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Author Topic: tips on post production eq and stuff on home studio  (Read 6364 times)

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El Chiguete

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Hi all,

I just finish gathering the equipment for my home studio (sound interface and monitors) and I was wondering what post production eq and and other stuff do you guys do?

I'm going MP-1 > multieffects > audio interface, and in the DAW (Reaper) using the Two Notes Wall Of Sound III pluggin to ad poweramp/speaker/mic simulation. This is sounding good, but since I know that a lot of the guys here have experience recording themself at home I know I can get some good insigth on this  :metal:
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Batsinthebelltower

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Download SuperiorDrummer2 and Ozone5  , they are free if you know where to look ..

My main process is ;

- When recording rythmn guitars, do 1 track panned 100% left, and the other panned 100% right , they must be seperate takes , not the same take copy and pasted

- When doing lead guitars keep it panned Centre and add some delay fx on the software

- For bass guitar get your takes recorded then "clone" the track so you have 2 copies of it . put an EQ on first track , cut the highs and boost the bass. On the second track put in EQ and cut the bass and keep the highs as they are , then add a distortion effect on software , it will initially sound really tinny and static , but solo the 2 bass tracks and blend the fat bass volume with the tinny bass until its nice. this technique will really thicken your sound

- In superior drummer, adjust all the individual drum voulmes so they sound as best as possible against your song

- Finally , "Select all" in your song , "Bounce Down" to 1 new track , then put Ozone 5 on that set to CD Master

I am using this process for every track and it sounds quite pro for a home pc recording
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Peter H. Boer

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- For bass guitar get your takes recorded then "clone" the track so you have 2 copies of it . put an EQ on first track , cut the highs and boost the bass. On the second track put in EQ and cut the bass and keep the highs as they are , then add a distortion effect on software , it will initially sound really tinny and static , but solo the 2 bass tracks and blend the fat bass volume with the tinny bass until its nice. this technique will really thicken your sound
My way is very similar.
Bass into tube DI direct to 1st track - no EQ
Tube DI link to ADA MB-1 on distortion sound _-_ EQ on tube voice only to 2nd track, in Cubase on this track a highpass filter set around 250-350 Hz
Depending on the song or passage I mix in more or less of track 2.
Both tracks then go to a group track where I apply compression and general EQ

 :metal:
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rnolan

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Go El Chiguete, first I'd worry about pre production/ i.e. getting a good recording, post production (while important, you can't actually "fix it in the mix" sometimes you can sort of "sort of save" it...).  But this is a very broad and subjective topic.  Probably your first big hurdle will be to deal with (sound card) latency when doing overdubs (you play along/record to what you hear back but it's out of time with the original track (inherent in "ALL" sound cards and I/O modules and the bane of digital recording)).  The way around this is get a small mixing desk (e.g. Behringer Eurorack UB2442FX or similar) and monitor everything (ALL sound in/out) from it, don't use the PC mix stuff except for final mixdown, plug PC sound outs to mixer, plug input(s) e.g. MP1 (you'll need some cab sim (try the ADA GCS-3 in MP1 loop)) to mixer and listen from mixer only.  The better you get the initial recording, the less you have to stuff with it later to try to fix it....
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Peter H. Boer

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Probably your first big hurdle will be to deal with (sound card) latency when doing overdubs (you play along/record to what you hear back but it's out of time with the original track (inherent in "ALL" sound cards and I/O modules and the bane of digital recording)).  The way around this is get a small mixing desk (e.g. Behringer Eurorack UB2442FX or similar) and monitor everything (ALL sound in/out) from it, don't use the PC mix stuff except for final mixdown, plug PC sound outs to mixer, plug input(s) e.g. MP1 (you'll need some cab sim (try the ADA GCS-3 in MP1 loop)) to mixer and listen from mixer only.  The better you get the initial recording, the less you have to stuff with it later to try to fix it....
Cubase has compensation for latency.
So it will automatically set what you record a xx number of samples (depending on your settings) forward so you're in sync C:-) again
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finstah

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- For bass guitar get your takes recorded then "clone" the track so you have 2 copies of it . put an EQ on first track , cut the highs and boost the bass. On the second track put in EQ and cut the bass and keep the highs as they are , then add a distortion effect on software , it will initially sound really tinny and static , but solo the 2 bass tracks and blend the fat bass volume with the tinny bass until its nice. this technique will really thicken your sound
My way is very similar.
Bass into tube DI direct to 1st track - no EQ
Tube DI link to ADA MB-1 on distortion sound _-_ EQ on tube voice only to 2nd track, in Cubase on this track a highpass filter set around 250-350 Hz
Depending on the song or passage I mix in more or less of track 2.
Both tracks then go to a group track where I apply compression and general EQ

 :metal:

Ditto. Ozone is a great plugin, albeit kinda hard to get used to the interface, at least with my version.

One trick I learned is when you clone a track, move it ahead maybe 5-10ms. really fattens up the track.

Definitely agree with Peter with the high lo pass filters. Another great trick.

And for you new guys, listen to everything recording related that Peter says. He is a stud when it comes to mixing, the Stars video is a prime example on top of his band's work.

Zilthy

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There are a lot of things that can be done post production, and i think everyone has their own favorite tricks which help make up their style.  I see tips for instruments, so I will share what I do with vocals.

I tend to do a blend of motown + modern on vocals.  Unlike guitar, which is often panned out, vocals end up sounding odd if doubletracked.  Not bad, but odd.  So, once the vocal is tracked and comped, I will work with a copy of the vocals, rather than a double track.

The next thing I will do, is apply a motown style exciting compressor chain to the first copy.  Boost 8khz, cut around 250hz and put a 10 - 1 compression on it.  That in itself sounds really bad, but it adds a *lot* of clarity and presence to the vocal.  This track gets pulled way down, and is brought up to add that presence and clarity to the vocals in the mix as needed.

With those two tracks, I should be able to get the vocal to sit in the mix nicely without having to go overboard with compression or eq on the main vocal.

Now, if I want to fatten up the vocals, I will copy the original again, add a 2 ms delay, do a couple cent pitch shift, and pan it slightly.  Again, pull it down, and bring it up in the mix.   Want fatter?  do same again, but pan to other side, and slightly change delay and pitch shift.

Excluding the compressed mix, send the panned/deleayed/pitch shifted to a subgroup for any reverbs and delays.  As far as compression, I tend to put that on the subgroup.  EQ can go either way, depending on desired effect.

That motown compression trick can be applied to any instrument or track though, just change the EQ points accordingly.  Heavy compressed punch and clarity, without sounding over compressed.
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RobbHell

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With Digital EQ I've found it better to take away rather than boost. If you do boost I wouldn't use more than 2db.
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