Showing posts with label free advice. Show all posts
Showing posts with label free advice. Show all posts

7 Of The Best Free Guitar Pedal Plugins?

Our top pick for the best free guitar pedal plugin is TSE808 2.0 Lite, a software recreation of the legendary Ibanez Tube Screamer 808—the overdrive pedal that has launched a thousand solos.

For metalheads who think "gain" is just a suggestion, Mercuriall Metal Area takes the crown for best metal guitar pedal plugin. This beast emulates the infamous BOSS Metal Zone, loved and loathed in equal measure.

If you’re after dreamy, swirling textures, Mercuriall Chorus WS-1 is a fantastic choice, bringing the legendary BOSS CE-2 Chorus Ensemble to your DAW.

Here’s our list of the 7 best free guitar pedal plugins:

  1. TSE808 2.0 Lite (Best Overdrive) - Download Here

  2. Mercuriall Metal Area (Best Metal Distortion) - Download Here

  3. Ignite Amps Pro F.E.T. (Best JFET Emulation) - Download Here

  4. Mercuriall Chorus WS-1 (Best Chorus) - Download Here

  5. TSE R47 (Best RAT Emulation) - Download Here

  6. Heptode Deep Crunch (Best Amp Distortion) - Download Here

  7. Ignite Amps TSB1 Tyrant Screamer - Download Here


Best TS Emulation: TSE808 2.0 Lite

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Smooth, full overdrive that mimics the warmth of a cranked tube amp.

  • Faithful recreation of the Ibanez TS808 Tube Screamer—because some things never go out of style.

  • Mono/Stereo processing and Hi/Lo quality mode.

View on TSE Audio


Best MT-2 Emulation: Mercuriall Metal Area

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Unique dual-gain circuitry for maximum face-melting distortion.

  • 3-band EQ with semi-parametric midrange control (because mids matter!).

  • Emulates the legendary BOSS Metal Zone (MT-2), the most divisive pedal in history.

View on Mercuriall Audio


Best CE-2 Emulation: Mercuriall Chorus WS-1

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Spot-on BOSS CE-2 Chorus emulation for lush, dreamy textures.

  • Stereo processing for extra-wide goodness.

  • Depth, Speed, and Mix controls—because you like options.

View on Mercuriall Audio


Best JFET Emulation: Ignite Amps Pro F.E.T.

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Tube-like saturation with JFET-based gain stages—because tubes are expensive.

  • 4-band EQ with Shape toggle for extra tweakability.

  • Mono/Stereo processing and up to 8x oversampling for pristine tone.

View on KVR Audio


Best RAT Emulation: TSE R47

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • RAT-style overdrive that goes from crunchy blues to searing distortion.

  • Simple interface with Drive, Tone, and Output controls—no rocket science required.

  • Stereo/Dual mode for flexible routing.

View on TSE Audio


Best Amp Distortion: Heptode Deep Crunch

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Emulates the Soldano SLO-100 amp distortion—legendary for a reason.

  • 3-band EQ with cab sim switch for extra versatility.

  • Great for everything from classic rock to high-gain mayhem.

View on KVR Audio


Best TS for Heavy Music: Ignite Amps TSB1 Tyrant Screamer

Rating: ⭐⭐⭐⭐☆

Why We Love It:

  • Tube Screamer-inspired, but with an extra shot of aggression.

  • Additional Sweep control for dialing in that perfect midrange.

  • Mono/Stereo processing with oversampling options.

View on KVR Audio


Final Thoughts

All of these plugins offer high-quality emulations of legendary guitar pedals—for the unbeatable price of free! Whether you want creamy overdrive, skull-crushing distortion, or a chorus that would make The Police jealous, these plugins will take your tone to the next level—without breaking the bank.

Tried any of these? Let us know in the comments! Got a favorite we missed? Share your secret weapons!

Cakewalk by BandLab Tutorials

 

How much does Cakewalk cost? Is Cakewalk really free? 

Yes.Cakewalk by BandLab, once Sonar, is now FREE. Usually a FREE digital audio workstation (DAW) would be limited. Not this one! Whether it's beatmaking, recording, mixing, mastering, or anything in between, this is the most powerful full featured DAW on the market. 

 Is Cakewalk good for beginners?

In short, yes. Although my thought process is that the DAW is only a tool. If you're starting out it would be beneficial to start out with a DAW that can grow with you as you get better. Cakewalk is easy enough to learn quickly with a little help (see playlist provided) and yet robust enough to perform on par with any other DAW on the market.

