Here is another trick for using a delay to create a bit of a stereo effect on a mono track. The basic idea is to pan the mono track slightly to one side (one to three o’clock should do it) and add a delay that is panned about the same amount to the other side (nine to eleven o’clock). Adjust the delay time to produce a sound you like for your mix, and there you have it! It is a fairly simple technique that can be used to push something like a supporting keyboard track out of the center of a mix but allows you to still keep it turned up in volume. Following is a description of how to do this trick in REAPER and more details on what kinds of delay settings I think sound good. See the detailsShare this Post[?]
As digital gear becomes more prevalent I see the same question asked over and over again, “Should I record using the analogue outs or use the USB (or S/PDIF) outputs?” The popular answer is, “keep it digital or you’ll lose sound quality!” Is there any merit to this claim that sound quality is lost if you do not “keep it digital” all the way? Does it matter in a home recording studio which you choose? Let’s find out. Give me the test »Share this Post[?]
Lincoln Brewster’s guitar sounds have been respected by many. He also happens to be a very high profile player of POD X3 Live. His tone is sought after by many aspiring guitarists due to his using such a readily available and affordable piece of gear for his tone. While copping his patches exactly can give you instant gratification, I find it much more desirable to learn how to get better at creating my own tones by studying great guitar sounds created by others. This article is an in-depth analysis of Lincoln Brewster’s live guitar sounds as heard through his POD X3 Live. Take a closer look at the guitar sounds of Lincoln BrewsterShare this Post[?]
This deal has expired.
Today’s stupid deal of the day is the AKG Perception 150 small diaphragm condenser mic. The deal is good only for today. These are great mics and would fit great into any home recording studio mic cabinet. They normally go for about $130 but are much cheaper for today’s deal. The Perception 150 works great on acoustic guitars, drum overheads, and any other application a small diaphragm condenser might typically be used in. I like having a matched pair of small diaphragm condensers for stereo mic techniques. At this price, you can get two of them for only slightly more than the cost of a single on any other day. Enjoy!Share this Post[?]
You may have seen my tutorials on creating grooves with EZDrummer and creating custom drum tracks with Jamstix 2. These are great when creating a song recording from scratch, but what if you have an existing recording to add drums for? What about taking any existing recording and adding some midi synths to spruce up your production? I’m going to show you how to use REAPER to take any home recording and tempo map it so you can add custom drums or midi elements after the fact, and have them be in perfect sync with your audio tracks. Show me how to tempo map my recordingsShare this Post[?]
It is no secret that you can mix and match guitar amps with bass cabs and bass amps with guitar cabs on any Line 6 modeler that has both guitar amps and bass amps. A more subtle side effect of this is the ability to use the guitar mics on bass cabs and bass mics on guitar cabs. Since it is pretty easy to mix and match the cabs, this article is going to focus on the cabs that allow you to mix and match the microphones. You can use this technique on POD X3, POD XT (with bass model pack), TonePort, and even the Gearbox Plugin. There is also a hidden benefit if you have a unit with only guitar or only bass models. Help me mix and match microphonesShare this Post[?]
Miking drums is a subject that seems to be surrounded by a lot of voodoo in the home recording studio. I know it was certainly something I had a lot of agony over for years. Truth be told, there are really no hard and fast rules when it comes to putting microphones on drums. The purpose of this article is to give some loose guidelines to help you develop your own drum miking techniques. I have also provided some sound clips so you can hear my discussed techniques in action. Show me how to get great drum soundsShare this Post[?]
Here are some guitar tones I cooked up to go with the May issue of Guitar World. Every month I make some POD patches to go along with the transcriptions I play through while practicing. People always end up asking me for the POD settings so here they are. You can download the patches in Gearbox format to use with any compatible Line 6 product. You can also put the settings into any other amp and see how close you can get. This month I made Motorhead, Metallica and Stevie Ray Vaughan guitar tones. There are some sound clips here too if you want to see how close you think I got before downloading the patches. Give me the patchesShare this Post[?]
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The Line 6 TonePort series are great audio interfaces. The TonePort UX8 is the flagship of the series. It has eight great mic preamps with phantom power, inputs for instruments, and the ability to put Line 6’s awesome amp modeling on your tracks. For a limited time Line 6 are offering you free model packs to expand the capability of your TonePort UX8. Show me how to get free model packs »Share this Post[?]
The tones from the Line 6 dual tone tour were curiously not included in the factory presets of POD X3. Eventually the creator of the guitar tones did make them available as a bundle. Working with bundles can be a bit cumbersome, especially before the dawn of Gearbox for POD X3. Now that we have Gearbox, it has become possible to access the tones individually. Here are the fabled spiritguitar presets from the dual tone demos. Give me the spiritguitar Gearbox presetsShare this Post[?]