t;>>>=20 >>>>> More to follow, but I am getting results, on very = >familiar=20 > >>>>>> >>>>=20 >material >>>>>> >>>> that are just = >making me=20 >grin from ear to ear... >>>>>>=20 >>>>> >>>>>> >>>> As soon as = >I get=20 >this live disc out the door I will post the >>>>>> = > >>>>> details. >>>>>>=20 >>>>> >>>>>> >>>> Paris=20 >lives! >>>>>> = >>>>> >>>>>>=20 >>>>> DC >>>>>>=20 >>>>> >>>>>>=20 >>>> >>>>>>=20 >>>><BR
>>>>>>> = >>> >>>>>>=20 >> >>>>>> >>>>>> >>&= >gt;>>>=20 >I choose Polesoft Lockspam to fight spam, and = >you? >>>>>>=20 > >size=3D2>http://www.polesoft.com/refer.html face=3DArial=20 >size=3D2>>>>>>> >>>>>> >>= >>>> >>>>> >>>> >>> = > > >> >> > > >Aaron/DC, any change of the complete step by step guide to doing this multiband split mastering technique, including the little details, and the Vst plug? Thanks, Pete Aaron Allen wrote: > Word. I'd be willing to bet that this VST plug is somewhere in Tank's Steiny > arsenal in regular use. Matt did an amazing job of recreating the Paris > channel Eq/Gain mojo. > AA > > "chuck duff
y" <cxsd@c.com> wrote in message news:447b8639$1@linux... >> Hi Don, >> >> The vst eq bit cancels with the paris eq when phase inverted. >> >> I forced Brian T to try it when he was unconvinced. >> >> I know that everyone is dubious, but matt worked 24 hours a day for months >> to ensure that he could perfectly emulate the paris eq. >> >> I am familiar with the "pretty colored and non-linear" comment about this >> plug, as I read and responded to it way back when on whatever vst forum it >> was posted in. >> >> >> I know this won't help anyones perception, but when I hear people >> wondering >> how to capture the paris special sauce - this plug is it. >> >> CHuck >> >> "DC" <dc@spammersinheck.com> wrote: >>> As I understand it, that EQ was pretty colored and non-linear. >>> What I need is simple, clean, accurate band splits. The Paris EQ >>> does this nicely, but the whole process is tedious to say the least. >>> >>> Sounds great though. >>> >>> DC >>> >>> >>> "RiverLake Farms&quot
x..." target="_blank">1@linux... >>>>>> Ok, here's the short version. I've been working on this most of the >>>>>> day and am about to turn in, so this is very incomplete. >>>>>> >>>>>> It is a version of Sakis' band-split technique where you use 4 stereo >>>>>> bands and 8 channels and 8 compressors. >>>>>> >>>>>> I'm going to skip over a million details and just say that the secret >>>>>> is bouncing each stereo freq band with EQ only and then the next >>>>>> set etc until all are done. Then you bring the bands back to the >>>>>> editor, shut off the EQ and start working on your comp settings. >>>>>> (yes you have to do 4 passes to just create the files to do this!) >>>>>> >>>>>> It is complicated, time-consuming, and a general PITA. >>>>>> >>>>>> HOWEVER, if you pay attention and are patient, the results are >>>>>> friggin' fabulous. >>>>>> >>>>>> Sweet, huge and detailed. Just amazing really. >>>>>> >>>>>> There is much more to say. Later. BTW, you must leave some >>>>>> headroom in your mixes to get the most out of this (but the >>>>>> mastering guys have been saying that for years). This technique >>>>>> works so beautifully with slamming the Paris mix buss that it seems >>>>>> like it was designed to do this. Somewhere SSC is grinning... >>>>>> >>>>>> Paris for mastering. wadda concept. >>>>>> >>>>>> DC >>>>>> >>>>>> DC >>>>>
; <edna@texomaonline.com> wrote: >>>> Is the Paris EQ plug still available? >>>> Thanks, Edna >>>> >>>> "Aaron Allen" <nospam@not_here.dude> wrote in message >>>> news:447948de$1@linux... >>>>>> I'm going to skip over a million details and just say that the secret >>>>>> is bouncing each stereo freq band with EQ only and then the next >>>>>> set etc until all are done. Then you bring the bands back to the >>>>>> editor, shut off the EQ and start working on your comp settings. >>>>>> (yes you have to do 4 passes to just create the files to do this!) >>>>> DC, this can be achieved SO much faster using the Matt Craig Paris VST >>> EQ, >>>>> and in real timeif you want to adjust your bands. Have you tried the >> VST >>>>> Paris EQ for this application yet? >>>>> It doth rock much. >>>>> >>>>> AA >>>>> >>>>> >>>>> >>>>> "DC" <dc@spammersinhell.com> wrote in message news:44793f10$<a href="mailto:1@linu
