EMUSIC-L Digest Volume 60, Issue 10 This issue's topics: DAT or PC (2 messages) DAT or PC? (2 messages) midi and sync with tape (3 messages) Midi transport control etc (3 messages) Multitrack Recording Tips (2 messages) Ok...here it is...! Re : Multitrack Recording Tips (2 messages) stmp? (3 messages) Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Mon, 3 Jan 1994 15:44:15 +0028 From: Joe McMahon Subject: Re: DAT or PC > . What is the best Digital recording media > these days? Is DAT the best way to go still? > or Are there PC based sequencers that > enables recording of vocals as well as mixing down? If you have the hardware and financial resources to support it, direct-to-hard-disk recording is the way to go. Editing, etc., are all much easier on disk than on DAT. If you need to go cheaper, the next step down is a multitrack mastering deck such as the Alesis ADAT or the Tascam machine. You still have multiple tracks, but editing is a bit more time-consuming and dificult. Cheaper still, buy two or more professional DAT decks and bounce the tracks back and forth, adding new ones as you go. Editing now becomes a matter of keeping backups as each new track is made (hence the need for a pro DAT, to avoid copy protection problems) and going back and redoing the track in error. Very time-consuming, especially if a early track is found to be troublesome late in the mastering process. > . What is a good price for an 8,16 or 32 track DAT? > (approx) > . If PC is the way to go, what is a good price > for a PC setup that provides the same recording > capabilities as the DAT? (approx) These questions are better addressed in detail on STNTH-L; write me directly at xrjdm@twinpeaks.gsfc.nasa.gov if you need help in getting access to that list. Generally, however, none are currently anywhere near as cheap as analog tape. I'm posting this answer on both lists in order to move the discussion to SYNTH-L in an orderly fashion. --- Joe M. ------------------------------ Date: Mon, 3 Jan 1994 14:41:56 -0500 From: Alper Kerman Subject: DAT or PC Greetings Folks!, I'm new to the list and looking forward to enjoy being on it. Also, I have put together a few equipment and built a small home-studio some time ago, and have been producing my wife's and my songs since. I don't have anything too fancy, but; Fostex MultiTrack ( 4 tracks, 8 channels ) Alesis effecs box ( for voice, instrument ) Korg OM1/WD ( 16 track sequencer/keyboard ) Microphones, Guitars, amps, etc,... I would like to replace my recording media the "Fostex MultiTrack". I'm tired of hearing tape hiss. So, . What is the best Digital recording media these days? Is DAT the best way to go still? or Are there PC based sequencers that enables recording of vocals as well as mixing down? . What is a good price for an 8,16 or 32 track DAT? (approx) . If PC is the way to go, what is a good price for a PC setup that provides the same recording capabilities as the DAT? (approx) ps. Keep in mine that right now I'm recording vocals on the tracks of the Fostex MultiTrack, and usually for background vocals I bounce tracks since I only have 4 tracks. So, I would like to have more tracks for vocal recording on a digital medium thru DAT or PC!...Which one is better? I hope above questions were appropriate for this list, if not, I appologies, and ask you please to guide me to the correct list. Thanks in advance!... The Young Turk ~^ aa < __/ ------------------------------ Date: Thu, 6 Jan 1994 09:58:39 -0500 From: Dean Keith Subject: Reply to DAT or PC >I would like to replace my recording media the "Fostex >MultiTrack". I'm tired of hearing tape hiss. >So, > . What is the best Digital recording media > these days? Is DAT the best way to go still? > or Are there PC based sequencers that > enables recording of vocals as well as mixing down? > > . What is a good price for an 8,16 or 32 track DAT? > (approx) > . If PC is the way to go, what is a good price > for a PC setup that provides the same recording > capabilities as the DAT? (approx) > >ps. Keep in mine that right now I'm recording vocals on > the tracks of the Fostex MultiTrack, and usually > for background vocals I bounce tracks since I only > have 4 tracks. So, I would like to have more > tracks for vocal recording on a digital medium > thru DAT or PC!...Which one is better? > >I hope above questions were appropriate for this list, >if not, I appologies, and ask you please to guide me >to the correct list. Thanks in advance!... > > > The Young Turk > > ~^ > aa > < > __/ Young Turk, Have you considered the Alesis A-DAT, it is probably the best for the $$ as far as digital tape is concerned. It is around $3999, but can be found for less in most cases. It's an 8-track format, and is expandable, since multiple machines can be synced (up to 16 for 132 tracks WOW!!). There is also a BRC (Big Remote Control) available for $1999 that alows more flexability and ease of use. The media that it records on is S-VHS tape, which (as you know) is cheap and easy to find. Each tape holds approx 40 minutes of Digital audio. If you want to go the PC rout, I think you will spen A LOT more money for a little more flexability. Graphical editing, and filtering, and such are great, but for a home studio, A-DAT is probably already overkill. Try