Handy Method For Using Compression

May 10, 2012 CaliDingo How To, Recording

Hello folks!

I’ve been a little more sporadic lately with posts, but this is due to a good thing. California Dingo has been getting business which has taken me away from my dolling out useless info on my wee lil’ blog. I’ll have some goodies I’ll be sharing in the near future as a result from my busy-ness, but for now I want to share an article I came across on how to use compression for drums. Now, this article is specifically speaking about compression on recording drums, but this method is useful when adding compression to any instrument or vocal that is being recorded via a microphone (as opposed to a direct injection). You will have to adjust according to the source you’re recording, but use this method to find a nice even audio of your audio source.

Again I ripped this from my mixing idol, Mr. Bobby Owsinski. I actually have a couple of his books and won’t hesitate to recommend you going to Amazon on a quest for one of his many books. I’m sure you’ll find some gold in there somewhere.

Without further ado….

——————————————————————————————-

It would be great if every drummer hit every beat on the kick and snare with the same intensity, but unfortunately that doesn’t even happen with the best drummers on the planet. When the intensity changes from beat to beat, the pulse of the song feels erratic, since even a slight change in level can make the drums feel a lot less solid than they should be. Compression works wonders to even out those erratic hits and helps to push the kick and snare forward in the track to make them feel more punchy. Let’s take a look at how to do that with the drums.

The Compression Technique
Before we get into specifics, here’s the technique for setting up a compressor. Regardless of the instrument, vocal or audio source, the set up is basically the same.

1. Start with the attack time set as slow as possible, and release time set as fast as possible on the compressor.

2. Turn the attack faster until the instrument begins to sound dull (this happens because you’re compressing the attack portion of the sound envelope). Stop increasing the attack time at this point and even back it off a little so the sound stays crisp.

3. Adjust the release time so that after the initial attack, the volume goes back to at least 90 percent of the normal level by the next beat. If in doubt, it’s better to have a shorter release than a longer one.

4. The more wild the peaks, the higher the ratio control must be set, so increase it until the sound of the instrument or vocal is pretty much the same level throughout.

5. Bypass the compressor to see if there’s a level difference. If there is, increase the Gain or Output control until the volume is the same as when it’s bypassed.

Tracking Versus Mixing
Generally speaking, most engineers won’t compress much, if at all, during tracking, since anything you do while recording can’t be undone later. That said, some engineers like to limit the instruments a little (only by a dB or two) just to control the transients a bit. A compressor becomes a limiter when the ratio is set to 10:1 or more. If you choose to do this, make sure that the limiter kicks in on only the highest peaks. If it’s limiting constantly, it’s probably too much and you might regret it later since it can’t be undone. Decrease the threshold control so it only limits on the occasional transient.
Compressing The Kick And Snare
The biggest question most engineers have when compressing either the kick or snare is “How much is enough?” This depends first and foremost on the sound of the drum itself and the skill of the drummer. A well-tuned drum kit that sounds great in the room should record well, and a reasonably good drummer with some studio experience usually means that less compression is needed because the hits are fairly even. Even a great drummer with a great sounding kit can benefit from a bit of compression though, and as little as a dB or two can work wonders for the sound. With only that amount, the setup of the compressor is a lot less crucial, especially the attack and release.
Sometimes you need the kick or snare to cut through the mix and seem as if it’s in your face, and that’s when 3 to 6dB or so does the job. It’s here that the setup of the compressor is critical because you’re imparting its sound on the drum. Make sure you tweak the attack and release controls as above, and even try a number of different compressors. You’ll find they all react differently, even with the same settings, so it’s worth the time to experiment. Remember: if the attack is set too fast, the drum will sound less punchy, regardless of how much compression you use.

Compressing The Room Mics
The room ambient mics are meant to add the “glue” to the sound of a kit, and can really benefit from a fair amount of compression, which means anywhere from 6 to 10dB. In fact, many mixers prefer the room sound to be extremely compressed, with way more than 10dB being the norm.
The problem is that the more compression you use, the more the ambience of the room is emphasized. That’s okay if you’re recording in a great sounding room, but if it has a lot of reflections and the ceiling is low, you may be emphasizing something that just doesn’t add much to the track. One trick is to actually set the attack time so it’s much shorter than usual to cut off the sound of the initial drum transient, then tuck the room tracks in just under the other drum tracks.

