EQ Magazine - May 2008 - (Page 32)

GUITAR TRAX PIECING TOGETHER AN ACOUSTIC PUNK CD Studer has a little more clarity, and the Ampex has a fatter, more vintage sound. From there, the signal went to an Empirical Labs Fatso Jr. compressor, and then to the ProTools interface.” Up to this point, all the audio was tracked, manipulated, and controlled by Luekens. But a withering deadline (21 days), and my desire to bring a number of different guitar players to the project (which would have prompted a studio scheduling nightmare), forced me to assemble performances recorded in various home studios by outside players. The “session cats” included myself and the other editors of Guitar Player magazine—Jude Gold, Matt Blackett, Darrin Fox, Art Thompson, and Barry Cleveland. The players were given rough CD-R mixes of the song they were to perform a solo on, with the only instructions being “go with the vibe.” In a few instances, Dalton had requested slide or EBow parts, but, otherwise, the players were on their own. Unfortunately, I had not made Luekens aware of this plan at the get go. Oops. “I didn’t realize other people were going to be working from my rough mixes,” he says. “I had the roughs from the countoffs through the end of the songs, but I hadn’t included all of the blank space from the beginning of the session files. If I knew someone would be using these mixes for recording other parts, I would have either bounced from the start of the session, or from a pre-determined point—such as the 10-, 20-, or 30- second mark. That way, I’d have a reference point for any audio I might get back. For instance, if somebody imports my audio into another program, all they have to do is put my audio files at the start of their session file—the zero mark, if you will—and record their parts as they like. When they send me their audio files, they just bounce the files from the zero mark, and I can import and drop them at my reference point to line everything up properly.” So, for most of the tracks from the GP editors, there were no time references. Luekens and I had to listen to the new audio, find rough sync points, drag the files to their approximate correct location, and then nudge them until they felt right with the song. Then, there was the 96kHz debacle. None of the home-studio overdubs were recorded at that resolution (most were mono WAV files at 44.1kHz or 48kHz), which meant Luekens had to 32 EQ MAY 2008 www.eqmag.com http://www.bacbeatbooks.com http://www.bacbeatbooks.com http://www.musicdispatch.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - May 2008

EQ Magazine - May 2008 Contents Talk Box Sounding Board Jamie Lidell, What the New Model of Record Deal Means to You, Part II, Andrew W.K. Tool Box Aerosmith Fast Tracks Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet DigiDesign Pro Tools LE 7.4 Cakewalk Sonar 7 Line 6 UX8 Studio Projects CS5 Art Tubefire 8 Jazzmutant Dexter MCDSP Emerald Pack Overloud Breverb KRK Exposé E8B Mackie MR5 Blue Sky Exo Monitor System Big Fish Audio Around the World in 80 Raves East West Fab Four Virtual Instrument Sony Matt Fink- Starvu Session Keys Room With A VU

EQ Magazine - May 2008

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