Home » The PARIS Forums » PARIS: Main » If you have a fever for some cowbell today
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65473 is a reply to message #65416] |
Thu, 16 March 2006 23:25   |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
lose to the sound
of
>better sounding PT mixes. So I can still use Paris whenever I like and I
>can experiment with a mix of the two styles.
>
> What does all this mean? Nothing other then I understand why some people
>may prefer the way other systems sound and I think that my own preferences
>are biased by many years of listening to records made the old way. I don't
>see giving up Paris any time soon but I also don't think it's worth fighting
>over if someone else has different opinions on what sounds good.
>
>And don’t forget…the cyclical nature of fashion almost guarantees that one
>day we will once again be "in".
>
>GeneLaMont,
I agree with much of what you said but not completely.
I think you could apply the same logic to all aspects of the recordings arts.
A TLM170 sounds much cleaner and “Truer” than a U47, just as a GML 8900 sounds
much cleaner than a 1176, but that does not mean that I would prefer the
TLM170 or the GML 8900 in most cases.
I accept that my taste in audio is largely influenced by the years of “old
school” records I have been listening to, but just because I recognize where
some of my preferences come from does not mean I have changes my mind. I
still don’t believe that the new sound is better.
I do however feel I will need to stay somewhat in tune with the current sound
for any major market projects that I do in the future.
A separate issue is what mastering engineers under the influence of A&R men
are doing to records before they are released. Trend or not I think that
is criminal.
So I recognize my own prejudices, I think I clearly see the new trends, but
I don’t prefer the new sound. I have no doubt that for many listeners now
and most in the future I will be from “The school of the outdated sound.”
gene
"LaMont" <jjdpro@aameritech.net> wrote:
>
>Gene,
>Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>sound thing.
>
>Let me just state that I've held my tongue for the last 5 years as I watched
>the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
sounding
>DAW technology.
>
>The DAW market has been held "ransom" to the "old' guard Engineers who ears
>are trained to hear "un-natural" de-emphasis", muddied up recordings.
>
>I remember my very first recording session as a guitar player. The year
1982
>as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
The
>sound was nice, clear just the way I recorded it. But, remember thinking
>"This does sound like a record" Hummmm... After all the other instruments
>were push up in the mix ,along with the vocals, stillnot a record sound..
>
>In other works, where is the mudied drums? the thudy bass? the muddied vocals
>that I heard since I was 4 years old??? where was this sound??
>
>Well, we hen attended the mix session, I soon found out that, the magic
was
>about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>hours later they had that record sound..Hummm...I started thinkng again,
>"Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>ting og high end fidelity..hummmm This was not the record sound..
>
>So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>it for it's "easy ability" to get that record sound!! wow!!! AND, we lawed
>every oter digital recorder mixer for being to ....Digital...Not warm enough,
>not dull , or muddy enough..
>This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>forum that the current state of DAW's (namely Protools) mix was bad as well
>as most plugins...Even more, they could not mix ITB(In the Box) unless they
>has software emulations of their beloved (OLD) compressors EQ, Verbs.(UAD,MCDSP,
>Bomb factory)....
>
>So, like magic, companies pour massive resouces to reclaim the glorys days
>with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>your mixes"duller"=warmer, more professional(sit right, al in all..Make
the
>mixes sound like 1975!!!
>
>Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro Tools
>HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail " RECORD-SOUND...
>With Garage bands, rap artist, Rock bands, Soul singers of today having
NO
>prior knowledge,nor the Formal training to 'get he 1975" sound, we have
the
>High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>
>Still, the old guard continues to hold it's thumb on the DAW market and
keep
>driving manufactures to making more and more vintage plugins. But, every
>now and then a product like Ozone's Izatope comes along (and others) that
>challeng the old "muddy up the mix crowd).
>
>Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to hear
>that sound. they have no idea on how to get a 1975 sound..
>
>So, I've said all the above to say: Let's move on!!Yes , the Brian Tankersly(I
>adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
>companies to to fix summing buses or event new a new summing buss market
>segment to ensure they et the 1975 sound with todays DAW.
>
>For me,they can have the 1975 sound. I'm moving onward with the cureent
state
>of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>is still in my rig, but I will no longer
>fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>wide -spacious,clear open , heavey bottom sound with my EMu converters.
Let's
>evolve past 1975..Pleaseeeeeeeee!!!!
>On 4/13/06 11:04 PM, in article 443f2d4d$1@linux, "LaMont"
<jjdpro@aameritech.net> wrote:
Ditto gentlemen, and well said. I'm much closer to the high fidelity,
clarity is king crowd than saturate the tape crowd and always have been, but
that's how I grew up (even with 60's and 70's bands I listened to), and my
personal taste. And I agree with Gene, I also believe much of what we like
is based on what we learn and associate with the best music listening times
in our lives. A revelation on sound came for me when a friend introduced me
to "high end" recordings from Sheffield Labs - James Newton Howard for one.
Great music, and stunning recordings. So much effort went into getting a
pristine sound, but now we've come full circle and want to rough up the
pristine sound we have to get back what we worked so hard to eliminate.
I used to transfer all my records as soon as I bought them to metal
cassettes on really nice Harmon Kardon deck - immediately from wrapper to
turntable, needle down as I hit record - not a finger print on the edge, not
a dust speck to drift onto the platter. Cassette wasn't better, but it was
cleaner for a longer time (and car-compatible :-) We had destatic brushes
and doodads to clean up the used records when possible, but it was never
clean enough. Then came CDs - I saved so many hours by getting a CD player!
;-)
I've thought for a long time that much of what we hear in music and judge
standards by is evolved preference. In truth, is there any absolute, and
better yet, should there be? To some degree of course there always have
been - bass in the middle to keep records from skipping, unless it's EQ'd
out; and now we have 0 dBFS. The squashed war may be short lived if it even
still rests in artists and engineers' hands.
Regards,
Dedric
> For me,they can have the 1975 sound. I'm moving onward with the cureent state
> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
> is still in my rig, but I will no longer
> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
> wide -spacious,clear open , heavey bottom sound with my EMu converters. Let's
> evolve past 1975..Pleaseeeeeeeee!!!!
>
>
>
>
> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>
>>
>> I sold my PT rig when I switched to Paris. I did it at the time primarily
>> for the sound of the Paris mix bus. This was before HD.
>>
>> When HD was released, the distinction was far less obvious. HD still sounds
>> different from Paris but not awful anymore, just different. Paris still
> has
>> more of an analog/tape sound plus the added benefit of sounding more
>> aggressive
>> when you push the gain stages.
>>
>> So now the big question! Do I prefer the sound of Paris over other DAWS
> because
>> its actually makes better sounding recordings, or is it because it is closer
>> to the sound I associate with my favorite albums from the last 30 years?
>>
>>
>> I think the truth is closer to the second, and I think this is largely a
>> learned behavior, empirical rather than based on any truth.
>>
>> In a recent session at another producer's studio (who will remain unnamed),
>> I listened to some pop-rock mixes done on a Paris rig. The sound was big
>> and clear and sounded very tape-like. Overall it sounded quite good and
> not
>> at all wimpy. The artist however hated the sound. He played us a number
> of
>> recent albums known to have been recorded in PT or similar sounding DAWS
>> as examples of what he wanted. This is the sound he knows and more important
>> it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>> 10db and very little sense of depth, space or stereo width.
>>
>> Music may be universal but we all know it comes with cultural bias. How
> many
>> American teens would choose to listen to a steady diet of microtonal music?
>> Might as well serve up a big plate of Haggis... And it not just teens. Labels
>> work the exact same way. If someone has a hit record that sounds crappy,
>> all the labels want the same crappy sound.
>>
>> Suddenly I am feeling very old. Fashions change taste changes but I thought
>> good sound was forever. Perhaps not so. As a producer who still has at least
>> one toe in the current market, I need to have some awareness of the realities
>> of the market and the "new sound" is the new sound.
>>
>> My personal taste has not changed. For most projects that I foresee myself
>> working on, I will continue to use Paris, but just as I have made decisions
>> in the past to use SSL consoles rather than Neves to achieve a more trendy
>> "Pop" mix, I am now experimenting with ways to capture the "elusive PT
>> sound".
>> (Insert appropriate emoticon).
>>
>> Luckily it was reasonably easy to achieve. I recently purchased the Waves
>> SSL bundle and running that in Logic can get me very close to the sound
> of
>> better sounding PT mixes. So I can still use Paris whenever I like and I
>> can experiment with a mix of the two styles.
>>
>> What does all this mean? Nothing other then I understand why some people
>> may prefer the way other systems sound and I think that my own preferences
>> are biased by many years of listening to records made the old way. I don't
>> see giving up Paris any time soon but I also don't think it's worth fighting
>> over if someone else has different opinions on what sounds good.
>>
>> And donÂ’t forgetÂ…the cyclical nature of fashion almost guarantees that one
>> day we will once again be "in".
>>
>> Gene
>I think there's a degree of truth in the idea that people get set in the
way something should sound and don't like change.
I don't think I support the idea though that Protools' sound is superior,
and the future, and that Paris supporters are just set in their ways.
Even if I was to accept that Protools is cleaner, clean isn't always better,
that's been well proven. If cleanest was always the best, we'd all plug guitars
straight in to the desk, or the cleanest pre we had. We wouldn't want to
muddy up the sound by running through an amp, and then into a mic. I mean
that's just going to dirty the sound. That's an extreme and obvious example
of somewhere where a dirty sound is fairly universally considered superior.
Of course there are many guitars on records that are plugged straight in.
Sometimes it's what you want. Different strokes...
I remember something Dave Stewart of the Eurythmics said back in the 80's.
He said "There are no bad sounds, just bad uses for sounds". He had all kinds
of instruments, some keyboards as cheap as $10 which made cheezy tinny crackly
sounds, but sometimes that's what you want.
People like different sounds, and different production styles. They always
will. Are there Paris owners who only like Paris because it sounds "vintage"?
Probably. Is that wrong? No. How can it be wrong to like something because
it reminds you of something you enjoy?
As per my other post, I'm not convinced that the air's natural summing bus
performs exact addition like that in Protools anyhow. Matter of fact I'm
almost certain it would not. Does that make Protools wrong? No, it makes
it a sound. It's a sound, to add to the many other options available for
making sound. It happens to be the sound that people are used to at the moment,
and hence it's very popular.
I imagine Protools is not much closer at emulating what happens in the air
than analog gear, or Paris. Most things in nature have logarithmic curves.
Like how the faster you drive the more air resistance you get. Like how the
closer you get to the speed of light the more power it takes to go faster.
I'd say with some confidence that air pressure works the same. The higher
the pressure you want, the harder you'd have to push, and for double the
pressure, you'd need to press slightly more than twice as hard. Sound being
waves of pressure, this would give them a logarithmic curve. Adding together
two sounds of equal volume and you wont get double the volume, you'll get
99.9% more volume, because to create double the pressure takes more than
double the energy. Protools doesn't work like that. But it is a sound, and
many people like it, so good luck to them. I think saying that Protools,
or any sound, is "right" is dangerous.
I don't think vintage plugs etc are holding anybody back. They're just options.
They allow you to acheive a sound within the digital domain.
I think the availability of different options is a great thing. What is most
dangerous is anybody who claims that any system, old, new, or whatever, is
superior in every way to any other system. Every system, and every sound,
is superior to others in some ways, and inferior in others.
The art form is in choosing the right sounds for the right moments. If the
sound that you're after requires or benefits from a particular system, then
use that system.
Personally I'm still not a fan of the Protools sound. I'm not nearly as against
it as I used to be though. But I'd rather the sound of Paris, even if some
consider it muddy.
Cheers,
Kim.
"LaMont" <jjdpro@aameritech.net> wrote:
>
>Gene,
>Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>sound thing.
>
>Let me just state that I've held my tongue for the last 5 years as I watched
>the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
sounding
>DAW technology.
>
>The DAW market has been held "ransom" to the "old' guard Engineers who ears
>are trained to hear "un-natural" de-emphasis", muddied up recordings.
>
>I remember my very first recording session as a guitar player. The year
1982
>as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
The
>sound was nice, clear just the way I recorded it. But, remember thinking
>"This does sound like a record" Hummmm... After all the other instruments
>were push up in the mix ,along with the vocals, stillnot a record sound..
>
>In other works, where is the mudied drums? the thudy bass? the muddied vocals
>that I heard since I was 4 years old??? where was this sound??
>
>Well, we hen attended the mix session, I soon found out that, the magic
was
>about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>hours later they had that record sound..Hummm...I started thinkng again,
>"Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>ting og high end fidelity..hummmm This was not the record sound..
>
>So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>it for it's "easy ability" to get that record sound!! wow!!! AND, we lawed
>every oter digital recorder mixer for being to ....Digital...Not warm enough,
>not dull , or muddy enough..
>This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>forum that the current state of DAW's (namely Protools) mix was bad as well
>as most plugins...Even more, they could not mix ITB(In the Box) unless they
>has software emulations of their beloved (OLD) compressors EQ, Verbs.(UAD,MCDSP,
>Bomb factory)....
>
>So, like magic, companies pour massive resouces to reclaim the glorys days
>with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>your mixes"duller"=warmer, more professional(sit right, al in all..Make
the
>mixes sound like 1975!!!
>
>Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro Tools
>HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail " RECORD-SOUND...
>With Garage bands, rap artist, Rock bands, Soul singers of today having
NO
>prior knowledge,nor the Formal training to 'get he 1975" sound, we have
the
>High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>
>Still, the old guard continues to hold it's thumb on the DAW market and
keep
>driving manufactures to making more and more vintage plugins. But, every
>now and then a product like Ozone's Izatope comes along (and others) that
>challeng the old "muddy up the mix crowd).
>
>Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to hear
>that sound. they have no idea on how to get a 1975 sound..
>
>So, I've said all the above to say: Let's move on!!Yes , the Brian Tankersly(I
>adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
>companies to to fix summing buses or event new a new summing buss market
>segment to ensure they et the 1975 sound with todays DAW.
>
>For me,they can have the 1975 sound. I'm moving onward with the cureent
state
>of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>is still in my rig, but I will no longer
>fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>wide -spacious,clear open , heavey bottom sound with my EMu converters.
Let's
>evolve past 1975..Pleaseeeeeeeee!!!!
>
>
>
>
>"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>
>>
>>I sold my PT rig when I switched to Paris. I did it at the time primarily
>>for the sound of the Paris mix bus. This was before HD.
>>
>>When HD was released, the distinction was far less obvious. HD still sounds
>>different from Paris but not awful anymore, just different. Paris still
>has
>>more of an analog/tape sound plus the added benefit of sounding more aggressive
>>when you push the gain stages.
>>
>>So now the big question! Do I prefer the sound of Paris over other DAWS
>because
>>its actually makes better sounding recordings, or is it because it is closer
>>to the sound I associate with my favorite albums from the last 30 years?
>>
>>
>>I think the truth is closer to the second, and I think this is largely
a
>>learned behavior, empirical rather than based on any truth.
>>
>>In a recent session at another producer's studio (who will remain unnamed),
>>I listened to some pop-rock mixes done on a Paris rig. The sound was big
>>and clear and sounded very tape-like. Overall it sounded quite good and
>not
>>at all wimpy. The artist however hated the sound. He played us a number
>of
>>recent albums known to have been recorded in PT or similar sounding DAWS
>>as examples of what he wanted. This is the sound he knows and more important
>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>10db and very little sense of depth, space or stereo width.
>>
>>Music may be universal but we all know it comes with cultural bias. How
>many
>>American teens would choose to listen to a steady diet of microtonal music?
>>Might as well serve up a big plate of Haggis... And it not just teens.
Labels
>>work the exact same way. If someone has a hit record that sounds crappy,
>>all the labels want the same crappy sound.
>>
>>Suddenly I am feeling very old. Fashions change taste changes but I thought
>>good sound was forever. Perhaps not so. As a producer who still has at
least
>>one toe in the current market, I need to have some awareness of the realities
>>of the market and the "new sound" is the new sound.
>>
>>My personal taste has not changed. For most projects that I foresee myself
>>working on, I will continue to use Paris, but just as I have made decisions
>>in the past to use SSL consoles rather than Neves to achieve a more trendy
>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
sound".
>>(Insert appropriate emoticon).
>>
>>Luckily it was reasonably easy to achieve. I recently purchased the Waves
>>SSL bundle and running that in Logic can get me very close to the sound
>of
>>better sounding PT mixes. So I can still use Paris whenever I like and
I
>>can experiment with a mix of the two styles.
>>
>> What does all this mean? Nothing other then I understand why some people
>>may prefer the way other systems sound and I think that my own preferences
>>are biased by many years of listening to records made the old way. I don't
>>see giving up Paris any time soon but I also don't think it's worth fighting
>>over if someone else has different opinions on what sounds good.
>>
>>And don’t forget…the cyclical nature of fashion almost guarantees that
one
>>day we will once again be "in".
>>
>>Gene
>Good post, LaMont
--
Martin Harrington
www.lendanear-sound.com
"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>
> Gene,
> Thank you very much for "speaking: the truth about this whole DAW
> "nastalgic"
> sound thing.
>
> Let me just state that I've held my tongue for the last 5 years as I
> watched
> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
> sounding
> DAW technology.
>
> The DAW market has been held "ransom" to the "old' guard Engineers who
> ears
> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>
> I remember my very first recording session as a guitar player. The year
> 1982
> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
> The
> sound was nice, clear just the way I recorded it. But, remember thinking
> "This does sound like a record" Hummmm... After all the other instruments
> were push up in the mix ,along with the vocals, stillnot a record sound..
>
> In other works, where is the mudied drums? the thudy bass? the muddied
> vocals
> that I heard since I was 4 years old??? where was this sound??
>
> Well, we hen attended the mix session, I soon found out that, the magic
> was
> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
> hours later they had that record sound..Hummm...I started thinkng again,
> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
> ting og high end fidelity..hummmm This was not the record sound..
>
> So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
> it for it's "easy ability" to get that record sound!! wow!!! AND, we
> lawed
> every oter digital recorder mixer for being to ....Digital...Not warm
> enough,
> not dull , or muddy enough..
> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
> forum that the current state of DAW's (namely Protools) mix was bad as
> well
> as most plugins...Even more, they could not mix ITB(In the Box) unless
> they
> has software emulations of their beloved (OLD) compressors EQ,
> Verbs.(UAD,MCDSP,
> Bomb factory)....
>
> So, like magic, companies pour massive resouces to reclaim the glorys days
> with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
> your mixes"duller"=warmer, more professional(sit right, al in all..Make
> the
> mixes sound like 1975!!!
>
> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
> Tools
> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
> RECORD-SOUND...
> With Garage bands, rap artist, Rock bands, Soul singers of today having NO
> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
> the
> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>
> Still, the old guard continues to hold it's thumb on the DAW market and
> keep
> driving manufactures to making more and more vintage plugins. But, every
> now and then a product like Ozone's Izatope comes along (and others) that
> challeng the old "muddy up the mix crowd).
>
> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
> hear
> that sound. they have no idea on how to get a 1975 sound..
>
> So, I've said all the above to say: Let's move on!!Yes , the Brian
> Tankersly(I
> adore), Nuendo endorsers,vinatge engineers) will continue to push to have
> all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
> companies to to fix summing buses or event new a new summing buss market
> segment to ensure they et the 1975 sound with todays DAW.
>
> For me,they can have the 1975 sound. I'm moving onward with the cureent
> state
> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
> is still in my rig, but I will no longer
> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
> wide -spacious,clear open , heavey bottom sound with my EMu converters.
> Let's
> evolve past 1975..Pleaseeeeeeeee!!!!
>
>
>
>
> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>
>>
>>I sold my PT rig when I switched to Paris. I did it at the time primarily
>>for the sound of the Paris mix bus. This was before HD.
>>
>>When HD was released, the distinction was far less obvious. HD still
>>sounds
>>different from Paris but not awful anymore, just different. Paris still
> has
>>more of an analog/tape sound plus the added benefit of sounding more
>>aggressive
>>when you push the gain stages.
>>
>>So now the big question! Do I prefer the sound of Paris over other DAWS
> because
>>its actually makes better sounding recordings, or is it because it is
>>closer
>>to the sound I associate with my favorite albums from the last 30 years?
>>
>>
>>I think the truth is closer to the second, and I think this is largely a
>>learned behavior, empirical rather than based on any truth.
>>
>>In a recent session at another producer's studio (who will remain
>>unnamed),
>>I listened to some pop-rock mixes done on a Paris rig. The sound was big
>>and clear and sounded very tape-like. Overall it sounded quite good and
> not
>>at all wimpy. The artist however hated the sound. He played us a number
> of
>>recent albums known to have been recorded in PT or similar sounding DAWS
>>as examples of what he wanted. This is the sound he knows and more
>>important
>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>10db and very little sense of depth, space or stereo width.
>>
>>Music may be universal but we all know it comes with cultural bias. How
> many
>>American teens would choose to listen to a steady diet of microtonal
>>music?
>>Might as well serve up a big plate of Haggis... And it not just teens.
>>Labels
>>work the exact same way. If someone has a hit record that sounds crappy,
>>all the labels want the same crappy sound.
>>
>>Suddenly I am feeling very old. Fashions change taste changes but I
>>thought
>>good sound was forever. Perhaps not so. As a producer who still has at
>>least
>>one toe in the current market, I need to have some awareness of the
>>realities
>>of the market and the "new sound" is the new sound.
>>
>>My personal taste has not changed. For most projects that I foresee myself
>>working on, I will continue to use Paris, but just as I have made
>>decisions
>>in the past to use SSL consoles rather than Neves to achieve a more trendy
>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>>sound".
>>(Insert appropriate emoticon).
>>
>>Luckily it was reasonably easy to achieve. I recently purchased the Waves
>>SSL bundle and running that in Logic can get me very close to the sound
> of
>>better sounding PT mixes. So I can still use Paris whenever I like and I
>>can experiment with a mix of the two styles.
>>
>> What does all this mean? Nothing other then I understand why some people
>>may prefer the way other systems sound and I think that my own preferences
>>are biased by many years of listening to records made the old way. I don't
>>see giving up Paris any time soon but I also don't think it's worth
>>fighting
>>over if someone else has different opinions on what sounds good.
>>
>>And don’t forget…the cyclical nature of fashion almost guarantees that one
>>day we will once again be "in".
>>
>>Gene
>I should add for clarity...
....obviously the sound measurement system of db is already logarithmic,
but the underlying math in DAW's as I understand it is not. Obviously when
you add a 20db sound to another identical 20db sound you don't get a 40db
sound (you get 26db yes?) because the level measurement is logarithmic.
What I'm saying is that I'm pretty sure if you performed this experiment
in the air, you would find that you got 25.999db, and that if you performed
the same experiment, for arguments sake, at 120db, you'd get an even bigger
drop, say 125.98db, or less.
DB is just our volume measurement system. The underlying maths in a DAW are
straight linear maths, and I don't think they should be...
....assuming that you're trying to emulate the summing that takes place in
air.
Cheers,
Kim.
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>I think there's a degree of truth in the idea that people get set in the
>way something should sound and don't like change.
>
>I don't think I support the idea though that Protools' sound is superior,
>and the future, and that Paris supporters are just set in their ways.
>
>Even if I was to accept that Protools is cleaner, clean isn't always better,
>that's been well proven. If cleanest was always the best, we'd all plug
guitars
>straight in to the desk, or the cleanest pre we had. We wouldn't want to
>muddy up the sound by running through an amp, and then into a mic. I mean
>that's just going to dirty the sound. That's an extreme and obvious example
>of somewhere where a dirty sound is fairly universally considered superior.
>Of course there are many guitars on records that are plugged straight in.
>Sometimes it's what you want. Different strokes...
>
>I remember something Dave Stewart of the Eurythmics said back in the 80's.
>He said "There are no bad sounds, just bad uses for sounds". He had all
kinds
>of instruments, some keyboards as cheap as $10 which made cheezy tinny crackly
>sounds, but sometimes that's what you want.
>
>People like different sounds, and different production styles. They always
>will. Are there Paris owners who only like Paris because it sounds "vintage"?
>Probably. Is that wrong? No. How can it be wrong to like something because
>it reminds you of something you enjoy?
>
>As per my other post, I'm not convinced that the air's natural summing bus
>performs exact addition like that in Protools anyhow. Matter of fact I'm
>almost certain it would not. Does that make Protools wrong? No, it makes
>it a sound. It's a sound, to add to the many other options available for
>making sound. It happens to be the sound that people are used to at the
moment,
>and hence it's very popular.
>
>I imagine Protools is not much closer at emulating what happens in the air
>than analog gear, or Paris. Most things in nature have logarithmic curves.
>Like how the faster you drive the more air resistance you get. Like how
the
>closer you get to the speed of light the more power it takes to go faster.
>I'd say with some confidence that air pressure works the same. The higher
>the pressure you want, the harder you'd have to push, and for double the
>pressure, you'd need to press slightly more than twice as hard. Sound being
>waves of pressure, this would give them a logarithmic curve. Adding together
>two sounds of equal volume and you wont get double the volume, you'll get
>99.9% more volume, because to create double the pressure takes more than
>double the energy. Protools doesn't work like that. But it is a sound, and
>many people like it, so good luck to them. I think saying that Protools,
>or any sound, is "right" is dangerous.
>
>I don't think vintage plugs etc are holding anybody back. They're just options.
>They allow you to acheive a sound within the digital domain.
>
>I think the availability of different options is a great thing. What is
most
>dangerous is anybody who claims that any system, old, new, or whatever,
is
>superior in every way to any other system. Every system, and every sound,
>is superior to others in some ways, and inferior in others.
>
>The art form is in choosing the right sounds for the right moments. If the
>sound that you're after requires or benefits from a particular system, then
>use that system.
>
>Personally I'm still not a fan of the Protools sound. I'm not nearly as
against
>it as I used to be though. But I'd rather the sound of Paris, even if some
>consider it muddy.
>
>Cheers,
>Kim.
>
>"LaMont" <jjdpro@aameritech.net> wrote:
>>
>>Gene,
>>Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>>sound thing.
>>
>>Let me just state that I've held my tongue for the last 5 years as I watched
>>the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>sounding
>>DAW technology.
>>
>>The DAW market has been held "ransom" to the "old' guard Engineers who
ears
>>are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>
>>I remember my very first recording session as a guitar player. The year
>1982
>>as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>The
>>sound was nice, clear just the way I recorded it. But, remember thinking
>>"This does sound like a record" Hummmm... After all the other instruments
>>were push up in the mix ,along with the vocals, stillnot a record sound..
>>
>>In other works, where is the mudied drums? the thudy bass? the muddied
vocals
>>that I heard since I was 4 years old??? where was this sound??
>>
>>Well, we hen attended the mix session, I soon found out that, the magic
>was
>>about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>>hours later they had that record sound..Hummm...I started thinkng again,
>>"Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>>ting og high end fidelity..hummmm This was not the record sound..
>>
>>So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>>it for it's "easy ability" to get that record sound!! wow!!! AND, we lawed
>>every oter digital recorder mixer for being to ....Digital...Not warm enough,
>>not dull , or muddy enough..
>>This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>>forum that the current state of DAW's (namely Protools) mix was bad as
well
>>as most plugins...Even more, they could not mix ITB(In the Box) unless
they
>>has software emulations of their beloved (OLD) compressors EQ, Verbs.(UAD,MCDSP,
>>Bomb factory)....
>>
>>So, like magic, companies pour massive resouces to reclaim the glorys days
>>with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>>your mixes"duller"=warmer, more professional(sit right, al in all..Make
>the
>>mixes sound like 1975!!!
>>
>>Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro Tools
>>HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail " RECORD-SOUND...
>>With Garage bands, rap artist, Rock bands, Soul singers of today having
>NO
>>prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>the
>>High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>
>>Still, the old guard continues to hold it's thumb on the DAW market and
>keep
>>driving manufactures to making more and more vintage plugins. But, every
>>now and then a product like Ozone's Izatope comes along (and others) that
>>challeng the old "muddy up the mix crowd).
>>
>>Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
hear
>>that sound. they have no idea on how to get a 1975 sound..
>>
>>So, I've said all the above to say: Let's move on!!Yes , the Brian Tankersly(I
>>adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>>all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
>>companies to to fix summing buses or event new a new summing buss market
>>segment to ensure they et the 1975 sound with todays DAW.
>>
>>For me,they can have the 1975 sound. I'm moving onward with the cureent
>state
>>of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>is still in my rig, but I will no longer
>>fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>>Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>>wide -spacious,clear open , heavey bottom sound with my EMu converters.
>Let's
>>evolve past 1975..Pleaseeeeeeeee!!!!
>>
>>
>>
>>
>>"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>
>>>
>>>I sold my PT rig when I switched to Paris. I did it at the time primarily
>>>for the sound of the Paris mix bus. This was before HD.
>>>
>>>When HD was released, the distinction was far less obvious. HD still sounds
>>>different from Paris but not awful anymore, just different. Paris still
>>has
>>>more of an analog/tape sound plus the added benefit of sounding more aggressive
>>>when you push the gain stages.
>>>
>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>>because
>>>its actually makes better sounding recordings, or is it because it is
closer
>>>to the sound I associate with my favorite albums from the last 30 years?
>>>
>>>
>>>I think the truth is closer to the second, and I think this is largely
>a
>>>learned behavior, empirical rather than based on any truth.
>>>
>>>In a recent session at another producer's studio (who will remain unnamed),
>>>I listened to some pop-rock mixes done on a Paris rig. The sound was big
>>>and clear and sounded very tape-like. Overall it sounded quite good and
>>not
>>>at all wimpy. The artist however hated the sound. He played us a number
>>of
>>>recent albums known to have been recorded in PT or similar sounding DAWS
>>>as examples of what he wanted. This is the sound he knows and more important
>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>>10db and very little sense of depth, space or stereo width.
>>>
>>>Music may be universal but we all know it comes with cultural bias. How
>>many
>>>American teens would choose to listen to a steady diet of microtonal music?
>>>Might as well serve up a big plate of Haggis... And it not just teens.
>Labels
>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>all the labels want the same crappy sound.
>>>
>>>Suddenly I am feeling very old. Fashions change taste changes but I thought
>>>good sound was forever. Perhaps not so. As a producer who still has at
>least
>>>one toe in the current market, I need to have some awareness of the realities
>>>of the market and the "new sound" is the new sound.
>>>
>>>My personal taste has not changed. For most projects that I foresee myself
>>>working on, I will continue to use Paris, but just as I have made decisions
>>>in the past to use SSL consoles rather than Neves to achieve a more trendy
>>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>sound".
>>>(Insert appropriate emoticon).
>>>
>>>Luckily it was reasonably easy to achieve. I recently purchased the Waves
>>>SSL bundle and running that in Logic can get me very close to the sound
>>of
>>>better sounding PT mixes. So I can still use Paris whenever I like and
>I
>>>can experiment with a mix of the two styles.
>>>
>>> What does all this mean? Nothing other then I understand why some people
>>>may prefer the way other systems sound and I think that my own preferences
>>>are biased by many years of listening to records made the old way. I don't
>>>see giving up Paris any time soon but I also don't think it's worth fighting
>>>over if someone else has different opinions on what sounds good.
>>>
>>>And don’t forget…the cyclical nature of fashion almost guarantees that
>one
>>>day we will once again be "in".
>>>
>>>Gene
>>
>One myth I would like to dispel is that Paris sounds muddy, vintage,
analog or less detailed than PT's.
It's all in how hard you hit it.
Had a conversation with SSC years ago about using Paris for
classical and he really ground on me hard to try it and compare it to
Sonic Solutions. Sonic has always been the gold standard for
classical, and honestly I thought he was full of it, but I tried it, using
the same source material. He was right, it was actually better than
Sonic on a 70-piece orchestra. Some of you have heard that CD.
Did it sound "vintage" or muddy to you? Of course not, you just
have to treat Paris like any other DAW, and don't push it too hard
and it works great for classical. An orchestra recorded with the
just 2 of the best mics in the world (DPA / B&K) the best pre
(no tubes please!) and a great convertor is the ultimate test for
clarity. One little loss of anything and the whole things turns to
crap. It must be eq'ed and mastered to perfection, but if it is, it
sounds like you are in the room with the orchestra.