Note that regardless of how good the room mics sound, the more of them you use, the less space there will be for the other instruments in the track. The more instruments there are, the more you’ll have to back them off. Sad but true, but unfortunately, there’s only so much sonic space to any mix.

—————————————————————————————–

I hope you found this useful. Again, I’ll be sharing some of my recent work in the near future. I hope you’ll swing around my neck of the interweb and check it out.

Till then…

David (Cali Dingo)

 

 

 

No comments , , ,

5 Must-Haves for Your Home Studio

April 25, 2012 CaliDingo How To

I was recording some drums a couple of weeks ago for a song I’m working on when it became clear to me that there are a few products and items I use around the studio that really save me a ton of time, headache and, in some cases, money. I thought it worthy of sharing so, without further ado, here is my list of 5 must-haves in the studio to make your time in the studio a pleasant one.

 

1. Wireless Keyboard & Mouse

It was upon using this excellent invention while recording drums that this blog post idea spawned. This is a definite MUST-HAVE. You (and I) are never going to record a drum track or any instrument flawlessly on the first take. So, picture if you will, me sitting behind my drum kit and the computer is waaaaay over there. I play a few bars and… mistake! Now, I have to get up and shimmy my way through the kit around the annoying cables and hit stop on the keyboard. You re-engage the track for recording another take, press play/record, walk around and over the cables, shimmy your way into the drum kit and you now have .5 seconds to get your sticks in hand ready to play before the song starts. Not fun.

A wireless keyboard allows me to keep the control panel for my DAW right next to me. Performing take after take is no problem and instantaneous. This is handy for any occasion that you are recording across the room from your DAW/computer. In fact, I love it so much I’ll mess up takes just to relish in my new-found freedom. Well, okay… that’s a lie. I picked mine up for around $50 at Office Depot.

 

2. Dual Monitors

This is something I don’t see many people do and I don’t understand why. When using most DAWs you will undoubtedly need to see both your edit window AND your mix window. Most DAWs allow you to flip between the two as you’re working, however, I find this tedious. By incorporating one more monitor into your workflow you constantly view your edit and mix windows at all times. I just find this easier to monitor levels and to just really see what the heck is going on while recording or mixing. I picked up my extra flat-screen monitor at Best Buy for $99. It’s not expensive and takes up very little room. Totally worth it.

 

3. Wacom Tablet

These are excellent when you want to ride a fader or tweak a knob ever so slightly in your DAW. Wacom tablets are typically used in graphic design because they allow you to get real intricate and detailed and the response is similar to using a pen on paper. Trust me, it’s real difficult to draw with a mouse. Well, same thing goes for riding faders and tweaking knobs. By using a tablet you are one step closer to actually putting the virtual fader or knob on your fingertips. It may take a little getting used to, but once you have it down… look out music world. ;)

You can pick one up at Best Buy for about $100. Totally worth it.

 

4. Electronic Drum Kit

Here is the scenario: You can play drums, have a spouse in the house or live in an apartment, are limited in space in your studio and can’t afford $2000 + drums. E-kit to the rescue. Many people I know build their drum patterns for their songs in drum programs using loops and then spend gobs of time tweaking those loops to make them sound like a person played them and to make those loops fit the intricacies of their particular song. This is not only time consuming it also almost never works. More often than not, after all that time spent to make them sound like you hired a great drummer… it still sounds like a drum loop. The only way to get your drums to sound like a person played them is to actually have a person play them. Sorry to say. Computers, at this point, are unable to emulate the imperfect energy of a person playing. Within the actual loop itself the drums sounds great, but once incorporated into your song it becomes another story… too robotic, not enough human.

