How to prepare your tracks for someone else to mix (a guide for dummies)

Hello and welcome to this week's article!
Today we are talking about a topic that is often overlooked but that often makes the difference between a perfect record and a flawed one: to set up perfectly your tracks before sending them to the mix engineer that will mix your album.
When giving tracks to a professional mixing engineer there are some rules to follow, otherwise your album will sound sub-par, no matter how good the music is:

1) Decide, together with the mix engineer, wether to make a project for every single track, or a project with the whole record inside, and set up bit depth and sample rate as the mix engineer suggests (e.g. 24bit / 44khz). You can then decide with him wether to send him the projects with the tracks inside (if he uses the same DAW you use) or to send him just the exported wave files.

2) Label your tracks the same way (e.g. 01 kick, 02 snare...) for every song  and make sure to export them all starting from the same point (therefore every track in the same song all must start from the same mark, e.g: point 0).

3) Do editing and autotuning before exporting the tracks, or hand them over to an editing/autotuning engineer first, since not always the mix engineer does the editing (which is a long and tedious process) too, and anyway talk about it to him before exporting.

4) Send along with the tracks a text file in which you list for every song the particularities (like "on song n.1 there are 2 tracks more than the others: "16 - whistle" and "17 - fart", and they should be treated with reverb etc..")

5) Set the gain staging properly and, especially, keep the gain levels as consistent as possible throughout the whole project: the more the volumes are consistent, the more the album will sound coherent and the less automations will have to be done.

6) Send the tracks as dry as possible: if possible, send the guitar and bass tracks dry (for reamping),  and same is for every other instrument (including vocals): if you effect a track, like exporting a track with already a reverb on it, it's impossible to revert it or modify it, and it will surely create problems.

7) Export all tracks in mono. The only tracks that can be exported in stereo are certain keyboard tracks like pads with particular stereo effects, otherwise leave them all mono and centered, and let the mix engineer to place them in the stereo field.

8) Export the tempo track (for example as a midi file), or set it up properly inside the project and send the whole project with the tempo track done. It is a good habit to set up perfectly the tempo track, with all the tempo changes in the right moment, in order to not drive the mix engineer totally crazy trying to figure out what changes when.



Guitar Nerding Blog wishes you all a Merry Christmas and a Happy New Year!


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Review: DP Music Cristorsore

Hello and welcome to this week's article!

Today we're going to review an interesting piece of hardware, with a name that can be very well considered a blasphemy from a Catholic point of view: il Cristorsore (a joke with words between Christ and Distorsore, distortion in italian), made by an italian artisan producer called DP Music.

This unit is a boutique variation of the classic Tube Screamer scheme; we had the chance to try it thoroughly and compare it with other classic tube screamers, like the Ibanez Ts-808, the Mxr Zakk Wylde and others, and we must say it has a very harmonically rich sound, and more gain than the original version.

Besides the different names, the three controls are the classic OD knobs: gain, tone and level, but this unit features also a switch which changes the style of this OD (actually the switch is not in every unit since the producer customizes it with the requests of the customer, and it should adapt the stompbox to a bass or a guitar input) adding additional gain, making it sound more like a distortion. In general this stompbox sounds hotter than a Tube Screamer, and ranges from a tone boost to a very hot saturation; the only bad note we can say is the fact that it has a bit more noise than its competitors, using similar settings.

A honorable mention to the graphics, which represent the former pope with 2 red leds for eyes. Brilliant!

Check out also the other stompboxes of Dp Music, most of which have some religion-related pun on their name, and you will discover that this producer features a pretty wide range of products for being a handcrafter!


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How to use Guitar Cabinet Simulators (with free Vst Plugins)

Hello and welcome to this week's article!
Today we're going to talk about Guitar Cabinet Simulators, in an article that should be taken as an evolution of our first article about Speaker Impulses, which can be found HERE.

After we have chosen our favorite Guitar Amp Simulator from this list, it's time to find a good speaker, and we'll be good to go for recording or even for live playing, if we have an audio interface that grants us a low enough latency.

Today there are essentially 2 ways of simulating a speaker sound:

- A way that tries to recreate how actually the cabinet works and that usually lets you play with the interaction between one or more types of microphones and the speaker.
Usually programming this type of simulation takes a lot of work and this is why you can find it mostly on paid plugins (like Amplitube, or Overloud Th2), but that sometimes some producer still provides for free, like the good Mercuriall CAB 2.1 and 3 which lets you choose among various microphone types and positionings.

