this forum as a result of JP22, so i have to thank him for that... plus a whole heap of laughs, and for pointing out what i have been doing wrong for so long. Cheers JP22 u are a star!
Oh yeah, i said predictable....
Encore......... :-p
Listen buddy, we all have our own opinions on where and when to
Listen buddy, we all have our own opinions on where and when to use compression. And if you ever decide to open an electronics textbook, you might just learn a thing or two about clipping.
But for the love of Christ, when you wrote this thread, were you actually looking for expert recording engineer suggestions or where you just looking to start a pissing contest ?
Either agree or dissagree.
Your making an ass of yourself.
I can't believe i just read all that.... wow, that was hillariou
I can't believe i just read all that.... wow, that was hillarious. Thanx for the laughs. I had to sign up just to acknowledge how entertaining this was.
For the record: Clipping refers to the guitar's(or any audio signal's) waveform getting cut off as it runs out of headroom and smashes up against the proverbial ceiling.. causing it to distort. The waveform will look squared off where it is distorted. That's why amp distortion is a form of natural compression... the tubes are out of headroom and the signal doesn't get any louder.....only more distorted as the gain increases.
Clipping does not mean err..." clipping" the tops of the wave form with a compressor, like it's some sort of hedge or shrub that needs grooming.
Clipping is distortion.
You're definition of "clipping" is our definition compressing/limiting, or at least that's what i can gather from what you've said.
Jp22 wrote: Tell me you don't believe if a guitar sounds good an
Jp22 wrote: Tell me you don't believe if a guitar sounds good and its clean that you need more compression. Completely false. A clean guitar would have lower peaks and need less, not more, just as a louder more distorted guitar would have higher peaks, hence needing more compression.
from page 2, probably old news, but i dont care. dude, youre an idiot. have you ever RECORDED an acoustic guitar? or a distorted electric. ill make a little waveform example of what the attack and decay looks like on acoustic vs electric...
acoustic
/-,,,,,,,,,,,,,............
mmkay? it peaks up when the pick hits the string because it has more high end in the pick, even general strumming the level decays down decently fast, which a compressor would lower those higher levels earlier in the decay and leave the lower levels later in the decay, thus = more sustain when you raise the volumes back up to the initial level.
okay, how about electric
/||||||||---------,,,,,,,,,,,
and higher gain only sustains the peak. a distorted signal is clipped, which it acts like a really bad peak limiter (which you do know that a limited mix thats jacked up has far lower dynamics than an untouched mix right? just to be clear). distortion brings out more overtones as well, which means the peaks hardly ever go down, expending on amp and play style.
a more overdriven sound can benefit from compression, pop distortion could, country could, but straight up hard rock wont.
everything i read that you typed is horribly inaccurate, this is basic fundamentals of guitar playing.
"Someone needs to ban YOU for using vulgar
insulting phrases in my topic! Get out, "sickyboy"."
by the way, your posts are far more insulting and vulgar.
For the last three responses.... This is for "TheBadAssCanadian
For the last three responses....
This is for "TheBadAssCanadian", "Rider" and "snake":
If ANY of you had a brain you'd realize that the amount
of compression I would use depends on my initial recording
levels to begin with. Also, the definition of "clipping" can in
fact (as TheBadAssCanadian states it can't) easily be applied
to the analogy of a "hedge or shrub that needs grooming".
Since again, it would depend on my overall gain structure and
my initial recording levels in combination with how any one
individual would view something from his own perspective.
