http://www.dpsinsider.com/forums/forum/pro-audio-and-the-music-buisness Bongiovi Acoustics DPS Community en-US Fri, 10 Feb 2012 21:16:14 +0000 http://bbpress.org/?v=1.0.2 q http://www.dpsinsider.com/forums/search.php http://www.dpsinsider.com/forums/topic/using-the-dps-plug-in-to-master-a-recording#post-1904 Wed, 01 Feb 2012 13:33:46 +0000 Joey Butera 1904@http://www.dpsinsider.com/forums/ <p>Jim,</p> <p>The Smart Recorder is exactly how I would recommend doing it in your situation. I'm looking into a simple method for folks who don't have such features with their sound cards. I'll post it soon. </p> http://www.dpsinsider.com/forums/topic/using-the-dps-plug-in-to-master-a-recording#post-1900 Tue, 31 Jan 2012 15:30:49 +0000 jimboden 1900@http://www.dpsinsider.com/forums/ <p>Hi Joey:</p> <p>This is very interesting. Are you going to post how the Windows version will work? I have the current top end Sound Blaster X-Fi sound card with the 5.25" front panel. I actually have experimented with this by running everything through DPS and using the Creative Smart Recorder utility. It seems to work fine. Sadly, though, I've never been able to solve the Windows 7 audio drop out problem which I've determined has nothing to do with DPS. I have a more than 2 year old netbook running Windows XP and audio performs flawlessly on it. I can download files from the Internet or cause other heavy system loads on XP and I never get an audio drop out. I was using it to listen to music through iTunes but, since I got my iPhone 4S a few months ago, I've been using it instead. DPS for iOS is truly awesome! </p> http://www.dpsinsider.com/forums/topic/using-the-dps-plug-in-to-master-a-recording#post-1899 Tue, 31 Jan 2012 14:44:51 +0000 Joey Butera 1899@http://www.dpsinsider.com/forums/ <p>I explained how to do this in another thread but I figure it should be it's own topic (Mac instructions):</p> <p>1) Download and install Sound Flower: <a href="http://cycling74.com/products/soundflower/" rel="nofollow">http://cycling74.com/products/soundflower/</a><br /> 2) Download and install Audacity 1.3 (the beta works fine): <a href="http://audacity.sourceforge.net/download/beta_mac" rel="nofollow">http://audacity.sourceforge.net/download/beta_mac</a><br /> Install the LAME mp3 encoder as well so you may save your files as mp3.<br /> 3) Set Sound Flower to be your default output device in Sound Preferences.<br /> 4) Launch Audacity and set the input device to be Sound Flower and the Output device to be the Built-In speakers.<br /> 5) Click the microphone icon in Audacity to begin monitoring. Audio is now routed from all applications --&gt; to Sound Flower --&gt; to Audacity --&gt; then to your speakers.<br /> 6) Launch iTunes. Play some music to be sure your routing is working. You should see the red meters in Audacity moving.<br /> 6) Use the DPS iTunes plugin to choose a profile you want to apply to your audio. Be sure it sounds good on the devices you will be using. There are a few City profiles available that are great for spoken word on all devices.<br /> 7) Click <strong>record</strong> in Audacity then <strong>play</strong> the track you want to process in iTunes. The output of iTunes (including the DPS process) will be recorded into Audacity.<br /> 8) Normalize the volume of your recording in Audacity if necessary. DPS adds dynamic range to the audio signal so the resulting file may be a little quieter than the original.<br /> 9) Save your newly processed file and add it to your iTunes library.</p> <p>Done!</p> <p>This process must happen in real time so there really aren't any batch processing options here. However, this can be great for mastering a recording, an interview or a podcast you produced or anything else.</p> <p>This can be done with the Windows version as well with certain sound cards.</p> <p>Let me know if I should make a video tutorial of this. </p> http://www.dpsinsider.com/forums/topic/what-are-polar-patterns#post-1136 Mon, 29 Aug 2011 19:03:05 +0000 Joseph Beaty 1136@http://www.dpsinsider.com/forums/ <p>Many of you just go straight to the forums for updates on things. We also post a lot of interesting things on the DPS Insider Blog. Check out this post we did on the DPS Insider front page about polar patterns-</p> <p><a href="http://www.dpsinsider.com/2011/08/29/understanding-microphone-polar-patterns/" rel="nofollow">http://www.dpsinsider.com/2011/08/29/understanding-microphone-polar-patterns/</a></p> <p>Feel free to comment if you have any additional polar pattern knowledge and/or questions.