> >>>>>> >>>>>>> Rob Arsenault" <mani2@nbnet.nb.ca> wrote: >>>>>>>> Yes DC, please do share...!! >>>>>>>> >>>>>>>> >>>>>>>> "DC" <dc@spammersinhell.com> wrote in message >>>>>>>> news:4477dc50$1@linux... >>>>>>>>> Hey all, >>>>>>>>> >>>>>>>>> I am discovering some *amazing* stuff trying a multiband >>>>>>>>> split/compressor in Paris. THANK YOU to Sakis and Deej for the >>>>>>>>> help with this. >>>>>>>>> >>>>>>>>> More to follow, but I am getting results, on very familiar >>>>>>>>> material >>>>>>>>> that are just making me grin from ear to ear... >>>>>>>>> >>>>>>>>> As soon as I get this live disc out the door I will post the >>>>>>>>> details. >>>>>>>>> >>>>>>>>> Paris lives! >>>>>>>>> >>>>>>>>> DC >>>>>>>>> >>>>>>>> >>>>> >>>>> I choose Polesoft Lockspam to fight spam, and you? >>>>> http://www.polesoft.com/refer.html >>>>> >>>>> >>>> > >Kim, I have experimented with mastering this way a lot. And yes, sometimes that does happen. What I notice is, stereo imaging will jump around. I know Sakis uses this method, with success so it's probably a matter of getting every set right. I'm just not that good! Now here's the good news for PC guys. Using Matt Craig's comp. you check the stereo box and have a stereo Paris comp...pre eq. Rod <br
= >>demons between submixes. Also, be sure you have everything selected with >= >>the time lock tool when you do this - same reason about phase/time.=20 >> >>Now, the thing is, you can adjust the Gain/EQ mojo separately for each = >>band, you can compress with different ratios, thresholds.. whatever = >>suits the material, all in Paris. If you use the Paris compressor, be = >>sure to match each pair of tracks' settings (1=3D2, 3=3D4, 5=3D6, = >>7=3D8). Ditto on the eq bands, they must match, period.=20 >> >>Now then, for more secret sauce beyond the Eq/Gain trick.. put one more >= >>compressor on the global but do NOT compress with it. Threshold all the >= >>way up, ratio all the way down. Instead, use the gain output to beat the >= >>snot out of the signal hitting the global bus, but ... and this is also >= >>super important... keep the global fader at -0.3 or -0.5 dB or you'll = >>blister the ^&*#&$ out of the cheapo wal mart digital converters that = >>your stuff will eventually have to suffer.=20 >>Be careful in all this, you have SO much gain shaping you can turn the = >>wav into a baby ruth in the repro guy's editor... and no one wants to = >>find a baby ruth floating in their pool of music. Don't smash it so much >= >>that it only takes 5 bits to play it back faithfully. Again, use your = >>ears man.. pop and aggressive tunes will take more abuse than say, a = >>ballad or classical. This is part of the 'program material dependant' = >>thing I mentioned earlier. Don't treat a jazz standard like a Pantera = >>tune, for example.=20 >> >>Essentially you are creating a Waves multiband compressor, only you're = >>using Paris to do it and it sounds.. well, .. better IMO. YMMV. If you = >>plan to do this a lot, do your self a huge favor and create your own = >>template PPJ you can just time lock drag the 'files' to and be on your = >>way.=20 >> >>For you Mac mastering gurus, just replace the Paris VST EQ with a good = >>sounding phase coherent EQ capable of lo pass, band pass and hi pass. = >>Sorry, there is no equal that I'm aware of to the gain trick in the = >>Paris VST EQ, but you do have the option of using the actual Paris EQ = >>Gain in it's place post eq/compression for each group of channels. >> >>If anyone needs the Paris VST EQ, I suspect Doug Wellington has it = >>posted on his page. >>Doug, you still out there man? >> >>AA,=20 >>semi kinda not really a mastering dude guy >> ------------------------------------------------------------ -------------= >>---------------------- >> >>"John" <no@no.com> wrote in message news:447cb558$1@linux... >>>=20 >>> So what's this trick mastering technique? >>>=20 >>> "Aaron Allen" <nospam@not_here.dude> wrote: >>>>Word. I'd be willing to bet that this VST plug is somewhere in Tank's >= >>Steiny >>>=20 >>>>arsenal in regular use. Matt did an amazing job of recreating the = >>Paris >>>=20 >>>>channel Eq/Gain mojo. >>>>AA >>>> >>>>"chuck duffy" <cxsd@c.com> wrote in message news:447b8639$1@linux... >&
/> "Kim" <hiddensounds@hotmail.com> wrote: > > >While I have heard a lot of people more knowledgable than myself talk up >this method of mastering, one thing has always bothered me... > >The Paris compressors are mono. Therefore your left and right channels are >being processed seperately. Surely your stereo imaging will go all over the >place?!? I mean, for starters, anything that's loud in a given frequency >band, and not centred, will tend to get centred, because the louder channel >will cop more compression. If, in a given band, the left channel is louder >than the right channel, everything in that band will get panned further right, >because the left channel will get compressed / reduced in level more than >the right channel. What's more, some sounds will no doubt cover more than >one frequency band, and as this "repanning" effect is unlikely to be identical >in all frequency bands, one part of a sound may get panned further right, >while another band of it stays where it is, or even moves further left depending >what is in that band. > >I would have thought that on material with considerable stereo content, things >will end up all over the shop in terms of stereo imaging. > >On the other hand, there's a very practicle school of thought which says >"If it sounds good, just do it"... > >Cheers, >Kim. > >"Aaron Allen" <nospam@not_here.dude> wrote: >> >> >>Ok, you asked for it......... PC mastering technique in Paris: >> >>Take your 2 track L/R master final mix file. Put the Left mix file on = >>Channels 1,3,5 and 7. Pan hard left. Put the Right mix file on Channels >= >>2,4,6 and 8. Pan hard right. Using the Paris VST EQ, split the files = >>into different bands. 