ink you can also use the PAFWav converter to = batch convert once they're rendered if I'm not mistaken Don "Tom Bruhl" <arpegio@comcast.net> wrote in message = news:44d173db@linux... I have a jazz session coming up and the producer wants to mix on Cubase at his place if my two mix isn't all there. We are=20 recording all tracks live here to Paris multitrack. We'll be at 24 = bit=20 and don't expect overdubs. I think all tracks will automatically line = up right? What do you use to convert 24bit .pafs to 24bit .wavs for Cubase 3.0? Thanks for your suggestions as always! Tom I choose Polesoft Lockspam to fight spam, and you? http://www.polesoft.com/refer.html ------=_NextPart_000_005A_01C6B6D4.CB08C770 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable render and export as....I think you can = also use=20 the PAFWav converter to batch convert once they're rendered if I'm not=20 mistaken Don "Tom Bruhl" <<A=20 href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = in message=20 news:44d173db@linux... I have a jazz session coming up and =<b
nd don't forget to check out >>>the >>>>> MP3s at the end, textbook Paris sound in the hands of a skilled >>>>> engineer/producer/musician. >>>> >>>> >>> >> >>Thanks guys...I'm proud of this one, both for myself and Paris :). A little >>embarrassed though, knowing that you killer steel players have listened >to >>some of my hacking! >> >>All the best to all, >> >>Tommy >> >Bill, I have heard that word "normal" before. Can
"mailto:spamlessjohn@johnmacy.com" target="_blank">spamlessjohn@johnmacy.com> wrote in message news:44d140f7$1@linux... > > Richie Furay, founder of Buffalo Springfield and Poco > has released his first secular CD in many, many years > called "Heartbeat of Love". It features a stellar band > of studio players from Nashville, and has lots of guests > including Neil Young, Stephen Stills, Timothy B. Schmitt, > Kenny Loggins, Paul Cotton, Rusty Young, Jim Horn and others. > > I had the honor of recording, mixing and co-producing the > record. It was tracked at Quad Studios in Nashville (where > "Harvest" and many other classic records were done) into > ProTools, but all of the overdubs and the mix were done in > Paris here in Colorado. > > If you are a fan of classic Southern Cal country rock, you'll > like this one. It is currently available at Richie's website, > along with a just released autobiography, at: > > www.richiefuray.com > > :) > >JI for me too.. those 'straight up' 3rds make my skin crawl. :-) BT "John Macy" <spamlessjohn@johnmacy.com> wrote: > >Bill, > >I have heard that word "normal" before. Can >you expain it in depth to me?? > >:) > >PS--JI all the way for me... > > >"Bill Terry" <bterry73@gmail.com> wrote: >> >>Hey John, >>You think it's because steel players probably have about the 'pickiest' >ears >>of anybody??? :-) >> >>I mean a bunch of guys that can spend hours and hours debating(?) the best >>way to tune your guitar can't be normal can it? >>BT >> >>"John Macy" <spamlessjohn@johnmacy.com> wrote: >>> >>>"Thanks guys...I'm proud of this one, both for myself and Paris :). A little >>>embarrassed though, knowing that you killer steel players have listened >>to >>>some of my hacking! >>> >>>All the best to all, >>> >>>Tommy" >>> >>>Man, if that is hacking, I'd be proud to be a hack... :) >>> >>>It's kinda interesting that steel players have taken to the >>>platform--Mike Smith, who I can lay a damn good argument for >>>being one of the 3 best in the world--Tommy, a serious world >>>class player--myself, who ain;t too bad either--and Bill Terry, >>>who I have yet to hear, but hear good things about. >>> >>>Any other players out there????? >>> >>> >>> >>> >>> >>>Tommy Detamore" <cherryrdg@aol.com> wrote: >>>> >>>>"Tommy Detamore" <cherryrdg@aol.com> wrote: >>>>> >>>>>"Miguel Vigil" <nospam@nospam.com> wrote: >>>>>>Good interview, and don't forget to check out the >>>>>>> MP3s at the end, textbook Paris sound in the hands of a skilled >>>>>>> engineer/producer/musician. >>>>>> >>>>>> >>>>>>And don't forget to check Tommy's online examples (2nd button from left) >>>>>>to listen to over two dozen full length songs. >>>>>> >>>>>>http://www.steelguitartracksonline.com/index.html >>>>>> >>>>>>Thanks for the heads up Bill...! >>>>>> >>>>>> >>>>>>El Miguel >>>>>> >>>>>> >>>>>> >>>>>>"Bill Terry" <bterry73@gmail.com> wrote in message news:44ca3643$1@linux... >>>>>>> >>>>>>> My pal Tommy Detamore recently did an interview on this web site: > >>>>>>> http://rocketsounds.com/index.php >>>>>>> >>>>>>> As many of you know, Tommy runs a Paris based studio in Floresville, >>>>TX,<
is >>>correct, it should crash right after you turn it on. ;>) >>> >>>What does loosing half the OS even mean??? Really, I'm curious as to how >>>that could happen. What were the symptoms, errors, etc.? >>> >>>Tony >>> >>> >>>"rick" <parnell68@hotmail.com> wrote in message >>>news:rq4uc2tv62t01ioqva29ebj65l2iu87ud6@4ax.com... >>>> >>>> "maybe if I turned the Mac on as well.." >>>> unfortunately that doesn't always work either. >>>> >>>> ;o)...i'm still trying to figure out why/how half the OS disappeared >>>> the other day... >>>> >>>> On Mon, 31 Jul 2006 17:49:25 -0500, Paul Braun >>>> <cygnus_nospam@ctgonline.org> wrote: >>>> >>>>>On Mon, 31 Jul 2006 16:43:10 -0400, "Don Nafe" <dnafe@magma.ca> wrote: >>>>> >>>>>>Turn your amp on >>>>>> >>>>>>Sorry had to >>>>>> >>>>>Thanks! Well, that, plus maybe if I turned the Mac on as well... >>>>> >>>>>;-P >>>> >>> >> >well now that you have published a simple how to guide i can admit the error in my premature judgement call. for some reason (must be an age thing) i thought your set up was much more complicated than explained below. so admitting that (how big of me) what the hell took you so long to figure this out?????????????????? age...is a terrible thing to some...more than others. what dear????? drinks are ready....soryy sir but i have to go water my brain. On Thu, 3 Aug 2006 08:44:07 -0600, "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Dear Dr. Neil and Uncle Ricky, > >1. 4 x MECs and a Mytek A/D converter are being clocked by a Lucid GenX6 >2. The GenX6 is an old one that is limited to 48k >3. Using the Mytek as a master clock hasn't been as successful as I had >hoped with Paris, therefore it is slaved to the Lucid. >4. The MECs are clocking 3 x RME cards via ADAT sync. >5. Simultaneously hooking up a WC to the RME cards while they are synced to >Paris ADAT causes the system to crash hard. >6. The Three RME cards have 75 ohm terminator caps on the BNC clock outputs. >7. The three RME cards do not have terminators on the BNC clock inputs >8. In order to use the RME cards in standalone mode at 44.1, I have to have >the Paris DAW and MECs running and Paris booted. >9. Cubase cannot be run at over 48k unless it is using the RME clock >10. In order to use the RME clock, I would have to daisy chain the RME cards >which would mean disconnecting and reconnecting certain cables which would >have to be reconfigured after every session and this would require some >minimal effore on my part involving approsximately 5 bending and stretching >movements along with some possible rotational efforst involving the wrist, >not to mention the walk around the desk to the machine room. >11. If the Hosa clock was just hooked up to the the 3 x RME BNC inputs and >the Mytek converter BNC input, and tuned off, It would not be sending a >conflicting clock signal to the RME cards when they were being clocked from >the MECs and I wouldn't have to crawl around in my machine room and recable >a bunch of stuff. >12. If I wanted to record HiRez, I could just not boot the Paris DAW and >flip a switch to start the HOSA WC, the boot the Cubase DAW, make a couple >of chaznges to the settings in the HDSP control panel to change it from ADAT >sync to WC sync (an incredible hassle, but nothing is perfect, I guess) and >then I'b be good to go for 88.1 or 96k tracking to my Mytek A/D converter >and my Multiface. > >.........and truly guys, I can't possibly imagine why you would ask such a >question at all when something like this is so obvious in the first place. I >mean, this is on page 1 of the DAW 101 workbook.........right? > >;o) > >"rick" <parnell68@hotmail.com> wrote in message >news:4pe3d2lkg9ag4ogni2p14hh9kbf7c3qidp@4ax.com... >> i think you could be standing right in front of "the thing that ate >> deej's brain" for days and still miss something...in this case the you >> i used means any bipedal creature that gets a woody over gear. >> >> On 3 Au
>> >> >are you sure it's not your soundcard limiting the bit rate in wavelab? On Thu, 3 Aug 2006 11:08:31 -0400, "Tom Bruhl" <arpegio@comcast.net> wrote: >DJ, >I have old Wavelab 3 and it only works with 16 bit pafs. It's also >in another computer. I don't think it will be my best option. >Tom > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:44d20dac$1@linux... > Tom, > > If you've got Wavelab, just render the .paf's so that they all have a 00:00 starting point, then batch process them as .wavs in WL. I do this over a gigabit LAN network with the destination set to the audio file of a corresponding Cubase project and then they are ready to import to the Cubase project when I open it up. Very smooth procedure. > > Deej > > "Tom Bruhl" <arpegio@comcast.net> wrote in message news:44d173db@linux... > I have a jazz session coming up and the producer wants to > mix on Cubase at his place if my two mix isn't all there. We are > recording all tracks live here to Paris multitrack. We'll be at 24 bit > and don't expect overdubs. I think all tracks will automatically line up right? > > What do you use to convert 24bit .pafs to 24bit .wavs for Cubase 3.0? > Thanks for your suggestions as always! > Tom > > > > I choose Polesoft Lockspam to fight spam, and you? > http://www.polesoft.com/refer.htmlnormal...not me. hope this helps On 4 Aug 2006 01:54:34 +1000, "John Macy" <spamlessjohn@johnmacy.com> wrote: > >Bill, > >I have heard that word "normal" before. Can >you expain it in depth to me?? > >:) > >PS--JI all the way for me... > > >"Bill Terry" <bterry73@gmail.com> wrote: >> >>Hey John, >>You think it's because steel players probably have about the 'pickiest' >ears >>of anybody??? :-) >> >>I mean a bunch of guys that can spend hours and hours debating(?) the best >>way to tune your guitar can't be normal can it? >>BT >> >>"John Macy" <spamlessjohn@johnmacy.com> wrote: >>> >>>"Thanks guys...I'm proud of this one, both for myself and Paris :). A little >>>embarrassed though, knowing that you killer steel players have listened >>to >>>some of my hacking! >>> >>>All the best to all, >>> >>>Tommy" >>> >>>Man, if that is hacking, I'd be proud to be a hack... :) >>> >>>It's kinda interesting that steel players have taken to the >>>platform--Mike Smith, who I can lay a damn good argument for >>>being one of the 3 best in the world--Tommy, a serious world >>>class player--myself, who ain;t too bad either--and Bill Terry, >>>who I have yet to hear, but hear good things about. >>> >>>Any other players out there????? >>> >>> >>> >>> >>> >>>Tommy Detamore" <cherryrdg@aol.com> wrote: >>>> >>>>"Tommy Detamore" <cherryrdg@aol.com> wrote: >>>>> >>>>>"Miguel Vigil" <nospam@nospam.com> wrote: >>>>>>Good interview, and don't forget to check out the >>>>>>> MP3s at the end, textbook Paris sound in the hands of a skilled >>>>>>> engineer/producer/musician. >>>>>> >>>>>> >>>>>>And don't forget to check Tommy's online examples (2nd button from left) >>>>>>to listen to over two dozen full length songs. >>>>>> >>>>>>http://www.steelguitartracksonline.com/index.html >>>>>> >>>>>>Thanks for the heads up Bill...! >>>>>> >>>>>> >>>>>>El Miguel >>>>>> >>>>>> >>>>>> >>>>>>"Bill Terry" <bterry73@gmail.com> wrote in message news:44ca3643$1@linux... >>>>>>> >>>>>>> My pal Tommy Detamore recently did an interview on this web site: > >>>>>>> http://rocketsounds.com/index.php >>>>>>> >>>>>>> As many of you know, Tommy runs a Paris based studio in Floresville, >>>>TX, >>>>>>> near San Antonio. The interviewer was apparently quite interested >in >>>> >>>>>>> Paris, >>>>>>> and why Tommy uses it.. Good interview, and don't forget to check >>out >>>>>the >>>>>>> MP3s at the end, textbook Paris sound in the hands of a skilled >>>>>>> engineer/producer/musician. >>>>>> >>>>>> >>>>> >>>> >>>>Thanks guys...I'm proud of this one, both for myself and Paris :). A little >>>>embarrassed though, knowing that you killer steel players have listened >>>to >>>>some of my hacking! >>>> >>>>All the best to all, >>>> >>>>Tommy >>>> >>> >>Hey all, I am looking for a method of re-tuning vocals etc. whereby I can open an automation lane in Nuendo and simply bump the pitch up or down by up to 1 semitone. We have AT4 but the graphic mode is way too cumbersome to do simple fixes. Anyone have a suggestion on a plug that will work for this? Thanks, David.I spoke with Richie today and he will be restocked the first of the week... "Tony Benson" <tony@standinghampton.com> wrote: >The order page says it's out of stock right now, but I'll keep checking >back. Congrats John. > >Tony > > >"John Macy" <spamlessjohn@johnmacy.com> wrote in message >news:44d140f7$1@linux... >> >> Richie Furay, founder of Buffalo Springfield and Poco >> has released his first secular CD in many, many years >> called "Heartbeat of Love". It features a stellar band >> of studio players from Nashville, and has lots of guests >> including Neil Young, Stephen Stills, Timothy B. Schmitt, >> Kenny Loggins, Paul Cotton, Rusty Young, Jim Horn and others. >> >> I had the honor of recording, mixing and co-producing the >> record. It was tracked at Quad Studios in Nashville (where >> "Harvest" and many other classic records were done) into >> ProTools, but all of the overdubs and the mix were done in >> Paris here in Colorado. >> >> If you are a fan of classic Southern Cal country rock, you'll >> like this one. It is currently available at Richie's website, >> along