Building The Ultimate Pedalboard | Guitarist Edition

For guitarists of all levels, pedals can unlock new sonic possibilities, turning a simple guitar riff into a masterpiece of tone and texture. However, diving into the world of guitar pedals and pedalboards can be overwhelming without a clear understanding of what’s essential, what’s optional, and how to bring it all together. This article answers some of the most common questions about guitar pedals and setups, helping you navigate this often complex but rewarding world. 

*Clicking the blue words will take you to suggested products

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What Is the Typical Guitar Pedal Setup?

The term "typical" guitar pedal setup can vary based on the genre, player preference, and intended use. However, most setups follow a logical signal chain that ensures each pedal performs at its best. Below is a general order for arranging pedals:

1. Tuner
   The tuner pedal should always come first in the chain to receive the cleanest signal from the guitar. This placement ensures accurate tuning without interference from other effects.

2. Dynamic Effects (Compressors, Wah, Volume)
   Next in line are pedals that affect dynamics or tone shaping, like compressors or wah pedals. Compression helps even out the volume of your playing, while wah pedals add a sweepable EQ effect.

3. Overdrive, Distortion, and Fuzz
   Gain-based pedals such as overdrive, distortion, and fuzz come after dynamics. They amplify and clip the signal, creating those iconic dirty tones.

4. Modulation Effects (Chorus, Flanger, Phaser)
   Modulation pedals add depth and movement to your tone. These effects are best placed after gain pedals to process the already-shaped signal.

5. Time-Based Effects (Delay, Reverb)
   Delay and reverb pedals typically go at the end of the chain. They create ambient textures and echoes that sound best when applied to the fully processed signal.

6. Loopers
   Loopers should usually go at the very end of the chain. This placement allows you to capture and layer the entire processed signal, including all effects.

While this order is a standard starting point, experimentation is encouraged. Some players prefer placing modulation effects before overdrive for a unique sound, or they might add multiple overdrive pedals to stack gain stages.

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Do You Need a Pedalboard for Guitar Pedals?

The short answer: No, you don’t need a pedalboard, but you probably should have one.

If you only use one or two pedals occasionally, you can get by without a pedalboard. However, as you add more pedals to your collection, a pedalboard becomes essential for several reasons:

1. Organization
   A pedalboard keeps your pedals in a consistent, logical arrangement. This organization is especially important for live performances, where quick adjustments may be needed.

2. Cable Management
   A pedalboard helps reduce cable clutter by neatly routing power and patch cables, reducing the risk of signal loss or noise interference.

3. Transportability
   A pedalboard makes it easier to transport your pedals between practice sessions, gigs, or studios. Most pedalboards come with a carry case for added convenience.

4. Durability
   Pedalboards protect your pedals from wear and tear, especially during transport. Many boards have a durable frame and secure mounting options to keep pedals in place.

Without a pedalboard, you're likely to face challenges like tangled cables, inconsistent setups, and increased setup time. There are a ton of options out there but here is my personal favorite here!

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How to Choose a Guitar Pedalboard

Selecting the right pedalboard depends on several factors, including the number of pedals you own, the space you have, and your specific needs as a guitarist. Here’s a step-by-step guide to help you choose:

1. Determine Your Pedal Count

Small Setup (1–5 pedals): A compact pedalboard like the Pedaltrain Nano is ideal.

Medium Setup (6–10 pedals): Look for a mid-sized board such as the Pedaltrain Classic 2.

Large Setup (11+ pedals): Opt for a large board like the Temple Audio Trio or Pedaltrain Pro.

2. Consider Power Requirements

Each pedal requires power, so you’ll need a power supply that can handle your setup. Look for pedalboards with integrated power supplies or space to mount one underneath.

3. Plan for Future Expansion

Even if your current setup is small, you might add pedals in the future. Choose a pedalboard with enough room to accommodate growth.

4. Evaluate Portability

If you frequently travel or gig, prioritize lightweight, portable boards. Consider a board with a hard or soft carrying case for added convenience.

5. Assess Build Quality

Ensure the pedalboard is made of sturdy materials, such as aluminum or steel, to withstand regular use.