1/2 will be lo pass, 3/4 will be low mid band, 5/6 >= >>will be hi mid band, 7/8 will be hi pass. Freq will vary depending on = >>taste and what you're going for and program material. Use your ears, = >>nobody can hand you that in text and be completely accurate. Start with >= >>the Sakis Frequencies... Lo 20-90hz. Lo-Mid 90-540 Hi-Mid 540-6Khz Hi >= >>6-20Khz. Compress each 'set' of channels (1/2, 3/4, 5/6, 7/8) with = >>either the Paris Compressor or with a good sounding native POST Paris = >>VST EQ. The placement is absolutely critical. Tie all faders together = >>using Grouping on the mixer. Do not for ANY reason split these waves = >>into another editor unless you're ready to fight phase and time delay
#64;texomaonline.com> wrote: >>>>>>>Is the Paris EQ plug still available? >>>>>>>Thanks, Edna >>>>>>> >>>>>>>"Aaron Allen" <nospam@not_here.dude> wrote in message >>>>>>>news:447948de$1@linux... >>>>>>>> >>>>>>>> > I'm going to skip over a million details and just say that the >= >>secret >>>>>>>> > is bouncing each stereo freq band with EQ only and then the = >>next >>>>>>>> > set etc until all are done. Then you bring the bands back to = >>the >>>>>>>> > editor, shut off the EQ and start working on your comp = >>settings. >>>>>>>> > (yes you have to do 4 passes to just create the files to do = >>this!) >>>>>>>> >>>>>>>> DC, this can be achieved SO much faster using the Matt Craig = >>Paris >>> VST >>>>>>EQ, >>>>>>>> and in real timeif you want to adjust your bands. Have you tried >= >>the >>>>> VST >>>>>>>> Paris EQ for this application yet? >>>>>>>> It doth rock much. >>>>>>>> >>>>>>>> AA >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> "DC" <dc@spammersinhell.com> wrote in message = >>news:44793f10$1@linux... >>>>>>>> > >>>>>>>> > Ok, here's the short version. I've been working on this most = >>of >>> the >>>>>>>> > day and am about to turn in, so this is very incomplete. >>>>>>>> > >>>>>>>> > It is a version of Sakis' band-split technique where you use 4 >= >>stereo >>>>>>>> > bands and 8 channels and 8 compressors. >>>>>>>> > >>>>>>>> > I'm going to skip over a million details and just say that the >= >>secret >>>>>>>> > is bouncing each stereo freq band with EQ only and then the = >>next >>>>>>>> > set etc until all are done. Then you bring the bands back to = >>the >>>>>>>> > editor, shut off the EQ and start working on your comp = >>settings. >>>>>>>> > (yes you have to do 4 passes to just create the files to do = >>this!) >>>>>>>> > >>>>>>>> > It is complicated, time-consuming, and a general PITA. >>>>>>>> > >>>>>>>> > HOWEVER, if you pay attention and are patient, the results are >>>>>>>> > friggin' fabulous. >>>>>>>> > >>>>>>>> > Sweet, huge and detailed. Just amazing really. >>>>>>>> > >>>>>>>> > There is much more to say. Later. BTW, you must leave some >>>>>>>> > headroom in your mixes to get the most out of this (but the >>>>>>>> > mastering guys have been saying that for years). This technique >>>>>>>> > works so beautifully with slamming the Paris mix buss that it = >>seems >>>>>>>> > like it was designed to do this. Somewhere SSC is grinning... >>>>>>>> > >>>>>>>> > Paris for mastering. wadda concept. >>>>>>>> > >>>>>>>> > DC >>>>>>>> > >>>>>>>> > DC >>>>>>>> > >>>>>>>> > >>>>>>>> >>Rob Arsenault" <mani2@nbnet.nb.ca> wrote: >>>>>>>> >>>Yes DC, please do share...!! >>>>>>>> >>> >>>>>>>> >>> >>>>>>>> >>>"DC" <dc&#
= >>3=3D4, 5=3D6, 7=3D8).=20 >>Ditto on the eq bands, they must match, period. >> >> Now then, for more secret sauce >= >>beyond the=20 >>Eq/Gain trick.. put one more compressor on the global but do NOT = >>compress with=20 >>it. Threshold all the way up, ratio all the way down. Instead, use the = >>gain=20 >>output to beat the snot out of the signal hitting the global bus, but = >>... and=20 >>this is also super important... keep the global fader at -0.3 or -0.5 dB >= >>or=20 >>you'll blister the ^&*#&$ out of the cheapo wal mart digital = >>converters=20 >>that your stuff will eventually have to suffer. >> Be careful in all this, you = >>have SO much=20 >>gain shaping you can turn the wav into a baby ruth in the repro=20 >>guy's editor... and no one wants to find a baby ruth floating in = >>their pool=20 >>of music. Don't smash it so much that it only takes 5 bits to play = >>it back=20 >>faithfully. Again, use your ears man.. pop and aggressive tunes will = >>take more=20 >>abuse than say, a ballad or classical.