with a just released autobiography, at: >> >> www.richiefuray.com >> >> :) >> >> > >Does Melodyne do this? I've heard it can pretty much do anything. "EK Sound" <askme@nospam.com> wrote in message news:44d24a9c$1@linux... > Hey all, > > I am looking for a method of re-tuning vocals etc. whereby I can open > an automation lane in Nuendo and simply bump the pitch up or down by > up to 1 semitone. We have AT4 but the graphic mode is way too > cumbersome to do simple fixes. Anyone have a suggestion on a plug > that will work for this? > > Thanks, > > David.This is a multi-part message in MIME format. ------=_NextPart_000_0023_01C6B711.9EE0AF90 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Rick, Positive. Wavelab 3 is 1999 vintage. I almost never use it anyway. I send my work to pros. I'm using a Delta 66 which does go up to 24bit. Tom "rick" <parnell68@hotmail.com> wrote in message = news:ufh4d2t2p146obrbmj4fv3eruj4violofr@4ax.com... are you sure it's not your soundcard limiting the bit rate in wavelab? On Thu, 3 Aug 2006 11:08:31 -0400, "Tom Bruhl" <arpegio@comcast.net> wrote: >DJ, >I have old Wavelab 3 and it only works with 16 bit pafs. It's also >in another computer. I don't think it will be my best option. >Tom > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message = news:44d20dac$1@linux... > Tom, > > If you've got Wavelab, just render the .paf's so that they all have = a 00:00 starting point, then batch process them as .wavs in WL. I do = this over a gigabit LAN network with the destination set to the audio = file of a corresponding Cubase project and then they are ready to import = to the Cubase project when I open it up. Very smooth procedure. > > Deej > > "Tom Bruhl" <arpegio@comcast.net> wrote in message = news:44d173db@linux... > I have a jazz session coming up and the producer wants to > mix on Cubase at his place if my two mix isn't all there. We are = > recording all tracks live here to Paris multitrack. We'll be at = 24 bit=20 > and don't expect overdubs. I think all tracks will automatically = line up right? > > What do you use to convert 24bit .pafs to 24bit .wavs for Cubase = 3.0? > Thanks for your suggestions as always! > Tom > > > > I choose Polesoft Lockspam to fight spam, and you? > http://www.polesoft.com/refer.html =20 ------=_NextPart_000_0023_01C6B711.9EE0AF90 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Rick, Positive. Wavelab 3 is 1999 = vintage. I=20 almost never use it anyway. I send my = work to=20 pros. I'm using a Delta 66=20 which does go up to 24bit. Tom <BLOCKQUOTE=20 style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> "rick" <<A=20 href=3D"mailto:parnell68@hotmail.com">parnell68@hotmail.com> = wrote in=20 message <A=20 = href=3D"news:ufh4d2t2p146obrbmj4fv3eruj4violofr@4ax.com">news:ufh4d2t2p14= 6obrbmj4fv3eruj4violofr@4ax.com... are=20 you sure it's not your soundcard limiting the bit rate in = wavelab? On=20 Thu, 3 Aug 2006 11:08:31 -0400, "Tom Bruhl" <<A=20 = href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote:= >DJ, >I=20 have old Wavelab 3 and it only works with 16 bit pafs. It's=20 also >in another computer. I don't think it will be my = best=20 option. >Tom > "DJ" <<A=20 = href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole= _@animas.net>=20 wrote in message <A=20 = href=3D"news:44d20dac$1@linux">news:44d20dac$1@linux... > = =20 Tom, > > If you've got Wavelab, just render the = ..paf's so=20 that they all have a 00:00 starting point, then batch process them as = ..wavs in=20 WL. I do this over a gigabit LAN network with the destination set to = the audio=20 file of a corresponding Cubase project and then they are ready to = import to=20 the Cubase project when I open it up. Very smooth=20 procedure. > > = Deej > > "Tom=20 Bruhl" <arpegio@comcast.net>=20 wrote in message <A=20 = href=3D"news:44d173db@linux">news:44d173db@linux... > &nbs= p; =20 I have a jazz session coming up and the producer wants=20 to > mix on Cubase at his place if my two mix = isn't=20 all there. We are > recording all = tracks live=20 here to Paris multitrack. We'll be at 24 bit = > =20 and don't expect overdubs. I think all tracks will automatically = line up=20 right? > > What do you use to convert = 24bit=20 .pafs to 24bit .wavs for Cubase 3.0? > Thanks = for your=20 suggestions as always! > =20 Tom > > > > I choose = Polesoft=20 Lockspam to fight spam, and you? > <A=20 = href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer= ..html</A&g
keep checking > >>back. Congrats John. >> >>Tony >> >> >>"John Macy" <spamlessjohn@johnmacy.com> wrote in message >>news:44d140f7$1@linux... >>> >>> Richie Furay, founder of Buffalo Springfield and Poco >>> has released his first secular CD in many, many years >>> called "Heartbeat of Love". It features a stellar band >>> of studio players from Nashville, and has lots of guests >>> including Neil Young, Stephen Stills, Timothy B. Schmitt, >>> Kenny Loggins, Paul Cotton, Rusty Young, Jim Horn and others. >>> >>> I had the honor of recording, mixing and co-producing the >>> record. It was tracked at Quad Studios in Nashville (where >>> "Harvest" and many other classic records were done) into >>> ProTools, but all of the overdubs and the mix were done in >>> Paris here in Colorado. >>> >>> If you are a fan of classic Southern Cal country rock, you'll >>> like this one. It is currently available at Richie's website, >>> along with a just released autobiography, at: >>> >>> www.richiefuray.com >>> >>> :) >>> >>> >> >> >Melodyne should be able to do this, but it's been a while since I messed around with the demo. I was just about ready to by Melodyne, when DP added great pitch shifting features right into the program. Yeah for me! ;>) Tony "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:44d24d41@linux... > Does Melodyne do this? I've heard it can pretty much do anything. > > > "EK Sound" <askme@nospam.com> wrote in message news:44d24a9c$1@linux... >> Hey all, >> >> I am looking for a method of re-tuning vocals etc. whereby I can open >> an automation lane in Nuendo and simply bump the pitch up or down by >> up to 1 semitone. We have AT4 but the graphic mode is way too >> cumbersome to do simple fixes. Anyone have a suggestion on a plug >> that will work for this? >> >> Thanks, >> >> David. > >you're assuming I know anything about anything here Mark ;-) Don "Rob Arsenault" <mani2@nbnet.nb.ca> wrote in message news:44d26a79$1@linux... >I was messin round with bat files a while back, could have been one of my > creations. Basically, it was just a bat file that would start Paris and > the > AnalogX auto save app in one click. Just right click/edit the bat file,it > should be quite apparent what it does from the string. > > > "Don Nafe" <dnafe@magma.ca> wrote in message news:44d26587@linux... >> actually no but that's what I was looking for >> >> I have a file called Paris and autosave starter.bat anyone know what it >> is? >> >> DOn >> >> "Mark McCurdy" <gmmccurdy@hotmail.com> wrote in message >> news:44d2559c$1@linux... >> > Are you referring to AnalogX's utility? If not grab it... >> > >> > http://www.analogx.com/contents/download/audio.htm >> > >> > >> > >> > "Don Nafe" <dnafe@magma.ca> wrote in message news:44d2032f@linux... >> >>I see it is a .bat file....how or where is it installed >> >> >> >> thanks >> >> >> >> Don >> >> >> > >> > >> >> > >Melodyne. Select all-one click: done. You might check though because some words or lines sound better when they're not spot on:). Here you find their different versions http://www.celemony.com/cms/index.php?id=m3_comparison Best Ab EK Sound <askme@nospam.com> wrote: >Hey all, > >I am looking for a method of re-tuning vocals etc. whereby I can open >an automation lane in Nuendo and simply bump the pitch up or down by >up to 1 semitone. We have AT4 but the graphic mode is way too >cumbersome to do simple fixes. Anyone have a suggestion on a plug >that will work for this? > >Thanks, > >David.That's a seperate app though... all I want is a basic pitch plugin. A high quality VST or DX plug with a 1 semitone range, and the ability to manually draw an automation lane in Nuendo (so probably VST)... gotta be something simple out there.... David. Ab wrote: > Melodyne. Select all-one click: done. > You might check though because some words or lines sound better when they're > not spot on:). Here you find their different versions > http://www.celemony.com/cms/index.php?id=m3_comparison > > Best > Ab > > EK Sound <askme@nospam.com> wrote: > >>Hey all, >> >>I am looking for a method of re-tuning vocals etc. whereby I can open >>an automation lane in Nuendo and simply bump the pitch up or down by >>up to 1 semitone. We have AT4 but the graphic mode is way too >>cumbersome to do simple fixes. Anyone have a suggestion on a plug >>that will work for this? >> >>Thanks, >> >>David. > >http://www.gvst.co.uk/gsnap.htm EK Sound <askme@nospam.com> wrote: >That's a seperate app though... all I want is a basic pitch plugin. A >high quality VST or DX plug with a 1 semitone range, and the ability >to manually draw an automation lane in Nuendo (so probably VST)... >gotta be something simple out there.... > >David. > >Ab wrote: > >> Melodyne. Select all-one click: done. >> You might check though because some words or lines sound better when they're >> not spot on:). Here you find their different versions >> http://www.celemony.com/cms/index.php?id=m3_comparison >> >> Best >> Ab >> >> EK Sound <askme@nospam.com> wrote: >> >>>Hey all, >>> >>>I am looking for a method of re-tuning vocals etc. whereby I can open >>>an automation lane in Nuendo and simply bump the pitch up or down by >>>up to 1 semitone. We have AT4 but the graphic mode is way too >>>cumbersome to do simple fixes. Anyone have a suggestion on a plug >>>that will work for this? >>> >>>Thanks, >>> >>>David. >> >>>>>2. The GenX6 is an old one that is limited to 48k Oh, there's the problem... sorry, thought you had the 96k version like mine (Genx6-96). Neil "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Dear Dr. Neil and Uncle Ricky, > >1. 4 x MECs and a Mytek A/D converter are being clocked by a Lucid GenX6 >2. The GenX6 is an old one that is limited to 48k >3. Using the Mytek as a master clock hasn't been as successful as I had >hoped with Paris, therefore it is slaved to the Lucid. >4. The MECs are clocking 3 x RME cards via ADAT sync. >5. Simultaneously hooking up a WC to the RME cards while they are synced to >Paris ADAT causes the system to crash hard. >6. The Three RME cards have 75 ohm terminator caps on the BNC clock outputs. >7. The three RME cards do not have terminators on the BNC clock inputs >8. In order to use the RME cards in standalone mode at 44.1, I have to have >the Paris DAW and MECs running and Paris booted. >9. Cubase cannot be run at over 48k unless it is using the RME clock >10. In order to use the RME clock, I would have to daisy chain the RME cards >which would mean disconnecting and reconnecting certain cables which would >have to be reconfigured after every session and this would require some >minimal effore on my part involving approsximately 5 bending and stretching >movements along with some possible rotational efforst involving the wrist, >not to mention the walk around the desk to the machine room. >11. If the Hosa clock was just hooked up to the the 3 x RME BNC inputs and >the Mytek converter BNC input, and tuned off, It would not be sending a >conflicting clock signal to the RME cards when they were being clocked from >the MECs and I wouldn't have to crawl around in my machine room and recable >a bunch of stuff. >12. If I wanted to record HiRez, I could just not boot the Paris DAW and >flip a switch to start the HOSA WC, the boot the Cubase DAW, make a couple >of chaznges to the settings in the HDSP control panel to change it from ADAT >sync to WC sync (an incredible hassle, but nothing is perfect, I guess) and >then I'b be good to go for 88.1 or 96k tracking to my Mytek A/D converter >and my Multiface. > >.........and truly guys, I can't possibly imagine why you would ask such a >question at all when something like this is so obvious in the first place. I >mean, this is on page 1 of the DAW 101 workbook.........right? > >;o) > >"rick" <parnell68@hotmail.com> wrote in message >news:4pe3d2lkg9ag4ogni2p14hh9kbf7c3qidp@4ax.com... >> i think you could be standing right in front of "the thing that ate >> deej's brain" for days and still miss something...in this case the you >> i used means any bipedal creature that gets a woody over gear. >> >> On 3 Aug 2006 11:08:30 +1000, "Neil" <OIUOIU@OIU.com> wrote: >> >> > >> >Deej, you shouldn't have to recable anything (OK, maybe I'm not >> >thinking specficially about YOUR rig lol!). When you're doing >> >Hi-Rez, just set your Cubase Project Setup menu to 96k (or >> >whatever), and your Multiface software settings to "external" >> >clock/sync; then when you're doing normal rez, set your Project >> >Setup dropdown menu to 44.1k, and your Multiface software >> >settings to "internal" clock/sync. >> > >> >Or have I missed something in your convoluted nightmare of an >> >Eniac system? lol >> > >> >Neil >> > >> > >> >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >> >>I may have to order one of these too. It's a real hassle to recable my >> >>Cubase rig for Hi Rez recording. With this I could hook it up, set it to >> >>96k, then keep it turned off while I'm using Paris, but if I don't want >> >to >> >>have Paris clocking the native DAW or need higher sample rates, I can >keep >> >>Paris turned off and just use the the little Hoser. >> >> >> >>;oD >> >> >> >>"Aaron Allen" <nospam@not_here.dude> wrote in message >news:44d14071@linux... >> >>> Nope, but I've ordered it. >> >>> AA >> >>> >> >>> >> >>> "rich" <studiodog_99@yahoo.com> wrote in message >news:44d104c0$1@linux... >> >>> > >> >>> > Thanks for the info - $80 and it sounds better than the Paris clock >> >- >> >>> > outstanding!! >> >>> > Anyone else have one yet? >> >>> > >> >>> > "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote: >> >>> >>That's the spec for the Hosa wdc-427. >> >>> >> >> >>> >>thanks, >> >>> >>-Carl >> >>> >> >> >>> >> >> >>> > >> >>> >> >>> >> >>> I choose Polesoft Lockspam to fight spam, and you? >> >>> http://www.polesoft.com/refer.html >> >>> >> >>> >> >> >> >> >> > >Since I can't have active WC cables hooked up to the RME cards while Paris is running even if I did have a 96k Lucid, I would be required to perform certain rotational wrist movements when connecting/disconnecting the cables from the RME cards as opposed to just flipping a switch on the Hosa, so ....... ;o) "Neil" <OIUOI@OI.com> wrote in message news:44d28705$1@linux... > > >>>2. The GenX6 is an old one that is limited to 48k > > Oh, there's the problem... sorry, thought you had the 96k > version like mine (Genx6-96). > > Neil > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >Dear Dr. Neil and Uncle Ricky, > > > >1. 