The wonderful thing about an e-kit is you only need to spend upwards of $500 or so for a decent kit, then spend another $300 or less on a drum program such as EZ Drummer or Superior Drummer and you sound like you are playing a $5,000 kit for under $1,000. This is because the patches for the programs are recorded at high quality studios using great mics and professional engineers. The e-kit will send out a midi signal to your DAW and then that midi will trigger the drum program, you make any timing adjustments via the midi notes and oila! you no longer sound like you used loops to track your song’s drum pattern and were able to do so without annoying your neighbors.

Side note: The reason I suggest a decent e-kit as opposed to the high-end ones is simply because I’m only using this kit as a trigger for the drum program. What you’re paying for in the high-end kits are the drum patches that come with that kit. I would save that extra dollar on the kit and spend that extra dollar on the drum program instead. You get better drums patches in the end.

 

5. Hooks & Twist Ties

Part 1: Hooks

Newbie studio owner alert: Cables are annoying! There, I said it.

They are invaluable to the recording experience, but they consistently get in the way, wrap around everything you don’t want them to and can sometimes add a little hiss or hum to your recording (we’ll cover that last issue another day). Solution? Hooks. I believe these little babies are only 25 cents a pop at Home Depot, give or take a cent or two. You just screw them into the wall and your cables are outta the way until you begin to use them. I’ve seen elaborate devices that aim to provide the same convenience these hooks provide at ridiculous prices. You can’t go wrong with cheap. ;)

Part 2: Twist-Ties

You’re sayin’, “Wha?”

I kid you not. Again, there are many music shops and the like that will try to sell you elaborate little straps and whatnot to help you wrap up and organize your cables (before you place them on your 25 cent hooks, of course). But, don’t be fooled people. They are nothing more than glorified twist-ties! :) You can buy a bundle of these babies for $5 or so at Wal-Mart or the like. They come in different colors so you can organize your patch cables from your mic cables from your instrument cables, etc. Or… you could be extra cheap like me and just use the twist-ties that come with everything I ever buy. There is always a twist-tie included in music gear or stuff you buy that has to be put together from IKEA or whatever. I hoard twist-ties like they are the sole survival tool of Armageddon. Simple, but trust me they help keep your cables from entangling while sitting on your 25 cent hooks.

 

Well, those are 5 products that I find are extremely useful in my studio in that they save me time and/or money in the long run. What are some no-brainers that you include your studio? I want to know.

Till next time…

David (Cali Dingo)

 

 

No comments , , ,

Tribute to Jim Marshall

April 12, 2012 CaliDingo Interesting Find

Jim Marshall, the creator of Marshall amplifiers, passed away just last week. I, personally, didn’t feel as though there was much hoopla surrounding it. However, this could just be because I’m sometimes stuck in my own dimension… called life. So many of my favorite records had his amplifier’s signature sound all over it and I felt it worthy to honor the man behind the sound. I’ve always been fascinated by those who decide to create an amplifier or guitar or… you name it, from scratch. I don’t have that engineering skill or desire, but some who do go on to change the sound of music forever. Jim Marshall was one of those.

I found this article on Bobby Owsinski’s blog discussing little factoids about the man. Many of these were news to me, perhaps many will be to you as well. Enjoy.

———————————————————————————————-

When it comes to the giants of the musical instrument business with a huge influence on the music of today, only two come to mind - Leo Fender (who passed away in 1991) and Jim Marshall. Jim Marshall passed away last week at the ripe old age of 88, and left behind a rich legacy as the creator of the amplifier that was the sound of the rock – a sound just as loved and pertinent today as it was back in the early-60′s when Marshall Amplifiers began.