This is part of the 'program = >>material=20 >>dependant' thing I mentioned earlier. Don't treat a jazz standard like a >= >>Pantera=20 >>tune, for example. >> >> Essentially you are creating a Waves = >>multiband=20 >>compressor, only you're using Paris to do it and it sounds.. well, .. = >>better=20 >>IMO. YMMV. If you plan to do this a lot, do your self a huge favor and=20 >>create your own template PPJ you can just time lock drag the = >>'files'=20 >>to and be on your way. >> >> For you Mac mastering gurus, just = >>replace the Paris=20 >>VST EQ with a good sounding phase coherent EQ capable of lo pass, band = >>pass and=20 >>hi pass. Sorry, there is no equal that I'm aware of to the gain = >>trick in=20 >>the Paris VST EQ, but you do have the option of using the actual Paris = >>EQ Gain=20 >>in it's place post eq/compression for each group of = >>channels. >> >> If anyone needs the Paris VST EQ, I = >>suspect Doug=20 >>Wellington has it posted on his page. >> Doug, you still out there = >>man? >> >> >size=3D3>AA, >> semi kinda not really a mastering dude=20 >>guy >> >size=3D2> ------------------------------------------------------------ ----= >>------------------------------- >> >> "John" <>href=3D"mailto:no@no.com"><FONT=20 >>face=3DArial size=3D2><a href="mailto:no@no.com" target="
_blank">no@no.com>size=3D2>> wrote in=20 >>message >size=3D2>news:447cb558$1@linux>size=3D2>... > > So = >>what's this=20 >>trick mastering technique? > > "Aaron Allen" <<A=20 >>href=3D"mailto:nospam@not_here.dude">>size=3D2>nospam@not_here.dude> = >> >>wrote: >>Word. I'd be willing to bet that this VST plug is = >>somewhere in=20 >>Tank's Steiny > >>arsenal in regular use. Matt did = >>an=20 >>amazing job of recreating the Paris > >>channel Eq/Gain=20 >>mojo. >>AA >> >>"chuck duffy" <<A=20 >>href=3D"mailto:cxsd@c.com">>size=3D2>cxsd@c.com<FONT=20 >>face=3DArial size=3D2>> wrote in message <A=20 >>href=3D"news:447b8639$1@linux">>size=3D2>news:447b8639$1@linux>size=3D2>... >>> >>> Hi=20 >>Don, >>> >>> The vst eq bit cancels with the = >>paris eq=20 >>when phase inverted. >>> >>> I forced Brian T to = >>try it=20 >>when he was unconvinced. >>> >>> I know that = >>everyone is=20 >>dubious, but matt worked 24 hours a day for months >>> to = >>ensure=20 >>that he could perfectly emulate the paris = >>eq. >>> >>> I=20 >>am familiar with the "pretty colored and non-linear" comment about=20 >>this >>> plug, as I read and responded to it way back when = >>on=20 >>whatever vst forum > it >>> was posted=20 >>in. >>> >>> >>> I know this won't = >>help=20 >>anyones perception, but when I hear people >>>=20 >>wondering >>> how to capture the paris special sauce - this = >>plug is=20 >>it. >>> >>> = >>CHuck >>> >>> "DC"=20 >><>size=3D2>dc@spammersinheck.com>size=3D2>>=20 >>wrote: >>>> >>>>As I understand it, that = >>EQ was=20 >>pretty colored and non-linear. >>>>What I need is simple, = >>clean,=20 >>accurate band splits. The Paris EQ >>>>does this = >>nicely,=20 >>but the whole process is tedious to say the=20 >>least. >>>> >>>>Sounds great=20 >>though. >>>> >>>>DC >>>> = >>>>>> >>>>"RiverLake=20 >>Farms" <>face=3DArial=20 >>size=3D2>edna@texomaonline.com>size=3D2>>=20 >>wrote: >>>>>Is the Paris EQ plug still=20 >>available? >>>>>Thanks,=20 >>Edna >>>>> >>>>>"Aaron Allen" = >><<A=20 >>href=3D"mailto:nospam@not_here.dude">>size=3D2>nospam@not_here.dude> = >>wrote in=20 >>message >>>>>news:447948de$1@linux... >>>&g= >>t;>> >>>>>>=20 >>> I'm going to skip over a million details and just say that the=20 >>secret >>>>>> > is bouncing each stereo freq = >>band with=20 >>EQ only and then the next >>>>>> > set etc until = >>all are=20 >>done. Then you bring the bands back to
= >>the >>>>>>=20 >>> editor, shut off the EQ and start working on your comp=20 >>settings. >>>>>> > (yes you have to do 4 passes = >>to just=20 >>create the files to do=20 >>this!) >>>>>> >>>>>> DC, this = >>can be=20 >>achieved SO much faster using the Matt Craig Paris >=20 >>VST >>>>EQ, >>>>>> and in real = >>timeif you=20 >>want to adjust your bands. Have you tried the >>>=20 >>VST >>>>>> Paris EQ for this application=20 >>yet? >>>>>> It doth rock=20 >>much. >>>>>> >>>>>>=20 >>AA >>>>>> >>>>>> >>>= >>;>>> >>>>>>=20 >>"DC" <>face=3DArial=20 >>size=3D2>dc@spammersinhell.com>size=3D2>> wrote in=20 >>message >size=3D2
gt;>>> >>>>> Hi Don, >>>>> >>>>> The vst eq bit cancels with the paris eq when phase inverted. >>>>> >>>>> I forced Brian T to try it when he was unconvinced. >>>>> >>>>> I know that everyone is dubious, but matt worked 24 hours a day for >= >>months >>>>> to ensure that he could perfectly emulate the paris eq. >>>>> >>>>> I am familiar with the "pretty colored and non-linear" comment about >= >>this >>>>> plug, as I read and responded to it way back when on whatever vst = >>forum >>> it >>>>> was posted in. >>>>> >>>>> >>>>> I know this won't help anyones perception, but when I hear people=20 >>>>> wondering >>>>> how to capture the paris special sauce - this plug is it. >>>>> >>>>> CHuck >>>>> >>>>> "DC" <dc@spammersinheck.com> wrote: >>>>>> >>>>>>As I understand it, that EQ was pretty colored and non-linear. >>>>>>What I need is simple, clean, accurate band splits. The Paris EQ >>>>>>does this nicely, but the whole process is tedious to say the least. >>>>>> >>>>>>Sounds great though. >>>>>> >>>>>>DC >>>>>> >>>>>> >>>>>>"RiverLake Farms" <edna&