6. Cable Management

Some pedalboards have built-in cable management systems, which can simplify setup and reduce noise.

7. Aesthetics and Customization

Some pedalboards, like those from Temple Audio, allow you to customize the layout and color. While not essential, aesthetics can make your rig more enjoyable to use.

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What Pedal Should Every Guitarist Have?

While every guitarist’s needs differ, some pedals are universally useful. Here are a few that most players consider essential:

1. Tuner Pedal

A reliable tuner is non-negotiable. The Boss TU-3 or TC Electronic PolyTune are industry standards.

2. Overdrive Pedal

Overdrive is one of the most versatile effects, ranging from subtle warmth to full-blown crunch. Popular options include the Ibanez Tube Screamer and the Fulltone OCD.

3. Delay Pedal

A delay pedal adds depth and rhythmic complexity to your playing. The MXR Carbon Copy and Boss DD-8 are excellent choices.

4. Reverb Pedal

Reverb enhances the natural space in your tone. Pedals like the Electro-Harmonix Holy Grail or the Strymon BigSky are highly regarded.

5. Compressor Pedal

Compressors like the Keeley Compressor Plus can smooth out your playing dynamics and add sustain, making them invaluable for clean tones and solos.

6. Distortion or Fuzz Pedal

For heavier genres, a distortion or fuzz pedal is a must. Try the Pro Co Rat for distortion or the Electro-Harmonix Big Muff for fuzz.

7. Modulation Pedals

Modulation effects like chorus, phaser, and flanger add movement to your sound. The Boss CE-2W or MXR Phase 90 are excellent starting points.

8. Volume Pedal

A volume pedal gives you dynamic control over your signal, useful for swells and gradual fades.

 

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Putting It All Together

Building the perfect pedal setup takes time, experimentation, and a clear understanding of your musical goals. Here's how to get started:

1. Start Small
   Focus on essential pedals before expanding your collection. For most players, a tuner, overdrive, delay, and reverb are a solid starting point.

2. Experiment with Placement
   While the standard pedal order is a good guideline, experiment with different arrangements to find what works best for your style.

3. Invest in Quality Cables
   High-quality patch cables and power supplies can make a big difference in tone and reliability.

4. Maintain Your Pedals
   Keep your pedals clean and check for loose connections regularly to ensure they perform at their best.

5. Upgrade Gradually
   As your skills and needs grow, invest in higher-quality pedals and accessories.

For a stress-free way to know exactly what you need for your pedalboard build I suggest using the RockBoard "Board Configurator! Here's an introduction to this amazing tool and how to use it.

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Conclusion

A well-thought-out pedal setup is a cornerstone of a guitarist’s sound. Whether you’re a beginner or a seasoned pro, understanding the basics of pedal arrangement, the benefits of a pedalboard, and how to choose the right gear will help you unlock your full potential.

Remember, the journey to finding your signature tone is as rewarding as the destination. So, take your time, experiment, and let your creativity shine. Whether you're chasing shimmering clean tones, crushing distortion, or atmospheric soundscapes, the right pedals can bring your vision to life.

For a quick "take-along" download the FREE pedalboard setup guide here!

Recording in a Home Studio: The Pros and Cons

In today's music industry, the rise of home studios has transformed the way artists and producers create music. With advancements in technology, it's now possible to produce professional-quality recordings from the comfort of your own home. But like any creative endeavor, recording in a home studio comes with its own set of advantages and challenges. Let's explore both sides.

The Pros of Recording in a Home Studio

1. Creative Freedom One of the most significant benefits of recording at home is the creative freedom it offers. You’re not bound by the constraints of a commercial studio’s schedule, which means you can take your time to experiment with different sounds, arrangements, and recording techniques. Whether you're diving deep into a late-night inspiration or fine-tuning a mix over several days, a home studio allows you to work at your own pace.

2. Cost-Effectiveness Commercial studio time can be expensive, especially for independent artists or those just starting out. A home studio, once set up, eliminates the need for hourly rates, making it a cost-effective solution for recording multiple tracks or even entire albums. While there is an initial investment in equipment, over time, this setup can save a significant amount of money.

