ose.I'm not crazy about the electric guitar models but the acoustic >>>>>>> models kick ass. >>>>>>> way too much for me to write about now. >>>>>>> and it can be had for around $1000 >>>>>>> the martin D-28 model is my favorite so far. >>>>>>> >>>>>>> "D.P.&quo
change" label instead. It's >>> more >>>>>>>>> accurate and less confusing to people. Another is that as the >>>>>>>>> surface >>>>>>>>> warms (on average), the mesosphere cools. Both from the same >>>>>>>>> mechanism, >>>>>>>>> the additional heat absorption and re-radiation from additional >>>>>>>>> greenhouse gases. >>>>>>>>> >>>>>>>>> It's interesting to read about this stuff. >>>>>>>>> >>>>>>>>> http://en.wikipedia.org/wiki/Earth%2
>chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com> >www.adkproaudio.com <http://www.adkproaudio.com/> >(859) 635-5762Hi Chris, I've heard speculation from video producers that Avid is putting more into their road show than trade shows, but there is also the minor issue of decreased earnings and bringing on a new CAO to forge a new direction for the company. I think they see the writing on the wall - they may be established, but they aren't gaining new ground - just maintaining, barely. Yes, you are right, FCP is kicking their butts royally. Avid rooms are being bypassed for FCP on bigger and bigger projects here in the corporate and advertising markets. Regards, Dedric On 2/7/08 9:57 PM, in article 47abe3f7$1@linux, "Chris Ludwig" <chrisl@adkproaudio.com> wrote: > Hi Dedric, > Yes probably the case with Apple. I think Apple in general just don't > need ot every do trade shows. > They already have MacWorld and with Apple stores and resellers you can > pretty much find out or see anything you want so not much point. > > > For Avid it was probably the utter lack of a something worth while to show. > Both Premiere, Final Cut and even Vegas are kicking their ass. > They have upgrade and support policies t
although the action is typical Martin (i.e. high action, > a >> guitar that you have to dig in hard). Since I play mostly electric, the > nice >> low action of Taylors is appealing to me. >> >> Anyone out there able to make some suggestions? General or specific, good > or >> bad, I'm quite open to any ideas. >> >> Thanks, >> Dan >> >> >Chuck- Using the transpose button reminds me somewhat of using a capo. Sure, you can learn your licks and just slide them up and down the neck (or transpose your keyboard to do the same.) It will sound good to the audience. But you won't be progressing. I remember seeing someone play who impressed me mightily. Found out he played everything in G and transposed the keyboard. Personally, I think it's just so much more fun to actually learn the licks in the different keys. Each key is different (obviously) but in ways you wouldn't anticipate. Playing the same tune in different keys is a challenge, and adventure, and hard work followed by a sense of joy and accomplishment that you just don't get by pushing the transpose button. The first time someone asked me to accompany them on some standard, I forget what it was, Misty or Someone to Watch Over Me, or something, and they asked for it in F#, and I pulled it off, I felt like I was finally beginning to get a grip on this keyboard thing. -steve "chuck duffy" <c@c.com> wrote: > >Hi Paul, > >That's what I was doing to practice, but my buddies have this nice old steiny >at the house, and when I get there - well there is no substitute :-) > >Chuck >Paul Artola <artola@comcast.net> wrote: >>Chuck - >> >>If you are playing on a digital keyboard, you could transpose the root >>note so you are in your comfort zone. >> >>- Paul >> >>On 8 Feb 2008 08:26:59 +1000, "chuck duffy" <c@c.com> wrote: >> >>> >>>steve i truly think we have a psychic connection :-). First I love monk. >Second, >>>for the first time in
to improve playing >stamina, but things like scales and arpeggios only take about 15 seconds >to do. You can do quite a few of them in just a couple of minutes. Plus, >if you do, say, two five minute sessions in the morning, and then another >four or so five minute sessions through the day or at night, the brain actually >prioritizes it better because it gets the idea that "Gee, I seem to be doing >this all the time!". You brain gets the idea that it needs to have those >skills ready because they are constantly needed. > >Cheers, >Kim. > >"chuck duffy" <c@c.com> wrote: >> >>Hi All, >> >>I know that there are some keyboard players in here. Does anyone have any >>recommendations for some books/materials with a good practive