Audio Engineering

--- Update

@rigatti's advice put me on the right track! I needed to hook up the amp to my PC using the USB-B port in the back, and download Boss Tone Studio (specifically the Katana Mk2 version). Under the "Editor" tab, and then the secondary "Send/Return" tab, I simply needed to switch the "position" property to "Post Rev".

Dope. Rock on, friends.

Original Post

Heyo, I hope this is appropriate to post here:

I picked up a Boss Katana MkII guitar amp, and it has a lot of cool features that I'm new to, one being its send and return loop. I currently have it sending to, and returning from, a little Ditto looper pedal. With this setup, it typically allows me to overlay multiple tracks, with each one having different effects (powered by the amp) applied. However, sometimes it happens that switching to another preset channel seems to apply that new channel's effects over the existing loop tracks. It appears to be mainly happening with reverb, but it's not consistent, and I can't pin down what's causing it. Even switching to another channel and back will sometimes solve it.

Any tips or ideas?

Hello! Is it good practice in a technical rider patch list to group the violins for example under one line when there are a good number of them for better readability or should I give each one a line. For example the format would be: Input: 1-12 | Instrument: Violin 1 | Number: 12 | Microphone: ...

Also is there a particular order of instruments that should be followed?

Thanks!

Hello!

I'm in a situation where I'm coordinating the recording of an orchestra and choir concert with a sound engineer with which we have not had the best experience in the past. So I'm trying to find the best way to record the concert so we can tell him how to place the mics (He's open to discussion and agreeing with that).

The concert is happening in a church with a full orchestra and a choir of about 80 people.

• Of course, the goal will be to rely mainly on a main stereo pair. I was thinking about a ORTF pair a few meters about the conductor's head. Would a Decca tree be better if we have the possibility?
• I read that the 3:1 rule to mic the choir is pretty standard but my concern is that the microphones would pick up a lot of brass which are really close to the choir. I don't think I should get the mics too close to choir to have an homogeneous sound. What would be a good distance from the choir and will increasing the height of the microphones be enough to minimize brass in that context?
• What kind of microphones should be used for spot mics for instrument sections? (Cardioid?) And at what distance should they be placed to have some flexibility in the final mix?
• Are there any mics that I'm missing that could further improve the recording?

These concerns and knowledge have been accumulated from personal research, so feel free to correct me on anything! I just want to get the best sound possible for a choir that has been practicing really hard.

Thanks!

Hello there,

what the title says. Are you working as music producers, audio engineers, are you working as a freelancer for music production or for a company?

Cheers!

I just recently picked up a couple of them, but their product range is a little confusing to me. Curious if anyone is using and digging any of their plugins? Or any alternatives that you like?

These advices on sharing listening experiences is very helpful, I found myself doing more or less the same things with some non-engineers friends that have a highly emotional response to music. I might have benefited several times from leaving them more space to connect with feelings. And less talking :)

Curious what everyone is using on vocals? I’ve got a 47 clone that I love, but it’s also hard to beat an SM7 sometimes. It’s a classic for a reason!

Who inspires you the most as a mixer these days and why? I really look up to Serban Ghenea. His mixes are always so consistently great, balanced, loud, without being harsh. And it seems like he’s all ITB using standard tools that everyone has access too, he’s just got the skills and ear to make them great.

When I first started noticing oversampling options in my plugins, I turned them up as high as my cpu allowed by default. “It must sound better, right?” But lately, I’ve started noticing that oversampling in most of my plugins kills the transients and punchiness in a way that make it not worth using. Am I crazy or has anyone else experienced this? What situations do you find oversampling useful?

I’ve been loving the Kilohearts Essentials collection lately. Totally free and everything sounds great to me! Covers a lot of ground that stock plugins might not cover.

I’m currently using Pro Tools but started in Logic. For my needs and workflow, Pro Tools just has everything I need and I’m used to it. Curious what everyone on here is using?