Is Cakewalk different from BandLab?

 Yes. Essentially there is an online version and a desktop version. Each has there own strengths and weaknesses apart from each other, but also work well together. While the online version is more loop based and shareable right after conception. The desktop version is more robust and has more to offer the singer/songwriter or recording engineer.

Honestly, you have nothing to lose by trying Cakewalk as it is completely free and safe. If you're interested in trying it out this playlist will get you up and running quickly and feeling comfortable with the program. Enjoy!

History In The Making

In my recent podcast episode, I talked about forward motion and the idea that a ton of what sets us back in the studio is mindset. Today, I want to expound on that a little deeper by giving you a mindset shift that has helped me tremendously! That being that as a musician, a singer/songwriter, a mixing engineer, etc you are doing more than just making music or JUST mixing someones music. Instead think of it this way, "I am making history"!

Yep, that's right, when we set out to do this monumental task of making an artistic imprint on the society around us we are doing more than just spinning our wheels, we are making history. Think about it, we are releasing something that has never been heard before. If it has never been heard before that means that in the minds of the world it doesn't exist and therefore when we do release it for the world to hear for the first time, it becomes a part of history. This simple mindset shift has helped me to keep trudging along in the trenches at times with a song I felt less than enthusiastic about. It has helped me to release more music than ever before, even if I wasn't completely happy with where the song was in its less than perfect state. This mindset has helped me to navigate through the pitfalls and woes of tweaking that guitar delay for an hour and also helped me to see the forest for the trees on a mix that was not my own.

I know it sounds simple, but hey that's why this blog is called Home Studio Simplified! I want you to make music, better music, and more of it. Music should not seem like a job, even if it is our primary source of income. Nor should it be a daunting task that we put off for weeks because of the fear and frustration of what may appear to us as failure.

The next time you set down to work on something, think to yourself, "Today, I am going to make history".


Are Expensive Cables Worth It?

So recently I spent some hard earned money on some cable for the home studio. My intention was to upgrade and expand as my mic locker is expanding as well. The hype out there is telling everyone that the incredibly high end cables will "dramatically improve your tone", so being the skeptic I am, I bought some to test. I thought I would document my findings to help others make better informed decisions about this issue so included below are a couple links to the cable shootouts that I just did. Are the high end cables worth it? You decide. Enjoy!

XLR Cable Shootout

1/4 Instrument Cable Shootout

Free Tips,Tricks, and Training

We Have A Lot To Learn


I saw this a few months ago and just had to share it! This so true! I have been listening to a lot of podcasts and watched several videos of "famous" mixing engineers and all of them say repeatedly that they are learning stuff everyday. Mixing is very technical, but there is a side to it that is also very artistic. Maintaining a balance between the two is crucial, and when art is involved with nearly anything, it is always evolving and changing shape.The only way to effectively manage that change is to continue learning and trying new things.

Today, I encourage you, that before the end of this week, try something new. Search youtube for a cool trick or tip and apply it. Put up some mics and move them around a room with an acoustic guitar until you have a catalog of various sounds in that room. Put a distortion pedal on your keyboard. (It actually sounds pretty cool) What you will find is that by doing things in a different way and learning new things to try out, you will rekindle the passion for what makes you unique. Your methods will be different, your style is different, your music will be different, because you are unique. So don't be afraid of learning new things from someone else, rather embrace them and they will ultimately fall into your hnads and be molded in a way that only you can.

I challenge you to DO SOMETHING new this week!

Song Creation, Step by Step

Well, the "Creating A Song: Step By Step" video series is over, and the newly created song "That I Might Live" has reached the final mix stage. If you have not followed along during the process of making the intangible idea a "tangible" song then head on over there and check that out.

There were some great take away points that I wanted to share with you though, when it comes to the process as a whole.
  • The single best thing that someone could do for their recordings is to commit to their sounds and utilize some processing on the way in.
  • Having an arrangement in mind long before recording can help but the arrangement should not be restricted to one "phase" of song production
  • By using small moves in several places it does a whole lot more than huge moves in fewer places
  • The best tones are not achieved inside a DAW but before they ever go in
  • Attention to detail and timing makes a huge difference between a mediocre production and a professional sounding one
I hope you have enjoyed the series. If you have any questions hit me up!