As a tribute to Jim Marshall, I thought it fitting to present a short list of facts about the man and his creation:
  • Jim Marshall was actually a drummer, not a guitar player. 
  • He was a very successful drum teacher, with as many as 65 students at a time.
  • One of Jim’s students was Mitch Mitchell from The Jimi Hendrix Experience.
  • Marshall Amplifiers actually started in the back of his drum shop in 1962, with the inspiration to design his own amps coming from players like Pete Townshend of The Who and Deep Purple’s Ritchie Blackmore, mostly because Fender amps were so expensive in Britain.
  • The original Marshall amps were based on the Fender Bassman. Since many of the parts used in the design of the Bassman weren’t readily available in Britain, Marshall used parts that were more common to the country, which helped to change the sound from the relatively clean Fender to the much ballsier rock sound that we’re familiar with.
  • It took 6 prototypes before Marshall came up with an amp that they felt they could sell, the JTM 45.
  • The first model received 23 orders the first day. Within 2 years the company had 16 employees and were making 20 amps a week.
  • The first international order came from Roy Orbison (who you don’t usually think of as having a Marshall sound).
  • Marshall twice won the Queen’s Award For Export Achievement, and was appointed an officer of the Order of the British Empire (which is just below knighthood) in 2004.
  • He was regarded as one of the wealthiest individuals in Britain, but donated millions of pounds to various charities over the decades.
  • Marshall suffered from hearing loss, but not from listening to loud amps. He attributed the problem to playing with loud brass in orchestras during the 50s.
  • He preferred a single-malt scotch which was bottled just for him.
  • He refused to sell the company many times over the years because his name was on the product, and he was afraid what might happen should someone else gain control (as was the case with Leo Fender).
That’s all for today.
Till next time…
David (Cali Dingo)

 
 

No comments , , ,

Excellent Home Recording Podcast

March 30, 2012 CaliDingo Interesting Find

 

G’day!

On this post I thought I would share a podcast that I’ve been listening to since day 1… which really wasn’t that long ago, because they are now on Episode 8. ;)

It’s called Simply Recording Podcast and it is hosted Joe Gilder of Home Studio Corner and Graham Cochrane of The Recording Revolution. I follow both of their blogs, have bought many of their tutorials and listen regularly to their newly established podcast and felt it worthy of mention on my own blog.

The whole show is dedicated to home studio recording tips, tricks and know-how. It doesn’t go too deep as some other blogs and podcasts I follow. Their podcast is a similar feel to both of their respective blogs which is more like home recording 101.

Being that I just did a post on Mastering not too long ago, I felt it apropos to introduce this podcast at this time because their latest episode revolves around self-mastering.

Give a listen. I’m sure you’ll enjoy.

Till next time…

David (Cali Dingo)

 

 

No comments , , , ,

A Comic From Script to Page

March 20, 2012 CaliDingo Comics, Drawings, Graphics

Well, this month 2 years ago I officially received a paycheck from DC Comics for a little web comic I helped create with my good buddy, Brock Heasley. Boy, those were the days. It was incredibly exciting for the both of us and a few months later it became quickly heart-breaking. I’ll give you the cliff notes version of what I’m talking about.

For those of you who didn’t know, Brock and myself entered a web comic contest back in February 2010 on a site called Zuda.com. Zuda was an imprint of DC Comics. We won the contest against 9 other web comics submitted and consequently received a 1 year contract to develop the web comic, Monsterplex, for Zuda/DC and in return we would receive money and fame. Well, at least money.

However, a few months later DC dropped Zuda and 95% of all the web comics that were a part of the imprint. Let us all cry in unison now. Bwhhaaahaha!! But, it didn’t end all bad. DC bought out our contract to make us go away quietly AND we got to go to San Diego Comic Con for three years for free. Cool, huh.

So, in light of the two year anniversary of my first and only professional comic creating gig, I thought I would swipe an entry from our Monsterplex blog that we used to promote the comic during the contest. This one is showing how we create a page for the comic  going from the script to the final page.

Brock originally came up with the concept of Monsterplex and he was also the script writer. We both developed the characters and I actually got to contribute some plot ideas that Brock was happy to incorporate. But, my main job was to do the artwork and the layout of the comic. We then enlisted an ally of Brock’s named Mike Devito to do the colors.

Enjoy.

-Page 5 Script - 

1- Ryan helping Lina up, who is none too pleased.
RYAN
You mean you don’t
know?

LINA (coldly)
Why don’t you
explain it to me?

2- Ryan escorting Lucy and Lina through the theater. Ryan is sweating bullets. We see some beetles crawling on the wall nearby. This is the mighty exposition panel. Panel doesn’t need to be very large, but I need some space for the dialogue.