4 x MECs and a Mytek A/D converter are being clocked by a Lucid GenX6 > >2. The GenX6 is an old one that is limited to 48k > >3. Using the Mytek as a master clock hasn't been as successful as I had > >hoped with Paris, therefore it is slaved to the Lucid. > >4. The MECs are clocking 3 x RME cards via ADAT sync. > >5. Simultaneously hooking up a WC to the RME cards while they are synced > to > >Paris ADAT causes the system to crash hard. > >6. The Three RME cards have 75 ohm terminator caps on the BNC clock outputs. > >7. The three RME cards do not have terminators on the BNC clock inputs > >8. In order to use the RME cards in standalone mode at 44.1, I have to have > >the Paris DAW and MECs running and Paris booted. > >9. Cubase cannot be run at over 48k unless it is using the RME clock > >10. In order to use the RME clock, I would have to daisy chain the RME cards > >which would mean disconnecting and reconnecting certain cables which would > >have to be reconfigured after every session and this would require some > >minimal effore on my part involving approsximately 5 bending and stretching > >movements along with some possible rotational efforst involving the wrist, > >not to mention the walk around the desk to the machine room. > >11. If the Hosa clock was just hooked up to the the 3 x RME BNC inputs and > >the Mytek converter BNC input, and tuned off, It would not be sending a > >conflicting clock signal to the RME cards when they were being clocked from > >the MECs and I wouldn't have to crawl around in my machine room and<br
t; >"rick" <parnell68@hotmail.com> wrote in message > >news:4pe3d2lkg9ag4ogni2p14hh9kbf7c3qidp@4ax.com... > >> i think you could be standing right in front of "the thing that ate > >> deej's brain" for days and still miss something...in this case the you > >> i used means any bipedal creature that gets a woody over gear. > >> > >> On 3 Aug 2006 11:08:30 +1000, "Neil" <OIUOIU@OIU.com> wrote: > >> > >> > > >> >Deej, you shouldn't have to recable anything (OK, maybe I'm not > >> >thinking specficially about YOUR rig lol!). When you're doing > >> >Hi-Rez, just set your Cubase Project Setup menu to 96k (or > >> >whatever), and your Multiface software settings to "external" > >> >clock/sync; then when you're doing normal rez, set your Project > >> >Setup dropdown menu to 44.1k, and your Multiface software > >> >settings to "internal" clock/sync. > >> > > >> >Or have I missed something in your convoluted nightmare of an > >> >Eniac system? lol > >> > > >> >Neil > >> > > >> > > >> >"DJ" <animix_spam-this-ahole_@animas.net> wrote: > >> >>I may have to order one of these too. It's a real hassle to recable > my > >> >>Cubase rig for Hi Rez recording. With this I could hook it up, set it > to > >> >>96k, then keep it turned off while I'm using Paris, but if I don't want > >> >to > >> >>have Paris clocking the native DAW or need higher sample rates, I can > >keep > >> >>Paris turned off and just use the the little Hoser. > >> >> > >> >>;oD > >> >> > >> >>"Aaron Allen" <nospam@not_here.dude> wrote in message > >news:44d14071@linux... > >> >>> Nope, but I've ordered it. > >> >>> AA > >> >>> > >> >>> > >> >>> "rich" <studiodog_99@yahoo.com> wrote in message > >news:44d104c0$1@linux... > >> >>> > > >> >>> > Thanks for the info - $80 and it sounds better than the Paris clock > >> >- > >> >>> > outstanding!! > >> >>> > Anyone else have one yet? > >> >>> > > >> >>> > "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote: > >> >>> >>That's the spec for the Hosa wdc-427. > >> >>> >> > >> >>> >>thanks, > >> >>> >>-Carl > >> >>> >> > >> >>> >> > >> >>> > > >> >>> > >> >>> > >> >>> I choose Polesoft Lockspam to fight spam, and you? > >> >>> http://www.polesoft.com/refer.html > >> >>> > >> >>> > >> >> > >> >> > >> > > > > >I read a bit about it. Looks like a real hassle to me. "James McCloskey" <excelsm@hotmail.com> wrote in message news:44d2623b$1@linux... > > Did anybody try the Analog X Paris MIDI Automation? Just wondering how well > it worked? > > JamesI've always used melodyne as a stand alone, but it is supposed to work like a plugin in Melodye Bridge mode, with some host programs. CLI don't think the quality would be very high going this route (i.e. automation within Nuendo rather than the pitch correct plugin as realtime algorithms can suffer a bit - I've never been fond of Autotune, even in graphical mode). Here is a list of everything on the kvraudio site, fwiw: http://www.kvraudio.com/get.php?mode=results&st=adv& soft=e&type%5B%5D=68&f=0 &fe=vst&win=1&free=1&com=1&un=1&sf=0 &receptor=&sort=2&rpp=45 Regards, Dedric On 8/3/06 4:46 PM, in article 44d27bd0$1@linux, "EK Sound" <askme@nospam.com> wrote: > That's a seperate app though... all I want is a basic pitch plugin. A > high quality VST or DX plug with a 1 semitone range, and the ability > to manually draw an automation lane in Nuendo (so probably VST)... > gotta be something simple out there.... > > David. > > Ab wrote: > >> Melodyne. Select all-one click: done. >> You might check though because some words or lines sound better when they're >> not spot on:). Here you find their different versions >> http://www.celemony.com/cms/index.php?id=m3_comparison >> >> Best >> Ab >> >> EK Sound <askme@nospam.com> wrote: >> >>> Hey all, >>> >>> I am looking for a method of re-tuning vocals etc. whereby I can open >>> an automation lane in Nuendo and simply bump the pitch up or down by >>> up to 1 semitone. We have AT4 but the graphic mode is way too >>> cumbersome to do simple fixes. Anyone have a suggestion on a plug >>> that will work for this? >>> >>> Thanks, >>> >>> David. >> >>thank you for your support...sniff sniff. On Thu, 3 Aug 2006 13:45:45 -0600, "DJ" <animix_spam-this-ahole_@animas.net> wrote: >It5 would actually probably grow legs and chase him around the room > >;o) > >"Tony Benson" <tony@standinghampton.com> wrote in message >news:44d0d213@linux... >> Rick, >> >> Did you piss off a Voodoo Priestess at some point? I think you may be >> cursed. ;>) Seriously, in the nearly 20 years I've been using Macs, I >> haven't had even a fraction of the troubles you've had with that one >> machine. If I could afford to do so, I'd send you out one of my (perfectly >> normal working) Macs, and let you use it for a while. If my hypothesis is >> correct, it should crash right after you turn it on. ;>) >> >> What does loosing half the OS even mean??? Really, I'm curious as to how >> that could happen. What were the symptoms, errors, etc.? >> >> Tony >> >> >> "rick" <parnell68@hotmail.com> wrote in message >> news:rq4uc2tv62t01ioqva29ebj65l2iu87ud6@4ax.com... >> > >> > "maybe if I turned the Mac on as well.." >> > unfortunately that doesn't always work either. >> > >> > ;o)...i'm still trying to figure out why/how half the OS disappeared >> > the other day... >> > >> > On Mon, 31 Jul 2006 17:49:25 -0500, Paul Braun >> > <cygnus_nospam@ctgonline.org> wrote: >> > >> >>On Mon, 31 Jul 2006 16:43:10 -0400, "Don Nafe" <dnafe@magma.ca> wrote: >> >> >> >>>Turn your amp on >> >>> >> >>>Sorry had to >> >>> >> >>Thanks! Well, that, plus maybe if I turned the Mac on as well... >> >> >> >>;-P >> > >> >> >I got the opportunity to go to a local studio that is pretty well known. Some big acts are associated with this place and I was expecting quite a show. I expected something fancy, but it was just the opposite. It was very small, cluttered and disorganized. They had a lot of noisy channels on there board that they had to keep rerouting because it was screwing up the takes. Luckily the takes that got screwed were just for scratch instruments. There didn't seem to be any concern for the "sound" or "tone". It was just set the levels and go. The band were friends of mine and I was there to observe. I was also acting as the guitar tech. I kept my mouth shut and just watched never revealing that I was really there to see if I could learn something. The band is a latin band and consists of two acoustic/electric guitars, electric bass, hand percussion and vocals. They mic'd the congas etc.. with seinhiser spots and two KM64's for OH's. They sounded good. He was compressing them to track I think. I don't know what type of comp he was using though. They were recording to ProTools system. All in all I was not impressed with what I heard or saw. We will see what tonite brings. I don't think I was disappointed in the sound because of Protools I think it was the lack of effort spent upfront getting the right sound. Ofcourse they do this every day and I hardly do it at all so what do I know. Anyway..... We tracked the hand percussion last night and are going to do the bass and guitars tonite. They were recording without a click. So it should be interesting to see them try to play along with a rollercoaster of congas. Ok later... btestThat's cuz they are professionals ! "Brandon" <a@a.com> wrote: > >I got the opportunity to go to a local studio that is pretty well known. >Some big acts are associated with this place and I was expecting quite a >show. >I expected something fancy, but it was just the opposite. >It was very small, cluttered and disorganized. >They had a lot of noisy channels on there board that they had to keep rerouting >because it was screwing up the takes. >Luckily the takes that got screwed were just for scratch instruments. There >didn't seem to be any concern for the "sound" or "tone". It was just set >the levels and go. The band were friends of mine and I was there to observe. >I was also acting as the guitar tech. I kept my mouth shut and just watched >never revealing that I was really there to see if I could learn something. >The band is a latin band and consists of two acoustic/electric guitars, electric >bass, hand percussion and vocals. They mic'd the congas etc.. with seinhiser >spots and two KM64's for OH's. They sounded good. He was compressing them >to track I think. I don't know what type of comp he was using though. They >were recording to ProTools system. All in all I was not impressed with what >I heard or saw. We will see what tonite brings. I don't think I was disappointed >in the sound because of Protools I think it was the lack of effort spent >upfront getting the right sound. Ofcourse they do this every day and I hardly >do it at all so what do I know. Anyway..... We tracked the hand percussion >last night and are going to do the bass and guitars tonite. They were recording >without a click. So it should be interesting to see them try to play along >with a rollercoaster of congas. Ok later... >bThere is a studio in this area that has been here for 20+ years and has done work with just about every musician within 200 miles of here. I respect anyone who has been doing this kind of work and making a living at it for 20+ years and when we moved here I purposely did not undercut the prices of this other studio. I felt that this would be wrong. It's a small town and I was the new kid. As time passed and a few folks trickled through here I made every effort to give them the best sound I could out of this studio. I have heard comments from some oif them praising the extra effort I take as I am trying out different mics and mic placements. They don't seem to have been provided this elsewhere from what I can tell and are very happy and flattered by it. I don't know for sure because I'm not at the sessions at the other studio and quite frankly, I like the engineer at this studio and as I said, I respect his abilities because he has made a go of it. In any event, the clients have kept returning here of their own free will so I guess that's the bottom line. Pay attention to what they are doing in this other studio and learn what you can......then improve on it if you can. Deej "john" <no@no.com> wrote in message news:44d35cab$1@linux... > > That's cuz they are professionals ! > > "Brandon" <a@a.com> wrote: > > > >I got the opportunity to go to a local studio that is pretty well known. > >Some big acts are associated with this place and I was expecting quite a > >show. > >I expected something fancy, but it was just the opposite. > >It was very small, cluttered and disorganized. > >They had a lot of noisy channels on there board that they had to keep rerouting > >because it was screwing up the takes. > >Luckily the takes that got screwed were just for scratch instruments. There > >didn't seem to be any concern for the "sound" or "tone". It was just set > >the levels and go. The band were friends of mine and I was there to observe. > >I was also acting as the guitar tech. I kept my mouth shut and just watched > >never revealing that I was really there to see if I could learn something. > >The band is a latin band and consists of two acoustic/electric guitars, > electric > >bass, hand percussion and vocals. They mic'd the congas etc.. with seinhiser > >spots and two KM64's for OH's. They sounded good. He was compressing them > >to track I think. I don't know what type of comp he was using though. They > >were recording to ProTools system. All in all I was not impressed with what > >I heard or saw. We will see what tonite brings. I don't think I was disappointed > >in the sound because of Protools I think it was the lack of effort spent > >upfront getting the right sound. Ofcourse they do this every day and I hardly > >do it at all so what do I know. Anyway..... We tracked the hand percussion > >last night and are going to do the bass and guitars tonite. They were recording > >without a click. So it should be interesting to see them try to play along > >with a rollercoaster of congas. Ok later... > >b >You want me to loan you my shotgun so you can put that Mac out of it's misery???........or you could just send it to someone you don't like......