Things aren't as one-sided as they may seem. :wink:
ok, apparently i didnt explain the issue in terms you would unde
ok, apparently i didnt explain the issue in terms you would understand, let me try agian.
blah blah blah, BS BS BS, nonsense about irrelevant effects, misguided information, more blah blah blah, more BS, things i know nothing about, blah lbah blah.
can you understand that? because it seems to be what you say every post.
seriously dude, if you are having to use compression based on your gain structure, then your gain structure is jacked.
i seriously have no idea where any of your statements could ahve possibly come from. theres only one definition of clipping (audio wise), theres varying amounts of it yes but clipping is clipping, its chopping off the peaks of a waveform.
hands on experiment: take a signal (say, a CD player playing some soft music) and run it in at unity. then run it through with the gain jacked through the roof to where you see the 'CLIP' light constantly on. oh shit what is that noise? could it sound like.. distortion??? oh my god so youre saying that distortion is a clipped signal? thats right genius, youre clipping a signal so bad its distorting. thats the BASIC operation of a guitar amp (though its method is a bit sweeter sounding).
hands on experiment: now we deal with a new tool (for you that is), this is called an RMS meter. okay, track in an acoustic guitar, play very dynamically. track the same piece through a mesa half stack, oh sorry you dont have a tube amp, in that case track it through your shitty POD (you know, cause emulation is always better than the real thing and all). compare the RMS readings. compare the waveforms. which one dips lower? holy shit, again the distorted signal is almost the same volume the whole way through. there are exceptions, but being the same piece you should be able to note them, then again maybe not. higher notes (like 12 fret E) will likely appear softer since their fundamentals are much higher. but generally, its the same volume.
so, if you still think all that is wrong, maybe you could post a before and after of your compression. show us your oh so amazing technique of compressing a distorted signal.
the only time compression could make a guitar sound 'better' is when youre using a brick wall to bring the MIX up, which brings the guitar's apparent level much higher, has nothing to do with it actually compressing the guitar.
ok i see your problem, your clean tracks are too soft and your d
ok i see your problem, your clean tracks are too soft and your distorted ones are too loud. thtas why you are having to compress them like so. this is why you mix, you dont use compressors to control the levels of tracks, you use it to control the dynamic range of the track, then adjust the fader accordingly. it sounds like you are using compression to boost the gain or lower the gain of a track to match others.
im 99% sure thats your problem, your gain structure sucks regardless. you know preamps have a volume setting that you can adjust.. which would level your stuff out more.
Ok then... first of all your previous post to this one (not the
Ok then... first of all your previous post to this one (not the second one i'm about to respond to) amounted to just about 0. Zeeero. I didn't ask you for a rhetorical commentary on your compression theory. Second... your completely lost pertaining to where i'm at, meaning, to me at this moment you're just another one of these types of people who likes to assume, assume, assume (most of which as usual is assumed 98.9% incorrectly) while I sit here and yawn at your infinite drivel. Now, as for your second post...
Rider wrote: ok i see your problem, your clean tracks are too soft and your distorted ones are too loud. thtas why you are having to compress them like so. this is why you mix, you dont use compressors to control the levels of tracks, you use it to control the dynamic range of the track, then adjust the fader accordingly. it sounds like you are using compression to boost the gain or lower the gain of a track to match others.
More assuming. No, my "clean tracks" aren't "too soft" and no my "distorted ones" aren't "too loud". I do use Compressor(s)/
LIMITER(s), but not to control the dynamic range. I use EQ(s) for that. Yes, the fader to adjust and No not compression to boost gain or match tracks. Lost yet? I think so.
im 99% sure thats your problem, your gain structure sucks regardless. you know preamps have a volume setting that you can adjust.. which would level your stuff out more.
As a matter of fact, i've just proven pertaining to my situation
that you are 99% WRONG. How could you even begin to assume
that my gain structure "sucks"? Impossible. I know damn well
what preamps are for also, so let me save you from yourself ranting on about the 'big volume knob' that "levels stuff out".
Last, get a clue. I've stated in this topic at least once that my compression unit(s) all have limiters on them also, if I didn't spell that out clear enough then here's an official freakin' clarification. Bottom line... (in plain black and white just for anymore morons like yourself who may feel like responding with their debate theoretical rambling again): I'm just not very willing to go into detail about my setup, its much too intricate, so if I was vague then excuse me for that. Once more; Mull it over, dummies... Compressor/Limiter. ~
Jp22 wrote: If ANY of you had a brain you'd realize that the a
Jp22 wrote:
If ANY of you had a brain you'd realize that the amount
of compression I would use depends on my initial recording
levels to begin with.