Paris works extremely well on an orchestra and I can tell you that
unless you push the levels the sound is as real, detailed, open and
clear as I have ever heard.
Personally, I think Paris murders PT's on orchestras. The clarity
and lack of distortion, even on the upper harmonics of high violin
notes, is really better and the soundstage and imaging is terrific.
Try not hitting Paris so hard in the mixer, push the submix masters
all the way up, and listen to the audio get nice and pristine.
DCI think he's right. That crazy company has GOT to be the source
of the urban myth of the JATO rockets strapped to the Chevy
that ends up flying into a cliff.
DC
"chuck dufy" <c@C.COM> wrote:
>
>Insanely good entry :-) I liked the part about the kart hitting 160 in
4.4
>
>Chuck
>
>
>"DC" <dc@spamthemoon.com> wrote:
>>
>>meep meep...
>>
>>http://www.iowahawk.typepad.com/
>Of course not, you just
have to treat Paris like any other DAW, and don't push it too hard
and it works great for classical.
That's the beauty of it. It works either way. There is an issue with the D/A
converters and jitter when using the Paris clock, but with an external clock
I've never thought it sounded anything other than what I wanted it to sound.
Mixing conservatively yields a very pristing/accurate sounding
result.....however, this is blasphemy and I have to immediately jack the
submix faders into the stratosphere so I can hear all that crappy distortion
that I like.
;O)
"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
>
> One myth I would like to dispel is that Paris sounds muddy, vintage,
> analog or less detailed than PT's.
>
> It's all in how hard you hit it.
>
> Had a conversation with SSC years ago about using Paris for
> classical and he really ground on me hard to try it and compare it to
> Sonic Solutions. Sonic has always been the gold standard for
> classical, and honestly I thought he was full of it, but I tried it, using
> the same source material. He was right, it was actually better than
> Sonic on a 70-piece orchestra. Some of you have heard that CD.
> Did it sound "vintage" or muddy to you? Of course not, you just
> have to treat Paris like any other DAW, and don't push it too hard
> and it works great for classical. An orchestra recorded with the
> just 2 of the best mics in the world (DPA / B&K) the best pre
> (no tubes please!) and a great convertor is the ultimate test for
> clarity. One little loss of anything and the whole things turns to
> crap. It must be eq'ed and mastered to perfection, but if it is, it
> sounds like you are in the room with the orchestra.
>
> Paris works extremely well on an orchestra and I can tell you that
> unless you push the levels the sound is as real, detailed, open and
> clear as I have ever heard.
> Personally, I think Paris murders PT's on orchestras. The clarity
> and lack of distortion, even on the upper harmonics of high violin
> notes, is really better and the soundstage and imaging is terrific.
>
> Try not hitting Paris so hard in the mixer, push the submix masters
> all the way up, and listen to the audio get nice and pristine.
>
> DCYour friend probably can't afford it but I've played 3 of these and gig with
the owner/builder. Rock solid, beautiful and the sky is the limit.
www.infinitymusicsystems.com
One of the ones pictured at the site right now is airbrushed by the truefire
guy at www.killerpaint.com whom all of our hotrod fans here already know.
World renown.
W. Mark Wilson
"EK Sound" <askme@nospam.com> wrote in message news:443beb80$1@linux...
> Hi all,
>
> A buddy of mine wants to build a soft-synth computer for live use (WinXP).
> I am looking for MB/CPU recommendations for this. I NEED this MB to have
> a minimum of 2 PCIx slots for existing hardware. On-board video is
> actually preferred in this instance.
>
> Thanks for any recommendations!
>
> David.Hello to everyone.
Thank you for your kind words ,here !
Regarding vocals try this and tell me how it sounds to you!
Threshold -51.8 (until it shows -18 and more gain reduction)
Ratio: 2.70:1 (magic number ?)
Attack 0.24
Release 0.0042sec (you need at least three zeros before any number here !)
lOOKAHEAD: 0.020 (WELL YOU CAN GO AS LOW AS 0.03 TRY AND SEE WHAT YOU LIKE)
output: 15.7 db
Cheers,
Dimitrios
"rich" <studiodog_99@yahoo.com> wrote:
>
>Since your LA setting is great (never thought to try what you did) - I thought
>I'd ask if have any tricks for pop/rock Vox - GIT - Bass or? Thanks for
>all your help!But you have "a sound" and by being a master of it, when an artist is looking
for that type of thing they will call you, I think that it would be sad if
everyone did things the same way, (it seems to some people there is a right
and wrong)
The differnt flavors are like an painters pallet. I want this recor to ound
vintage ond funky, or I want this one to be crystal clear.
That said, I am starting to think what Lamont says is true, I mean the low
end was rolled off in the old days to prevent the needle from jumping right?
Also, much of the mix compression was for the same thing? now everyone has
subwoofers on thier sub woofers! and digital handles a wide dynamic range,
now, like you saiud, to get the mastering engineers to chill.
"gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>
>LaMont,
>I agree with much of what you said but not completely.
>I think you could apply the same logic to all aspects of the recordings
arts.
>A TLM170 sounds much cleaner and “Truer” than a U47, just as a GML 8900
sounds
>much cleaner than a 1176, but that does not mean that I would prefer the
>TLM170 or the GML 8900 in most cases.
>
>I accept that my taste in audio is largely influenced by the years of “old
>school” records I have been listening to, but just because I recognize where
>some of my preferences come from does not mean I have changes my mind. I
>still don’t believe that the new sound is better.
>I do however feel I will need to stay somewhat in tune with the current
sound
>for any major market projects that I do in the future.
>
>A separate issue is what mastering engineers under the influence of A&R
men
>are doing to records before they are released. Trend or not I think that
>is criminal.
>
>So I recognize my own prejudices, I think I clearly see the new trends,
but
>I don’t prefer the new sound. I have no doubt that for many listeners now
>and most in the future I will be from “The school of the outdated sound.”
>
>gene
>
>"LaMont" <jjdpro@aameritech.net> wrote:
>>
>>Gene,
>>Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>>sound thing.
>>
>>Let me just state that I've held my tongue for the last 5 years as I watched
>>the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>sounding
>>DAW technology.
>>
>>The DAW market has been held "ransom" to the "old' guard Engineers who
ears
>>are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>
>>I remember my very first recording session as a guitar player. The year
>1982
>>as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>The
>>sound was nice, clear just the way I recorded it. But, remember thinking
>>"This does sound like a record" Hummmm... After all the other instruments
>>were push up in the mix ,along with the vocals, stillnot a record sound..
>>
>>In other works, where is the mudied drums? the thudy bass? the muddied
vocals
>>that I heard since I was 4 years old??? where was this sound??
>>
>>Well, we hen attended the mix session, I soon found out that, the magic
>was
>>about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>>hours later they had that record sound..Hummm...I started thinkng again,
>>"Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>>ting og high end fidelity..hummmm This was not the record sound..
>>
>>So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>>it for it's "easy ability" to get that record sound!! wow!!! AND, we lawed
>>every oter digital recorder mixer for being to ....Digital...Not warm enough,
>>not dull , or muddy enough..
>>This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>>forum that the current state of DAW's (namely Protools) mix was bad as
well
>>as most plugins...Even more, they could not mix ITB(In the Box) unless
they
>>has software emulations of their beloved (OLD) compressors EQ, Verbs.(UAD,MCDSP,
>>Bomb factory)....
>>
>>So, like magic, companies pour massive resouces to reclaim the glorys days
>>with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>>your mixes"duller"=warmer, more professional(sit right, al in all..Make
>the
>>mixes sound like 1975!!!
>>
>>Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro Tools
>>HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail " RECORD-SOUND...
>>With Garage bands, rap artist, Rock bands, Soul singers of today having
>NO
>>prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>the
>>High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>
>>Still, the old guard continues to hold it's thumb on the DAW market and
>keep
>>driving manufactures to making more and more vintage plugins. But, every
>>now and then a product like Ozone's Izatope comes along (and others) that
>>challeng the old "muddy up the mix crowd).
>>
>>Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
hear
>>that sound. they have no idea on how to get a 1975 sound..
>>
>>So, I've said all the above to say: Let's move on!!Yes , the Brian Tankersly(I
>>adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>>all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
>>companies to to fix summing buses or event new a new summing buss market
>>segment to ensure they et the 1975 sound with todays DAW.
>>
>>For me,they can have the 1975 sound. I'm moving onward with the cureent
>state
>>of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>is still in my rig, but I will no longer
>>fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>>Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>>wide -spacious,clear open , heavey bottom sound with my EMu converters.
>Let's
>>evolve past 1975..Pleaseeeeeeeee!!!!
>>
>I don't think, or at least I hope, there won't be a continued trend for FM,
compressed radio and 64k mp3s to dictate sound. When I think of "outdated"
I think of limited bandwidth, sometimes noisy, and often mushy sound - not a
recording style, or even mixing style necessarily, although it does change
based on pop culture and available technology more than science.
A while back I read a bit on the history of recording. The overwhelming
impression and approach I've taken, and got from reading the history of it,
is that the goal of recording has always been to recreate what we hear as
accurately as possible. Yet, I think somewhere along the way when engineers
quickly realized that technology was a long way from being able to do that,
someone decided to make it a creative venture rather than an accuracy
venture. Obviously there are creative requirements that eliminate accuracy
(I once tried a binaural head test-analysis mic system on vocals - sucked,
but it was incredibly accurate, which goes to show that not all we hear is
as we would prefer to hear it).
Hence now we have, for example, kicks that sound nothing like the real think
- where you had a "koomphhh" or "doomphhh" to start with, the "standard" is
to make it sound more like a "thmp" or "dhmp" (pardon my "technical"
terminology). Gating, compression, EQ, even if not necessary to fix
recording problems, have become a means to not just make the mix fit
together, but alter the sound to what has become the radio standard. Much
of it sounds great for what it is, but it isn't about accurate recording
anymore, and that makes it hyper-dependant on popular trends rather than
audiology.
Regards,
Dedric
On 4/13/06 11:53 PM, in article 443f38eb$1@linux, "gene lennon"
<glennon@NOSPmyrealbox.com> wrote:
>
> So I recognize my own prejudices, I think I clearly see the new trends, but
> I donÂ’t prefer the new sound. I have no doubt that for many listeners now
> and most in the future I will be from “The school of the outdated sound.”
>
> gene
>
> "LaMont" <jjdpro@aameritech.net> wrote:
>>
>> Gene,
>> Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>> sound thing.
>>
>> Let me just state that I've held my tongue for the last 5 years as I watched
>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
> sounding
>> DAW technology.
>>
>> The DAW market has been held "ransom" to the "old' guard Engineers who ears
>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>
>> I remember my very first recording session as a guitar player. The year
> 1982
>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
> The
>> sound was nice, clear just the way I recorded it. But, remember thinking
>> "This does sound like a record" Hummmm... After all the other instruments
>> were push up in the mix ,along with the vocals, stillnot a record sound..
>>
>> In other works, where is the mudied drums? the thudy bass? the muddied vocals
>> that I heard since I was 4 years old??? where was this sound??
>>
>> Well, we hen attended the mix session, I soon found out that, the magic
> was
>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>> hours later they had that record sound..Hummm...I started thinkng again,
>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>> ting og high end fidelity..hummmm This was not the record sound..
>>
>> So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>> it for it's "easy ability" to get that record sound!! wow!!! AND, we lawed
>> every oter digital recorder mixer for being to ....Digital...Not warm enough,
>> not dull , or muddy enough..
>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>> forum that the current state of DAW's (namely Protools) mix was bad as well
>> as most plugins...Even more, they could not mix ITB(In the Box) unless they
>> has software emulations of their beloved (OLD) compressors EQ,
>> Verbs.(UAD,MCDSP,
>> Bomb factory)....
>>
>> So, like magic, companies pour massive resouces to reclaim the glorys days
>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
> the
>> mixes sound like 1975!!!
>>
>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro Tools
>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>> RECORD-SOUND...
>> With Garage bands, rap artist, Rock bands, Soul singers of today having
> NO
>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
> the
>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>
>> Still, the old guard continues to hold it's thumb on the DAW market and
> keep
>> driving manufactures to making more and more vintage plugins. But, every
>> now and then a product like Ozone's Izatope comes along (and others) that
>> challeng the old "muddy up the mix crowd).
>>
>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to hear
>> that sound. they have no idea on how to get a 1975 sound..
>>
>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>> Tankersly(I
>> adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>> all of their 1960,79, & 80 hardware as a plugin and continue to fight DAW
>> companies to to fix summing buses or event new a new summing buss market
>> segment to ensure they et the 1975 sound with todays DAW.
>>
>> For me,they can have the 1975 sound. I'm moving onward with the cureent
> state
>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>> is still in my rig, but I will no longer
>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
> Let's
>> evolve past 1975..Pleaseeeeeeeee!!!!
>>
>HI David,
You mentioned PCI-X slots in the first post. Do you mean the 64 bit PCI
-X or PCI-E slot?
Is he looking for compact and portable or high performance and to be
upgradeable?
Chris
EK Sound wrote:
> Looks cool, but he already owns the VSTi's, and that thing costs 3X what
> it would to build a computer. He also wants to load SX on it for
> sequencing at home... thanks for the suggestion anyway.
>
> David.
>
> Paul Artola wrote:
>
>> Muse Receptor.
>>
>> - Paul Artola
>> Ellicott City, Maryland
>>
>> On Tue, 11 Apr 2006 11:39:18 -0600, EK Sound <askme@nospam.com> wrote:
>>
>>
>>> Hi all,
>>>
>>> A buddy of mine wants to build a soft-synth computer for live use
>>> (WinXP). I am looking for MB/CPU recommendations for this. I NEED
>>> this MB to have a minimum of 2 PCIx slots for existing hardware.
>>> On-board video is actually preferred in this instance.
>>>
>>> Thanks for any recommendations!
>>>
>>> David.
>>
>>
>>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762THANK YOU - you guys are so helpful and willing to share!!
Are you using no limit at mixdown or are you using something like sound
forge and wave or other plugs to bring levels up. I have a TC multi band
I've been using on/off also... just trying to stream line to process some...
"zmora" <docent191@wp.pl> wrote:
>
>
>and next for test:
>>>Threshold :-84 or less
>>>Ratio 1.35:1
>>>Attack 0.080
>>>Release 0.010
>>>Lookahead 0.005
>>>output 6.0 or more
>
>maybe usefull for search(?)
>
>
>
>
>"zmora" <docent191@wp.pl> wrote:
>>
>>Rich
>>
>>Try this for el.git:
>>
>>>Threshold :-96 or less
>>>Ratio 1.25:1
>>>Attack 0.080
>>>Release 0.00040
>>>Lookahead 0.004
>>>output 6.5 or more
>>
>>or try to improved it
>>
>>Zmora
>>
>>
>>
>>
>>
>>
>>"zmora" <docent191@wp.pl> wrote:
>>>
>>>
>>>o yeah !!! Good good.
>>>About your question for comp seting:
>>>
>>><Dear Zmora just playing around with some tracks I recorded.
>>>
>>>Regarding the settings someone can achieve great compession sounds with
>>percusive
>>>sounds.
>>>You can raise the release just a few nS
>>>You can put 0.00005-9, yes only that low because after that the sound
becomes
>>>harder to fit your needs, I guess...
>>>A great new snare drum setting for EDS compression is:
>>>
>>>Threshold :-96
>>>Ratio 2.70:1
>>>Attack 1.80
>>>Release 0.00008
>>>Lookahead 0.003
>>>output 15.8
>>>
>>>Regards,
>>>Dimitrios>
>>>
>>>Tom, try to move knobs and surely you will find good setting.
>>>Depens on instruments,
>>>this one "Dimitrios LA-2" is good basic for start.
>>>
>>>Cheers
>>>
>>>Zmora
>>>
>>>
>>>
>>>
>>>"Tom Bruhl" <arpegio@comcast.net> wrote:
>>>>
>>>>
>>>>You'd have to get a list of all her boy friends...
>>>> "zmora" <docent191@wp.pl> wrote in message news:443ea88e$1@linux...
>>>>
>>>>
>>>> Dimitrios ouer Hiro !!!!!!
>>>> How many more sicrets are in Paris?
>>>>
>>>> Zmora
>>>>
>>>>
>>>>
>>>> "Tom Bruhl" <arpegio@comcast.net> wrote:
>>>> >
>>>> >
>>>> >Rich,
>>>> >Isn't Dimitrios awesome? ! !
>>>> >Tom
>>>> >
>>>> >
>>>> > "rich" <studiodog_99@yahoo.com> wrote in message =3D
>>>> >news:443e9606$1@linux...
>>>> >
>>>> > Since your LA setting is great (never thought to try what you did)
>>>=
>>>>- I
>>>> =3D
>>>> >thought
>>>> > I'd ask if have any tricks for pop/rock Vox - GIT - Bass or? =
>>>>Thanks =3D
>>>> >for
>>>> > all your help!
>>>> >
>>>> ><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>> ><HTML><HEAD>
>>>> ><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
>>>> >charset=3D3Diso-8859-1">
>>>> ><META content=3D3D"MSHTML 6.00.2800.1400" name=3D3DGENERATOR>
>>>> ><STYLE></STYLE>
>>>> ></HEAD>
>>>> ><BODY bgColor=3D3D#ffffff>
>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Rich,</FONT></DIV>
>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Isn't Dimitrios awesome? ! =3D
>>>> >!</FONT></DIV>
>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
>>>> ><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>> ><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>> ><BLOCKQUOTE=3D20
>>>> >style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px;
>>=
>>>>=3D
>>>> >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> > <DIV>"rich" <<A=3D20
>>>> > =
>>>>href=3D3D"mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A>>
=3D
>>>> >wrote in=3D20
>>>> > message <A=3D20
>>>> > =3D
>>>> =
>>>>>href=3D3D"news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV><BR>S=
>>>>inc=3D
>>>> >e your=3D20
>>>> > LA setting is great (never thought to try what you did) - I =3D
>>>> >thought<BR>I'd ask=3D20
>>>> > if have any tricks for pop/rock Vox - GIT - Bass or? Thanks =3D
>>>> >for<BR>all=3D20
>>>> > your help!</BLOCKQUOTE></BODY></HTML>
>>>> >
>>>> >
>>>>
>>>>
>>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>><HTML><HEAD>
>>>><META http-equiv=3DContent-Type content=3D"text/html; =
>>>>charset=3Diso-8859-1">
>>>><META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
>>>><STYLE></STYLE>
>>>></HEAD>
>>>><BODY bgColor=3D#ffffff>
>>>><DIV><FONT face=3DArial size=3D2>You'd have to get a list of all her
boy
>>>=
>>>>
>>>>friends...</FONT></DIV>
>>>><BLOCKQUOTE=20
>>>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"zmora" <<A =
>>>>href=3D"mailto:docent191@wp.pl">docent191@wp.pl</A>>=20
>>>> wrote in message <A=20
>>>> =
>>>>href=3D"news:443ea88e$1@linux">news:443ea88e$1@linux</A>...</DIV><BR><BR>=
>>>>Dimitrios=20
>>>> ouer Hiro !!!!!!<BR>How many more sicrets are in=20
>>>> Paris?<BR><BR>Zmora<BR><BR><BR><BR>"Tom Bruhl" <<A=20
>>>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=20
>>>> wrote:<BR>><BR>><BR>>Rich,<BR>>Isn't Dimitrios awesome? !=20
>>>> !<BR>>Tom<BR>><BR>><BR>> "rich" <<A=20
>>>> href=3D"mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A>>
=
>>>>wrote in=20
>>>> message =3D<BR>>news:443e9606$1@linux...<BR>><BR>> =
>>>>Since your LA=20
>>>> setting is great (never thought to try what you did) -=20
>>>> I<BR>=3D<BR>>thought<BR>> I'd ask if have any tricks for =
>>>>pop/rock=20
>>>> Vox - GIT - Bass or? Thanks =3D<BR>>for<BR>> all =
>>>>your=20
>>>> help!<BR>><BR>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0=20
>>>> Transitional//EN"><BR>><HTML><HEAD><BR>><META=20
>>>> http-equiv=3D3DContent-Type content=3D3D"text/html;=20
>>>> =3D<BR>>charset=3D3Diso-8859-1"><BR>><META =
>>>>content=3D3D"MSHTML=20
>>>> 6.00.2800.1400"=20
>>>> =
>>>>name=3D3DGENERATOR><BR>><STYLE></STYLE><BR>></HEA=
>>>>D><BR>><BODY=20
>>>> bgColor=3D3D#ffffff><BR>><DIV><FONT face=3D3DArial=20
>>>> =
>>>>size=3D3D2>Rich,</FONT></DIV><BR>><DIV><FONT=20
>>>> face=3D3DArial size=3D3D2>Isn't Dimitrios awesome? !=20
>>>> =3D<BR>>!</FONT></DIV><BR>><DIV><FONT =
>>>>face=3D3DArial=20
>>>> size=3D3D2>Tom</FONT></DIV><BR>><DIV><FONT=20
>>>> face=3D3DArial size=3D3D2></FONT> =
>>>></DIV><BR>><DIV><FONT=20
>>>> face=3D3DArial size=3D3D2></FONT>=20
>>>> =
>>>></DIV><BR>><BLOCKQUOTE=3D20<BR>>style=3D3D"PADDING-RIGHT: =
>>>>0px;=20
>>>> PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D<BR>>BORDER-LEFT: #000000 =
>>>>2px solid;=20
>>>> MARGIN-RIGHT: 0px"><BR>> <DIV>"rich"=20
>>>> <<A=3D20<BR>> href=3D3D"<A=20
>>>> =
>>>>href=3D'mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A'>mailto:=
>>>>studiodog_99@yahoo.com">studiodog_99@yahoo.com</A</A>>>=20
>>>> =3D<BR>>wrote in=3D20<BR>> message =
>>>><A=3D20<BR>> =20
>>>> =3D<BR>>href=3D3D"<A=20
>>>> =
>>>>href=3D'news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV><BR>Sinc=
>>>>'>news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV>=
>>>>;<BR>Sinc</A>=3D<BR>>e=20
>>>> your=3D20<BR>> LA setting is great (never thought to try what =
>>>>you did)=20
>>>> - I =3D<BR>>thought<BR>I'd ask=3D20<BR>> if have any =
>>>>tricks for=20
>>>> pop/rock Vox - GIT - Bass or? Thanks=20
>>>> =3D<BR>>for<BR>all=3D20<BR>> your=20
>>>> =
>>>>help!</BLOCKQUOTE></BODY></HTML><BR>><BR>><BR></B=
>>>>LOCKQUOTE></BODY></HTML>
>>>>
>>>>
>>>
>>
>Hi Chris,
He has a Delta 1010 that he is going to use for VST rack
outputs, and he wants to possibly get a ProteusX card as
well... so it would have to have at least 2 slots for
those... as you know, PCIe won't work. He wants something
that will fit into a rack mount case with a pair of hard
drives (doesn't have to be a shuttle). Thanks for replying.
David.
Chris Ludwig wrote:
> HI David,
> You mentioned PCI-X slots in the first post. Do you mean the 64 bit PCI
> -X or PCI-E slot?
>
> Is he looking for compact and portable or high performance and to be
> upgradeable?
>
> Chris
>
>
>
> EK Sound wrote:
>
>> Looks cool, but he already owns the VSTi's, and that thing costs 3X
>> what it would to build a computer. He also wants to load SX on it for
>> sequencing at home... thanks for the suggestion anyway.
>>
>> David.
>>
>> Paul Artola wrote:
>>
>>> Muse Receptor.
>>>
>>> - Paul Artola
>>> Ellicott City, Maryland
>>>
>>> On Tue, 11 Apr 2006 11:39:18 -0600, EK Sound <askme@nospam.com> wrote:
>>>
>>>
>>>> Hi all,
>>>>
>>>> A buddy of mine wants to build a soft-synth computer for live use
>>>> (WinXP). I am looking for MB/CPU recommendations for this. I NEED
>>>> this MB to have a minimum of 2 PCIx slots for existing hardware.
>>>> On-board video is actually preferred in this instance.
>>>>
>>>> Thanks for any recommendations!
>>>>
>>>> David.
>>>
>>>
>>>
>>>
>WOW, nice. Yah, a bit too spendy, but I can see things
going the way for sure. Thanks for the link.
David.
W. Mark Wilson wrote:
> Your friend probably can't afford it but I've played 3 of these and gig with
> the owner/builder. Rock solid, beautiful and the sky is the limit.
>
> www.infinitymusicsystems.com
>
> One of the ones pictured at the site right now is airbrushed by the truefire
> guy at www.killerpaint.com whom all of our hotrod fans here already know.
> World renown.
>
> W. Mark Wilson
>
>
> "EK Sound" <askme@nospam.com> wrote in message news:443beb80$1@linux...
>
>>Hi all,
>>
>>A buddy of mine wants to build a soft-synth computer for live use (WinXP).
>>I am looking for MB/CPU recommendations for this. I NEED this MB to have
>>a minimum of 2 PCIx slots for existing hardware. On-board video is
>>actually preferred in this instance.
>>
>>Thanks for any recommendations!
>>
>>David.
>
>
>oh douglas just doesn't want people to think he's stalking them
because of that last "incident". so he just stands there pretending
not to notice...it's really kinda sad.
On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
<artguy@longtimenosee.net> wrote:
>
>Douglas-
>
>Let me see. Hmm. It seems like I have been here:
>
>
>
>
>
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> Where on earth have you been? I was getting ready to put the dogs on your
>>trail
>>
>>;oP
>>
>>
>>"steve the artguy" <artguy@longtimenosee.net> wrote in message
>>news:443d4fad$1@linux...
>>>
>>> "Neil" <OIUOIU@OI.com> wrote:
>>> >
>>> >
>>> >And if I may add, this place is great for getting advice or
>>> >opinions on more than just "systems"... there's a great wealth
>>> >of knowledge here on audio in general, and that's - personally -
>>> >why I prefer to hang here more than any other audio forum.
>>> >
>>>
>>> Yes, Neil!
>>>
>>> This is the key. There is more knowledge per square monitor inch here
>than
>>> any other online spot I've found.
>>>
>>> There seems to be someone here knows just about ANYTHING about ANYTHING.
>>> I wish I had the time to be here as much as I used to be. But I still
>scan
>>> the posts as often as possible.
>>>
>>> -steve
>>
>>HI Dave,
Ah ok it is clearer now.
Here is what I'd do then if he wants to DIY it.
Antec - Take 3 Rack case (It all ready has a quiet 450 watt PS and quiet
case fans.
ASUS A8N -SLI Premium
AMD - Athlon 64 X2 3800
Zalman - CNPS7000 heat sink
2x 1 gig DDR3200 CL2 ram
SEAGATE - Seagate 80G OS drive
Seagate 300gig SATAII 16m cache drive
FX 6200TC (they make fan less ones)
PIONEER - DVR111B
Microsoft - WINDOWS XP Professional
The board works fine with M-Audio, EMU, RME, MOTU, TC and sorta UAD.
You'll probably be looking at 14-1500ish in parts if hes gonna DIY.
Pretty much add 300-400 if you want us DAW builder types to do it
instead and get a warranty and tech support and such.
Chris
Dave(EK Sound) wrote:
> Hi Chris,
>
> He has a Delta 1010 that he is going to use for VST rack outputs, and he
> wants to possibly get a ProteusX card as well... so it would have to
> have at least 2 slots for those... as you know, PCIe won't work. He
> wants something that will fit into a rack mount case with a pair of hard
> drives (doesn't have to be a shuttle). Thanks for replying.
>
> David.
>
> Chris Ludwig wrote:
>
>> HI David,
>> You mentioned PCI-X slots in the first post. Do you mean the 64 bit
>> PCI -X or PCI-E slot?
>>
>> Is he looking for compact and portable or high performance and to be
>> upgradeable?
>>
>> Chris
>>
>>
>>
>> EK Sound wrote:
>>
>>> Looks cool, but he already owns the VSTi's, and that thing costs 3X
>>> what it would to build a computer. He also wants to load SX on it
>>> for sequencing at home... thanks for the suggestion anyway.
>>>
>>> David.
>>>
>>> Paul Artola wrote:
>>>
>>>> Muse Receptor.
>>>>
>>>> - Paul Artola
>>>> Ellicott City, Maryland
>>>>
>>>> On Tue, 11 Apr 2006 11:39:18 -0600, EK Sound <askme@nospam.com> wrote:
>>>>
>>>>
>>>>> Hi all,
>>>>>
>>>>> A buddy of mine wants to build a soft-synth computer for live use
>>>>> (WinXP). I am looking for MB/CPU recommendations for this. I NEED
>>>>> this MB to have a minimum of 2 PCIx slots for existing hardware.
>>>>> On-board video is actually preferred in this instance.
>>>>>
>>>>> Thanks for any recommendations!
>>>>>
>>>>> David.
>>>>
>>>>
>>>>
>>>>
>>>>
>>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762Hi Chris,
Cool, thanks for the suggestions. I was leaning toward
X2... nice to see you recommending a MB for it. I will be
building this for him myself... we do turn-key custom
systems here as well, so assembling and tweaking this will
be fairly simple.
As for the PSU and case fan noise... he plays keys for a 7
pc R&B band that I do sound for. With live horns and a
cossack for a drummer, I don't think we would hear a 747
warming up next to the stage! ;-) He will probably like it
at home though...
I appreciate your input, thanks!
David.
Chris Ludwig wrote:
> HI Dave,
> Ah ok it is clearer now.
> Here is what I'd do then if he wants to DIY it.
>
> Antec - Take 3 Rack case (It all ready has a quiet 450 watt PS and quiet
> case fans.
> ASUS A8N -SLI Premium
> AMD - Athlon 64 X2 3800
> Zalman - CNPS7000 heat sink
> 2x 1 gig DDR3200 CL2 ram
> SEAGATE - Seagate 80G OS drive
> Seagate 300gig SATAII 16m cache drive
> FX 6200TC (they make fan less ones)
> PIONEER - DVR111B
> Microsoft - WINDOWS XP Professional
>
> The board works fine with M-Audio, EMU, RME, MOTU, TC and sorta UAD.
>
> You'll probably be looking at 14-1500ish in parts if hes gonna DIY.
> Pretty much add 300-400 if you want us DAW builder types to do it
> instead and get a warranty and tech support and such.
>
> Chris
>
>
> Dave(EK Sound) wrote:
>
>> Hi Chris,
>>
>> He has a Delta 1010 that he is going to use for VST rack outputs, and
>> he wants to possibly get a ProteusX card as well... so it would have
>> to have at least 2 slots for those... as you know, PCIe won't work.
>> He wants something that will fit into a rack mount case with a pair of
>> hard drives (doesn't have to be a shuttle). Thanks for replying.
>>
>> David.
>>
>> Chris Ludwig wrote:
>>
>>> HI David,
>>> You mentioned PCI-X slots in the first post. Do you mean the 64 bit
>>> PCI -X or PCI-E slot?
>>>
>>> Is he looking for compact and portable or high performance and to be
>>> upgradeable?
>>>
>>> Chris
>>>
>>>
>>>
>>> EK Sound wrote:
>>>
>>>> Looks cool, but he already owns the VSTi's, and that thing costs 3X
>>>> what it would to build a computer. He also wants to load SX on it
>>>> for sequencing at home... thanks for the suggestion anyway.
>>>>
>>>> David.
>>>>
>>>> Paul Artola wrote:
>>>>
>>>>> Muse Receptor.
>>>>>
>>>>> - Paul Artola
>>>>> Ellicott City, Maryland
>>>>>
>>>>> On Tue, 11 Apr 2006 11:39:18 -0600, EK Sound <askme@nospam.com> wrote:
>>>>>
>>>>>
>>>>>> Hi all,
>>>>>>
>>>>>> A buddy of mine wants to build a soft-synth computer for live use
>>>>>> (WinXP). I am looking for MB/CPU recommendations for this. I
>>>>>> NEED this MB to have a minimum of 2 PCIx slots for existing
>>>>>> hardware. On-board video is actually preferred in this instance.
