![]() The downside is that it places significantly more demands on the musician as they have to be skilled and rehearsed enough to really get it right the first time. The benefit of using fewer takes to get the tracks down is that the final product will feel more "organic" and closer to the feel of a live performance. Hear how it affects the feel of the greater whole. ![]() Spend time studying recordings that used different methods to get things done. You are working under the mistaken assumption that there is a "right" way to do it. (But damn it's a pain to edit! How tf did the Beatles do this stuff without Pro Tools?! lol) IMO the only reason to play a take all the way down from top to bottom is if you're recording in real time with a band and intend to comp between different whole band takes. In fact, I've recorded sections at a time in loop record mode where I just keep playing the part over and over as consistently as possible a few times then split out the takes to pick the best pairs to use as doubles. Such that if you watched a film of your playing during the first 4 bars and the last 4 bars of a single take you'd see a much bigger difference between where you started and where you ended. I'll add that one benefit of doing it in smaller chunks is that you can record doubles and quads that sync much better when you're overdubbing the most recent 8 bars or so only cuz it's fresher in your memory and nuances in your hands (fretting and picking) tend to be similar when closer together in time. We even had a showcase with Roadrunner Records where a week before the show we couldn't play the songs on the demo they had listened to, it was a week of rehearsing every day to get it done in time. These days I do try to move away from that, but all of my bands recordings were done to a click track with it never being a single performance because we would actively write the songs in the studio and then learn them afterwards. Never went as far as editing the transients but that's extremely common with people who want everything to be perfectly robotic. I've recorded a lot in the past where we recorded 5-10 seconds worth at a time, multiple takes on loop, pick out the best takes to use for double tracking. Sometimes going oldschool and playing it through will leave in some flaws but give the recording a lot more character, and in the end it sounds better for it. But a lot of people specifically don't want that overly perfect sound because it's so common and overdone these days. Recording will begin.It depends what vibe you're going for, if you want a polished modern studio production you would typically record it one bit at a time. Be sure that the selected button is lit solid red and not blinking. Press one of the stereo track REC buttons to select the track on which recording will occur. If the volume is averaging below -12, raise the volume (clockwise) of the BR-800's REC LEVEL knob. If the volume is averaging above -6, bring down the volume of the external effect/stompbox (if applicable) or bring down the volume (counter-clockwise) of the BR-800's REC LEVEL knob. Begin playing the guitar and be sure that the INPUT level for input 1 is averaging between -12 and -6 on the display:Ī.Turn the REC LEVEL knob to the 12 o’clock position, and then slowly raise the MASTER fader. If the guitar is connected to effects/stomp boxes, bring up the volume of the effects'. ![]() NOTE: T he BR-800's INPUT SENS knobs have no affect on a guitar's volume when connected to the GUITAR/BASS (HI-Z) input. Turn up the volume of your guitar to its maximum position and then begin playing the instrument. Use the Cursor arrow buttons and the data dial to make the following settings on the screen: Use the Cursor arrow buttons to select “INPUT SELECT”and then press ENTER. The following procedure will guide you through setting up and recording a guitar:Ĭonnect the guitar's output into the GUITAR/BASS (HI-Z) input on the front panel of the BR-800.
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