Recording with Purpose

http://bit.ly/HSS_YouTube_Channel

By now I hope you have realized the futility of "fixing things in the mix". Not only does it take more time to "fix" things, but in the end everyone loses. The artist you may represent (even if it's yourself), the listener, your mom... (that is if she listens to your work) Everyone will be subjected to the an over processed audio nightmare! Getting a great take, from a great artist, who gave a great performance, without taking a great deal of time to set up mics and position them properly is like playing Russian roulette. You may get a good take by just throwing up a mic where you think it should go, but you may not also. You may be able to even get it sounding decent after an hour of grueling work and 133 plug-ins. However, what if when you got that amazing take, and incorporated it into the mix later, you thought "Hey that actually sounds pretty good the way it is!"

What if, after saying that, instead of struggling to find the right plug-in to make it sound good, you were struggling to find a plug-in at all to even put on it in the first place. Now, I know that in today's world of gear crazy, plug-in happy, home studios, this seems like some Utopia that is not attainable without the latest Wave's deal or that "Stupid Deal of the Day". Yet, in all actuality it is possible!

All it takes is some time to record with purpose. First you have to decide for yourself what is the purpose of the instrument/s you're recording? Are they supportive, or are they the leading elements that make up the song? Do they need a certain sound or tone to set well? Think about it as if you were recording it into your DAW without any hope of ever changing it again. Does the electric guitar need to be brighter to even out the low-mids that are panned hard left from an acoustic part? Maybe it needs to be darker to even out the hype from the keys? 

The best way to know for certain is to hear it as it is being recorded in real time. Break out the ol' headphones and crank up the monitoring level so you can clearly hear what that mic is doing to the sound. Small movements from a mic can dramatically effect the tone of something so move it around quickly until you get in the ballpark of what your looking for and then slow way down, moving it only by inches one way or another. Once you got that sweet spot, remember where you had and mark it in some way if you can. (Tape, sharpie, chalk, etc. use your better judgment as to which would work best) That way you can get back to that tone again if you should need to redo a riff or overdub.

Ultimately, you want to be thinking about the end result. What would you want it to sound like when it's all said and done? By taking this little bit of extra time up front and getting just the right sound going in, you will save a ton of time, CPU, and hair when it comes to mixing. 

I am starting a series on the YouTube channel where I am going to be covering this and other things related as I work through a song step by step from idea to finished product, follow along with me and make something of your own as well! When its all said and done, I'd love to hear what you got! Until next time, go make some music!

You can subscribe to the channel here: http://bit.ly/HSS_YouTube_Channel

Physics of Equality-Production Elements

Wow! It's been crazy busy around here lately! Family Christmas before Christmas, shopping, Black Friday, and on top of that the typical Studio work. (Recording, Mixing, Mastering, drinking lots of coffee...)

So, I recently had the privilege of Recording Singer-Songwriter Justin Clark. Justin has been a long time friend from way back in my High School days and at that time he was just starting out on the guitar. In fact, he conveyed to me that I was the first person to show him a chord! Well, fast forward to now and man alive! This guy is good! After we reunited through a concert I was having at a local coffee shop, we got to talking about music and "geeking out" on acoustic guitars. One thing led to another and I was recording him here in my home studio. Needless to say it has been a blast!

We have discussed already that we are going to work through an EP for him to release in early February. (that's my goal) I thought I would document my progress each step of the way and so here is my first installment. In the video below I cover some of the production elements that I added to what was originally intended to be a sparse arrangement. The first thing he wanted was to just get a song recorded. He was expecting a simple acoustic guitar track and a vocal over top of that. However, after discussing different options, and showing him what could be done with the song by adding a few elements to it on the production side of things, he jumped in feet first with a full production.






Save Time and Recall Settings

Total Recall


In the digital world we have it pretty easy, when it comes to recalling settings. Nearly every plug-in on the planet has the ability to save settings and templates are also save-able in most DAW's. Yet, even with these powerful tools we will not take full advantage of their potential in our Home Studios.

Time To Save Time


One thing we as Home Studio hobbyists struggle the most with is time. Finding time to record, finding time to mix, finding time to find the time to do so. Well, when you have a good set of presets and a healthy array of templates, you can essentially win back some of that time. How creative is it to label tracks, then color code them, then place icons next to them to further identify, on and on the viscous cycle goes? However, if you predominantly record just yourself singing and playing the guitar, make a template from your last session! If you find you always reach for the same plug-ins come mixing time, put them in that template with good starting point settings. Then, every time that creativity starts to flow the, its not held back by the dam of technicality.

