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Ask Rudy

August 8, 2000

Q: Can I use my MiniDisc recorder to add extra inputs to my computer soundcard?

Hi Mike,
Like many soundcards, the Echo Gina includes both analog and digital inputs. As you suspect, it's possible to record more than two simultaneous tracks if you connect an external A/D to your soundcard's digital input. You'll be able to plug some stuff into the card's existing analog line inputs, and more stuff into the inputs of the external A/D.

Many portable MiniDisc (MD) recorders use an unusual connector for digital audio input. Shown at right, this connector is identical in size to a 3.5mm stereo mini plug (left), but has a glowing fiber-optic core. The benefit of this unusual arrangement is that a single input jack on the MD can act as an analog line input or optical digital audio input, depending on which of the two possible cable types are inserted.

Unfortunately, the MZ-R30, and most other portable MiniDisc (MD) recorders don't have digital audio outputs, just optical digital inputs. Sorry to disappoint, but to do the job you'll need to find a recorder with a digital output or a stand-alone A/D. (Check out the Denecke AD-20 portable stand-alone A/D).

-- Rudy

Q: Is there any way to control my Roland VS-880EX from my computer?

Hi Dan,
I think self-contained multitrack recorders like the VS-880 are a great idea, but there are times when it is nice to integrate them with a computer-based studio. You've got a couple of options: New Roland VS-880EX's and VS-1680's include a free copy of Logic Audio VS from Emagic. This program (Windows and Mac) reads the waveform overview data from the VS, but not the actual audio itself. These overviews let you specify edits on your computer, although they are actually performed by on the VS. The program can also control the VS mixer and effects. If you bought your VS-880EX after March 2000, you can get the software free from Roland. If not, it's available for $19.95 from Emagic.

To transfer audio tracks between VS and computer via SCSI, keep an eye on Airworks. The company's original Mac-only product, VS/Link 1.0, transferred audio to and from the original VS-880 (but not EX-models). Airworks is in the final stages of being acquired by a larger company, and they plan to have new versions of their VS/Link (Mac) and S/Link (Windows) programs available in the fall. Expected to sell for US $300 to $400, these tools will enable SCSI digital audio transfer to and from VS-880, VS-880EX, and VS-1680 recorders.

The popularity of the VS-series recorders has spawned a number of Web resources. Check out these sites for more VS info.

members.home.net/vstudio
www.bib.nl/webenough/vs880faq/vssoft.html
www.vsplanet.com

-- Rudy

Q: What effects should I use on live drums?

Hi Mark,
Compression, reverb, and EQ can all contribute to a great drum sound. I put together some sound examples so we can all listen to each effect in action.

Start by listening to my drums without any effects or EQ (I'm using Shure SM57s on the snare and hi-hat a Sennheiser 504 on the kick, a Grace Design preamp and on the following examples, signal processing from Waves.)

FX setting:

Dry MP3 (116 KB)

Next, we connect a reverb unit to the aux send and returns of our mixer and send the snare to the reverb. The amount of reverb I'm using might be good for a power ballad, but could be excessive in an acoustically "live," or naturally reverberant club.

	FX setting:	Reverb, snare only MP3 (116 KB)
	1sec decay, 100ms pre-delay

Inserting a compressor on the kick channel adds some girth to the sound and increases the duration and volume of the drum's decay. It also evens out level differences between soft and loud kicks. However, this effect is more subtle than adding 'verb to the snare. Be aware that compression increases the chance for feedback in a live sound situation.

	FX setting:	Compressor, kick drum only MP3 (116 KB)
	Ratio 50:1, attack 15ms, release 5ms (threshold set for about -6 to -9dB of gain reduction on peaks).

Connecting an EQ to the sub-mixer's main output lets you shape the tonal balance of the entire kit. Here, I've added some low end, while pulling out a bit of the upper low frequencies (around 200Hz) to take some "woof" out of the kick. A broad boost across the mids and highs perks up the snare and hat. Remember that mid and high EQ boosts often lead to feedback in live situations.

	FX setting:	EQ on entire mix MP3 (116 KB)
	+6dB@120Hz; -3dB@200Hz; +3dB at 4.5kHz.

While your budget may not permit buying all three effects at once, you can always add as you go. Here's the same drum beat with EQ, compression, and reverb.

FX setting:

EQ, Compression, Reverb MP3 (116 KB)

Mark, if I were in your shoes, I'd start with a graphic EQ with at least 15 bands. This will give you broad tonal control over your kit, plus a way to combat feedback at the gig. Reverb can also be fun, especially if you play rooms that are acoustically dead, or your band's musical arrangements tend towards the sparser side. I love what compressors do, but they can be tricky to set properly, especially while you're performing. I'd defer the compressor purchase until you add a dedicated sound engineer to your band's lineup.

-- Rudy

Q: Where can I find song lyrics?

Hi Lois,
I didn't know where to look either, until my eyes alighted upon the "Search Site or Song" header at the upper left corner of Harmony Central's home page. Sure enough, a search for "Don Henley" generated a half-dozen matches, one of which, "The Heart of the Matter," is the song you seek.

-- Rudy