(****!!! now I'm gonna have to beware of packages with Michigan postmarks) ;oP "rick" <parnell68@hotmail.com> wrote in message news:i026d21m9472hcscpi87gv6e0aucv8lbsg@4ax.com... > thank you for your support...sniff sniff. > > On Thu, 3 Aug 2006 13:45:45 -0600, "DJ" > <animix_spam-this-ahole_@animas.net> wrote: > > >It5 would actually probably grow legs and chase him around the room > > > >;o) > > > >"Tony Benson" <tony@standinghampton.com> wrote in message > >news:44d0d213@linux... > >> Rick, > >> > >> Did you piss off a Voodoo Priestess at some point? I think you may be > >> cursed. ;>) Seriously, in the nearly 20 years I've been using Macs, I > >> haven't had even a fraction of the troubles you've had with that one > >> machine. If I could afford to do so, I'd send you out one of my (perfectly > >> normal working) Macs, and let you use it for a while. If my hypothesis is > >> correct, it should crash right after you turn it on. ;>) > >> > >> What does loosing half the OS even mean??? Really, I'm curious as to how > >> that could happen. What were the symptoms, errors, etc.? > >> > >> Tony > >> > >> > >> "rick" <parnell68@hotmail.com> wrote in message > >> news:rq4uc2tv62t01ioqva29ebj65l2iu87ud6@4ax.com... > >> > > >> > "maybe if I turned the Mac on as well.." > >> > unfortunately that doesn't always work either. > >> > > >> > ;o)...i'm still trying to figure out why/how half the OS disappeared > >> > the other day... > >> > > >> > On Mon, 31 Jul 2006 17:49:25 -0500, Paul Braun > >> > <cygnus_nospam@ctgonline.org> wrote: > >> > > >> >>On Mon, 31 Jul 2006 16:43:10 -0400, "Don Nafe" <dnafe@magma.ca> wrote: > >> >> > >> >>>Turn your amp on > >> >>> > >> >>>Sorry had to > >> >>> > >> >>Thanks! Well, that, plus maybe if I turned the Mac on as well... > >> >> > >> >>;-P > >> > > >> > >> > > >I don't mean to be disrepectful to the engineer. I am envy his experience. I am not trying to say I am better than him or anything like that. It's just it seems like in a way these guys aren't getting what they paid for. I guess when you don't know what you are supposed to be getting, which is the case with this band, you just go with the flow and are afraid to speak up. These guys do not really know everything that goes into making a "professional" recording. They just want to play their parts and say "I felt good about that take." However, in the end they are going to leave with a sub par recording and not really know why. I don't know...I just expected more. Maybe I had the wrong impression to begin with. I just think the engineer should at least give some direction when he knows these guys are new to recording. When they ask his opinion on what would be the best course to proceed he just tells them "what ever you guys want." He doesn't give any direction or pro's or con's etc... I think that would be important info to give your customer. Especially if you want them to understand their results and come back again and again. We will see how the rest of the project goes. We are just tracking. Maybe this guy will pull some kind of majic during the mixing and mastering. B -- Brandon Goodwin Process Engineering Pentech Assembly "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:44d36ca2$1@linux... > There is a studio in this area that has been here for 20+ years and has done > work with just about every musician within 200 miles of here. I respect > anyone who has been doing this kind of work and making a living at it for > 20+ years and when we moved here I purposely did not undercut the prices of > this other studio. I felt that this would be wrong. It's a small town and I > was the new kid. As time passed and a few folks trickled through here I made > every effort to give them the best sound I could out of this studio. I have > heard comments from some oif them praising the extra effort I take as I am > trying out different mics and mic placements. They don't seem to have been > provided this elsewhere from what I can tell and are very happy and > flattered by it. I don't know for sure because I'm not at the sessions at > the other studio and quite frankly, I like the engineer at this studio and > as I said, I respect his abilities because he has made a go of it. In any > event, the clients have kept returning here of their own free will so I > guess that's the bottom line. Pay attention to what they are doing in this > other studio and learn what you can......then improve on it if you can. > > Deej > "john" <no@no.com> wrote in message news:44d35cab$1@linux... > > > > That's cuz they are professionals ! > > > > "Brandon" <a@a.com> wrote: > > > > > >I got the opportunity to go to a local studio that is pretty well known. > > >Some big acts are associated with this place and I was expecting quite a > > >show. > > >I expected something fancy, but it was just the opposite. > > >It was very small, cluttered and disorganized. > > >They had a lot of noisy channels on there board that they had to keep > rerouting > > >because it was screwing up the takes. > > >Luckily the takes that got screwed were just for scratch instruments. > There > > >didn't seem to be any concern for the "sound" or "tone". It was just set > > >the levels and go. The band were friends of mine and I was there to > observe. > > >I was also acting as the guitar tech. I kept my mouth shut and just > watched > > >never revealing that I was really there to see if I could learn > something. > > >The band is a latin band and consists of two acoustic/electric guitars, > > electric > > >bass, hand percussion and vocals. They mic'd the congas etc.. with > seinhiser > > >spots and two KM64's for OH's. They sounded good. He was compressing them > > >to track I think. I don't know what type of comp he was using though. > They > > >were recording to ProTools system. All in all I was not impressed with > what > > >I heard or saw. We will see what tonite brings. I don't think I was > disappointed > > >in the sound because of Protools I think it was the lack of effort spent > > >upfront getting the right sound. Ofcourse they do this every day and I > hardly > > >do it at all so what do I know. Anyway..... We tracked the hand > percussion > > >last night and are going to do the bass and guitars tonite. They were > recording > > >without a click. So it should be interesting to see them try to play > along > > >with a rollercoaster of congas. Ok later... > > >b > > > >>It's just it seems like in a way these guys aren't getting what they paid for.< This is the same impression that I got from my clients and it may well be true. I'd say that if a client has prior studio experience (ie-has a point of reference) and is unhappy with the current studio experience then the client isn't getting his/her money's worth, unless,of course, the client always sucked and is just looking for a geographic cure, in which case they will suck anywhere they go anyway. "Brandon" <a@a.com> wrote in message news:44d3751f$1@linux... > I don't mean to be disrepectful to the engineer. I am envy his > experience. > I am not trying to say I am better than him or anything like that. > It's just it seems like in a way these guys aren't getting what they paid > for. > I guess when you don't know what you are supposed to be getting, which > is the case with this band, you just go with the flow and are afraid to > speak up. > These guys do not really know everything that goes into making a > "professional" > recording. They just want to play their parts and say "I felt good about > that take." > However, in the end they are going to leave with a sub par recording and not > really know why. > I don't know...I just expected more. Maybe I had the wrong impression to > begin with. > I just think the engineer should at least give some direction when he knows > these guys are > new to recording. When they ask his opinion on what would be the best course > to proceed > he just tells them "what ever you guys want." He doesn't give any direction > or pro's or > con's etc... I think that would be important info to give your customer. > Especially if > you want them to understand their results and come back again and again. > We will see how the rest of the project goes. > We are just tracking. > Maybe this guy will pull some kind of majic during the mixing and mastering. > B > > > > -- > Brandon Goodwin > > Process Engineering > Pentech Assembly > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message > news:44d36ca2$1@linux... > > There is a studio in this area that has been here for 20+ years and has > done > > work with just about every musician within 200 miles of here. I respect > > anyone who has been doing this kind of work and making a living at it for > > 20+ years and when we moved here I purposely did not undercut the prices > of > > this other studio. I felt that this would be wrong. It's a small town and > I > > was the new kid. As time passed and a few folks trickled through here I > made > > every effort to give them the best sound I could out of this studio. I > have > > heard comments from some oif them praising the extra effort I take as I am > > trying out different mics and mic placements. They don't seem to have been > > provided this elsewhere from what I can tell and are very happy and > > flattered by it. I don't know for sure because I'm not at the sessions at > > the other studio and quite frankly, I like the engineer at this studio and > > as I said, I respect his abilities because he has made a go of it. In any > > event, the clients have kept returning here of their own free will so I > > guess that's the bottom line. Pay attention to what they are doing in this > > other studio and learn what you can......then improve on it if you can. > > > > Deej > > "john" <no@no.com> wrote in message news:44d35cab$1@linux... > > > > > > That's cuz they are professionals ! > > > > > > "Brandon" <a@a.com> wrote: > > > > > > > >I got the opportunity to go to a local studio that is pretty well > known. > > > >Some big acts are associated with this place and I was expecting quite > a > > > >show. > > > >I expected something fancy, but it was just the opposite. > > > >It was very small, cluttered and disorganized. > > > >They had a lot of noisy channels on there board that they had to keep > > rerouting > > > >because it was screwing up the takes. > > > >Luckily the takes that got screwed were just for scratch instruments. > > There > > > >didn't seem to be any concern for the "sound" or "tone". It was just > set > > > >the levels and go. The band were friends of mine and I was there to > > observe. > > > >I was also acting as the guitar tech. I kept my mouth shut and just > > watched > > > >never revealing that I was really there to see if I could learn > > something. > > > >The band is a latin band and consists of two acoustic/electric guitars, > > > electric > > > >bass, hand percussion and vocals. They mic'd the congas etc.. with > > seinhiser > > > >spots and two KM64's for OH's. They sounded good. He was compressing > them > > > >to track I think. I don't know what type of comp he was using though. > > They > > > >were recording to ProTools system. All in all I was not impressed with > > what > > > >I heard or saw. We will see what tonite brings. I don't think I was > > disappointed > > > >in the sound because of Protools I think it was the lack of effort > spent > > > >upfront getting the right sound. Ofcourse they do this every day and I > > hardly > > > >do it at all so what do I know. Anyway..... We tracked the hand > > percussion > > > >last night and are going to do the bass and guitars tonite. They were > > recording > > > >without a click. So it should be interesting to see them try to play > > along > > > >with a rollercoaster of congas. Ok later... > > > >b > > > > > > > > >Wow, got here just in time for the Cease-fire in a civil war I didn't even know was going on. Soldiers, young and old, armed with machine guns, randomly pulling over taxis, cars, pedestrains; searches, questions, jaded looks... warnings from hotel staff not to go out of the hotel after sunset. But hey, the food is cheap and good. Get this, top-shelf booze for about a third the average US price. Better yet... the math is simple for currency conversion. 