Conference napalm::guitar

    
       I've done a fair amount of recording with the band I was with. 
    Actually, I taped every rehearsal. I have a 4 track but it can only 
    record 2 tracks simultaneously. 
    
       Scenario 1: I set up 2 microphones. The first in front of one of the 
    PA speakers to capture vocals. The second took some work to place to get 
    the right blend of bass, guitar and drums. I thought this Scenario worked 
    well. Once I found the right place for the 2 mikes, I had a VERY 
    repeatable set-up (minimum effort to record so you could concentrate 
    on playing), unless the band was having a bad night 8-).
    
       Scenario 2: I used a 6 channel mixer , stereo out to my tape deck.
     I used direct outs and mike for the drums for inputs. I didn't use this 
     long as it took a lot of know fiddlin' to get the same results as
     Scenario 1. Maybe I just didn't stick with it long enough.
    
      All in all taping is do-able, just keep in prospective what your
    dealing with.
    
       - Bob
    

    I can get acceptable results bouncing between two stereo tape decks
    using a mini-mixer (3 mike inputs and tape deck in/out). The sound
    quality is OK for my uses (i.e. for my own entertainment) but does
    start to deteriorate after about four generations - the noise tends
    to build up a bit. Still, with a bit of playing around , such as
    putting your bass and drumbox down together, or playing one of the
    guitars while you do lead vocals (or putting harmony vocals and
    instrument down at the same time) it is possible to create a track
    with quite a lot happening.
    
    Advantages - cheap, and a stereo picture can be built up.
    Disadvantages - noise build up, and the mix has to be right as
    it goes down; it can't be mixed afterwards.
    
    I DI the drumbox, bass and any keyboards, and close mike everything
    else, like the electric and acoustic guitars, and vocals.
    
    One day, though, that Portastudio is sure to come my way!
    
    Bob

	> One day, though, that Portastudio is sure to come my way!

	I swear by my Tascam Porta 1.  Wouldn't sell it for all the tea
	in China!

	/ravi

    Are any of the multitrack manufacturers planning on putting HX-Pro
    in their decks?
    
    Mike

    Does anyone have any recommendations for 4-track recorders? My needs
    are fairly simple, i.e. I wouldn't want to use too many effects,
    my music is mainly played on acoustic guitars, with sparing use
    of bass, electric etc (and a drumbox when I can get the bugger to
    work!). I also tend to dabble in vocal harmonies etc. What to go
    for?
    
    Bob

    I haven't tried any others so I can't give any comparisons, but
    I've got a Fostex X-15 and I've been happy with it. I've used
    it mainly with acoustic guitars and voice.
    
    Some general info: Records at normal speed
                       Has 4 tracks, can record only 2 simultaneously
                       1/4 inch inputs; pitch control
                       Comes with a battery pack, which I've never used,
                       takes a ton of batteries. 
    
    It's very easy to use. I was recording stuff right away, and I'm
    pretty dim when it comes to recording.       
    
    Drawbacks: Although they claim you can record up to 10 or 11 separate
               parts, I've never been able to bounce tracks and maintain
               the clarity of the originals. I usually keep it to 4,
               but that's always been sufficient for the stuff I do.
    
               You really need an AC adapter which cost about $30.00.
    
    I use it mainly for instrumental guitar music (1 - 4 parts) and
    original songs, with no effects. For that it's great. I would
    shop around though. There are a few more to choose from now.
    I paid about $400.00 for mine new. That was the low end when
    I bought it a few years ago.
    
    Hope this helps,
    Bob
    
               You really need an AC adaptor, which cost around $30.00

    The Yamaha MT-2X is a full function multi track unit.
    	
    		Built in DBX.
    		6 channel mix board
    		4 track single or double speed casette
    		effects send 
    		seperate level control for headphone output
    		EQ and pan on esch track
    		Sync track capability
    		Punch in/out
    
    More...
    
    It is a very nice versitile unit and is priced around $400 - $500.
    
    Jim
    

    I use a Fostex X-30. As X-15 but Dolby C and fancy knobs etc.
    
    300 poundsish.
    
    Richard.

    I have a Tascam Porta-One and highly recommend it. I wanted something
    portable, inexpensive, good sounding, and easy to use.

    Haven't Tascam brought out something called the Porta 05? How does
    that compare to the Porta 1?
    
    Bob

    
    I have a Porta 05 and the guy at Mr. C's told me it was just as good
    as the Porta 1 without the analog meters for each channel and a couple
    of other (from what I remember) unimportant things.  It is smaller and
    seems to sound pretty incredible to my ears.  It is very easy to use.
    It has dbx noise reduction which I now consider "sound reduction", but
    it does have its uses depending on the overalll effect you are looking
    for in a song.
    
    It was about $500 new.
    
    Guy

    
    Big gotchas on the Porta 05:
    
    No independent tone controls on mixer channel level, only at
    "left-right" level.
    
    No four track outputs for remixing on a larger mixer.
    
    Big plus:
    
    Allows FSK sync for MIDI applications.
    
    							
    							Brian

    When the tape is rolling, how do you get past the mental block that has
    you screwing up all the time?  I can play a lick perfectly until the
    tape is running, then I screw up every time.
    
