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At 4/18/12 12:25 PM, loansindi wrote:
you don't want an analogue out, if you're going to be using the mixer to record into your PC. I'd advice taking some time to save a touch more money and spending a little more on the interface if you can. I bet something like this will display lower self-noise than either of those behringer units, and you gain an additional mic preamp. If you're not in need of the line inputs on the two you linked, I'd definitely consider something in the form factor like the ART unit I linked.

Honestly something like that looks pretty much ideal for my current situation. I'm still not quite sure what to go with yet, but something like that with the xlr mic package would pretty much all I need besides a few cables and adaptors. It wouldn't really be a problem for me having to upgrade or replace something in the future, but I would like my initial purchase to last me a while.

Anyway thanks for all the help, hopefully I'll come to good decision.

Well did some searching around and found some decently priced 2 to 4 channels mixers and the like but typically there's always a few reviews complaining about noise. From what I've gathered, it looks like there's usually a point where applying too much gain in the inputs will result in some hiss or noise from mixers like these.

Basically I'm looking for something along the lines of this or this. Would a usb connection rather than an analogue output help with eliminating noise at all? Obviously there's ways I could try and filter out any unwanted noise, but the less I have to do afterwards to a recording the better.

Yeah like I mentioned, I'd much prefer an xlr setup. No such much because it opens up new options now, but just in case in the future I might want to use it for something else in the future and such. The only appeal of the usb version is convenience and cost.

My main concern there is that many low-price mixers and interfaces seem to have spotty reliability and sound quality from the reviews I've read. If I knew of a reliable relatively cheap usb mixer or something like it it'd be an easy decision.

All right, so right now I'm currently looking a buying a condenser mic to replace an abysmal usb eadset mic. I'm pretty sure I've nailed down which model I want to get (MTX 990), but my confusion lies in the fact that it comes in 2 versions: your standard XLR version, and a usb version.

Honestly this would be a no-brainer if I actually had an audio interface set up with my computer and a spare XLR cable, but the usb version comes with all that stuff built in and doesn't require any additional (phantom) power.
In terms of price, here are my options:

usb MTX 990 (includes desk mic stand) - about $100
pop filter - around $15-20
microphone shockmount - $35
total - something like $150 or so.

OR

XLR MTX 990 (comes with shockmount) - $60
pop filter - $15-20
Some sort of mixer or audio interface (maybe like an Alesis MultiMix 4 or somthing, idk at this point) - $60-80
mic desk stand or something like that - $20
total - possibly like 160-180 bucks.

All I'll be using this mic for is things such as voiceovers, recording acoustic instruments, and possibly vocals. I'd only ever be using the mic with a computer so the fact that a usb connector limits my possibilities isn't a huge deal for me.
My question is: are there any things that would make me regret buying the usb mic, and are there any factors that would make the extra money worth it for an xlr setup - potentially a low as like 10 dollars more.

Any help on this would be appreciated, and thanks in advance.

At 1 day ago, Acid-Paradox wrote:
Just fill out the itunes copyright claim form and let's hope the people at apple do something about this.

I took a look at the form, but I'm not sure how some of the specific portions can be applied in this situation. For example, does distributing songs through a creative commons license count as an "exclusive right that is allegedly infringed"?

Urgh, stole one of my songs too, hope this gets sorted out >:(

At 1 hour ago, durn wrote:

:Curious as to how this new system computes it's winners.

this.

So basically what I've gathered is that it involved a lot of gain/limiting/compression curves?

So something I've noticed recently is that a lot of commercial-level music has a noticeably higher overall volume level, something that I seem to not be able to achieve without screwing up the way the original mix was.

Obviously everything still fits under 0db, but it seems like in general that commercial-level has a louder perceived volume level. My question is: does anyone know how a louder, more full-sounding mix is achieved, or whether it's even worth the effort / potential reduction in quality?

Any thoughts on the matter are appreciated.

I guess we spoke too soon?

Congrats to all the people from last week gettin extended exposure though

Lucky...

At 3/17/11 11:51 AM, SymbolCymbal wrote: im not very familiar with PC sound cards but i did find this thread
http://www.newgrounds.com/bbs/topic/1216 561

hope that helps. Also if you search soundcard in the searchbar at the bottom there are tons of threads about it. Happy lurking :)

Ah yes, that elusive search button...

I recently finished a new PC build, but the on-board audio just isn't doing it for me. I've been looking around at soundcards to specs on these sort of things are very unfamiliar to me. I was wondering what the general opinion is on a good sound card. I personally am looking for one with native ASIO support under $100. Any suggestions?

Whoa, a drum n' bass song? Nobody EVER makes those!

Sarcasm

Check it out!

• 
  Max's Theme Loop [Remix] by 15thDimension

  Click to listen.

  Score

  4.16 / 5.00

  Type

  Loop

  Genre

  Drum N Bass

  Popularity

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Sorry, worded that wrong. If you have a sound that's really loud (like clipping excessively), then isolate that sound and turn the volume down on it until it stops clipping. Then figure out why it's clipping (like if you just turned the volume up too much, or there is an effect that boosts too much, or the sample itself clips, whatever the dilemma). This is one of those things where it's easier done than said.

