Some re-ampers are active, allowing you to vary the output level, and some are passive. This takes the line level signal from your audio interface’s output down to instrument level. The solution to this is to use a re-amp device, such as the Radial X-Amp. For many effects though, they simply operate at the wrong level and impedance to get a decent signal to noise ratio. For pedals that can operate at line level, such as the Eventide TimeFactor, this isn’t a problem. In theory you can simply attach your guitar pedals any spare the inputs/outputs of your audio interface and call them up as a hardware insert in your DAW. There are a few reasons for this, sometimes it is a down to the sound but often it is more down to being able to physically interact with the pedal- to essentially ‘play the pedal’. Using guitar pedals with your DAW is a great way to add some different textures to your mix. To say ‘inspiration’ sounds a bit trite but there is just something missing from your song and trawling through your exhaustive list of plugins hasn’t quite worked in that instance. something, but you don’t quite know what it is. Everything needs to always be in at least 2 places and with my backup strategy it's usually in at least 3.We’ve all been there- at some point during the recording or production process you find yourself looking for. I use the small Atom SSD drives and I have 3 of them so that I can use them for projects and project backups. In addition to that I backup projects to multiple GlyphTech hard drives. Well, I always do cloud backups of everything, so that doesn't change based on location, as long as I have internet. Can you let us know more details on your backup strategy, especially now as you're disconnected from your home base? The one thing I did bring with me is hard drives with my projects and I have backups of those in New York as well so the one tip I will give everyone is to make sure you have a backup strategy and that your backup strategy is solid. Well nobody could have ever expected the magnitude of this global crisis so I am not going to be too hard on other engineers or myself for not always carrying a microphone in case of an apocalypse.That said, had I known this was coming, I would have brought a lot more gear with me to the mountains! Any tip you'd like to share with fellow recording engineers you’ve learned out of this situation? The only good thing about this whole thing is that I have time for my own music and so, like I said, I have to try and make the best of the situation. It reminds me of how much I had loved working on these projects and brings back memories. How is it to revisit your old tracks, now you have the time? You said that you’re working on your own music now - projects you’ve started a long time ago. I personally get inspiration from being out, seeing live music, being exposed to different music, realities, people etc, so being inside all the time is not very inspiring to me, but we have to make the best of this situation and so I try to focus and be creative. The hardest part about focusing is doing so when you are confined to the same four walls. Unlimited tracks are bad for creativity -) Can you find any positive aspects in the reduced setup? Can you focus better, or can limitations inspire creativity? For recording, I'll be using the DGT 650 microphone & audio interface as soon as it gets here and I plan to get a small USB MIDI controller and then I have pretty much everything I need to mix, create and produce. Of course! I use a MacBook Pro with Pro Tools and loaded with all my favorite plugins by McDSP, Melda Productions, SoundToys, iZotope, IK Multimedia, HOFA etc and I use Adam Audio speakers during the day and at night I mix with a pair of OLLO Audio headphones and StealthSonics in-ear monitors. Can you give us some details on your improvised set up right now and the challenges of working from a hotel room? We talked with him about the current situation and how he tries to make the best out of it. Marc Urselli is a freelance New York City-based 3-time Grammy Award-winning audio engineer, live sound engineer, music producer, mixing engineer, remixer, sound designer, composer, and musician.ĭuring the COVID-19 crisis, Marc reached out to us to ask if we could help him out with a DGT 650 to overcome the time he got stuck in London with no equipment.
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