Why and how it depends on that?
Is your preamp lacking a gain knob, or why would you rather operate w/ thresholds & ratios instead?
...and I'm just curious; what's your definition of "compression"?
If you mean overdriving a preamp on purpose to achieve compression, then I guess you can call it "clipping". It's hard to figure out, though, why would anybody want to do so.
I do use Compressor(s)/LIMITER(s), but not to control the dynamic range. I use EQ(s) for that.
:shock: :? :lol: :shock:
Is there any other possible use for comp.?
jp22, if you could give a step-by-step guide on how you use EQ t
jp22,
if you could give a step-by-step guide on how you use EQ to control the dynamic range, i would be very glad (and i just KNOW that a lot of the people here could learn something from your way of working!)
so, maybe can you just give a short explanation of how you do this?
and also, since you're using EQ instead of COMP for controlling the dynamic range, can you tell us what you use the Compressor/limiter for?
maybe you use that for equalizing the frequencies?
please, i would love to know how you work!!
8-)
And is there any way we can convince you (if you have a spare mo
And is there any way we can convince you (if you have a spare moment) to go into detail about your intricate signal/recording chain? Even if we are too dumb to fully comprehend its greatness, perhaps some of us can glean something useful from it.
Keep up the good work! 8-)
so when people set up an EQ for a live show they are messing wit
so when people set up an EQ for a live show they are messing with the dynamic range?
i really suggest you read some soundonsound articles, they explain the very basic aspects of using equipment in terms most people can understand.
http://www.soundonsound.com/sos/Aug01/articles/usingeq.asp
The first challenge when equalising musical sounds is in deciding which area of the frequency spectrum corresponds to which element of a sound's timbre. If you're wanting to emphasise the click of a bass drum, where should you boost? Alternatively, if your guitar sounds boxy, where can you cut most effectively?
ELECTRIC GUITARSElectric guitars are rather a law unto themselves, as their tonal balance varies so drastically from style to style. However, there are a few general principles to bear in mind. The first is that there will be little other than hum and noise below the guitar's fundamental frequency, so it's often worth filtering below about 80Hz. However, most guitar sounds can be warmed up with a boost at around 125-250Hz, as you can hear from the guitars in Metallica's 'Enter Sandman'.
The other main thing to take into account is that the frequency response of most guitar speaker cabinets rolls off pretty steeply above 4kHz, and so your best choice for emphasising the crispness and attack of guitar sounds is a boost at 3-5kHz -- frequencies to the fore in Nirvana's 'Smells Like Teen Spirit' and Chuck Berry's 'Johnny B Goode', for example. Any boost well above this is likely to increase only noise levels, so if you want an even more cutting lead sound, such as that in Guns & Roses 'Sweet Child Of Mine', you might consider using a psychoacoustic enhancer as well.
heres another link on EQ:
http://www.soundonsound.com/sos/1997_articles/feb97/allabouteq.html
yet another one:
http://www.soundonsound.com/sos/1995_articles/mar95/eq.html
in none of those i see anything about dynamics, nor is there anything in the whole document that suggests EQ controls dynamics at all. compression...?
http://www.soundonsound.com/sos/1997_articles/apr97/compressors.html
Essentially, a compressor is a processor designed to reduce the dynamic range of an audio signal by applying gain reduction when the input exceeds a certain level.
i cannot emphasize that enough without coming over to your house with a megaphone and blasting it in your ear.
and for a limiters operation
• LIMITING: If you want to use a compressor as a limiter, mainly to control excessive peaks, you need to set the threshold fairly high and use a high ratio. The signal will then be unprocessed most of the time, but when a peak does occur, it will be controlled very firmly. A fast attack and release time is best, though if the sound appears to pump you'll need to lengthen the release time until the pumping is acceptable.
which has to do with guitar amps. what happens when you run a signal too hot? it peaks. whats the button that flashes? 'CLIP'. it chops off any peak above a certain thresh (which i would hope usually isnt above -1dB). what happens when you load something too loud into a guitar amp? it cant process the sound that high, thus that information gets cut off, much like, oh shit, a limiter.
http://www.soundonsound.com/sos/Dec02/articles/recordingguitars.asp
which does talk about compressing electric guitars, but note what they say initially.