>>>>>>
>>>>>> Thanks for any recommendations!
>>>>>>
>>>>>> David.
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>
>James,
I have a demo here of the SE Ribbon. No tube. very nice mic though.
;o)
Deej
"James McCloskey" <excelsm@hotmail.com> wrote in message
news:443e763c$1@linux...
>
> The link below stopped working, so here is another.
>
> http://nady.com/tuberibbon_mics_pg.html
>
>
>
> "James McCloskey" <excelsm@hotmail.com> wrote:
> >
> >http://news.harmony-central.com/Newp/2006/Nady-TRM-6.html
>Dedric, once again, with a tear in my left eye-smile :) You have state what
I was going to say in response to my original post.
Thanks buddy...
"The overwhelming impression and approach I've taken, and got from reading
the history of it, is that the goal of recording has always been to recreate
what we hear as accurately as possible. Yet, I think somewhere along the
way when engineers
quickly realized that technology was a long way from being able to do that,
someone decided to make it a creative venture rather than an accuracy venture."
Dedric Terry <dterry@keyofd.net> wrote:
>I don't think, or at least I hope, there won't be a continued trend for
FM,
>compressed radio and 64k mp3s to dictate sound. When I think of "outdated"
>I think of limited bandwidth, sometimes noisy, and often mushy sound - not
a
>recording style, or even mixing style necessarily, although it does change
>based on pop culture and available technology more than science.
>
>A while back I read a bit on the history of recording. The overwhelming
>impression and approach I've taken, and got from reading the history of
it,
>is that the goal of recording has always been to recreate what we hear as
>accurately as possible. Yet, I think somewhere along the way when engineers
>quickly realized that technology was a long way from being able to do that,
>someone decided to make it a creative venture rather than an accuracy
>venture. Obviously there are creative requirements that eliminate accuracy
>(I once tried a binaural head test-analysis mic system on vocals - sucked,
>but it was incredibly accurate, which goes to show that not all we hear
is
>as we would prefer to hear it).
>
>Hence now we have, for example, kicks that sound nothing like the real think
>- where you had a "koomphhh" or "doomphhh" to start with, the "standard"
is
>to make it sound more like a "thmp" or "dhmp" (pardon my "technical"
>terminology). Gating, compression, EQ, even if not necessary to fix
>recording problems, have become a means to not just make the mix fit
>together, but alter the sound to what has become the radio standard. Much
>of it sounds great for what it is, but it isn't about accurate recording
>anymore, and that makes it hyper-dependant on popular trends rather than
>audiology.
>
>Regards,
>Dedric
>
>On 4/13/06 11:53 PM, in article 443f38eb$1@linux, "gene lennon"
><glennon@NOSPmyrealbox.com> wrote:
>
>>
>> So I recognize my own prejudices, I think I clearly see the new trends,
but
>> I don’t prefer the new sound. I have no doubt that for many listeners
now
>> and most in the future I will be from “The school of the outdated sound.”
>>
>> gene
>>
>> "LaMont" <jjdpro@aameritech.net> wrote:
>>>
>>> Gene,
>>> Thank you very much for "speaking: the truth about this whole DAW "nastalgic"
>>> sound thing.
>>>
>>> Let me just state that I've held my tongue for the last 5 years as I
watched
>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>> sounding
>>> DAW technology.
>>>
>>> The DAW market has been held "ransom" to the "old' guard Engineers who
ears
>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>
>>> I remember my very first recording session as a guitar player. The year
>> 1982
>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>> The
>>> sound was nice, clear just the way I recorded it. But, remember thinking
>>> "This does sound like a record" Hummmm... After all the other instruments
>>> were push up in the mix ,along with the vocals, stillnot a record sound..
>>>
>>> In other works, where is the mudied drums? the thudy bass? the muddied
vocals
>>> that I heard since I was 4 years old??? where was this sound??
>>>
>>> Well, we hen attended the mix session, I soon found out that, the magic
>> was
>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>>> hours later they had that record sound..Hummm...I started thinkng again,
>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>>> ting og high end fidelity..hummmm This was not the record sound..
>>>
>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
lawed
>>> every oter digital recorder mixer for being to ....Digital...Not warm
enough,
>>> not dull , or muddy enough..
>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>>> forum that the current state of DAW's (namely Protools) mix was bad as
well
>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
they
>>> has software emulations of their beloved (OLD) compressors EQ,
>>> Verbs.(UAD,MCDSP,
>>> Bomb factory)....
>>>
>>> So, like magic, companies pour massive resouces to reclaim the glorys
days
>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
make
>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>> the
>>> mixes sound like 1975!!!
>>>
>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
Tools
>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>> RECORD-SOUND...
>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>> NO
>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>> the
>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>
>>> Still, the old guard continues to hold it's thumb on the DAW market and
>> keep
>>> driving manufactures to making more and more vintage plugins. But, every
>>> now and then a product like Ozone's Izatope comes along (and others)
that
>>> challeng the old "muddy up the mix crowd).
>>>
>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
hear
>>> that sound. they have no idea on how to get a 1975 sound..
>>>
>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>> Tankersly(I
>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
have
>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
DAW
>>> companies to to fix summing buses or event new a new summing buss market
>>> segment to ensure they et the 1975 sound with todays DAW.
>>>
>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>> state
>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>> is still in my rig, but I will no longer
>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>> Let's
>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>
>>
>we're on his trail now......somehow I think it's gonna be a long walk
"rick" <parnell68@hotmail.com> wrote in message
news:f3fv32paettooao0ug688q54tbk327efrg@4ax.com...
> oh douglas just doesn't want people to think he's stalking them
> because of that last "incident". so he just stands there pretending
> not to notice...it's really kinda sad.
>
>
>
> On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
> <artguy@longtimenosee.net> wrote:
>
> >
> >Douglas-
> >
> >Let me see. Hmm. It seems like I have been here:
> >
> >
> >
> >
> >
> >
> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >> Where on earth have you been? I was getting ready to put the dogs on
your
> >>trail
> >>
> >>;oP
> >>
> >>
> >>"steve the artguy" <artguy@longtimenosee.net> wrote in message
> >>news:443d4fad$1@linux...
> >>>
> >>> "Neil" <OIUOIU@OI.com> wrote:
> >>> >
> >>> >
> >>> >And if I may add, this place is great for getting advice or
> >>> >opinions on more than just "systems"... there's a great wealth
> >>> >of knowledge here on audio in general, and that's - personally -
> >>> >why I prefer to hang here more than any other audio forum.
> >>> >
> >>>
> >>> Yes, Neil!
> >>>
> >>> This is the key. There is more knowledge per square monitor inch here
> >than
> >>> any other online spot I've found.
> >>>
> >>> There seems to be someone here knows just about ANYTHING about
ANYTHING.
> >>> I wish I had the time to be here as much as I used to be. But I still
> >scan
> >>> the posts as often as possible.
> >>>
> >>> -steve
> >>
> >>
>
I think it's great that we don't have to deal with some of the issues that
made recording such a chore and required such a number of tools to deal
with, but I'm not nearly as convinced as you guys that *accurate is better*.
Listen to the Dixie Chicks first CD that was recorded to tape and then
subsequent ones that were recorded to digital. The latter fefforts sound
great, but they don't sound as pleasing to my ear as the first one. The
remix of Hotel California is another example of digital awfulness. It's very
accurate and sounds like pure crap, IMO.....and it was originally recorded
to tape and then PT'ed. Sorry, but it doee sound terrible compared to the
original to my ears. With all of the new nice shiny tools we have available
today, it's possible to hear *more* as far as dugital ugliness is concerned
as well. Analog gear and tape provides glue. Lots of stuff falls apart
without glue.
Deej
"LaMont" <jjdpro@ameritech.net> wrote in message news:443fd3ca$1@linux...
>
> Dedric, once again, with a tear in my left eye-smile :) You have state
what
> I was going to say in response to my original post.
> Thanks buddy...
>
> "The overwhelming impression and approach I've taken, and got from reading
> the history of it, is that the goal of recording has always been to
recreate
> what we hear as accurately as possible. Yet, I think somewhere along the
> way when engineers
> quickly realized that technology was a long way from being able to do
that,
> someone decided to make it a creative venture rather than an accuracy
venture."
>
>
>
>
>
>
> Dedric Terry <dterry@keyofd.net> wrote:
> >I don't think, or at least I hope, there won't be a continued trend for
> FM,
> >compressed radio and 64k mp3s to dictate sound. When I think of
"outdated"
> >I think of limited bandwidth, sometimes noisy, and often mushy sound -
not
> a
> >recording style, or even mixing style necessarily, although it does
change
> >based on pop culture and available technology more than science.
> >
> >A while back I read a bit on the history of recording. The overwhelming
> >impression and approach I've taken, and got from reading the history of
> it,
> >is that the goal of recording has always been to recreate what we hear as
> >accurately as possible. Yet, I think somewhere along the way when
engineers
> >quickly realized that technology was a long way from being able to do
that,
> >someone decided to make it a creative venture rather than an accuracy
> >venture. Obviously there are creative requirements that eliminate
accuracy
> >(I once tried a binaural head test-analysis mic system on vocals -
sucked,
> >but it was incredibly accurate, which goes to show that not all we hear
> is
> >as we would prefer to hear it).
> >
> >Hence now we have, for example, kicks that sound nothing like the real
think
> >- where you had a "koomphhh" or "doomphhh" to start with, the "standard"
> is
> >to make it sound more like a "thmp" or "dhmp" (pardon my "technical"
> >terminology). Gating, compression, EQ, even if not necessary to fix
> >recording problems, have become a means to not just make the mix fit
> >together, but alter the sound to what has become the radio standard.
Much
> >of it sounds great for what it is, but it isn't about accurate recording
> >anymore, and that makes it hyper-dependant on popular trends rather than
> >audiology.
> >
> >Regards,
> >Dedric
> >
> >On 4/13/06 11:53 PM, in article 443f38eb$1@linux, "gene lennon"
> ><glennon@NOSPmyrealbox.com> wrote:
> >
> >>
> >> So I recognize my own prejudices, I think I clearly see the new trends,
> but
> >> I don't prefer the new sound. I have no doubt that for many listeners
> now
> >> and most in the future I will be from "The school of the outdated
sound."
> >>
> >> gene
> >>
> >> "LaMont" <jjdpro@aameritech.net> wrote:
> >>>
> >>> Gene,
> >>> Thank you very much for "speaking: the truth about this whole DAW
"nastalgic"
> >>> sound thing.
> >>>
> >>> Let me just state that I've held my tongue for the last 5 years as I
> watched
> >>> the DAW proaudio market "Hyjack" forward thinking , new fedelity,
newer
> >> sounding
> >>> DAW technology.
> >>>
> >>> The DAW market has been held "ransom" to the "old' guard Engineers who
> ears
> >>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
> >>>
> >>> I remember my very first recording session as a guitar player. The
year
> >> 1982
> >>> as I remember recording my tracks to 2 ich Otari MTR, MCI
mixer..Fine..
> >> The
> >>> sound was nice, clear just the way I recorded it. But, remember
thinking
> >>> "This does sound like a record" Hummmm... After all the other
instruments
> >>> were push up in the mix ,along with the vocals, stillnot a record
sound..
> >>>
> >>> In other works, where is the mudied drums? the thudy bass? the muddied
> vocals
> >>> that I heard since I was 4 years old??? where was this sound??
> >>>
> >>> Well, we hen attended the mix session, I soon found out that, the
magic
> >> was
> >>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
DBX160..2
> >>> hours later they had that record sound..Hummm...I started thinkng
again,
> >>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
witha
> >>> ting og high end fidelity..hummmm This was not the record sound..
> >>>
> >>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
priased
> >>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
> lawed
> >>> every oter digital recorder mixer for being to ....Digital...Not warm
> enough,
> >>> not dull , or muddy enough..
> >>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
every
> >>> forum that the current state of DAW's (namely Protools) mix was bad as
> well
> >>> as most plugins...Even more, they could not mix ITB(In the Box) unless
> they
> >>> has software emulations of their beloved (OLD) compressors EQ,
> >>> Verbs.(UAD,MCDSP,
> >>> Bomb factory)....
> >>>
> >>> So, like magic, companies pour massive resouces to reclaim the glorys
> days
> >>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
> make
> >>> your mixes"duller"=warmer, more professional(sit right, al in
all..Make
> >> the
> >>> mixes sound like 1975!!!
> >>>
> >>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
> Tools
> >>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
> >>> RECORD-SOUND...
> >>> With Garage bands, rap artist, Rock bands, Soul singers of today
having
> >> NO
> >>> prior knowledge,nor the Formal training to 'get he 1975" sound, we
have
> >> the
> >>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
> >>>
> >>> Still, the old guard continues to hold it's thumb on the DAW market
and
> >> keep
> >>> driving manufactures to making more and more vintage plugins. But,
every
> >>> now and then a product like Ozone's Izatope comes along (and others)
> that
> >>> challeng the old "muddy up the mix crowd).
> >>>
> >>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
> hear
> >>> that sound. they have no idea on how to get a 1975 sound..
> >>>
> >>> So, I've said all the above to say: Let's move on!!Yes , the Brian
> >>> Tankersly(I
> >>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
> have
> >>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
> DAW
> >>> companies to to fix summing buses or event new a new summing buss
market
> >>> segment to ensure they et the 1975 sound with todays DAW.
> >>>
> >>> For me,they can have the 1975 sound. I'm moving onward with the
cureent
> >> state
> >>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
Paris
> >>> is still in my rig, but I will no longer
> >>> fight mixes to get the 1975 sound..If the mixes are nice and
Brightosund
> >>> with bottom..So beit..I love the way PT HD sounds with the 192
converters.
> >>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
nice
> >>> wide -spacious,clear open , heavey bottom sound with my EMu
converters.
> >> Let's
> >>> evolve past 1975..Pleaseeeeeeeee!!!!
> >>>
> >>
> >
>Everybody's got an opinion. Here we go with the PT is better than Paris stuff
again. I guess this gives us something to talk about, but folks, we're all
being goaded and bated here.
This is what is wrong with the record industry. There is not enough diversity
in sound and music styling these days. The whole cookie cutter approach to
everything really sucks. That's why the record industry was in so much trouble,
five Britney Spears, Spice Girls doesn't cut it for vary long. Just because
a new sound comes along, the old sound shouldn't become null and void. There
should be room for everything. In other words, don't follow the followers,
and maybe you'll get noticed. If everybody used PT the things would be more
boring than they already are!
The demographic for the record companies is, 13 to 25, so the day you turn
26 your null and void??? No music geared to a 26, 36, or 46 year old???
How stupid! Do you really think that a 16 year old would think, yuck, this
music sucks, this wasn't recorded on a PT system! This music is unacceptable!
No, they listen to the song!!!!! The song is what sells them. variety
is good when it comes to sound and production. Both sounds should be acceptable!
But then again this post really wasn't about sound, now was it!
LaMont, if you like PT better cool. Keep chasing your tail dude, your sure
to end up in the same place!
"Martin Harrington" <lendan@bigpond.net.au> wrote:
>Good post, LaMont
>
>--
>Martin Harrington
>www.lendanear-sound.com
>
>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>
>> Gene,
>> Thank you very much for "speaking: the truth about this whole DAW
>> "nastalgic"
>> sound thing.
>>
>> Let me just state that I've held my tongue for the last 5 years as I
>> watched
>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>> sounding
>> DAW technology.
>>
>> The DAW market has been held "ransom" to the "old' guard Engineers who
>> ears
>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>
>> I remember my very first recording session as a guitar player. The year
>> 1982
>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>> The
>> sound was nice, clear just the way I recorded it. But, remember thinking
>> "This does sound like a record" Hummmm... After all the other instruments
>> were push up in the mix ,along with the vocals, stillnot a record sound..
>>
>> In other works, where is the mudied drums? the thudy bass? the muddied
>> vocals
>> that I heard since I was 4 years old??? where was this sound??
>>
>> Well, we hen attended the mix session, I soon found out that, the magic
>> was
>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>> hours later they had that record sound..Hummm...I started thinkng again,
>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>> ting og high end fidelity..hummmm This was not the record sound..
>>
>> So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
>> lawed
>> every oter digital recorder mixer for being to ....Digital...Not warm
>> enough,
>> not dull , or muddy enough..
>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>> forum that the current state of DAW's (namely Protools) mix was bad as
>> well
>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>> they
>> has software emulations of their beloved (OLD) compressors EQ,
>> Verbs.(UAD,MCDSP,
>> Bomb factory)....
>>
>> So, like magic, companies pour massive resouces to reclaim the glorys
days
>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to make
>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>> the
>> mixes sound like 1975!!!
>>
>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>> Tools
>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>> RECORD-SOUND...
>> With Garage bands, rap artist, Rock bands, Soul singers of today having
NO
>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>> the
>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>
>> Still, the old guard continues to hold it's thumb on the DAW market and
>> keep
>> driving manufactures to making more and more vintage plugins. But, every
>> now and then a product like Ozone's Izatope comes along (and others) that
>> challeng the old "muddy up the mix crowd).
>>
>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
>> hear
>> that sound. they have no idea on how to get a 1975 sound..
>>
>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>> Tankersly(I
>> adore), Nuendo endorsers,vinatge engineers) will continue to push to have
>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
DAW
>> companies to to fix summing buses or event new a new summing buss market
>> segment to ensure they et the 1975 sound with todays DAW.
>>
>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>> state
>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>> is still in my rig, but I will no longer
>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>> Let's
>> evolve past 1975..Pleaseeeeeeeee!!!!
>>
>>
>>
>>
>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>
>>>
>>>I sold my PT rig when I switched to Paris. I did it at the time primarily
>>>for the sound of the Paris mix bus. This was before HD.
>>>
>>>When HD was released, the distinction was far less obvious. HD still
>>>sounds
>>>different from Paris but not awful anymore, just different. Paris still
>> has
>>>more of an analog/tape sound plus the added benefit of sounding more
>>>aggressive
>>>when you push the gain stages.
>>>
>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>> because
>>>its actually makes better sounding recordings, or is it because it is
>>>closer
>>>to the sound I associate with my favorite albums from the last 30 years?
>>>
>>>
>>>I think the truth is closer to the second, and I think this is largely
a
>>>learned behavior, empirical rather than based on any truth.
>>>
>>>In a recent session at another producer's studio (who will remain
>>>unnamed),
>>>I listened to some pop-rock mixes done on a Paris rig. The sound was big
>>>and clear and sounded very tape-like. Overall it sounded quite good and
>> not
>>>at all wimpy. The artist however hated the sound. He played us a number
>> of
>>>recent albums known to have been recorded in PT or similar sounding DAWS
>>>as examples of what he wanted. This is the sound he knows and more
>>>important
>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>>10db and very little sense of depth, space or stereo width.
>>>
>>>Music may be universal but we all know it comes with cultural bias. How
>> many
>>>American teens would choose to listen to a steady diet of microtonal
>>>music?
>>>Might as well serve up a big plate of Haggis... And it not just teens.
>>>Labels
>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>all the labels want the same crappy sound.
>>>
>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>thought
>>>good sound was forever. Perhaps not so. As a producer who still has at
>>>least
>>>one toe in the current market, I need to have some awareness of the
>>>realities
>>>of the market and the "new sound" is the new sound.
>>>
>>>My personal taste has not changed. For most projects that I foresee myself
>>>working on, I will continue to use Paris, but just as I have made
>>>decisions
>>>in the past to use SSL consoles rather than Neves to achieve a more trendy
>>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>>>sound".
>>>(Insert appropriate emoticon).
>>>
>>>Luckily it was reasonably easy to achieve. I recently purchased the Waves
>>>SSL bundle and running that in Logic can get me very close to the sound
>> of
>>>better sounding PT mixes. So I can still use Paris whenever I like and
I
>>>can experiment with a mix of the two styles.
>>>
>>> What does all this mean? Nothing other then I understand why some people
>>>may prefer the way other systems sound and I think that my own preferences
>>>are biased by many years of listening to records made the old way. I don't
>>>see giving up Paris any time soon but I also don't think it's worth
>>>fighting
>>>over if someone else has different opinions on what sounds good.
>>>
>>>And don’t forget…the cyclical nature of fashion almost guarantees that
one
>>>day we will once again be "in".
>>>
>>>Gene
>>
>
>http://www.royerlabs.com/mics/R-122V.html"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I think it's great that we don't have to deal with some of the issues that
>made recording such a chore and required such a number of tools to deal
>with, but I'm not nearly as convinced as you guys that *accurate is better*.
>Listen to the Dixie Chicks first CD that was recorded to tape and then
>subsequent ones that were recorded to digital. The latter fefforts sound
>great, but they don't sound as pleasing to my ear as the first one. The
>remix of Hotel California is another example of digital awfulness. It's
very
>accurate and sounds like pure crap, IMO.....and it was originally recorded
>to tape and then PT'ed. Sorry, but it doee sound terrible compared to the
>original to my ears. With all of the new nice shiny tools we have available
>today, it's possible to hear *more* as far as dugital ugliness is concerned
>as well. Analog gear and tape provides glue. Lots of stuff falls apart
>without glue.
>
>Deej
Deej, your right as usual!
>"LaMont" <jjdpro@ameritech.net> wrote in message news:443fd3ca$1@linux...
>>
>> Dedric, once again, with a tear in my left eye-smile :) You have state
>what
>> I was going to say in response to my original post.
>> Thanks buddy...
>>
>> "The overwhelming impression and approach I've taken, and got from reading
>> the history of it, is that the goal of recording has always been to
>recreate
>> what we hear as accurately as possible. Yet, I think somewhere along
the
>> way when engineers
>> quickly realized that technology was a long way from being able to do
>that,
>> someone decided to make it a creative venture rather than an accuracy
>venture."
>>
>>
>>
>>
>>
>>
>> Dedric Terry <dterry@keyofd.net> wrote:
>> >I don't think, or at least I hope, there won't be a continued trend for
>> FM,
>> >compressed radio and 64k mp3s to dictate sound. When I think of
>"outdated"
>> >I think of limited bandwidth, sometimes noisy, and often mushy sound
-
>not
>> a
>> >recording style, or even mixing style necessarily, although it does
>change
>> >based on pop culture and available technology more than science.
>> >
>> >A while back I read a bit on the history of recording. The overwhelming
>> >impression and approach I've taken, and got from reading the history
of
>> it,
>> >is that the goal of recording has always been to recreate what we hear
as
>> >accurately as possible. Yet, I think somewhere along the way when
>engineers
>> >quickly realized that technology was a long way from being able to do
>that,
>> >someone decided to make it a creative venture rather than an accuracy
>> >venture. Obviously there are creative requirements that eliminate
>accuracy
>> >(I once tried a binaural head test-analysis mic system on vocals -
>sucked,
>> >but it was incredibly accurate, which goes to show that not all we hear
>> is
>> >as we would prefer to hear it).
>> >
>> >Hence now we have, for example, kicks that sound nothing like the real
>think
>> >- where you had a "koomphhh" or "doomphhh" to start with, the "standard"
>> is
>> >to make it sound more like a "thmp" or "dhmp" (pardon my "technical"
>> >terminology). Gating, compression, EQ, even if not necessary to fix
>> >recording problems, have become a means to not just make the mix fit
>> >together, but alter the sound to what has become the radio standard.
>Much
>> >of it sounds great for what it is, but it isn't about accurate recording
>> >anymore, and that makes it hyper-dependant on popular trends rather than
>> >audiology.
>> >
>> >Regards,
>> >Dedric
>> >
>> >On 4/13/06 11:53 PM, in article 443f38eb$1@linux, "gene lennon"
>> ><glennon@NOSPmyrealbox.com> wrote:
>> >
>> >>
>> >> So I recognize my own prejudices, I think I clearly see the new trends,
>> but
>> >> I don't prefer the new sound. I have no doubt that for many listeners
>> now
>> >> and most in the future I will be from "The school of the outdated
>sound."
>> >>
>> >> gene
>> >>
>> >> "LaMont" <jjdpro@aameritech.net> wrote:
>> >>>
>> >>> Gene,
>> >>> Thank you very much for "speaking: the truth about this whole DAW
>"nastalgic"
>> >>> sound thing.
>> >>>
>> >>> Let me just state that I've held my tongue for the last 5 years as
I
>> watched
>> >>> the DAW proaudio market "Hyjack" forward thinking , new fedelity,
>newer
>> >> sounding
>> >>> DAW technology.
>> >>>
>> >>> The DAW market has been held "ransom" to the "old' guard Engineers
who
>> ears
>> >>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>> >>>
>> >>> I remember my very first recording session as a guitar player. The
>year
>> >> 1982
>> >>> as I remember recording my tracks to 2 ich Otari MTR, MCI
>mixer..Fine..
>> >> The
>> >>> sound was nice, clear just the way I recorded it. But, remember
>thinking
>> >>> "This does sound like a record" Hummmm... After all the other
>instruments
>> >>> were push up in the mix ,along with the vocals, stillnot a record
>sound..
>> >>>
>> >>> In other works, where is the mudied drums? the thudy bass? the muddied
>> vocals
>> >>> that I heard since I was 4 years old??? where was this sound??
>> >>>
>> >>> Well, we hen attended the mix session, I soon found out that, the
>magic
>> >> was
>> >>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>DBX160..2
>> >>> hours later they had that record sound..Hummm...I started thinkng
>again,
>> >>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>witha
>> >>> ting og high end fidelity..hummmm This was not the record sound..
>> >>>
>> >>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>priased
>> >>> it for it's "easy ability" to get that record sound!! wow!!! AND,
we
>> lawed
>> >>> every oter digital recorder mixer for being to ....Digital...Not warm
>> enough,
>> >>> not dull , or muddy enough..
>> >>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>every
>> >>> forum that the current state of DAW's (namely Protools) mix was bad
as
>> well
>> >>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>> they
>> >>> has software emulations of their beloved (OLD) compressors EQ,
>> >>> Verbs.(UAD,MCDSP,
>> >>> Bomb factory)....
>> >>>
>> >>> So, like magic, companies pour massive resouces to reclaim the glorys
>> days
>> >>> with the birth of the "Vinatage Plug ins). Their purpose was( is)
to
>> make
>> >>> your mixes"duller"=warmer, more professional(sit right, al in
>all..Make
>> >> the
>> >>> mixes sound like 1975!!!
>> >>>
>> >>> Now in 2006 the "what I call" modern sound of DAWS, being lead by
Pro
>> Tools
>> >>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>> >>> RECORD-SOUND...
>> >>> With Garage bands, rap artist, Rock bands, Soul singers of today
>having
>> >> NO
>> >>> prior knowledge,nor the Formal training to 'get he 1975" sound, we
>have
>> >> the
>> >>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>> >>>
>> >>> Still, the old guard continues to hold it's thumb on the DAW market
>and
>> >> keep
>> >>> driving manufactures to making more and more vintage plugins. But,
>every
>> >>> now and then a product like Ozone's Izatope comes along (and others)
>> that
>> >>> challeng the old "muddy up the mix crowd).
>> >>>
>> >>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect
to
>> hear
>> >>> that sound. they have no idea on how to get a 1975 sound..
>> >>>
>> >>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>> >>> Tankersly(I
>> >>> adore), Nuendo endorsers,vinatge engineers) will continue to push
to
>> have
>> >>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>> DAW
>> >>> companies to to fix summing buses or event new a new summing buss
>market
>> >>> segment to ensure they et the 1975 sound with todays DAW.
>> >>>
>> >>> For me,they can have the 1975 sound. I'm moving onward with the
>cureent
>> >> state
>> >>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
>Paris
>> >>> is still in my rig, but I will no longer
>> >>> fight mixes to get the 1975 sound..If the mixes are nice and
>Brightosund
>> >>> with bottom..So beit..I love the way PT HD sounds with the 192
>converters.
>> >>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
>nice
>> >>> wide -spacious,clear open , heavey bottom sound with my EMu
>converters.
>> >> Let's
>> >>> evolve past 1975..Pleaseeeeeeeee!!!!
>> >>>
>> >>
>> >
>>
>
>I think you've misinterpreted that anyone is saying that one approach is
better than another.
On the contrary, this is just an observation in how we choose our
preferences, and the fact that
currently available technology significantly exceeds what was available 40,
30, 20 and even 10 years ago.
Recording is about capturing audio - period. It's production, mixing, and
the concept of creating listener appeal
in the music side of recording that has used it creatively. There isn't
anything wrong with that, but recording has always
been at the mercy of, and influenced by the available technology. It isn't
a platform war, and never was -
just a constant attempt to improve each element of the chain within the
budgets we have available.
I once tested recording a vocal with a binaural head, test measuring system.
It sucked for artistic and listening pleasure,
but was incredibly reaslistic. Maybe that just goes to show that what
entertains us artistically doesn't necessarily benefit
from reality. There's nothing wrong with running a mix down to a 4-track
cassette deck if that's what floats your
boat creatively.
Regards,
Dedric
"JD" <no@nospam.com> wrote in message news:443fdbe4$1@linux...
>
> Everybody's got an opinion. Here we go with the PT is better than Paris
> stuff
> again. I guess this gives us something to talk about, but folks, we're
> all
> being goaded and bated here.
>
> This is what is wrong with the record industry. There is not enough
> diversity
> in sound and music styling these days. The whole cookie cutter approach to
> everything really sucks. That's why the record industry was in so much
> trouble,
> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
> because
> a new sound comes along, the old sound shouldn't become null and void.
> There
> should be room for everything. In other words, don't follow the
> followers,
> and maybe you'll get noticed. If everybody used PT the things would be
> more
> boring than they already are!
>
> The demographic for the record companies is, 13 to 25, so the day you turn
> 26 your null and void??? No music geared to a 26, 36, or 46 year old???
> How stupid! Do you really think that a 16 year old would think, yuck,
> this
> music sucks, this wasn't recorded on a PT system! This music is
> unacceptable!
> No, they listen to the song!!!!! The song is what sells them. variety
> is good when it comes to sound and production. Both sounds should be
> acceptable!
> But then again this post really wasn't about sound, now was it!
>
> LaMont, if you like PT better cool. Keep chasing your tail dude, your
> sure
> to end up in the same place!
>
>
> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>Good post, LaMont
>>
>>--
>>Martin Harrington
>>www.lendanear-sound.com
>>
>>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>>
>>> Gene,
>>> Thank you very much for "speaking: the truth about this whole DAW
>>> "nastalgic"
>>> sound thing.
>>>
>>> Let me just state that I've held my tongue for the last 5 years as I
>>> watched
>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>
>>> sounding
>>> DAW technology.
>>>
>>> The DAW market has been held "ransom" to the "old' guard Engineers who
>
>>> ears
>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>
>>> I remember my very first recording session as a guitar player. The year
>
>>> 1982
>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>
>>> The
>>> sound was nice, clear just the way I recorded it. But, remember
>>> thinking
>>> "This does sound like a record" Hummmm... After all the other
>>> instruments
>>> were push up in the mix ,along with the vocals, stillnot a record
>>> sound..
>>>
>>> In other works, where is the mudied drums? the thudy bass? the muddied
>
>>> vocals
>>> that I heard since I was 4 years old??? where was this sound??
>>>
>>> Well, we hen attended the mix session, I soon found out that, the magic
>
>>> was
>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>>> DBX160..2
>>> hours later they had that record sound..Hummm...I started thinkng again,
>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>>> witha
>>> ting og high end fidelity..hummmm This was not the record sound..
>>>
>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>>> priased
>>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
>
>>> lawed
>>> every oter digital recorder mixer for being to ....Digital...Not warm
>
>>> enough,
>>> not dull , or muddy enough..
>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>>> every
>>> forum that the current state of DAW's (namely Protools) mix was bad as
>
>>> well
>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>
>>> they
>>> has software emulations of their beloved (OLD) compressors EQ,
>>> Verbs.(UAD,MCDSP,
>>> Bomb factory)....
>>>
>>> So, like magic, companies pour massive resouces to reclaim the glorys
> days
>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
>>> make
>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>
>>> the
>>> mixes sound like 1975!!!