to contact an Alesis dealer, because those prices may be outdated, and I don't recall the specs well enough to attempt to give them to you. Also I am aware of a few A-DAT copycats, that may be as good and cheaper, but unfortunatly I don't rember the Brand names or anything. My opinion is to go with Digital Tape, rather than hard-disk recording for your particular case. ______________________________________________________________________________ Dean Keith dkeith@tarleton.edu Tarleton State University Stephenville, Texas, USA ______________________________________________________________________________ ------------------------------ Date: Sat, 8 Jan 1994 14:05:55 +0000 From: Nick Rothwell Subject: Re: Reply to DAT or PC I'm late onto this question, and am not terribly interested in recording technology, but: > Have you considered the Alesis A-DAT, it is probably the best for the >$$ as far as digital tape is concerned. It is around $3999, but can be found >for less in most cases. Maybe in the US: see my article on SYNTH-L regarding Alesis in the UK, and the ADAT is around $6000, but I digress of course... > If you want to go the PC rout, I think you will spen A LOT more >money for a little more flexability. Graphical editing, and filtering, >and such are great, but for a home studio, A-DAT is probably already overkill. I really don't follow this. ADAT delivers a lot more tracks and capacity, but at the cost of a lot of flexibility. You can't move audio data around on a tape. You can't cut, paste, whatever. If I were to go for this technology, it would be HD-based with editing software DAT backup, primarily, with something like ADAT to spin and merge tracks onto as they approach completion. An ADAT might be a good deal, and under certain circumstances I'd consider one. I'm objecting to the statement that a disk-based system only delivers "a little more" flexibility. What it delivers is (IMHO, and if it's done properly) phenominal. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Tue, 11 Jan 1994 23:40:39 -0500 From: Mark Swann Subject: midi and sync with tape well greetings, I was wondering what the most inexpensive method is for synching midi playback thru a sequencer with a four track.. I have a midiman card,, mpu401, but it does not have smpte.. Is there an 'inbetween' black box available that does the trick? preferably something for about 5$, heh. svann ------------------------------ Date: Fri, 14 Jan 1994 14:42:39 CST From: Scott Levitt -- Summer HS Coop Subject: Re: midi and sync with tape Mark, You can buy a combination 4-track and mixer. I have seen these boxes from $600 on up. This is the best deal, you are getting every thing you need to record effectively. Scott Levitt ------------------------------ Date: Fri, 14 Jan 1994 22:29:23 -0500 From: Mark Swann Subject: Re: midi and sync with tape 600! sheesh, oh wel, I already have a 3440,, Ill look around, thx for info,,, svann. ------------------------------ Date: Tue, 4 Jan 1994 11:07:31 GMT From: David J Greaves Subject: Midi transport control etc I'd be grateful for info on tape transport control etc using midi. I feel sure that there are some midi codes now widely used for tape transport control. David /* ------------------------------ Date: Tue, 4 Jan 1994 12:01:43 AST From: Alan Edwards Subject: Re: Midi transport control etc In message <9401041108.AA28349@unb.ca> David J Greaves writes: > I'd be grateful for info on tape transport control etc > using midi. There is a whole portion of the spec. dedicated to this. It is called MIDI Machine Control. It basically specifies a set of SySex codes to control tape machine functions. I have the prelim. spec here, and have ordered the complete spec., but it is not here yet...I will be able to answer in more detail when it gets here. > I feel sure that there are some midi codes now widely > used for tape transport control. Some manufacturers may do this, but it is not really proper, now that MMC is out. Alan Edwards UNB Physics ------------------------------ Date: Tue, 4 Jan 1994 09:19:29 -0500 From: "KELLMAN,JOSEPH ANTHONY" Subject: Re: Midi transport control etc > > I'd be grateful for info on tape transport control etc > using midi. > > I feel sure that there are some midi codes now widely > used for tape transport control. > > I would be interested in this information also J-Trane ------------------------------ Date: Tue, 18 Jan 1994 08:07:56 LCL From: Doug Ramsay Subject: Multitrack Recording Tips I've compiled a list of multitrack recording tips to keep close at hand from various sources, would anybody be interested in seeing it...should I post to the mailing list? *===================================================* | Doug Ramsay | | | Acknowledge Him Productions | doug.ramsay@his.com | | Studio 1007 | | | Ft. Washington, MD 20744 | | *===================================================* ------------------------------ Date: Sat, 29 Jan 1994 07:18:06 LCL From: Doug Ramsay Subject: Multitrack Recording Tips I see that when I posted the subject to the list, it never appeared, so for all those who would like to receive future updates personally, please send me your e-mail address. Thanks! *===================================================* | Doug Ramsay | | | Acknowledge Him Productions | doug.ramsay@his.com | | Studio 1007 | | | Ft. Washington, MD 20744 | | *===================================================* ------------------------------ Date: Tue, 18 Jan 1994 11:29:56 LCL From: Doug Ramsay Subject: Ok...here it is...! For all those who asked (and know for those who didn't... ) here's my compilation of multitrack recording tips. Hope they're helpful...feel free to send additions/comments for the next volume. Cheers....D -------------------------------- cut here --------------------------------------- The following were compiled from many different sources and are not meant to be "written in stone"! This is only the beginning, I will try to update this list and post appropriately. Happy Recording! *====================================* Doug Ramsay Acknowledge Him Productions Studio 1007 Ft. Washington, MD 20744 doug.ramsay@his.com *====================================* ************************************************************* Multitrack Recording Basic Production Tips Vol. 1 Preparation % To keep your recordings bright and flutter-free, clean the tape heads, tape guides, capstan and pinch roller before every session. If possible, use 90% isopropyl alcohol because it has less water and will evaporate faster, thus reducing the probability of rusting your tape heads. Recording % Record everything at a level that is as high ("hot") as possible in order to minimize tape hiss (noise). With Dolby machines, try to keep the level fairly high. % As a rule of thumb; bass or very bright sounds are the most vulnerable to distortion, percussive sounds are the most difficult to meter accurately. If you can remove unwanted bass from sounds with EQ before you record them, you'll generally get a better sound on tape. % Record with noise reduction % Use optimum (high-bias) short length tapes (max. 60 min.: Maxell XL IIS, TDK SA-X, Sony UX-Pro, Denon HD). Shorter lengths reduce the probability of tape breakage because the longer the tape, the thinner it is. % Don't use cheap audio cables, make sure all connections are clean and solid. % Tape noise increases 3 dB every time the number of tracks in use doubles (assuming equal levels per track). To reduce multitrack noise buildup, mute tracks that have nothing playing at the moment - use a noise gate in line with each track, if possible. % If possible, record tape tracks from the direct output of each input module rather than the bus. This is a cleaner, shorter signal path. % Use noise reduction on recording and playback and if possible, use a DAT, digital multitrack or direct-to-disk for your mixdown deck. % Run the bass guitar through a compressor before recording it to multitrack. This gives you a punchier sound when you mix. % Never record "hot" parts next to a sync track, crosstalk can cause your time- code reader to get lost. % Try not to use EQ or record effects during basic tracking and overdubs, particularly if you aren't sure of your final sound. % EQ is best applied by cutting rather than boosting. % Before mixing down, record a small portion (30 sec) of the song. Recording a small portion and evaluating it prevents you from having to mixdown several times. The similar should be done at mixdown time. % Consider recording stereo synth and drum parts (or your most important parts) to tracks 1 and 4 first. The reason for this is that tracks 1 and 4 are the worst tracks on a 4-track because they are on the edge of the tape and have slightly less contact with the heads than the inside tracks. Bouncing Tracks % Add a live part as you bounce tracks to minimize bouncing more tracks % Try to avoid bouncing lead vocals, drums...you'll lose clarity on these tracks. Mixing % The first step in mixing is to set the relative volumes of the instruments and/or tape tracks, this is the purpose of each channel's volume fader. % When it comes to mixdown, set the final volume level with the mixer alone. This also allows you to change your mind later and make the part louder. % It is important to set the initial gains properly (line and mic-levels). % If level changes are required during the mixdown, mark the settings on the faders for each change. % As you adjust the mix, set the input faders to achieve a 0 VU recording level (+3 VU max.) on the meters for buses 1 and 2. Try to keep submaster and master faders at design center. % Subtracting from a mix always works better than adding. % Take ear breaks during your mixdown sessions. % Write down everything on your tracksheet: type of mic, EQ settings, outboard gear, etc. Overdubs can and will be done repeatedly and it's helpful to remember how you set up the equipment in the past. % A good mix has a good sense of depth (front to back) and stereo image (left to right). Mastering % Sync MIDI to the final stereo master, this will free up tracks on the multitrack, as well as giving first generation tracks to the master tape. Effects % If you must add reverb to a group of bounced instruments, try using a short reverb plate setting of 0.5 to 0.8 seconds. % Compress vocals and bass guitar as little as you record, then more as you mix. % Often each track sounds like it was recorded in a stuffed closet and isolated in its own little space. To remedy this, add stereo reverberation. If a synth sound is panned