Sometimes a guitar part will work better in a track if the sustain is created using a little less overdrive augmented by compression rather than relying on overdrive alone.
like when is sometimes? pretty much think blues, where the drive is so little that you can really adjust the dynamic range depending on how you play.
Even a heavily overdriven guitar sound can be made to appear more powerful if compressed, as its average energy level is increased further, though any noise will also be rendered more obvious.
in case of high gain, the energy level is hitting the max all the way through the song. as i said, throw up a RMS meter on a heavily distorted guitar. i dont know what they are talkign about, but im really sure they dont mean fed through a triple recto set to 11.
and you mentioned acoustic/clean guitars not benefiting..
Clean guitar parts can also benefit enormously from compression, as it creates a more dense, even sound and can emphasise the picking attack of the notes when a longer attack time is set.
well how about that. if clean guitars can benefit far more than overdriven, imagine how little it will do to a heavily distorted signal.
theres times when you need compression on a slightly driven piece, but more gain = less compression is going to do until you hit the max gain on the knob, then its basically useless.
As some others, I only registered to post a reply here (well, I
As some others, I only registered to post a reply here (well, I might find some other threads to contribute in later on as well).
This thread is absoluetely priceless.
jp22, seriously, you've just made my day (err... night, it's 4am allready).
Must be quite some challenge trying your comedian skills on an audio recording forum, no?
I mean, you just can't be freaking serious - unless you're a total retard (which is becoming more and more likely with every posting you do).
Otherwise, why would you ask for advice and tell everybody actually submitting some tips they've got no clue at all, while at the same time neglecting some of the most basic principles of audio recording and treatment?
Not only that this is stupid, not only that it's making you look like a complete dork, no, in the first place it's bringing up a question: Why did you ask in the first place?
All the advice given to you could be taken pretty much serious. Yet you're doing nothing else but calling everybody a complete moron.
As said, unless you were some wannabe comedian, a "must troll around" kinda person or just some completely ignorant bastard, I can't for the life of me understand why someone would behave the way you do.
And now, please come up with some explanations (how to use an EQ to control dynamics...), some soundsamples or even a vague statement about the sort of guitar sounds you're going to track.
I'd also like to know more of your wisdom about the nonsense of doubletracking guitars.
Alternatively, you might just continue with what you're doing allready, you're on your way to stardom allready!
And hell yeah, thanks fjell_strom, who mentioned this thread @ kvraudio. Damn you, another 2 hours less of sleep!
- Sascha
Jp22 wrote: I've read that "Kurt Foster's" posts on the NS-10 mo
Jp22 wrote: I've read that "Kurt Foster's" posts on the NS-10 monitors in these forums (if thats who your talking about). He made himself sound like a complete idiot whining endlessly about those stupid Yahmahoto tree sap cones for sap sucking market whores....
Another recording industry myth. NS-10's are industry standard because of the colour of the speaker cone. It has nothing to do with tree sap.
When placed on a meter bridge, the reflective properties of the NS-10's speaker cones forms a correlation with the angle of the faders. Reflected light brightens the sound from the speaker due to inverse polarity waveforms indirectly correlating with the efflux baffle from the sound diffusers. It's a fine art positioning the speakers correctly so that the relationship of the angle of the L and R woofers to the pan knobs on channels 4 and 20 on the desk respectively follow Newton's 5th law (abridged).
The only reason Yamaha no longer make the NS-10's is because they officially became a paperless office in 2001 in order to comply with ISO9001 and benefit from a legal loophole in Japanese tax law which allows them to claim saki on expenses after 5pm. All their fax machines and photo copiers have been replaced by terminals and scanners. This has had a dramatic affect on the loudspeaker engineers, who used the 120GSM A4 ultra-bright (TM) stocks for the speaker cones. Tests using alternative materials proved fruitless, so the NS-10's were discontinued.
