Of the NI pianos it's the best one. I used it a lot until I bought Ivory II.
You can turn off the reverbs and stuff like that. AKs supports half-pedaling if your keyboard does which is a plus. You can get some decent sounds with it. For the price w/$25 off try it, unless you see something else that they have that you want.
With Ivory II, I find myself leaning toward the Bosendorfer and just forgetting about the others. I always end up adjusting the attack curves anyway to even out my attack and slap a compressor on them because I don't practice anymore.
I have Soundforge 11 and yes, when putting a full CD together it is easier to use Normalize. One can use Normalize peaks or Normalize RMS. You can also use dynamic compression on any clipping.
So if you're normalizing all the tracks to -16 dB rms before you master everything you might want to have the dynamic compression turned on just in case. You can always undo. It's not like it's destructive. This is 2014 and you're not committing it to analog tape.
I'm assuming you'll be fading in and out the nature sounds. You can draw their fade in and out on the volume track (automation) at the rate and shape the curve so that it sounds best to you and the artist.
I figured it out. I have ARC2 from IK Media and can select preset crappy speakers that are set up for where my listening position is balanced. I can also set up a custom set like Avantone cubes which have a 100 - 15 kHz response.
If ARC2 is set up properly you don't get the impression you have too much bass. You get a flat response.
The bass was Cyclop but the fundamental was 36 Hz with harmonics in a saw. The solution was to smash the living hell out of it to 16:1 and set the threshold to where the it maxed, and a very fast attack (no transient) with a 212 ms release (full note length) and increase the make up gain until you could hear the bass.
So now you can hear the bass, but I haven't uploaded the file yet.
So your flat response rolls off at 70 Hz. Yeah my Yamahas handle 45 Hz @ -3 dB without the subwoofer and they're rear ported.
Probably could do a third kick channel with R-Bass and compress the hell out of it, then cut everything below 60 Hz and everything above 100 and bring that in and see what that does. I've got the low thump feeling really good and don't want to mess with it.
I would suggest setting the limit at -0.3 dB instead of 0 dB if you're going to convert the file to mp3 format since that will invariably result in clipping. You should give yourself a little wiggle room.
When recording just set you buffer size as low as it can go. I turn quantization off on input because it never does exactly what I want. I do odd stuff like 6 against 4 or 5 against 4 at times and the quantization is going to read it wrong.
malnack wrote:Boom! Sometimes the best solution is also the easiest. Nice job Julia
Funny, I spend more time getting the preset right than I do recording the guitar patterns. If I've got two or three different guitar patterns, I'll just practice them for a few days until I get them perfect (I'm not shredding so they're just a few notes). They've got to be perfect because they're transparent. But I'll play about 32 bars of each pattern, and pick the best sounding 8 bars. Snip snip. And just duplicate the pattern. S1 handles the X-fades. Then "re-amp" it through my POD HD or run it through Guitar Rig and I'm done. Turn off "snap to grid" and slide the track to line up with the rest of the track.
I put this together over the past couple of weeks. I'd like some comments on the mix. I mixed with my Yamaha HS-8s and a sub. I used fattening compression on the snare, and parallel compression on the kick. I used my Tele and POD HD500 for the guitar work. Massive and Cyclop for the basses. Omnisphere, Absynth and SEM for the synths. EWQL VOP for the vox.
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