br /> >>general PITA. >>>>>> = >>> >>>>>> >=20 >>HOWEVER, if you pay attention and are patient, the results=20 >>are >>>>>> > friggin'=20 >>fabulous. >>>>>> > >>>>>> = >>>=20 >>Sweet, huge and detailed. Just amazing = >>really. >>>>>>=20 >>> >>>>>> > There is much more to say. =20 >>Later. BTW, you must leave some >>>>>> = >>>=20 >>headroom in your mixes to get the most out of this (but=20 >>the >>>>>> > mastering guys have been saying = >>that for=20 >>years). This technique >>>>>> > works so = >>beautifully=20 >>with slamming the Paris mix buss that it = >>seems >>>>>> >=20 >>like it was designed to do this. Somewhere SSC is=20 >>grinning... >>>>>> > >>>>>> = >>>=20 >>Paris for mastering. wadda concept. >>>>>>=20 >>> >>>>>> > DC >>>>>>=20 >>> >>>>>> > DC >>>>>>=20 >>> >>>>>> > >>>>>> = >>>>Rob=20 >>Arsenault" <>face=3DArial=20 >>size=3D2>mani2@nbnet.nb.ca<FONT face=3DArial
size=3D2>>=20 >>wrote: >>>>>> >>>Yes DC, please do=20 >>share...!! >>>>>> = >>>>> >>>>>>=20 >>>>> >>>>>> >>>"DC" <<A=20 >>href=3D"mailto:dc@spammersinhell.com">>size=3D2>dc@spammersinhell.com>size=3D2>> wrote in=20 >>message >>>>>>=20 >>>>>news:4477dc50$1@linux... >>>>>>=20 >>>>>> >>>>>> >>>> Hey=20 >>all, >>>>>> = >>>>>> >>>>>>=20 >>>>>> I am discovering some *amazing* stuff trying a=20 >>multiband >>>>>> >>>> split/compressor = >>in=20 >>Paris. THANK YOU to Sakis and Deej for=20 >>the >>>>>> >>>> help with=20 >>this. >>>>>> = >>>>>> >>>>>>=20 >>>>>> More to follow, but I am getting results, on very = >>familiar=20 >> >>>>>> >>>>=20 >>material >>>>>> >>>> that are just = >>making me=20 >>grin from ear to ear... >>>>>>=20 >>>>>> >>>>>> >>>> As soon as = >>I get=20 >>this live disc out the door I will post the >>>>>> = >> >>>>>> details. >>>>>>=20 >>>>>> >>>>>> &g
t;>>> Paris=20 >>lives! >>>>>> = >>>>>> >>>>>>=20 >>>>>> DC >>>>>>=20 >>>>>> >>>>>>=20 >>>>> >>>>>>=20 >>>>> >>>>>> = >>>> >>>>>>=20 >>> >>>>>> >>>>>> >>&= >>gt;>>>=20 >>I choose Polesoft Lockspam to fight spam, and = >>you? >>>>>>=20 >>= >> >>size=3D2>http://www.polesoft.com/refer.html >face=3DArial=20 >>size=3D2>>>>>>> >>>>>> >>= >>>>> >>>>> >>>> >>> = >> >> >> >> > >> >> >"Aaron Allen" <nospam@not_here.dude> wrote: >If anyone needs the Paris VST EQ, I suspect Doug Wellington >has it posted on his page. Doug, you still out there man? I have that plugin, and would be happy to e-mail it to anyone who needs it (which I assume Matt would be OK with, since he made it available for free). If anyone needs it, shoot me an e-mail so I can reply to it with the file attached. My e-mail is: neil DOT henderson AT sbcglobal DOT net. IMO, however, I disagree with those who say it sounds EXACTLY like the embedded Paris EQ... the low end reacts a bit differently, methinks. But then, that could be because I'm using it at 88.2k, which Matt himself told me he wasn't sure if it would work with that samplerate or not (it does). Also, for you guys who are considering getting into mastering, you absolutely need to check out Ozone as a much less labor- intensive alternative to the method Don brought up herein; you can get your multiband compression, limiting & expansion (4 bands), a high-quality maximizer, exciter, mastering reverb, several types of dithering, a stereo imager/enhancer (be careful! use sparingly!), and a FANTASTIC linear-
or PC guys. Using Matt Craig's comp. you check >the stereo box and have a stereo Paris comp...pre eq. >Rod > >"Kim" <hiddensounds@hotmail.com> wrote: >> >> >>While I have heard a lot of people more knowledgable than myself talk up >>this method of mastering, one thing has always bothered me... >> >>The Paris compressors are mono. Therefore your left and right channels are >>being processed seperately. Surely your stereo imaging will go all over >the >>place?!? I mean, for starters, anything that's loud in a given frequency >>band, and not centred, will tend to get centred, because the louder channel >>wi
ll cop more compression. If, in a given band, the left channel is louder >>than the right channel, everything in that band will get panned further >right, >>because the left channel will get compressed / reduced in level more than >>the right channel. What's more, some sounds will no doubt cover more than >>one frequency band, and as this "repanning" effect is unlikely to be identical >>in all frequency bands, one part of a sound may get panned further right, >>while another band of it stays where it is, or even moves further left depending >>what is in that band. >> >>I would have thought that on material with considerable stereo content, >things >>will end up all over the shop in terms of stereo imaging. >> >>On the other hand, there's a very practicle school of thought which says >>"If it sounds good, just do it"... >> >>Cheers, >>Kim. >> >>"Aaron Allen" <nospam@not_here.dude> wrote: >>> >>> >>>Ok, you asked for it......... PC mastering technique in Paris: >>> >>>Take your 2 track L/R master final mix file. Put the Left mix file on = >>>Channels 1,3,5 and 7. Pan hard left. Put the Right mix file on Channels >>=<b