    Mike

    My `studio' efforts have always been WAY lame due to the same thing. 
    But, the `live' recordings I've made usually turn out a lot better - I
    think it's because I get distracted by thecrowd/volume/young_wiggly_things
    and I forget about the tape rolling.
    
    I don't have good advice, just letting you know you're not alone.
    
    Scary

    The best one to get past this is to know your part cold to the point
    where you can play it a lot faster than you need to.  It's the same
    idea as a batter warming up with a weight on his bat.  When you step up
    to the plate the real thing is easier than what you've been practicing.
    
    The other thing is to make sure that the environment isn't cramping
    your style.  If you need more room, more volume, less light, speakers
    instead of phones - work with the other guys (or engineer if you got
    one) to get into a comfortable space.
    
    Another thing that sometimes helps is to watch how the other guys screw
    up!
    

    Not that I'm any recording wizard, my experiences is *very* limited,
    but these suggestions are based on what little I have and they apply to
    more situations then trying to record a solo.
    
    I found that just getting used to playing in a group helped me with the
    tape-fright thing.  Just kind of acclimates you to the idea of what
    you're really doing.  
    
    Perhaps the thing that helps more then anything with the recording
    thing is to DO it a lot, so you're used to the environment.  If you
    think of it as a big event, then naturally you're going to be nervous
    and that will impede your playing.

    I've found that when I played improvised parts, I consistently have
    trouble getting something interesting and inspired on tape.  I *think*
    when I improvised live it was better (I certainly hope so), at least
    most of the time.  However on tape it took endless tries to get
    anything close to acceptable, and usually never got something I truely
    liked.  Seems like planning parts beforehand for recording helps me.
    
    Another thing is to realize that you *are* going to mess up.  If you go
    in there thinking that you're going to play your part perfectly without
    having to do a few takes, you're setting yourself up for a big
    disappointment, 'cause it's just not realistic for most amateur
    musicians.  If you condition your mind to thinking that it's natural to
    have to do a few takes, then you won't get the additional mental block
    of frustration because of the feeling of disappointment that you
    couldn't do it right the first time or two.  

    If you get to the point of total frustration, drop it and work on
    something else.  Go get something to eat or something and relax before
    trying it again (or better yet come back to it the next day).  I play
    my absolute worst when I'm angry or frustrated, emotions affect my
    playing considerably.  And if I'm *causing* this on my self because of
    my playing, then it's just a vicious circle that only gets worse.

    Watching someone else screw up a bunch before you go to record your
    parts doesn't hurt either...  ;^)

    Greg
                                     

What works for me is to get the basic rhythm tracks and lead vocal track down. 
And then record the lead track, essentially over and over again until it's
right. Usually the lead is the part I can't get  perfect, and I use punch in
as often as not.

dbii

    Oh yeah, I agree with DBII, it's almost always the leads that I hose up
    the most.  I don't get bummed with myself if I mess up on the rhythms
    either though, just rewind and go for it again.
    
    Greg

    I have a question about setting up a bare bones multitrack/home studio 
    setup.  Since I'm not familiar with this stuff, what would be the 
    minimum requirement to be able to produce some decent sounding demos?
    
    I'm thinking of getting a 4 track, an efx processor, and drum machine
    in the near future.  Is this sufficient to get started?  How do you
    hear the drums if you don't have a PA? (or can you?)
    
    Thanks,
    Mike

	> I'm thinking of getting a 4 track, an efx processor, and drum
	> machine in the near future.

	The only thing I'd add is a decent mike, if you plan to throw down
	vocals.  If you can afford to spend around $100, a new SM58 would
	do you well, though you could get a used one for about $80.  Most
	of the used ones I saw were unfortunately dented (stage abuse)!

	> How do you hear the drums if you don't have a PA?

	Typically, you'd write the drum track, then listen to it (thru
	headphones) while writing a rhythm track.  I've gotten by monitoring
	thru phones pretty nicely for quite a while.

	IMHO, you should be pretty happy with the following:

	- TASCAM Porta 2HS (the HS version runs at 3.75 ips)
	- Boss SE50 multi effects processor
	- Boss DR550 Drum Machine

	You could easily buy used gear, but be careful when buying a used
	recorder.  If you don't know the owner, you could end up with a
	much abused machine.

	/ravi

    Actually, if I could only have one mic, it would definitely be the
    Shure SM-57 - it's exceptional for mic'ing amps (like I might use it no
    matter how much money I had to spend), and it's always much more than
    adequate for nearly everything else.
    
    I've done tests with amps, drums and vocals with a bunch of mic's
    (including the SM-58) and really thought the SM-57 was the best
    general "all-around" mic.
    
    	db

    I'm sure the multitrackers have "normal" RCA L-R outputs to do the 
    mixdowns.  Does this mean you can playback thru your hi-fi (stereo)
    system?  
    
    Mike

Yes it does - in fact, I'd recommend mixing/monitoring thru your stereo.
HeadPhones quickly give you aural-exhaustion.  I second the mike too -
in fact, I might can make you a deal on some decent AT/EV mikes.  :)

jc