51m0n

Yeah defo an interface with some form of direct monitoring. Again RME provide about the most powerful version avaialable out there in their TotalMix product which come swith their interfaces. At 192KHz my UCX manages a latency of sub 3ms without glitches, but because I am happy to monitor using Total Mix and work that way I can get perfect results with 16 tracks of audio input (Audient ASP008 plus a coupl eof other mic pres and some line level inputs) at 48KHz (which is absolutely fine to my ear) setting the latency higher to be safe and have no latency at all recording to my Sony Vaio lappie. I can't recommend RME enough

The Sister's version has always been my favourite

Karaoke-itis.....

Massive +1 JTUK....

Get her to watch a bunch of K.D.Lang live performances, that woman has brilliant mic technique....

[quote name='Phil Starr' timestamp='1396179098' post='2410627'] No, compression brings up the feedback and makes things worse. If you think about it guitarists use feedback to improve their sustain. [/quote] That is true But a bit of subtle compression may still help

Record the gig Video too if poss Bad Mic technique means no amount of PA shenanigans can sort it. If she won't fix her Mic technique then she will never project.........

It's also why a real mix takes a good 15 hours graft

The answer is a bit of compression and a lot of automation

I did! Totally awesome! Edit: Let me qualify that a bit, it was awesome to see a personal hero lay down some great grooves, that was awesome, and his guitarist was equally superb, funky as hell. The drummer appeared to have mistaken his role as one of building a shed at the end of every 4 bars rather than simply holding down a funky groove with some subtle, inventive and most importantly funky, embellishments. Totally overblown drumming that rather spoiled things. On top of which the engineer had gone for 'classic heavy rock mix #1' whereby the drums are mind numbingly loud, compressed to get maximum attack off every stroke and thoroughly crush the rest of the band, whilst GP's bass was rather undefined mud for the most part. Great keys player too, epic gurning whilst noodling on the occasions he was allowed to as well. Most entertaining. The set got a little lacjklustre in the later quarter, but the middle and ensd were worth the price of admission alone for me....

Dat so purdy boy.....

Mister Super Juice on Friday at the World's End Brighton. What a brilliant evening! Band soundcheck in less than five minutes, everything just sounded perfect. We played an hour and twenty minutes of instrumental original funk, some of which gets a tad jazz funk in places. The people who came to see us were really enjoying it, but even more importantly the entire pub crowded over to check us out, and get down with their bad selves Tons of complements from strangers, the manager loved it, thought we were ace and wants us back asap... And people who'd seen us before said we had really improved over last time and the four new tracks were great. Chuffed to bits! Highlight of the night? Getting an entire pub chanting "Tuba, tuba, tuba" before we played the encore tuba driven final track, I doubt that's ever happened in there before!!

What a brilliant evening! Band soundcheck in less than five minutes, everything just sounded perfect. We played an hour and twenty minutes of instrumental original funk, some of which gets a tad jazz funk in places. The people who came to see us were really enjoying it, but even more importantly the entire pub crowded over to check us out, and get down with their bad selves Tons of complements from strangers, the manager loved it, thought we were ace and wants us back asap... And people who'd seen us before said we had really improved over last time and the four new tracks were great. Chuffed to bits! Highlight of the night? Getting an entire pub chanting "Tuba, tuba, tuba" before we played the encore tuba driven final track, I doubt that's ever happened in there before!!

Ya big softie

A 600mm x 600mm hop up for my rig to go on...

Tonight then chaps! Anyone fancy getting their ears filled with some funky noise, come down to The World's End in Brighton around 10:00 tonight

Properly gutted....

Define 'good'... I dunno, I've always been underwhelemd by all valve kit, horses for courses I suppose, or maybe the stuff I've tried wasnt really very good?

Bump this up! This is happening this Friday for anyone interested. Hope to see some Basschatters there!

Seems like a reasonable price for the amount of work he'll be doing. In fact I think that could be a tad cheap for 7 tracks, depending on the channel count and complexity of the tracks

Awww cheers, I'm generally crap at this sort of thing (well I think so), glad I didnt do too bad a job on this one, bit of a mishmash between Bullitt and Le Mans themes there really (SM was in a Gulf Racing colours Porsche in that film, so there is a somewhat tenous link for the film buffs), what can I say, not a real single new idea of my own

Hope to see some Basschatters there! Si

[quote name='EBS_freak' timestamp='1393594702' post='2382352'] I haven't mentioned anything about the recording yet everybody is quick to jump a band wagon to state that there is something wrong. I don't think it's bad given the complexity of the track that is being mastered - just short of 10 mins, 25 channels - with changing sounds/patches and levels within those tracks, it's quite a monster. There's getting things "right" and "perfect". I'm aiming for the latter. I may reveal the track in the future at some point and then maybe you'll understand the complexity behind the mastering.,. and as far as bringing the ability of the mastering engineer into question, he's mixed and engineered more commercially successful mixes than the rest of us I'm sure. This example alone states why it's ludicrous to post any sort of time scales on a project because people aren't usually informed enough to know what is involved with a particular project. [/quote] Not sure I get your drift. Is he mastering with stems then (the reference to 25 channels)? Because 25 tracks on a mix is nothing special at all. And its irrelevant when you get to mastering, because mastering is generally working with a two track mix (maybe you're doing surround of some sort, but thats pretty rare, lets face it). Unless you're stem mastering, which is in effect a continuation of the mix, and not really mastering at all in the majority of mastering engineers opinion. In other words the mix is either not quite done yet, or is so off they need stems of groups to fix it. 10 minutes is a pretty long track though, especially with a lot of dynamics that could get pretty involved. Fascinated to hear it now !

[quote name='EBS_freak' timestamp='1393593699' post='2382331'] Nope. [/quote] Then in all seriousness who is doing 13 hours work to master one track if the mix isnt somehow wrong? It would almost certainly be far cheaper to get Bob Katz to do the job in an hour.......

One use for it you may find is as a filter that doesnt open, but knocks of top (or bottom if you can do that with it) end, by setting the sensitivity so it never opens. Not really getting the most from it like that though!