Ahh I get you now xD

@invisibleobserver(I do that cause the post is too long to quote)

That makes SO much sense with the audio and visual examples you supplied. Thanks you very much for explaining that.

Nonetheless I will experiment around with different methods that ppl suggested.

At 1/7/11 04:38 PM, Mystery-Moon-Pie-Aud wrote: Try this: if a single sound is too loud, turn it down until it's not clipping. Then figure out why the volume is so low and fix it (not with compressors or limiters) until it sounds audibly fine.

I'm not sure I understand what you're saying here, If the volume is too low then to turn it down, and then figure out why the volume is so low? Would that be because it was just turned down?

sorry for double post btw

@invisibleobserver

So essentially you're saying that if the mix seems cluttered or certain frequency ranges are too loud that overall decreasing the volume and EQing is a way to solve it?

At 1/7/11 04:25 PM, Mich wrote: Limiters will probably help you if you can't be bothered to spend a little time on your mixing to keep everything under 0db.

But seeing as you don't have a problem with that, I'd just throw of the limiter; it should give your songs more dynamics.

Right, the mix certainly sounds better at least a little. The thing is without a limiter a get clipping, so I work with each individual track, but my volume levels relative to other tracks end up not the way I intended.

At 1/7/11 04:19 PM, SymbolCymbal wrote: Whenever i have peaking/clipping sound i always throw a limiter on the track and it usually works every time.
Just so we are clear, what software are you working with?

FL Studio 9.7 right now.

Is it a good idea to use a limiter on the track of a mixer? I've been having a little trouble with sounds peaking over 0db and causing clipping, and I've been trying to find a way to build the mix and avoid this.
Its seems a good way to do this without limiting the master channel would be to either compress or limit each track to make it stay consistently under a certain level. The only problem is then the sound doesn't stand out in the mix.

I was wondering others opinions on how to avoid clipping, make sounds stand out and blend in when they need to and whether limiting is a god idea.

I did a forum search but didn't find what I was looking for so I'd greatly appreciate some other thoughts.

At 12/30/10 12:09 AM, Acid-Paradox wrote: Have you tried Reason rewire??

I've heard of it but never actually looked into what it was. I'll have to look it up.

The best thing for you to do is to compile each individual layer into its own, seperate file. Then your friend : can load up those files into different layers in his program, and play over them. Some quality will be lost in : this process, but it will be very unnoticeable.

So you mean audio files, not something like a midi export of the notes?

My and I friend of mine are wanting to do a song collab, but the problem is he has Reason and I have FL Studio. What I was wondering is if there are any especially effecting methods of collaboration that people commonly use if they have different DAWs. I myself thought of bouncing the individual parts of a song to WAV and then compiling them together, but wasn't sure where or not it was a good idea.

I would like to hear other people's opinions on this though.

At 11/28/10 08:48 PM, LoonyTom wrote: So I guess you have the Vengeance sample CDs?

No, that's my point here. I've seen and hears the sample libraries of people I know who DO have the Vengeance packs. Honestly they're just what I'm looking for but I can't exactly blow $100 on a sample pack.

At 11/28/10 02:37 PM, B0UNC3 wrote: Chord hit with a longass hall reverb and offset stereo delay. Export and reimport the sample and reverse it. You can create some wicked effects that way.

Ok I feel really stupid asking this, but a chord hit of what? Just anything? I imagine it could vary depending on the tone or something to go with a different feel of a song or whatever.

I was wondering if anyone knew where to find some good hits, stabs, and reverse effects BESIDES vengeance packs. Also though, if anyone knows a good way to make some of em I'd love to hear that as well.

SO MUCH AWESOME INFORMATION

And I thank everyone for it. I'll take a look at some of the brands suggested, and know I know better what I'm looking for.

I've been looking for some high-quality headphones for audio production but I'm a bit confused as for what to look for. So I had just a few questions:

Interface - Whether or not usb and 1/8th inch standard jack would be higher quality or more consistent.

Frequency response - Does having a huge range make that much of a difference?

Sensitivity and Impedance - What the heck these are and if they make any difference.

Also, if anyone has some good brands they recommended, I'd like to hear of those too.

At 10/22/10 09:55 AM, defegistor wrote: Aha, I found something. There is an unofficial fixed version of sfz (not sfz+ though, sorry). I tried it and didn't have any problems. Link

Cool, it works. Thanks man!

Ok, so a little while ago I was working on a new project in FL Studio, and was using sound fonts. I loaded up two tracks of sfz+, and penciled in some notes. As soon as I had the two playing at the same time during the song, the tracks both started to generate a REALLY (really) screeching-white noise sound. I tried replacing the sfz+ track with just some regular old sfz ones, and got the same result.

I did a little research and found out this has been a problem with these soundfont players, and was curious if anybody knew about a workaround or a fixed version of either sfz+ or sfz in fl studio.

Ok well, when i hook up my midi keyboard and play notes, on certain VSTs(actually most of them.. if not all? idk) some notes that i play played keep playing, and i can see in the channel setting window that the keys are still being "held down" though not by me or my midi keyboard. How can i fix this?