>>>
>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>
>>> Tools
>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>> RECORD-SOUND...
>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
> NO
>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>
>>> the
>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>
>>> Still, the old guard continues to hold it's thumb on the DAW market and
>
>>> keep
>>> driving manufactures to making more and more vintage plugins. But,
>>> every
>>> now and then a product like Ozone's Izatope comes along (and others)
>>> that
>>> challeng the old "muddy up the mix crowd).
>>>
>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
>
>>> hear
>>> that sound. they have no idea on how to get a 1975 sound..
>>>
>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>> Tankersly(I
>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
>>> have
>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
> DAW
>>> companies to to fix summing buses or event new a new summing buss market
>>> segment to ensure they et the 1975 sound with todays DAW.
>>>
>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>
>>> state
>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>> is still in my rig, but I will no longer
>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>> with bottom..So beit..I love the way PT HD sounds with the 192
>>> converters.
>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>
>>> Let's
>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>
>>>
>>>
>>>
>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>
>>>>
>>>>I sold my PT rig when I switched to Paris. I did it at the time
>>>>primarily
>>>>for the sound of the Paris mix bus. This was before HD.
>>>>
>>>>When HD was released, the distinction was far less obvious. HD still
>>>>sounds
>>>>different from Paris but not awful anymore, just different. Paris still
>>> has
>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>aggressive
>>>>when you push the gain stages.
>>>>
>>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>>> because
>>>>its actually makes better sounding recordings, or is it because it is
>
>>>>closer
>>>>to the sound I associate with my favorite albums from the last 30 years?
>>>>
>>>>
>>>>I think the truth is closer to the second, and I think this is largely
> a
>>>>learned behavior, empirical rather than based on any truth.
>>>>
>>>>In a recent session at another producer's studio (who will remain
>>>>unnamed),
>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was big
>>>>and clear and sounded very tape-like. Overall it sounded quite good and
>>> not
>>>>at all wimpy. The artist however hated the sound. He played us a number
>>> of
>>>>recent albums known to have been recorded in PT or similar sounding DAWS
>>>>as examples of what he wanted. This is the sound he knows and more
>>>>important
>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>>>10db and very little sense of depth, space or stereo width.
>>>>
>>>>Music may be universal but we all know it comes with cultural bias. How
>>> many
>>>>American teens would choose to listen to a steady diet of microtonal
>>>>music?
>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>
>>>>Labels
>>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>>all the labels want the same crappy sound.
>>>>
>>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>>thought
>>>>good sound was forever. Perhaps not so. As a producer who still has at
>
>>>>least
>>>>one toe in the current market, I need to have some awareness of the
>>>>realities
>>>>of the market and the "new sound" is the new sound.
>>>>
>>>>My personal taste has not changed. For most projects that I foresee
>>>>myself
>>>>working on, I will continue to use Paris, but just as I have made
>>>>decisions
>>>>in the past to use SSL consoles rather than Neves to achieve a more
>>>>trendy
>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>
>>>>sound".
>>>>(Insert appropriate emoticon).
>>>>
>>>>Luckily it was reasonably easy to achieve. I recently purchased the
>>>>Waves
>>>>SSL bundle and running that in Logic can get me very close to the sound
>>> of
>>>>better sounding PT mixes. So I can still use Paris whenever I like and
> I
>>>>can experiment with a mix of the two styles.
>>>>
>>>> What does all this mean? Nothing other then I understand why some
>>>> people
>>>>may prefer the way other systems sound and I think that my own
>>>>preferences
>>>>are biased by many years of listening to records made the old way. I
>>>>don't
>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>fighting
>>>>over if someone else has different opinions on what sounds good.
>>>>
>>>>And don't forget.the cyclical nature of fashion almost guarantees that
> one
>>>>day we will once again be "in".
>>>>
>>>>Gene
>>>
>>
>>
>What kills me is the industry types that won't record with you if you
don't have PT... "Hmmm... your studio can't be all that good if you
don't have ProTools..." What you are using is of little consiquence IMHO.
David.
Dedric Terry wrote:
> I think you've misinterpreted that anyone is saying that one approach is
> better than another.
> On the contrary, this is just an observation in how we choose our
> preferences, and the fact that
> currently available technology significantly exceeds what was available 40,
> 30, 20 and even 10 years ago.
> Recording is about capturing audio - period. It's production, mixing, and
> the concept of creating listener appeal
> in the music side of recording that has used it creatively. There isn't
> anything wrong with that, but recording has always
> been at the mercy of, and influenced by the available technology. It isn't
> a platform war, and never was -
> just a constant attempt to improve each element of the chain within the
> budgets we have available.
>
> I once tested recording a vocal with a binaural head, test measuring system.
> It sucked for artistic and listening pleasure,
> but was incredibly reaslistic. Maybe that just goes to show that what
> entertains us artistically doesn't necessarily benefit
> from reality. There's nothing wrong with running a mix down to a 4-track
> cassette deck if that's what floats your
> boat creatively.
>
> Regards,
> Dedric
>
>
>Sorry, I don't see this post a simply an observation, discussion or even just
a opinion. LaMont is saying that the old analog,tape saturated, edgy, overdriven
sound is no longer valid. That we should all get over it and move on. That
the Paris signature sound is no longer in, that the new PT, Nuendo sound
is where it's at. Once again, he is saying PT/Nuendo sounds better than
Paris. I feel this is a bate job.
Sure audio equipment has evolved. Newer doesn't always mean better. A combination
of all tools is the smartest rout. I don't think a whole sound should be
eliminated just because something is currently trendy. He clearly states
he thinks that, that sound is done and we should all move on the new PT sound.
He can say what ever he wants, I'm just calling it like I see it.
Here is LaMont's chance to clarify!
"Dedric Terry" <dedric@echomg.com> wrote:
>I think you've misinterpreted that anyone is saying that one approach is
>better than another.
>On the contrary, this is just an observation in how we choose our
>preferences, and the fact that
>currently available technology significantly exceeds what was available
40,
>30, 20 and even 10 years ago.
>Recording is about capturing audio - period. It's production, mixing, and
>the concept of creating listener appeal
>in the music side of recording that has used it creatively. There isn't
>anything wrong with that, but recording has always
>been at the mercy of, and influenced by the available technology. It isn't
>a platform war, and never was -
>just a constant attempt to improve each element of the chain within the
>budgets we have available.
>
>I once tested recording a vocal with a binaural head, test measuring system.
>It sucked for artistic and listening pleasure,
>but was incredibly reaslistic. Maybe that just goes to show that what
>entertains us artistically doesn't necessarily benefit
>from reality. There's nothing wrong with running a mix down to a 4-track
>cassette deck if that's what floats your
>boat creatively.
>
>Regards,
>Dedric
>
>
>"JD" <no@nospam.com> wrote in message news:443fdbe4$1@linux...
>>
>> Everybody's got an opinion. Here we go with the PT is better than Paris
>> stuff
>> again. I guess this gives us something to talk about, but folks, we're
>> all
>> being goaded and bated here.
>>
>> This is what is wrong with the record industry. There is not enough
>> diversity
>> in sound and music styling these days. The whole cookie cutter approach
to
>> everything really sucks. That's why the record industry was in so much
>> trouble,
>> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
>> because
>> a new sound comes along, the old sound shouldn't become null and void.
>> There
>> should be room for everything. In other words, don't follow the
>> followers,
>> and maybe you'll get noticed. If everybody used PT the things would be
>> more
>> boring than they already are!
>>
>> The demographic for the record companies is, 13 to 25, so the day you
turn
>> 26 your null and void??? No music geared to a 26, 36, or 46 year old???
>> How stupid! Do you really think that a 16 year old would think, yuck,
>> this
>> music sucks, this wasn't recorded on a PT system! This music is
>> unacceptable!
>> No, they listen to the song!!!!! The song is what sells them. variety
>> is good when it comes to sound and production. Both sounds should be
>> acceptable!
>> But then again this post really wasn't about sound, now was it!
>>
>> LaMont, if you like PT better cool. Keep chasing your tail dude, your
>> sure
>> to end up in the same place!
>>
>>
>> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>>Good post, LaMont
>>>
>>>--
>>>Martin Harrington
>>>www.lendanear-sound.com
>>>
>>>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>>>
>>>> Gene,
>>>> Thank you very much for "speaking: the truth about this whole DAW
>>>> "nastalgic"
>>>> sound thing.
>>>>
>>>> Let me just state that I've held my tongue for the last 5 years as I
>>>> watched
>>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>>
>>>> sounding
>>>> DAW technology.
>>>>
>>>> The DAW market has been held "ransom" to the "old' guard Engineers who
>>
>>>> ears
>>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>>
>>>> I remember my very first recording session as a guitar player. The year
>>
>>>> 1982
>>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>>
>>>> The
>>>> sound was nice, clear just the way I recorded it. But, remember
>>>> thinking
>>>> "This does sound like a record" Hummmm... After all the other
>>>> instruments
>>>> were push up in the mix ,along with the vocals, stillnot a record
>>>> sound..
>>>>
>>>> In other works, where is the mudied drums? the thudy bass? the muddied
>>
>>>> vocals
>>>> that I heard since I was 4 years old??? where was this sound??
>>>>
>>>> Well, we hen attended the mix session, I soon found out that, the magic
>>
>>>> was
>>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>>>> DBX160..2
>>>> hours later they had that record sound..Hummm...I started thinkng again,
>>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>>>> witha
>>>> ting og high end fidelity..hummmm This was not the record sound..
>>>>
>>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>>>> priased
>>>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
>>
>>>> lawed
>>>> every oter digital recorder mixer for being to ....Digital...Not warm
>>
>>>> enough,
>>>> not dull , or muddy enough..
>>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>>>> every
>>>> forum that the current state of DAW's (namely Protools) mix was bad
as
>>
>>>> well
>>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>>
>>>> they
>>>> has software emulations of their beloved (OLD) compressors EQ,
>>>> Verbs.(UAD,MCDSP,
>>>> Bomb factory)....
>>>>
>>>> So, like magic, companies pour massive resouces to reclaim the glorys
>> days
>>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
>>>> make
>>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>>
>>>> the
>>>> mixes sound like 1975!!!
>>>>
>>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>>
>>>> Tools
>>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>>> RECORD-SOUND...
>>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>> NO
>>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>>
>>>> the
>>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>>
>>>> Still, the old guard continues to hold it's thumb on the DAW market
and
>>
>>>> keep
>>>> driving manufactures to making more and more vintage plugins. But,
>>>> every
>>>> now and then a product like Ozone's Izatope comes along (and others)
>>>> that
>>>> challeng the old "muddy up the mix crowd).
>>>>
>>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect
to
>>
>>>> hear
>>>> that sound. they have no idea on how to get a 1975 sound..
>>>>
>>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>>> Tankersly(I
>>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
>>>> have
>>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>> DAW
>>>> companies to to fix summing buses or event new a new summing buss market
>>>> segment to ensure they et the 1975 sound with todays DAW.
>>>>
>>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>>
>>>> state
>>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>>> is still in my rig, but I will no longer
>>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>>> with bottom..So beit..I love the way PT HD sounds with the 192
>>>> converters.
>>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
nice
>>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>>
>>>> Let's
>>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>>
>>>>
>>>>
>>>>
>>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>>
>>>>>
>>>>>I sold my PT rig when I switched to Paris. I did it at the time
>>>>>primarily
>>>>>for the sound of the Paris mix bus. This was before HD.
>>>>>
>>>>>When HD was released, the distinction was far less obvious. HD still
>>>>>sounds
>>>>>different from Paris but not awful anymore, just different. Paris still
>>>> has
>>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>>aggressive
>>>>>when you push the gain stages.
>>>>>
>>>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>>>> because
>>>>>its actually makes better sounding recordings, or is it because it is
>>
>>>>>closer
>>>>>to the sound I associate with my favorite albums from the last 30 years?
>>>>>
>>>>>
>>>>>I think the truth is closer to the second, and I think this is largely
>> a
>>>>>learned behavior, empirical rather than based on any truth.
>>>>>
>>>>>In a recent session at another producer's studio (who will remain
>>>>>unnamed),
>>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was
big
>>>>>and clear and sounded very tape-like. Overall it sounded quite good
and
>>>> not
>>>>>at all wimpy. The artist however hated the sound. He played us a number
>>>> of
>>>>>recent albums known to have been recorded in PT or similar sounding
DAWS
>>>>>as examples of what he wanted. This is the sound he knows and more
>>>>>important
>>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>>>>10db and very little sense of depth, space or stereo width.
>>>>>
>>>>>Music may be universal but we all know it comes with cultural bias.
How
>>>> many
>>>>>American teens would choose to listen to a steady diet of microtonal
>>>>>music?
>>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>>
>>>>>Labels
>>>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>>>all the labels want the same crappy sound.
>>>>>
>>>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>>>thought
>>>>>good sound was forever. Perhaps not so. As a producer who still has
at
>>
>>>>>least
>>>>>one toe in the current market, I need to have some awareness of the
>>>>>realities
>>>>>of the market and the "new sound" is the new sound.
>>>>>
>>>>>My personal taste has not changed. For most projects that I foresee
>>>>>myself
>>>>>working on, I will continue to use Paris, but just as I have made
>>>>>decisions
>>>>>in the past to use SSL consoles rather than Neves to achieve a more
>>>>>trendy
>>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive
PT
>>
>>>>>sound".
>>>>>(Insert appropriate emoticon).
>>>>>
>>>>>Luckily it was reasonably easy to achieve. I recently purchased the
>>>>>Waves
>>>>>SSL bundle and running that in Logic can get me very close to the sound
>>>> of
>>>>>better sounding PT mixes. So I can still use Paris whenever I like and
>> I
>>>>>can experiment with a mix of the two styles.
>>>>>
>>>>> What does all this mean? Nothing other then I understand why some
>>>>> people
>>>>>may prefer the way other systems sound and I think that my own
>>>>>preferences
>>>>>are biased by many years of listening to records made the old way. I
>>>>>don't
>>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>>fighting
>>>>>over if someone else has different opinions on what sounds good.
>>>>>
>>>>>And don't forget.the cyclical nature of fashion almost guarantees that
>> one
>>>>>day we will once again be "in".
>>>>>
>>>>>Gene
>>>>
>>>
>>>
>>
>
>Man, you were so close! Look in that picture!
See how the puppy on the left is looking to his right? See that tree behind
him? I was hiding behind it! Ha!
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>we're on his trail now......somehow I think it's gonna be a long walk
>
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:f3fv32paettooao0ug688q54tbk327efrg@4ax.com...
>> oh douglas just doesn't want people to think he's stalking them
>> because of that last "incident". so he just stands there pretending
>> not to notice...it's really kinda sad.
>>
>>
>>
>> On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
>> <artguy@longtimenosee.net> wrote:
>>
>> >
>> >Douglas-
>> >
>> >Let me see. Hmm. It seems like I have been here:
>> >
>> >
>> >
>> >
>> >
>> >
>> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >> Where on earth have you been? I was getting ready to put the dogs on
>your
>> >>trail
>> >>
>> >>;oP
>> >>
>> >>
>> >>"steve the artguy" <artguy@longtimenosee.net> wrote in message
>> >>news:443d4fad$1@linux...
>> >>>
>> >>> "Neil" <OIUOIU@OI.com> wrote:
>> >>> >
>> >>> >
>> >>> >And if I may add, this place is great for getting advice or
>> >>> >opinions on more than just "systems"... there's a great wealth
>> >>> >of knowledge here on audio in general, and that's - personally -
>> >>> >why I prefer to hang here more than any other audio forum.
>> >>> >
>> >>>
>> >>> Yes, Neil!
>> >>>
>> >>> This is the key. There is more knowledge per square monitor inch here
>> >than
>> >>> any other online spot I've found.
>> >>>
>> >>> There seems to be someone here knows just about ANYTHING about
>ANYTHING.
>> >>> I wish I had the time to be here as much as I used to be. But I still
>> >scan
>> >>> the posts as often as possible.
>> >>>
>> >>> -steve
>> >>
>> >>
>>
>
>
>I have a couple of projects that play fine when only the project window is
open but as soon as I open any other windows, ugly distortion appears. It
seems to be in submix A. Any one else ever get this ? any ideas? Thanks.Hi,
Regarding the eds compressor and vox please use this as a starting point
for further search.
I think it is very good for vocals.
Threshold: -96
ratio: 1.25:1 (raise until you get -12-18 gain reduction)
attack: 0.082
Release 0.00006 sec
Lookahead: 0.005
Output: 10.9
What I found is that -96 and release with FIVE ZEROS is the must starting
point.
Then you just raise the ratio until you get over -12 db (-16 is fine) gain
reduction.
Then you work with attack until you get a stable compression response but
around 0.082 is fine.
Output raise until you get same level in out...
So please disregard my previous compressor suggestion for vox, was a little
bit fast...
Regards,
Dimitrios
"rich" <studiodog_99@yahoo.com> wrote:
>
>THANK YOU - you guys are so helpful and willing to share!!
>
> Are you using no limit at mixdown or are you using something like sound
>forge and wave or other plugs to bring levels up. I have a TC multi band
>I've been using on/off also... just trying to stream line to process some...
>
>
>"zmora" <docent191@wp.pl> wrote:
>>
>>
>>and next for test:
>>>>Threshold :-84 or less
>>>>Ratio 1.35:1
>>>>Attack 0.080
>>>>Release 0.010
>>>>Lookahead 0.005
>>>>output 6.0 or more
>>
>>maybe usefull for search(?)
>>
>>
>>
>>
>>"zmora" <docent191@wp.pl> wrote:
>>>
>>>Rich
>>>
>>>Try this for el.git:
>>>
>>>>Threshold :-96 or less
>>>>Ratio 1.25:1
>>>>Attack 0.080
>>>>Release 0.00040
>>>>Lookahead 0.004
>>>>output 6.5 or more
>>>
>>>or try to improved it
>>>
>>>Zmora
>>>
>>>
>>>
>>>
>>>
>>>
>>>"zmora" <docent191@wp.pl> wrote:
>>>>
>>>>
>>>>o yeah !!! Good good.
>>>>About your question for comp seting:
>>>>
>>>><Dear Zmora just playing around with some tracks I recorded.
>>>>
>>>>Regarding the settings someone can achieve great compession sounds with
>>>percusive
>>>>sounds.
>>>>You can raise the release just a few nS
>>>>You can put 0.00005-9, yes only that low because after that the sound
>becomes
>>>>harder to fit your needs, I guess...
>>>>A great new snare drum setting for EDS compression is:
>>>>
>>>>Threshold :-96
>>>>Ratio 2.70:1
>>>>Attack 1.80
>>>>Release 0.00008
>>>>Lookahead 0.003
>>>>output 15.8
>>>>
>>>>Regards,
>>>>Dimitrios>
>>>>
>>>>Tom, try to move knobs and surely you will find good setting.
>>>>Depens on instruments,
>>>>this one "Dimitrios LA-2" is good basic for start.
>>>>
>>>>Cheers
>>>>
>>>>Zmora
>>>>
>>>>
>>>>
>>>>
>>>>"Tom Bruhl" <arpegio@comcast.net> wrote:
>>>>>
>>>>>
>>>>>You'd have to get a list of all her boy friends...
>>>>> "zmora" <docent191@wp.pl> wrote in message news:443ea88e$1@linux...
>>>>>
>>>>>
>>>>> Dimitrios ouer Hiro !!!!!!
>>>>> How many more sicrets are in Paris?
>>>>>
>>>>> Zmora
>>>>>
>>>>>
>>>>>
>>>>> "Tom Bruhl" <arpegio@comcast.net> wrote:
>>>>> >
>>>>> >
>>>>> >Rich,
>>>>> >Isn't Dimitrios awesome? ! !
>>>>> >Tom
>>>>> >
>>>>> >
>>>>> > "rich" <studiodog_99@yahoo.com> wrote in message =3D
>>>>> >news:443e9606$1@linux...
>>>>> >
>>>>> > Since your LA setting is great (never thought to try what you did)
>>>>=
>>>>>- I
>>>>> =3D
>>>>> >thought
>>>>> > I'd ask if have any tricks for pop/rock Vox - GIT - Bass or? =
>>>>>Thanks =3D
>>>>> >for
>>>>> > all your help!
>>>>> >
>>>>> ><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>>> ><HTML><HEAD>
>>>>> ><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
>>>>> >charset=3D3Diso-8859-1">
>>>>> ><META content=3D3D"MSHTML 6.00.2800.1400" name=3D3DGENERATOR>
>>>>> ><STYLE></STYLE>
>>>>> ></HEAD>
>>>>> ><BODY bgColor=3D3D#ffffff>
>>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Rich,</FONT></DIV>
>>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Isn't Dimitrios awesome? ! =3D
>>>>> >!</FONT></DIV>
>>>>> ><DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
>>>>> ><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>>> ><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>>> ><BLOCKQUOTE=3D20
>>>>> >style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px;
>>>=
>>>>>=3D
>>>>> >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>>> > <DIV>"rich" <<A=3D20
>>>>> > =
>>>>>href=3D3D"mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A>>
>=3D
>>>>> >wrote in=3D20
>>>>> > message <A=3D20
>>>>> > =3D
>>>>> =
>>>>>>href=3D3D"news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV><BR>S=
>>>>>inc=3D
>>>>> >e your=3D20
>>>>> > LA setting is great (never thought to try what you did) - I =3D
>>>>> >thought<BR>I'd ask=3D20
>>>>> > if have any tricks for pop/rock Vox - GIT - Bass or? Thanks =3D
>>>>> >for<BR>all=3D20
>>>>> > your help!</BLOCKQUOTE></BODY></HTML>
>>>>> >
>>>>> >
>>>>>
>>>>>
>>>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>>><HTML><HEAD>
>>>>><META http-equiv=3DContent-Type content=3D"text/html; =
>>>>>charset=3Diso-8859-1">
>>>>><META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
>>>>><STYLE></STYLE>
>>>>></HEAD>
>>>>><BODY bgColor=3D#ffffff>
>>>>><DIV><FONT face=3DArial size=3D2>You'd have to get a list of all her
>boy
>>>>=
>>>>>
>>>>>friends...</FONT></DIV>
>>>>><BLOCKQUOTE=20
>>>>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>>> <DIV>"zmora" <<A =
>>>>>href=3D"mailto:docent191@wp.pl">docent191@wp.pl</A>>=20
>>>>> wrote in message <A=20
>>>>> =
>>>>>href=3D"news:443ea88e$1@linux">news:443ea88e$1@linux</A>...</DIV><BR><BR>=
>>>>>Dimitrios=20
>>>>> ouer Hiro !!!!!!<BR>How many more sicrets are in=20
>>>>> Paris?<BR><BR>Zmora<BR><BR><BR><BR>"Tom Bruhl" <<A=20
>>>>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=20
>>>>> wrote:<BR>><BR>><BR>>Rich,<BR>>Isn't Dimitrios awesome? !=20
>>>>> !<BR>>Tom<BR>><BR>><BR>> "rich" <<A=20
>>>>> href=3D"mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A>>
>=
>>>>>wrote in=20
>>>>> message =3D<BR>>news:443e9606$1@linux...<BR>><BR>> =
>>>>>Since your LA=20
>>>>> setting is great (never thought to try what you did) -=20
>>>>> I<BR>=3D<BR>>thought<BR>> I'd ask if have any tricks for =
>>>>>pop/rock=20
>>>>> Vox - GIT - Bass or? Thanks =3D<BR>>for<BR>> all =
>>>>>your=20
>>>>> help!<BR>><BR>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0=20
>>>>> Transitional//EN"><BR>><HTML><HEAD><BR>><META=20
>>>>> http-equiv=3D3DContent-Type content=3D3D"text/html;=20
>>>>> =3D<BR>>charset=3D3Diso-8859-1"><BR>><META =
>>>>>content=3D3D"MSHTML=20
>>>>> 6.00.2800.1400"=20
>>>>> =
>>>>>name=3D3DGENERATOR><BR>><STYLE></STYLE><BR>></HEA=
>>>>>D><BR>><BODY=20
>>>>> bgColor=3D3D#ffffff><BR>><DIV><FONT face=3D3DArial=20
>>>>> =
>>>>>size=3D3D2>Rich,</FONT></DIV><BR>><DIV><FONT=20
>>>>> face=3D3DArial size=3D3D2>Isn't Dimitrios awesome? !=20
>>>>> =3D<BR>>!</FONT></DIV><BR>><DIV><FONT =
>>>>>face=3D3DArial=20
>>>>> size=3D3D2>Tom</FONT></DIV><BR>><DIV><FONT=20
>>>>> face=3D3DArial size=3D3D2></FONT> =
>>>>></DIV><BR>><DIV><FONT=20
>>>>> face=3D3DArial size=3D3D2></FONT>=20
>>>>> =
>>>>></DIV><BR>><BLOCKQUOTE=3D20<BR>>style=3D3D"PADDING-RIGHT: =
>>>>>0px;=20
>>>>> PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D<BR>>BORDER-LEFT: #000000
=
>>>>>2px solid;=20
>>>>> MARGIN-RIGHT: 0px"><BR>> <DIV>"rich"=20
>>>>> <<A=3D20<BR>> href=3D3D"<A=20
>>>>> =
>>>>>href=3D'mailto:studiodog_99@yahoo.com">studiodog_99@yahoo.com</A'>mailto:=
>>>>>studiodog_99@yahoo.com">studiodog_99@yahoo.com</A</A>>>=20
>>>>> =3D<BR>>wrote in=3D20<BR>> message =
>>>>><A=3D20<BR>> =20
>>>>> =3D<BR>>href=3D3D"<A=20
>>>>> =
>>>>>href=3D'news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV><BR>Sinc=
>>>>>'>news:443e9606$1@linux">news:443e9606$1@linux</A>...</DIV>=
>>>>>;<BR>Sinc</A>=3D<BR>>e=20
>>>>> your=3D20<BR>> LA setting is great (never thought to try what =
>>>>>you did)=20
>>>>> - I =3D<BR>>thought<BR>I'd ask=3D20<BR>> if have any =
>>>>>tricks for=20
>>>>> pop/rock Vox - GIT - Bass or? Thanks=20
>>>>> =3D<BR>>for<BR>all=3D20<BR>> your=20
>>>>> =
>>>>>help!</BLOCKQUOTE></BODY></HTML><BR>><BR>><BR></B=
>>>>>LOCKQUOTE></BODY></HTML>
>>>>>
>>>>>
>>>>
>>>
>>
>Hi All,
I am a former Paris user who still use Paris now and then, especially when
I remix old songs recorded in Paris. I gave up in favour of Soundscape which
I truly love.
Anyway, I agree with most of the comments about Paris and it´s sound but
when it comes to classical music, Paris simply has much left so desire. It
nowhere as clean and accurate as the newer modern systems, be it PT, Soundscape,
Nuendo, Samplitude etc.
I have a fairly large Paris setup and as much magic as it has it is quite
unreliable compared to the other systems.
For example: Paris can sometimes (randomly) add strange DC offset to the
files. It can depending on heat cause clicks. Aux leakage. Just to mention
a few anomalies. IOW to me it simply isn´t crystal clear and accurate. Also,
what is by some percieved as warmth, sounds to me like a bit clouded midrange.
I have recorded a fair amout of classical choirs in both Paris, Soundscape
and Nuendo. In this genre there is simply no competition at all. My Soundscape
converters (Apogee) simply kills Paris in clarity and detail. OTOH with pop/rock,
especially acoustic pop/rock (live drums), Paris can sound a bit more exciting
than the others.
Last but not least, sound aside Paris is a dinosaur. The routing options
leave A LOT to desire. The I/O flexibility is back to the stone age compared
to newer systems. The non-sample accurate editing is a PITA. Lack of professional
I/O options. Very rudimentary handling of native plugins, especially in stereo.
No bussing possibilites. No VST/DX on master bus. No delay compensation.
etc. ect...
IMHO most people who are sticking to Paris are doing it for financial reasons.
Given the very low price the SH systems are going for, the price vs. sound
preformance ratio is amazing, compared to other DSP-based system. In a true
professional enviroment with clients hanging over your shoulder, the compromises
are just to big, all IMO of course.
Just my 2 cents.
Babu
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Of course not, you just
>have to treat Paris like any other DAW, and don't push it too hard
>and it works great for classical.
>
>That's the beauty of it. It works either way. There is an issue with the
D/A
>converters and jitter when using the Paris clock, but with an external clock
>I've never thought it sounded anything other than what I wanted it to sound.
>result.....however, this is blasphemy and I have to immediately jack the
>submix faders into the stratosphere so I can hear all that crappy distortion
>that I like.
>
>;O)
>
>
>
>"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
>>
>> One myth I would like to dispel is that Paris sounds muddy, vintage,
>> analog or less detailed than PT's.
>>
>> It's all in how hard you hit it.
>>
>> Had a conversation with SSC years ago about using Paris for
>> classical and he really ground on me hard to try it and compare it to
>> Sonic Solutions. Sonic has always been the gold standard for
>> classical, and honestly I thought he was full of it, but I tried it, using
>> the same source material. He was right, it was actually better than
>> Sonic on a 70-piece orchestra. Some of you have heard that CD.
>> Did it sound "vintage" or muddy to you? Of course not, you just
>> have to treat Paris like any other DAW, and don't push it too hard
>> and it works great for classical. An orchestra recorded with the
>> just 2 of the best mics in the world (DPA / B&K) the best pre
>> (no tubes please!) and a great convertor is the ultimate test for
>> clarity. One little loss of anything and the whole things turns to
>> crap. It must be eq'ed and mastered to perfection, but if it is, it
>> sounds like you are in the room with the orchestra.
>>
>> Paris works extremely well on an orchestra and I can tell you that
>> unless you push the levels the sound is as real, detailed, open and
>> clear as I have ever heard.
>> Personally, I think Paris murders PT's on orchestras. The clarity
>> and lack of distortion, even on the upper harmonics of high violin
>> notes, is really better and the soundstage and imaging is terrific.
>>
>> Try not hitting Paris so hard in the mixer, push the submix masters
>> all the way up, and listen to the audio get nice and pristine.
>>
>> DC
>
>Hi All,
I am a former Paris user who still use Paris now and then, especially when
I remix old songs recorded in Paris. I gave up in favour of Soundscape which
I truly love.
Anyway, I agree with most of the comments about Paris and it´s sound but
when it comes to classical music, Paris simply has much left so desire. It
nowhere as clean and accurate as the newer modern systems, be it PT, Soundscape,
Nuendo, Samplitude etc.
I have a fairly large Paris setup and as much magic as it has it is quite
unreliable compared to the other systems.
For example: Paris can sometimes (randomly) add strange DC offset to the
files. It can depending on heat cause clicks. Aux leakage. Just to mention
a few anomalies. IOW to me it simply isn´t crystal clear and accurate. Also,
what is by some percieved as warmth, sounds to me like a bit clouded midrange.
I have recorded a fair amout of classical choirs in both Paris, Soundscape
and Nuendo. In this genre there is simply no competition at all. My Soundscape
converters (Apogee) simply kills Paris in clarity and detail. OTOH with pop/rock,
especially acoustic pop/rock (live drums), Paris can sound a bit more exciting
than the others.
Last but not least, sound aside Paris is a dinosaur. The routing options
leave A LOT to desire. The I/O flexibility is back to the stone age compared
to newer systems. The non-sample accurate editing is a PITA. Lack of professional
I/O options. Very rudimentary handling of native plugins, especially in stereo.
No bussing possibilites. No VST/DX on master bus. No delay compensation.
etc. ect...
IMHO most people who are sticking to Paris are doing it for financial reasons.
Given the very low price the SH systems are going for, the price vs. sound
preformance ratio is amazing, compared to other DSP-based system. In a true
professional enviroment with clients hanging over your shoulder, the compromises
are just to big, all IMO of course.
Just my 2 cents.
BabuI trtack with Paris with folks looki9ng over my shoulder all the time. It's
a matter of knowing what to do and how to do it. My system is very stable.