You Can't Save Some Things, Or Can You


While it is a fact that some things simply can't be saved, there is another way around this as well. For instance, in the video included below, I painstakingly worked with my DAW to get buffer settings that would not interfere with my screen recorder, It took quite a bit of my precious time! Well, once I got those settings dialed in, and knowing that I would have to change them later, I took a screenshot of the settings. Then after labeling the pic accordingly I can now go back to those settings anytime now! This can be done with anything on your screen! So if you got that Bass EQ sounding good and want to send that to a friend, make a screenshot of your page and send it to them. Or maybe, you got an error you're not sure of in your DAW, screenshots can help show the support team from that company exactly what you're going through.

For Those Who Don't Know


Every keyboard has this feature, you may have to search for it if you're not aware of it. Simply press the “Print Screen” button and open up your paint program or even a Word document and paste into it. Either CTRL+V or right clicking on the mouse and selecting paste will get you there. 

 

Let Your Mix Be Heard

Mixing is very much a mental ascent. There are elements that require a very precise touch, backed by head knowledge and experience. However, there are areas that necessitate a more "blind" approach. This is what I want to cover today.

Now, when I deliver this there will be many who bulk at it and many who never actually put it into practice. Why? Because it seems so simple. DON'T be one of those who obtains loads of tips, tricks, and head knowledge but never experiments or applies. 

Ok, so enough preface. What's the hack?! Here it is...

Close your eyes.

Yep, I know revelatory, huh? But don't just brush this aside. How many times have you went to adjust something in your DAW and "heard" an audible difference only to realize that that knob you were tweaking wasn't moving at all! (Guilty!)

We are so visual. We want to see results. Yet, mixing is not based off of sight, it is sound we're after. Therefore by eliminating our body's natural inhibition to "see" results we are giving ear to what the craft is calling for, audible results.

 

Action Step:

If you have a Surface Controller this will be easier to do but if not it is still easily achieved by using your mouse or track pad. 

1) Pull up a track in your mix and solo it. 
2) Now, open up that "go to" EQ you love.
3) Remove any settings that may be on it. If you like how it sounds then write down those settings before clearing it out. If it has no settings then make some quick adjustments from your gut. Write them down and clear it out.
4) Pick a band and cut it by -3dbs with a moderate Q (1.5-3.0)
5) Now grab a knob on your Surface Controller or click and hold that same thing with your mouse and close your eyes.
6) Sweep around the frequency spectrum without opening your eyes. 7) Listen critically to the track and hear where that cut makes the most effective difference to get closer to the sound you're after.

Note: If you wrote down your settings from the previous adjustments, look at where your setting ended up and see if it matches your previous one. Which one sounds better? What did you discover!?

Save Time with MIDI

MIDI Recording

Recording, although fun, we still want to speed things up a bit and get something released! This MIDI tip will help you do just that! I recently laid down a track for a song I am arranging and thought mixing would be easier if I could get all my takes from various MIDI sounds at once. Then I thought, arrangement  would go smoother as well if I had all those sounds at my disposal right out of the gate. Audio engineers tend to over-complicate things. So, as an experiment, I thought I would just route all of my sounds to the same controller and play the exact same part at the same time. After it was all said and done I had every sound I wanted at my finger tips. played the exact same way, and setting right in front of me! That was easy! Now I know that this isn't revelatory to some of you , but anything that saves time now days is worth mentioning. I hope this helps. Watch the video below for a visual on this. Oh, and don't forget to subscribe. I am now uploading a new video every Saturday!



Clarity In The Mix

Everyone wants clarity in their mix. However, what is your definition of clarity? Could it be that your definition has already set you up for searching an endless road of tips and tricks? Could it be that your perception of clarity has clouded what is truly important?

Let Me Define This

Clarity: clearness, coherent, intelligible, transparent; "The clarity of the water lets me know that it is clean."

So, from this definition we can ascertain that what we are looking for when we seek clarity in a mix, an intelligible and coherent mix. Now, here is where it gets deeper. If all musicians and mixing engineers have their own subjective view of what "clarity" is then how do we know for sure if we have obtained it!?

