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| Re: Apple says Ok, to running Windows XP on a Mac! [message #66193 is a reply to message #66192] |
Wed, 05 April 2006 19:47   |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
out of the DM-3200 to "C-16 Language" that
PARIS can understand. Sorry, I didn't mean to sound so sarcastic. It's not
possible to control PARIS with anything but the C-16. :>(
Tony
"Matthias Steinke" <matthias.steinke@ses-astra.com> wrote in message
news:445740f2$1@linux...
>
> Hi Parisians (I'm pleased that I'm not the only one left who's still got
> something
> going for the kit ;-),
>
> can anybody advise me on how to get Paris to interact with a DM-3200. The
> idea is ultimately to replace the good old C-16s with the DM-3200 if this
> makes sense?
>
> Thanks in advanceI'm running a 30' trs?insert cable from my CR upstairs from one of the
outputs of my DAC-1 to a NAD preamp>inputs balanced) >NAD power amp which is
driving a pair of huge ADS 1520's in my living room. It's a good way to
check mixes and masters. I've also got a PC in the living area and I will
likely be trying the Tibuktu or other remote desktop. I like the old NAD
stuff too. It's sufficiently hi-fi without losing the *consumer vibe* so I'm
able to stay in the reality ballpark as far as playback systems go. I also
have an old consumer Sony system in my CR (my version of NS10's with front
firing bass ports) that I A/B with my NHT A-20/B-20's. I'm sure my room has
plenty of anomalies, but I've listened to so much reference material there
that I know it well and I'm happy with the results I can achieve with this
threefold reference monitoring approach.
Deej
ne lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:44576c83$1@linux...
>
> This is what I have tried with mixed results (no pun intended):
> I have a nice sound system in my "TV Room" with Infinity Kappa 9 speakers
> and early NAD electronics. Its old but it sounds good and more important,
> I know the system well. The room is also reasonably good acoustically. I
> added a pair of Jensen line transformers before the NAD (and balanced
wiring),
> so I can check mixes live through the second system. With a laptop and
Timbuktu
> Pro, I can add last minute touches to my mixes remotely.
>
> I wouldn't want to do a full mix this way, but for final touch ups it
works
> fine.
>
> Has it really helped?.NO. The Kappa's are nice sounding and unobstructed,
> but they have a very different feel (like mixing on B&W's). It's
distracting.
>
> The idea might work better with a system that was closer t
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| Re: Apple says Ok, to running Windows XP on a Mac! [message #66252 is a reply to message #66237] |
Thu, 06 April 2006 16:03 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
0c$1@linux...
> > Cool! glad to be of help!
> >
> > Enjoy!
> >
> > David.
> >
> > Tom Bruhl wrote:
> > > David,
> > > I am totally functional now using the Lucid.
> > > The clincher must have been the wiring in series.
> > > I did have to start at 48k to get all my EDS cards functioning
> > > though. The B card didn't like starting at 44.1 and wouldn't
> > > give any output until Paris first booted at 48k. Because
> of this
> > > I think I have to use a default project to get going. I
> wouldn't
> > > want or even be able to save a new Paris.exe right?
> > >
> > > I did lose the EDSTransfer line as well as UseHouseSync=1.
> > >
> > > Thanks David and Deej for the tips that got me to this point!
> > > You guys are the greatest.
> > > Tic Toc,
> > > Tom
> > >
> > >
> > >Does the Canare cable have proper 75 Ohm "crimped ends"? As in no
solder...
David.
DJ wrote:
> 25' is pretty long. I've got a 7 meter Canare cable that I just can't seem
> to use effectively. I used it a couple of years ago with an older POD Pro,
> but tried it recently with a TC D2 and couldn't achieve reliable sync. I
> don't really use the digital I/O of the D2 enough to make this a big issue,
> but I'm going to put the Canare on a cable tester soon and see if it's
> defective.
>
>
> "EK Sound" <askme@nospam.com> wrote in message news:44579552@linux...
>
>>Hi Tom,
>>
>>No change to Paris is needed unless you add an additional interface.
>>Identical length cables are not necessary, or practical. You *must*
>>use high quality cable and connections though, this is very important.
>>I have our WC gen in with the console housing and my cable runs
>>(Canare LV61S with proper crimp connections) vary from 1' to the
>>longest run of about 25'... no problems.
>>
>>As for the extra detail, the difference will be slight but it will be
>>there. The most noticeable difference will be with a project from
>>scratch.
>>
>>David.
>>
>>Tom Bruhl wrote:
>>
>>
>>>David,
>>>If I add an RME or Lynx card in the future that requires WC then
>>>I will need to change to parallel right? Do all the cables have to
>>>be identical length in that case? Even to the Lynx? Is there
>>>a length that is too long for the signal? My run to the control room
>>>could be as long as 25-30' although I don't see that being necessary
>>>at this time.
>>>Tom
>>>
>>>PS I didn't hear a great difference in playback but expect to hear more
>>>when WC is used for tracking also. I'll keep listening for the detail.
