Reaper is absolutely a professional DAW since professionals use it all the time. I don’t personally like its workflow, but that’s a personal taste thing. It’s definitely pro.
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Isolation Studio: Me At Home
- Thread starter scottfeldstein
- Start date
I'm a big fan of recording direct, clean and dry, then adding whatever you think you need on mastering. Amp/cab emulation, effects, eq, compression, whatever. You can always add them, but you can't take it away if you or the producer ends up with different ideas when mastering.
I would go direct. If you can record another track through the YYZ do that as well.
DAWs are pretty ubiquitous these days. There is no “pro” standard, like ProTools was 20 years ago. Today, most professionals try everything and have their personal favorites for various reasons. Its a little like discussing whether a Studer or an Ampex tape recorder is more pro. Lol.
The quality and sound of the room, the mic, mic-pre and/or di-pre, and ADA are the much bigger factors affecting whether you send the producer a good track.
Also, recording the track with good dynamics and proper gain settings along the entire signal chain.
Oh, and a good performance is a big plus too.
I do this a lot (just delivered a bass track tonight via Dropbox). I find a raw track AND processed (to my liking) is the easiest for me. Exact same performance but two tracks - a clean signal and a processed one.
I also do this a lot, from the mixing POV.
I like a clean track the most, decent DI or mic'd track without any overs.
If the part has an effect, like an envelope filter or chorus send that, but be aware that some stuff, like chorus, I can do better and would prefer to, whereas FX you play like an env filter or compressor can create issues, like overs or too large of frequency sweeps.
I appreciate a processed track if you want to convey an idear, but don't expect me to use it. (This refers to reverbs, pans and other plug-in processing.)
I like a clean track the most, decent DI or mic'd track without any overs.
If the part has an effect, like an envelope filter or chorus send that, but be aware that some stuff, like chorus, I can do better and would prefer to, whereas FX you play like an env filter or compressor can create issues, like overs or too large of frequency sweeps.
I appreciate a processed track if you want to convey an idear, but don't expect me to use it. (This refers to reverbs, pans and other plug-in processing.)
I'd send a clean signal into the board via DI. As pure as it can be without any EQ or effects. When it's inside the DAW, then you can become an effective producer by hearing that clean signal in relationship to the mix. If at that point the bass needs sonic seasoning, go for it. If you print your preconceptions to the original bass signal, you will limit flexibility in playing for the song. My experience is you can get pleasantly surprised in post production by choices that might not have come to mind earlier in the process. Have fun with it!
Then it's a buffered output and should maintain your signal pretty well, unless it's a buffer like you'll find in certain effect pedals that can really strip away top end content. A simple "good enough" check is to record a bassline plugged directly into your interface, then play the same line while plugged into your Morley and then into the interface. If they don't sound appreciably different you're good to go. Assuming the latter is the case, run the Morley into one channel of the interface and your YYZ into the other. Instant wet/dry setup for your engineer.
It's also got separate volume controls. If I remember correctly I think unity gain is around 9 or 10 o'clock on these, so there's quite a boost to be had if I want it.
