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items: Drawmer 1969 Mercenary Edition
items: Re: Drawmer 1969 Mercenary Edition

Drawmer 1969 Mercenary Edition
type: item
description: phase EQ (but you can also "analog-model" it, too). For 250 bucks, once you hear it - to quote DJ - you will have to have it or you will die. Read all about it &am
creator: Rob Arsenault
date: 2006-05-08T01:19:56-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: p; get the demo here: http://www.izotope.com/products/audio/ozone/ NeilI've got Matt Craig's Paris EQ some where, but I don't have his comp. Can somebody email me Matt Craig's comp? Thanks James excelsm@hotmail.com "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote: > >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 f
creator: uptown jimmy
date: 2006-05-08T01:26:19-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: r /> >>>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 = >>>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
creator: Cujjo
date: 2006-05-08T02:54:40-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: >>= >>> >>>>>>>>> >>>> details. >>>>>>>>> >>>> >>>>>>>>> >>>> Paris lives! >>>>>>>>> >>>> >>>>>>>>> >>>> DC >>>>>>>>> >>>> >>>>>>>>> >>> >>>>>>>>> >>> >>>>>>>>> >> >>>>>>>>> > >>>>>>>>> >>>>>>>>> >>>>>>>>> I choose Polesoft Lockspam to fight spam, and you? >>>>>>>>> http://www.polesoft.com/refer.html >>>>>>>>> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> >>>>>>=20 >>>>> >>>>> >>>> >>> >>> >>> >>><META http-equiv=3DContent-Type content=3D"text/html; = >>>charset=3Diso-8859-1"> >>> >>> >>> >>> >>> Ok, you asked for it......... PC = >>>mastering=20<br /
creator: Rob Arsenault
date: 2006-05-08T12:08:21-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: gt;VST EQ,=20 >>>split the files into different bands. 1/2 will be lo pass, 3/4 will be >= >>>low mid=20 >>>band, 5/6 will be hi mid band, 7/8 will be hi pass. Freq will vary = >>>depending on=20 >>>taste and what you're going for and program material. Use your ears, = >>>nobody can=20 >>>hand you that in text and be completely accurate. Start with the Sakis=20 >>>Frequencies... Lo 20-90hz. Lo-Mid 90-540 Hi-Mid = >>>540-6Khz Hi=20 >>>6-20Khz. Compress each 'set' of channels (1/2, 3/4, 5/6, 7/8) with = >>>either the=20 >>>Paris Compressor or with a good sounding native POST Paris VST EQ. The >= >>>placement=20 >>>is absolutely critical. Tie all faders together using Grouping on the = >>>mixer. Do=20 >>>not for ANY reason split these waves into another editor unless you're >= >>>ready to=20 >>>fight phase and time delay demons between submixes. Also, be sure you = >>>have=20 >>>everything selected with the time lock tool when you do this - same = >>>reason about=20 >>>phase/time. >>> >>> Now, the thing is, you can = >>>adjust the=20 >>>Gain/EQ mojo separately for each band, you can compress with different >= >>>ratios,=20 >>>thresholds.. whatever suits the material, all in Paris. If you use the >= >>>Paris=20 >>>compressor, be sure to match each pair of tracks' settings (1=3D2, = >>>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 >= >&
creator: Rob Arsenault
date: 2006-05-08T12:41:52-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
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creator: duncan
date: 2006-05-09T00:13:52-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
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creator: Rob Arsenault
date: 2006-05-09T11:41:11-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
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creator: duncan
date: 2006-05-09T16:14:26-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
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creator: Tom Bruhl
date: 2006-05-09T17:41:07-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: gt; together > >> > and then run other WC cables of differing lengths to 3 x RME interfaces > >> > and > >> > 3 x MECs while also running ADAT sync cables from 3 x Paris ADAT modules > >> > to > >> > the ADAT sync inputs of the 3 x RME cards while the digital I/O of the > >RME > >> > cards, the Paris modules, all of your external spdif gear and ADAT gear > >is > >> > all patched into three different M-Audio Digipatch units which are daisy > >> > chained to each other using spdif cables in an attempt to allow > >> > simultaneous > >> > clocking of everythiong from two different sources derived from the > same > >> > master clock while cross patching all of the digital I/O between various > >> > lightpipe, coax and optical spdif devices through these digital > >patchbays > >> > that, BTW, don't reclock the incoming/outgoing signal. > >> > > >> > I know a bunch of you guys were getting ready to do this , but just > say > >> > no. > >> > > >> > (I swear there was a valid reason for trying this.........really there > >> > was) > >> > > >> > ;oD > >> > > >> > > >> > >> > > > > >That technique works perfectly. If you do it like that you will get the best sweet spot where the stereo imaging is the most 3d. I have little 2x4 blocks to aim the speakers down when I"m sitting mixing and straight when I'm standing playing. It keeps the sweet spot ideal. John EK Sound <askme@nospam.com> wrote: >Ideally, the speaker should be as far away from your ears as they are >apart from each other (equal sided triangle). Also, the cabinets >should be aiming at you with the center of the cabinet at right angles >to your head. This means that if you have the cabinets sitting lower >than your head, you should tilt them up slightly, and tilt down if >they are over your head. > >Just a rule of thumb... YMMV > >David. > >Brandon wrote: >> Hi All, >> >> According to the manual these were designed to be placed in a vertical >> position. I have read articles on speaker placement and they say most spe…
creator: duncan
date: 2006-05-10T17:05:46-00:00

Re: Drawmer 1969 Mercenary Edition
type: item
description: "_blank">http://saqqararecords.com/images/WhatThisFinalMixMP3.mp3 Guitars were kinda your typical numetal setup - EMG humbuckers through Mesa triple rectifier heads, one guy had a Mesa cab with Celestions & the other guys used an older Marshall cab, also with Celestions, but the Mesa cab sounded as if the speakers had a bit tighter cones. *Signal chain for the guy with the Marshall cab (lead parts) was 2x Audix i5's through a Focusrite Red 8; same mics, but each mic on a different speaker, as the two bottom speakers had slightly different characteristics from one another. *Signal Chain for the rhythm guitarist was an Audix i5 and a BLUE Ball, through Grace101 mic pre's. Drums were a combination of e-kit & live mics. Kick, snare & toms were all e-kit. We also recorded the MIDI output so we could regenerate the sounds on separate tracks for more flexibility during mixdown. Snare & Tom samples were from the Roland TD-20 brain, Kick was from my Fantom. The only exception to this was the "industrial kit" sound at the start & end of "What This", which was all from the TD-20. *Three cymbals were live & three were e-kit cymbals. Hi-Hats were live (we ended up using the hi-hat e-pad, though, anyway... moved it over on the other side of the kit for an extra tom pad. *OH mics were TLM-103's and the Hi-Hat mic was an Earthworks TC-30, all through a Focusrite ISA 428, with impedances on the "ISA-110" setting. Bass was direct through a Carvin head which had an XLR line- level out... you may remember my posts about this issue - the guys liked the sound at first, but after we'd recorded everything I was able to point out that it was a bit too indistinct, and we ended up reamping it through the Mesa Head/Cab combination on the cleanest possible settings, and also taking a line out into a Sansamp Bass module & retracking that signal on a separate track. Re-amping was handled by a TLM-103 - since I needed a mic that would emphasize the highs & definition, but still had excellent low-e…
creator: Tom Bruhl
date: 2006-05-10T19:58:37-00:00