Thursday, March 17, 2011

Beyerdynamic DT 770 Pro Headphones Review

Killed a pair of cheap phones recently, so popped out 2 pick up a nice pair and purchased these DT 770 cans. It came down as a choice between these and the Sennheiser HD 380 model.
The Senns seemed a bit more balanced of the two but these had more low energy and a little more of an exciting sound which
could be helpful for getting good takes 4 tracking. They are super comfy out of the box with the soft fabric around the ears but b 4warned the padding on top band is thin and where it meets your head will get achy after a couple hours. So, abt perfect 4 short uses but 4 long listening or mixing sessions, not so much. After listening 2 lots of stuff thru them and comparing w/ other speakers they are definitely colored in the low end and cymbals and hi-hat land is pushed, also. Midrange, however, seems relatively smooth and flat. Pretty revealing 4 doing audio editing heard some glitches I hadn't noticed b4 so good in that department. There was a little bleed n2 the mic when recording vocals but not too bad. All in all, really great comfy cans 4 doing tracking and short editing/listening sessions. Going to be saving up 4 a pair of sennheiser HD 650 though 4 late night mixing because these are just a bit too colored to trust w/ an eq.

Tuesday, March 15, 2011

Eq and Compression - Which Order?

Been doing some research 2 determine what preference ppl have concerning the order you should place comp/eq on your channel strip. Of course, each situation is unique so there is no setup that works every time. However, a good starting point 4 many situations is to place the eq first when u are cutting frequencies; that way the frequencies you don't like in the first place aren't making the compressor work harder than necessary. Then if there is a frequency that needs boosting you can boost it after so u can be sure the boost is audible and not just getting smashed n 2 compression. So 4 ex. say you want to remove rumble from a vocal and add a little presence. U can put an eq on with high pass set to 100Hz then yr compression and finally another eq after with a little boost in the 3-5kHz area. Should work more times than not, but trust yr ears and if it sound right it is right if not keep experimenting till yr happy w/ it.

Thursday, March 10, 2011

Guitar Lesson - Half step and Whole Step Bends

A Technique That is really clever 4 guitar solos/riffs is 2 bend up a half step and then follow with a whole step bend. The half step bend and even quarter step bends get overlooked sometimes in favor of the tinnitus-inducing larger interval bends but they really add a lot of color when used appropriately. Here is an example riff thrown 2gether with softube's vintage amp room plugin. Note: b = whole step bend b* = 1/2 step bend s= slide. Just listen to the file for timing 1 time thru is done slowly and once with some tempo. Notice how the half and whole step bends combine 4 some nice flavor. 1/2 n2 whole step bends by galaxyswan

E| 15 12 14b*14 11
B|14b*14 15b15 12 12 12 13s12
G| 14 11b*11 12s14

Tuesday, March 8, 2011

Songwriting Tip - 10 bar Verse

The Strokes have a new album coming out and was listening to one of the songs from their glory days 'Last Night' and noticed the verses have an unusual bar count. They do 4 bars of 'C' 2 bars of 'Dm' and 2 bars of 'G.' Normally, this is where u would either repeat the section or move on to a different section but they threw on a couple of extra measures: a bar of 'Em' and a bar of 'Dm' making for a 10 bar progression. This isn't a trick that u want to do on every song but it's nice to have in yr arsenal. So if u r a songwriter try coming up with something that follows this form and maybe something good will come out of it.

Thursday, March 3, 2011

Bandwidth Ducking Tip

Was having trouble getting a shaker 2 not get swallowed up by hte hi-hats n a busy mix and eq was not doing hte trick. So started researching and found this selective bandwidth ducking technique on a logic pro help forum from fader8 that saved hte day. Put a send on hte shaker with unity gain so that it went 2 a bus (volume is all the way down on hte bus so u can't hear n e shaker). Then set up two more busses and set hte output of hte overhead drums 2 go 2 both of them. 1 of hte busses has nothing on it and the other has a linear phase eq with bandpass around hte frequencies that will disappear (so hte shaker can stick out n this frequency pocket) followed by a noise gate and lastly a gain plugin. Set hte sidechain of hte noisegate 2 b hte bus that hte shaker was sent 2 and hit invert phase button on the gain plugin. So what happens is when the shaker isn't playing the overheads play normally thru hte bus with nothing on it (because hte other bus it is being output 2 has a noisegate on it with sidechain set 2 the shaker which is not yet playing) until the shaker hits. Then this triggers the sidechain of the second overhead bus so sound comes out but since it's phase reversed and the eq is only allowing a small frequency range thru this frequency range is ducked on the overheads 4 only hte time that hte shaker is playing. it is more subtle than eq because as soon as hte shaker dies down overheads r again playing at hte full frequency spectrum. Here is a link to hte original post for n e additional clarification u might need