As far as financial concerns go, yes, I stick with Paris because of
financial concerns. If I had the money, there is not doubt at all that I'd
be tracking to a pair of synced 2" 16 track machines and an API legacy
console.
Different strokes ;o)
Deej
"Babu" <musiclab@lund.bonet.se> wrote in message news:443ff4c0$1@linux...
>
> Hi All,
>
> I am a former Paris user who still use Paris now and then, especially when
> I remix old songs recorded in Paris. I gave up in favour of Soundscape
which
> I truly love.
>
> Anyway, I agree with most of the comments about Paris and it´s sound but
> when it comes to classical music, Paris simply has much left so desire. It
> nowhere as clean and accurate as the newer modern systems, be it PT,
Soundscape,
> Nuendo, Samplitude etc.
>
> I have a fairly large Paris setup and as much magic as it has it is quite
> unreliable compared to the other systems.
> For example: Paris can sometimes (randomly) add strange DC offset to the
> files. It can depending on heat cause clicks. Aux leakage. Just to mention
> a few anomalies. IOW to me it simply isn´t crystal clear and accurate.
Also,
> what is by some percieved as warmth, sounds to me like a bit clouded
midrange.
> I have recorded a fair amout of classical choirs in both Paris, Soundscape
> and Nuendo. In this genre there is simply no competition at all. My
Soundscape
> converters (Apogee) simply kills Paris in clarity and detail. OTOH with
pop/rock,
> especially acoustic pop/rock (live drums), Paris can sound a bit more
exciting
> than the others.
>
> Last but not least, sound aside Paris is a dinosaur. The routing options
> leave A LOT to desire. The I/O flexibility is back to the stone age
compared
> to newer systems. The non-sample accurate editing is a PITA. Lack of
professional
> I/O options. Very rudimentary handling of native plugins, especially in
stereo.
> No bussing possibilites. No VST/DX on master bus. No delay compensation.
> etc. ect...
>
> IMHO most people who are sticking to Paris are doing it for financial
reasons.
> Given the very low price the SH systems are going for, the price vs. sound
> preformance ratio is amazing, compared to other DSP-based system. In a
true
> professional enviroment with clients hanging over your shoulder, the
compromises
> are just to big, all IMO of course.
>
> Just my 2 cents.
>
> Babu
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >Of course not, you just
> >have to treat Paris like any other DAW, and don't push it too hard
> >and it works great for classical.
> >
> >That's the beauty of it. It works either way. There is an issue with the
> D/A
> >converters and jitter when using the Paris clock, but with an external
clock
> >I've never thought it sounded anything other than what I wanted it to
sound.
> >result.....however, this is blasphemy and I have to immediately jack the
> >submix faders into the stratosphere so I can hear all that crappy
distortion
> >that I like.
> >
> >;O)
> >
> >
> >
> >"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
> >>
> >> One myth I would like to dispel is that Paris sounds muddy, vintage,
> >> analog or less detailed than PT's.
> >>
> >> It's all in how hard you hit it.
> >>
> >> Had a conversation with SSC years ago about using Paris for
> >> classical and he really ground on me hard to try it and compare it to
> >> Sonic Solutions. Sonic has always been the gold standard for
> >> classical, and honestly I thought he was full of it, but I tried it,
using
> >> the same source material. He was right, it was actually better than
> >> Sonic on a 70-piece orchestra. Some of you have heard that CD.
> >> Did it sound "vintage" or muddy to you? Of course not, you just
> >> have to treat Paris like any other DAW, and don't push it too hard
> >> and it works great for classical. An orchestra recorded with the
> >> just 2 of the best mics in the world (DPA / B&K) the best pre
> >> (no tubes please!) and a great convertor is the ultimate test for
> >> clarity. One little loss of anything and the whole things turns to
> >> crap. It must be eq'ed and mastered to perfection, but if it is, it
> >> sounds like you are in the room with the orchestra.
> >>
> >> Paris works extremely well on an orchestra and I can tell you that
> >> unless you push the levels the sound is as real, detailed, open and
> >> clear as I have ever heard.
> >> Personally, I think Paris murders PT's on orchestras. The clarity
> >> and lack of distortion, even on the upper harmonics of high violin
> >> notes, is really better and the soundstage and imaging is terrific.
> >>
> >> Try not hitting Paris so hard in the mixer, push the submix masters
> >> all the way up, and listen to the audio get nice and pristine.
> >>
> >> DC
> >
> >
>Hello,
LaMont, if you like PT better cool. Keep chasing your tail dude, your sure
to end up in the same place!
I am an PT HD3 owner and a 5 card Paris owner since 1997. I don't know if
that last statement was insult or not??
If so, then you are as ignorant as you sound on this thread..
LaMont
"JD" <no@nospam.com> wrote:
>
>Everybody's got an opinion. Here we go with the PT is better than Paris
stuff
>again. I guess this gives us something to talk about, but folks, we're
all
>being goaded and bated here.
>
>This is what is wrong with the record industry. There is not enough diversity
>in sound and music styling these days. The whole cookie cutter approach
to
>everything really sucks. That's why the record industry was in so much
trouble,
>five Britney Spears, Spice Girls doesn't cut it for vary long. Just because
>a new sound comes along, the old sound shouldn't become null and void.
There
>should be room for everything. In other words, don't follow the followers,
>and maybe you'll get noticed. If everybody used PT the things would be
more
>boring than they already are!
>
>The demographic for the record companies is, 13 to 25, so the day you turn
>26 your null and void??? No music geared to a 26, 36, or 46 year old???
> How stupid! Do you really think that a 16 year old would think, yuck,
this
>music sucks, this wasn't recorded on a PT system! This music is unacceptable!
> No, they listen to the song!!!!! The song is what sells them. variety
>is good when it comes to sound and production. Both sounds should be acceptable!
> But then again this post really wasn't about sound, now was it!
>
>LaMont, if you like PT better cool. Keep chasing your tail dude, your sure
>to end up in the same place!
>
>
>"Martin Harrington" <lendan@bigpond.net.au> wrote:
>>Good post, LaMont
>>
>>--
>>Martin Harrington
>>www.lendanear-sound.com
>>
>>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>>
>>> Gene,
>>> Thank you very much for "speaking: the truth about this whole DAW
>>> "nastalgic"
>>> sound thing.
>>>
>>> Let me just state that I've held my tongue for the last 5 years as I
>>> watched
>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>
>>> sounding
>>> DAW technology.
>>>
>>> The DAW market has been held "ransom" to the "old' guard Engineers who
>
>>> ears
>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>
>>> I remember my very first recording session as a guitar player. The year
>
>>> 1982
>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>
>>> The
>>> sound was nice, clear just the way I recorded it. But, remember thinking
>>> "This does sound like a record" Hummmm... After all the other instruments
>>> were push up in the mix ,along with the vocals, stillnot a record sound..
>>>
>>> In other works, where is the mudied drums? the thudy bass? the muddied
>
>>> vocals
>>> that I heard since I was 4 years old??? where was this sound??
>>>
>>> Well, we hen attended the mix session, I soon found out that, the magic
>
>>> was
>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes, DBX160..2
>>> hours later they had that record sound..Hummm...I started thinkng again,
>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open, witha
>>> ting og high end fidelity..hummmm This was not the record sound..
>>>
>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site priased
>>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
>
>>> lawed
>>> every oter digital recorder mixer for being to ....Digital...Not warm
>
>>> enough,
>>> not dull , or muddy enough..
>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on every
>>> forum that the current state of DAW's (namely Protools) mix was bad as
>
>>> well
>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>
>>> they
>>> has software emulations of their beloved (OLD) compressors EQ,
>>> Verbs.(UAD,MCDSP,
>>> Bomb factory)....
>>>
>>> So, like magic, companies pour massive resouces to reclaim the glorys
>days
>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
make
>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>
>>> the
>>> mixes sound like 1975!!!
>>>
>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>
>>> Tools
>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>> RECORD-SOUND...
>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>NO
>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>
>>> the
>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>
>>> Still, the old guard continues to hold it's thumb on the DAW market and
>
>>> keep
>>> driving manufactures to making more and more vintage plugins. But, every
>>> now and then a product like Ozone's Izatope comes along (and others)
that
>>> challeng the old "muddy up the mix crowd).
>>>
>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
>
>>> hear
>>> that sound. they have no idea on how to get a 1975 sound..
>>>
>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>> Tankersly(I
>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
have
>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>DAW
>>> companies to to fix summing buses or event new a new summing buss market
>>> segment to ensure they et the 1975 sound with todays DAW.
>>>
>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>
>>> state
>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes, Paris
>>> is still in my rig, but I will no longer
>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>> with bottom..So beit..I love the way PT HD sounds with the 192 converters.
>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's nice
>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>
>>> Let's
>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>
>>>
>>>
>>>
>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>
>>>>
>>>>I sold my PT rig when I switched to Paris. I did it at the time primarily
>>>>for the sound of the Paris mix bus. This was before HD.
>>>>
>>>>When HD was released, the distinction was far less obvious. HD still
>>>>sounds
>>>>different from Paris but not awful anymore, just different. Paris still
>>> has
>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>aggressive
>>>>when you push the gain stages.
>>>>
>>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>>> because
>>>>its actually makes better sounding recordings, or is it because it is
>
>>>>closer
>>>>to the sound I associate with my favorite albums from the last 30 years?
>>>>
>>>>
>>>>I think the truth is closer to the second, and I think this is largely
>a
>>>>learned behavior, empirical rather than based on any truth.
>>>>
>>>>In a recent session at another producer's studio (who will remain
>>>>unnamed),
>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was
big
>>>>and clear and sounded very tape-like. Overall it sounded quite good and
>>> not
>>>>at all wimpy. The artist however hated the sound. He played us a number
>>> of
>>>>recent albums known to have been recorded in PT or similar sounding DAWS
>>>>as examples of what he wanted. This is the sound he knows and more
>>>>important
>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of about
>>>>10db and very little sense of depth, space or stereo width.
>>>>
>>>>Music may be universal but we all know it comes with cultural bias. How
>>> many
>>>>American teens would choose to listen to a steady diet of microtonal
>>>>music?
>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>
>>>>Labels
>>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>>all the labels want the same crappy sound.
>>>>
>>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>>thought
>>>>good sound was forever. Perhaps not so. As a producer who still has at
>
>>>>least
>>>>one toe in the current market, I need to have some awareness of the
>>>>realities
>>>>of the market and the "new sound" is the new sound.
>>>>
>>>>My personal taste has not changed. For most projects that I foresee myself
>>>>working on, I will continue to use Paris, but just as I have made
>>>>decisions
>>>>in the past to use SSL consoles rather than Neves to achieve a more trendy
>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>
>>>>sound".
>>>>(Insert appropriate emoticon).
>>>>
>>>>Luckily it was reasonably easy to achieve. I recently purchased the Waves
>>>>SSL bundle and running that in Logic can get me very close to the sound
>>> of
>>>>better sounding PT mixes. So I can still use Paris whenever I like and
>I
>>>>can experiment with a mix of the two styles.
>>>>
>>>> What does all this mean? Nothing other then I understand why some people
>>>>may prefer the way other systems sound and I think that my own preferences
>>>>are biased by many years of listening to records made the old way. I
don't
>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>fighting
>>>>over if someone else has different opinions on what sounds good.
>>>>
>>>>And don’t forget…the cyclical nature of fashion almost guarantees that
>one
>>>>day we will once again be "in".
>>>>
>>>>Gene
>>>
>>
>>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I trtack with Paris with folks looki9ng over my shoulder all the time. It's
>a matter of knowing what to do and how to do it. My system is very stable.
>
>As far as financial concerns go, yes, I stick with Paris because of
>financial concerns. If I had the money, there is not doubt at all that I'd
>be tracking to a pair of synced 2" 16 track machines and an API legacy
>console.
>
>Different strokes ;o)
>
>Deej
Deej, you are so 1975 in your thinking! LOL
>"Babu" <musiclab@lund.bonet.se> wrote in message news:443ff4c0$1@linux...
>>
>> Hi All,
>>
>> I am a former Paris user who still use Paris now and then, especially
when
>> I remix old songs recorded in Paris. I gave up in favour of Soundscape
>which
>> I truly love.
>>
>> Anyway, I agree with most of the comments about Paris and it´s sound but
>> when it comes to classical music, Paris simply has much left so desire.
It
>> nowhere as clean and accurate as the newer modern systems, be it PT,
>Soundscape,
>> Nuendo, Samplitude etc.
>>
>> I have a fairly large Paris setup and as much magic as it has it is quite
>> unreliable compared to the other systems.
>> For example: Paris can sometimes (randomly) add strange DC offset to the
>> files. It can depending on heat cause clicks. Aux leakage. Just to mention
>> a few anomalies. IOW to me it simply isn´t crystal clear and accurate.
>Also,
>> what is by some percieved as warmth, sounds to me like a bit clouded
>midrange.
>> I have recorded a fair amout of classical choirs in both Paris, Soundscape
>> and Nuendo. In this genre there is simply no competition at all. My
>Soundscape
>> converters (Apogee) simply kills Paris in clarity and detail. OTOH with
>pop/rock,
>> especially acoustic pop/rock (live drums), Paris can sound a bit more
>exciting
>> than the others.
>>
>> Last but not least, sound aside Paris is a dinosaur. The routing options
>> leave A LOT to desire. The I/O flexibility is back to the stone age
>compared
>> to newer systems. The non-sample accurate editing is a PITA. Lack of
>professional
>> I/O options. Very rudimentary handling of native plugins, especially in
>stereo.
>> No bussing possibilites. No VST/DX on master bus. No delay compensation.
>> etc. ect...
>>
>> IMHO most people who are sticking to Paris are doing it for financial
>reasons.
>> Given the very low price the SH systems are going for, the price vs. sound
>> preformance ratio is amazing, compared to other DSP-based system. In a
>true
>> professional enviroment with clients hanging over your shoulder, the
>compromises
>> are just to big, all IMO of course.
>>
>> Just my 2 cents.
>>
>> Babu
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >Of course not, you just
>> >have to treat Paris like any other DAW, and don't push it too hard
>> >and it works great for classical.
>> >
>> >That's the beauty of it. It works either way. There is an issue with
the
>> D/A
>> >converters and jitter when using the Paris clock, but with an external
>clock
>> >I've never thought it sounded anything other than what I wanted it to
>sound.
>> >result.....however, this is blasphemy and I have to immediately jack
the
>> >submix faders into the stratosphere so I can hear all that crappy
>distortion
>> >that I like.
>> >
>> >;O)
>> >
>> >
>> >
>> >"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
>> >>
>> >> One myth I would like to dispel is that Paris sounds muddy, vintage,
>> >> analog or less detailed than PT's.
>> >>
>> >> It's all in how hard you hit it.
>> >>
>> >> Had a conversation with SSC years ago about using Paris for
>> >> classical and he really ground on me hard to try it and compare it
to
>> >> Sonic Solutions. Sonic has always been the gold standard for
>> >> classical, and honestly I thought he was full of it, but I tried it,
>using
>> >> the same source material. He was right, it was actually better than
>> >> Sonic on a 70-piece orchestra. Some of you have heard that CD.
>> >> Did it sound "vintage" or muddy to you? Of course not, you just
>> >> have to treat Paris like any other DAW, and don't push it too hard
>> >> and it works great for classical. An orchestra recorded with the
>> >> just 2 of the best mics in the world (DPA / B&K) the best pre
>> >> (no tubes please!) and a great convertor is the ultimate test for
>> >> clarity. One little loss of anything and the whole things turns to
>> >> crap. It must be eq'ed and mastered to perfection, but if it is, it
>> >> sounds like you are in the room with the orchestra.
>> >>
>> >> Paris works extremely well on an orchestra and I can tell you that
>> >> unless you push the levels the sound is as real, detailed, open and
>> >> clear as I have ever heard.
>> >> Personally, I think Paris murders PT's on orchestras. The clarity
>> >> and lack of distortion, even on the upper harmonics of high violin
>> >> notes, is really better and the soundstage and imaging is terrific.
>> >>
>> >> Try not hitting Paris so hard in the mixer, push the submix masters
>> >> all the way up, and listen to the audio get nice and pristine.
>> >>
>> >> DC
>> >
>> >
>>
>
>JD,
please read what Dedric stated. Second, this not a bate,nor a DAW war..For
the record, Samplitude sounds the best(imho)...
That being said, you completely missed the point. The 1975 sound is valid,
but lets not stay there..!! Do you understand!! Now!!
You idiot!!! I would say alot more, but I don't know and won;t waist any
of Kim's precious web space responding to your idiotic take on this thread..
"JD" <no@nospam.com> wrote:
>
>Sorry, I don't see this post a simply an observation, discussion or even
just
>a opinion. LaMont is saying that the old analog,tape saturated, edgy, overdriven
>sound is no longer valid. That we should all get over it and move on. That
>the Paris signature sound is no longer in, that the new PT, Nuendo sound
>is where it's at. Once again, he is saying PT/Nuendo sounds better than
>Paris. I feel this is a bate job.
>
>Sure audio equipment has evolved. Newer doesn't always mean better. A
combination
>of all tools is the smartest rout. I don't think a whole sound should be
>eliminated just because something is currently trendy. He clearly states
>he thinks that, that sound is done and we should all move on the new PT
sound.
>
>
>He can say what ever he wants, I'm just calling it like I see it.
>
>Here is LaMont's chance to clarify!
>
>"Dedric Terry" <dedric@echomg.com> wrote:
>>I think you've misinterpreted that anyone is saying that one approach is
>
>>better than another.
>>On the contrary, this is just an observation in how we choose our
>>preferences, and the fact that
>>currently available technology significantly exceeds what was available
>40,
>>30, 20 and even 10 years ago.
>>Recording is about capturing audio - period. It's production, mixing, and
>
>>the concept of creating listener appeal
>>in the music side of recording that has used it creatively. There isn't
>
>>anything wrong with that, but recording has always
>>been at the mercy of, and influenced by the available technology. It isn't
>
>>a platform war, and never was -
>>just a constant attempt to improve each element of the chain within the
>
>>budgets we have available.
>>
>>I once tested recording a vocal with a binaural head, test measuring system.
>
>>It sucked for artistic and listening pleasure,
>>but was incredibly reaslistic. Maybe that just goes to show that what
>>entertains us artistically doesn't necessarily benefit
>>from reality. There's nothing wrong with running a mix down to a 4-track
>
>>cassette deck if that's what floats your
>>boat creatively.
>>
>>Regards,
>>Dedric
>>
>>
>>"JD" <no@nospam.com> wrote in message news:443fdbe4$1@linux...
>>>
>>> Everybody's got an opinion. Here we go with the PT is better than Paris
>
>>> stuff
>>> again. I guess this gives us something to talk about, but folks, we're
>
>>> all
>>> being goaded and bated here.
>>>
>>> This is what is wrong with the record industry. There is not enough
>>> diversity
>>> in sound and music styling these days. The whole cookie cutter approach
>to
>>> everything really sucks. That's why the record industry was in so much
>
>>> trouble,
>>> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
>
>>> because
>>> a new sound comes along, the old sound shouldn't become null and void.
>
>>> There
>>> should be room for everything. In other words, don't follow the
>>> followers,
>>> and maybe you'll get noticed. If everybody used PT the things would
be
>
>>> more
>>> boring than they already are!
>>>
>>> The demographic for the record companies is, 13 to 25, so the day you
>turn
>>> 26 your null and void??? No music geared to a 26, 36, or 46 year old???
>>> How stupid! Do you really think that a 16 year old would think, yuck,
>
>>> this
>>> music sucks, this wasn't recorded on a PT system! This music is
>>> unacceptable!
>>> No, they listen to the song!!!!! The song is what sells them. variety
>>> is good when it comes to sound and production. Both sounds should be
>
>>> acceptable!
>>> But then again this post really wasn't about sound, now was it!
>>>
>>> LaMont, if you like PT better cool. Keep chasing your tail dude, your
>
>>> sure
>>> to end up in the same place!
>>>
>>>
>>> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>>>Good post, LaMont
>>>>
>>>>--
>>>>Martin Harrington
>>>>www.lendanear-sound.com
>>>>
>>>>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>>>>
>>>>> Gene,
>>>>> Thank you very much for "speaking: the truth about this whole DAW
>>>>> "nastalgic"
>>>>> sound thing.
>>>>>
>>>>> Let me just state that I've held my tongue for the last 5 years as
I
>>>>> watched
>>>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>>>
>>>>> sounding
>>>>> DAW technology.
>>>>>
>>>>> The DAW market has been held "ransom" to the "old' guard Engineers
who
>>>
>>>>> ears
>>>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>>>
>>>>> I remember my very first recording session as a guitar player. The
year
>>>
>>>>> 1982
>>>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>>>
>>>>> The
>>>>> sound was nice, clear just the way I recorded it. But, remember
>>>>> thinking
>>>>> "This does sound like a record" Hummmm... After all the other
>>>>> instruments
>>>>> were push up in the mix ,along with the vocals, stillnot a record
>>>>> sound..
>>>>>
>>>>> In other works, where is the mudied drums? the thudy bass? the muddied
>>>
>>>>> vocals
>>>>> that I heard since I was 4 years old??? where was this sound??
>>>>>
>>>>> Well, we hen attended the mix session, I soon found out that, the magic
>>>
>>>>> was
>>>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>>>>> DBX160..2
>>>>> hours later they had that record sound..Hummm...I started thinkng again,
>>>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>
>>>>> witha
>>>>> ting og high end fidelity..hummmm This was not the record sound..
>>>>>
>>>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>>>>> priased
>>>>> it for it's "easy ability" to get that record sound!! wow!!! AND,
we
>>>
>>>>> lawed
>>>>> every oter digital recorder mixer for being to ....Digital...Not warm
>>>
>>>>> enough,
>>>>> not dull , or muddy enough..
>>>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>
>>>>> every
>>>>> forum that the current state of DAW's (namely Protools) mix was bad
>as
>>>
>>>>> well
>>>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>>>
>>>>> they
>>>>> has software emulations of their beloved (OLD) compressors EQ,
>>>>> Verbs.(UAD,MCDSP,
>>>>> Bomb factory)....
>>>>>
>>>>> So, like magic, companies pour massive resouces to reclaim the glorys
>>> days
>>>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
>
>>>>> make
>>>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>>>
>>>>> the
>>>>> mixes sound like 1975!!!
>>>>>
>>>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>>>
>>>>> Tools
>>>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>>>> RECORD-SOUND...
>>>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>>> NO
>>>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we
have
>>>
>>>>> the
>>>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>>>
>>>>> Still, the old guard continues to hold it's thumb on the DAW market
>and
>>>
>>>>> keep
>>>>> driving manufactures to making more and more vintage plugins. But,
>
>>>>> every
>>>>> now and then a product like Ozone's Izatope comes along (and others)
>
>>>>> that
>>>>> challeng the old "muddy up the mix crowd).
>>>>>
>>>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect
>to
>>>
>>>>> hear
>>>>> that sound. they have no idea on how to get a 1975 sound..
>>>>>
>>>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>>>> Tankersly(I
>>>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
>
>>>>> have
>>>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>>> DAW
>>>>> companies to to fix summing buses or event new a new summing buss market
>>>>> segment to ensure they et the 1975 sound with todays DAW.
>>>>>
>>>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>>>
>>>>> state
>>>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
Paris
>>>>> is still in my rig, but I will no longer
>>>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>>>> with bottom..So beit..I love the way PT HD sounds with the 192
>>>>> converters.
>>>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
>nice
>>>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>>>
>>>>> Let's
>>>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>>>
>>>>>>
>>>>>>I sold my PT rig when I switched to Paris. I did it at the time
>>>>>>primarily
>>>>>>for the sound of the Paris mix bus. This was before HD.
>>>>>>
>>>>>>When HD was released, the distinction was far less obvious. HD still
>>>>>>sounds
>>>>>>different from Paris but not awful anymore, just different. Paris still
>>>>> has
>>>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>>>aggressive
>>>>>>when you push the gain stages.
>>>>>>
>>>>>>So now the big question! Do I prefer the sound of Paris over other
DAWS
>>>>> because
>>>>>>its actually makes better sounding recordings, or is it because it
is
>>>
>>>>>>closer
>>>>>>to the sound I associate with my favorite albums from the last 30 years?
>>>>>>
>>>>>>
>>>>>>I think the truth is closer to the second, and I think this is largely
>>> a
>>>>>>learned behavior, empirical rather than based on any truth.
>>>>>>
>>>>>>In a recent session at another producer's studio (who will remain
>>>>>>unnamed),
>>>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was
>big
>>>>>>and clear and sounded very tape-like. Overall it sounded quite good
>and
>>>>> not
>>>>>>at all wimpy. The artist however hated the sound. He played us a number
>>>>> of
>>>>>>recent albums known to have been recorded in PT or similar sounding
>DAWS
>>>>>>as examples of what he wanted. This is the sound he knows and more
>>>>>>important
>>>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of
about
>>>>>>10db and very little sense of depth, space or stereo width.
>>>>>>
>>>>>>Music may be universal but we all know it comes with cultural bias.
>How
>>>>> many
>>>>>>American teens would choose to listen to a steady diet of microtonal
>>>>>>music?
>>>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>>>
>>>>>>Labels
>>>>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>>>>all the labels want the same crappy sound.
>>>>>>
>>>>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>>>>thought
>>>>>>good sound was forever. Perhaps not so. As a producer who still has
>at
>>>
>>>>>>least
>>>>>>one toe in the current market, I need to have some awareness of the
>>>>>>realities
>>>>>>of the market and the "new sound" is the new sound.
>>>>>>
>>>>>>My personal taste has not changed. For most projects that I foresee
>
>>>>>>myself
>>>>>>working on, I will continue to use Paris, but just as I have made
>>>>>>decisions
>>>>>>in the past to use SSL consoles rather than Neves to achieve a more
>
>>>>>>trendy
>>>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive
>PT
>>>
>>>>>>sound".
>>>>>>(Insert appropriate emoticon).
>>>>>>
>>>>>>Luckily it was reasonably easy to achieve. I recently purchased the
>
>>>>>>Waves
>>>>>>SSL bundle and running that in Logic can get me very close to the sound
>>>>> of
>>>>>>better sounding PT mixes. So I can still use Paris whenever I like
and
>>> I
>>>>>>can experiment with a mix of the two styles.
>>>>>>
>>>>>> What does all this mean? Nothing other then I understand why some
>>>>>> people
>>>>>>may prefer the way other systems sound and I think that my own
>>>>>>preferences
>>>>>>are biased by many years of listening to records made the old way.
I
>
>>>>>>don't
>>>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>>>fighting
>>>>>>over if someone else has different opinions on what sounds good.
>>>>>>
>>>>>>And don't forget.the cyclical nature of fashion almost guarantees that
>>> one
>>>>>>day we will once again be "in".
>>>>>>
>>>>>>Gene
>>>>>
>>>>
>>>>
>>>
>>
>>
>It was the same in the 80's & 90s..You had to have an SSL to be considered
full service pro studio
EK Sound <askme@nospam.com> wrote:
>What kills me is the industry types that won't record with you if you
>don't have PT... "Hmmm... your studio can't be all that good if you
>don't have ProTools..." What you are using is of little consiquence IMHO.
>
>David.
>
>Dedric Terry wrote:
>> I think you've misinterpreted that anyone is saying that one approach
is
>> better than another.
>> On the contrary, this is just an observation in how we choose our
>> preferences, and the fact that
>> currently available technology significantly exceeds what was available
40,
>> 30, 20 and even 10 years ago.
>> Recording is about capturing audio - period. It's production, mixing,
and
>> the concept of creating listener appeal
>> in the music side of recording that has used it creatively. There isn't
>> anything wrong with that, but recording has always
>> been at the mercy of, and influenced by the available technology. It
isn't
>> a platform war, and never was -
>> just a constant attempt to improve each element of the chain within the
>> budgets we have available.
>>
>> I once tested recording a vocal with a binaural head, test measuring system.
>> It sucked for artistic and listening pleasure,
>> but was incredibly reaslistic. Maybe that just goes to show that what
>> entertains us artistically doesn't necessarily benefit
>> from reality. There's nothing wrong with running a mix down to a 4-track
>> cassette deck if that's what floats your
>> boat creatively.
>>
>> Regards,
>> Dedric
>>
>>
>>LaMont wrote
>>That being said, you completely missed the point. The 1975 sound is valid,
but lets not stay there..!!<<
Thanks for your clarification. Like I said, use all tools. That tape saturated,
over driven vintage sound fits a specific style of music well. I wasn't
out to insult you, my point was, if you pigeonhole yourself with the PT sound
only, your stuck in one place with your sound. These days, that is just
about everybody's sound. The cookie cutter sound.
"Lamont" <jjdpr@ameritech.net> wrote:
>
>JD,
>please read what Dedric stated. Second, this not a bate,nor a DAW war..For
>the record, Samplitude sounds the best(imho)...
>
>That being said, you completely missed the point. The 1975 sound is valid,
>but lets not stay there..!! Do you understand!! Now!!
>You idiot!!! I would say alot more, but I don't know and won;t waist any
>of Kim's precious web space responding to your idiotic take on this thread..
>
>
>"JD" <no@nospam.com> wrote:
>>
>>Sorry, I don't see this post a simply an observation, discussion or even
>just
>>a opinion. LaMont is saying that the old analog,tape saturated, edgy,
overdriven
>>sound is no longer valid. That we should all get over it and move on.
That
>>the Paris signature sound is no longer in, that the new PT, Nuendo sound
>>is where it's at. Once again, he is saying PT/Nuendo sounds better than
>>Paris. I feel this is a bate job.
>>
>>Sure audio equipment has evolved. Newer doesn't always mean better. A
>combination
>>of all tools is the smartest rout. I don't think a whole sound should
be
>>eliminated just because something is currently trendy. He clearly states
>>he thinks that, that sound is done and we should all move on the new PT
>sound.
>>
>>
>>He can say what ever he wants, I'm just calling it like I see it.
>>
>>Here is LaMont's chance to clarify!
>>
>>"Dedric Terry" <dedric@echomg.com> wrote:
>>>I think you've misinterpreted that anyone is saying that one approach
is
>>
>>>better than another.
>>>On the contrary, this is just an observation in how we choose our
>>>preferences, and the fact that
>>>currently available technology significantly exceeds what was available
>>40,
>>>30, 20 and even 10 years ago.
>>>Recording is about capturing audio - period. It's production, mixing,
and
>>
>>>the concept of creating listener appeal
>>>in the music side of recording that has used it creatively. There isn't
>>
>>>anything wrong with that, but recording has always
>>>been at the mercy of, and influenced by the available technology. It
isn't
>>
>>>a platform war, and never was -
>>>just a constant attempt to improve each element of the chain within the
>>
>>>budgets we have available.
>>>
>>>I once tested recording a vocal with a binaural head, test measuring system.
>>
>>>It sucked for artistic and listening pleasure,
>>>but was incredibly reaslistic. Maybe that just goes to show that what
>
>>>entertains us artistically doesn't necessarily benefit
>>>from reality. There's nothing wrong with running a mix down to a 4-track
>>
>>>cassette deck if that's what floats your
>>>boat creatively.
>>>
>>>Regards,
>>>Dedric
>>>
>>>
>>>"JD" <no@nospam.com> wrote in message news:443fdbe4$1@linux...
>>>>
>>>> Everybody's got an opinion. Here we go with the PT is better than Paris
>>
>>>> stuff
>>>> again. I guess this gives us something to talk about, but folks, we're
>>
>>>> all
>>>> being goaded and bated here.
>>>>
>>>> This is what is wrong with the record industry. There is not enough
>
>>>> diversity
>>>> in sound and music styling these days. The whole cookie cutter approach
>>to
>>>> everything really sucks. That's why the record industry was in so much
>>
>>>> trouble,
>>>> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
>>
>>>> because
>>>> a new sound comes along, the old sound shouldn't become null and void.
>>
>>>> There
>>>> should be room for everything. In other words, don't follow the
>>>> followers,
>>>> and maybe you'll get noticed. If everybody used PT the things would
>be
>>
>>>> more
>>>> boring than they already are!
