Recording Digital Audio: Guitar Part 1
Couple things you may need on your tracks here I'm built again that guitar attracts an audio track it's going to also open up that library all right if I look underneath there put on a couple devices for us a paddleboard on an apple fire and the ni kun a compressor but something's in the actual uh track area here and go ahead and control click here again sorry right down in the stop I'm gonna go down to the country configured track header on this when we looked at yes briefly yesterday we said there's a bunch of different stuff that we can put in here especially with the buttons so an on off button you just want to turn off attract the mutinous solo which is already there so we can take it out of whatever project we listen to our solo it so just it or other solo tracks could be heard protect false we don't go messing with anything freeze fire we're going to talk about in segment tomorrow but then these two down here which you might not necessarily be on right away especially if you did...
n't have a device picked on your preferences and audio device for input output he probably wouldn't have had these two buttons that record enable an input pondering had him on the software we had the record enable on the software instrument we saw that turn on its own we selected the track but now we look here for an audio track we want to make sure we get get record, enable and input monitoring it'll hit done and there they show up we see record button it's turning volume and then the I and we'll talk about that once we get set up here and, uh who'd you say was going to start with the rhythm spencer it's once you go in and start making your way up here and keep talking so spence is going to be playing for us first we will take you all the way through the setup um and I just wanna make sure we have everything we need here, get rid of one check here, look at another thing when it comes to leighton see, since we talked about it before I let you know that under record I got this thing called the low latent see mode where this is going to do is take care of any type of processing that we have talked about how quick it was that you know, this whole process of getting analog converted to a couple of times going your computer converted back again to acoustic energy. Andi takes such a little amount of time, but these things up here they could take some time to process in it again we're going to be talking about the very cool aunt designer and also along with it the very cool paddleboard simulated all the great stop box effects that we have for guitar players since someone guitar player I'm smiling already a little bit here love to see the stuff, but that could take a little bit actually time too so what we have is for pre recorded track software, intimate tracks, audio tracks and even auxiliary tracts that may have some stuff we have a low latent see mode where it's going move some of this stuff in timing so that when we hit play all of stuff's going to come back same time so a track and we say attract with mohr processing isn't gonna show up later than the other ones so that's a mode we could get into here it's also one that's cool that if we're exceeding, you know amount of late and see that we're going to allow for it, it'll start to turn off some of those other processes we have they'll say you know what while you're recording it's not that important so I was just sort of discontinue use of these things temporarily well, it's in there, I'll bring that up double check on some things have got our counting believe it one bar matter on settings to be fine we'll make sure that we have those turned on here in a little bit also a new button is now available for us a cz well that's a two hundred but soon as we have a guitar bass track look at that subtle off your on going to pluck on that see if we get anything going I'll get our input set he's going to turn the volume up on that because you turned yourself now in that windmill keep talking so well fabulously talented retirement spencer is getting set up let's get someone to play with him let's review what we didn't know last lesson go with the plus button spring back a new drummer to try out we're going to create this we're going to go in to the producer kits let's go with that neo soul one more time but this time I'm going to pick our drummer let's go with a different category all together go to r and b was take a look a like barry so option click to keep our drum kit and like we did before I want to clear out our tracks here because these guys have told me a little bit about this song they want to put together for us I'm gonna bring up that arrangement track show you guys one more time how cool that wasn't our fastest get going we should almost time out fast we're going to get this great song going alright sometime at the beginning when we guys what do we think for a temple? We're gonna start somewhere around one twenty five and try it out maybe just a little bit, right? We knew we had some different parts we want to have a drum on ly intro so I'm gonna go and click on that and get that intro to come in I said we're going to go for bars on it intro sounds good and then we're gonna have a perverse habit plus and there we get our verse how many bars we're going with the verse sixteen excellent sixteen then we're gonna have a course I believe you said that course is going to be sixteen as well, right? Look, it knew it was a course. So smart logic pro ten and here we are at sixteen. Perfect. I've got my three zoom out of it. Pull out the inspector for seconds. We could all see the magic of the drummer. Not only is our drummer on time for its session, not only doesn't know its parts, but now here right now is a song like that. We lost a little bit of volume someplace let's go how's that gonna work for us as faras temple still set low from the previous