3. Comfort and Convenience Recording at home provides a level of comfort that’s hard to replicate elsewhere. You’re in a familiar environment where you can relax and focus on your music without the pressure that sometimes comes with being in a professional studio. This comfort can lead to more authentic and heartfelt performances.

4. Flexibility Home studios offer unparalleled flexibility. You can record whenever inspiration strikes, without worrying about booking studio time or working around the schedules of others. This flexibility is particularly beneficial for artists who juggle music with other responsibilities, allowing them to fit recording sessions into their lives rather than the other way around.

5. Learning Opportunities Operating a home studio forces you to learn about the technical aspects of recording, mixing, and producing. This knowledge is invaluable, as it not only enhances your ability to create music but also empowers you to communicate more effectively with other industry professionals.

If you're interested in learning more about the ins and outs of recording in a home studio, check out this playlist for in-depth videos on the topic.

The Cons of Recording in a Home Studio

1. Acoustic Limitations One of the biggest challenges of a home studio is the acoustics. Most homes aren’t designed with recording in mind, which can lead to issues like unwanted reflections, room modes, and background noise. These acoustic limitations can affect the quality of your recordings, making it harder to achieve a professional sound without investing in acoustic treatment or other solutions.

2. Equipment Constraints While technology has made home recording more accessible, professional studios still have an edge when it comes to high-end equipment. The microphones, preamps, and outboard gear found in top-tier studios can be prohibitively expensive for a home setup. As a result, the quality of your recordings may be limited by the gear you have on hand. If you're looking to upgrade your equipment, you can explore options here.

3. Distractions Recording at home can be filled with distractions. Whether it's family members, household chores, or the temptation to procrastinate, maintaining focus can be challenging. Unlike a professional studio, where the environment is designed to foster creativity, a home studio requires discipline to avoid these distractions.

4. Limited Collaboration In a commercial studio, you have access to engineers, producers, and other musicians who can provide valuable input and feedback. Recording at home can be a more solitary experience, which might limit your exposure to new ideas and perspectives. While remote collaboration is possible, it doesn’t always replace the immediacy and spontaneity of working with others in person.

5. Technical Difficulties Operating a home studio means you’re responsible for troubleshooting any technical issues that arise. Whether it’s a software crash, a broken cable, or a confusing plugin, these problems can interrupt your creative flow. In a professional studio, there’s usually a team of experts to handle such issues, allowing you to focus solely on your music.

Conclusion

Recording in a home studio offers a unique blend of advantages and challenges. For many artists, the freedom, cost savings, and comfort outweigh the potential drawbacks, making it an attractive option for music production. However, it’s important to be aware of the limitations and be prepared to invest time and effort into overcoming them.

Whether you’re an independent artist looking to release your next single or a seasoned producer experimenting with new sounds, a home studio can be a powerful tool in your creative arsenal. By understanding the pros and cons, you can make informed decisions that will help you get the most out of your home recording experience.

For more tips, tutorials, and insights into recording in a home studio, subscribe to my YouTube channel and stay updated with the latest content. Your journey to better recordings starts here!

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!

Plug-Ins for For New and Old

When I first started out, I didn't know anything. (I mean like NOTHING) I had to learn it all along the way. Thanks to YouTube and good Ol' Fashioned books, I have come a long way.

Probably one of the most complicated ideas for me to wrap my head around at first was that I could load a "plug-in" up into my music program and it would do stuff. Most of them sounded great on "paper" but the names were misleading or completely philosophical and not applicable to what the plug-in actually did. Worse yet, I'd open the thing and it was so complicated to learn that I literally would have to spend all day just messing with it.

Enter KiloHearts! I sincerely wish this company had been around when I first started out. Not only are the plug-ins exact representations of what they are named, they are so simple that my son (10 years old) could know there usage when asked.

What's even better is because they are stripped down of all the eye candy, they are very easy on your computers RAM and hard drive space. Each knob, every slider, and every adjustment that could be made has a built in guide that tells you exactly what you're adjusting! (Simply hover over any given adjustment area, and it will show you a small pop up info window) So, if you are a beginner I highly recommend you snatch these up.