The frequencies altered by the NS-10's white cones are the difference between a good guitar sound and a great one. Get a pair of NS-10's (beg, borrow, steal, download the Yamaha Virtual Legacy NS-10 TDM plug-in [k]) and you will find that you improve your nearly perfect guitar sound "a little bit". Crucially, this "little bit" is like the fairy dust from an angels wings. Elusive but magical.
HTH
Peace-out.
MeesterSmeeeth wrote: [quote=Jp22]I've read that "Kurt Foster's"
MeesterSmeeeth wrote: [quote=Jp22]I've read that "Kurt Foster's" posts on the NS-10 monitors in these forums (if thats who your talking about). He made himself sound like a complete idiot whining endlessly about those stupid Yahmahoto tree sap cones for sap sucking market whores....
Another recording industry myth. NS-10's are industry standard because of the colour of the speaker cone. It has nothing to do with tree sap.
When placed on a meter bridge, the reflective properties of the NS-10's speaker cones forms a correlation with the angle of the faders. Reflected light brightens the sound from the speaker due to inverse polarity waveforms indirectly correlating with the efflux baffle from the sound diffusers. It's a fine art positioning the speakers correctly so that the relationship of the angle of the L and R woofers to the pan knobs on channels 4 and 20 on the desk respectively follow Newton's 5th law (abridged).
The only reason Yamaha no longer make the NS-10's is because they officially became a paperless office in 2001 in order to comply with ISO9001 and benefit from a legal loophole in Japanese tax law which allows them to claim saki on expenses after 5pm. All their fax machines and photo copiers have been replaced by terminals and scanners. This has had a dramatic affect on the loudspeaker engineers, who used the 120GSM A4 ultra-bright (TM) stocks for the speaker cones. Tests using alternative materials proved fruitless, so the NS-10's were discontinued.
The frequencies altered by the NS-10's white cones are the difference between a good guitar sound and a great one. Get a pair of NS-10's (beg, borrow, steal, download the Yamaha Virtual Legacy NS-10 TDM plug-in [k]) and you will find that you improve your nearly perfect guitar sound "a little bit". Crucially, this "little bit" is like the fairy dust from an angels wings. Elusive but magical.
HTH
Peace-out.
You are so full of shit.
The Reflected light brightens the sound from the speaker due to converse (not inverse) polarity waveforms indirectly correlating with the influx baffle from the sound diffusers.
I mean give me a fucking break. If you don't know what you're talking about, don't even come here. You can't come in here spewing techno-jargon and expect to fool people.
McCheese wrote: The Reflected light brightens the sound from the
McCheese wrote: The Reflected light brightens the sound from the speaker due to converse (not inverse) polarity waveforms indirectly correlating with the influx baffle from the sound diffusers.
Not quite. If you read my post properly, you'd have noticed that I explained how important the L-R speaker positioning was in relation to the pan pots. This is know as the "crossover frequency". If set incorrectly, you will indeed find the converse polarity waveforms interfering with the influx baffle, which is not to be desired.
I see what JP22 meant. You are indeed an ignorant wanker, if you'll forgive the anglo saxon vernacular. With your limited knowledge of influx baffle correlation technology, your ill informed post causes nothing but shame and embarrassment to us all. A little knowledge is a dangerous thing.
If you read my post properly, you'd have noticed that I explaine
If you read my post properly, you'd have noticed that I explained how important the L-R speaker positioning was in relation to the pan pots. This is know as the "crossover frequency".
I almost pissed myself on that one.
I can see from your post that you find my corrections to be accurate, and by trying to cover it up, you have brought dishonor upon your house. I weep for your ancestors.
jp22..... newbie here.....just wondering if you can explain to
jp22.....
newbie here.....just wondering if you can explain to me how i can put back dynamics with eq? I tried running 3 mics into ch 1 on my interface and panned it left. Then i inserted a compressor and smashed it to hell. i then added an instance of cubase eq and messed with it for 6 hours....I could never get my dynamics back....
just wondering if you could explain.... :-?