100r = $1. Gave up a week ago trying to do the time zone math. And ooooooooohhhh the HUMIDITY over here. Having fun... back to Seattle on Monday via Seoul & Hong Kong.... 26 hours of flying time. I'm thinkin' it'd be easier just to go straight up, go geo-stationary and wait for Seattle to come by and then just drop straight back down. Anybody with me on that one? Hand-squeezed Tequila Sour in hand.... $1.40 w/tax.... keeps the humidity at arms length. W out "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message news:44cf5841$1@linux... > > Singapore???? What the heck are you doing over there? > Like Deej said. HVBBC > "Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote: >>W. >> >>Off to Sri Lanka in a few hours. Spicey gig at the Columbo Holiday Inn. > >> >> >Rod, it's a low budget thing that is affording me and the wife a decent vacation at little or no cost. By the time my wife gets through snagging all the "deals," we might as well have spent the dough on a regular vacation. W "Rod Lincoln" <rlincoln@nospam.kc.rr.com> > Singapore???? What the heck are you doing over there?I've been an AMD buyer/user for a long time. Very comfortable with DFI and ASUS mobos and equipment. But check this out. http://www.tomshardware.com/2006/08/02/thg_tuning_test/ A hopped up best of breed Intel chip beats the daylights out of the hopped up top of the line AMD. I mean destroys it.Is this studio also hired as the producer of this project? I certainly understand where you're coming from Brandon - however I don't see it as the engineers fault if no one communicates what they need to him. You guys need to talk this out a bit (especially if they feel like it's not going to turn out right) - and, one of the best things you can do is take some material to the engineer that you expect it to sound like. best of luck, -Carl "Brandon" <a@a.com> wrote in message news:44d3751f$1@linux... > I don't mean to be disrepectful to the engineer. I am envy his > experience. > I am not trying to say I am better than him or anything like that. > It's just it seems like in a way these guys aren't getting what they paid > for. > I guess when you don't know what you are supposed to be getting, which > is the case with this band, you just go with the flow and are afraid to > speak up. > These guys do not really know everything that goes into making a > "professional" > recording. They just want to play their parts and say "I felt good about > that take." > However, in the end they are going to leave with a sub par recording and not > really know why. > I don't know...I just expected more. Maybe I had the wrong impression to > begin with. > I just think the engineer should at least give some direction when he knows > these guys are > new to recording. When they ask his opinion on what would be the best course > to proceed > he just tells them "what ever you guys want." He doesn't give any direction > or pro's or > con's etc... I think that would be important info to give your customer. > Especially if > you want them to understand their results and come back again and again. > We will see how the rest of the project goes. > We are just tracking. > Maybe this guy will pull some kind of majic during the mixing and mastering. > B > > > > -- > Brandon Goodwin > > Process Engineering > Pentech Assembly > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message > news:44d36ca2$1@linux... > > There is a studio in this area that has been here for 20+ years and has > done > > work with just about every musician within 200 miles of here. I respect > > anyone who has been doing this kind of work and making a living at it for > > 20+ years and when we moved here I purposely did not undercut the prices > of > > this other studio. I felt that this would be wrong. It's a small town and > I > > was the new kid. As time passed and a few folks trickled through here I > made > > every effort to give them the best sound I could out of this studio. I > have > > heard comments from some oif them praising the extra effort I take as I am > > trying out different mics and mic placements. They don't seem to have been > > provided this elsewhere from what I can tell and are very happy and > > flattered by it. I don't know for sure because I'm not at the sessions at > > the other studio and quite frankly, I like the engineer at this studio and > > as I said, I respect his abilities because he has made a go of it. In any > > event, the clients have kept returning here of their own free will so I > > guess that's the bottom line. Pay attention to what they are doing in this > > other studio and learn what you can......then improve on it if you can. > > > > Deej > > "john" <no@no.com> wrote in message news:44d35cab$1@linux... > > > > > > That's cuz they are professionals ! > > > > > > "Brandon" <a@a.com> wrote: > > > > > > > >I got the opportunity to go to a local studio that is pretty well > known. > > > >Some big acts are associated with this place and I was expecting quite > a > > > >show. > > > >I expected something fancy, but it was just the opposite. > > > >It was very small, cluttered and disorganized. > > > >They had a lot of noisy channels on there board that they had to keep > > rerouting > > > >because it was screwing up the takes. > > > >Luckily the takes that got screwed were just for scratch instruments. > > There > > > >didn't seem to be any concern for the "sound" or "tone". It was just > set > > > >the levels and go. The band were friends of mine and I was there to > > observe. > > > >I was also acting as the guitar tech. I kept my mouth shut and just > > watched > > > >never revealing that I was really there to see if I could learn > > something. > > > >The band is a latin band and consists of two acoustic/electric guitars, > > > electric > > > >bass, hand percussion and vocals. They mic'd the congas etc.. with > > seinhiser > > > >spots and two KM64's for OH's. They sounded good. He was compressing > them > > > >to track I think. I don't know what type of comp he was using though. > > They > > > >were recording to ProTools system. All in all I was not impressed with > > what > > > >I heard or saw. We will see what tonite brings. I don't think I was > > disappointed > > > >in the sound because of Protools I think it was the lack of effort > spent > > > >upfront getting the right sound. Ofcourse they do this every day and I > > hardly > > > >do it at all so what do I know. Anyway..... We tracked the hand > > percussion > > > >last night and are going to do the bass and guitars tonite. They were > > recording > > > >without a click. So it should be interesting to see them try to play > > along > > > >with a rollercoaster of congas. Ok later... > > > >b > > > > > > > > >Looks like about a 20% difference. "TCB" <nobody@ishere.com> wrote: > >I've been an AMD buyer/user for a long time. Very comfortable with DFI and >ASUS mobos and equipment. But check this out. > >http://www.tomshardware.com/2006/08/02/thg_tuning_test/ > >A hopped up best of breed Intel chip beats the daylights out of the hopped >up top of the line AMD. I mean destroys it.Hey Thad, We have been really enjoying the heck out of Intel in our new designs for some time now. Killer performance and Smooth as Glass :) Hey - we are in our new showroom , this time nice and easy to get from anywhere , unlike our temp locale that felt like we were above the tree line in the Baltic Circle :) http://www.eastcoastmusic.com/starr_rd1.htm How's things by you ? Morgan TCB wrote: > I've been an AMD buyer/user for a long time. Very comfortable with DFI and > ASUS mobos and equipment. But check this out. > > http://www.tomshardware.com/2006/08/02/thg_tuning_test/ > > A hopped up best of breed Intel chip beats the daylights out of the hopped > up top of the line AMD. I mean destroys it.Welcome to the "real" world Brandon. Most real world studios are nowhere as pristine as most of the "project/home" studios out there, simply because there is not enough time to maintain equipment...you just quickly find a work-around and get on with it, then that work-around becomes the norm, and so on..... -- Martin Harrington www.lendanear-sound.com "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... > > I got the opportunity to go to a local studio that is pretty well known. > Some big acts are associated with this place and I was expecting quite a > show. > I expected something fancy, but it was just the opposite. > It was very small, cluttered and disorganized. > They had a lot of noisy channels on there board that they had to keep > rerouting > because it was screwing up the takes. > Luckily the takes that got screwed were just for scratch instruments. > There > didn't seem to be any concern for the "sound" or "tone". It was just set > the levels and go. The band were friends of mine and I was there to > observe. > I was also acting as the guitar tech. I kept my mouth shut and just > watched > never revealing that I was really there to see if I could learn something. > The band is a latin band and consists of two acoustic/electric guitars, > electric > bass, hand percussion and vocals. They mic'd the congas etc.. with > seinhiser > spots and two KM64's for OH's. They sounded good. He was compressing them > to track I think. I don't know what type of comp he was using though. They > were recording to ProTools system. All in all I was not impressed with > what > I heard or saw. We will see what tonite brings. I don't think I was > disappointed > in the sound because of Protools I think it was the lack of effort spent > upfront getting the right sound. Ofcourse they do this every day and I > hardly > do it at all so what do I know. Anyway..... We tracked the hand percussion > last night and are going to do the bass and guitars tonite. They were > recording > without a click. So it should be interesting to see them try to play along > with a rollercoaster of congas. Ok later... > bThat what my place is starting to resemble. I've got a few things here that need to be serviced bad, but either they are dual channel and one channel is still working and I'm using it or there's something else that isn't functioning quite properly and I need to go crawl around in the snake pit and identify whether it's a cabling issue, hardware issue, patchbay issue......etc. I have dedicated all day tomorrow to doing this and unracking a Focusrite RED7 and a Demeter comp for shipment out to have some more in depth maintenance done. I'm going to have to work around the Demeter in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can sub in for hardware with no problem. That's why I've got 4 cards I guess. ;o) "Martin Harrington" <lendan@bigpond.net.au> wrote in message news:44d3e42e$1@linux... > Welcome to the "real" world Brandon. > Most real world studios are nowhere as pristine as most of the > "project/home" studios out there, simply because there is not enough time to > maintain equipment...you just quickly find a work-around and get on with it, > then that work-around becomes the norm, and so on..... > -- > Martin Harrington > www.lendanear-sound.com > > "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... > > > > I got the opportunity to go to a local studio that is pretty well known. > > Some big acts are associated with this place and I was expecting quite a > > show. > > I expected something fancy, but it was just the opposite. > > It was very small, cluttered and disorganized. > > They had a lot of noisy channels on there board that they had to keep > > rerouting > > because it was screwing up the takes. > > Luckily the takes that got screwed were just for scratch instruments. > > There > > didn't seem to be any concern for the "sound" or "tone". It was just set > > the levels and go. The band were friends of mine and I was there to > > observe. > > I was also acting as the guitar tech. I kept my mouth shut and just > > watched > > never revealing that I was really there to see if I could learn something. > > The band is a latin band and consists of two acoustic/electric guitars, > > electric > > bass, hand percussion and vocals. They mic'd the congas etc.. with > > seinhiser > > spots and two KM64's for OH's. They sounded good. He was compressing them > > to track I think. I don't know what type of comp he was using though. They > > were recording to ProTools system. All in all I was not impressed with > > what > > I heard or saw. We will see what tonite brings. I don't think I was > > disappointed > > in the sound because of Protools I think it was the lack of effort spent > > upfront getting the right sound. Ofcourse they do this every day and I > > hardly > > do it at all so what do I know. Anyway..... We tracked the hand percussion > > last night and are going to do the bass and guitars tonite. They were > > recording > > without a click. So it should be interesting to see them try to play along > > with a rollercoaster of congas. Ok later... > > b > >HI Thad, The Intel chips don't need to be the extreme version to beat all of the AMD processors even the Opterons. About the only thing the Opterons will be them out on on is high sample rate high track count but not CPU power. Intel sent us boards and chips about 2 months ago for us to get bench marks out for the audio world and boy was I impressed. AMD has nothing real to offer in the desktop market for the next couple of years. Ouch. I hope they survive it. We are mainly qualifying motherboards atm for the woodcrest. The woodcrest has 30 to 40% edge over any of the current Opterons. An added plus is that all the conroe and woodcrest boards we've tested have complete compatibility with UAD and TC POwercore. ON the Opteron side there is only one motherboard that is fully compatible. All the rest have lots of issues with those DSP cards. Here are benchmarks from our site. http://www.adkproaudio.com/benchmarks.cfm We in the process of working on a new benchmark that tests more of the subsystems not just CPU and ram. But its gonna take a while sense we gotta make it so that other people can run it. At this point the only AMD systems I recommend are x2 939 systems and only if the person has a tight budget. The new AMD M2 processors are big disappointment. Barely any performance difference with the 939. Chris TCB wrote: > I've been an AMD buyer/user for a long time. Very comfortable with DFI and > ASUS mobos and equipment. But check this out. > > http://www.tomshardware.com/2006/08/02/thg_tuning_test/ > > A hopped up best of breed Intel chip beats the daylights out of the hopped > up top of the line AMD. I mean destroys it. -- Chris Ludwig ADK chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com> www.adkproaudio.com <http://www.adkproaudio.com/> (859) 635-5762this is the new mac and has been doing quite well for the most part. it's definitely better with logic than dp but i'm sure apple has intentionally done something in that arena to get people to switch. okay then, i'll cancel the case of microbrew beers i was going to send...such a shame...sigh. On Fri, 4 Aug 2006 09:52:44 -0600, "DJ" <animix_spam-this-ahole_@animas.net> wrote: >You want me to loan you my shotgun so you can put that Mac out of it's >misery???........or you could just send it to someone you don't >like......(****!!! now I'm gonna have to beware of packages with Michigan >postmarks) > >;oP > >"rick" <parnell68@hotmail.com> wrote in message >news:i026d21m9472hcscpi87gv6e0aucv8lbsg@4ax.com... >> thank you for your support...sniff sniff. >> >> On Thu, 3 Aug 2006 13:45:45 -0600, "DJ"<b