For those of you who are thinking, "I'll bet they're lacking on the quality side." I am here to tell you, as one who has used boutique plug-ins from a huge variety of big players, these plugs are very competitive and offer just as much versatility and power as others on the market. In fact, the creativity behind the MultiPass plug in alone is enough to draw in even the most advanced audio nerd there is due to its infinite possibilities.

Here is a short video that I made in hopes to display what words can't say. Give it a quick look and see if you're creative juices aren't inspired!

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

Break Out of The Box

The audio world used to be full of rebels willing to break all the rules. Now it's held back by those who want to either follow suit or stay within presets and pre-defined guidelines. The reason why we have half of the effects, plug ins, and innovative gear choices at our finger tips, is because of someone who was not satisfied with the status quo.

It was those late night experimental mic placements. The beautiful accidents of various electronic anomalies. Those "mess ups" that were intentionally left because it DIDN'T sound like everyone else. There was a different thought wave when it came to music years ago. The studio was not so much a place to make magical recordings it was an instrument in itself that merely captured those magical recordings. Recordings that were made by well versed and thorough musicians. These great takes were then enhanced by a more than able engineer with good ears, a heart reference of what music should sound like, and a limited amount of ways to achieve that balance. It was not one person or any one idea that made a great record. It was everyone binding together and pursuing the same goal.

During the month of March, I challenge you to experiment with something new. We all get locked into our habits. That mi sounds good on that cabinet, that guitar pedal always stays at those settings, that vocal take is always treated with the same effects and sung on the same mic, in the same room, with the same person... See what I mean. It sounds kinda boring. 

If you want to really ramp up your interest and discover new things, then try new things and you will naturally be excited by what you get from that. Stand out, and do something that you or no one else you know for that matter has ever tried! Come back periodically and let me know what you've done and lets share!

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!

Creating A Song: Step By Step

If there was one thing I really desired when I started to record and mix my own music, it was a clear cut, over the shoulder tutorial. I needed someone with more experience than I had to set me down and say, "Here is how you get started."

Unfortunately, I never had that. Though there are a ton of online tutorials, none of them seemed to cover just the basics, or how to get started in all of this. Since then there have been some who seen the need and stepped up to the plate to offer some help. I simply had to figure it out as I went and make a ton of mistakes.

That's why I decided to start a series of videos where I go through the entire process, step by step. It is that over the shoulder, "Here's how you get started" video series that I was looking for when I started out. Now you can follow along with me as I go through the whole thing! The best part is, I am not doing a ton of editing or working ahead. Why, is that important? Because it will allow you to see my mistakes. Yep, I said that. Then I will show you how I fix some of those mistakes! Priceless!

All to often (especially with social media) we catch only a glimpse of the beautiful editors rendition of something. This at times leaves us thinking that we need to be perfect. Although perfection is a good thing to strive for, and as a perfectionist I am guilty, we can over do it at times. The best concert I ever went to was a Casting Crowns concert. The reason why it was so good was because it was raw and unedited. They messed up a few times, but just kept right on going. The best training I have received on my job was at those moments when everything went wrong and chaos was running a muck. Thence trainer stepped in and showed how to fix it. Now, had that never happened, I would have been lost if the same situation cropped up without a trainer and without the experience. So, when I run into a problem with the mix we are working on, I am not gonna fix it in pre and then present it in post as a perfectly polished peice of work. Instead, I am going to point out the mistake and walk you through how I am going to attempt to fix it. A boss will tell you how to do something, a salesman will show you the finished product while carefully leaving out important flaws in that product. A leader, and a friend, will walk you through the whole process so that your aware of all the ins and outs, and show you how to do something.

That's what I am wanting to achieve in this video series. I want to genuinely help with a real world approach. Will the song be perfect? Nope? Will this series make you better? It may help you grasp some concepts to help you get there, but ultimately doing more recording, mixing, writing, etc., is what will make you better.

So head on over to YouTube and follow along with me as we go through the "Creating A Song: Step By Step" series.

