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I've never really found an optimal way of mixing LSDJ with some post-mastering of any sort, and I'm sort of forced to because of how quiet the WAV channel is when I record.
Is there a certain default template I should be following to optimize LSDJ's sound while recording either from emulator or straight from DMG? Or is it better to record each channel individually.
Ideally, recording from hardware is a goal, I mean, that's why we do this stuff.
Personally, I record each channel separately, and use different gates/compressors on each channel, to enable a little more control over the sound.
However, the quietness of the wav channel can be combated on the DMG itself by using quieter volumes for all other channels. The lower you mix your melodies/noise/etc the louder your wav channel will sound comparatively. In the end, your live playback volume is determined by your mixer gain, and hopefully an engineer, so the output level (as long as you're not literally sitting in the noisefloor) shouldn't make too much of a difference.
I find that a lot of chips require much heavier EQing than traditional sounds. Personally I rarely record channels individually. Usually I'll do some EQing, multiband compression and a dab of reverb. That's usually enough to make it pop without taking away from the inherent quality of the chip.
I've been going from DMG (all channels at the same time) into my pc, then just applying a bit of EQ/gain in Ableton.
I think it's the snob in me that wants to be PURIST!!!! but listening to stuff by the likes of trash 80 (actually, I think it was his mastering of Sievert that made me sit up!) I kinda think that mastering the hell out of a track can of course be a massively positive thing.
Truth be told, I did a remix of a track from Kodek and sent that over to him. he said he wanted it in 4 seperate tracks and that he would add effects etc. I was a bit unsure, but turned out to be great. (coming soon btw 
)
here's what i do
paste a blank row at the top of the song. create a chain with a single phrase, with a short sound at the beginning. This is going to be your recording marker. Put it at the beginning of the pulse channel. Since there's nothing starting the other three channels, the cpu will focus only on the pulse channel (if you solo it out, everything else is still happening, but at 0 volume), and you'll have much less tempo drift.
record each channel like that, then run each channel in ableton with it's own copy of oZone's iZotope. then eq and master that shit!
this last part can work on any sequencer with VST support, but you can also do it your own way in what ever program you're most comfortable with
+1 for the iZotope. That compressor is mad wicked!!
Last edited by cheapshot (May 11, 2011 3:16 am)
Thanks for the suggestions guys!
Right now all I've been doing is either recording the WAV channel separately and adding gain, then slapping on a limiter and wala, or adding a limiter by recording straight from a DMG. This makes it sound really grungy and earraped though.
I got oZone's Izotope today, how I've managed without it before I have no idea. Thanks Saskrotch!
If you can't hear the WAV channel, all your other channels are too loud. Turn them down ON THE GAMEBOY before recording or any other sort of post processing. Only after it sounds well on the GB you should pass it over.
Making everything as loud as possible is usually a bad habit.
Last edited by akira^8GB (May 11, 2011 12:09 pm)
If you can't hear the WAV channel, all your other channels are too loud. Turn them down ON THE GAMEBOY before recording or any other sort of post processing. Only after it sounds well on the GB you should pass it over.
Making everything as loud as possible is usually a bad habit.
This is exfremy important. Rarely do I make an instrument on the pulse or noise channels that is above a 9x with the E command. Gotta make that wav channel stand out, not hide behind an explosion of noise n square wave arps!!
I usually don't post mix anything. Straight from the gameboy/dingoo to an MP3. That might be bad, I know. I never tried out my mp3's out of a cd to see if it gets weak.
This is exfremy important. Rarely do I make an instrument on the pulse or noise channels that is above a 9x with the E command.
My Pulse channels usually are around the 7X and never more than 80! Otherwise you mud everything up.
cheapshot wrote:This is exfremy important. Rarely do I make an instrument on the pulse or noise channels that is above a 9x with the E command.
My Pulse channels usually are around the 7X and never more than 80! Otherwise you mud everything up.
This. Though actually, my PU channels are usually in the A to B range, I think I might take your advice and make some adjustments...
my pulse channels are over 3X to 5X, and the hi hats on something like 3X-4X. just to give that WAV channel more space; i've noticed in my own writing a more dedicated work on this particular channel, this and other hard to explain ables you to use it with more dynamic contrasts, sublows and another wicked sounds.
then do the production outside the gameboy.
In any case it's good to exercise by lowering levels and adding DYNAMICS to instruments. Dynamics are probably the single most missing and underestimated feature in most cheapchoon tracks that come out nowadays.
if you only have four bits to work with, i'd say it's a great idea to make every channel as loud as possible and then mix them to the correct volumes with 24 or 32 bits after recording
a volume envelope from 4 to 0 (integers) is much less smooth than one from 16 to 0 with all other things being equal... same principle for everything when you've not got many BITS
The only part having 4 bits of envelope is the WAV channel. That';s why you have to tone down the others to make the WAV stand out.