Getting the Most From RiffWorks

[DeathMonster34]

been waiting for a thread like this

[DeathMonster34]

Okay so i have a riff thats realy tough to nail down. I want to double it and pan one to the left and one the the right. The thing is that its hard doubling it when the riff is not precisely in sync with the other. Is there a way i can dupilcate the riff and make its sound diffrent from the other like if it was doubled? I've tried the doubler effect on the delay but it only allows the the riff to be doubled and panned on the same side. I hope you could understand this. anyone?

[S_DUB2112]

Deathmonster, you can try to copy a track then pan them apart to taste, and add a really short delay on one side of the two tracks (10-15 milliseconds)...also try a different eq curve on one of the tracks... Another trick I like to use when recording distorted rythym tracks is to record two different takes ( I know it is not always easy, sometimes it takes me a while to track two different takes that match perfectly) and then I pan them as such; track 1....dead center, and then I will pan track 2 hard left or right with just enough volume to give track 1 some ambience. Imho this can dramatically fatten up the rythyms. (Every metal tune that I have recorded on here was done with that technique). Sometimes I even will double my leads (this can be a pain in the a#s)... It can create a nice natural chorusing effect depending on how tight your tacks are. Just a couple of ideas of the top of my head that maybe you can try!

[epauley]

DeathMonster34, I may be misunderstanding your question but I am assuming you’re taking about two identical riffs playing simultaneously.

If so, simply duplicate the original riff (duplicate button on the right side of the riff layer window) and set riff pans to desired directions. Then push the “effects” button on the left side of the layer window and select the RiffWorks effects you want for the original and for the duplicate separately. Of course, this process only works if you are applying RiffWorks effects instead of relying POD type effects.

[pooterpatty]

Like everyone here has already stated, filling up the audio spectrum is the most important thing. Second to that being to make sure the individual parts that make up that spectrum don't overlap too heavily, which is when you get muddy sounds. Knowing the audio frequency range of the individual instruments you're trying to record helps immensely, but that's true no matter what recording app you use. I won't go into that here, our friend Google can help you there.

Guitarists are tempted to use just one patch/layer/track to get an ultra heavy or fat sound, but the truth is that the best way to do that is to record multiple tracks using different patches (or pickups, or even guitars). When it comes to recording, the whole is greater than the sum of it's parts.

Use effects in moderation. ESPECIALLY when it comes to guitars and vocals. I've heard too many recordings where guitarists or singers try to make up for their shortcomings with delay, chorus, reverb, or some unholy combination of all three. Adding effects gives diminishing returns. The more you add, the more cheezy and less intelligible it tends to sound. This isn't to say that all effects are evil. Sometimes adding effects simply "makes" a song (can you imagine 'Voodoo Chile' with no wah pedal on the intro?). But you have to ask yourself, "do I really need 5-voice chorus, 20-second canyon reverb, and stereo delay on the same layer"? We refer to effects as being "wet" or "dry". The more effects you add, the wetter the sound becomes. Is your tone in danger of drowning?

Another thing I think a lot of people overlook, especially with Riffcaster, is the amount of time needed to make a decent recording. Rifftracker makes it so easy to record ideas that it's tempting to Riffcast these ideas before they're ready. The way I look at it is like this - you've got all the time in the world to make this recording. No one is pressuring you. You're free to make this recording a perfect representation of the emotion you're trying to convey. Why not take the time to make sure it's the best it can be, to the best of your ability and knowledge?

I personally spend between 8-12 hours to record a 4-minute song. This might seem excessive to some, bare minimalist to others. I listen to each of my riffs carefully, trying to think of ways I could make them better. Again, you've always got to keep the big picture in mind - do I want the hair on the back of your neck to stand up when I break into my solo? Do I want you bopping your head, tapping your feet and feeling happy? Do I want you to feel as pissed off as I was when I wrote the song? The joy of passing along this emotion makes the tedium of recording a riff over and over until you get it right bearable.

[epauley]

Excellent observations pooterpatty. It’s common, particularly for a beginner, to be overly dependant of effects. Fortunately, most of us minimize that addiction as we gain confident on our playing abilities - and become more familiar with the recording process.

Although an amateur with a lot to learn, I thoroughly enjoy the refinement process and spend a lot of time perfecting a recording. A good pair on studio monitors, recommended by gator, has reduced tweaking time somewhat.

One thing for sure, re-record a riff if you are not satisfied. All of the tweaking in the world can’t cover up a note that doesn’t complement the piece.

[mickeymix]

Which monitors did you end up buying Ed?

[epauley]

Mickeymix, TASCAM VL-X5 Bi-Amped Studio Monitors for $299/pair

[mickeymix]

Holy Moly that's a good price! Thanks man I've got to check those out..........thanks again.......

[epauley]

Mickeymix, Here is a link to a product review gator referenced:
http://www.studioauditions.com/gearreviewdetail.php?GearReviewID=33

[DeathMonster34]

thanx guys. i'll try the suggestions

[GuitarSlinger]

Gator's tip about recording in mono is really helpful. I didn't think there was any difference between a mono and stereo without stereo effects but I can see that it's taking up more of the stereo spectrum.

I started a new song and I have two ryhtm tracks very close to the center without any mush mush. The resulting sound is very FAT! Now what am I going to do with the rest of the spectrum? I could ghost the other tracks and have them way back in the mix? Any ideas, I do not really want to add any other guitar parts.

[ShredRex]

I am going to try doin that on my nest tunes, for the RG. Does it really make that much of a diff? What about for the bass lines.......my stuff is pretty simple anyways maybe 4-5 layers in total max.....but if I can tighten anything up I am game.

[gatorjj]

I started a new song and I have two ryhtm tracks very close to the center without any mush mush. The resulting sound is very FAT! Now what am I going to do with the rest of the spectrum? I could ghost the other tracks and have them way back in the mix? Any ideas, I do not really want to add any other guitar parts.

You could try to pan one towards left and one right and put some very slight delay and/or a sprinkle of reverb. It's really hard to say though without hearing what all is in the song. The difference is now you have control over the effects, instead of them having control over you. Experiment! Save a new copy of the song file in case you blow it up, you'll have something to go back to.

What about for the bass lines.......

Bass by its own virtue ends up sounding mono whether it's stereo or not, so you might as well make it simple and record it mono. I have the same opinion on bass as guitars i.e. amp, cab and mic are important (though I've always recorded dry thus far with just the tube preamp and no cab). Personally I only tweak the eq and don't ever add anything else to my bass, but I'm a basic kinda guy

[epauley]

Anytime you take on new technology, including software as intuitive as RiffWorks, the variables can be overwhelming. So far, with a few basic concepts such as recording in momo (which I am excited about – dork city, right?), a lot of us are going back to the drawing board.

I am thinking I have approached things in reverse at my peril. My system has always begun with the PODxt – create a melody and then determine an appropriate mix of tone and effects which accentuates the intended theme. It seems logical. Right? After all, one can then easily reproduce the recording during live performances.

However, this method/order may sacrifice recording quality and consequently, the tune is weakened. Perhaps a better tactic is to make the PODxt conform to the recording for live play instead of visa versa? Essentially, the mixing processing then becomes more integrated into the creative process because focus is on “the whole” from the beginning. Mixing and mastering (someone please explain the different) becomes akin to arranging paints on a canvas until the composition works.

As a visual artist, I know one be leery of formulaic solutions because elements get cliché. Even in music the “push and pull” approach seems to apply.