- By using convolution impulses (IRs), which are basically a "photo" of how the interaction of a certain sound source, a certain ambient, and a certain tracking hardware respond to an audio signal.
These Impulses can therefore recreate easily the behavior for example of a Celestion Speaker on a Mesa Boogie cabinet, miked with a Shure Sm57 straight to the dustcap.
Convolution impulses are a way to "start from the end", from the final effect of the microphoning instead of going through the recreation of every single component, and they often lead to results which not only has nothing to envy to the classic approach, but also avoids the usual "digital grit" of the old way to simulate a speaker.


There are many IR loaders made specifically to load impulses for guitar, some of them are paid (like Redwirez MixIR2, or Kazrog Recabinet), and some are free. Let's see the best Free IR impulse loaders:

- Rosen Digital Pulse
- Ignite Amps NadIR
- Kefir
- Lepou Lecab
- Voxengo Boogex

And now let's see the best free guitar cab IRs to be loaded in the aforementioned Cab Simulators:

- Our Exclusive TRIDENT Ir pack made by Guitar Nerding Blog
- GuitarHack Impulses part I by GuitarHack
- Recabinet Demo by Recabinet
- Free Redwirez IR Library by Red Wirez
- Kalthallen Cabs by Kalthallen
- IR Library by Noisevault
- God’s Cab by SignalsAudio
- Fredman Impulses by Catharsis Studio
- Beamsonic Impulses by Nick Beamso
- Orange Cab Impulse by fearcomplexmusic

- IRs by le Châtelet

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Review: Mercuriall Tube Amp Ultra 530 (with video sample)

Hello and welcome to this week's article! Today we are reviewing the most recent Guitar Amp simulator on the market: Mercuriall Tube Amp Ultra 530!

This amp simulator is based on the Engl E530, one of the best sounding preamps in the market, and offers a full circuit simulation of the hardware unit, plus some extra feature that the original unit doesn't have: a 3 position contour switch (instead of 2), a Stereo Chorus and a boost switch for the Lo Clean channel.

The simulator offers you also to choose among 3 types of preamp tubes, and features a class A power amp section with presence and master control. 

The cabinet section is, oddly, not Impulse driven but features a 2d positioning system of a virtual Shure sm57 microphone into one of the 8 available cabs: you can choose and adjust the position of the microphone until you find the sweet spot between the distance from the speaker and, horizontally, from the dustcap. Anyway the cabinet section can be disabled and the segnal can obviously be fed into an external IR loader.

This plugin sounds really good, and it holds on well against the direct competitor: the X30 of TSE audio, which simulates the same preamp: the sound is smooth, the plugin is not a cpu-hog (which is very important since usually one has to run more than one instance of it in a project), the controls are many and accurate, and I had fun finding the sweet spot for the microphone.

The only critic maybe we could make to this product is the fact that it could definitely incorporate more features: an Ir cabinet loader could be very useful, same for a noise gate, an overdrive simulator, a tuner and a delay. 

Just adding those essential modules would make the guitar track signal chain much smaller and cleaner, but something tells me that the future editions of this plugin will surely be more complete, since Mercuriall features also a pretty wide freeware section, and some of the good software in this section could undoubtly be revamped and incorporated in this paid suite making it more complete, as it is happening in the Ipad suite of the same producer: Amp One. 

A free demo of Tube Amp Ultra 530 can be downloaded from the producer's website.

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Using more than one interface at the same time and adding inputs (a guide for dummies)

Hello and welcome to this week's article! 

Today we are going to see if it's possible to combine two audio interfaces in the same computer to sum up all their inputs.

This is particularly useful if we need to record more tracks at the same time, but it creates a big problem: drivers.

The Daw in facts, uses one single driver and assigns it to an audio interface, and if we have two of them, with the driver of both installed, the program lets us just choose one of them.

While the problem is much easier to solve in a Mac environment (you must simply create an aggregate audio device in Audio MIDI Setup and set your main interface as the master clock), in Windows it gets much more complicated.

Basically there are 3 ways:

1) Daisy Chaining the interfaces: sometimes interfaces has a firewire, a Sp-dif or a usb "loop", like an input and a "through" output to connect themselves with other interfaces. 

The best brands (like Motu or Presonus) have drivers that can recognize other audio interfaces, usually only the ones made by the same producer, and lets you stack them one upon the other, multiplying the number of input channels.

The clock used is the one of the first Audio Interface, and the others will adapt to that one.

