RE: Mini / Multi - Home Recording (FX)?

[monsterjazzlicks]

Hi again,

Well, I remembered I actually have an MXR (169) CARBON COPY PEDAL which I use for my RHODES PIANO (my RHODES has been packed away for a couple of since since I have my NORD STAGE set up permanently now). Looks like it offers MONO IN and MONO OUT (which is of course fine for the MOOG). It has REGEN, MIX and DELAY dials with a MOD [modulation] button thrown in).

Not sure how clean a SIGNAL who be produced from the MOOG thru the CC to CUBASE?

As you know (and as per advised), if I RECORD with a hardware pedal then I am stuck with the recording (unless I also record a DRY version alongside every PASS).

Also, I did not really want to have to hook up the pedal every time I wanted a CC FX (though I admit it is not such a massive inconvenience).

Finally, I was wondering if the hardware model will ALWAYS be BETTER than the VST version simple because the former is the genuine article!?

Best,

Paul

[thealien666]

Paul, everything you describe about different delay times, in sync with the song's tempo or not, the use of certain effects or not, and all of that is purely a matter of personal taste.
Some guitarists like to adjust the speed of their tremolo effect to be in sync with the tempo of a song, some others don't (like in MoogProg's "DP03-Soundcheck" sample earlier), but it still sounds very good nonetheless.

Even if one overdoes it, and drowns everything in a cacophony of distorted effects, if that's what one is looking for, it's okay too ! Some people may like very abstract, aggressive paintings, others might prefer a beautiful landscape or a faithfully reproduced model (preferably female ), but both paintings could be considered a masterpiece by different people.

When you record your music, it's your work of art. And only you can feel if it sounds right to you. Of course you can always ask for advice on how to get there, but you have to know what you want to achieve before asking for advice...

Going back and reading many of your earlier replies, I can't help but feel that you seem a little lost as to what exactly you want to accomplish with effects. Am I right about that ?
You can keep everything dry in your recordings,if that's what you are looking for !

Alain.

[monsterjazzlicks]

Thanks a lot,

Paul, everything you describe about different delay times, in sync with the song's tempo or not, the use of certain effects or not, and all of that is purely a matter of personal taste.

So therefore we can assume that the REASON they (the DELAYS) are out of SYNC (in certain recordings) is because this is because the artist CHOSE this intentionally. And so, for the most part, not as a result of lack of skills or incompetence.

Even if one overdoes it, and drowns everything in a cacophony of distorted effects, if that's what one is looking for, it's okay too ! Some people may like very abstract, aggressive paintings, others might prefer a beautiful landscape or a faithfully reproduced model (preferably female lol: ), but both paintings could be considered a masterpiece by different people.

Ok, so in short, it's purely a matter of personal taste.

When you record your music, it's your work of art. And only you can feel if it sounds right to you. Of course you can always ask for advice on how to get there, but you have to know what you want to achieve before asking for advice.

I would like to improve my (basic) skills on CUBASE and to also combine it with experimentations/development of self-creations on the MOOG. There is obviously an infinite amount of possibilities within CUBASE[/band so (forgivably) this can leave the novice not able to see the wood for the trees!

Going back and reading many of your earlier replies, I can't help but feel that you seem a little lost as to what exactly you want to accomplish with effects. Am I right about that ?

Well you are kind of right here. I guess my personality (maybe because I am an annoying VIRGO! lol) it that of someone who likes to feel confident that he is doing something correctly.

You can keep everything dry in your recordings,if that's what you are looking for !

Thanks for the re-confirmation.

Best,

Paul

[DonutDude]

Hi again Paul,

I agree with everything Alain says above and just wanted to add that sometimes the initial idea/creative inspiration is the best. Not every idea or improv needs to be developed. Not every idea or improv needs to be improved.

My two cents worth.

Mark

[monsterjazzlicks]

Howdy Mark,

I agree with everything Alain says above and just wanted to add that sometimes the initial idea/creative inspiration is the best. Not every idea or improv needs to be developed. Not every idea or improv needs to be improved.

So you mean ("sometimes") if you get an idea, play with it, then record it, and you LIKE it, then simply leave it as it is!

Cheers,

Paul

[thealien666]

So you mean ("sometimes") if you get an idea, play with it, then record it, and you LIKE it, then simply leave it as it is!

Certainly ! If that's what you had in mind to do in the first place, AND you still like the results ! You might experiment on trying to improve it, sure, but you might realize that, in the end, it was okay as is !

Of course, all the possibilities offered by software like Cubase, or any other DAW, might be confusing sometimes, I agree. But there are always manuals, and most important experimentation, trial and error.
I've been using Audacity for a couple of years now, but I still don't master 100% of the software capabilities. When I'm not sure about something, I try it out on some samples to see what it does. And if I still don't grasp all of the theory behind it, I google it and read about it.

Then, I might come on a forum like this one to ask what are the preferred ways of doing things for different members, as inspiration to try new things.

Alain.

[monsterjazzlicks]

Alien,

Certainly ! If that's what you had in mind to do in the first place, AND you still like the results ! You might experiment on trying to improve it, sure, but you might realize that, in the end, it was okay as is !

