If it was your money?

If you can present a proof of enrollment you are elligible for a student discount which is a whole lot cheaper than the regular price :wink:

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How much cheaper ?

Mmmmmm, maybe take a course just for the discount, eh ? …that would be a bit of a scam—have to check
out the numbers…

…and how do you prove enrolment to a German Company—letter from the university ?

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It’s about 40%. I read the forum daily. Nice thread and surprised I missed it earlier

The university I go to actually sends out small cards for this very purpose every year to every enrolled student. I believe I sent steinberg a scan of one of these by email. That was a couple of years ago though so I don’t remember exactly. Just try buying an EDU version from the steinberg store and see what happens :slight_smile:

A photocopy of your student ID card will do. My wife is a teacher and she buys software with academic discount all the time (no, I don’t have her buy my music software with an academic discount, because then I wouldn’t be able to write it off…) She usually uses a copy of her university badge and in most cases that’s all she needs.

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We’ll be buying C7 and all gear on my dad’s creditcard for insurance purposes possibily, but mostly in case my
possesions are seized: They can’t take his stuff. ( i have defaulted on a 2G bank loan )…so a student purchase
makes it all the more complicated…it’s 2 years since i took a course—and you have to take 2 to be an adult
student…besides, fraud makes me nervous, Steinberg can revok the liscence, eh ?

But I wanted to ask the Forum what happens when you first start recording songs you’ve been arranging in your head since highschool ? I always had precise parts for bass, drums and pads whenever i worked on a song, but
in my head off course…i would play guitar and sing—my friend said: You look like you’re measuring it all out
in sync with a brain track…it was true: Like any dreamer i was playing with a full ensemble even though it
was just me…i would speculate what horns come in as a turnaround part, what bass and drums would do and
where, if i needed backing vocal chicks ( major part of the fantsy ), but most of all pads…pads, pads, pads…
synth pads—i like 'em quiet and smooth like a baby’s bottom ( that’s why i tend toward Omnisphere )…So, soon i’ll have to make a major life change from the multitrack in my head to the DAW in the computer—It’s obvious that
this will be a difficult birth…i won’t get what i want until i’m somewhat pro…or worse, all provided sounds
will overwhelm me ( i don’t call that inspiration )…yeah, i’ll get caught up in what’s availible, albeit awesome, and
the DAW will have commandeered my delicate sense of my music…lot’s of this will be positive…but i want to stay on track when i start—because i’ve dreamt up a sound already, eh ?

On the other hand it probably won’t be much of a problem—What did you notice when you first went from
your ideas to recording with a DAW ?

j

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I’d probably hold off on the room treatment if I were you.

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My “ideas” were meaningless. I was in an unfamiliar technological maze. It took a good year or so to get a grip on the basics.

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so, that’s over…let us begin

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Yeah i know it: Work Ahead

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My “ideas” were meaningless. I was in an unfamiliar technological maze. It took a good year or so to get a grip on the basics.

It seems the greats, Phil Spector for instance, or Floyd on the Dark Side of the Moon, are the guys who hold
on to a, yes, VISION…a vision that is a sound—the technological maze is navigated until, and not until
the prefered sound is rendered…one should do a lot of imagination while writing the song, all the time
anticipating what gear will make it work—make it come true…

…otherwise we become Recording Engineers working for pay, eh ? ( not that there’s anything wrong with that )

Have you seen the movie WHALE MUSIC ? It’s about a retired old fat rock star who lives in a mansion with gear everywhere ( some beautiful reel to reels ) and of course he’s crazy and writes song for whales—but he
gets it so so right…

You guy have all gone through the technicological maze to make the amazing…
My strategy will be to begin with guitar and voice ( i can do tons of Dylan songs as well as my songs )…

This will give me experience in acoustics as well as just plain recording…of course i’ll edit to get the right
guitar, the right vocal, sounds…I’ll be using a $300 suspended mic for voice and an SM58 positioned
right at the the f-hole of the guitar, as well as a Dean Markely acoustic humbuking pick up—that’s alot of sound …there wil be sound bleed, but hopefully not too much to dis-permit a degree seperate treatment…because i want more chunky guitar, and vocal treatment, than most singer/song stuff, eh ?

Yes, the next path is to track all these independent sounds and get them in to the DAW…just to hear it’s seperate treatment of music, audio, my ears…



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Knitting is easier so I heard.
I prefer a challenge though :sunglasses:

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The challenge is challenging me already—and i don’t have a clue how to knit…

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Who is first ?

I’ve selected a friend of mine to record after i do the above mentioned—He’s gonna bang on a
tom and sing a vocal…he’s good at it

On second thought, in the interest of learning, maybe i should record him first rather than myself
…to not be troubled by my performance
…to give that second perspective on the performance of another



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2nd opinion is always good, and an experienced musician is much easier to record in my experience, they just sound better and know how to use a mic properly.
Make sure you do some testruns before he arrives, so you have the signal flow figured out and you’re sure there’s no problems with latency/dropouts etc.

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Strophoid

Make sure you do some testrun before he arrives, so you have the signal flow figured out and you’re sure there’s no problems with latency/dropouts etc.

How do you do a test run ?

I suppose i should have gear already set up to do a testrun…i know abstractly about signal flow based on
my textbook reading…but latency, i hear, is a terrible mis-function, causing lots of frustration—What’s
to watch out for re: Latency ???..is it the demon everybody talks about ? —is it the greatest failure
of the DAW ?

