I need to add some love to the Sonarworks world.
I have lived in the world of IK/Multimedia ARC 2 (Automatic Room Correction) for about 3 years. Changed my world. A lot. No complaints. Separate profiles for my JBL LSR305, M-Audio AV-40, Casio PX-330 piano (has line in so I can work with the piano but have all the sounds).
Decided to try Sonarworks for headphones on the laptop…was impressed with the demo. Impressed enough to purchase the headphone license. Then we get the PLAPA discount, so I decided to go for the full Reference 4 upgrade. It’s November – studio upgrade season. Tried really hard to build room profiles using my reference mic from ARC2. That was an abject failure. OK…I’ll get the Sonarworks microphone and do the whole thing.
I “shot the room” this afternoon. Took a bit of fooling around to get a proper level so I could calibrate. When the software told me how far apart my speakers were to the half-inch I was excited to proceed. Many measurements. I got good by the end and could put the mic almost exactly where the software wanted it.
Now I get to listen to music for a couple of weeks to re-train my ears 😉 Definitely a different adjustment than ARC2. Bass is way more in control. My “Mix Test” doesn’t get the whole house vibrating anymore on the dub music. The boomy jazz bass is still very bass present, but the fretboard sound is quite “visible” and no longer lost.
I’m really buzzed about the loss of the buzzy-room bass…really.
Happily I can flip between ARC2 and Reference 4 without much difficulty – mad skillz ya know…
So far I have gone more than an hour at full reference volume on the mix test without running out of the room 😉 SPL meter is reading the same as always – 74 dB for most things, 85 dB for the ZZ Top and Conspirator.
Time to let the ears rest…little bit of Robert Jon & The Wreck 😉 I turned it down…
Simple. No-brainer. They offered a lifetime for the price of 2 years. Who am I to turn this down? I was ready to sign up for year 2 after about a month of wandering the forums, classrooms, and workbooks.
Gain Staging In Your DAW Software | Sound on Sound
On the face of it, gain staging couldn’t be simpler: you ensure that you feed an appropriate level from the first stage of your signal path to the next, and repeat this from the second stage to the third… and so on, all the way from your instruments, mics and preamps to the final stereo mix bus. By ‘appropriate’, I mean an ample level, which ensures a healthy signal-to-noise ratio (the difference between the wanted signal and the noise floor), while leaving enough headroom that you needn’t worry about whether the signal might be clipping.
Today is a good day to re-calibrate the studio monitors. I found the suggestion of setting DAW faders to about -6 dB to start in this article a long while back.
I set my Logic Pro X templates to have channels start there.
Scripting News: Saturday, June 9, 2018
Unreal. Fourteen years ago a standard was published (ISO 8601:2004) which clearly defined how things should be. Problem is that software developers do not spend their lives re-implementing “standard” software for the rest of their lives.
ISO gave us (back in 2004) this format 20180609T221145Z
What the world wants now is this format 2018-06-09T22:11:45+00:00 (we avoid timezone abbreviations and geo-political nonsense)
I retired from the big data world in 2004, so I never would have had cause to change my preferred world – 20180609T221145Z. To tell the truth, since just before 2000-01-01 I actually preferred the “Astronomical (Julian) day number (at noon UTC): 2458279.5” which for my machines this morning worked out to 2458279.03405093.
From the wikipedia we see
November 17, 1858, 00:00:00 UT is the zero of the Modified Julian Day (MJD) equivalent to Julian day 2400000.5
and we all basically know that the VMS clock started there 😉 In earlier times (snicker) I discovered the “bad things” that would happen if one entered a proper geocentric clock offset in a TOPS-10 system – I mean, c’mon, I had it right within 200 yards. All hell broke loose in all time-based things. Wonder why it required an OS rebuild to set/change that value.
As a reminder to anyone who uses a database that I have built – 20180609 – is not a date, nor is 2018060915270001 – but it is a very fast integer index 😉 I can’t insert things in my databases faster than 10,000 per second. I learned the hard way that telescope telemetry databases surely can 😉
Ahhh, dates. I would rather slip the bass DI track by 87 samples so it lines up with the bass amp track these days.
Today I learned about the joys of “Undo Data.nosync” folders and “lost” WAV files hiding on my system.
I was investigating a problem someone brought up over on GearSlutz, offered a way to find the culprit. Got a response. Culprit was as expected.
I was doing some “Normalize” testing on newly acquired tracks and saw the very WAV files that can get lost show up in my project. I didn’t expect it, but hey, why not.
The key is that “Undo” settings are different for the “Audio File Editor” as opposed to the regular “Undo”. it is probably prudent to “Clear Undo History” in most cases.
Production Expert | Tutorial – Understanding The Advanced Metering In Pro Tools
But before we dig into the 17 different metering options available in Pro Tools, we need to take a brief look at the history of audio metering so help understand how we have got to this point, and a glossary to help understand the different terms used in audio metering. Then we can better understand the 17 options and how to customise them to suit our workflows.
This is a nice and concise set of definitions surrounding metering. Understanding the terminology really helps.
The Complete Guide to Recording Electric Guitar — Pro Audio Files
One of the biggest fundamentals of getting great guitar tone is having a taste for great guitar tone. It would be hard to cook something in the French culinary style if you’ve never had French food. Yet, I see a lot of guitarists and engineers approach recording guitar this way.
At the heart of any great tone is great ears. Tools like microphones and amps can help sculpt your tone, but if you haven’t acquired a taste for fine tone, how will you know when you’ve arrived?
It’s not simply a matter of placing a mic in position and pressing record. Great guitar tone is often the culmination of many elements.
This sums up lots of thoughts about electric guitar (and other things run through the amps and pedals).
My struggle is with DI signal that’s way too distorted when distorted, and way too loud when the volume pedal got pressed (I think it was a wah-wah). Finally figured out something that started to work, but still have a very hard time.