session on the track? Uh, no, not on the track that we're in a whole new session here. Great idea, mikey, I just think we're getting a little bit quieter as the day goes on too loud outside I'm south, here we go I think your son was a little bit chillier than what we just had going there wasn't it a little bit more chilled is the way to say it so let me bring up the editor again and let's take it with me loud still but let's keep a little bit more simple in that second one and then the chorus will just make a little bit more simple as well there was we could definitely put just you wanna tempt morocco through the whole thing you got it just go with moroccan that section so he was asking me folks if he's not wired up let's get some shaker that's what he said a little bit less in the fill their as well it's just a couple little things going to give a more swing okay teo a little bit here you hear that pretty well you know it's to move a speaker for if we need to wait oh two faster good try jam along with the air just for a quick second booth wait excellence I work for your tempo wise fantastic us go fast this session's going already may bring back open the library and then I want to also bring up the inspector and show you guys a little bit of what happened we took a look at that but this setting came up in an electric guitar and bass were in a clean guitars that's the style will be working with here that was a bright and clean we can go with a couple different ones check outs and different ones we want while we're playing, but he's definitely hearing through the speakers the sound of it, so if we tried this one instead go out and play a little bit there, they're gonna put a little bit of a fuller tone, but within alcoa's well, now I want to point out that that was the reason why we're here in him right now because I've hit that button I want want us to bring in the input monitoring as it were doing were monitoring the input, I turn that one off right there, go out and play for us again. Spencer, I'm still getting meter on one of the channels is a mano input it's just a single device, but we're not hearing it through so and put monitoring now we're monitoring that idea, okay? Record, but we go to here with some different settings we could make it so that we can hear him going, play or not hear him based on how we want that to be. So a little bit of the input with the record enable on we're set to go once I start recording, I could take this one out the input, but I believe that on for now, but we heard they're a couple of different styles we're going to take a closer look at the guitar amp in the paddleboard once we get out of here so I'm going to give you a cool jazz combo was try that one and I should point out also that while he was doing his test run I was giving him a chance to listen to the temple and stuff like that but I went back over to the quartet I selected input number one, which is the way we plugged him in simple guitar cable coming out the way that you would normally go toe a guitar amphora direct input to the uh the p a or something like that thanks for hold that up and it's coming down here and we've got it running into an input on the quartet input number one I've selected a simple little one button and I'm using that big job to adjust the input game so he was playing a little lighter at first I had it turned up then he played a little bit uh you know louder a little bit bigger and you guys might have heard of get fuzzy for just a second I went right back in turned it down so I could sit here and adjust it as we go if he was going to go really quiet really loud but I'm just trying to fill a good amount of this meter here go ahead and play for us again with this there were I see it's going up, some people like to record it, we'll keep it a little bit lower remember if we keep it too low, we're not using all that dynamic brains that we have when we're done with it, then we have something that its range was only from however high it went, however low it wass way, philip closer to the top. Now we're starting to get that full range in there. One thing we have to make sure of when we're never creating any kind of digital file is not to exceed okay, I'm going to do something here, I'm going to be really careful with it and turn this down so audio guys don't freak out there, go and play for a meal of it more if I was to turn this up again, we're not gonna get too loud here is the phasers down, but I turn up and start to get pretty fuzzy, right? Which don't get me wrong, there's nothing wrong with a good cause he sound, but actually, with that fuzzy sounds coming from is not from one of the am seal. It is a ring like that what's actually happening is we're overloading this on the way in, so on the way through it to its converter, we've actually given it just too much information volume is information by turning up the gain on that pre empt I've given it so the point where it took from the quietest thing up to the loudest thing but it's exceeded those twenty four bits that we had it's basically filled up and over. So rather than sort of spilling out some extra stuff, what happens is nice pleasant sound waves turn into square waves, which of the distorted kind of waves so that's why I'm here with that preemptory and don't go head to head for a second get down in there I like it just about up into the yellow so that I would still have a little bit of room to work I could do some things like add some processing to it without it ever clipping but always going to be enough to fill up quite a bit of that fun mainly I'm using my ears to make sure that it sounds good, right? All right. Question. Yes, probably dumb question there's no dumb questions to prevent it from going to hire too loud, do you? You lowered that. Um I am so glad you brought this up. So you saw me bring down the fader, right? Yeah. Okay, but