Among other things, the biggest advantages commercial studios tend to have over bedroom setups include: exciting and well-tuned live rooms (free of problematic resonances), preamps, mics, and overall signal chains that add flattering color to the performances recorded through them, a selection of amps and instruments that bring variety to the sounds used in a session and maybe most importantly, reliable monitoring.
Can you imagine walking into a hardware store and asking the clerk, “which is the best tool?” I imagine a disaffected employee rolling their eyes, silently wondering when their next break is, and then distractedly telling you something like: “Screwdriver. The screwdriver is the best tool.” Then you’d go home to spend a few hours cursing that store clerk as you try, probably with very limited success, to cut a 2×4 with your new screwdriver.
With more and more people using different DAWs, the need to be able to transfer a project from one DAW to another has grown. In this article we are going to show you how to move projects from one DAW, like Pro Tools, Studio and Logic Pro, to another DAW. In this article we will also cover the pitfalls in the export and import processes and how to overcome them.
Moving projects about. Very important to know how to do this.
by DJ Pangburn, iZotope Contributor May 28, 2019
Learning how to give a kick drum a greater depth and boom takes time and effort. It’s just not something that comes right away, unless one happens to be a naturally born electronic music or hip hop producer.
I like learning how to get different sounds with step-by-step exposition of what is going on and how things affect the sound.
I recently purchased
Sasquatch 2 is a CPU-friendly kick drum enhancement plug-in that enables you to custom-tailor the sound of any kick drum, acoustic or electronic, with exhaustive creative possibilities, ranging from subtle to extreme and beyond.
which gets to booming kick drums (and then some) in short order. Great fun working on interesting sounds.
A powerful and stable keyboard customizer for macOS.
Serious keyboard mapping software. Not for the faint of heart.
macOS has the ability to change CAPS LOCK, CONTROL, ESCAPE, OPTION, COMMAND, and FUNCTION. This is a good thing.
Karabiner will let you assign CAPS LOCK to press CONTROL,OPTION, COMMAND, and SHIFT all at the same time, giving you an easy keypress to use in conjunction with the rest of the keyboard.
Logic Pro X keyboard command mapping becomes far easier to use.
Creating music is not unlike the work researchers do. Carefully hunting for useful tidbits, storing them away as the broader topic develops, and then forming a system to catalogue them for later retrieval. At the top level of the creative process is the generation of fresh ideas. They will most likely begin conception as fragments of ideas based on some aspects of either harmony, melody, some new samples, virtual instruments, or loops. I consider this to be the macro level of ideation. The top level of the pyramid.
I have been using “packages” for my Logic Pro X projects since I started. I remembered too many horror stories of people losing the assets for a project when they move things around. Project alternatives have been my go to device.
I will now re-think using folder-based projects. Copies (versions) of a project can be saved without creating yet another copy of all of the audio files in the project. I still will consolidate audio and make sure all of the assets are stored in the folder.
I can document my project and versions with a simple “option drag” of the Logic project file into my Scrivener binder. There I have the index cards and all of the other reference material that I might want. I still treat it as a giant “ideas” folder, but all of the bits are well contained, and possibly well documented.
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.
Next up in the course. I will go ahead and plug in the guitar and work through the tuning exercise, along with some comping. It’s not something that I would normally do (guitar), but I have one…so…
But before we begin, one caveat: there is no such thing as a bad reverb. One reverb may work incredibly well on one instrument while sounding disastrously bad on another. And furthermore, the same reverb may sound great on a guitar on one song, and create a very muddy mix on the same guitar on another song. Making the decision as to which reverb to select is personal. This guide is meant to be an idea-sparking tool to help you in the process.
Always good to share…
I’m not really sure when it’s best to use mono reverb effects — and how to pan the reverb when doing so — and when to use stereo reverb. Can you de-confuse my mind a little?
Mike Senior provides excellent advice as usual.
If we do not explain a particular term below, please email email@example.com and we will add it to our next update.
If you want it defined, here ya go…
The sE Electronics DM1 provides a similar functionality to many other microphone gain boosters, such as the Cloud Microphones Cloudlifter and the Triton Audio FetHead — it acts as a local in-line gain-booster for weak microphone signals, such as from passive ribbon mics and some moving-coil dynamics. It is built into a metal tube just under 100mm in length so is very compact. We were very lucky to get this review underway, actually, as this tube comes packed inside a dummy stick of dynamite, complete with fuse — Paul brought it back from the AES show in his hold luggage, and when back in the UK he found a note to say the bag had been searched by US customs; thankfully they decided his bag wasn’t suspicious enough to warrant a controlled explosion!
I have a Cloudlifter for adding clean gain to my “low output” microphones. I won it at the Potluck Audio conference a bunch of years ago. I like it. The folks I have recommended it to like it.
There are other alternatives. This is a new one at a decent price. I am a fan of sE Electronics microphones (think VooDoo VR2 active ribbon….yeah).
As a standard facility of most mixing consoles and DAWs, we all tend to take EQ for granted, even though there are many different types of equaliser with varying levels of sophistication and application. While the true origins of the first audio equaliser are shrouded in the mists of time, two names stand out for me as pioneers of audio equalisation: Peter Baxandall from the UK, and the American, Eugene Shenk. Baxandall was an electronics engineer (and friend of our esteemed Editor In Chief) who came up with a very elegant circuit for an active bass and treble equaliser. He published his design, royalty-free, in 1952 and it has subsequently been employed almost universally in mixing consoles and hi-fi amplifiers, bearing his name as the Baxandall equaliser or ‘tone control’. Amazingly, at around the same time in America, Gene Shenk developed a passive design which has become the legendary studio equaliser — the PulTec EQP-1.
The Pultec is fabled. I use my emulation all the time. This review is an excellent guide to what it is and why it works.
What is mastering? Can you mix and master at the same time? These are a few of the questions professional mastering engineer and iZotope Director of Education Jonathan Wyner covers in Episode 1 of “Are You Listening?”
Note: The audio examples you hear have been altered from their original recordings to bring attention to the core concepts highlighted in the ‘Are You Listening?’ Series.
I am up to episode 3 of this series. A nice, gentle introduction to mastering.
USB-2 Audio Issues
We have been alerted to possible USB-2 audio issues by community members, forum posts, and other news websites, so we were keen to get to the bottom of this. One site claims “all T2-based Macs, that is all Mac models from the 2018 generation, are evidently unusable with USB 2.0 audio interfaces, irrespective of vendor.”
I have read about the problems with T2-equipped Macs and USB interfaces. The discussions do not make me feel warm and fuzzy.
I read this test/review of the new Mac mini with great interest. Appears that, at least in this case, there isn’t really a problem.
The 2018 Mac mini is still looking like my next studio computer. I have plans for a 40″-43″ 4K TV for a monitor and moving my X-Touch onto my desk. Probably need a new desk…my 28″ by 54″ desk is a bit too small. Probably get a 5′ by 3′ desk.
Plan is to place monitor at the back of the desk with X-Touch between the monitor and the keyboard. Plenty of room.
I should document changes to my most used template – multi-bus – I am beginning to keep comments in the Project notes.
Removed tracks for all of the AUX except MixBus. Tracks get added automation is used on an AUX.
Rename output channels properly
Fix mixer windows in screenset 3 for audio.
Fix mixer windows in screenset 4 for MIDI
Headphone and monitor mixes added (HP1/2)
stock plugins (O8 and Insight2
Screenset 1 is overview with notes, tracks, mixer.
Screenset 2 is Tracks (Arrange window)
Screenset 3 is Mixer (sized for typical audio) and transport
Screenset 4 is Mixer (sized for MIDI instruments with settings)