left, pan its effect return right. For example, you might hear synth bell tones on the left and a quiet echo on the right. This stereo jumping gives a lively action to the mix. Sources and Thanks: * Chris Alleyne - Acknowledge Him Productions * Nick Velharticky - University of Toronto * "Multitrack Recording - An EM Primer" - Electronic Musician, Jan '91 * "Production Tips For Your Home Studio" - Electronic Musician, May '91 * "An Introduction to Mixers and Mixing" - Electronic Musician, May '91 * "Multitrack Recording" - Electronic Musician - October '92 * "Guide to Instant Recording Success" - Home and Studio Recording, Feb '91 ------------------------------ Date: Thu, 20 Jan 1994 09:26:09 GMT From: Philip Jones Subject: Re : Multitrack Recording Tips Doug wrote ; I've compiled a list of multitrack recording tips to keep close at hand from various sources, would anybody be interested in seeing it...should I post to the mailing list? >> Yes Please Doug! ------------------------------ Date: Sat, 22 Jan 1994 02:48:40 LCL From: Doug Ramsay Subject: Re : Multitrack Recording Tips On 1/20/94, the illustrious Philip Jones said to Doug Ramsay...and I quote: > Doug wrote ; > >> I've compiled a list of multitrack recording tips to keep close at >> hand from various sources, would anybody be interested in seeing >> it...should I post to the mailing list? >> > Yes Please Doug! Done...if you don't see it, I'll post a copy to you. *===================================================* | Doug Ramsay | | | Acknowledge Him Productions | doug.ramsay@his.com | | Studio 1007 | | | Ft. Washington, MD 20744 | | *===================================================* ------------------------------ Date: Wed, 12 Jan 1994 10:27:21 -0500 From: THE DIGITAL WITCHDOCTOR Subject: stmp? Could someone explain the concept of stmpte to me. I understand it is some sort of timing device, and a lot of my sequencing applications have functions to make it works, etc. What exactly is it, and how is it different from midi time synching etc... thanks, phil sps5251@siena.bitnet ------------------------------ Date: Wed, 12 Jan 1994 09:12:26 -0700 From: john krikawa Subject: Re: stmp? >Could someone explain the concept of stmpte to me. I understand it is >some sort of timing device, and a lot of my sequencing applications have >functions to make it works, etc. What exactly is it, and how is it different >from midi time synching etc... >thanks, >phil >sps5251@siena.bitnet You must be referring to SMPTE (pronounced simp-tee) standing for Society of Motion Picture and Television Engineers. Although this is a powerful professional group, it is also the name for a type of time code as you have surmised. Basically (very) SMPTE code comes to user in the following format: HH:MM:SS:FF (hours:minutes:seconds:frames) Each video or film frame is coded with one number which represents the time as indicated above. The number of frames per second varies depending on whether you are using film, b&w video, color video etc. In general there are 30 frames per second (fps) when you are talking about video. [on an average (over 10 min. of video) though this breaks down to 29.97 fps due to something called 'drop-frame'....the details of which require many paragraphs] Musicians use SMPTE to 'sync' music to video or film. It is used by film/video folks to sync picture to picture (this is how they edit, they use SMPTE which makes the edits fall right on a frame, rather than in the middle of a frame [which looks like garbage]). If you're composing for color video set your sequencer for 30 fps (drop-frame) which is the same, for most instances, as 29.97 fps. I am not familiar with the interfaces that are available for using SMPTE with a sequencer (I just use it as a guide), but they allow you to start the video playing, and the music tags along right in sync. Hopefully others can fill in the gaps I have left. It is a rather in-depth topic, that I couldn't possibly cover at the moment. Regards, _ -john ___ __/ | ___ | | JKrikawa@CCIT.Arizona.Edu | |___ ________ \______/ \__________ Tucson, AZ ___../\./\/ \____/ \____ ------------------------------ Date: Thu, 13 Jan 1994 19:19:52 +0000 From: Nick Rothwell Subject: Re: stmp? >Could someone explain the concept of stmpte to me. SMPTE (Society of Motion Picture and Television Engineers (don't ask)) is a standard for encoding timing messages, down to the timing of individual film frames, in an audio format, so that it can be put onto a track of audio tape and locked to and so on. SMPTE is therefore not MIDI, although one can convert SMPTE to/from MIDI Time Code (which is similar timing information encoded into MIDI messages) with the right hardware. MIDI beat sync is something different (bars/beats/pulses) which treats time in terms of musical beats according to tempo, rather than hours/mins/secs/frames. Again, conversion is possible, although the tempo information (tempo map) is crucial. Something somewhere holds it; these days, usually the sequencer, although in the older days a lot of hardware units did the timecode/beat-sync conversion themselves. Quick and superficial answer for you; worth what you've paid for it... Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ End of the EMUSIC-L Digest ******************************