</p> <p>Enjoy! </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-242 Wed, 31 Mar 2010 22:09:19 +0000 Ryan Copt 242@http://www.dpsinsider.com/forums/ <p>I couldn't agree with you more. Believe me... I adore my SM7, and you'll have to pry it from my cold, dead fingers. I would, and have, used it with great results on softer sources (IE: soft voice and acoustic guitar). As you explained for me (since I failed to do so adequately), I was speaking from the standpoint of having many options. </p> <p>As far as multiple mics for guitar cabs. I will generally set up a variety to choose from, but not actually record them down. They are just to see what I like the sound of best for that specific situation. I use both close and distant mics, and end up using both techniques about an equal amount. I really just meant that I prefer the SM7 in particular when it's close up on the cab. That said, I can honestly say that my good 'ole SM7 wins out about 80% of the time. Believe me... that's saying a lot considering the cost of some of its competitors.</p> <p>It seems that we are pretty much in total agreement on all points... I'm just too scatter-brained to articulate it as well as you ;). </p> <p>The SM7 is definitely one of those "when in doubt" microphones and on my shortlist of absolute necessities. </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-239 Wed, 31 Mar 2010 18:32:56 +0000 Rob Roy 239@http://www.dpsinsider.com/forums/ <p>Hey Ryan, I agree with the thought on the delicate voices, however my post was focused toward the general public who may not have access to a more expensive large diaphragm condenser mic and is on a budget and moreover doesn't have access to a professional recording environment like we do. In a bedroom, garage, or even warehouse project type studio, noise or hiss is something that will be ever present regardless. Trust me I have had countless studio setups in EVERY imaginable setting over the years and hiss is something you "deal with" before you have the resources to "overcome." I have used this mic for delicate voices with success many times. Granted having a $1000 mic or better would have improved the quality, but without the extra $$$ to spend on such a mic, I'm giving the community a edge on how to make do with pro like results. I still stand behind this mic. With my years of experience, I have turned chicken shit into chicken salad with this mic. A little creativity when needed works wonders. This includes delicate where a delicate, robust vocal is needed! I've seen "The Saint" use this with huge success even on a soft female vocal.<br /> As far as the multiple mic-ing on guitar cabs, distance is key depending on what you are looking for. For an example, a loud electric rhythm guitar the mic may be 1" to 3" from the speaker and for the lead guitar track, I may pull the mic 6 feet away for effect. One thing Tony always preached to his young engineers is to COMMIT! Using multiple mics is good to have options but be careful, too many options can get a young engineer into trouble when mixing. It's easier for someone to add rather than mute. The result can be too much to "fit" into a solid mix.<br /> So still I back up the SM7... Even I use a variety of mics (I happen to have that luxury) there are a few that if I "had" to use only one mic, the SM7 woulf be at the top on my list. </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-238 Wed, 31 Mar 2010 16:55:58 +0000 Ryan Copt 238@http://www.dpsinsider.com/forums/ <p>"Do you close mic, distant mic or both for electric guitar using the SM7? "</p> <p>Typically, I'll close-mic the cab with the SM7. It is usually anywhere from right on the grill to about 2" back depending on what's sounding best. I find that it tends to lose definition when pulled back to any substantial distance. </p> <p>I rarely put less than two mics on a guitar cab to begin with. Even if I don't end up using all of them I set up, it gives me choices. I may push up the first one and think it sounds perfect, only to push up the next one and decide that it's even more perfect! </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-237 Wed, 31 Mar 2010 16:50:11 +0000 Ryan Copt 237@http://www.dpsinsider.com/forums/ <p>Great post about a great microphone. I just have a few points I'd like to add. This is a fantastic microphone choice for aggressive vocals, as you stated. I don't much care for it most of the time on more delicate vocals though. It tends to have a higher noise floor than a good LDC (large-diaphragm condenser). So, if you have to crank the preamp loud, you usually end up with more "hiss" than you want. It also tends to be very "focused" sounding. This makes it excel at helping a voice cut through a rather dense mix, but conversely makes the voice sound a bit small for, say, a soft ballad where a very robust vocal sound may be desired. Your mileage may vary, however, and that's the truly beautiful thing about this job. What works for one voice may be horrible for another. What sounds dreadful on one person's guitar, may sound beautiful on another's. Etc.