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[soundian]

There must be some form of count-in as well, drummer clicking sticks, whatever. Syncing them up is the easiest way.

[Keilan 303]

In my post thats what I meant when i said trim the overheads up to the first click, meant the first click of the drummer sticks...realise that may have been a bit vague....although the DI'd bass isn't going to have any click in it, that'll be the pain, unless it starts on a downbeat.

My advice, trigger it all anyway! I've got a cool 55GB worth of samples from Electrical Audio (Steve Albini's studio), so you could plaster "DRUMS ENGINEERED BY STEVE ALBINI!!!" to the front cover...ought to make 1 or 2 people buy it

Originally Posted by Keilan 303

As for the phase problems, you always have your phase reverse switch, although I've always found you get a tighter sound syncing your kick and snare with the overheads anyway..it's all shaping your sound, and can be used to effect.

You can also do the opposite. I heard Steve Albini delays the ambient drummics to give a bigger reverb sound

Originally Posted by Keilan 303

If there is some sort of audible click at the start of each track that must mean they existed as seperate wave files at some point and were collated for reasons unknown to man nor beast!!!

This is just the crazy way that the old Fostex FD recorders exports multitrack files. I have an FD-4 - It uses a serial cable and is from the days before USB!

[Hogisbald]

Originally Posted by Ikaruga

You can also do the opposite. I heard Steve Albini delays the ambient drummics to give a bigger reverb sound

Reverb on kicks sounds awesome, not sure about reverb on kicks for metal though.

[Hogisbald]

Originally Posted by Keilan 303

Check your PM's dude I don't mind doing that (its my idea of fun!! )

Heh, do you know if those SYL studio vids are still online? Was a really cool look into recording.

Not online but I have it on Dvd. Can let you have a shot of it if ya want.

[Danny Doubt]

Originally Posted by Ikaruga

I did this with a captain toms recording. If you look closely on a wave editor, you will see tiny momentary blips marking the divison between tracks. These are barely audible square waves that sound like a small pop. If you zoom right in, you can cut each track to the nearest sample and get the start points exact.

Yeh i have done this and its pretty straight forward. You should be able to see the blips and just cut it and import it in. Make sure your software is in Grid move so it aligns perfectly.

Editing Tip: When your editing any waves make sure you cut the wave at the point at which it crosses axis, this will stop any clicks appearing say for shortening a song/removing choruses for promotion or radio use.

[The Byre]

I am completely amazed by this thread.

For any studio, even a small demo room, to give you your files in this manner is complete incompetence at an extraordinary level. (I have to assume that what you have posted here is true.)

Just for the record, I have cut and pasted our guide-lines for exporting wav files from our website (this is from the mix service page, but the principals are the same):-
__________________________________________________ _____________________

When sending files to any studio (not just ours) here are the basic ground rules so that your project can be read by any of the usual DAWs:

All files as broadcast WAV or WAV files. These are the only formats that are universal to ALL hard-disk recorders.

DVD-R only.

ISO 9660 only (i.e. NOT 9660 + Joliet or 9660 : 1999) with ISO character set Standard and file name length at Level 1. Apples and PC burn software often defaults to 9660+ Joliet, which makes the file incompatible with most dedicated hard-disk recorders, so watch out for this one!

Burn speed x 4 max.

Each song in its own folder

Each track with a very short (never more than eight characters) title. So the kick drum can be K, the toms can be T1 T2 T3 and so on, snare top and bottom can be ST and SB, bass can just be B or BG and lead guitar is then just LG. There is never any need to write the title of the song onto each track title. Some transfer software programmes and some older DAWs just dump all letters after the eighth character, so going beyond eight characters can result in information getting lost. It is important that these titles are uniform, so the bass drum should have the same title or prefix for all songs.

Check your export by opening a new project on your DAW and re-importing theWAV files. If they come up the way you want them to, then you have exported them correctly.
__________________________________________________ __________________-

I hope this helps someone somewhere. You certainly have a legal right to receive your files in a manner that can be read by a PC or Mac. If you have any technical problems, call me (tel no on website at www.the-byre.com ). Sorry, but I am probably too far away from you to be of any practical assistance!

[Stripey]

Originally Posted by The Byre

I am completely amazed by this thread.

For any studio, even a small demo room, to give you your files in this manner is complete incompetence at an extraordinary level. (I have to assume that what you have posted here is true.)

It's such a strange thing to do, because as far as I'm aware there isn't any hardware out there that would produce files like that, so it's as if they've done it intentionally, in which case, WHY?!
Has anyone else had this experience with captain toms and have any of you asked them why they are doing it, and pointed it out to them that its a pain in the arse?

Originally Posted by Stripey

as far as I'm aware there isn't any hardware out there that would produce files like that

Yes there is - the Fostex FD series digital recorders. It's the only way they can export song data (other than you rendering tracks in stereo pairs manually). It's formatted to be read by the same machine for backup, not for exporting to other DAWs.

I'm not saying it makes sense.