sure there are numerous reasons he keeps his mouth shut. Perhaps there was a conversation that no one else knows about in which he expressed what to expect to the percusionist. Anyway.. the engineer is a real cool guy and I hope to build a relationship with him. I was right about how the last session would turn out. It is grossly off time and they had a real hard time playing along with the out of time congas. Also there was no planning or guidance in the recording process so parts were recorded without lead in counts and time was wasted trying to record lead in instruments. I hate to be such a hard ass to my friends, but they felt that I was not worth the $25/hr I quoted them. They decided to go with a reputable local studio and pay double that and end up with 1/2 the quality. I will not tell them I told you so. Heck, next time I might just quote them $30/hr just because. ;-) Anyway I have got to know some of he band members better than before and they are a good bunch if guys. Just a shame they had to learn the hard way. The money they are using for the recording is community money(raised from gigs) so none of them are really attached to it persoanlly and are OK to just play their parts and go without too much concern of the final result. My guirist friend wants me their for the mix and final sessions. I am learning important lessons about studio business which I wasn't expecting. I really appreciate my friends letting me tag along. Ofcourse I am helping out loading and unloading, running for food, tuning guitars etc... fun stuff. b "Aaron Allen" <nospam@not_here.dude> wrote: >so it's back >> to the dummy cable insert into a non functioning patchpoint and the >> noise is gone. > >sounds awfully ground related man. >AA > >"rick" <parnell68@hotmail.com> wrote in message >news:68p8d21bhdl6dopvcqpe10u36pia2tql3i@4ax.com... >> work arounds is the operative word. for no reason that i have been >> able to suss out 2 channels started getting noise. checked all the >> wires and connections...nothing. routed the patch cables to other >> channels and noise followed the changes. then i plugged a patch cable >> into the patchpoint below the channel insert (not wired to anything >> and not touching the insert above and the noise disappeared. pull the >> whole thing apart again and check for bad connections or touching >> between 2 points and none exists. i even slid a piece of non >> conductive material between the connections and nothing. so it's back >> to the dummy cable insert into a non functioning patchpoint and the >> noise is gone. >> >> On Fri, 4 Aug 2006 21:44:12 -0600, "DJ" >> <animix_spam-this-ahole_@animas.net> wrote: >> >>>That what my place is starting to resemble. I've got a few things here >>>that >>>need to be serviced bad, but either they are dual channel and one channel >>>is >>>still working and I'm using it or there's something else that isn't >>>functioning quite properly and I need to go crawl around in the snake pit >>>and identify whether it's a cabling issue, hardware issue, patchbay >>>issue......etc. I have dedicated all day tomorrow to doing this and >>>unracking a Focusrite RED7 and a Demeter comp for shipment out to have >>>some >>>more in depth maintenance done. I'm going to have to work around the >>>Demeter >>>in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can sub >>>in >>>for hardware with no problem. That's why I've got 4 cards I guess. >>> >>>;o) >>> >>>"Martin Harrington" <lendan@bigpond.net.au> wrote in message >>>news:44d3e42e$1@linux... >>>> Welcome to the "real" world Brandon. >>>> Most real world studios are nowhere as pristine as most of the >>>> "project/home" studios out there, simply because there is not enough >>>> time >>>to >>>> maintain equipment...you just quickly find a work-around and get on with >>>it, >>>> then that work-around becomes the norm, and so on..... >>>> -- >>>> Martin Harrington >>>> www.lendanear-sound.com >>>> >>>> "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... >>>> > >>>> > I got the opportunity to go to a local studio that is pretty well >>>> > known. >>>> > Some big acts are associated with this place and I was expecting quite >>>> > a >>>> > show. >>>> > I expected something fancy, but it was just the opposite. >>>> > It was very small, cluttered and disorganized. >>>> > They had a lot of noisy channels on there board that they had to keep >>>> > rerouting >>>> > because it was screwing up the takes. >>>> > Luckily the takes that got screwed were just for scratch instruments. >>>> > There >>>> > didn't seem to be any concern for the "sound" or "tone". It was just >>>> > set >>>> > the levels and go. The band were friends of mine and I was there to >>>> > observe. >>>> > I was also acting as the guitar tech. I kept my mouth shut and just >>>> > watched >>>> > never revealing that I was really there to see if I could learn >>>something. >>>> > The band is a latin band and consists of two acoustic/electric >>>> > guitars, >>>> > electric >>>> > bass, hand percussion and vocals. They mic'd the congas etc.. with >>>> > seinhiser >>>> > spots and two KM64's for OH's. They sounded good. He was compressing >>>them >>>> > to track I think. I don't know what type of comp he was using though. >>>They >>>> > were recording to ProTools system. All in all I was not impressed with >>>> > what >>>> > I heard or saw. We will see what tonite brings. I don't think I was >>>> > disappointed >>>> > in the sound because of Protools I think it was the lack of effort >>>> > spent >>>> > upfront getting the right sound. Ofcourse they do this every day and I >>>> > hardly >>>> > do it at all so what do I know. Anyway..... We tracked the hand >>>percussion >>>> > last night and are going to do the bass and guitars tonite. They were >>>> > recording >>>> > without a click. So it should be interesting to see them try to play >>>along >>>> > with a rollercoaster of congas. Ok later... >>>> > b >>>> >>>> >>> >> > >Man I need to buy some more outboard gear. It just doesn't feel like a studio if you don't have huge racks of gear. "Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote: > >That's freak'n awesome looking! >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >>Man......it's been a long day. I just looked up and noticed it was dark >and >>my ears were numb. I'm getting ready to flip the switch for the night. I >>happened to turn around and look at the CR and decided to take a picture. >>There's lots of outboard gear and a couple of big power amps cranking. I >>wish this picture could convey temperature (pretty warm) and, well, it's >not >>really a smell, but then again it is when there is a lot of juice passing >>through outboard circuits.....plus.....I probably need a shower. Now if >>there was just an analog tape deck spinning at 30ips, it would smell like >a >>real studio. >> >> >> >Thanks all. I've spent 9 years figuring out the tools I need and how to use them (somewhat) proficiently. I'm still having second thoughts about the frankenstein DAW situation. It's sort of daunting to wanl in there and have to keep such an incredibly complicated routing matrix in mind all the time, but I'm slowly but surely refining it to where it's second nature. To be honest, it is taking me about 1/3 (or more) longer *per song* to mix something just because of this, but I have the luxury of this time right now because I'm mixing for *per unit* royalties on CD sales rather than by the hour (and a pretty big chunk) so the incentive is there for me to give it 120%. So far, the last project I did this way has sold almost 500 units in the last month so far and I'm getting $4.00 per unit. "Martin Harrington" <lendan@bigpond.net.au> wrote in message news:44d5683a$1@linux... > Great looking setup Deej, put many a "real" studio to shame.;o) > -- > Martin Harrington > www.lendanear-sound.com > > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message > news:44d56149@linux... > > Man......it's been a long day. I just looked up and noticed it was dark > > and > > my ears were numb. I'm getting ready to flip the switch for the night. I > > happened to turn around and look at the CR and decided to take a picture. > > There's lots of outboard gear and a couple of big power amps cranking. I > > wish this picture could convey temperature (pretty warm) and, well, it's > > not > > really a smell, but then again it is when there is a lot of juice passing > > through outboard circuits.....plus.....I probably need a shower. Now if > > there was just an analog tape deck spinning at 30ips, it would smell like > > a > > real studio. > > > > > > > >The fiend is closing these out for 79.00 http://www.musiciansfriend.com/product/Yamaha-Magicstomp-II- Guitar-Effects-Processor?sku=151560Looks cool man. I want you to turn knobs, so I can just play some music! DCHi Brandon, This band does not seem ready for the studio. They sound like they need more rehearing. AND, rehearsing with a drum machine or metronome. They should save their money, hire a Producer, then go into the studio.. This is like blind leading the blind.. "brandon" <a@a.com> wrote: > >Yes I can understand what you guys are saying. >I told the guitarist to ask the engineer what exactly his role was to be >as it was defined by the band member(percusionist) >that set up the service. The engineer was not hired as a producer and was >just to be a recording engineer. I understand that. I am sure there are numerous >reasons he keeps his mouth shut. Perhaps there was a conversation that no >one else knows about in which he expressed what to expect to the percusionist. >Anyway.. the engineer is a real cool guy and I hope to build a relationship >with him. I was right about how the last session >would turn out. It is grossly off time and they had a real hard time playing >along with the out of time congas. Also there was no planning or guidance >in the recording process so parts were recorded without lead in counts and >time was wasted trying to record lead in instruments. I hate to be such a >hard ass to my friends, but they felt that I was not worth the $25/hr I quoted >them. They decided to go with a reputable local studio and pay double that >and end up with 1/2 the quality. I will not tell them I told you so. Heck, >next time I might just quote them $30/hr just because. ;-) Anyway I have >got to know some of he band members better than before and they are a good >bunch if guys. Just a shame they had to learn the hard way. The money they >are using for the recording is community money(raised from gigs) so none >of them are really attached to it persoanlly and are OK to just play their >parts and go without too much concern of the final result. My guirist friend >wants me their for the mix and final sessions. I am learning important lessons >about studio business which I wasn't expecting. I really appreciate my friends >letting me tag along. Ofcourse I am helping out loading and unloading, running >for food, tuning guitars etc... >fun stuff. >b >"Aaron Allen" <nospam@not_here.dude> wrote: >>so it's back >>> to the dummy cable insert into a non functioning patchpoint and the >>> noise is gone. >> >>sounds awfully ground related man. >>AA >> >>"rick" <parnell68@hotmail.com> wrote in message >>news:68p8d21bhdl6dopvcqpe10u36pia2tql3i@4ax.com... >>> work arounds is the operative word. for no reason that i have been >>> able to suss out 2 channels started getting noise. checked all the >>> wires and connections...nothing. routed the patch cables to other >>> channels and noise followed the changes. then i plugged a patch cable >>> into the patchpoint below the channel insert (not wired to anything >>> and not touching the insert above and the noise disappeared. pull the >>> whole thing apart again and check for bad connections or touching >>> between 2 points and none exists. i even slid a piece of non >>> conductive material between the connections and nothing. so it's back >>> to the dummy cable insert into a non functioning patchpoint and the >>> noise is gone. >>> >>> On Fri, 4 Aug 2006 21:44:12 -0600, "DJ" >>> <animix_spam-this-ahole_@animas.net> wrote: >>> >>>>That what my place is starting to resemble. I've got a few things here > >>>>that >>>>need to be serviced bad, but either they are dual channel and one channel > >>>>is >>>>still working and I'm using it or there's something else that isn't >>>>functioning quite properly and I need to go crawl around in the snake >pit >>>>and identify whether it's a cabling issue, hardware issue, patchbay >>>>issue......etc. I have dedicated all day tomorrow to doing this and >>>>unracking a Focusrite RED7 and a Demeter comp for shipment out to have > >>>>some >>>>more in depth maintenance done. I'm going to have to work around the >>>>Demeter >>>>in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can sub > >>>>in >>>>for hardware with no problem. That's why I've got 4 cards I guess. >>>> >>>>;o) >>>> >>>>"Martin Harrington" <lendan@bigpond.net.au> wrote in message >>>>news:44d3e42e$1@linux... >>>>> Welcome to the "real" world Brandon. >>>>> Most real world studios are nowhere as pristine as most of the >>>>> "project/home" studios out there, simply because there is not enough > >>>>> time >>>>to >>>>> maintain equipment...you just quickly find a work-around and get on >with >>>>it, >>>>> then that work-around becomes the norm, and so on..... >>>>> -- >>>>> Martin Harrington >>>>> www.lendanear-sound.com >>>>> >>>>> "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... >>>>> > >>>>> > I got the opportunity to go to a local studio that is pretty well > >>>>> > known. >>>>> > Some big acts are associated with this place and I was expecting quite > >>>>> > a >>>>> > show. >>>>> > I expected something fancy, but it was just the opposite. >>>>> > It was very small, cluttered and disorganized. >>>>> > They had a lot of noisy channels on there board that they had to keep >>>>> > rerouting >>>>> > because it was screwing up the takes. >>>>> > Luckily the takes that got screwed were just for scratch instruments. >>>>> > There >>>>> > didn't seem to be any concern for the "sound" or "tone". It was just > >>>>> > set >>>>> > the levels and go. The band were friends of mine and I was there to >>>>> > observe. >>>>> > I was also acting as the guitar tech. I kept my mouth shut and just >>>>> > watched >>>>> > never revealing that I was really there to see if I could learn >>>>something. >>>>> > The band is a latin band and consists of two acoustic/electric >>>>> > guitars, >>>>> > electric >>>>> > bass, hand percussion and vocals. They mic'd the congas etc.. with >>>>> > seinhiser >>>>> > spots and two KM64's for OH's. They sounded good. He was compressing >>>>them >>>>> > to track I think. I don't know what type of comp he was using though. >>>>They >>>>> > were recording to ProTools system. All in all I was not impressed >with >>>>> > what >>>>> > I heard or saw. We will see what tonite brings. I don't think I was >>>>> > disappointed >>>>> > in the sound because of Protools I think it was the lack of effort > >>>>> > spent >>>>> > upfront getting the right sound. Ofcourse they do this every day and >I >>>>> > hardly >>>>> > do it at all so what do I know. Anyway..... We tracked the hand >>>>percussion >>>>> > last night and are going to do the bass and guitars tonite. They were >>>>> > recording >>>>> > without a click. So it should be interesting to see them try to play >>>>along >>>>> > with a rollercoaster of congas. Ok later... >>>>> > b >>>>> >>>>> >>>> >>> >> >> >i'll be triple checking all the connections but the other inserts that short out the noise are not connected or touching. it's just kinda weird that this should happen after 9 years. On Sat, 5 Aug 2006 12:23:16 -0500, "Aaron Allen" <nospam@not_here.dude> wrote: >so it's back >> to the dummy cable insert into a non functioning patchpoint and the >> noise is gone. > >sounds awfully ground related man. >AA > >"rick" <parnell68@hotmail.com> wrote in message >news:68p8d21bhdl6dopvcqpe10u36pia2tql3i@4ax.com... >> work arounds is the operative word. for no reason that i have been >> able to suss out 2 channels started getting noise. checked all the >> wires and connections...nothing. routed the patch cables to other >> channels and noise followed the changes. then i plugged a patch cable >> into the patchpoint below the channel insert (not wired to anything >> and not touching the insert above and the noise disappeared. pull the >> whole thing apart again and check for bad connections or touching >> between 2 points and none exists. i even slid a piece of non >> conductive material between the connections and nothing. so it's back >> to the dummy cable insert into a non functioning patchpoint and the >> noise is gone. >> >> On Fri, 4 Aug 2006 21:44:12 -0600, "DJ" >> <animix_spam-this-ahole_@animas.net> wrote: >> >>>That what my place is starting to resemble. I've got a few things here >>>that >>>need to be serviced bad, but either they are dual channel and one channel >>>is >>>still working and I'm using it or there's something else that isn't >>>functioning quite properly and I need to go crawl around in the snake pit >>>and identify whether it's a cabling issue, hardware issue, patchbay >>>issue......etc. I have dedicated all day tomorrow to doing this and >>>unracking a Focusrite RED7 and a Demeter comp for shipment out to have >>>some >>>more in depth maintenance done. I'm going to have to work around the >>>Demeter >>>in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can sub >>>in >>>for hardware with no problem. That's why I've got 4 cards I guess. >>> >>>;o) >>> >>>"Martin Harrington" <lendan@bigpond.net.au> wrote in message >>>news:44d3e42e$1@linux... >>>> Welcome to the "real" world Brandon. >>>> Most real world studios are nowhere as pristine as most of the >>>> "project/home" studios out there, simply because there is not enough >>>> time >>>to >>>> maintain equipment...you just quickly find a work-around and get on with >>>it, >>>> then that work-around becomes the norm, and so on..... >>>> -- >>>> Martin Harrington >>>> www.lendanear-sound.com >>>> >>>> "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... >>>> > >>>> > I got the opportunity to go to a local studio that is pretty well >>>> > known. >>>> > Some big acts are associated with this place and I was expecting quite >>>> > a >>>> > show. >>>> > I expected something fancy, but it was just the opposite. >>>> > It was very small, cluttered and disorganized. >>>> > They had a lot of noisy channels on there board that they had to keep >>>> > rerouting >>>> > because it was screwing up the takes. >>>> > Luckily the takes that got screwed were just for scratch instruments. >>>> > There >>>> > didn't seem to be any concern for the "sound" or "tone". It was just >>>> > set >>>> > the levels and go. The band were friends of mine and I was there to >>>> > observe. >>>> > I was also acting as the guitar tech. I kept my mouth shut and just >>>> > watched >>>> > never revealing that I was really there to see if I could learn >>>something. >>>> > The band is a latin band and consists of two acoustic/electric >>>> > guitars, >>>> > electric >>>> > bass, hand percussion and vocals. They mic'd the congas etc.. with >>>> > seinhiser >>>> > spots and two KM64's for OH's. They sounded good. He was compressing >>>them >>>> > to track I think. I don't know what type of comp he was using though. >>>They >>>> > were recording to ProTools system. All in all I was not impressed with >>>> > what >>>> > I heard or saw. We will see what tonite brings. I don't think I was >>>> > disappointed >>>> > in the sound because of Protools I think it was the lack of effort >>>> > spent >>>> > upfront getting the right sound. Ofcourse they do this every day and I >>>> > hardly >>>> > do it at all so what do I know. Anyway..... We tracked the hand >>>percussion >>>> > last night and are going to do the bass and guitars tonite. They were >>>> > recording >>>> > without a click. So it should be interesting to see them try to play >>>along >>>> > with a rollercoaster of congas. Ok later... >>>> > b >>>> >>>> >>> >> >damn nice deej but what's that white arrow that seems to move every time i move my mouse??? must be magic or something... On Sat, 5 Aug 2006 21:25:38 -0600, "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Wow! Friend is not accepting overseas customers. Would someone buy for me and send it over to Greece ,I can pay him with paypal plus paypal interest and shipping both ways ? Regards, Dimitrios "DC" <dc@spammersinjapan.org> wrote: > >The fiend is closing these out for 79.00 > > http://www.musiciansfriend.com/product/Yamaha-Magicstomp-II- Guitar-Effects-Processor?sku=151560Thank you guys. I have found similar price on ebay. So I can do it myself without bbothering any of you !! Regards, Dimitrios "Dimitrios" <musurgio@otenet.gr> wrote: > >Wow! >Friend is not accepting overseas customers. >Would someone buy for me and send it over to Greece ,I can pay him with paypal >plus paypal interest and shipping both ways ? >Regards, >Dimitrios > >"DC" <dc@spammersinjapan.org> wrote: >> >>The fiend is closing these out for 79.00 >> >> http://www.musiciansfriend.com/product/Yamaha-Magicstomp-II- Guitar-Effects-Processor?sku=151560 >Sorry to post this here, but many folks don't seem to know where the for sale section is. Last chance before these guys go to eBay. Thanks Blue MEC $75 it has a couple of black cover plates Black ADAT $175 EDS card $175 EDS card $175 C-16 $50 a bit scratched up but works fine At these prices, you can afford to buy them as spares! Buyer pays shipping, but I will pack them well.Agreed "LaMOnt" <jjdpro@ameritech.net> wrote in message news:44d584b5$1@linux... > > Hi Brandon, > > This band does not seem ready for the studio. They sound like they need more > rehearing. AND, rehearsing with a drum machine or metronome. > > They should save their money, hire a Producer, then go into the studio.. > This is like blind leading the blind.. > > > "brandon" <a@a.com> wrote: > > > >Yes I can understand what you guys are saying. > >I told the guitarist to ask the engineer what exactly his role was to be > >as it was defined by the band member(percusionist) > >that set up the service. The engineer was not hired as a producer and was > >just to be a recording engineer. I understand that. I am sure there are > numerous > >reasons he keeps his mouth shut. Perhaps there was a conversation that no > >one else knows about in which he expressed what to expect to the percusionist. > >Anyway.. the engineer is a real cool guy and I hope to build a relationship > >with him. I was right about how the last session > >would turn out. It is grossly off time and they had a real hard time playing > >along with the out of time congas. Also there was no planning or guidance > >in the recording process so parts were recorded without lead in counts and > >time was wasted trying to record lead in instruments. I hate to be such > a > >hard ass to my friends, but they felt that I was not worth the $25/hr I > quoted > >them. They decided to go with a reputable local studio and pay double that > >and end up with 1/2 the quality. I will not tell them I told you so. Heck, > >next time I might just quote them $30/hr just because. ;-) Anyway I have > >got to know some of he band members better than before and they are a good > >bunch if guys. Just a shame they had to learn the hard way. The money they > >are using for the recording is community money(raised from gigs) so none > >of them are really attached to it persoanlly and are OK to just play their > >parts and go without too much concern of the final result. My guirist friend > >wants me their for the mix and final sessions. I am learning important lessons > >about studio business which I wasn't expecting. I really appreciate my friends > >letting me tag along. Ofcourse I am helping out loading and unloading, running > >for food, tuning guitars etc... > >fun stuff. > >b > >"Aaron Allen" <nospam@not_here.dude> wrote: > >>so it's back > >>> to the dummy cable insert into a non functioning patchpoint and the > >>> noise is gone. > >> > >>sounds awfully ground related man. > >>AA > >> > >>"rick" <parnell68@hotmail.com> wrote in message > >>news:68p8d21bhdl6dopvcqpe10u36pia2tql3i@4ax.com... > >>> work arounds is the operative word. for no reason that i have been > >>> able to suss out 2 channels started getting noise. checked all the > >>> wires and connections...nothing. routed the patch cables to other > >>> channels and noise followed the changes. then i plugged a patch cable > >>> into the patchpoint below the channel insert (not wired to anything > >>> and not touching the insert above and the noise disappeared. pull the > >>> whole thing apart again and check for bad connections or touching > >>> between 2 points and none exists. i even slid a piece of non > >>> conductive material between the connections and nothing. so it's back > >>> to the dummy cable insert into a non functioning patchpoint and the > >>> noise is gone. > >>> > >>> On Fri, 4 Aug 2006 21:44:12 -0600, "DJ" > >>> <animix_spam-this-ahole_@animas.net> wrote: > >>> > >>>>That what my place is starting to resemble. I've got a few things here > > > >>>>that > >>>>need to be serviced bad, but either they are dual channel and one channel > > > >>>>is > >>>>still working and I'm using it or there's something else that isn't > >>>>functioning quite properly and I need to go crawl around in the snake > >pit > >>>>and identify whether it's a cabling issue, hardware issue, patchbay > >>>>issue......etc. I have dedicated all day tomorrow to doing this and > >>>>unracking a Focusrite RED7 and a Demeter comp for shipment out to have > > > >>>>some > >>>>more in depth maintenance done. I'm going to have to work around the > > >>>>Demeter > >>>>in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can > sub > > > >>>>in > >>>>for hardware with no problem. That's why I've got 4 cards I guess. > >>>> > >>>>;o) > >>>> > >>>>"Martin Harrington" <lendan@bigpond.net.au> wrote in message > >>>>news:44d3e42e$1@linux... > >>>>> Welcome to the "real" world Brandon. > >>>>> Most real world studios are nowhere as pristine as most of the > >>>>> "project/home" studios out there, simply because there is not enough > > > >>>>> time > >>>>to > >>>>> maintain equipment...you just quickly find a work-around and get on > >with > >>>>it, > >>>>> then that work-around becomes the norm, and so on..... > >>>>> -- > >>>>> Martin Harrington > >>>>> www.lendanear-sound.com > >>>>> > >>>>> "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... > >>>>> > > >>>>> > I got the opportunity to go to a local studio that is pretty well > > > >>>>> > known. > >>>>> > Some big acts are associated with this place and I was expecting > quite > > > >>>>> > a > >>>>> > show. > >>>>> > I expected something fancy, but it was just the opposite. > >>>>> > It was very small, cluttered and disorganized. > >>>>> > They had a lot of noisy channels on there board that they had to > keep > >>>>> > rerouting > >>>>> > because it was screwing up the takes. > >>>>> > Luckily the takes that got screwed were just for scratch instruments. > >>>>> > There > >>>>> > didn't seem to be any concern for the "sound" or "tone". It was just > > > >>>>> > set > >>>>> > the levels and go. The band were friends of mine and I