What are dropouts ?

The artist is a friend of mine who hangs out here anyway—no need to worry bout his time LOL
…he will tap a rythm on " whatever " and sing a very throaty vocal, a quiet vocal like a raspy hum—it’s his song, and it’s my job to get it in the can, eh ?

That considered, can you suggest any treatment options for acoustic guitar first…a chunky acoustic, yes—i’m
building my trademark acoustic guitar sound—hopefully to out do others while representing my true self
…and for vocals, subtley distinctive, what to try with effects ?..any ideas for the drum or guitar tapping ?

Wow !!! first project: A guy and his drum !!!

john



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Dropouts and latency are related. Latency is the delay between a sound going into your audio interface, through Cubase and then back out till you hear it. Cubase needs a bit of time to calculate, as does your audio interface for the analog to digital and back to analog conversion.
The latency Cubase has (usually called buffer size) can be changed in the ASIO driver, usually from 32-bit up to 2048-bit or more (the higher the longer the latency). How much latency this results in in milliseconds depends on the samplerate (which you should leave at 44.1 KHz) and also a lot on the quality of the driver.
In general, you want your latency as low as possible without getting dropouts, which sound like pops, clicks or scratches. This happens when the buffer is not big enough for Cubase to complete all calculations. You’ll notice that this depends on processor load. A simple project with just a few tracks and no plugins will probably run fine on the lowest buffer size, but as a project expands you’ll find Cubase needs a higher buffer.

A high latency can be a problem when recording, because the performer hears a delay between his performance and what’s being recorded, which can make timing difficult. Some audio interfaces have zero latency monitoring which could be a solution in this case, and if you are using an analog mixer then you can create your own zero latency monitor mix for recording. When mixing it doesn’t matter how high your latency is, as timing isn’t critical here. Note that Cubase compensates for this latency, so whatever you’re recording at high latency will line up fine with the rest of the project, it’s just that the playback is delayed.

Advice on recording your friend is difficult without hearing the song :wink:. Usually on a vocal you use a compressor to create a more even volume throughout the track. You can do the same on the accoustic guitar. Use an FX track with a reverb plugin on it to create a sense of space in your track, send both the vocal track and the guitar track to it.

Use EQ to sculpt the sound of each track. Boosts are usually broadband and subtle, cuts can be very aggressive and targeted at specific frequencies. For example, you can do a low cut with minimum gain to get rid of the low frequencies of the guitar track, which will get rid of some rumbling noises from the frets or mic. You may also notice that some notes appear louder in the recording, because of your room. Use EQ to reduce that specific frequency a bit to compensate.

Anyway, there’s lots to learn/experiment with on this topic, I suggest you just go ahead and try things. If you get stuck, make a post in the made with Steinberg subforum and attach your recording so people can hear it and give feedback/tips.

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Thanks for the preparation info on this first recording venture—i’m going to refer to it like a book…
There are plenty of do’s and don’ts, and reasons why vis a vis latency/dropouts

Yeah, your message was helpful—a prelude to record
Also—and i don’t say this out of thanks—your English is excellent, clear and concise…have you considered
writing a technical manual ?..or something else that requires balance and precision ?
I finally understand the latency problem—but i don’t think i’ll be a bewildered newbie about it…chronic
latency is something i worried about in advance

The UR28M comes with it’s own driver…and since i’ll be working in Cubase 7 i expect top performance…Cubase
plus UR28M—That’s gotta be compatible…and besides, the UR28M has zero latency monitoring with all it’s
outputs…

Does Cubase have adequate equalisers to closely " sculp " the sound—or do i have to buy a 32-band unit ? If so
or no, is a multi-multi band EQ an asset ? In Cubase demonstrations i’ve only seen three way filters

Last, when you post a song in the " Made with Steinberg " forum is there, has there ever been, an issue
with copyright—just being paranoid of course




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Thanks for the comment on my English, I’m not a native speaker but I did take an intensive language course a few years ago.
With a UR28M you will be fine, it should work great with Cubase.
As for EQ, Cubase comes with several EQ plugins. The channel EQ is 4-band parametric which can already do pretty much anything you need in most cases. Next to that there are some multi-band EQ’s available as well, but not with as many as 32 bands I believe.
I strongly believe you shouldn’t spend any money on plugins before you know what you have in Cubase and you found the limitations of the included plugins. If you learn to work with what you have you’ll find you can come a long way without spending much money on third party plugins!

As for posting your songs here: You are not allowed to post music you don’t have the rights to. If you are worried about people stealing your track then check the legalities on the website you’re uploading your song to. I personally use Soundcloud, which lets you chose what license to publish your track under. I have not had bad experiences with that nor have I heard from someone else, but I guess once it’s on the internet it’s always possible for someone to steal it :confused: .

I would consider it a compliment if someone wanted my track though, but I can understand the concern if it’s not a track you wrote yourself.

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Would it be permited by the silent majority to wish a MERRY CHRISTMAS !!!..I have really got inserted into
the CuBase flow…you could say it’s my first seriousness re: a profession…If you are of a different faith
you know how to translate " merry " and " christmas "…may we all prosper in our recordings…eh ???



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technojungle

soon…






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