Jester_Fu

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Everything posted by Jester_Fu

  1. Just trying to help - no need to go postal at me. I had nothing to do with the production of "Rhythm Baby"...
  2. We have a new 'bundle of trouble" that could solve all your baby issues: Bingai Dingo ate my baby!! You go, Robby Chamberlain
  3. Welcome, mate. Sounds like you're getting some great hands on experience - best way to learn IMO. Also sounds like some great gear to be learning on!
  4. The pirate forum is elsewhere. Suggest you look there. However, if you want good software with a long demo and a very reasonable purchase price - check out Reaper. http://www.reaper.fm $60 legit.
  5. If you have a computer, you're most of the way to getting started. Where you probably want to start production is by getting a DAW (Digital Audio Workstation). This is software that you run on your computer that allows you to record and mix music - like a recording studio. The software can be expensive, but i'd suggest you start with something like Reaper. It's cheap and effective - and free for 60 days to get your head around. It started as a totally free package so there's a lot of community to help you get into using it and some good online tutorials. It takes time - be patient and give yourself time to come to terms with it would be my biggest advice. Within the 60 days, though, you should be able to start recording into the DAW. You may want a microphone if you want to do vocals or guitar - something USB based and cheaper to start with will allow you to get ideas down and start to figure out what you want to do with things. You can get USB mics on ebay for like < $30. Not brilliant sound wise, but it'll get you started and allow you to experiment. Later on, you might consider a better sound card etc. There are other ways to get into production - you can use stand alone multitrack recorders, tape (old skool!) and so on. Most people dive into DAW as they already have a computer and these days, any computer will give you enough power and memory to do basic audio production. The next step is to ask questions as you're using the DAW. It's really hard, particularly on line, to give non-specific advice that's any use. So, get some specific questions and problems as you use the DAW and ask away!
  6. Headphones are never ideal for doing a mixdown or any form of 'final' work. They create too much separation and don't allow for testing phasing and alignment very well. However, you can mix with anything and make a good tune. The main thing is testing the final result you get on a few different systems to see how it translates - basically 'learning' the sound of the headphones (or speakers). Also listen to a lot of music you like in the headphones to get an idea how things that you think are well made/mixdown sound and they you have a better reference for your own tracks. Yeah - they might make things sound 'good', but there's nothing wrong with that providing you put it into perspective so you know how it will sound on a 'shit' system (i.e. radio, car stereo, clock radio etc.). Another key thin is how comfortable the headphones are. When you're wearing them for hours upon hours, having a comfy set that doesn't apply pressure to your head makes a major difference. "Ear strain" or "listening fatigue" is also more of an issue with headphones, i find.
  7. ^Yeah, i run windows in VM's all the time...
  8. Depends how much you want to spend and wether you want portable or enclosed/sitting type ones...
  9. Haha! It'll be just like ye olden days of lost youth with nights of clubbing and gigging and late nights making tunes... only there'll be screaming, weird smells, gooey mess and no booze (etc.). Which sounds remarkably like my uni days... Congrats mate! We'll be down in Vic in a few weeks to collect our new Dingo pup. Will try and catch up if you're up for it!
  10. You can't plug into that. Sorry.
  11. You should be able to account for the frequency response and limitation of the headphone drivers by undertaking frequency analysis on them. And yes, it will be a limiting factor. There are others, though. More important will be the processing time (latency or delay) in processing the inverse signal and adding it to output. This will ultimately effect the ability to cancel the noise. This may be where and iPhone app suffers as the phone is not a dsp and apps are low priority for the CPU. I don't see a need to monitor the output of the headphones unless you're trying to make them more adaptive - a type of feedback to your algorithm to adjust it real time. This would likely help with fidelity, but i expect it to have little impact on the ability to cancel background noise.
  12. What RB says is true, though most car manufacturers are trying to cancel cabin noise in cars, so mount the microphone inside the cabin either built into the radio or they use the hands free mic. The electronics to real time phase shift the background noise in analogue form is actually very simple - the key being to minimise, remove or compensate any delay so the inverted background noise stays in sync with the actual background noise. The other issue is the gain control - which is harder in analogue. You need the amplitudes to be very close to equal or otherwise you wont get cancelation - you'll get reduction or perhaps a gain in the poise if you really screw it up. That's why the inversion is important - but also matching the phase (sync) of the start of the noise you're trying to cancel to the cancelling signal. What you could do with your mower, for instance, is make the recording of it and then spectrum analyse the key frequencies produced by it and their amplitude where you normally stand. You could then introduce inverse of the frequencies at a similar amplitude to reduce the noise. That could be done as an MP3.
  13. The function is a sine wave... well, cosine wave... which is a 180 degree phase shifted sine. So, you're trying to get all 3 channels at equal gain in the middle of the triangle and more of a source as you move toward a point on the triangle. You want to sum the three waves to keep a '0dB' gain on the master output, from what i'm reading. I'd try adding a third dimension to the equation/wave: z = sin([sqrt{x^2+y^2}/gain]*2*Pi).
