Hey folks, I wanted to give a quick run-down of some techniques I’ve learned these past few months.

I’m spending a lot more time actually recording and mixing these days since my equipment is finally all up and running. Most of the time.

dbx Noise Reduction

Tascam owners, I’m looking at you. dbx noise reduction is a godsend for those of us using narrow format multitracks such as Tascam’s half-inch eight tracks (38, 48, 58, TSR8) and the 388. There are some caveats, though, and also some times when it’s best to bypass noise reduction on a particular track.

How dbx Noise Reduction works
dbx Noise Reduction relies on a compressor and expander to do its thing. The incoming signal – the signal which you want to print to tape – is encoded using compression and some EQ futzing. Common sense in using compressors also applies to using noise reduction: A quick jump in level will cause undesirable gasping/pumping and create undesirable artifacts.

Levels
I try to keep peaks at or below -3 dBu when using noise reduction. This allows noise reduction to work at its best. Pushing levels beyond -3 dBu will cause undesirable gasping/pumping sounds and may add extra high frequency hiss.

To NR or not NR
If you’re unsure about whether to use noise reduction, do a sample take and monitor on the playback head. While the take is running, switch NR on and off and compare the two. You’ll need to adjust the level of the signal before it hits the tape; get the peaks close to 0 or +1 dBu without NR and close to -3 dBu with NR. Folks using two-head decks like the TSR8, the MSR series, and the 388 will have to do a few test takes because these decks lack a separate playback head.

Do NOT use noise reduction with hand percussion!! Shakers, tambourines, claves, etc are notorious for creating transients and will always cause dbx encoding errors before the signal even gets to tape. You’ll notice “thuds” and “pops” on playback. With NR off, try to get the signal to peak around -6 dBu and let the tape’s natural transient-squashing abilities smooth them out for you. The tiny extra bit of hiss will dither the harshness of the instrument and make for a more pleasing sound, anyway.

Bouncing

Don’t Compress
Seriously, don’t compress bounce mixes. Compressing individual source tracks is OK, but don’t compress the whole bounce. Think about how it’s going to sound when those tracks get compressed AGAIN, because they will be compressed again in mixdown and AGAIN in mastering, if you take your mix to a mastering engineer. I learned this after a lot of heartache and after blaming my equipment for the thin, lifeless sound I was getting. Just don’t. Leave that shit turned off.

Monitoring The Bounce
Sort of like how I suggested you try a track with and with noise reduction: When bouncing your tracks down, monitor the new bounced tracks on the repro head and see how they sound. If you adjust the mix at all, you can hear the result instantly.

Don’t Erase The Source Tracks
I hate listening to a mix and realizing that the shaker/bass guitar/Yoko Ono is too loud. If you don’t erase your source tracks you can go back and do the mix over. You’ll need a second recorder to bounce your mix to (I use a half-track 1/4″ deck). Do your mix, shuttle the tape ahead thirty seconds or so, and record the bounced mix onto fresh tape.

Equalization

Cut, Don’t Boost
Cutting frequencies, instead of amplifying them, creates a more natural-sounding effect. I resisted this advice at first but I’m really glad I came around.

Hi-Pass Filter Everything*
You really don’t need anything below 200 Hz except on bass guitar, piano, and percussion (hence the asterisk). EQ this stuff out, especially before sending it to a compressor. Lower-frequency signals will add extra level to your tracks and make compressing difficult, and unless you have a sub-woofer you’re not going to hear all of the low-frequency buildup over each successive track and bounce. Just cut it out at each step.

Other Stuff

I’m leaving this part open for now, and I’ll add to this post later if anything comes up.

I’ve been struggling to create new, exciting material for the record that Alex and I are putting out. We pushed the due date back because we were both having difficulties with our projects.

This has to be the single most challenging creative project that I have ever undertaken. I had no idea that it would be so difficult to put together a 20-minute collection of completed work. Most of the recordings I made before this project were just clever demos, some more “complete” than others, and the stuff I’m working on now totally surpasses my old material in terms of complexity. It feels like I’m in totally new, alien territory here.

I’m trying to make something which truly represents where I’m at as an artist, and my perfectionist tendency sometimes gets in the way of honestly evaluating the pieces I’m creating. I’m learning to manage this, and conversations I’ve had with some close friends about this have been very encouraging. I think it will get easier as I do more work, and hopefully whatever I do after this record won’t be such a big stress-out. I HOPE. I’m going to be very happy when this is finished.

On another topic, I’ve been rearranging mental furniture lately, and so I haven’t felt much like writing. I’m OK with this, but I will write more when I feel the urge.