there's something I want to show you go ahead and keep playing, okay couldn't stomach really hard from let's see, I've got that all the way down but that's still meeting all the way up to the top right? First seeing well, exactly, don't stop for one second so besides and the fact that it's telling me that what I'm meeting here on my input enabled recording able track is I'm looking at the pre fader level of it, okay? I mean, before the effect of this fader, I'm seeing what's comin in all right, so important for me to know when we put stuff in the volume control of your trucks when you're going out, you're vocalists when you're doing vocals when you get home and you go to adjust some stuff, if you notice it's clipping and you go to the fader remember that the volume adjustment to make that loud or quiet recording happened at your device before the computer, and once you're in the computer here in logic pro that's all for after the recording, basically the ones and zeros are captured, and if we've overfilled that twenty for that file, no amount of fader movements going to do anything to affect it. So that's, why you'll see the recording engineer and you'll be doing yourself the adjustments outside of the computer to get that perfect level. Once you've got that perfect level, then you don't have to worry about this faith this is our monitor come out so we're going to monitor our instrument and it's level based off the favorite here is so glad you asked that because it's one of the things it's easy for me to forget but so important and I remember how confusing that was for me at first when I pulled out a fader or also I know there'll be some people out here that would have forgot without your question that realized that we have spencer running you know, to this cool fender oh, sorry logic amplifier right there um but you know, they listen to this that gets set like, oh that's super cool and they record it and maybe especially if it's something like a little bit more distorted amplifier we'll do an example with it a little bit you have to realize that everything in logic that all happened after we did our recording basically so number one don't be sad because so I don't have the sound of that super distorted ampara this really clean logic am parade here don't be sad because you know you can still always get it. We're in logic, we can always get that sound and in fact later we can commit to that sound, but the coolest thing is we're not committed to it, so we're gonna do some cool stuff once we're done recording showing how we could go back in and change these sounds over and over again so never sweat it too much if you have you know a sound up that is an ideal for you if you just want to keep going with it it'll work that's the way to go we'll come back and find tune this stuff later all right charles can I ask you a question please this from blues guy who would like to know is there a tradeoff when using low latent see why would you ever turn it off the cem processing power the low latent see moto also is like I said there's a limit that we can set us faras what's acceptable agency on dso a lot of the stuff is going to fall in that were like yeah that's not gonna be too far behind I think we said we had said it with like six milliseconds but if you have it set with it lower and you want to put a lot of different plug ins on with that low lyng see mode on you'll notice that they quit you quit hearing the sound of those effects so absolutely this is one where we put it into their when we want some stuff to work that way now there's another setting we're going to talk about because I want to make sure they know this don't think well that sucks I don't have local agency no there's a different mode that we're going to go into, which is setting that we can make where our preference that we could make where we can compensate I had a time for leighton see? So this is this is meant to be when I went up in here and I checked this low latent simone, this is meant to be turned on and off and that's why it's set right there forces that we go back and forth, you're going to record something you need to hear something back great, we'll turn the song off once we get into mixing, we're going to talk about how yeah, we still want that idea of every track showing up the audio showing up at the same time, but we'll find that there's a way that we can compensate for plug ins or for the different channel strips or patches that we're dealing with. So that's coming tomorrow in the segment on mixing for sure, you know, we were set up in advance by the crew here, well with the speakers where they are and stuff so that there wouldn't be any issues with us hearing stuff or being able to see each other, but something for you to know when you're at home and especially like we have regina who's, a vocalist and she's going to be going home, then setting your stuff up and doing vocals is that this wouldn't necessarily be the ideal situation without thinking about a little bit for doing that, hooking up a microphone, maybe even sometimes some guitars and sitting here because when I play guitar, we're in a studio situation here where we need to be kind of quiet so you can hear us all talking and stuff when I'm alone or me and mike here in the studio, and I'm gonna plug into one exam simulators I generally like it to sound is loud as my big guitar amplifier would be in the other room, so we crank up the speakers back here so that they can go. If you're a vocalist and you going to do that, we have to watch out if you're in a situation, you said, I'm going to set up just like travis did that creative live. You notice a big issue when you brought over a microphone sitting here with the speaker behind you and the sense that you get what's called a feedback loop, your microphone would be recording you your voice of going to the microphone. The microphone