Make sure you subscribe to stay up to date on all the latest videos I will be posting.

Recording with Purpose

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

BOSS BR-800 Control Surface Set-Up

Setting up the Br-800 to work as a Control Surface is actually quite easy. So, why would anyone want to do such a thing? Well, as I near the end of a mix one of my favorite final embellishments that breaths life as well as energy into a mix is Automation. For those of who you related with that, you probably also know then that using a mouse to perform this task is daunting to say the least. It is less musical, it is less creative, it is less... well cool.

In fact, it has helped my mixes in the present to set up my Br-800 in Control Surface mode and just close my eyes with the faders resting under my fingers. We mix with our ears, not our eyes, and so this takes away that urge to "see" the mix get better. Not to mention, when the wife walks in you look really into it and seem (to the untrained eye) to be working really hard. Unfortunately, my wife knows that I am having fun rather than me fooling her into believing that I am "in the throws" of a complex situation. She usually just chuckles and walks away.

Now, if you are not doing Automation, you need to. If you are waiting on buying a Control Surface first, don't. I used a mouse for years and it works just fine, its just more work. Also as stated previous;y, it's just not as cool. Anywho, I was asked to create a video showing how to set the Br-800 up for this wonderful feature and so without further adieu.

Using Aux Tracks

Many more possibilities open up when you explore the world of buses, aux tracks and sends — and
we'll do that right now, starting with a classic mix technique.

Here's a little scenario. You've got 20 audio tracks, and they all need reverb in differing amounts. Surely it's just a question of instantiating a reverb plug‑in on each? Well, it's not out of the question, but it'd be a terribly cumbersome way of working. First of all, the CPU hit of 20 reverbs could be colossal — potentially crippling if your computer is already maxed out. Second, configuring all those reverbs is very labour intensive, with way too much room for confusion. What's needed is a way to share one reverb flexibly amongst those 20 tracks — and it's easy. We're going to set it up on an aux track, a track type that you can't record on (although it can still be automated) and whose purpose in life is as a routing tool. Next, we'll configure the specialised extra outputs on the audio tracks — their aux sends — to split off some signal from each, destined for the reverb. Then you can tie the whole lot together with a bus. 

A technique that comes up frequently in SOS's interviews with great producers and engineers is parallel compression. Often used to supercharge drum overheads, in essence it's all about splitting the track's signal in two, applying aggressive compression to one 'half', leaving the other alone, and blending to taste. Parallel compression can create seriously dynamic‑sounding drum tracks. Most compressors won't have a wet/dry mix control, but if yours does, set it to 100 percent wet. Signal now begins to flow through the aux track, and its compressor, in parallel with the dry track — hence the name of the technique. One extra thing to think about here is whether the aux send is operating post‑fader or pre‑fader. What's the difference? Well, if it's post‑fader (which it'll be by default), as you adjust the drum track's main level fader, the send level changes too. If it's pre‑fader (which it will become if you click the send's little button), the send level is completely independent from the track's level fader. For parallel compression, I like to work pre‑fader, as then I can adjust the relative levels of the dry and compressed drums on their main faders with no fear of unpredictable level interactions as the mix takes shape. 

Recently, the Sonar family released the Jamaican Plain update which allowed the use of Aux tracks and Patch Points within the main track window. This has been a major upgrade to my effeiciency. Below is a video where I use some of those features similar to the areas SOS covered up top.

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. 

 

Unboxing/Review of The Miracle Sound Lavaliere Mic

My Unboxing/Review of The Miracle Sound Lavaliere Mic

Deluxe Lavalier Lapel Clip-on Omnidirectional Condenser Microphone

When speaking to people on camera, the general rule of thumb is to get the mic as close to the person as you can without it being obtrusive. That's where a good lavaliere mic comes in. There are many on the market for a wide range of applications, but few that are affordable and work in concert with the iPhone. I personally needed both affordability and integration with the iPhone so after a little research I came across the Miracle Sound lav mic.

Set back by the price (how cheap it was) I was a little hesitant to purchase it, but at $17 w/shipping I thought it would be worth a try. The shipping from Amazon was fast and the packaging was great! I was amazed that so much care was placed on getting the product to me in good working condition.