The Subjective Truth

In my opinion, truth is not subjective. A thing is either true or it is not. It is true that every ear is subjective, and every audio engineer is shaping what they know as a good mix based off of the music they love. So the clarity you seek in your mix may be more bass guitar shinning through. For a guitarist it may be more lead. A drummer might say "more cowbell please". Though truth is not subjective, clarity most certainly is.

Let Me Clarify What Clarity Is Not

Some would say, "Clarity is being able to hear every instrument clearly." While this is true to a certain extent, it is still subjective. Clarity to me is a "mud-less" mix. In fact, everyone can agree when a mix is muddy and when it is defined and unmasked by opposing frequencies all over the place.

If it were simply about instruments being heard then this presents a problem. Not every instrument in the mix has to be heard at all times. Through the use of automation feeling and vibe is created. Instruments drop out and build to a crescendo at times. Therefore, this typical definition just doesn't fit with the word clarity if hearing every instrument is the only basis. The fact that every instrument is heard and sounds defined is due to separation. Separation is derived from equalization and panning, and is further influenced by a respective sound sources frequency ranges.

Conclusion

When you seek clarity, you are really looking for a taste, a style, and your fingerprint in a mix. To obtain that you need to do several small things right. Volume levels, panning, equalization, and arrangement all play their part in creating the clarity that you are looking for. Make the best use of them and enjoy some good clean fun.



A Faster Fretboard

As a guitarist there is nothing more amazing than picking up a guitar that has been well maintained, set up properly, and has a fast fret-board. If you haven't heard the terminology "Fast Fret-board"... I made it up. No, just kidding, someone else did.

Basically, it is a term that means a fret-board that isn't impeded by dirt or grime, it has smooth frets that are free of nicks and dings, and due to it's set up allows one to play well without other things getting in the way. (Or slowing you down)

In this video I give a quick tip on how to speed up your fret-board and some basic maintenance of the same. I hope you enjoy! Oh, and if you decide you'd like the Dunlop 6500 System 65 Guitar Maintenance Kit that I mention in this video (HIGHLY RECOMMENDED) Then use the link I just provided to help a brother out at no extra cost to you. It's like Amazon leaving me a little change in the tip jar for sending some business their way. God Bless!


A Guitar's Best Friend: Humidity


Have you ever wondered why your guitar plays great one day, yet feels completely different on another? Suddenly the fret edges are sharp or the action has shifted and the guitar won’t play in tune anymore. These changes can happen overnight, especially in the winter. Cold, dry weather brings low humidity and that causes cracked guitars. Winter is my busiest time of year for structural repairs, and most of these repairs are preventable with an inexpensive humidifier. I’ve been preaching this message for more than two decades: Preventive measures are the key to keeping your guitar in top condition.

Dealing with humidity.
Humidity is the amount of moisture or water vapor in the air. The more moisture in the air, the higher the humidity. Lesser amounts of moisture results in lower humidity.
There’s a popular myth that a guitar sounds better when it dries out. Actually, it just cracks and then I get to charge a fortune to repair it. This myth is often confused with a guitar’s natural aging process. When a guitar ages, cells in its wood begin to crystallize and harden, causing the guitar to get louder and more dynamic. But if it’s not properly humidified, the wood will crack. (Did I mention structural repairs are very expensive?)
But you can have too much of a good thing: When a guitar is over humidified, it swells up and loses volume and tone. (Think of a tub of lard with strings.) High humidity can also cause finish discoloration and even allow mold to grow inside the guitar.
The way to avoid these problems is to maintain a consistent humidity level for your instrument—particularly an acoustic hollowbody. This will prevent a host of ailments and costly repairs.

Symptoms of low humidity.
One of the common telltale signs of a dry guitar is sharp fret ends. When a guitar dries out, the fretboard shrinks and the frets protrude beyond the wood. Correcting this problem requires re-humidification, conditioning, and fret filing. If your guitar is showing signs of low humidity (sharp fret ends, cracks, or separated glue joints), you need to have it evaluated by a reputable luthier.
This is what happens to a dry guitar in various levels of low humidity.

