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ChipMusic.org / Forums / Posts by Rainbowdragoneyes
iLKke wrote:Also, does 'warming' chipmusic even make sense?
I suppose you could record hot on a reel-to-reel.
I wonder if anyone is doing that..?
Just for you, TCM, my new songs will be mastered on a 1/2" MCI tape machine. Not really just for you but also for me.
dr. opstopus
Correct, which is good for shaping your reverb sound, but by hitting the EQ before it gets to the reverb, there won't be any low end in your audio signal, so you might play with the reverb's eq settings for even beefier results
What this does is prevents the mix from sounding like a cloudy mud poop. For 4onthefloor dance tracks, if you had a kick drum that was super reverbed and delayed, it would not punch you in the face nearly as hard. Basically by utilizing this trick, only your leads and arps n shit are getting reverb and delay, and holy shit you didn't have to record everything seperately.
Here's a neat trick I like to use to get reverbs and delays to sparkle sparkle as fuck on gameboy tracks:
1. Record your mix onto a stereo channel
2. Set up a bus from that channel to a stereo aux channel
3. Before adding your reverb to the aux channel, throw an EQ plugin on the aux channel, and lop off all the low end and some of the low-mids (can't say up to which frequencies specifically, check this by soloing the track)
4. Do the same thing for your delay bus.
5. Send a tasteful amout of your choosing to each aux channel. This is way better than putting a reverb/delay plugin on the audio track itself, and is common practice
What happens as a result of this is your kick and bassline won't get verb'd or delay'd, because the audio will hit the EQ plugin before it hits the effects.
It goes without saying there are diff'rent strokes for diff'rent folks but this is what I do on my tracks 100%.
I often use the "cookie" analogy to explain the recording process -
1. Recording/tracking: you get all of the right amount of your ingredients together and put them in a bowl
2. Mixing: you stir that shit up and spoon it onto a tray
3. Mastering: you bake your cookies until they are cookies
It is a bit of a different process when dealing with gameboys, but the concepts are essentially the same. I have used both methods- recording everything at once, and recording each channel seperate. Can't say really which method is "better," because depending on what is going on in your song one way might work better than another, or it may make no real difference.
So after you record your song, you have your finished "mix" which you would then take to "mastering." I don't spend any extra time or money in mastering gameboy music because it is so lo-fi anyway, but a good thing to do before you start burning CDs is look at the overall level of your track and see what you can do to make it as close to 0 dB (maximum) as you can get it (this is where knowledge of compressors and limiters come in handy).
A typical mastering chain will consist of EQ > compressor > limiter. It is important to note that they work in whatever order you put them in, and the limiter should always be the last item in the chain.
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ChipMusic.org / Forums / Posts by Rainbowdragoneyes