  14. Yes, this is one of the favourite threadsfrom ITM for the busy body producer, and those who like to get their wang out in public. I'll show you mine if you show me your's :-[ Equipment List... Synths: Yamaha DX7 Yamaha TX7 * 2 Yamaha AN1x Novation Bass Station Novation Drum Station Novation K-Station Alesis DM5 Akai S3000 Korg Legacy Collection with MS20 Processing: Symetrix 501 * 2 Lexicon MPX500 * 2 Behringer SNR2000 PC/Audio Interface: Motu 828 MkII Motu Midi Express 128 Intel Pentium 4 3GHz with 2GB DDR2 533 & Raid 1 over SATA Dual Dell 19" TFT's, spanned Cordless mouse and keyboard + USB keypad Cubase SL3 Mixing/Mic Pre's/Monitors: Soundtraks Midi Solo 32/8/6 Behringer Ultrapatch Pro Spendor SA200's Beyerdynamic DT990Pro's Sennheiser HD475
  15. So, how dooo you solve a problem like Maria? You're on the inner - they give you a cheat sheet of answers, yeah?? Could never figure it out myself. I once did FOH of a school production of Sound of Music, i was too old to be in school and getting paid to do it.... but anyway, apparently offering to 'spank' Maria to solve the problem doesn't cut the mustard... even if she was a bit of a hotty and of legal age Even worse if you forget to turn the comm's mic off and start talking shit in the booth with the light guys... only to have an angry looking highschool teacher come running up and remind you the mic is on in the change rooms. Anyway, private *cough*christian*cough* school, had money... sounded good and Maria invited me to the 'after party' but i declined and went to a paying DJ gig with adults and loose morals. Never did solve the 'problem Maria'. Probably why i'm not in goal
  16. So, y gives you the output gain? The equation you're quoting looks like a crossfader curve... but i'm not convinced mathematically it's going to give you the transition you want. So, are you trying to make like a 3 way mix? Is it something you think could be achieved with three level faders and you're looking to 'simplify' by having the triangle mix area?
  17. There's certain things they do faster - i've got one in my older MBP. The principle is they move the regularly accessed files to the solid state part to reduce access time. This doesn't help with anything you're not doing over and over. It seems to move a lot of the OS in there and then some of the app's you use more. Doesn't really help with access speeds for the data, though, just for the programs and OS. It is faster than a stock 7200RPM disk, but i'm not convinced the results are measurable in actual performance difference. They also seem to suck more juice than just a SSD or just a 7200 drive. So, yeah, faster boot and app load times... not really any sort of saving when you're writing data/files to the disk for a first time like making tunes. I think the main advantage if you get the OS moved onto the SSD is resistance to impact and vibration. That's what i wanted it for - my disks seem to die every 12months from corrupting the OS with moving and dropping them at work...
  18. Anything in the Pro series will be adequate. My 13" MBP handles most things, but i do a lot out of the box as well - so i guess it depends how many VSTi's/AU etc. you use as to how much power you need. i7, max out the ram. SSD makes things a bit quitter, but a 7200RPM drive will be more than adequate as well. Probably the bing thing - all the Mac's seem to come stock with a 5400RPM drive - either option it up or drop a new drive in the Mac afterward. It's often cheaper to buy the hard drive after buying the main Mac.
  19. You using active or passive DI's? Basically, guitar amps are low end amplifiers. There's a reason the manufacturers haven't broken into the front of house gear where the 'big boys' play. I'd have to see some schematics of the amp to tell you exactly what's going on - but your observation is about right. Even with solid state, there's a limit to the voltage rails supplying the FET's that amplify. These are supplied from a power supply that has a limit on current and voltage. With most decent guitar amps, even lower wattage, they have pretty beefy power supplies - all be it on the simple side. This is what typically adds weight. Now, the power supply size means that it'll produce a good whack of current but the voltage will be limited... and what does a compressor do? It limits amplitude, which is equivalent to limiting voltage. This means that you'll get compression without harsh distortion. Distortion is generally an effect of the amp running out of 'drive' or current. Don't get me wrong - part of the inherent design of guitar amps is distortion though it was originally a deficiency of design rather than a feature. This is what gives a 'rounded' and 'smooth' sound to different amps. But they're not reaching a limit because of current which means the driver/speaker keeps moving smoothly. You might also find it has to do with impedance matching difference between a DI and an amplifier. DI's are typically designed to be clean and noise free. Guitar amp inputs and amps in general are not - they're designed to colour the sound and create a pleasing noise to listen too. That's relative - different people find different noises pleasing so there's variation in input/pre-amp and amp stages. You're DI then goes to a mixer - which again adds minimal colour depending on the mixer... and then into an Amp which again is designed to add minimum colour to the sound. You can add compression and distortion and all the other things via the mixer to 'make' an a guitar amp sound. Guitar amps also don't go much into harmonic distortion and other fidelity limits. Again, adding colour to the sound and part of harmonic effects will be some compression. 2c's.
  20. Great idea.
  21. Ohhhh Kay. Nice to waste your time, i guess.
  22. You're a high flyer, now. I saw some of the vegas pics on your fazbok. Just rent a fully decked out studio. Hell, get the Jay man himself in there to re-lay vocals for you while you're at it... Yeah, might have a go. Guess i should start by getting the stems anyhoo...
  23. Not me, good sir. Is it actually capable of being used as a midi/usb adapter? Give me a call if you get stuck - i've got a midi USB adapter for the MachineDrum you could borrow and also a Motu 128 express. Haven't used either for a while due to my inactivity in the studio.
  24. I don't know if HeartBeat will be back after i no no'ed the thread started offering to 'share' a 'software collection'.