>>>>
>>>> The demographic for the record companies is, 13 to 25, so the day you
>>turn
>>>> 26 your null and void??? No music geared to a 26, 36, or 46 year old???
>>>> How stupid! Do you really think that a 16 year old would think, yuck,
>>
>>>> this
>>>> music sucks, this wasn't recorded on a PT system! This music is
>>>> unacceptable!
>>>> No, they listen to the song!!!!! The song is what sells them. variety
>>>> is good when it comes to sound and production. Both sounds should be
>>
>>>> acceptable!
>>>> But then again this post really wasn't about sound, now was it!
>>>>
>>>> LaMont, if you like PT better cool. Keep chasing your tail dude, your
>>
>>>> sure
>>>> to end up in the same place!
>>>>
>>>>
>>>> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>>>>Good post, LaMont
>>>>>
>>>>>--
>>>>>Martin Harrington
>>>>>www.lendanear-sound.com
>>>>>
>>>>>"LaMont" <jjdpro@aameritech.net> wrote in message news:443f2d4d$1@linux...
>>>>>>
>>>>>> Gene,
>>>>>> Thank you very much for "speaking: the truth about this whole DAW
>>>>>> "nastalgic"
>>>>>> sound thing.
>>>>>>
>>>>>> Let me just state that I've held my tongue for the last 5 years as
>I
>>>>>> watched
>>>>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity,
newer
>>>>
>>>>>> sounding
>>>>>> DAW technology.
>>>>>>
>>>>>> The DAW market has been held "ransom" to the "old' guard Engineers
>who
>>>>
>>>>>> ears
>>>>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>>>>
>>>>>> I remember my very first recording session as a guitar player. The
>year
>>>>
>>>>>> 1982
>>>>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>>>>
>>>>>> The
>>>>>> sound was nice, clear just the way I recorded it. But, remember
>>>>>> thinking
>>>>>> "This does sound like a record" Hummmm... After all the other
>>>>>> instruments
>>>>>> were push up in the mix ,along with the vocals, stillnot a record
>>>>>> sound..
>>>>>>
>>>>>> In other works, where is the mudied drums? the thudy bass? the muddied
>>>>
>>>>>> vocals
>>>>>> that I heard since I was 4 years old??? where was this sound??
>>>>>>
>>>>>> Well, we hen attended the mix session, I soon found out that, the
magic
>>>>
>>>>>> was
>>>>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>>>>>> DBX160..2
>>>>>> hours later they had that record sound..Hummm...I started thinkng
again,
>>>>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>>
>>>>>> witha
>>>>>> ting og high end fidelity..hummmm This was not the record sound..
>>>>>>
>>>>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>
>>>>>> priased
>>>>>> it for it's "easy ability" to get that record sound!! wow!!! AND,
>we
>>>>
>>>>>> lawed
>>>>>> every oter digital recorder mixer for being to ....Digital...Not warm
>>>>
>>>>>> enough,
>>>>>> not dull , or muddy enough..
>>>>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>>
>>>>>> every
>>>>>> forum that the current state of DAW's (namely Protools) mix was bad
>>as
>>>>
>>>>>> well
>>>>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>>>>
>>>>>> they
>>>>>> has software emulations of their beloved (OLD) compressors EQ,
>>>>>> Verbs.(UAD,MCDSP,
>>>>>> Bomb factory)....
>>>>>>
>>>>>> So, like magic, companies pour massive resouces to reclaim the glorys
>>>> days
>>>>>> with the birth of the "Vinatage Plug ins). Their purpose was( is)
to
>>
>>>>>> make
>>>>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>>>>
>>>>>> the
>>>>>> mixes sound like 1975!!!
>>>>>>
>>>>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by
Pro
>>>>
>>>>>> Tools
>>>>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>>>>> RECORD-SOUND...
>>>>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>>>> NO
>>>>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we
>have
>>>>
>>>>>> the
>>>>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>>>>
>>>>>> Still, the old guard continues to hold it's thumb on the DAW market
>>and
>>>>
>>>>>> keep
>>>>>> driving manufactures to making more and more vintage plugins. But,
>>
>>>>>> every
>>>>>> now and then a product like Ozone's Izatope comes along (and others)
>>
>>>>>> that
>>>>>> challeng the old "muddy up the mix crowd).
>>>>>>
>>>>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect
>>to
>>>>
>>>>>> hear
>>>>>> that sound. they have no idea on how to get a 1975 sound..
>>>>>>
>>>>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>>>>> Tankersly(I
>>>>>> adore), Nuendo endorsers,vinatge engineers) will continue to push
to
>>
>>>>>> have
>>>>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>>>> DAW
>>>>>> companies to to fix summing buses or event new a new summing buss
market
>>>>>> segment to ensure they et the 1975 sound with todays DAW.
>>>>>>
>>>>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>>>>
>>>>>> state
>>>>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
>Paris
>>>>>> is still in my rig, but I will no longer
>>>>>> fight mixes to get the 1975 sound..If the mixes are nice and Brightosund
>>>>>> with bottom..So beit..I love the way PT HD sounds with the 192
>>>>>> converters.
>>>>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
>>nice
>>>>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>>>>
>>>>>> Let's
>>>>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>>>>
>>>>>>>
>>>>>>>I sold my PT rig when I switched to Paris. I did it at the time
>>>>>>>primarily
>>>>>>>for the sound of the Paris mix bus. This was before HD.
>>>>>>>
>>>>>>>When HD was released, the distinction was far less obvious. HD still
>>>>>>>sounds
>>>>>>>different from Paris but not awful anymore, just different. Paris
still
>>>>>> has
>>>>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>>>>aggressive
>>>>>>>when you push the gain stages.
>>>>>>>
>>>>>>>So now the big question! Do I prefer the sound of Paris over other
>DAWS
>>>>>> because
>>>>>>>its actually makes better sounding recordings, or is it because it
>is
>>>>
>>>>>>>closer
>>>>>>>to the sound I associate with my favorite albums from the last 30
years?
>>>>>>>
>>>>>>>
>>>>>>>I think the truth is closer to the second, and I think this is largely
>>>> a
>>>>>>>learned behavior, empirical rather than based on any truth.
>>>>>>>
>>>>>>>In a recent session at another producer's studio (who will remain
>>>>>>>unnamed),
>>>>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was
>>big
>>>>>>>and clear and sounded very tape-like. Overall it sounded quite good
>>and
>>>>>> not
>>>>>>>at all wimpy. The artist however hated the sound. He played us a number
>>>>>> of
>>>>>>>recent albums known to have been recorded in PT or similar sounding
>>DAWS
>>>>>>>as examples of what he wanted. This is the sound he knows and more
>>>>>>>important
>>>>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of
>about
>>>>>>>10db and very little sense of depth, space or stereo width.
>>>>>>>
>>>>>>>Music may be universal but we all know it comes with cultural bias.
>>How
>>>>>> many
>>>>>>>American teens would choose to listen to a steady diet of microtonal
>>>>>>>music?
>>>>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>>>>
>>>>>>>Labels
>>>>>>>work the exact same way. If someone has a hit record that sounds crappy,
>>>>>>>all the labels want the same crappy sound.
>>>>>>>
>>>>>>>Suddenly I am feeling very old. Fashions change taste changes but
I
>>>>>>>thought
>>>>>>>good sound was forever. Perhaps not so. As a producer who still has
>>at
>>>>
>>>>>>>least
>>>>>>>one toe in the current market, I need to have some awareness of the
>>>>>>>realities
>>>>>>>of the market and the "new sound" is the new sound.
>>>>>>>
>>>>>>>My personal taste has not changed. For most projects that I foresee
>>
>>>>>>>myself
>>>>>>>working on, I will continue to use Paris, but just as I have made
>>>>>>>decisions
>>>>>>>in the past to use SSL consoles rather than Neves to achieve a more
>>
>>>>>>>trendy
>>>>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive
>>PT
>>>>
>>>>>>>sound".
>>>>>>>(Insert appropriate emoticon).
>>>>>>>
>>>>>>>Luckily it was reasonably easy to achieve. I recently purchased the
>>
>>>>>>>Waves
>>>>>>>SSL bundle and running that in Logic can get me very close to the
sound
>>>>>> of
>>>>>>>better sounding PT mixes. So I can still use Paris whenever I like
>and
>>>> I
>>>>>>>can experiment with a mix of the two styles.
>>>>>>>
>>>>>>> What does all this mean? Nothing other then I understand why some
>
>>>>>>> people
>>>>>>>may prefer the way other systems sound and I think that my own
>>>>>>>preferences
>>>>>>>are biased by many years of listening to records made the old way.
>I
>>
>>>>>>>don't
>>>>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>>>>fighting
>>>>>>>over if someone else has different opinions on what sounds good.
>>>>>>>
>>>>>>>And don't forget.the cyclical nature of fashion almost guarantees
that
>>>> one
>>>>>>>day we will once again be "in".
>>>>>>>
>>>>>>>Gene
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>
>DJ, I was not referring to stability as much as compatibility. In a crowded
pro market you either need PT compatibility, or full OMF support (working
OMF), both which are lacking in Paris, which makes it a time consuming and
cumbersome process, especially when you are working with large track counts.
And yes, you are absolutely right;-) I still remember the days when I tracked
to a G24S through a Soundtracs board. I miss the fun and the feeling of being
a "real" recording engineer, ping-ponging and carefully plan your every move.
It´s just not as much fun as it used to be...
A full analog "state of the art" joint would be a dream.
Babu
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I trtack with Paris with folks looki9ng over my shoulder all the time. It's
>a matter of knowing what to do and how to do it. My system is very stable.
>
>As far as financial concerns go, yes, I stick with Paris because of
>financial concerns. If I had the money, there is not doubt at all that I'd
>be tracking to a pair of synced 2" 16 track machines and an API legacy
>console.
>
>Different strokes ;o)
>
>Deej
>"Babu" <musiclab@lund.bonet.se> wrote in message news:443ff4c0$1@linux...
>>
>> Hi All,
>>
>> I am a former Paris user who still use Paris now and then, especially
when
>> I remix old songs recorded in Paris. I gave up in favour of Soundscape
>which
>> I truly love.
>>
>> Anyway, I agree with most of the comments about Paris and it´s sound but
>> when it comes to classical music, Paris simply has much left so desire.
It
>> nowhere as clean and accurate as the newer modern systems, be it PT,
>Soundscape,
>> Nuendo, Samplitude etc.
>>
>> I have a fairly large Paris setup and as much magic as it has it is quite
>> unreliable compared to the other systems.
>> For example: Paris can sometimes (randomly) add strange DC offset to the
>> files. It can depending on heat cause clicks. Aux leakage. Just to mention
>> a few anomalies. IOW to me it simply isn´t crystal clear and accurate.
>Also,
>> what is by some percieved as warmth, sounds to me like a bit clouded
>midrange.
>> I have recorded a fair amout of classical choirs in both Paris, Soundscape
>> and Nuendo. In this genre there is simply no competition at all. My
>Soundscape
>> converters (Apogee) simply kills Paris in clarity and detail. OTOH with
>pop/rock,
>> especially acoustic pop/rock (live drums), Paris can sound a bit more
>exciting
>> than the others.
>>
>> Last but not least, sound aside Paris is a dinosaur. The routing options
>> leave A LOT to desire. The I/O flexibility is back to the stone age
>compared
>> to newer systems. The non-sample accurate editing is a PITA. Lack of
>professional
>> I/O options. Very rudimentary handling of native plugins, especially in
>stereo.
>> No bussing possibilites. No VST/DX on master bus. No delay compensation.
>> etc. ect...
>>
>> IMHO most people who are sticking to Paris are doing it for financial
>reasons.
>> Given the very low price the SH systems are going for, the price vs. sound
>> preformance ratio is amazing, compared to other DSP-based system. In a
>true
>> professional enviroment with clients hanging over your shoulder, the
>compromises
>> are just to big, all IMO of course.
>>
>> Just my 2 cents.
>>
>> Babu
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >Of course not, you just
>> >have to treat Paris like any other DAW, and don't push it too hard
>> >and it works great for classical.
>> >
>> >That's the beauty of it. It works either way. There is an issue with
the
>> D/A
>> >converters and jitter when using the Paris clock, but with an external
>clock
>> >I've never thought it sounded anything other than what I wanted it to
>sound.
>> >result.....however, this is blasphemy and I have to immediately jack
the
>> >submix faders into the stratosphere so I can hear all that crappy
>distortion
>> >that I like.
>> >
>> >;O)
>> >
>> >
>> >
>> >"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
>> >>
>> >> One myth I would like to dispel is that Paris sounds muddy, vintage,
>> >> analog or less detailed than PT's.
>> >>
>> >> It's all in how hard you hit it.
>> >>
>> >> Had a conversation with SSC years ago about using Paris for
>> >> classical and he really ground on me hard to try it and compare it
to
>> >> Sonic Solutions. Sonic has always been the gold standard for
>> >> classical, and honestly I thought he was full of it, but I tried it,
>using
>> >> the same source material. He was right, it was actually better than
>> >> Sonic on a 70-piece orchestra. Some of you have heard that CD.
>> >> Did it sound "vintage" or muddy to you? Of course not, you just
>> >> have to treat Paris like any other DAW, and don't push it too hard
>> >> and it works great for classical. An orchestra recorded with the
>> >> just 2 of the best mics in the world (DPA / B&K) the best pre
>> >> (no tubes please!) and a great convertor is the ultimate test for
>> >> clarity. One little loss of anything and the whole things turns to
>> >> crap. It must be eq'ed and mastered to perfection, but if it is, it
>> >> sounds like you are in the room with the orchestra.
>> >>
>> >> Paris works extremely well on an orchestra and I can tell you that
>> >> unless you push the levels the sound is as real, detailed, open and
>> >> clear as I have ever heard.
>> >> Personally, I think Paris murders PT's on orchestras. The clarity
>> >> and lack of distortion, even on the upper harmonics of high violin
>> >> notes, is really better and the soundstage and imaging is terrific.
>> >>
>> >> Try not hitting Paris so hard in the mixer, push the submix masters
>> >> all the way up, and listen to the audio get nice and pristine.
>> >>
>> >> DC
>> >
>> >
>>
>
>There is something satisfying about a console and outboard gear. At the
same time, I can't say I miss running a mix 14 times because my left hand
twitched from lack of sleep and bumped the guitar solo 1db higher than I
wanted it; or writing down every setting because I'm anal about being able
to recreate what I created.
I absolutely love having complete recall and full automation in DAWs though.
I sleep more now, at least I did before we had kids... :-)
If someone gave me a fully equipped analog studio, I wouldn't turn it down
though.
Regards,
Dedric
On 4/14/06 3:32 PM, in article 444014d0$1@linux, "Babu"
<musiclab@lund.bonet.se> wrote:
> And yes, you are absolutely right;-) I still remember the days when I tracked
> to a G24S through a Soundtracs board. I miss the fun and the feeling of being
> a "real" recording engineer, ping-ponging and carefully plan your every move.
>
>
> It´s just not as much fun as it used to be...
>
> A full analog "state of the art" joint would be a dream.
>
> Babu"Babu" <musiclab@lund.bonet.se> wrote:
>Anyway, I agree with most of the comments about Paris and it´s sound but
>when it comes to classical music, Paris simply has much left so desire.
It
>nowhere as clean and accurate as the newer modern systems, be it PT, Soundscape,
>Nuendo, Samplitude etc.
Then you don't know how to use Paris, and I have the tracks to prove it.
Samplitude is competitive with Paris on orchestras, Nuendo is not.
DCEveryone is making good points in this discussion, but remember, unless we
are producing film soundtracks, (or similar), our sounds, be it music, voice
or fx, are mostly going to be heard on an MP3 device of some sort, (player
or radio), at least until the new generation of HiDef players are released,
and then we are going to have the format wars starting all over again.
No matter what equipment we use, the end result, in real terms, is MP3, (or
MP4).
--
Martin Harrington
www.lendanear-sound.com
"Dedric Terry" <dedric@echomg.com> wrote in message news:443fe185@linux...
>I think you've misinterpreted that anyone is saying that one approach is
>better than another.
> On the contrary, this is just an observation in how we choose our
> preferences, and the fact that
> currently available technology significantly exceeds what was available
> 40, 30, 20 and even 10 years ago.
> Recording is about capturing audio - period. It's production, mixing, and
> the concept of creating listener appeal
> in the music side of recording that has used it creatively. There isn't
> anything wrong with that, but recording has always
> been at the mercy of, and influenced by the available technology. It
> isn't a platform war, and never was -
> just a constant attempt to improve each element of the chain within the
> budgets we have available.
>
> I once tested recording a vocal with a binaural head, test measuring
> system. It sucked for artistic and listening pleasure,
> but was incredibly reaslistic. Maybe that just goes to show that what
> entertains us artistically doesn't necessarily benefit
> from reality. There's nothing wrong with running a mix down to a 4-track
> cassette deck if that's what floats your
> boat creatively.
>
> Regards,
> Dedric
>
>
> "JD" <no@nospam.com> wrote in message news:443fdbe4$1@linux...
>>
>> Everybody's got an opinion. Here we go with the PT is better than Paris
>> stuff
>> again. I guess this gives us something to talk about, but folks, we're
>> all
>> being goaded and bated here.
>>
>> This is what is wrong with the record industry. There is not enough
>> diversity
>> in sound and music styling these days. The whole cookie cutter approach
>> to
>> everything really sucks. That's why the record industry was in so much
>> trouble,
>> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
>> because
>> a new sound comes along, the old sound shouldn't become null and void.
>> There
>> should be room for everything. In other words, don't follow the
>> followers,
>> and maybe you'll get noticed. If everybody used PT the things would be
>> more
>> boring than they already are!
>>
>> The demographic for the record companies is, 13 to 25, so the day you
>> turn
>> 26 your null and void??? No music geared to a 26, 36, or 46 year old???
>> How stupid! Do you really think that a 16 year old would think, yuck,
>> this
>> music sucks, this wasn't recorded on a PT system! This music is
>> unacceptable!
>> No, they listen to the song!!!!! The song is what sells them. variety
>> is good when it comes to sound and production. Both sounds should be
>> acceptable!
>> But then again this post really wasn't about sound, now was it!
>>
>> LaMont, if you like PT better cool. Keep chasing your tail dude, your
>> sure
>> to end up in the same place!
>>
>>
>> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>>Good post, LaMont
>>>
>>>--
>>>Martin Harrington
>>>www.lendanear-sound.com
>>>
>>>"LaMont" <jjdpro@aameritech.net> wrote in message
>>>news:443f2d4d$1@linux...
>>>>
>>>> Gene,
>>>> Thank you very much for "speaking: the truth about this whole DAW
>>>> "nastalgic"
>>>> sound thing.
>>>>
>>>> Let me just state that I've held my tongue for the last 5 years as I
>>>> watched
>>>> the DAW proaudio market "Hyjack" forward thinking , new fedelity, newer
>>
>>>> sounding
>>>> DAW technology.
>>>>
>>>> The DAW market has been held "ransom" to the "old' guard Engineers who
>>
>>>> ears
>>>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>>>>
>>>> I remember my very first recording session as a guitar player. The year
>>
>>>> 1982
>>>> as I remember recording my tracks to 2 ich Otari MTR, MCI mixer..Fine..
>>
>>>> The
>>>> sound was nice, clear just the way I recorded it. But, remember
>>>> thinking
>>>> "This does sound like a record" Hummmm... After all the other
>>>> instruments
>>>> were push up in the mix ,along with the vocals, stillnot a record
>>>> sound..
>>>>
>>>> In other works, where is the mudied drums? the thudy bass? the muddied
>>
>>>> vocals
>>>> that I heard since I was 4 years old??? where was this sound??
>>>>
>>>> Well, we hen attended the mix session, I soon found out that, the magic
>>
>>>> was
>>>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>>>> DBX160..2
>>>> hours later they had that record sound..Hummm...I started thinkng
>>>> again,
>>>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>>>> witha
>>>> ting og high end fidelity..hummmm This was not the record sound..
>>>>
>>>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>>>> priased
>>>> it for it's "easy ability" to get that record sound!! wow!!! AND, we
>>
>>>> lawed
>>>> every oter digital recorder mixer for being to ....Digital...Not warm
>>
>>>> enough,
>>>> not dull , or muddy enough..
>>>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>>>> every
>>>> forum that the current state of DAW's (namely Protools) mix was bad as
>>
>>>> well
>>>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>>
>>>> they
>>>> has software emulations of their beloved (OLD) compressors EQ,
>>>> Verbs.(UAD,MCDSP,
>>>> Bomb factory)....
>>>>
>>>> So, like magic, companies pour massive resouces to reclaim the glorys
>> days
>>>> with the birth of the "Vinatage Plug ins). Their purpose was( is) to
>>>> make
>>>> your mixes"duller"=warmer, more professional(sit right, al in all..Make
>>
>>>> the
>>>> mixes sound like 1975!!!
>>>>
>>>> Now in 2006 the "what I call" modern sound of DAWS, being lead by Pro
>>
>>>> Tools
>>>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>>>> RECORD-SOUND...
>>>> With Garage bands, rap artist, Rock bands, Soul singers of today having
>> NO
>>>> prior knowledge,nor the Formal training to 'get he 1975" sound, we have
>>
>>>> the
>>>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>>>>
>>>> Still, the old guard continues to hold it's thumb on the DAW market and
>>
>>>> keep
>>>> driving manufactures to making more and more vintage plugins. But,
>>>> every
>>>> now and then a product like Ozone's Izatope comes along (and others)
>>>> that
>>>> challeng the old "muddy up the mix crowd).
>>>>
>>>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect to
>>
>>>> hear
>>>> that sound. they have no idea on how to get a 1975 sound..
>>>>
>>>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>>>> Tankersly(I
>>>> adore), Nuendo endorsers,vinatge engineers) will continue to push to
>>>> have
>>>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>> DAW
>>>> companies to to fix summing buses or event new a new summing buss
>>>> market
>>>> segment to ensure they et the 1975 sound with todays DAW.
>>>>
>>>> For me,they can have the 1975 sound. I'm moving onward with the cureent
>>
>>>> state
>>>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
>>>> Paris
>>>> is still in my rig, but I will no longer
>>>> fight mixes to get the 1975 sound..If the mixes are nice and
>>>> Brightosund
>>>> with bottom..So beit..I love the way PT HD sounds with the 192
>>>> converters.
>>>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
>>>> nice
>>>> wide -spacious,clear open , heavey bottom sound with my EMu converters.
>>
>>>> Let's
>>>> evolve past 1975..Pleaseeeeeeeee!!!!
>>>>
>>>>
>>>>
>>>>
>>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote:
>>>>>
>>>>>
>>>>>I sold my PT rig when I switched to Paris. I did it at the time
>>>>>primarily
>>>>>for the sound of the Paris mix bus. This was before HD.
>>>>>
>>>>>When HD was released, the distinction was far less obvious. HD still
>>>>>sounds
>>>>>different from Paris but not awful anymore, just different. Paris still
>>>> has
>>>>>more of an analog/tape sound plus the added benefit of sounding more
>>>>>aggressive
>>>>>when you push the gain stages.
>>>>>
>>>>>So now the big question! Do I prefer the sound of Paris over other DAWS
>>>> because
>>>>>its actually makes better sounding recordings, or is it because it is
>>
>>>>>closer
>>>>>to the sound I associate with my favorite albums from the last 30
>>>>>years?
>>>>>
>>>>>
>>>>>I think the truth is closer to the second, and I think this is largely
>> a
>>>>>learned behavior, empirical rather than based on any truth.
>>>>>
>>>>>In a recent session at another producer's studio (who will remain
>>>>>unnamed),
>>>>>I listened to some pop-rock mixes done on a Paris rig. The sound was
>>>>>big
>>>>>and clear and sounded very tape-like. Overall it sounded quite good and
>>>> not
>>>>>at all wimpy. The artist however hated the sound. He played us a number
>>>> of
>>>>>recent albums known to have been recorded in PT or similar sounding
>>>>>DAWS
>>>>>as examples of what he wanted. This is the sound he knows and more
>>>>>important
>>>>>it is the sound he likes! Yikes!! Compressed to a dynamic range of
>>>>>about
>>>>>10db and very little sense of depth, space or stereo width.
>>>>>
>>>>>Music may be universal but we all know it comes with cultural bias. How
>>>> many
>>>>>American teens would choose to listen to a steady diet of microtonal
>>>>>music?
>>>>>Might as well serve up a big plate of Haggis... And it not just teens.
>>
>>>>>Labels
>>>>>work the exact same way. If someone has a hit record that sounds
>>>>>crappy,
>>>>>all the labels want the same crappy sound.
>>>>>
>>>>>Suddenly I am feeling very old. Fashions change taste changes but I
>>>>>thought
>>>>>good sound was forever. Perhaps not so. As a producer who still has at
>>
>>>>>least
>>>>>one toe in the current market, I need to have some awareness of the
>>>>>realities
>>>>>of the market and the "new sound" is the new sound.
>>>>>
>>>>>My personal taste has not changed. For most projects that I foresee
>>>>>myself
>>>>>working on, I will continue to use Paris, but just as I have made
>>>>>decisions
>>>>>in the past to use SSL consoles rather than Neves to achieve a more
>>>>>trendy
>>>>>"Pop" mix, I am now experimenting with ways to capture the "elusive PT
>>
>>>>>sound".
>>>>>(Insert appropriate emoticon).
>>>>>
>>>>>Luckily it was reasonably easy to achieve. I recently purchased the
>>>>>Waves
>>>>>SSL bundle and running that in Logic can get me very close to the sound
>>>> of
>>>>>better sounding PT mixes. So I can still use Paris whenever I like and
>> I
>>>>>can experiment with a mix of the two styles.
>>>>>
>>>>> What does all this mean? Nothing other then I understand why some
>>>>> people
>>>>>may prefer the way other systems sound and I think that my own
>>>>>preferences
>>>>>are biased by many years of listening to records made the old way. I
>>>>>don't
>>>>>see giving up Paris any time soon but I also don't think it's worth
>>>>>fighting
>>>>>over if someone else has different opinions on what sounds good.
>>>>>
>>>>>And don't forget.the cyclical nature of fashion almost guarantees that
>> one
>>>>>day we will once again be "in".
>>>>>
>>>>>Gene
>>>>
>>>
>>>
>>
>
>Hey DC - have you qualified what you didn't like, or didn't work with Nuendo
for classical? I'm curious from a technical perspective, regardless of
preferences, and not to spark further debate over which is "best". I have
found noticeable differences in how Samplitude handles gain vs. Nuendo,
although at unity gain, they sum identically. Thanks!
Regards,
Dedric
On 4/14/06 5:48 PM, in article 444034e7$1@linux, "DC" <dc@spamthemoon.com>
wrote:
>
> "Babu" <musiclab@lund.bonet.se> wrote:
>
>
>> Anyway, I agree with most of the comments about Paris and it´s sound but
>> when it comes to classical music, Paris simply has much left so desire.
> It
>> nowhere as clean and accurate as the newer modern systems, be it PT,
>> Soundscape,
>> Nuendo, Samplitude etc.
>
>
> Then you don't know how to use Paris, and I have the tracks to prove it.
>
> Samplitude is competitive with Paris on orchestras, Nuendo is not.
>
>
> DCHey DJ,
Point taken.. However, I think it's more perception than real quality. For
example: Just yesterday I was listening to one my all-time favorite albums/CD..Steely
Dan's Aja!! While Deacon Blues is playing, I start thinking,
-Is his album great because--
-Great Sound quality/enginnering
-Great songs
-Great performances.
-All the above
We, if I'm honest with myself, I'd have to say that All could apply, BUT,
when I lsiten to the drums, they sound like cardboard boxes...Chuck Rainey's
Bass is not a true representation of a Fender Percision, it has been dumb-down
to thuds.. Horn-Fine, Rhodes-fines, Guitars-Fine..But, is that way a band
sound "naturally".. Or is it the cookie cutter approach to mixing..Getting
the tight mix sound..??
Maybe Bruece Sweiden approach of analog to capture, then off to digital
land is the sonic way.. Lord knows his productions with "ZThe Gloved" one
are truly "works of sonic art" , productions, egneering second to none..
But, to say soemthing is pleasing to the ears is a learned behavior of the
"RecordSound".. The old guard engineers for some reason were "scare of the
digital sound until they were able to make it sound close to 1975. Audio
tools are just that tools that are like color paltets for and artist. But,
it seems that n matter the strides in technolgy, the old guard wants to keep
the overall sound 1975 reguadles of what recording medium you are using(
2inch,Adat,D-88,MDR, DAWS)..That's disturbing to me..
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I think it's great that we don't have to deal with some of the issues that
>made recording such a chore and required such a number of tools to deal
>with, but I'm not nearly as convinced as you guys that *accurate is better*.
>Listen to the Dixie Chicks first CD that was recorded to tape and then
>subsequent ones that were recorded to digital. The latter fefforts sound
>great, but they don't sound as pleasing to my ear as the first one. The
>remix of Hotel California is another example of digital awfulness. It's
very
>accurate and sounds like pure crap, IMO.....and it was originally recorded
>to tape and then PT'ed. Sorry, but it doee sound terrible compared to the
>original to my ears. With all of the new nice shiny tools we have available
>today, it's possible to hear *more* as far as dugital ugliness is concerned
>as well. Analog gear and tape provides glue. Lots of stuff falls apart
>without glue.
>
>Deej
>"LaMont" <jjdpro@ameritech.net> wrote in message news:443fd3ca$1@linux...
>>
>> Dedric, once again, with a tear in my left eye-smile :) You have state
>what
>> I was going to say in response to my original post.
>> Thanks buddy...
>>
>> "The overwhelming impression and approach I've taken, and got from reading
>> the history of it, is that the goal of recording has always been to
>recreate
>> what we hear as accurately as possible. Yet, I think somewhere along
the
>> way when engineers
>> quickly realized that technology was a long way from being able to do
>that,
>> someone decided to make it a creative venture rather than an accuracy
>venture."
>>
>>
>>
>>
>>
>>
>> Dedric Terry <dterry@keyofd.net> wrote:
>> >I don't think, or at least I hope, there won't be a continued trend for
>> FM,
>> >compressed radio and 64k mp3s to dictate sound. When I think of
>"outdated"
>> >I think of limited bandwidth, sometimes noisy, and often mushy sound
-
>not
>> a
>> >recording style, or even mixing style necessarily, although it does
>change
>> >based on pop culture and available technology more than science.
>> >
>> >A while back I read a bit on the history of recording. The overwhelming
>> >impression and approach I've taken, and got from reading the history
of
>> it,
>> >is that the goal of recording has always been to recreate what we hear
as
>> >accurately as possible. Yet, I think somewhere along the way when
>engineers
>> >quickly realized that technology was a long way from being able to do
>that,
>> >someone decided to make it a creative venture rather than an accuracy
>> >venture. Obviously there are creative requirements that eliminate
>accuracy
>> >(I once tried a binaural head test-analysis mic system on vocals -
>sucked,
>> >but it was incredibly accurate, which goes to show that not all we hear
>> is
>> >as we would prefer to hear it).
>> >
>> >Hence now we have, for example, kicks that sound nothing like the real
>think
>> >- where you had a "koomphhh" or "doomphhh" to start with, the "standard"
>> is
>> >to make it sound more like a "thmp" or "dhmp" (pardon my "technical"
>> >terminology). Gating, compression, EQ, even if not necessary to fix
>> >recording problems, have become a means to not just make the mix fit
>> >together, but alter the sound to what has become the radio standard.
>Much
>> >of it sounds great for what it is, but it isn't about accurate recording
>> >anymore, and that makes it hyper-dependant on popular trends rather than
>> >audiology.
>> >
>> >Regards,
>> >Dedric
>> >
>> >On 4/13/06 11:53 PM, in article 443f38eb$1@linux, "gene lennon"
>> ><glennon@NOSPmyrealbox.com> wrote:
>> >
>> >>
>> >> So I recognize my own prejudices, I think I clearly see the new trends,
>> but
>> >> I don't prefer the new sound. I have no doubt that for many listeners
>> now
>> >> and most in the future I will be from "The school of the outdated
>sound."