LEFT: Fig. 1. This top cracked from lack of humidity. MIDDLE: Fig. 2. Fretboards can also crack as a result of low humidity. RIGHT: Fig. 3. The Humidipak guitar humidifier system. Photo courtesy of Planet Waves
Below 35 percent humidity:
• Action (string height) changes.
• The top flattens out.
• Fret ends feel a little sharp.
Below 25 percent humidity:
• Fret ends become very sharp.
• There are drastic changes in the playability.
• Seams begin to separate.
• There’s a slight separation between the bridge and top.
• The finish starts to sink.
Below 15 percent humidity:
• Cracks appear in the top and body (Fig. 1).
• The bridge and fretboard crack (Fig. 2).
• The glue joints in the neck, bridge, and braces begin to separate.
All of these ailments will greatly lower the value of the instrument—not to mention your enjoyment of playing it—so be sure to maintain your guitar at the proper humidity level.
What is the best humidity level for my guitar?
Most experts say 40-50 percent. At this level, a guitar will sound and play its best. A great way to control humidity is to use a humidifier. Think of it as an inexpensive insurance policy to protect you from very expensive repairs.
A guitar humidifier is easy to use and very effective. Some guitar humidifiers are suspended between the 3rd and 4th strings and contain a damp sponge that needs remoistened every two or three days. This type of product works okay, but it’s not consistent. The humidity will spike at first, then slowly diminish as the sponge dries out.
The more modern guitar humidifiers use a gel that not only emits humidity, but also absorbs it if the humidity gets too high. This technology was first developed for cigar humidors, and now it’s available for guitars. Planet Waves makes a great humidity control system called the Humidipak that uses this technology. I’d also recommend using a hygrometer to measure the humidity.

LEFT: Fig. 4. A room humidifier in action. MIDDLE: Fig. 5. Thanks to heat exposure, this bridge separated from the top leaving a gap big enough to slide in a seam separation knife blade. RIGHT: Fig. 6. Use a wood conditioner to protect your rosewood or ebony fretboard.
Another great way to control humidity is to use a room humidifier. This is a great idea if you have multiple guitars in one room. Humidifiers come in all shapes and sizes, but be very selective, as some work much better than others. I use a programmable humidifier that utilizes both “warm mist” and “ultrasonic technology.” It also has a built-in hygrometer and a UV light to help purify the water. This type of humidifier is much healthier than the “cool mist” types that require a filter.
What guitars need to be humidified?
All guitars should be humidified, even electric solidbodies. Newer guitars generally need more moisture because the wood is kiln-dried, as opposed to a vintage guitar made from air-dried wood. The difference between kiln and air-dried wood is dramatic. Kiln-dried wood uses heat to dry the wood to accelerate the aging process. However, these guitars require more moisture to prevent warping and cracking. Air-dried wood is more stable, especially in vintage guitars, because the wood was generally aged over a decade before being made into a guitar. As a result, the cracked wood was removed from the pile and used for something else. Guitars made from air-dried wood still need humidity to sound best, but they retain moisture better than their modern counterparts.

Too hot to handle!
Heat exposure can also have destructive effects on a guitar. When a guitar is left in the trunk of a car—especially on a sunny day—the glue joints can fail. Imagine the shock of opening your case and finding a pile of wood where your guitar used to be. Once again, I get to charge a fortune for repairing heat-damaged guitars, so be vigilant.

A frigid nightmare.
Cold is also an enemy. When a guitar is exposed to low temperatures and then brought into a warm environment, the finish can develop checking. Checking creates tiny hairline cracks in the finish—like someone laid a spider web over the finish— and you can’t polish this out. Finish checking is permanent and can only be repaired by refinishing (not something I would recommend). Finish checking is basically the result of the finish changing from one temperature extreme to the other. This causes the finish to expand and contract too fast, and that makes it crack. To minimize this, when you bring your guitar in from the cold, don’t open the case until the outside of the case is at room temperature. Even then, there’s no guarantee the finish won’t check, but it will lessen the odds.
Okay, let’s review—here’s how to prevent damage to your beloved guitar:
• Buy a guitar humidifier.
• Keep your guitar at between 40–50 percent humidity.
• Use a hygrometer.
• Keep your guitar in a consistent environment (one that’s comfortable for you).
• Keep it out of direct sunlight and out of the car trunk.
These simple steps can save you hundreds of dollars in repairs.

Adapted from: http://www.premierguitar.com/articles/Fighting_the_Humidity_Battle

John Levan Nashville guitar tech, has written five guitar repair books, all published by Mel Bay. His bestseller, Guitar Care, Setup & Maintenance, is a detailed guide with a forward by Bob Taylor. LeVan welcomes questions about his PG column or books. Drop an email to guitarservices@ aol.com or visit guitarservices.com for more info on his guitar repair workshops..