>>>
>>> "EK Sound" <askme@nospam.com <mailto:askme@nospam.com>> wrote in
>>> message news:4457830c$1@linux...
>>> Cool! glad to be of help!
>>>
>>> Enjoy!
>>>
>>> David.
>>>
>>> Tom Bruhl wrote:
>>> > David,
>>> > I am totally functional now using the Lucid.
>>> > The clincher must have been the wiring in series.
>>> > I did have to start at 48k to get all my EDS cards functioning
>>> > though. The B card didn't like starting at 44.1 and wouldn't
>>> > give any output until Paris first booted at 48k. Because of this
>>> > I think I have to use a default project to get going. I wouldn't
>>> > want or even be able to save a new Paris.exe right?
>>> >
>>> > I did lose the EDSTransfer line as well as UseHouseSync=1.
>>> >
>>> > Thanks David and Deej for the tips that got me to this point!
>>> > You guys are the greatest.
>>> > Tic Toc,
>>> > Tom
>>> >
>>> >
>>> >
>
>
>Dude, why midi? Go Wifi and do a remote desktop to Paris (I'm making a bit
of an assumption here that the Mac can do a terminal service across WiFi). I
do this regularly on my internet desktop and Inspiron because it's better
for me to stay central. Push the output of Paris to a mini radio transmitter
and you should be good to mix in the car....
AA
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:44576c83$1@linux...
>
> This is what I have tried with mixed results (no pun intended):
> I have a nice sound system in my "TV Room" with Infinity Kappa 9 speakers
> and early NAD electronics. Its old but it sounds good and more important,
> I know the system well. The room is also reasonably good acoustically. I
> added a pair of Jensen line transformers before the NAD (and balanced
> wiring),
> so I can check mixes live through the second system. With a laptop and
> Timbuktu
> Pro, I can add last minute touches to my mixes remotely.
>
> I wouldn't want to do a full mix this way, but for final touch ups it
> works
> fine.
>
> Has it really helped?.NO. The Kappa's are nice sounding and unobstructed,
> but they have a very different feel (like mixing on B&W's). It's
> distracting.
>
> The idea might work better with a system that was closer to the sound of
> my studio mons, but this is an inexpensive approach that you may want to
> try, assuming you have access to a decent audio system.
>
> Gene
>
> P.S. Timbuktu Pro adds a fair amount of strain on my Paris system so this
> can be problematic on complex mixes. I recently tried doing a "Two box
> mix"
> running Timbuktu Pro on my Mac running Performer. I wired a pair of super
> long MIDI cables so I can also run my MorotMix along with the laptop. It's
> a cool setup but still mostly academic since I have never preferred a mix
> I have done this way.
>
> Next to try. my wireless laptop setup works well all around my house and
> yard, so- Mix in my car! If I run the long MIDI cables out my bedroom
> window,
> I think I can also use the MotorMix.
>
>
>
> "DC" <DC@spammersinhell.org> wrote:
>>
>>Hi all,
>>
>>Hey, I am finding this out the hard way. My mix of the live project is
>>coming along nicely, except for all the acoustic anomalies I am
>>discovering.
>>
>>This is un-freaking believeable, but the analyzer proved it.
>>What I found is that putting speakers on top of typical audio
>>furniture causes *huge* frequency-response problems. No matter
>>how you do it.
>>
>>All these sort of things:
>>
>>http://www.omnirax.com
>>
>>http://www.argosyconsole.com/
>>
>>http://custom-consoles.com/recording_studio_furniture.php
>>
>>Every one of them, cause huge increases in the low mids by acting
>>as an extension of the front baffle of the speaker. Speaker
>>freq. response is measured in anechoic chambers, so speakers are
>>designed to be flat in that environment. When you put them on
>>the top of a table or console, or even nearby to a table or console,
>>you get a significant boost in low-mids (typically, but it depends on
>>the size of the new baffle surface). In my case it results in an 8db
>>boost at 100hz. !!!!
>>
>>DAMN! How am I supposed to mix like this? So, I am off to find
>>a very small desk that will just fit 2 C-16's with the computer KB
>>underneath, and the speakers are going back on the heavy stands.
>>
>>Why doesn't anyone offer studio furniture that deals with this?
>>
>>More to come as I dig into this problem...
>>
>>DC
>>
>>
>>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlThis is a multi-part message in MIME format.
---=_linux4457e19b
Content-Type: text/plain
Content-Transfer-Encoding: 7bit
Ok, most interesting.
Here is a pic of one of the monitors on a good stand, (Chicago
Speaker Stands, lead shot filled / MoPad) and it's associated 1/3
octave FFT spectrum analysis response. (The subwoofer is off for
both tests)
As you can see, this is very good response in any real-world
situation. You have to spend huge sums to beat this response by
much.
See the next post for what happens when you put the speaker on
a desk.
DC
---=_linux4457e19b
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