I suppose it comes down to whether or not you have the ability to accurately reproduce (via devices) the sound you are hearing in you HEAD to the sound coming out of your SPEAKERS. Whilst retaining the attitude that everything is subject to change.

Of course, all the possibilities offered by software like Cubase, or any other DAW, might be confusing sometimes, I agree. But there are always manuals, and most important experimentation, trial and error.

I would say that I have used my CHORUS PEDAL (on my RHODES) 1,000's more than all of the 9,999 VST FX in CUBASE put together!

I've been using Audacity for a couple of years now, but I still don't master 100% of the software capabilities. When I'm not sure about something, I try it out on some samples to see what it does. And if I still don't grasp all of the theory behind it, I google it and read about it.

I have only ever used CUBASE (and only for about 3 x years [being the late starter I am!]). Maybe I should try what you are suggesting here and flick thru the VST FX dedicating more time to listening and experimentation on each group.

Then, I might come on a forum like this one to ask what are the preferred ways of doing things for different members, as inspiration to try new things.

In other words, you find your own pathway and then use this forum to compare/improve your working methods/understanding.

Ta,

Paul

[monsterjazzlicks]

Hi,

. . . and before I forget: I used the LO OUT on the MULTI in my recording. This is -10dB though there is a HI which offers +12dB.

The LO seemed to produce a fairly good result but what would you use the HI for? Gigging, or a different kind of recording scenario please? Or never(!), and just stick with the LO option?

Thanks,

Paul

[MRNUTTY]

I much prefer working 'out of the box', rather than in it until I get to mastering. As a result, I have a LOT of gear, both synths, and sound modifiers that apply during tracking and mixdown. Once I get to mastering, though the price of gear skyrockets, and the types of manipulations are often subtle and complex, and tracks can become very interdependent. Recreating the environment for a mastering project is much more important IMHO incase I have to halt one project and work on another. If I have to push a mix back for something I find late in the process, I can't have my studio stuck in one configuration while I wait for the remix.

[DonutDude]

Hi,

. . . and before I forget: I used the LO OUT on the MULTI in my recording. This is -10dB though there is a HI which offers +12dB.

The LO seemed to produce a fairly good result but what would you use the HI for? Gigging, or a different kind of recording scenario please? Or never(!), and just stick with the LO option?

Not sure how the old Hi-Lo switches work on the old synths but I would suggest you use the one with the highest output level with the least amount of noise. If the -10dB gives you acceptable volume and little or no noise then thats the one to use.

[monsterjazzlicks]

Donut,

Not sure how the old Hi-Lo switches work on the old synths but I would suggest you use the one with the highest output level with the least amount of noise. If the -10dB gives you acceptable volume and little or no noise then thats the one to use.

Well I used the LO OUTPUT in the MULTIMOOG demonstration recordings and it seemed ok, as well as obtaining a loud enough LEVEL. So I may as well continue using that!

Cheers,

Paul

[monsterjazzlicks]

Hi Nutty,

I much prefer working 'out of the box', rather than in it until I get to mastering. As a result, I have a LOT of gear, both synths, and sound modifiers that apply during tracking and mixdown. Once I get to mastering, though the price of gear skyrockets, and the types of manipulations are often subtle and complex, and tracks can become very interdependent. Recreating the environment for a mastering project is much more important IMHO incase I have to halt one project and work on another.

I think the MASTERING STAGE is something that I am way off as yet! lol

Paul

[monsterjazzlicks]

Hello,

I spent a while this evening hooking up and experimenting with the MULTIMOOG thru an (hardware) MXR CARBON COPY PEDAL (and then into CUBASE).

Lot's of OCTAVE switching going on (in real time) and application of FILTER MOD (via the WHEEL). Mostly blowing over a Bb Mixolydian and Bb Blues scales (though the piece does have a certain amount of structure about it).

A little superimposing just at the very end (ie fade in/out of arpeggios), though other than that it is all 1 x track performed live.

This time I used the HI OUTPUT (+12 dB) on the MULTIMOOG.

ISSUE = The MXR takes away some of the edge and fullness of the MULTIMOOG (even when you just activate it will all the DIALS at ZERO)? Also, some aliasing (for lack of a better term) when playing in the UPPER REGISTER of the MULTI (when the MXR is activated)?

A choice of You Tube or PicoSong:

https://www.youtube.com/watch?v=B1ESTh- ... e=youtu.be

http://picosong.com/gJYc

Cheers,

Paul

[MRNUTTY]

Hey Paul, yup, that's normal. If you want subjective full frequency response in a delay you need a high sample rate digital; 44.1KHz of greater. Analog pedals are slow, but distort nicely unless you get too much energy in the frequency range above the Norquist (Nyquist! Thanks the alien666!) limit, then analog, and/or digital is going to have artifacts. Digital artifacts are often less desirable. Judging from a lot of modern Electronic Music, the modern ear is less inclined to dislike it.

-John

ISSUE = The MXR takes away some of the edge and fullness of the MULTIMOOG (even when you just activate it will all the DIALS at ZERO)? Also, some aliasing (for lack of a better term) when playing in the UPPER REGISTER of the MULTI (when the MXR is activated)?

[thealien666]

MRNUTTY, I think that it's Nyquist, not Norquist.