[linux-audio-user] drum loops, samples,

tim hall tech at glastonburymusic.org.uk
Tue Mar 2 04:37:18 EST 2004

Thanks fo that info Ron,

Clear, concise & to the point, I haven't actually downloaded the said samples 
yet, I'll have another go later today. I'm new to using computers for music 
and not so confident as an engineer, so clues like this are well valuable.

On Monday 01 March 2004 6:29 pm, R Parker wrote:
> ron-bob07 demonstrates proper panning for building a
> stereo field. The remaining primary instruments can be
> panned within the drums as though they're on stage.
> Exceptions:
> * most keyboards are stereo
> * lead vox; Noon/Straight up. Backing vox; record
> everything at least twice.

Unless your name is Brian Wilson or George Martin ...

I've been fascinated by the possibilities of the stereo field for some time, 
it seems one of the most under-used of resources. What you're suggesting here 
is of course the 'classic' balanced stereo field, I'd put the bass slap bang 
centre in this case too and possibly leave the bv's dry BMW style.

I've spent a while listening to Brian Wilson's use of stereo, remarkable for a 
man who hears in mono. It was fairly common in the early days of stereo to 
have the whole band on one side and all the vocals on the other, BW takes 
this concept several steps too far, combining his bizarre sense of 
instrumentation with brilliant arrangements. The odd banjo & tuba break could 
really liven up some of your black metal sessions, don't you think :) On the 
arrangements side it's worth knowing that the entire song can be held just by 
the vocals with minimal backing and that well recorded acoustic instruments 
can be just as full, if not more so, than their electric equivalents. This is 
particularly relevant for anyone who's ever spent ages brilliantly recording 
a grand piano and then discovered that it dwarfs everything else in the mix, 
whereas you could have used a rhodes and it would have sat in real nice.

Alltogether I would say don't be afraid of hard- panning things, so long as 
you have something of a similar energy and pitch to balance it up on the 
other side. "Mult"ing guitar tracks in this way can be particularly 
satisfying. Phasing & ping-pong delays can give a nice movement.

I'm interested in how to make things sound 'right' in the space, even with 
wacky pannings, without over-reverbing. Synths can really benefit from 
bunging through a valve amp and miking, if you have space / gear to do that.
I'm interested in how to introduce a degree of 'human feel' into MIDI tracks 
and also how to build reverb patches with variable delay times that simulate 
real world environments and are also musically useful, I know to avoid delay 
timings between 50-120 mS on vocals, for example, as this is approximately 
the length of a short syllable or at least roughly the length of time it 
takes to recognise a segment of vocal sound as linguistically meaningful 

Anyhow, I've just rambled into a big subject, so I'll leave it there before it 
turns into an egg-sucking lecture or anything. just my ¢2.


tim hall

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