regimen. I >>do all the standard stuff, scales arpeggios, etc. I don't have a huge amount >>of time to practice, and I'm looking for the most effective exercises to >>increase speed, agility and accuracy. >> >>Thanks >>ChuckIf it's a paris mix, just do it the Brian T way, bounce it directly to 16 bit. Bjorn R "cujo" <chris@applemanstudio.com> wrote in message news:47ac6093$1@linux... > > > > How are you guys getting your 24 bits to 16 for evaluating mixes? > > I've been using CEP for a long time. And I wonder if the dithering is messing > with the sound too much, clouding the stereo image a tad and just adding > a haze that is really not there.Glad to hear this. DC "Deej" <noway@jose.net> wrote: >He hasn't had a siezure in a week now so things are looking good. > >;o) > >"TCB" <nobody@ishere.com> wrote in message news:47ab6c2c$1@linux... >> >> Nope, the Matrox, and Deej is going to put a pair of them in a Magma >> chassis, >> so he'll have an octo-dane rig. >> >> Glad the pup is doing better Deej, >> >> TCB >> >> Paul Braun <cygnus_nospam@ctgonline.org> wrote: >>>On Sat, 2 Feb 2008 10:32:30 -0700, "Deej" <noway@jose.net> wrote: >>> >>>>> >>>> I'll post >>>>some quad dane pandemonium pics when ava
ilable. >>>> >>> >>>Who makes that Quad Dane card? Is it ATI? >>> >>>pab >> > >They're all fine apps. I haven't used Sonar since probably version 5 or so, but they're really committed to Windows and at least won't abscond to another platform and leave you screwed. Not that I'm mentioning [logic] any company [emagic] in [screwed their Windows users] particular. It will do all of the stuff you're asking about, but will be some overkill as well. I'm a loud and long standing proponent of Live, it's more than just a looping app, though it's probably the best looping app that ever has been. I haven't had any problems but I have a pretty vanilla platform I run things on and it's unusually stable. Running a quad core right now is slightly gutsy, I'd certainly talk to Ableton before dismissing the app outright. <br /
es (my cheap >man's CD finalize tool). I generally find very little offset and some none >at all during this process. Is this what you are referring to or are you >saying to run each individual track in Wavelab to remove any DC offset and >convert them back to .pafs and then begin mixing? Wouldn't this be >cumbersome? > >Also, you mention that you avoiding using boost or cut on the bass because >of artifacts. Did you mean on the EQ trim or anywhere in the graphic EQ? >Since many of us are XP users it can make a difference knowing what you >meant since the bass is a tough instrument to EQ in the first place and we >may be complicating or making it worse with EQ. I went with BT's >recommendation to crank the trim on bass . . . but he was on Win98, if I >recall correctly. But, Brian also stated on the DVD, that Paris was a bit >mushy in the low to low/mid area so maybe it's been there all along. > >Concerning DC offset, Mike Audet said he encountered it with a narrow band >EQ at a low frequency. Sounds like there might be some correlation between >the two. > >Anyhow, I'm just happy to learn so much from this group. It helps me on >every mix I do!!! Have a great day. > >Wayne > > > >"tonehouse" <zmcle
etect vst latencies for you !) and have a ON/OFF button on >>> each >>> of them. >>> So verytime you put a plugin, for instance UAD1 nigel then you just >>> push >>> the ON button and every other Paris audio track will allign with Nigel >>> !!! >>> Isn't that wonderful ? >>> Hey DJ jump back on Paris with us... >>> We need your input ! >>> Please support the Faderworks plugin and you
nd > > > >>convert them back to .pafs and then begin mixing? Wouldn't this be > >>cumbersome? > >> > >>Also, you mention that you avoiding using boost or cut on the bass because > > > >>of artifacts. Did you mean on the EQ trim or anywhere in the graphic EQ? > > > >>Since many of us are XP users it can make a difference knowing what you > > > >>meant since the bass is a tough instrument to EQ in the first place and > >we > >>may be complicating or making it worse with EQ. I went with BT's > >>recommendation to crank the trim on bass . . . but he was on Win98, if > I > > > >>recall correctly. But, Brian also stated on the DVD, that Paris was a > bit > > > >>mushy in the low to low/mid area so maybe it's been there all along. > >> > >>Concerning DC offset, Mike Audet said he encountered it with a narrow band > > > >>EQ at a low frequency. Sounds like there might be some correlation between > > > >>the two. > >> > >>Anyhow, I'm jus