as unconvinced. >>>>>> >>>>>> I know that everyone is dubious, but matt worked 24 hours a day for >>= >>>months >>>>>> to ensure that he could perfectly emulate the paris eq. >>>>>> >>>>>> I am familiar with the "pretty colored and non-linear" comment about >>= >>>this >>>>>> plug, as I read and responded to it way back when on whatever vst = >>>forum >>>> it >>>>>> was posted in. >>>>>> >>>>>> >>>>>> I know this won't help anyones perception, but when I hear people=20 >>>>>> wondering >>>>>> how to capture the paris special sauce - this plug is it. >>>>>> >>>>>> CHuck >>>>>> >>>>>> "DC" <dc@spammersinheck.com> wrote: >>>>>>> >>>>>>>As I understand it, that EQ was pretty colored and non-linear. >>>>>>>What I need is simple, clean, accurate band splits. The Paris EQ >>>>>>>does this nicely, but the whole process is tedious to say the least. >>>>>>> >>>>>>>Sounds great though. >>>>>>> >>>>>>>DC >>>>>>> >>>>>>> >>>>>>>"RiverLake Farms" <<a href="mailto:edna@texomaonline.com" target="
_blank">edna@texomaonline.com> wrote: >>>>>>>>Is the Paris EQ plug still available? >>>>>>>>Thanks, Edna >>>>>>>> >>>>>>>>"Aaron Allen" <nospam@not_here.dude> wrote in message >>>>>>>>news:447948de$1@linux... >>>>>>>>> >>>>>>>>> > I'm going to skip over a million details and just say that the >>= >>>secret >>>>>>>>> > is bouncing each stereo freq band with EQ only and then the = >>>next >>>>>>>>> > set etc until all are done. Then you bring the bands back to >= >>>the >>>>>>>>> > editor, shut off the EQ and start working on your comp = >>>settings. >>>>>>>>> > (yes you have to do 4 passes to just create the files to do = >>>this!) >>>>>>>>> >>>>>>>>> DC, this can be achieved SO much faster using the Matt Craig = >>>Paris >>>> V
t;>>>>>> > It is complicated, time-consuming, and a general PITA. >>>>>>>>> > >>>>>>>>> > HOWEVER, if you pay attention and are patient, the results are >>>>>>>>> > friggin' fabulous. >>>>>>>>> > >>>>>>>>> > Sweet, huge and detailed. Just amazing really. >>>>>>>>> > >>>>>>>>> > There is much more to say. Later. BTW, you must leave some >>>>>>>>> > headroom in your mixes to get the most out of this (but the >>>>>>>>> > mastering guys have been saying that for years). This technique >>>>>>>>> > works so beautifully with slamming the Paris mix buss that it >= >>>seems >>>>>>>>> > like it was designed to do this. Somewhere SSC is grinning... >>>>>>>>> > >>>>>>>>> > Paris for mastering. wadda concept. >>>>>>>>> > >>>>>>>>> > DC >>>>>>>>> > >>>>>>>>> > DC >>>>>>>>> > >>>>>>>>> > >>>>>>>>> >>Rob Arsenault" <mani2@nbnet.nb.ca> wrote: >>>>>>>>> >>>Yes DC, please do share...!! >>>>>>>
>> >>> >>>>>>>>> >>> >>>>>>>>> >>>"DC" <dc@spammersinhell.com> wrote in message=20 >>>>>>>>> >>>news:4477dc50$1@linux... >>>>>>>>> >>>> >>>>>>>>> >>>> Hey all, >>>>>>>>> >>>> >>>>>>>>> >>>> I am discovering some *amazing* stuff trying a multiband >>>>>>>>> >>>> split/compressor in Paris. THANK YOU to Sakis and Deej for >>= >>>the >>>>>>>>> >>>> help with this. >>>>>>>>> >>>> >>>>>>>>> >>>> More to follow, but I am getting results, on very familiar=20 >>>>>>>>> >>>> material >>>>>>>>> >>>> that are just making me grin from ear to ear... >>>>>>>>> >>>> >>>>>>>>> >>>> As soon as I get this live disc out the door I will post the
;ballad or classical. This is part of the 'program material dependant' = >thing I mentioned earlier. Don't treat a jazz standard like a Pantera = >tune, for example.=20 > >Essentially you are creating a Waves multiband compressor, only you're = >using Paris to do it and it sounds.. well, .. better IMO. YMMV. If you = >plan to do this a lot, do your self a huge favor and create your own = >template PPJ you can just time lock drag the 'files' to and be on your = >way.=20 > >For you Mac mastering gurus, just replace the Paris VST EQ with a good = >sounding phase coherent EQ capable of lo pass, band pass and hi pass. = >Sorry, there is no equal that I'm aware of to the gain trick in the = >Paris VST EQ, but you do have the option of using the actual Paris EQ = >Gain in it's place post eq/compression for each group of channels. > >If anyone needs the Paris VST EQ, I suspect Doug Wellington has it = >posted on his page. >Doug, you still out there man? > >AA,=20 >semi kinda not really a mastering dude guy > ------------------------------------------------------------ -------------= >---------------------- > >"John" <no@no.com> wrote in message news:447cb558$1@linux... >>=20 >> So what's this trick mastering technique? >>=20 >> "Aaron Allen" <nospam@not_here.dude> wrote: >>>Word. I'd be willing to bet that this VST plug is somewhere in Tank's = >Steiny >>=20 >>>arsenal in regular use. Mat