was there > to > >>>>> > observe. > >>>>> > I was also acting as the guitar tech. I kept my mouth shut and just > >>>>> > watched > >>>>> > never revealing that I was really there to see if I could learn > >>>>something. > >>>>> > The band is a latin band and consists of two acoustic/electric > >>>>> > guitars, > >>>>> > electric > >>>>> > bass, hand percussion and vocals. They mic'd the congas etc.. with > >>>>> > seinhiser > >>>>> > spots and two KM64's for OH's. They sounded good. He was compressing > >>>>them > >>>>> > to track I think. I don't know what type of comp he was using though. > >>>>They > >>>>> > were recording to ProTools system. All in all I was not impressed > >with > >>>>> > what > >>>>> > I heard or saw. We will see what tonite brings. I don't think I was > >>>>> > disappointed > >>>>> > in the sound because of Protools I think it was the lack of effort > > > >>>>> > spent > >>>>> > upfront getting the right sound. Ofcourse they do this every day > and > >I > >>>>> > hardly > >>>>> > do it at all so what do I know. Anyway..... We tracked the hand > >>>>percussion > >>>>> > last night and are going to do the bass and guitars tonite. They > were > >>>>> > recording > >>>>> > without a click. So it should be interesting to see them try to play > >>>>along > >>>>> > with a rollercoaster of congas. Ok later... > >>>>> > b > >>>>> > >>>>> > >>>> > >>> > >> > >> > > >Agreed. I can almost guarantee you that the engineer, if he cares about the final product having his name associated with it, is just as unhappy as the band at this point too. Someone needs to give this project some direction if it's going to have any chance at all. "LaMOnt" <jjdpro@ameritech.net> wrote in message news:44d584b5$1@linux... > > Hi Brandon, > > This band does not seem ready for the studio. They sound like they need more > rehearing. AND, rehearsing with a drum machine or metronome. > > They should save their money, hire a Producer, then go into the studio.. > This is like blind leading the blind.. > > > "brandon" <a@a.com> wrote: > > > >Yes I can understand what you guys are saying. > >I told the guitarist to ask the engineer what exactly his role was to be > >as it was defined by the band member(percusionist) > >that set up the service. The engineer was not hired as a producer and was > >just to be a recording engineer. I understand that. I am sure there are > numerous > >reasons he keeps his mouth shut. Perhaps there was a conversation that no > >one else knows about in which he expressed what to expect to the percusionist. > >Anyway.. the engineer is a real cool guy and I hope to build a relationship > >with him. I was right about how the last session > >would turn out. It is grossly off time and they had a real hard time playing > >along with the out of time congas. Also there was no planning or guidance > >in the recording process so parts were recorded without lead in counts and > >time was wasted trying to record lead in instruments. I hate to be such > a > >hard ass to my friends, but they felt that I was not worth the $25/hr I > quoted > >them. They decided to go with a reputable local studio and pay double that > >and end up with 1/2 the quality. I will not tell them I told you so. Heck, > >next time I might just quote them $30/hr just because. ;-) Anyway I have > >got to know some of he band members better than before and they are a good > >bunch if guys. Just a shame they had to learn the hard way. The money they > >are using for the recording is community money(raised from gigs) so none > >of them are really attached to it persoanlly and are OK to just play their > >parts and go without too much concern of the final result. My guirist friend > >wants me their for the mix and final sessions. I am learning important lessons > >about studio business which I wasn't expecting. I really appreciate my friends > >letting me tag along. Ofcourse I am helping out loading and unloading, running > >for food, tuning guitars etc... > >fun stuff. > >b > >"Aaron Allen" <nospam@not_here.dude> wrote: > >>so it's back > >>> to the dummy cable insert into a non functioning patchpoint and the > >>> noise is gone. > >> > >>sounds awfully ground related man. > >>AA > >> > >>"rick" <parnell68@hotmail.com> wrote in message > >>news:68p8d21bhdl6dopvcqpe10u36pia2tql3i@4ax.com... > >>> work arounds is the operative word. for no reason that i have been > >>> able to suss out 2 channels started getting noise. checked all the > >>> wires and connections...nothing. routed the patch cables to other > >>> channels and noise followed the changes. then i plugged a patch cable > >>> into the patchpoint below the channel insert (not wired to anything > >>> and not touching the insert above and the noise disappeared. pull the > >>> whole thing apart again and check for bad connections or touching > >>> between 2 points and none exists. i even slid a piece of non > >>> conductive material between the connections and nothing. so it's back > >>> to the dummy cable insert into a non functioning patchpoint and the > >>> noise is gone. > >>> > >>> On Fri, 4 Aug 2006 21:44:12 -0600, "DJ" > >>> <animix_spam-this-ahole_@animas.net> wrote: > >>> > >>>>That what my place is starting to resemble. I've got a few things here > > > >>>>that > >>>>need to be serviced bad, but either they are dual channel and one channel > > > >>>>is > >>>>still working and I'm using it or there's something else that isn't > >>>>functioning quite properly and I need to go crawl around in the snake > >pit > >>>>and identify whether it's a cabling issue, hardware issue, patchbay > >>>>issue......etc. I have dedicated all day tomorrow to doing this and > >>>>unracking a Focusrite RED7 and a Demeter comp for shipment out to have > > > >>>>some > >>>>more in depth maintenance done. I'm going to have to work around the > > >>>>Demeter > >>>>in a mix I'm doing, but I've figuired one out. Those UAD-1 comps can > sub > > > >>>>in > >>>>for hardware with no problem. That's why I've got 4 cards I guess. > >>>> > >>>>;o) > >>>> > >>>>"Martin Harrington" <lendan@bigpond.net.au> wrote in message > >>>>news:44d3e42e$1@linux... > >>>>> Welcome to the "real" world Brandon. > >>>>> Most real world studios are nowhere as pristine as most of the > >>>>> "project/home" studios out there, simply because there is not enough > > > >>>>> time > >>>>to > >>>>> maintain equipment...you just quickly find a work-around and get on > >with > >>>>it, > >>>>> then that work-around becomes the norm, and so on..... > >>>>> -- > >>>>> Martin Harrington > >>>>> www.lendanear-sound.com > >>>>> > >>>>> "Brandon" <a@a.com> wrote in message news:44d33a89$1@linux... > >>>>> > > >>>>> > I got the opportunity to go to a local studio that is pretty well > > > >>>>> > known. > >>>>> > Some big acts are associated with this place and I was expecting > quite > > > >>>>> > a > >>>>> > show. > >>>>> > I expected something fancy, but it was just the opposite. > >>>>> > It was very small, cluttered and disorganized. > >>>>> > They had a lot of noisy channels on there board that they had to > keep > >>>>> > rerouting > >>>>> > because it was screwing up the takes. > >>>>> > Luckily the takes that got screwed were just for scratch instruments. > >>>>> > There > >>>>> > didn't seem to be any concern for the "sound" or "tone". It was just > > > >>>>> > set > >>>>> > the levels and go. The band were friends of mine and I was there > to > >>>>> > observe. > >>>>> > I was also acting as the guitar tech. I kept my mouth shut and just > >>>>> > watched > >>>>> > never revealing that I was really there to see if I could learn > >>>>something. > >>>>> > The band is a latin band and consists of two acoustic/electric > >>>>> > guitars, > >>>>> > electric > >>>>> > bass, hand percussion and vocals. They mic'd the congas etc.. with > >>>>> > seinhiser > >>>>> > spots and two KM64's for OH's. They sounded good. He was compressing > >>>>them > >>>>> > to track I think. I don't know what type of comp he was using though. > >>>>They > >>>>> > were recording to ProTools system. All in all I was not impressed > >with > >>>>> > what > >>>>> > I heard or saw. We will see what tonite brings. I don't think I was > >>>>> > disappointed > >>>>> > in the sound because of Protools I think it was the lack of effort > > > >>>>> > spent > >>>>> > upfront getting the right sound. Ofcourse they do this every day > and > >I > >>>>> > hardly > >>>>> > do it at all so what do I know. Anyway..... We tracked the hand > >>>>percussion > >>>>> > last night and are going to do the bass and guitars tonite. They > were > >>>>> > recording > >>>>> > without a click. So it should be interesting to see them try to play > >>>>along > >>>>> > with a rollercoaster of congas. Ok later... > >>>>> > b > >>>>> > >>>>> > >>>> > >>> > >> > >> > > >Coupla things, Brandon... This band might indeed not be "ready" for the studio, but that doesn't mean they can't necessarily be guided/prodded into producing a better product than they're actually capable of - everyone get what I'm saying? That statement might sound contradictory, but when you think about it, in many cases that's actually the producer's job! With an established artist, a producers' role might be completely different, but with a band that's young or perhaps just inexperienced inasfar as the studio is concerned, the producer is the guy who makes it or breaks it... if he just lets them get in there & wail, there's a huge chance it's going to be a POS; if there's no producer, then there's an equally huge chance it's likely to turn out the same way. Involving a producer (or more specifically, a producer that is able to get the most out of the band & the situation, and therefore take them to a level beyond which they're capable of on their own) can result in the opposite effect can be cited through any number of instances, but the one that always comes to my mind is Mutt Lange - I know a lot of people think he overproduces things, but look what he did for Def Leppard from the moment he got involved with them, or Shania, for that matter. I guess I'm rambling a bit there, because I'm not saying anything everyone here doesn't already know, but the point I'm laying the groundwork for is this: in situations like your friends' band, even if the engineer isn't also hired as/expected to be the "producer", he still has a responsibility to not let the band step on their own dicks! He might not be willing or able or feel comfortable coercing the band into doing something a certain way, but he SHOULD be making suggestions that'll help the entire cause ("Hey guys, have you considered laying a click track down?" or "Let's take two seconds & put a count-in on these tunes, ok? You never know if you'll want to have that heavy-metal banjo overdub come in right at the beginning instead of two measures later"). If he does so, and they refuse, then that's another thing entirely. IMO, a band's almost better off with a bad producer than no producer at all... at least that way shit will get done - it might suck, but it'll at least suck in a cohesive manner LOL! In other words, SOMEONE's got to be driving the bus (even if, in the absence of a de-facto "producer", the engineer is at the very least trying to guide things along), or else it could end up as such a clusterfuck that they may not even get a song completed properly. Sounds like the sessions you're sitting in on could be headed in that direction. Neil "LaMOnt" <jjdpro@ameritech.net> wrote: > >Hi Brandon, > >This band does not seem ready for the studio. They sound like they need more >rehearing. AND, rehearsing with a drum machine or metronome. > >They should save their money, hire a Producer, then go into the studio.. >This is like blind leading the blind.. > > >"brandon" <a@a.com> wrote: >> >>Yes I can understand what you guys are saying. >>I told the guitarist to ask the engineer what exactly his role was to be >>as it was defined by the band member(percusionist) >>that set up the service. The engineer was not hired as a producer and was >>just to be a recording engineer. I understand that. I am sure there are >numerous >>reasons he keeps his mouth shut. Perhaps there was a conversation that no >>one else knows about in which he expressed what to expect to the percusionist. >>Anyway.. the engineer is a real cool guy and I hope to build a relationship >>with him. I was right about how the last session >>would turn out. It is grossly off time and they had a real hard time playing >>along with the out of time congas. Also there was no planning or guidance >>in the recording process so parts were recorded without lead in counts and >>time was wasted trying to record lead in instruments. I hate to be such >a >>hard ass to my friends, but they felt that I was not worth the $25/hr I >quoted >>them. They decided to go with a reputable local studio and pay double that >>and end up with 1/2 the quality. I will not tell them I told you so. Heck, >>next time I might just quote them $30/hr just because. ;-) Anyway I have >>got to know some of he band members better than before and they are a good >>bunch if guys. Just a shame they had to learn the hard way. The money they >>are using for the recording is community money(raised from gigs) so none >>of them are really attached to it persoanlly and are OK to just play their >>parts and go without too much concern of the final result. My guirist friend >>wants me their for the mix and final sessions. I am learning important lessons >>about studio business which I wasn't expecting. I really appreciate my friends >>letting me tag along. Ofcourse I am helping out loading and unloading, running >>for food, tuning guitars etc... >>fun stuff. >>b >>"Aaron Allen" <nospam@not_here.dude> wrote: >>>so it's back >>>> to the dummy cable insert into a non functioning patchpoint and the >>>> noise is gone. >>> >>>sounds awfully ground related man. >>>AA >>> >>>"rick" <<a href="mailto:parnell68@hotmail.com" target="_bla