</p> <p>There is no "one mic" that is perfect for everything, but the SM7 is definitely one of those work-horses that is usable just about anywhere. It's always one of the (if not the) first choice(s) on anything that's really aggressive. It just loves being on various pieces of a drum kit, distorted guitars, bass cabinets, and powerful voices. </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-235 Wed, 31 Mar 2010 16:23:59 +0000 Joseph Beaty 235@http://www.dpsinsider.com/forums/ <p>Do you close mic, distant mic or both for electric guitar using the SM7? </p> http://www.dpsinsider.com/forums/topic/studio-equipment-audio-gear#post-232 Wed, 31 Mar 2010 04:23:34 +0000 Rob Roy 232@http://www.dpsinsider.com/forums/ <p>As previously mentioned, we will be posting about some of the equipment and tools we use in the studio. We also welcome the community to feel free to ask our engineers about equipment they have questions about. We will do our best to give our thoughts based on the information we have access to.</p> <p>That said... Monkey Paul had written about one of his sessions where he used the beloved Shure SM7 microphone on an aggressive vocal performance. My comment on his post was that I would give a little insight on the SM7 as a studio secret.</p> <p>Well, lets begin on describing what exactly the Shure SM7 is. This is a dynamic microphone that was mainly introduced as a broadcast microphone. (If you have ever watched The Howard Stern radio show on television, Robin Quivers used one of these mics.) Anyway, this mic I believe uses the same dynamic (cardioid) capsule as the famous Shure SM57. However, due to differences in the design of the microphone housing and some other differences in the design, they have similar flavors yet drastically different sounds.</p> <p>This could be considered one of those "must have" mics in your arsenal. Especially at an average price of under $400, it is a very affordable mic with a wide array of uses. Here are some of the practical uses:</p> <p>Snare Drum: When mic-ing a snare drum, where an SM57 is an old favorite, the SM7 shines well. We usually remove the "foam wind screen" from the mics "head." This is more so for the visual part as it makes it look a little more unobtrusive and gives more room for positioning between the high-hat &amp; the toms. Run through a good EQ and you've got magic. (Hopefully the drummer has a little magic in the way he hits the snare and then you have a hit on your hands.)</p> <p>Electric Guitar: As some of you may be noticing, where ever the trusty SM57 is an old standard, the SM7 becomes a breath of fresh air. This mic can handle high SPL's. (sound pressure levels - or in plain talk: the SM7 likes loud!) The results are tighter, with more definition in both the high and low frequencies then normally found in an SM57.</p> <p>Now for the secret: The SM7 makes a great vocal microphone!!!! Most people tend to go right to a large diaphragm condenser microphone for vocals. Im some cases, I would go to the same, but for an affordable microphone that works well on a wide variety of voices, this mic rocks! Especially on male vocals and on less than perfect singers. I personally did a shoot out on a particular vocal session. I used a wide variety of mics of wide price ranges. I compared the SM7 to a vintage Neumann U67 (on ebay used for $7000), a Telefunken ELAM 251 (used value of these said to reach $25 to 30 grand), and an AKG 414 (about $800 new). The Shure SM7 really fit this singer's voice. (See some of those tracks at: <a href="http://www.myspace.com/indium)" rel="nofollow">http://www.myspace.com/indium)</a> </p> <p>This mic is fairly forgiving. Meaning, that if a singer may not have the best quality of voice (pitch, timing, etc.) this mic overlooks some of those details and for the lack of a better description, blends the vocal and smooths out the discrepancies in the vocal performance. In the mic shoot-out I mentioned above, it just sounded the best. This mic is also very user friendly when adding EQ and Compression. You'd be surprised how many commercially available records are out there with the SM7 used on the lead voice.