RYAN
Happy to oblige!

Here at Corman Cinemas
we cater to a very specific,
thrill-seeking clientele.

We pride ourselves on
the chillingly authentic experience
only we can provide.

We don’t just exhibit
monster movies, we show
you real monsters!

3- This is the showcase of this page. Panel 3 is really a series of 4 panels as Ryan and the ladies walk by the four posters outlined below. The posters themselves are free-floating on the page, like panels. Ryan, Lina and Lucy walk by the posters. (See SuperFogeys 45 from Chapter 2 to see how I did a similar thing—though I would not recommend going full body shots on our trio, from about the chest up should do it.)

panel a – “It Came From the Back Nine” – Show the swamp monster from page 4 terrorizing golfers. Tagline: They Never Should Have Gotten a Hole-in-One.

panel b – “Aunt Attack” – Show aunt wielding a knife and scaring kids. Tagline: Where’s the Fun Uncle When You Need Him?

panel c – “Beetles in the Breadbasket” – Show Beetles spilling out of breadbasket on fine restaurant table, much to the horror of the couple in formal wear sitting there. Tagline: Shh! This is One Ingredient That Should Stay Secret!

panel d – “Vampire Love Boat” – Show a Titanic Poster spoof with Vampires. Tagline: Love. Blood. Boat.

RYAN
Imagine watching a vampire
on screen, even as you avoid
him in the aisles!

At Corman Cinemas
we import monsters
of only the highest quality from
the lowest of dimensions.

Our mission is to turn your
hair white with fright, all
within a safe and controlled
environment!

LINA
Controlled!?
I ate a bug!

4- Ryan and the ladies at the door to “Vampire Love Boat.” Ryan is reaching for the door, as though he is about to open it. Let’s be sure and see the marquee above the door or the poster or something, if possible.

RYAN
Yes, well, I won’t say we
haven’t had some…issues
lately.

No worries!
Our staff is well-trained and
I doubt we’ll be seeing
any more trouble today!

5- Same as 4, but now the door has flown open and a stream of vampires is rushing out of the auditorium, completely obscuring our view of Ryan and the ladies. Vamps shouldn’t be in tuxedos, ala Dracula. Should be more pedestrian looking. Like a modern gang with fangs, pointed ears and the same reversed-out look to their eyes that Priscilla has.

-End Script-

Now the idea here is to take his script and draw a comic around it. Sounds easy, I know and I thought it surely was. However, it proved more difficult than I imagined, in large part because I was a complete novice to the comic-thing. I don’t really even read comics anymore let alone analyze how they are put together. So, Brock and I would go back and forth often until his vision of the script was realized. So with that in mind check out the process of pencils to ink.

First attempt. The page was lacking something and Brock felt it was the posters that the trio were walking past. So, back to the drawing board..

 

2nd attempt. That did it. Just putting the posters slightly askew made it feel more like the trio was walking in an abstract space instead of past a boring wall. It gave Ryan's monologue kind of a "montage feel."

 

Refinement. I'll let Brock boast of my approach: "Here Dave is fleshing out his layout. It always amazes me how rough his pencils are in light of how exacting the inks are."

 

Inked Version. Now to be sent to the colorist - Mike Devito.

 

Final Version.

 

That’s it. Easy, huh? Well, it was definitely a fun run for me. So, I’m sure you’re asking yourself “Whatever became of this awesomely talented trio of boys?”. Thanks for the compliment and allow me to retort.

Brock has another web comic that he has been doing long before Monsterplex came around called Superfogeys. Check it out, it’s quite good. He also has just finished a memoir … yes a real book not a comic. As you can see, Brock has got a little bit of talent in him.

Mike Devito is the founder of Th3rd World Studios which hosts some great web comics, including Superfogeys.

I, David Schlotterback, am currently writing this blog. Oh and I run a little company called California Dingo. I also collect rubber duckies and love to watch paint dry.

Thanks for checking out today’s post and tip-toeing down memory lane for little ol’ me. I’m much obliged.

Till next time…

David (Cali Dingo)

 

 

No comments , , , , , , , ,
« Older Entries