would go through the converted computer, back to the converted again, out to the speakers and in your microphone, and that makes a loop, which is called a feedback loop, and then it squeals and howls at you, so all of your devices that you guys have, including the aptitude quartet here, are gonna have some kind of a headphone out for you, it's also a reason why they've allowed us to change the input the output so that we can have the input as a device, but the output is like built in headphone jack, you're doing vocals or, you know, for any reason you need to keep quiet because you have neighbors or other people in your apartment switch to headphones when you're tracking, um, that's what most people do, and even if you're working with somebody else, normally they're going to give us a way to communicate through the headphones you don't have to scream at each other, so that a little bit of advice for you folks at home, I think we're ready to go here with spencer. One thing I want to do, one thing I always want to do, and I don't know why I'm not thinking normal studio mode here, but I'm really getting down on myself for it, it's not saving something that I always get mad and other people are frustrated with other people, but don't get mad, get frustrated is you got a name, this stuff never more important than before you start actually recording your audio otherwise again, we don't know where it's going to be going. Hope we'll manage it and put it someplace we'll find it but you want to know where these new files which are so important you're being saved that we want to take a look and make sure we never put them we've been using the project setting the new project setting for the way to organize the project lately but I want to be able to quickly pop back into these so I'm gonna pick folder uh like we did before again making sure that I have saved my audio files at least if not more more so they called us the c l creative live song one we're planning on doing maybe like a dozen songs by the end of the class mikey did how many songs you do last night after class mikey to songs michel did fantastics now we haven't saved we know where it is we know where these audio files going to be I'm going to be very generic with the naming here so if you're looking at it and you didn't catch over names will be fine but you noticed that what happened with the naming of this track right now is it's giving it names of the patches which is cool you always know what you had neo soul drum kit what came up there on dh then the cool jazz combo because that's describing the camp that we got its patch and all the things associated with it but this is our track and we're gonna put our stuff in here so you can double click in any time and if we want to give it something that makes more sense like guitars we started the first guitar gtr one could've put spencer's name or whatever else we want but something that tells you a little bit more about it if you use that amp setting a lot or something like that maybe that doesn't help you describe what was it in the song and this was a guitar just for a verse and you're gonna use a different guitar for the chorus maybe put first guitar maybe course guitar but name your tracks and we're going to see the big important reason for naming the tracks here in just a little bit all right we have a drum track and I don't think we're gonna need to put a click track in there then that should be a time and reference just fine but if some people want it they could go ahead and put it in we can always go on click get rid of that clear only my screen resolution so I can see that look better but turn it off but also since we have an intro aiken don't that count in only need that if they were going to start right at the very beginning were ready to go close up on global tracks give a little bit of space feel out your studio space, man, just let it go. Engineer logging jargon. All right, it's all right, we're going to re start with that. You come in okay? Also, nothing want to set that. I just said that we don't need tohave, uh, any kind of accounting with it. We said that we didn't have tohave certain metrodome settings, so begin counting none, matt, you know, of course we had it's still on there for click while recording close that now we won't need it. I'll leave that one there. Look at some of our other record settings just to make sure that we're all set. And sure enough, we are great wait way! Excellent great job. What we see happens there's the folder opened up for us. So just like with their many recording, we have that take place, the first little false start that we have now he didn't. Spencer did exactly what I asked him to dio I told him, don't do it perfect because I want to see you do another full take on it because I need to show you guys some stuff later today that what we could do. We're not going to clear any clips that we had this is on the master will bring it down a little bit, a little bit quieter this time for you um anything else you needed justice, we're asking, hey, do you need a little more drums with less drums? Y'all cool, he's all cool, let's, go and do it again. So same ideas when we're in the mini settings for recording, we said that you know, record again create take folders. We see that right away that we already have one take and then that one little one here, the bold one, is the one that's going to play in our main lane was going to put another full taken there. I'm going to hit our drop that radio wait, wait. Fantastic. All right, just again, just just just because I'm making him do this one last time just so I have some stuff to be able to show you guys how we're gonna be able to go in here and take little parts of each of these performances and put it in to build his favorite performance out of it. So one last time, wasn't it? Wait first like that, no ring out. Hit, stop!