>> >>
>> >> gene
>> >>
>> >> "LaMont" <jjdpro@aameritech.net> wrote:
>> >>>
>> >>> Gene,
>> >>> Thank you very much for "speaking: the truth about this whole DAW
>"nastalgic"
>> >>> sound thing.
>> >>>
>> >>> Let me just state that I've held my tongue for the last 5 years as
I
>> watched
>> >>> the DAW proaudio market "Hyjack" forward thinking , new fedelity,
>newer
>> >> sounding
>> >>> DAW technology.
>> >>>
>> >>> The DAW market has been held "ransom" to the "old' guard Engineers
who
>> ears
>> >>> are trained to hear "un-natural" de-emphasis", muddied up recordings.
>> >>>
>> >>> I remember my very first recording session as a guitar player. The
>year
>> >> 1982
>> >>> as I remember recording my tracks to 2 ich Otari MTR, MCI
>mixer..Fine..
>> >> The
>> >>> sound was nice, clear just the way I recorded it. But, remember
>thinking
>> >>> "This does sound like a record" Hummmm... After all the other
>instruments
>> >>> were push up in the mix ,along with the vocals, stillnot a record
>sound..
>> >>>
>> >>> In other works, where is the mudied drums? the thudy bass? the muddied
>> vocals
>> >>> that I heard since I was 4 years old??? where was this sound??
>> >>>
>> >>> Well, we hen attended the mix session, I soon found out that, the
>magic
>> >> was
>> >>> about to occur!! Out comes the Putec(s),the 1176s,LA2(s) GAtes,
>DBX160..2
>> >>> hours later they had that record sound..Hummm...I started thinkng
>again,
>> >>> "Man, the sound of 30ips Ampex 456 tape was big, vivid, wide, open,
>witha
>> >>> ting og high end fidelity..hummmm This was not the record sound..
>> >>>
>> >>> So here we are in 1997-98-99.PAris. The pro Engineers on this site
>priased
>> >>> it for it's "easy ability" to get that record sound!! wow!!! AND,
we
>> lawed
>> >>> every oter digital recorder mixer for being to ....Digital...Not warm
>> enough,
>> >>> not dull , or muddy enough..
>> >>> This Pro Engineer-Producer crowd wined,screemed, bitched, moaned on
>every
>> >>> forum that the current state of DAW's (namely Protools) mix was bad
as
>> well
>> >>> as most plugins...Even more, they could not mix ITB(In the Box) unless
>> they
>> >>> has software emulations of their beloved (OLD) compressors EQ,
>> >>> Verbs.(UAD,MCDSP,
>> >>> Bomb factory)....
>> >>>
>> >>> So, like magic, companies pour massive resouces to reclaim the glorys
>> days
>> >>> with the birth of the "Vinatage Plug ins). Their purpose was( is)
to
>> make
>> >>> your mixes"duller"=warmer, more professional(sit right, al in
>all..Make
>> >> the
>> >>> mixes sound like 1975!!!
>> >>>
>> >>> Now in 2006 the "what I call" modern sound of DAWS, being lead by
Pro
>> Tools
>> >>> HD and Nuedno, Sonar there's a shift occuring in the "Holy-Grail "
>> >>> RECORD-SOUND...
>> >>> With Garage bands, rap artist, Rock bands, Soul singers of today
>having
>> >> NO
>> >>> prior knowledge,nor the Formal training to 'get he 1975" sound, we
>have
>> >> the
>> >>> High-Fedelity DAW sound in all it'sglory!! ..Yipee!!
>> >>>
>> >>> Still, the old guard continues to hold it's thumb on the DAW market
>and
>> >> keep
>> >>> driving manufactures to making more and more vintage plugins. But,
>every
>> >>> now and then a product like Ozone's Izatope comes along (and others)
>> that
>> >>> challeng the old "muddy up the mix crowd).
>> >>>
>> >>> Today kids are brought onthe Pro_Tools(Mix & HD) sound. They expect
to
>> hear
>> >>> that sound. they have no idea on how to get a 1975 sound..
>> >>>
>> >>> So, I've said all the above to say: Let's move on!!Yes , the Brian
>> >>> Tankersly(I
>> >>> adore), Nuendo endorsers,vinatge engineers) will continue to push
to
>> have
>> >>> all of their 1960,79, & 80 hardware as a plugin and continue to fight
>> DAW
>> >>> companies to to fix summing buses or event new a new summing buss
>market
>> >>> segment to ensure they et the 1975 sound with todays DAW.
>> >>>
>> >>> For me,they can have the 1975 sound. I'm moving onward with the
>cureent
>> >> state
>> >>> of very high fifdelity thats afforded me in PT HD And Nuendo..yes,
>Paris
>> >>> is still in my rig, but I will no longer
>> >>> fight mixes to get the 1975 sound..If the mixes are nice and
>Brightosund
>> >>> with bottom..So beit..I love the way PT HD sounds with the 192
>converters.
>> >>> Very nice full-spectrum sound ,with a nice top end. I love Nuendo's
>nice
>> >>> wide -spacious,clear open , heavey bottom sound with my EMu
>converters.
>> >> Let's
>> >>> evolve past 1975..Pleaseeeeeeeee!!!!
>> >>>
>> >>
>> >
>>
>
>Dj, we've benn with Paris for along time. In that time, if your were to do
search on all the DAW updates, and ancellary gear, I know you've spent way
more than a 2 inch 16 track machine and API console..Both can be had at arther
good prices. :)
Your Cubabse SX to Paris saga alone cost $$$$ :) AND, you are still going
:)
I got Pris, becuase it was/is a compte system, like PT..I hate this peice-milling
aproach to DAWsss:) Yuck...:)
Take care
"JD" <no@nospam.com> wrote:
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>I trtack with Paris with folks looki9ng over my shoulder all the time.
It's
>>a matter of knowing what to do and how to do it. My system is very stable.
>>
>>As far as financial concerns go, yes, I stick with Paris because of
>>financial concerns. If I had the money, there is not doubt at all that
I'd
>>be tracking to a pair of synced 2" 16 track machines and an API legacy
>>console.
>>
>>Different strokes ;o)
>>
>>Deej
>
>Deej, you are so 1975 in your thinking! LOL
>
>>"Babu" <musiclab@lund.bonet.se> wrote in message news:443ff4c0$1@linux...
>>>
>>> Hi All,
>>>
>>> I am a former Paris user who still use Paris now and then, especially
>when
>>> I remix old songs recorded in Paris. I gave up in favour of Soundscape
>>which
>>> I truly love.
>>>
>>> Anyway, I agree with most of the comments about Paris and it´s sound
but
>>> when it comes to classical music, Paris simply has much left so desire.
>It
>>> nowhere as clean and accurate as the newer modern systems, be it PT,
>>Soundscape,
>>> Nuendo, Samplitude etc.
>>>
>>> I have a fairly large Paris setup and as much magic as it has it is quite
>>> unreliable compared to the other systems.
>>> For example: Paris can sometimes (randomly) add strange DC offset to
the
>>> files. It can depending on heat cause clicks. Aux leakage. Just to mention
>>> a few anomalies. IOW to me it simply isn´t crystal clear and accurate.
>>Also,
>>> what is by some percieved as warmth, sounds to me like a bit clouded
>>midrange.
>>> I have recorded a fair amout of classical choirs in both Paris, Soundscape
>>> and Nuendo. In this genre there is simply no competition at all. My
>>Soundscape
>>> converters (Apogee) simply kills Paris in clarity and detail. OTOH with
>>pop/rock,
>>> especially acoustic pop/rock (live drums), Paris can sound a bit more
>>exciting
>>> than the others.
>>>
>>> Last but not least, sound aside Paris is a dinosaur. The routing options
>>> leave A LOT to desire. The I/O flexibility is back to the stone age
>>compared
>>> to newer systems. The non-sample accurate editing is a PITA. Lack of
>>professional
>>> I/O options. Very rudimentary handling of native plugins, especially
in
>>stereo.
>>> No bussing possibilites. No VST/DX on master bus. No delay compensation.
>>> etc. ect...
>>>
>>> IMHO most people who are sticking to Paris are doing it for financial
>>reasons.
>>> Given the very low price the SH systems are going for, the price vs.
sound
>>> preformance ratio is amazing, compared to other DSP-based system. In
a
>>true
>>> professional enviroment with clients hanging over your shoulder, the
>>compromises
>>> are just to big, all IMO of course.
>>>
>>> Just my 2 cents.
>>>
>>> Babu
>>>
>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>> >Of course not, you just
>>> >have to treat Paris like any other DAW, and don't push it too hard
>>> >and it works great for classical.
>>> >
>>> >That's the beauty of it. It works either way. There is an issue with
>the
>>> D/A
>>> >converters and jitter when using the Paris clock, but with an external
>>clock
>>> >I've never thought it sounded anything other than what I wanted it to
>>sound.
>>> >result.....however, this is blasphemy and I have to immediately jack
>the
>>> >submix faders into the stratosphere so I can hear all that crappy
>>distortion
>>> >that I like.
>>> >
>>> >;O)
>>> >
>>> >
>>> >
>>> >"DC" <dc@spamthemoon.com> wrote in message news:443f4acc$1@linux...
>>> >>
>>> >> One myth I would like to dispel is that Paris sounds muddy, vintage,
>>> >> analog or less detailed than PT's.
>>> >>
>>> >> It's all in how hard you hit it.
>>> >>
>>> >> Had a conversation with SSC years ago about using Paris for
>>> >> classical and he really ground on me hard to try it and compare it
>to
>>> >> Sonic Solutions. Sonic has always been the gold standard for
>>> >> classical, and honestly I thought he was full of it, but I tried it,
>>using
>>> >> the same source material. He was right, it was actually better than
>>> >> Sonic on a 70-piece orchestra. Some of you have heard that CD.
>>> >> Did it sound "vintage" or muddy to you? Of course not, you just
>>> >> have to treat Paris like any other DAW, and don't push it too hard
>>> >> and it works great for classical. An orchestra recorded with the
>>> >> just 2 of the best mics in the world (DPA / B&K) the best pre
>>> >> (no tubes please!) and a great convertor is the ultimate test for
>>> >> clarity. One little loss of anything and the whole things turns to
>>> >> crap. It must be eq'ed and mastered to perfection, but if it is,
it
>>> >> sounds like you are in the room with the orchestra.
>>> >>
>>> >> Paris works extremely well on an orchestra and I can tell you that
>>> >> unless you push the levels the sound is as real, detailed, open and
>>> >> clear as I have ever heard.
>>> >> Personally, I think Paris murders PT's on orchestras. The clarity
>>> >> and lack of distortion, even on the upper harmonics of high violin
>>> >> notes, is really better and the soundstage and imaging is terrific.
>>> >>
>>> >> Try not hitting Paris so hard in the mixer, push the submix masters
>>> >> all the way up, and listen to the audio get nice and pristine.
>>> >>
>>> >> DC
>>> >
>>> >
>>>
>>
>>
>Sounds like a video card to me man. Check your resources and if the vid card
is sharing any of them.
AA
"Barking Pig" <barkingpig@networld.com> wrote in message
news:443ff304$1@linux...
>
> I have a couple of projects that play fine when only the project window is
> open but as soon as I open any other windows, ugly distortion appears. It
> seems to be in submix A. Any one else ever get this ? any ideas?
> Thanks.
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html"Best" is unknowable unless someone recorded the same orchestra
with the same mics, pres, and convertors at the same performance.
What I know is that I have mastered and recorded over 200 classical
CD's and Paris sounds even better than Sonic, which I can nearly use
blindfolded. This with the exact same material from the same source
DAT tape. Both examples were flown in, in real-time from a Sony
2800 DAT player, one into Sonic one into Paris. Paris sounded
better.
No, you can't record classical with Paris on-site using the onboard
convertors and expect perfect results, but what you can do is record
to any of the good portable media we have today, bring the material
back and fly it in on sp/dif, then post and master using the source
deck as clock. Do not push the levels like in pop music, and if you
have a good ear for EQ you can get results that are spectacular.
Greatness in classical is not measured by summing tests or
checksums, but by the conductor. (One of my conductors he
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65482 is a reply to message #65403] |
Fri, 17 March 2006 06:05 |
John [1]
Messages: 2229
Registered: September 2005
|
Senior Member |
|
|
ally sucks. That's why the record industry was in so much
> >> trouble,
> >> five Britney Spears, Spice Girls doesn't cut it for vary long. Just
> >> because
> >> a new sound comes along, the old sound shouldn't become null and void.
> >> There
> >> should be room for everything. In other words, don't follow the
> >> followers,
> >> and maybe you'll get noticed. If everybody used PT the things would be
> >> more
> >> boring than they already are!
> >>
> >> The demographic for the record companies is, 13 to 25, so the day you
> >> turn
> >> 26 your null and void??? No music geared to a 26, 36, or 46 year
old???
> >> How stupid! Do you really think that a 16 year old would think, yuck,
> >> this
> >> music sucks, this was
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65513 is a reply to message #65473] |
Sat, 18 March 2006 10:15 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
spw4GA6Hh4z6MO38qv5rxSD7V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---=_linux444089fb--This is a multi-part message in MIME format.
------=_NextPart_000_0091_01C66033.A3E80BD0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Kim,
Looks cool. Post a liink to it's specs. =20
I'm curious.
Tom
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:444089fb$1@linux...
Not quite in service yet. It has to charge for 8 hours first.
But it's in the building. :o) There was a line at the store out on to =
the
street. Business is booming in computer parts on the Easter weekend. I =
got
it though, and it's unpacked. Now I've gotta load up some software and =
see
what I need to tweak before I put it in service.
Thank you again to all the people who donated. Excellent work. And =
you'll
note we've had no outages since the server has been taken off the UPS =
and
plugged into mains. :o) And hopefully once the UPS is on we'll have =
even
less... or, well, not less than none of course, but, oh you know what =
I
mean! ;o)
Cheers,
Kim.
------=_NextPart_000_0091_01C66033.A3E80BD0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to it's =
specs. =20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Kim" <<A=20
=
href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
wrote=20
in message <A=20
=
href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
Not=20
quite in service yet. It has to charge for 8 hours first.<BR><BR>But =
it's in=20
the building. :o) There was a line at the store out on to =
the<BR>street.=20
Business is booming in computer parts on the Easter weekend. I =
got<BR>it=20
though, and it's unpacked. Now I've gotta load up some software and=20
see<BR>what I need to tweak before I put it in service.<BR><BR>Thank =
you again=20
to all the people who donated. Excellent work. And you'll<BR>note =
we've had no=20
outages since the server has been taken off the UPS and<BR>plugged =
into mains.=20
:o) And hopefully once the UPS is on we'll have even<BR>less... =
or,=20
well, not less than none of course, but, oh you know what I<BR>mean!=20
;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BODY></HTML >
------=_NextPart_000_0091_01C66033.A3E80BD0--This is a multi-part message in MIME format.
------=_NextPart_000_00BC_01C6602C.75EE0B00
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Not sure about the Aussie version, but the US one is:
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
X413
Kim, what version of Power Chute did that come with bro?
AA
"Tom Bruhl" <arpegio@comcast.net> wrote in message =
news:444090bc@linux...
Kim,
Looks cool. Post a liink to it's specs. =20
I'm curious.
Tom
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:444089fb$1@linux...
Not quite in service yet. It has to charge for 8 hours first.
But it's in the building. :o) There was a line at the store out on =
to the
street. Business is booming in computer parts on the Easter weekend. =
I got
it though, and it's unpacked. Now I've gotta load up some software =
and see
what I need to tweak before I put it in service.
Thank you again to all the people who donated. Excellent work. And =
you'll
note we've had no outages since the server has been taken off the =
UPS and
plugged into mains. :o) And hopefully once the UPS is on we'll have =
even
less... or, well, not less than none of course, but, oh you know =
what I
mean! ;o)
Cheers,
Kim.
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_00BC_01C6602C.75EE0B00
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but =
the US one=20
is:<BR><A=20
href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
sku=3DSUA1500X413</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did =
that come with=20
bro?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
in message=20
<A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
it's=20
specs. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Kim" <<A=20
=
href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
=20
wrote in message <A=20
=
href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
Not=20
quite in service yet. It has to charge for 8 hours first.<BR><BR>But =
it's in=20
the building. :o) There was a line at the store out on to =
the<BR>street.=20
Business is booming in computer parts on the Easter weekend. I =
got<BR>it=20
though, and it's unpacked. Now I've gotta load up some software and=20
see<BR>what I need to tweak before I put it in service.<BR><BR>Thank =
you=20
again to all the people who donated. Excellent work. And =
you'll<BR>note=20
we've had no outages since the server has been taken off the UPS=20
and<BR>plugged into mains. :o) And hopefully once the UPS is on =
we'll have=20
even<BR>less... or, well, not less than none of course, but, =
oh you=20
know what I<BR>mean! =
;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE>
<DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
and=20
you?<BR><A=20
href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
..html</A> </FONT></DIV></BODY ></HTML>
------=_NextPart_000_00BC_01C6602C.75EE0B00--Quantization and math errors in the playback engine, for one. A to D
convertors is another.. I'm sure that there is more but those are the basics
that come to mind immediately for me. Plus, I think there is definitely
something to the *can't measure why they sound different, but do* theory.
AA
"Jesse Skeens" <jskeens@gmail.com> wrote in message news:44407d5f$1@linux...
>
> "DC" <dc@spamthemoon.com> wrote:
>>
>>Dedric Terry <dterry@keyofd.net> wrote:
>>
>>>Lynn Fuston
>>>is one of the few to attempt that with DAWs on a large scale. You might
>>be
>>>surprised at how many unity gain mixes I found to cancel completely (all
>>>24-bits). Samplitude, Nuendo, and PTHD I believe (Paris didn't cancel
> with
>>>anything that I recall).
>>
>>Funny how those tests don't settle the issue. You can sum to
>>zero, yet you write a CD and the sound changes. Why? No one
>>knows. I mean no one. Not Lynn, Not Mel Lambert, not Bruce
>>Jackson, not SSC, not no one. SSC actually gave me grief for talking
>>about CD-R media then turned around and said not to write CD's
>>over 4X. Ummm bit is bits right? BS. My Yamaha CD writer
>>has a function called Advanced Audio Master Quality Recording.
>>It lengthens the burns a bit and tests your media to get the laser
>>levels just right. (It also reduces your max CD time to 68 minutes)
>>And it sounds better. Noticeably. How would you measure it?
>>Well I'm sure it has to do with the playback error correction, but
>>we can't test it yet.
>>
>>We can hear better than we can measure. As a matter of fact it i
>
> But we can measure bits in digital audio just fine? I mean whats the
> mystery.
> If all the sound is made up of its bit values and we should two files to
> have the same values what possibly could make them sound different?
> There's
> no other hidden value to account for that. We know this becuase we
> designed
> the systems that record and playback the sound based on a fairly simple
> scheme.
> Record audio as numbers and play those numbers back. IF the numbers match
> then what could possibly make them not the same?
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlHi,
This error messege pops up when I hit the record button.
"Error in queuing project Error code 1879048233/70000029."
Wha' happen?
It only happens on one song.
How do I fix the situation?
Thanks for the help.On 4/14/06 9:58 PM, in article 44406f63$1@linux, "DC" <dc@spamthemoon.com>
wrote:
>
> Dedric Terry <dterry@keyofd.net> wrote:
>
>> Lynn Fuston
>> is one of the few to attempt that with DAWs on a large scale. You might
> be
>> surprised at how many unity gain mixes I found to cancel completely (all
>> 24-bits). Samplitude, Nuendo, and PTHD I believe (Paris didn't cancel with
>> anything that I recall).
>
> Funny how those tests don't settle the issue. You can sum to
> zero, yet you write a CD and the sound changes. Why? No one
> knows. I mean no one. Not Lynn, Not Mel Lambert, not Bruce
> Jackson, not SSC, not no one. SSC actually gave me grief for talking
> about CD-R media then turned around and said not to write CD's
> over 4X. Ummm bit is bits right? BS. My Yamaha CD writer
> has a function called Advanced Audio Master Quality Recording.
> It lengthens the burns a bit and tests your media to get the laser
> levels just right. (It also reduces your max CD time to 68 minutes)
> And it sounds better. Noticeably. How would you measure it?
> Well I'm sure it has to do with the playback error correction, but
> we can't test it yet.
>
Obviously either Yamaha figured some part of it out or Advanced Audio Master
Quality is euphemism for "sucker". ;-) You know I'm just making light of a
debate that has been raging for as long as 1's and 0's have been around, not
discounting what you are saying about the audible differences you hear.
Developers don¹t just guess at techniques to improve quality. There is a
science and technical reasoning behind it (usually, unless marketing holds
all the marbles) - but that's why they do what they do, and I don't. I used
to, but it drove me batty (hardware/software dev - too tedious for me).
If there is a way to generate a result, there is a way to test it, because
that's the way someone found it to begin with - testing, trying and
guessing. The fact is, a 1 is a 1 and a 0 is a 0, but the problem comes in
how strings of them are interpreted into sound waves, and all the variables
in between, and so the likelihood of simplified testing at the user level
flies out the window.
> We can hear better than we can measure. As a matter of fact it is
> the acute hearing of real audio engineers and conductors that spurs
> the techies on to ever-more sophisticated tests. And all of us have
> heard really technical people do totally crap audio work. I have
> personally seen genius acousticians design total POS sound
> systems using every prediction and mapping tool and app in the
> world. As retarded as it is to insist that we can hear something
> that we can't hear when in a double-blind test, it is even more
> retarded to insist that something is not there because some test
> didn't show it.
And also it is often the expectation of the test that leads us to results
that aren't there. The brain is a tricky interpreter, and that is why I
there there is usually a way to ferret out the anomaly and give
repeatability and solidity to what we perceive, or don't perceive.
> Sooner or later a test finds the anomaly and all
> the techies stop smirking and go back to playing with hard drives
> and the the audio engineers get some work done.
>
:-))
>
> Listen, I believe you when you say it is better than the demos and I
> am glad to hear it, but there will be no Nuendo here as long as the
> company has their heads you know where. It ain't HARD to put out
> good demos.
>
You aren't the first to express displeasure with Steinberg, and I completely
agree about demos - I could have given them a demo that killed anything I've
heard them put out, as could a million other people, but maybe demo makers
just don't get paid enough to do it right. I have clients with the same
mentality - put all your eggs in one basket that might look good on paper
and leave nothing left to hatch and grow the chickens with.
Some companies seem to take a developers' mindset to marketing ("It's great
code, surely everyone can see that!"...well, no, not without Code Warrior
and a CS degree...). I can think of another well known to this group that
did the same.
>
>
>> I wouldn't judge Nuendo or any product's sound quality on a noisy tradeshow
>> floor.
>
> I'm going to disagree completely with you here. You can't get the
> nuances, but if something is rocking-good you will hear it, and if
> it is crap you will hear that too. Nuendo has driven me out of the
> booth every time.
>
Actually I was referring to the subtleties of summing and audio quality,
which I assumed you were referring to when saying Nuendo couldn't cut it for
recording classical. I presumed you had put them side by side and found one
to be missing X where the other was wider at Z. To detect that level of
detail obviously requires a quiet studio environment. Now, whether the
material rocks or sucks is another matter entirely, and no doubt should be
the first consideration for booth reps.
>
>> Nuendo can deliver just as easily as any other DAW from my
>> experience - it's all in how you use it, as with any other. At the same
>> time I have no interest in convincing you otherwise on your opinion of it
>> because it really doesn¹t matter to either one of us
>
>
> Actually I believe you. I just would never use the product and do
> not believe it can beat a seasoned Paris jockey on the same
> orchestra. Let's do it ourselves sometime and see if we can settle
> it. You are not near SoCal are you?
Colorado, so I'm on the same side of the Mississippi. A bit of a hike, but
maybe sometime we can put these tools to a test for a musical purpose beyond
just comparing bits and bytes.
>
>
>> Sure, I would be very interested to hear the live project.
>
> It should be out in a month or so.
>
> best,
>
> DC
>Heheheh!!!!!! Well, that's good to know because I'm getting ready to jump
back in and finish it up. My new mobo just came in and the studio is up and
running again. Looks like the one I was using previously (a refurb that I
got from NewEgg becqause there were no new ones available) was defective.
The new one is a bit snappier and feels more stable than the other one ever
was. Anyway, as for the bass, I did reposition the subs about 1' apart
almost centered on my sweet spot. The previous positioning was partially
phase cancelling. the LF is very obvious now and translates very well. I've
got the system wired in to a stereo downstairs that is driving a pair of ADS
1520's in our rehearsal/drum tracking room. Those puppies will definitely
give you ......if not a reality check, then at least a *consumer hifi in the
living room* check.
I do need to get my distances measured a bit more precisely though. Seems
like over the last 2 1/2 years, things have grown legs or something.
;o)
"DC" <dc@spamthemoon.com> wrote in message news:444071ad$1@linux...
>
> Man, we should all do this more often.
>
> Got out the analyzer tonight, and a new laser distance meter I got
> recently:
>
> http://www.leica-geosystems.com/cpd/en/lgs_3849.htm
>
> Accurate to a millimeter.
>
> I put a target on a mic stand right where my ears are and found that
> the speakers were not toed in right, and were not the same distance
> from the target...
>
> Then I got the FFT analyzer out and dang, the sub is going nuts.
> Turns out the sub is about 5db hot...
>
> Yipes!
>
> Some roughs of the live project went out and everyone said they
> were weak in the bass. There it is...
>
> HEY DJ! Your mixes are NOT bass heavy! sorry
>
> Checked you monitoring rig recently??
>
> hmmm?
>
> DC
>
> no, you don't need a fancy laser to check this, a tape measure
> works fine, and you can get audio analysis apps for cheap these
> days. if you can't hear you can't mix!
>
> Big mix session for the live record tomorrow. Wish me well!This is the one:
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=BR1500I&full_sku=BR1500I%20%2B%20%281%29BR24BP
PowerChute Personal Edition v1.5 is on this here disk. Why do you ask.
Cheers,
Kim.
"Aaron Allen" <nospam@not_here.dude> wrote:
>
>
>Not sure about the Aussie version, but the US one is:
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
>X413
>
>Kim, what version of Power Chute did that come with bro?
>
>AA
>
> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>news:444090bc@linux...
> Kim,
> Looks cool. Post a liink to it's specs. =20
> I'm curious.
> Tom
>
> "Kim" <hiddensounds@hotmail.com> wrote in message =
>news:444089fb$1@linux...
>
>
> Not quite in service yet. It has to charge for 8 hours first.
>
> But it's in the building. :o) There was a line at the store out on =
>to the
> street. Business is booming in computer parts on the Easter weekend.
=
>I got
> it though, and it's unpacked. Now I've gotta load up some software =
>and see
> what I need to tweak before I put it in service.
>
> Thank you again to all the people who donated. Excellent work. And =
>you'll
> note we've had no outages since the server has been taken off the =
>UPS and
> plugged into mains. :o) And hopefully once the UPS is on we'll have
=
>even
> less... or, well, not less than none of course, but, oh you know =
>what I
> mean! ;o)
>
> Cheers,
> Kim.
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
><HTML><HEAD>
><META http-equiv=3DContent-Type content=3D"text/html; =
>charset=3Diso-8859-1">
><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff>
><DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but
=
>the US one=20
>is:<BR><A=20
>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
>sku=3DSUA1500X413</A></FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did =
>that come with=20
>bro?</FONT></DIV>
><DIV> </DIV>
><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><BLOCKQUOTE dir=3Dltr=20
>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"Tom Bruhl" <<A=20
> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>in message=20
> <A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
> <DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
>it's=20
> specs. </FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
> <DIV> </DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"Kim" <<A=20
> =
>href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
>=20
> wrote in message <A=20
> =
>href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
>Not=20
> quite in service yet. It has to charge for 8 hours first.<BR><BR>But
=
>it's in=20
> the building. :o) There was a line at the store out on to =
>the<BR>street.=20
> Business is booming in computer parts on the Easter weekend. I =
>got<BR>it=20
> though, and it's unpacked. Now I've gotta load up some software and=20
> see<BR>what I need to tweak before I put it in service.<BR><BR>Thank
=
>you=20
> again to all the people who donated. Excellent work. And =
>you'll<BR>note=20
> we've had no outages since the server has been taken off the UPS=20
> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
>we'll have=20
> even<BR>less... or, well, not less than none of course, but, =
>oh you=20
> know what I<BR>mean! =
>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE>
><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
>and=20
>you?<BR><A=20
>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>.html</A> </FONT></DIV></BODY></HTML>
>
>Very cool. I've got 3 x of those in my machine room. Excellent units. I have
tripped a breaker here before and those puppies kept 3 x computers, 6 x
CRT's, 3 x digital patchbays, a Lexicon PC 90, a Mytek A/D converter, 3 x
MECs and 2 x WC modules running for over 10 minutes. I don't know how much
longer they would have gone because I flipped the breaker back on. Saved a
session for sure.
Good choice. Where's that beer link? You deserve one.
;o)
"Kim" <hiddensounds@hotmail.com> wrote in message news:444089fb$1@linux...
>
>
> Not quite in service yet. It has to charge for 8 hours first.
>
> But it's in the building. :o) There was a line at the store out on to the
> street. Business is booming in computer parts on the Easter weekend. I got
> it though, and it's unpacked. Now I've gotta load up some software and see
> what I need to tweak before I put it in service.
>
> Thank you again to all the people who donated. Excellent work. And you'll
> note we've had no outages since the server has been taken off the UPS and
> plugged into mains. :o) And hopefully once the UPS is on we'll have even
> less... or, well, not less than none of course, but, oh you know what I
> mean! ;o)
>
> Cheers,
> Kim.This is a multi-part message in MIME format.
------=_NextPart_000_00D7_01C66037.4D08FBE0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Aaron,
Did Kim get the 1500VA version? Looks different. Specs seem good =
although I'm not
sure what's good enough besides time and wattage.
Sync to mains ?
Crest voltage ?
Filtering ? =20
Tom
"Aaron Allen" <nospam@not_here.dude> wrote in message =
news:444092d1@linux...
Not sure about the Aussie version, but the US one is:
=
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
X413
Kim, what version of Power Chute did that come with bro?
AA
"Tom Bruhl" <arpegio@comcast.net> wrote in message =
news:444090bc@linux...
Kim,
Looks cool. Post a liink to it's specs. =20
I'm curious.
Tom
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:444089fb$1@linux...
Not quite in service yet. It has to charge for 8 hours first.
But it's in the building. :o) There was a line at the store out on =
to the
street. Business is booming in computer parts on the Easter =
weekend. I got
it though, and it's unpacked. Now I've gotta load up some software =
and see
what I need to tweak before I put it in service.
Thank you again to all the people who donated. Excellent work. And =
you'll
note we've had no outages since the server has been taken off the =
UPS and
plugged into mains. :o) And hopefully once the UPS is on we'll =
have even
less... or, well, not less than none of course, but, oh you know =
what I
mean! ;o)
Cheers,
Kim.
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_00D7_01C66037.4D08FBE0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Aaron,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Did Kim get the 1500VA version? Looks=20
different. Specs seem good although I'm not</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>sure what's good enough besides time =
and=20
wattage.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Sync to mains ?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Crest voltage ?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Filtering ? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Aaron Allen" <<A=20
href=3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>> =
wrote in=20
message <A =
href=3D"news:444092d1@linux">news:444092d1@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, =
but the US one=20
is:<BR><A=20
=
href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
sku=3DSUA1500X413</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did =
that come=20
with bro?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> =
wrote in=20
message <A =
href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
it's=20
specs. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Kim" <<A=20
=
href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
=20
wrote in message <A=20
=
href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
Not=20
quite in service yet. It has to charge for 8 hours =
first.<BR><BR>But it's=20
in the building. :o) There was a line at the store out on to=20
the<BR>street. Business is booming in computer parts on the Easter =
weekend. I got<BR>it though, and it's unpacked. Now I've gotta =
load up=20
some software and see<BR>what I need to tweak before I put it in=20
service.<BR><BR>Thank you again to all the people who donated. =
Excellent=20
work. And you'll<BR>note we've had no outages since the server has =
been=20
taken off the UPS and<BR>plugged into mains. :o) And hopefully =
once the=20
UPS is on we'll have even<BR>less... or, well, not less than =
none of=20
course, but, oh you know what I<BR>mean!=20
;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE>
<DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
and=20
you?<BR><A=20
=
href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
..html</A> </FONT></DIV></BLOCKQUOTE ></BODY></HTML>
------=_NextPart_000_00D7_01C66037.4D08FBE0--"Jesse Skeens" <jskeens@gmail.com> wrote:
>But we can measure bits in digital audio just fine? I mean whats the mystery.