2) Expanding your channels via Adat: This connection has a few names, like Optical, Adat, Lightpipe, but they all mean the same thing: a fiber optic technology that can stream up to 8 channels of stable 44.1 or 48 khz 24 bit digital audio between audio hardwares. 

There are many units that add preamp channels and that are made just to be connected to another audio interface (like the Behringer Ada-8000) via Adat, and in this case, once hooked on the Audio interface, the drivers internal mixer should display the extra channels not as a separate audio interface but like additional channels of our first interface.

3) Adding channels to our unit using external preamps and the line inputs of our audio interface: if we don't want or can't pass through the Adat input of our audio interface we can often use our additional preamps, like a mixer or a rack unit like the aforementioned Ada 8000 going from the output of each channel into the line input of our audio interface. 

This can be done obviously only with the interfaces that has, besides the preamp inputs, also other line inputs made to be connected with external preamps or other processors.

Also in this case, the additional channels will be considered by the software as part of our main audio interface.

Do you know other ways to expand the input channels of your interface? Share them with us!


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How to sound like: Metallica (with sample and using only free Vst Plugins)

Hello everyone and welcome to the second episode of our "How to sound like" serie!

Today we will talk about a sound that is considered to be one of the most imitated of all times: Metallica's Black Album rhythm guitar tone!

This tone is considered to be one of the best guitar tones ever produced in heavy metal, and it was created with a guitar equipped with Emg active pickups through a Mesa Boogie Triaxis preamp, a Mesa Boogie Simul Class 2:90 power amp and a Mesa Cabinet.

The cabinet was microphoned with several microphones, but the producer, Bob Rock, always stated that a good part of the sound was achieved with a common Shure Sm57.

The sound is bassy, but with a surprisingly rich mid range and a medium amount of gain, that makes it very defined and sets hit somewhere between thrash metal and hard rock; the result is very euphonic.

To achieve a sound that tries to get close to the original one I have used (as you can see from the image) the amazing Tse audio Tube screamer simulator, the Mesa Boogie Dual Rectifier made by Lepou called LECTO and the best Free Impulse loader on the market: Ignite Amps NadIR. 

Then I have loaded in NadIR a free Impulse made by sampling the tone from the Enter Sandman song from the BGelais Metallica Golden Ir Pack, and I have just made the tweaks on the amp that you can see in the image.

If you feel that there is still too much midrange content compared to the original song, you can also lower the "tone" control from the Tube Screamer, even up to zero.

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How to prepare your band for a live gig (a guide for dummies)

Hello everyone and welcome to this week's article! Today we're doing a small checklist for what to know and remember before playing live.
Obviously this small guide is aimed for the young musicians and emerging bands with little knowledge, just some small advice  to make things easier to the musicians and to the organizers!


1) Tune your instruments!: This may seem obvious but not all beginner musicians do it; they think the guitar is already in tune, or they can tune it by ear if they hear something wrong, or they can tune it between one song and the other using the tuning pedal.
If the string instruments are not in tune, everyone will notice it and the band will automatically sound cheesy.
Tune your guitar at the beginning, and please, please don't make everyone wait 3 minutes between the songs because your guitar can't hold the tuning so you have to retune it every song! :D

2) Share the backline: don't be a dick and agree with the other bands on who brings what, and don't be afraid to share your amplifier, or cabinet, or some part of your drumkit with the other bands.
This will ease the transport of the instrumentation to the location, will make you earn respect and will reduce stage changing times among the bands, which should be as short and smooth as possible, and instead sometimes it turns itself into a long ordeal with the audience that leaves the room.

3) Make a list of the instrumentation before going to the venue: this is linked with the previous point; everyone should have very clear what he's bringing to the venue (e.g. an amplifier, a guitar, 3 jacks, 2 stompboxes, etc...), especially the drummer, because things can "disappear" pretty easily, also because someone can put them into their bag mistaking them for his own stuff.
Having a checklist helps us in remembering everything better.

4) Use a Metronome: not all drummers are born with the perfect sense of tempo in their head, and especially while playing fast, complex songs like a death metal song, it's important for the whole band to rely on a perfectly consistent tempo.
Using a metronome on the ear of the drummer, and if the band is very organized, on the ears of all the other members, can REALLY improve a performance, giving it that tightness that makes the difference between an amateur and a pro.

5) alcohol does not help: don't believe the movie legends that getting on stage drunk will make you play smoother, it is not true! When playing is better to deal with shyness than to have your playing impaired by an alcohol intoxication!


Hope this helps!


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