Following My Own Advice

So recently in the podcast I gave a list of things that I would be doing different in the future when recording or putting an album together. Well, I have been following my own advice. Now though it was respective to things I needed to improve, the advice itself was not solely mine. I have been learning a lot lately and have already put into place several things that are helping, things that I would've overlooked or thought not to be important had someone else not taught me the importance.

So today I share a short list with you of things that are important when it comes to recording, mixing, or just plain studio related work.

• Work on gettin a sound that when recorded will NOT need much done to it in the mix from whatever source you are recording

• Use not only your ears but your resovoir of knowledge to know what a particular source should sound like and go with it

• Record more than one take even if you thought the last one just nailed it

• Make your gear work for you, not against you (
ie; use your gears low pass/high pass filters, impedance controls, etc. to shape the sound to what you want in the way in)

• Don't worry about the length of time it take to get a great sound, it will pay off later

• Record at lower levels -18 to -12 at the highest (if recording 24 bit, not much hotter if you're at 16 bit though)

• Edit, Edit, Edit

Already these few simple steps are improving my latest recording, I will be sharing some other things here soon on the YouTube channel. Stay tuned, subscribe, and share!


Mobile Mix Reference

If you are anything like me, (I will pray for you if you are) then you probably take your mixes with you due to time constraints. You wanna hear it in the car, you wanna check it on that Bluetooth stereo your buddy has, and so you put the printed mix (your latest revision) on your mobile device and take it with you.

I use my iPhone a lot! I even utilize the features that it has installed to help me make educated decisions when I get back to the studio. Let me explain that last statement in detail. There are features in the iPhone that aren't so well known that can help you out as a mixing engineer.

The first is the mono setting for your music. If you were unable to check for phase or proper EQ adjustments before you left, or maybe even forgot, this setting can really help out. However, it is kind of hidden in all the various menus, menus that most will never even go through. To utilize this setting as a mixing reference tool follow the instructions below

1) Click on the Settings button



2) Next click on the General option



3) Now click on the Accessibility menu
4) Scroll to the bottom now and you will see the Mono option



I recently just used this on a mix that I was in a hurry to get on the phone. I had not checked the phase, or even to mix itself in mono as of yet and was still in the "rough draft". I could hear the guitars in the headphones, but in the car they were gone. So I switched my phone to Mono and the guitars disappeared in the headphones! Immediately I knew the Phase was out on the guitars. Pretty cool that I was able to make that finding while at work and away from the mixing desk.

The next menu is a little more accessible and isn't as buried in a maze of other menus. I was surprised however by the number of people that did not know this menu existed. I am speaking of the EQ menu found under the Music app. To find that menu follow the instructions below.

 
1) Click on the Settings button


2) Scroll down to the Music menu
3) Scroll down to the bottom to find the EQ menu

4) Choose from a wide variety of EQ options

Ok, so now that we have found the EQ menu, we can use this to gain insight as to where our mix may be lacking or overdone. For instance, if you can only handle the Bass in your mix on the Bass Reducer setting, chances are you need to make some adjustments to your low end. Now, all this is subjective to the headphones you may be listening on as well.

I did a lot of research and even went as far as to get on the Apple website to find what exactly the EQ settings change in the frequency ranges. After a tiring search I turned up nothing. So, in the spirit of my Scottish heritage, I improvised. I downloaded a pink noise signal which is one of the flattest sound profiles you can get. I played it through my iPhone while the headphone jack was plugged into the microphone jack on my PC. Then I put the SPAN plug in on a track and therefore was able to view the EQ changes that were taking place by changing the settings in the iPhone. Below you will find screenshots of the various settings with labels to attribute. This information is no where else! 

Acoustic Setting
Bass Booster Setting


Bass Reducer Setting
Classical Setting
Dance Setting
Deep Setting
Electronic Setting
Flat Setting
Hip-Hop Setting
Jazz Setting
Late Night Setting
Latin Setting
Loudness Setting
Lounge Setting
Piano Setting
Pop Setting
R & B Setting
Rock Setting
Small Speakers Setting
Spoken Word Setting
Treble Booster Setting
Treble Reducer Setting
Vocal Booster Setting
Now, one thing to remember is that your car already has an EQ in place, so you need to set your EQ on your iPhone to off before listening in the car, otherwise it will sound all jacked up. I hope this was helpful, if nothing else it is at least interesting. If you would like a copy of the jpegs associated with the EQ settings (the same ones found above) you can download it here.




