Mixbus 32c latency bad5/23/2023 We wanted these supportive chords to provide some seasick harmonic atmosphere, so we first sent them through the Afterneath set like a traditional spring reverb. Roland Alpha Juno 2 - Afterneath, Tone Job, Rainbow, Pyramids, Aqueduct, Organizer, Astral Destiny, Avalanche Run Also, the pedals are listed in the order of the signal chain used on each stem. Let’s get into it, shall we? As we go through several of the stems, we'll offer details and reasoning for the pedals used and give you audio clips comparing the original, raw files with our gussied-up remixes. Hopefully, the different styles will show the wide range of possibilities, from adding a little depth and space to your already groovy tracks or transforming the entire piece into something else. Instead, we slathered them on with a heaping helping of sprinkles and a bucket of sonic brown gravy. By contrast, we decided to go big, so there isn't just a bit of effects frosting. Also, Jake lightly added the Boss Super Chorus to some of the melodic elements and used the EQD Data Corrupter, which gloriously obliterates any signal you feed it on the main melody. ![]() He gave the hi-hats a light frosting of EQD's Grand Orbiter Phase Machine and a sprinkling of the Korg SDD-3000 digital delay. ![]() Jake took the tasteful, subtle, and augmentative approach. Pay attention to your incoming levels when sending pedals into your interface because it's easy to clip your input, and you probably don't want that to happen.Īs part of this team-up, both Jake and the lab-coated team at the UBSL took a stab at remixing the basic version of "Rockpile Rumble," and our results highlight a couple of the many possible approaches. In our case, we used inserts to send the original signal out of the 4i4's third output, directly into our pedalboard, and then back into input one of the interface and recorded the affected signal onto a new track. But most modern DAWs should have suitable routing options, and if your interface has multiple outs, you should be good to go. Check your various manuals to see how your DAW and interface interact to get it done. We won't go too deep into the nuts and bolts of the process since each DAW and interface are different. Next, we have to send the raw signal into our pedalboard and then send the results back into our interface and DAW. Since Jake sent us the raw stems, we first have to get the sounds out of our DAW, Harrison Mixbus 7 32C, then out of our audio interface, the dependable Focusrite 4i4. Here at the Upstairs Bedroom Sound Labs, our gear setup is relatively simple and consumer friendly. So, put on your Ray-Bans, step into your loafers (no socks, of course), push up the sleeves of your bright, pastel-colored, double-breasted linen suit jacket, and get ready to r-r-r-rumble! Or something like that.Īnyway, just so you know our starting point, here's the original raw version of "Rockpile Rumble" with minimal EQ and some limiting on the Master Bus. Perhaps our heroes are in their cool-ass classic muscle cars driving through the underbelly of "The City" looking for their favorite snitch, or are on their way to a showdown with the Big Bad Boss. The track is called "Rockpile Rumble" and, for us, conjures mental images of a scene from an 80s action movie. So, Jake sent us a short, groovy synth-based track for us to play with, and play with it we did. Jake Jenkins, our good friend, and synth maestro at Sweetwater, asked us to help illustrate how useful and just good fun it can be to use pedals as outboard gear focusing on synthesizer-based music. ![]() Naturally, EarthQuaker Devices pedals are great for this purpose. But if you know your pedals and their capabilities well, why not throw some of that analog delay on your cool synth melody or dirty up your square wave bass line with some good ol' stompbox fuzz. Likewise, some analog and soft-synth players may not see the value in using pedals as outboard gear. But if you're a musician, guitarist, bassist, or just a pedal nerd (we love ya!), you likely have at least a small arsenal of pedals that you could be using with your in-the-box productions. Some folks may even assume outboard gear is just for professional-grade studios and big-time producers. and independent artists are content to use the multitudes of software plugins available when recording. In the laptop-driven and portable studio world in which we currently exist, many D.I.Y.
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