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sync source in the RME control panel and it just works, >every time..........and that's really saying something because it's >reallllllll easy to destabilize this kind of system. Just one glitch and the >whole thing comes tumbling down. Simple is good...........and sooooo hard >for me to accept. > >My current clocking situation has the Lucid GenX6 as master clock now and >the only deviation from the above scenario is that I've got a 10' WC cable >running from one of the Lucid clock outs to my Mytek ADC which used to be >the master clock. I need it closer to the mix position and a long cable run >from the Mytek when using it as master, to the rest of the system wasn't >quite as stable as slaving the Mytek to the Lucid clock with the longer >cable and slaving the MECs to the Lucid with short, high quality WC cables. >Since the MECs are clocking the RME's via ADAT, it's essential to have the >lock between the master and MECs as stable as possible.The Lucid has a very >good clock. I notice no difference in sound between it and the Mytek when >using the Mytek as master clock. > >Damn!!!!......everything is working so well now.............what next? (nyuk >nyuk!!!)........o'yeah.....
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eliably produce a great pie you > can move on to adding toppings. > > The other thing people often overlook is that a grill is an excellent > pizza > oven, but you need to watch the pie like crazy. Soaked apple wood is a > good > wood to try on top of the coals. > > The other aspect that is often overlooked is the crust. A mixture of > crushed > red pepper, kosher salt, parmesean and olive oil brushed over the crust > about > 2/3 the way through is NUTS! > > I love pizza ! > > Chuck > > > > > > > > > > > > > > > > >Sorry, OS 9 bootable G4 only with PARIS on a Mac. I'm sad too. :>( Tony "EK Sound" <askme@nospam.com> wrote in message news:448dbebf@linux... > There are no suitable EDS drivers for OSX, therefore you can't run in on a > G5 (because a G5 will only run OSX). > > David. > > Carl Amburn wrote: >> I am possibly helping someone set up a Mac G5 with Paris (we will be >> shooting projects back and forth if this works out), and I have two >> questions for the group. >> >> 1. Will the EDS card fit in the G5 tower? >> 2. Does Paris work with OSX? >> >> thanks!, >> -Carl Amburn >>Globals are in PARIS_FX.VAR. If you have them in the projects you can load the project and move them to globals. LIBRARY presets are saved in the PARIS_FX.VAR file in C:\Program Files\Paris3 (your Paris root dir). PARIS_Fx.var (Default) is a backup of the file PARIS_Fx.var that gets modified when you make library presets. "jp" <jpj@jpjones.net<
a Discovery Channel special on the odds of an asteroid destroying Earth. Cynical? Who, me? ;-) Regards, Dedric On 6/12/06 10:20 AM, in article 448d9439$1@linux, "DC" <dc@spammersinhell.com> wrote: > > Dedric, > > GM is swimming in red ink. They may actually go under. If there > was such an engine, they would have it out in a heartbeat, and if > they didn't Toyota and Honda would. No one can keep these guys > from innovating, which is why GM is in such trouble now. > > DC > > Dedric Terry <dterry@keyofd.net> wrote: >> I completely agree. I remember when I was a kid (in the 70's - dating >> myself) reading about a 60mpg gas automobile engine developed by a guy in >> the 60's, but bought up by an oil company or major auto manufacturer... >> still haven't seen one. >> >> I'm sure board room conversations revolve around euphemisms such as >> "deliberate progress", "cost effectiveness", "feasibility studies", >> "manufacturing viability", or "legacy support". Okay the last one was when >> Bill Gates was taking a tour of Ford's headquarters... >> >> Regards, >> Dedric >> >> On 6/12/06 5:04 AM, in article 448d4a42$1@linux, "John" <no@no.com> wrote: >> >>> >>> I don't buy the "this is why it's taking so long". They just don't want > us >>> to have it. I'm sure they could deliver a solution by next quarter if > they >>> wanted to. >> >I'll get back to CD burns in a bit, but none of these kind of 'alt fuels' really work all that well. For now, fuel cells (hydrogen of any kind, liquid, gas, or chemically turned into a solid that can be used to release it) involves massive expenditure of other kinds of energy, usually electricity. In that case in the US it means coal/natural gass/nuclear power. There are only three energy sources that are 'free' and those are solar, wind, and geothermal. In fact, both are eventually related to the sun anyway, but because they are tapped in practically different ways we can think of them as free. In the long run they will have to be used if we want to be energy neutral. We'll also have to stop eating cheeseburgers because a whole lot of methane in the atmosphere (and methane is a much worse greenhouse gas than carbon dioxide) is cow farts. In any case, for short term solutions there really is just ethanol. It's attractive for a couple of reasons. It's a liquid not too much more volatile than gasoline. It's a nearly a net zero on greenhouse gases (the carbon taken out of the air by the plant that becomes ethanol helps cancel out the carbon produced when it's burned) and it works now. Brazil runs mos