Upon opening the box I was delighted to see that the mic package itself was wrapped in bubble wrap and that there was no room for it to be jostled around in the box. I unwrapped the package to reveal a nice little zip-lock pouch that contained the microphone. I was at first kind of leery about that, thinking to myself, “they put the mic in a zip-lock baggie”!? However, after I opened it up I immediately was relieved to find that it there was another pouch inside that held the actual mic. It is a nice felt lined pouch with a Velcro enclosure and I could see that much care was taken into placing the mic inside the pouch.

Having owned lavaliere mics in the past and knowing their woes, I was extremely pleased to see that the mic came with a windscreen. One thing I was not fond of was that the cord is only about 4' long and the clip is not detachable. Other than that the mic works great and sounds a ton better that the built in mic on my iPhone 4S. It does record a little hot though so don't get to awful loud with it otherwise it will distort.

Pros: Affordable, easily integrated with mobile devices, comes with a nice pouch and windscreen

Cons: Cord length, permanently attached mic clip, seems to record a little on the hot side

 

Click Here to Purchase

 

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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!

Mix Tips-Improving Workflow

In the video below I share with you some ways you can speed up your workflow and make your sessions more efficient. Some tips shared are Sonar specific, however, the concepts can be applied across any platform.

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.

Mixing Is An Art

Mixing music is an art form. Let me explain. My son went to his first art class yesterday where he learned the basics of the color wheel. He was taught contrasting and complimentary colors, as well as what tools he would need to let those creative  ideas be put into practice. This was his first abstract piece of art.

So anyway, what does this have to do with mixing? Well the parallels are all over the place but let's start with the color wheel. In mixing this would be your frequencies. There are complimentary and contrasting frequencies, those that mesh together for the better and those that fight against one another. Through proper use of an EQ and other plug ins you can actually "paint" a beautiful picture of any well recorded song. Conversely, you can mask and "shade" in elements so that things are so blended on your canvas that someone can't make out what it is supposed to be. (You've seen those moments when someone is standing in front of a painting, head tilted, gazing blankly) 

However, mixing is an art. What one person says is a bad painting may just be what another thinks is great! I never much cared for Van Gogh, but he was famous for his work regardless of what I thought. Why? Because everyone has a subjective view of what art is and is not.

This is not an excuse to just slap something together and expect a certain group of like minded musicians and music lovers to readily accept our shoddy work. What made Van Gogh stand out, as well as others, was that he was original, consistent, and he had developed (over time) his sense of what art is. He painstakingly worked long hours so that every brush stroke added to the masterpiece an element that no one else could recreate.

As for the tools. He used a paintbrush. I am sure it was very similar to everyone else's paintbrush. Our paintbrush as budding mixing engineers and audio shapers, are our plugins and the gear that we use. Our canvas is our DAW.  Just as there was no magic canvas that worked better than another's, all DAW's essentially do the very same thing. Every painter may have a preference on what paintbrush they prefer as well but they all do essentially the SAME THING. What makes the difference is the artists touch.

My canvas is Sonar

In the paintings that I have done in the past I used several brushes, just as most artists will do as well. Generally, the reason why a paintbrush is switched out is because the artist is looking for a different texture or more control. A plug in, much like a brush, can entirely change the "texture" of a mix. It can define things or shade them in a pleasing way. Ultimately, when we make a decision to put a plug in on a track we shouldn't just be doing it to do it. Our basis for "switching up brushes" ought to be to add some texture or gain control over an element in our mix, and the end result should be pointing toward a masterpiece that has had purposeful "brush strokes".

Will our songs be liked by all? Nope. Will everyone notice our smooth mixing decisions? Probably not. When the average individual walks up to a painting they don't say "Wow! Look at those brush strokes and the shading of the elements, the perspective is amazing." No, for the most part they determine if the painting is good or not based on their perception of what good is, and the painting as a whole.

So, whether you can play an instrument or not, if you're mixing audio, you are an artist. Develop your style, learn along the way, and go create some masterpieces for all to see...or hear.

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

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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..