Review of the Boss-BR 800

My Boss Br-800 has been the single best investment to my Home Studio. I have used it extensively for over 4 years now. It has been my go to Audio Interface, an easy to use Controls Surface, and an excellent Effects Processor. So I thought I'd share my thoughts with you about this little gem!




The BR-800 is a compact and lightweight digital audio recorder designed for ultimate versatility and convenience. The BR-800 provides 4 tracks of simultaneous recording, and 8 tracks of simultaneous playback. It has an additional stereo track that's dedicated to the onboard drum machine, which also includes an editor. The built-in stereo condenser mics lets you record anytime, anywhere without the need for extra equipment. Your files are captured to widely-available SD/SDHC memory cards, supporting capacities up to 32GB. A 1GB card is included to get you started.

The BR-800 has an easy-to-use interface that's based on touch sensors, giving you precision control over all features. An onboard effects processor gives you a wealth of guitar, bass, and vocal effects, while a "Song Sketch" feature provides quick stereo WAV recording. A USB connector allows you to use the BR-800 as a USB audio interface with your Mac or PC, as well as use it as a control surface for DAW applications. Cakewalk SONAR 8.5 LE (Cakewalk Sonar Music Production Software) software is even included for computer-based audio manipulation. For terrific versatility, the BR-800 can operate on a set of 6 AA batteries, USB bus power, or the included AC adapter.



After doing some research I have posted the cheapest price I have found for a new unit. I paid $449 over 4 years ago and this thing has steadily remained within that price range. So when I found it for only $365, I was tempted to buy another one!

 

Pros:

  • Compact and portable design, ideal for musicians, journalists, and more
  • 4 tracks of simultaneous recording, and 8 tracks of simultaneous playback
  • Dedicated stereo track for the onboard drum machine, which also includes an editor function
  • Built-in stereo condenser mic lets you record anytime, anywhere without the need for extra equipment
  • Records to widely-available SD/SDHC memory cards, supporting capacities up to 32GB. A 1GB card is included to get you started
  • Easy-to-use interface is based on touch sensors, giving you precision control over all features
  • Onboard effects processor gives you a wealth of guitar, bass, and vocal effects
  • "Song Sketch" feature provides quick stereo WAV recording
  • USB connector allows you to use the BR-800 as a USB audio interface with your Mac or PC, as well as use it as a control surface for DAW applications
  • Cakewalk SONAR 8.5 LE software is included for computer-based audio manipulation
  • Operates on a set of 6 AA batteries, USB bus power, or the included AC adapter for terrific versatility
  • 4 XLR inputs on the back of the unit, 4 trs 1/8 inputs on the back as well, and 1 high z on the front
  • Headphone input on the front of the unit for zero latency monitoring or night time jam sessions
  • Line in for recording from various sources 

Cons:

  • The Guitar to Bass simulator can have some hiccups and is not able to pick up polyphonic Bass chords without low end garble
  • Most of the effects that include distortion are "overdone" in my opinion, but can be toned down and shaped into something more feasible 
  • The touch screen panel can be hard to get used to and if it gets oily fingerprints they will have to be cleaned before it will work properly again
  • 24 bit recording is only available on while plugged in via USB
  • Of the 4 XLR preamps on the back of the unit, only one of them has phantom power
  • When using the Loop Record feature, there is a delay in the changing of tracks that can cause a little drop out of audio (1 sec. tops, see video)

Specs:

Simultaneous Rec Tracks 4
Simultaneous Play Tracks 8
Sample Rate 44.1kHz
Bit Rate 24-bit
Effects Yes
Compression Track Compression, Multiband Mastering Compression
Phantom Power Yes (1 channel)
Number of Mic Preamps 4
Audio Interface Yes
Computer Connectivity USB
Built-in Mics 2
Analog Inputs 5 x 1/4", 4 x XLR, 1 x 1/8", 1 x 1/4" (Footswitch)
Analog Outputs 1 x stereo RCA, 1 x 1/4" (Headphones)
USB 1 x Type B
Storage SD (up to 32GB)
Faders 8
Fader Throw Compact (short-throw)
Power DC 9V Adapter (Sold Separately), 2 x AA Batteries, USB Bus
Height 2.31"
Depth 7.25"
Width 11.44"
Weight 2 lbs