THE MODEL/SPEED/DUAL OR SINGLE PROCESSER ETC. Thanks Clifford CoulterGet the model without a stuck caps lock key.now i'm totally lost Aaron Allen wrote: > You can use VST/DX for EQ and Gain to further this technique. > AA > > "zmora" <docent191@wp.pl> wrote in message news:448d64f9$1@linux... > >>John, use two auxes both with st.compressors. >>On aux 1 use yours compressor setting, on aux2 set compressor ratio 1:1, >>it's mesn sound no compressed.Mute chanells with drums in mixer and keep >>aux in "pre fader modes" in aux setting on chanell.Now you'll mixed all in >>aux master section,aux1 >aux2 by >>"return trim".Keep attention, use the same lookahead setting for both >>compressors!!! >> >> >>"zmora" <docent191@wp.pl> wrote: >> >>>John >>> >>>Maybe you should use anly aux for all, I mean mixed aux-dry drum & >>>aux-compressed >>>drum with muted chanells? >>> >>>"John" <no@no.com> wrote: >>> >>>>by the way, there sure a lot of crappy vst compressors out there. >>> > > > I choose Polesoft Lockspam to fight spam, and you? > http://www.polesoft.com/refer.html > >It's Kjaerhus hehe Dimitrios wrote: > Well, > Back with my first suggestion, why not use one compressor for each drumtrack > so that the compressor will be tailored according to the specific drumtrack > ? > Using 10 compresosrs vst's is nothing from a modern cpu (and older too) > If you wanna try free ones try Kahjerus ( did I spell it right > ?) limiter it is a great compressor. > Regards, > Dimitrios > > "John" <no@no.com> wrote: > >>I have 10 drum channels I'm trying to compress to a stereo mix on Aux1 and >>then mix the raw channels back on top (new york compression technique). > > >>In AUX1 I only have EDS effects and the compressor seems to distort badly >>with kick drums. There is no way to do Natives on Aux, right? Any other >>ideas how to accomplish this? T
ng pizza here, not obesity in a box. You should see all the layers when >you look down at the pizza from above before you cook it. It's a thin >contraption, not some mountain of ingredients. It's a magical thing, how >those few ingredients belnd together in the oven to create a thing so >sublime. > >I don't know, it doesn't sound so amazing when I read it back, but man, I >have never put anything tastier in my mouth. If anyone wants something >clarified, let me know. I tend shy away from offering advice, just by >inclination, but I'd love to help if someone needs it. > >Jimmy > > > >"chuck duffy" <c@c.com> wrote in message news:448cb8d0$1@linux... >> >> This is mostly for Jimmy... :-) >> >> Jimmy, when I read that you got it after ten tries I almost pissed myself. >> I have been working at it for the past ten years and have yet to produce >> a pie that I'm satisfied with. But anyway.. >> >> Here is my ramble.. You gotta have a stone, or you gotta have some clay >> tiles. The stone needs to be heated in a 500 degree oven for at least 30 >> minutes before hand. The dough needs to be at room temperature (go figure >> :-). >> >> Now here's where I go different from everyone else I know. I never, >never, >> ever put the pizza together and throw it in the oven. >> >> First I sprinkle the stone with corn meal - it will smoke like crazy, and >> after tossing the dough lay it out on the stone. Brush the top litely >with >> olive oil and push the assembly back into the oven. >> >> Watch carefully, and when the top of the dough starts to turn the >slightest >> brown it's time for the sauce. This is the crucial time, it's where >everyone >> makes the mistakes... Poke the bubbles that are forming and do the sauce. >> It doesn't take much sauce, a couple tablespoons full of crushed >tomato/garlic/olive >> oil, or a nice pesto. Too much sauce destroys the pie. >> >> Put it back into the oven until the sauce is hot and just starting to dry. >> There's nothing worse than a pie with sloppy, dripping sauce. >> >> Now it's time for cheese. Use interesting mixtures of fresh mozz, parm, >> romano, assagio, whatever you have on hand, but the key is this.... The >cheeses >> have to COOK, brown and almost burn to bring out the real flavor. >> >> Once you get to the point where you can reliably produce a great pie you >> can move on to adding toppings. >> >> The other thing people often overlook is that a grill is an excellent >pizza >> oven, but you need to watch the pie like crazy. Soaked apple wood is a >good >> wood to try on top of the coals. >> >> The other aspect that is often overlooked is the crust. A mixture of >crushed >> red pepper, kosher salt, parmesean and olive oil brushed over the crust >about >> 2/3 the way through is NUTS! >> >> I love