</p> <p>So not to forget, the SM7 is a great go-to mic for all sorts of applications including instruments, amplifiers, percussion, voice and more. We like this mic... Alot! Okay, this may not be the mic to use on everything recorded onto a single recording, but is a contender for lots of applications and big bang for the buck!</p> <p>Now, where did I learn about the magic of the SM7? I have had the pleasure and honor to be in the studio with Ron Saint Germain. He has worked on, produced, and/or engineered on the likes of Sound Garden, Creed, 311, Tool, Jimi Hendrix, and tons more iconic artists. Many of the tricks of the trade I have graciously learned while watching Ron at work in the studio. His use of the SM7 totally made me see microphone choice in a whole new light.</p> <p>Please feel free to comment and give your thoughts... </p> http://www.dpsinsider.com/forums/topic/norman-petty-studios-clovis-new-mexico#post-210 Wed, 24 Mar 2010 13:36:31 +0000 Joseph Beaty 210@http://www.dpsinsider.com/forums/ <p>This place looks crazy cool! </p> http://www.dpsinsider.com/forums/topic/norman-petty-studios-clovis-new-mexico#post-206 Tue, 23 Mar 2010 15:07:51 +0000 Rob Summers 206@http://www.dpsinsider.com/forums/ <p>If you've ever wondered what it was like to make music back in the early days of rock' n' roll then follow the link below to look at the famous Norman Petty Studios, in Clovis New Mexico. In 1957, Petty made rock' n' roll history recording Buddy Holly and the Crickets' "That'll Be The Day". The sound influenced a generation, and his techniques are still used today.</p> <p><a href="http://www.flickr.com/photos/summers007/sets/72157623553588347/" rel="nofollow">http://www.flickr.com/photos/summers007/sets/72157623553588347/</a> </p> http://www.dpsinsider.com/forums/topic/finished-up-mark-stein-mixes-a-de-briefing#post-203 Tue, 23 Mar 2010 14:05:16 +0000 Joseph Beaty 203@http://www.dpsinsider.com/forums/ <p>it was a video from joeys phone...he has it to post I am imagining... </p> http://www.dpsinsider.com/forums/topic/finished-up-mark-stein-mixes-a-de-briefing#post-202 Mon, 22 Mar 2010 20:51:06 +0000 Rob Roy 202@http://www.dpsinsider.com/forums/ <p>How about posting this in the DPS YouTube? </p> http://www.dpsinsider.com/forums/topic/finished-up-mark-stein-mixes-a-de-briefing#post-201 Mon, 22 Mar 2010 17:16:24 +0000 Joseph Beaty 201@http://www.dpsinsider.com/forums/ <p>That video clip is really cool...please share more! </p> http://www.dpsinsider.com/forums/topic/finished-up-mark-stein-mixes-a-de-briefing#post-200 Mon, 22 Mar 2010 17:11:01 +0000 DavidL 200@http://www.dpsinsider.com/forums/ <p>Judging from the mix I heard on Friday, you really succeeded in capturing that huge "70's rock sound"....<br /> That ain't easy...lol...<br /> Good job!!!</p> <p>Dave </p> http://www.dpsinsider.com/forums/topic/finished-up-mark-stein-mixes-a-de-briefing#post-199 Mon, 22 Mar 2010 15:30:44 +0000 Joey Butera 199@http://www.dpsinsider.com/forums/ <p>On Friday I finished up Mark Stein's (of 60's group Vanilla Fudge) 4 song project for the documentary, "Rockin' the Wall". If you read my last post about the tracking sessions you know I got some really incredible signals on tape (meaning ProTools). As part of the mix process I sent the inside kick drum mic, the snare mic, all of the toms, the bass guitar, the B3, synth and lead vocals to out Otari 2" analog tape machine at 15ips. Wow! What a difference! The tape really glued the performances together and tamed the dynamics of the drums nicely. Also, 15ips (inches per second on tape) while noisier, delivers a nicer, fatter bottom for rock music.</p> <p>During the actual mixdown, I really only had to concentrate on the blend to make the mix pop. I gated the room mics (keyed by the snare and toms) and processed the voice with the SSL Duende channel. I ran the guitars (I kept those digital along with the overhead drum mics to keep a modern sound) through the Motown eqs and a Yamaha compressor so they could keep up with the huge tracks that went to analog tape. Any other eq's were on the Amek Recall that we just re-commissioned in Studio A. That console was originally used for live sound situations and has headroom for days! It's easy to get a loud, open and brilliant mix with that board.</p> <p>I hope Mark will allow us to post one of his songs on the Bongiovi Acoustics Myspace music page for all of us to listen to. We may have to wait until the movie is finished though, of course. Until then, I have a tiny video clip on my Facebook page of the tape transfer: <a href="http://www.facebook.com/joseph.butera?ref=profile" rel="nofollow">http://www.facebook.com/joseph.butera?ref=profile</a> </p>