> If all the sound is made up of its bit values and we should two files to
>have the same values what possibly could make them sound different?
Ever seen the code for a word processor, let alone a DAW?
Oh yeah, that's simple...
So you do a cancel at one point in the process and then tell
yourself something you can hear is not real?
We hear better than we can measure. That may change someday
but it ain't here yet.
>There's
>no other hidden value to account for that. We know this becuase we designed
>the systems that record and playback the sound based on a fairly simple
scheme.
> Record audio as numbers and play those numbers back. IF the numbers match
>then what could possibly make them not the same?
Now what happens when something IS different? If you can't
answer the above question do you convince yourself that you are
hearing things? ARE you hearing things?
How you answer those questions will determine if you are an audio
engineer or an IT guy.
DCWow, this is a truly heated discussion. I sense it triggers all kinds of emotions.
Well, DC almighty. It seems like it is difficult to argue with you since
you have the best ears on the planet and that your opinion is some kind of
physical absolute. It´s also fascinating that you seem to be the best Paris
operator which gives you the power to simply tell a fellow Paris user that
he doesn´t know how to use his rig, which he has been using probably longer
than yourself.
Please direct us to some tracks to prove your superiority as a Paris operator
and sound engineer. I need not to say that the comparisons should be on a
scientific level and not some bullshit "feeling" or "it sounded better yesterday
with Paris" comparison.
I guess you weren´t taught to be humble by your mother...
"DC" <dc@spamthemoon.com> wrote:
>
>"Babu" <musiclab@lund.bonet.se> wrote:
>
>
>>Anyway, I agree with most of the comments about Paris and it´s sound but
>>when it comes to classical music, Paris simply has much left so desire.
>It
>>nowhere as clean and accurate as the newer modern systems, be it PT, Soundscape,
>>Nuendo, Samplitude etc.
>
>
>Then you don't know how to use Paris, and I have the tracks to prove it.
>
>Samplitude is competitive with Paris on orchestras, Nuendo is not.
>
>
>DC......well, actually thgere are more than just those 3 x APC's in the machine
room, but those APC's where hooked up to the stuff that was drawing the most
juice.....the comps and CRT's
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:44409660$1@linux...
> Very cool. I've got 3 x of those in my machine room. Excellent units. I
have
> tripped a breaker here before and those puppies kept 3 x computers, 6 x
> CRT's, 3 x digital patchbays, a Lexicon PC 90, a Mytek A/D converter, 3 x
> MECs and 2 x WC modules running for over 10 minutes. I don't know how
much
> longer they would have gone because I flipped the breaker back on. Saved a
> session for sure.
>
> Good choice. Where's that beer link? You deserve one.
>
> ;o)
> "Kim" <hiddensounds@hotmail.com> wrote in message news:444089fb$1@linux...
> >
> >
> > Not quite in service yet. It has to charge for 8 hours first.
> >
> > But it's in the building. :o) There was a line at the store out on to
the
> > street. Business is booming in computer parts on the Easter weekend. I
got
> > it though, and it's unpacked. Now I've gotta load up some software and
see
> > what I need to tweak before I put it in service.
> >
> > Thank you again to all the people who donated. Excellent work. And
you'll
> > note we've had no outages since the server has been taken off the UPS
and
> > plugged into mains. :o) And hopefully once the UPS is on we'll have even
> > less... or, well, not less than none of course, but, oh you know what I
> > mean! ;o)
> >
> > Cheers,
> > Kim.
>
>What is the current state of affairs in analyzer Big D? I'm getting ready to
shoot my new room now that I have Paris back up.
AA
"DC" <dc@spamthemoon.com> wrote in message news:444071ad$1@linux...
>
> Man, we should all do this more often.
>
> Got out the analyzer tonight, and a new laser distance meter I got
> recently:
>
> http://www.leica-geosystems.com/cpd/en/lgs_3849.htm
>
> Accurate to a millimeter.
>
> I put a target on a mic stand right where my ears are and found that
> the speakers were not toed in right, and were not the same distance
> from the target...
>
> Then I got the FFT analyzer out and dang, the sub is going nuts.
> Turns out the sub is about 5db hot...
>
> Yipes!
>
> Some roughs of the live project went out and everyone said they
> were weak in the bass. There it is...
>
> HEY DJ! Your mixes are NOT bass heavy! sorry
>
> Checked you monitoring rig recently??
>
> hmmm?
>
> DC
>
> no, you don't need a fancy laser to check this, a tape measure
> works fine, and you can get audio analysis apps for cheap these
> days. if you can't hear you can't mix!
>
> Big mix session for the live record tomorrow. Wish me well!
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlIf you can get business edition on it, you'll LOVE it. It even emails you
when things get out of whack.
AA
"Kim" <hiddensounds@hotmail.com> wrote in message news:44409620$1@linux...
>
>
> This is the one:
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=BR1500I&full_sku=BR1500I%20%2B%20%281%29BR24BP
>
> PowerChute Personal Edition v1.5 is on this here disk. Why do you ask.
>
> Cheers,
> Kim.
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>
>>
>>Not sure about the Aussie version, but the US one is:
>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
>>X413
>>
>>Kim, what version of Power Chute did that come with bro?
>>
>>AA
>>
>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>>news:444090bc@linux...
>> Kim,
>> Looks cool. Post a liink to it's specs. =20
>> I'm curious.
>> Tom
>>
>> "Kim" <hiddensounds@hotmail.com> wrote in message =
>>news:444089fb$1@linux...
>>
>>
>> Not quite in service yet. It has to charge for 8 hours first.
>>
>> But it's in the building. :o) There was a line at the store out on =
>>to the
>> street. Business is booming in computer parts on the Easter weekend.
> =
>>I got
>> it though, and it's unpacked. Now I've gotta load up some software =
>>and see
>> what I need to tweak before I put it in service.
>>
>> Thank you again to all the people who donated. Excellent work. And =
>>you'll
>> note we've had no outages since the server has been taken off the =
>>UPS and
>> plugged into mains. :o) And hopefully once the UPS is on we'll have
> =
>>even
>> less... or, well, not less than none of course, but, oh you know =
>>what I
>> mean! ;o)
>>
>> Cheers,
>> Kim.
>>
>>
>>I choose Polesoft Lockspam to fight spam, and you?
>>http://www.polesoft.com/refer.html
>>
>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>><HTML><HEAD>
>><META http-equiv=3DContent-Type content=3D"text/html; =
>>charset=3Diso-8859-1">
>><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
>><STYLE></STYLE>
>></HEAD>
>><BODY bgColor=3D#ffffff>
>><DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but
> =
>>the US one=20
>>is:<BR><A=20
>>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>>SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
>>sku=3DSUA1500X413</A></FONT></DIV>
>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>><DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did =
>>that come with=20
>>bro?</FONT></DIV>
>><DIV> </DIV>
>><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>><BLOCKQUOTE dir=3Dltr=20
>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>> <DIV>"Tom Bruhl" <<A=20
>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>>in message=20
>> <A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>> <DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
>> <DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
>>it's=20
>> specs. </FONT></DIV>
>> <DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
>> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
>> <DIV> </DIV>
>> <BLOCKQUOTE=20
>> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>> <DIV>"Kim" <<A=20
>> =
>>href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
>>=20
>> wrote in message <A=20
>> =
>>href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
>>Not=20
>> quite in service yet. It has to charge for 8 hours first.<BR><BR>But
> =
>>it's in=20
>> the building. :o) There was a line at the store out on to =
>>the<BR>street.=20
>> Business is booming in computer parts on the Easter weekend. I =
>>got<BR>it=20
>> though, and it's unpacked. Now I've gotta load up some software and=20
>> see<BR>what I need to tweak before I put it in service.<BR><BR>Thank
> =
>>you=20
>> again to all the people who donated. Excellent work. And =
>>you'll<BR>note=20
>> we've had no outages since the server has been taken off the UPS=20
>> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
>>we'll have=20
>> even<BR>less... or, well, not less than none of course, but, =
>>oh you=20
>> know what I<BR>mean! =
>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
>>and=20
>>you?<BR><A=20
>>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>>.html</A> </FONT></DIV></BODY></HTML>
>>
>>
>Excellent. That's what I like to hear. Well this one only has to run a single
box, and I don't plug the monitor into the UPS as I don't really need to.
So it's just running one box and the router. This unit is well qualified
to do more, but I went the cheaper option last time and got burned with it
failing 2 years later. I figure this puppy will last 10+ years (with a battery
replacement half way). Hopefully 20 years if I can still buy batteries for
it. I wonder if the newsgroup will still be around then?
Since you mention it I could sure use some beer money. ;o) Not because I'm
out of money though. I've gone and stuffed up today, and it's all the UPS's
fault!! ;o) I assume it's the same in the U.S... over here the EFTPOS cards
have a daily withdrawl limit. Mine is $800. I spend $569 on the UPS, another
$50 on other bits I needed to change UPS's, and then bought some other stuff,
and suddenly my card started coming up as declined because it's over the
daily limit. It's infuriating! I've still got cash, but it's stuck in the
account and I can't get it!
I was planning on going to the pub this afternoon too, just for a short burst,
but I've only got $2:70 in my wallet! ;o) I'm thinking of calling them and
asking "Look, I've got $16 available to withdraw. can I create a $16 Eftpos
tab and drink a couple of pints? ;o)
Indeed I think I will. ;o)
As for that actual beer button, I do plan to do it (how could I not ;o).
I hope nobody gets the wrong idea from it and thinks I'm in it for the cash.
;o) I'll see how I go over the weekend. I'll be putting a big peice of text
on it which says "Now there is no obligation to do this... in fact, I would
encourage people not to do it, but if you must, this button will donate to
my beer fund". ;o)
....but if the total on the beer fund reaches half as much as was donated
to the UPS I'm going to send most of it back. ;o)
....or have one hell of a night. ;o)
Cheers,
Kim.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Very cool. I've got 3 x of those in my machine room. Excellent units. I
have
>tripped a breaker here before and those puppies kept 3 x computers, 6 x
>CRT's, 3 x digital patchbays, a Lexicon PC 90, a Mytek A/D converter, 3
x
>MECs and 2 x WC modules running for over 10 minutes. I don't know how much
>longer they would have gone because I flipped the breaker back on. Saved
a
>session for sure.
>
>Good choice. Where's that beer link? You deserve one.
>
>;o)
>"Kim" <hiddensounds@hotmail.com> wrote in message news:444089fb$1@linux...
>>
>>
>> Not quite in service yet. It has to charge for 8 hours first.
>>
>> But it's in the building. :o) There was a line at the store out on to
the
>> street. Business is booming in computer parts on the Easter weekend. I
got
>> it though, and it's unpacked. Now I've gotta load up some software and
see
>> what I need to tweak before I put it in service.
>>
>> Thank you again to all the people who donated. Excellent work. And you'll
>> note we've had no outages since the server has been taken off the UPS
and
>> plugged into mains. :o) And hopefully once the UPS is on we'll have even
>> less... or, well, not less than none of course, but, oh you know what
I
>> mean! ;o)
>>
>> Cheers,
>> Kim.
>
>If Steve is using direct WC feeds to the BNC inputs of each MEC, I would
still advise adding the UseHouseSync=1 to the Paris.cfg file and also
opening Paris from the main .exe file in the EMU directory in Program Files,
setting the project that opens to sync source=word clock and saving this as
"default project.ppj" both in the EMU directory and on his desktop. then
open Paris from this default project.ppj on the desktop. Leave the Aardsync
set to 44.1. Paris likes to open to 48kHz sample rate when syncing to an
external WC, even if the WC is set to 44.1. Once this project is open, he
can navigate ot his other projects which are set to 44.1 and he should be
good to go.
Deej
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
news:443f1eb3@linux...
> It would be interesting to see what the card 2 latency is
> with and without house sync. I am sure that BT probably did
> this already, and would have posted his findings if there
> were an improvement to be had.
>
> David.
>
> Aaron Allen wrote:
>
> > I wonder if this isn't somehow tied directly to the larger latency jump
> > between the 1st and 2nd EDS cards?
> > AA
> >
> >
> > "EK Sound" <askme@nospam.com> wrote in message news:443e8f0f$1@linux...
> >
> >>What I was refering to was feeding the WC from the external generator to
> >>your master MEC, then connecting a short BNC cable from the master MEC
to
> >>the slave MEC (assuming both MEC's are connected to EDS cards in ONE
> >>computer). The two MEC's will clock quite happily this way, and will be
> >>more stable (by my experience) than feeding them both directly from the
WC
> >>gen. If you had 3+ MEC's, you would have to connect WC directly to each
> >>unit and place the "Use house sync" line into the Paris config file.
> >>
> >>David.
> >>
> >>Steve Cox wrote:
> >>
> >>>You can't. There is only one in and one out on each MEC. I need to have
> >>>both
> >>>ins tied up with the master word clock or I will have pops n' snaps
> >>>galore.
> >>>People hate hearing that in their headphones, and I really don't care
to
> >>>spend the time snipping them out. With all the digital equipment, they
> >>>all
> >>>have to be controled by one clock source. What you are suggesting would
> >>>be
> >>>fine if I was ITB, but I am not. I have a motorized fader Digital
> >>>console,
> >>>Eight ch. mic pres, and two MECs. The whole idea behind having a master
> >>>word
> >>>clock is to stablize all your gear to 44.1 coming from one source.(my
> >>>choice)Right??
> >>>Steve not the art guy
> >>>
> >>>EK Sound <askme@nospam.com> wrote:
> >>>
> >>>
> >>>>Seriously Steve... try looping from one MEC to the other.
> >>>>
> >>>>David.
> >>>>
> >>>>Steve Cox wrote:
> >>>>
> >>>>
> >>>>
> >>>>>The reason I have the master word clock is because of the DA7 Digital
> >>>
> >>>32 channel
> >>>
> >>>
> >>>>>board, an 8 ch. mic pre, and 2 MECs. All locked in at 44.1
> >>>>>Steve
> >>>>>
> >>>>>"Kim" <hiddensounds@hotmail.com> wrote:
> >>>>>
> >>>>>
> >>>>>
> >>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>huh??? have another beer mate! ;-)
> >>>>>>
> >>>>>>Well I'm assuming he's running the wordclock to both MEC's...?
> >>>>>>...isn't
> >>>>>>that OK?
> >>>>>>
> >>>>>>...or am I missing something?
> >>>>>>
> >>>>>>...I mean I've never used Wordclock, so I'm only speaking from what
> >>>>>>I've
> >>>>>>read here, but after reading 500 posts on the subject I kinda
thought
> >>>
> >>>I
> >>>
> >>>
> >>>>>had
> >>>>>
> >>>>>
> >>>>>
> >>>>>>the idea. ;o)
> >>>>>>
> >>>>>>Cheers,
> >>>>>>Kim.
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>David.
> >>>>>>>
> >>>>>>>Kim wrote:
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>>Correct. If you're losing wordclock that will be fine.
> >>>>>>>>
> >>>>>>>>Cheers,
> >>>>>>>>Kim.
> >>>>>>>>
> >>>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>Not sure if it matters, but I don't really need to bnc the 2 mecs
> >>>>>>>>>together
> >>>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word clock
> >>>>>>>>>sends,
> >>>>>>
> >>>>>>I
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>>have
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>everything set to 44.1 And I use a Ramsa DA7 motorized fader
digital
> >>>>>
> >>>>>console
> >>>>>
> >>>>>
> >>>>>
> >>>>>>>>>for input, also set for 44.1
> >>>>>>>>>
> >>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>>Don't do as I say, do as I think! ;-)
> >>>>>>>>>>
> >>>>>>>>>>David.
> >>>>>>>>>>
> >>>>>>>>>>Kim wrote:
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>>one connected to Card A (default master) and as Tom mentioned,
> >>>>>>>>>>>>one MEC connected to the *last EDS card*
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>You should also note that "last EDS card" refers to "whichever
> >>>>>>>>>>>card
> >>>>>>
> >>>>>>has
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>>>the
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>>>last designation". It does not refer to anything to do with
their
> >>>
> >>>physical
> >>>
> >>>
> >>>>>>>>>>>location in your machine. Which one is last in a given machine
> >>>>>>>>>>>with
> >>>>>>
> >>>>>>a
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>>>given
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>>>OS is almost impossible to predict. You will have to experiment
to
> >>>>>
> >>>>>work
> >>>>>
> >>>>>
> >>>>>
> >>>>>>>>>it
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>>>out.
> >>>>>>>>>>>
> >>>>>>>>>>>But the interfaces need to be on card A and card C in your
case,
> >>>
> >>>as
> >>>
> >>>
> >>>>>>decided
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>>>>>by the Paris software.
> >>>>>>>>>>>
> >>>>>>>>>>>Cheers,
> >>>>>>>>>>>Kim.
> >>>>>>>>>
> >
> >
> > I choose Polesoft Lockspam to fight spam, and you?
> > http://www.polesoft.com/refer.html
> >
> >This is a multi-part message in MIME format.
------=_NextPart_000_0084_01C66029.F453DC20
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
sorry.....this is very important:
opening Paris from the main .exe file in the EMU directory in Program =
Files,
> setting the project that opens to sync source=3Dword clock and saving =
this as
> "default project.ppj and setting the sample rate to 48kHz.
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message =
news:44409f47@linux...
> If Steve is using direct WC feeds to the BNC inputs of each MEC, I =
would
> still advise adding the UseHouseSync=3D1 to the Paris.cfg file and =
also
> opening Paris from the main .exe file in the EMU directory in Program =
Files,
> setting the project that opens to sync source=3Dword clock and saving =
this as
> "default project.ppj" both in the EMU directory and on his desktop. =
then
> open Paris from this default project.ppj on the desktop. Leave the =
Aardsync
> set to 44.1. Paris likes to open to 48kHz sample rate when syncing to =
an
> external WC, even if the WC is set to 44.1. Once this project is open, =
he
> can navigate ot his other projects which are set to 44.1 and he should =
be
> good to go.
>=20
> Deej
>=20
>=20
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
> news:443f1eb3@linux...
> > It would be interesting to see what the card 2 latency is
> > with and without house sync. I am sure that BT probably did
> > this already, and would have posted his findings if there
> > were an improvement to be had.
> >
> > David.
> >
> > Aaron Allen wrote:
> >
> > > I wonder if this isn't somehow tied directly to the larger latency =
jump
> > > between the 1st and 2nd EDS cards?
> > > AA
> > >
> > >
> > > "EK Sound" <askme@nospam.com> wrote in message =
news:443e8f0f$1@linux...
> > >
> > >>What I was refering to was feeding the WC from the external =
generator to
> > >>your master MEC, then connecting a short BNC cable from the master =
MEC
> to
> > >>the slave MEC (assuming both MEC's are connected to EDS cards in =
ONE
> > >>computer). The two MEC's will clock quite happily this way, and =
will be
> > >>more stable (by my experience) than feeding them both directly =
from the
> WC
> > >>gen. If you had 3+ MEC's, you would have to connect WC directly =
to each
> > >>unit and place the "Use house sync" line into the Paris config =
file.
> > >>
> > >>David.
> > >>
> > >>Steve Cox wrote:
> > >>
> > >>>You can't. There is only one in and one out on each MEC. I need =
to have
> > >>>both
> > >>>ins tied up with the master word clock or I will have pops n' =
snaps
> > >>>galore.
> > >>>People hate hearing that in their headphones, and I really don't =
care
> to
> > >>>spend the time snipping them out. With all the digital equipment, =
they
> > >>>all
> > >>>have to be controled by one clock source. What you are suggesting =
would
> > >>>be
> > >>>fine if I was ITB, but I am not. I have a motorized fader Digital
> > >>>console,
> > >>>Eight ch. mic pres, and two MECs. The whole idea behind having a =
master
> > >>>word
> > >>>clock is to stablize all your gear to 44.1 coming from one =
source.(my
> > >>>choice)Right??
> > >>>Steve not the art guy
> > >>>
> > >>>EK Sound <askme@nospam.com> wrote:
> > >>>
> > >>>
> > >>>>Seriously Steve... try looping from one MEC to the other.
> > >>>>
> > >>>>David.
> > >>>>
> > >>>>Steve Cox wrote:
> > >>>>
> > >>>>
> > >>>>
> > >>>>>The reason I have the master word clock is because of the DA7 =
Digital
> > >>>
> > >>>32 channel
> > >>>
> > >>>
> > >>>>>board, an 8 ch. mic pre, and 2 MECs. All locked in at 44.1
> > >>>>>Steve
> > >>>>>
> > >>>>>"Kim" <hiddensounds@hotmail.com> wrote:
> > >>>>>
> > >>>>>
> > >>>>>
> > >>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>huh??? have another beer mate! ;-)
> > >>>>>>
> > >>>>>>Well I'm assuming he's running the wordclock to both MEC's...?
> > >>>>>>...isn't
> > >>>>>>that OK?
> > >>>>>>
> > >>>>>>...or am I missing something?
> > >>>>>>
> > >>>>>>...I mean I've never used Wordclock, so I'm only speaking from =
what
> > >>>>>>I've
> > >>>>>>read here, but after reading 500 posts on the subject I kinda
> thought
> > >>>
> > >>>I
> > >>>
> > >>>
> > >>>>>had
> > >>>>>
> > >>>>>
> > >>>>>
> > >>>>>>the idea. ;o)
> > >>>>>>
> > >>>>>>Cheers,
> > >>>>>>Kim.
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>David.
> > >>>>>>>
> > >>>>>>>Kim wrote:
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>>Correct. If you're losing wordclock that will be fine.
> > >>>>>>>>
> > >>>>>>>>Cheers,
> > >>>>>>>>Kim.
> > >>>>>>>>
> > >>>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>>Not sure if it matters, but I don't really need to bnc the =
2 mecs
> > >>>>>>>>>together
> > >>>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word =
clock
> > >>>>>>>>>sends,
> > >>>>>>
> > >>>>>>I
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>>have
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>
> > >>>>>>>>>everything set to 44.1 And I use a Ramsa DA7 motorized =
fader
> digital
> > >>>>>
> > >>>>>console
> > >>>>>
> > >>>>>
> > >>>>>
> > >>>>>>>>>for input, also set for 44.1
> > >>>>>>>>>
> > >>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>>Don't do as I say, do as I think! ;-)
> > >>>>>>>>>>
> > >>>>>>>>>>David.
> > >>>>>>>>>>
> > >>>>>>>>>>Kim wrote:
> > >>>>>>>>>>
> > >>>>>>>>>>
> > >>>>>>>>>>
> > >>>>>>>>>>
> > >>>>>>>>>>
> > >>>>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> > >>>>>>>>>>>
> > >>>>>>>>>>>
> > >>>>>>>>>>>
> > >>>>>>>>>>>
> > >>>>>>>>>>>
> > >>>>>>>>>>>>one connected to Card A (default master) and as Tom =
mentioned,
> > >>>>>>>>>>>>one MEC connected to the *last EDS card*
> > >>>>>>>>>>>
> > >>>>>>>>>>>
> > >>>>>>>>>>>You should also note that "last EDS card" refers to =
"whichever
> > >>>>>>>>>>>card
> > >>>>>>
> > >>>>>>has
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>>>the
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>>>last designation". It does not refer to anything to do =
with
> their
> > >>>
> > >>>physical
> > >>>
> > >>>
> > >>>>>>>>>>>location in your machine. Which one is last in a given =
machine
> > >>>>>>>>>>>with
> > >>>>>>
> > >>>>>>a
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>>>given
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>>>OS is almost impossible to predict. You will have to =
experiment
> to
> > >>>>>
> > >>>>>work
> > >>>>>
> > >>>>>
> > >>>>>
> > >>>>>>>>>it
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>
> > >>>>>>>>>>>out.
> > >>>>>>>>>>>
> > >>>>>>>>>>>But the interfaces need to be on card A and card C in =
your
> case,
> > >>>
> > >>>as
> > >>>
> > >>>
> > >>>>>>decided
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>>>>>>by the Paris software.
> > >>>>>>>>>>>
> > >>>>>>>>>>>Cheers,
> > >>>>>>>>>>>Kim.
> > >>>>>>>>>
> > >
> > >
> > > I choose Polesoft Lockspam to fight spam, and you?
> > > http://www.polesoft.com/refer.html
> > >
> > >
>=20
>
------=_NextPart_000_0084_01C66029.F453DC20
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1106" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY>
<DIV><FONT face=3DArial size=3D2>sorry.....this is very =
important:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2> opening Paris from the main .exe =
file in the=20
EMU directory in Program Files,<BR>> setting the project that opens =
to sync=20
source=3Dword clock and saving this as<BR>> "default project.ppj=20
<STRONG><EM><U>and setting the sample rate to=20
48kHz</U></EM></STRONG>.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"DJ" <</FONT><A=20
href=3D"mailto:animix_spam-this-ahole_@animas.net"><FONT face=3DArial=20
size=3D2>animix_spam-this-ahole_@animas.net</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote in message </FONT><A href=3D"news:44409f47@linux"><FONT =
face=3DArial=20
size=3D2>news:44409f47@linux</FONT></A><FONT face=3DArial=20
size=3D2>...</FONT></DIV><FONT face=3DArial size=3D2>> If Steve is =
using direct WC=20
feeds to the BNC inputs of each MEC, I would<BR>> still advise adding =
the=20
UseHouseSync=3D1 to the Paris.cfg file and also<BR>> opening Paris =
from the=20
main .exe file in the EMU directory in Program Files,<BR>> setting =
the=20
project that opens to sync source=3Dword clock and saving this =
as<BR>> "default=20
project.ppj" both in the EMU directory and on his desktop. then<BR>> =
open=20
Paris from this default project.ppj on the desktop. Leave the =
Aardsync<BR>>=20
set to 44.1. Paris likes to open to 48kHz sample rate when syncing to =
an<BR>>=20
external WC, even if the WC is set to 44.1. Once this project is open,=20
he<BR>> can navigate ot his other projects which are set to 44.1 and =
he=20
should be<BR>> good to go.<BR>> <BR>> Deej<BR>> <BR>> =
<BR>>=20
"Dave(EK Sound)" <</FONT><A =
href=3D"mailto:audioguy_editout_@shaw.ca"><FONT=20
face=3DArial size=3D2>audioguy_editout_@shaw.ca</FONT></A><FONT =
face=3DArial=20
size=3D2>> wrote in message<BR>> </FONT><A =
href=3D"news:443f1eb3@linux"><FONT=20
face=3DArial size=3D2>news:443f1eb3@linux</FONT></A><FONT face=3DArial=20
size=3D2>...<BR>> > It would be interesting to see what the card 2 =
latency=20
is<BR>> > with and without house sync. I am sure that BT =
probably=20
did<BR>> > this already, and would have posted his findings if=20
there<BR>> > were an improvement to be had.<BR>> ><BR>> =
>=20
David.<BR>> ><BR>> > Aaron Allen wrote:<BR>> ><BR>> =
>=20
> I wonder if this isn't somehow tied directly to the larger latency=20
jump<BR>> > > between the 1st and 2nd EDS cards?<BR>> > =
>=20
AA<BR>> > ><BR>> > ><BR>> > > "EK Sound"=20
<</FONT><A href=3D"mailto:askme@nospam.com"><FONT face=3DArial=20
size=3D2>askme@nospam.com</FONT></A><FONT face=3DArial size=3D2>> =
wrote in message=20
</FONT><A href=3D"news:443e8f0f$1@linux"><FONT face=3DArial=20
size=3D2>news:443e8f0f$1@linux</FONT></A><FONT face=3DArial =
size=3D2>...<BR>> >=20
><BR>> > >>What I was refering to was feeding the WC from =
the=20
external generator to<BR>> > >>your master MEC, then =
connecting a=20
short BNC cable from the master MEC<BR>> to<BR>> > >>the =
slave=20
MEC (assuming both MEC's are connected to EDS cards in ONE<BR>> >=20
>>computer). The two MEC's will clock quite happily this =
way, and=20
will be<BR>> > >>more stable (by my experience) than feeding =
them=20
both directly from the<BR>> WC<BR>> > >>gen. If you =
had 3+=20
MEC's, you would have to connect WC directly to each<BR>> > =
>>unit=20
and place the "Use house sync" line into the Paris config file.<BR>> =
>=20
>><BR>> > >>David.<BR>> > >><BR>> >=20
>>Steve Cox wrote:<BR>> > >><BR>> > =
>>>You=20
can't. There is only one in and one out on each MEC. I need to =
have<BR>> >=20
>>>both<BR>> > >>>ins tied up with the master =
word clock=20
or I will have pops n' snaps<BR>> > >>>galore.<BR>> =
>=20
>>>People hate hearing that in their headphones, and I really =
don't=20
care<BR>> to<BR>> > >>>spend the time snipping them =
out. With=20
all the digital equipment, they<BR>> > >>>all<BR>> =
>=20
>>>have to be controled by one clock source. What you are =
suggesting=20
would<BR>> > >>>be<BR>> > >>>fine if I was =
ITB,=20
but I am not. I have a motorized fader Digital<BR>> >=20
>>>console,<BR>> > >>>Eight ch. mic pres, and =
two MECs.=20
The whole idea behind having a master<BR>> > =
>>>word<BR>> >=20
>>>clock is to stablize all your gear to 44.1 coming from one=20
source.(my<BR>> > >>>choice)Right??<BR>> >=20
>>>Steve not the art guy<BR>> > >>><BR>> > =
>>>EK Sound <</FONT><A =
href=3D"mailto:askme@nospam.com"><FONT=20
face=3DArial size=3D2>askme@nospam.com</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>> > >>><BR>> > >>><BR>> >=20
>>>>Seriously Steve... try looping from one MEC to the=20
other.<BR>> > >>>><BR>> > =
>>>>David.<BR>>=20
> >>>><BR>> > >>>>Steve Cox =
wrote:<BR>> >=20
>>>><BR>> > >>>><BR>> >=20
>>>><BR>> > >>>>>The reason I have the =
master=20
word clock is because of the DA7 Digital<BR>> > =
>>><BR>> >=20
>>>32 channel<BR>> > >>><BR>> >=20
>>><BR>> > >>>>>board, an 8 ch. mic pre, =
and 2=20
MECs. All locked in at 44.1<BR>> > =
>>>>>Steve<BR>> >=20
>>>>><BR>> > >>>>>"Kim" =
<</FONT><A=20
href=3D"mailto:hiddensounds@hotmail.com"><FONT face=3DArial=20
size=3D2>hiddensounds@hotmail.com</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>> > >>>>><BR>> >=20
>>>>><BR>> > >>>>><BR>> >=20
>>>>>>"Dave(EK Sound)" <</FONT><A=20
href=3D"mailto:audioguy_editout_@shaw.ca"><FONT face=3DArial=20
size=3D2>audioguy_editout_@shaw.ca</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>> > >>>>>><BR>> >=20
>>>>>><BR>> > >>>>>><BR>> =
>=20
>>>>>>>huh? ?? have another beer mate! =
;-)<BR>>=20
> >>>>>><BR>> > >>>>>>Well =
I'm=20
assuming he's running the wordclock to both MEC's...?<BR>> >=20
>>>>>>...isn't<BR >> > =
>>>>>>that=20
OK?<BR>> > >>>>>><BR>> >=20
>>>>>>...or am I missing something?<BR>> >=20
>>>>>><BR>> > >>>>>>...I mean =
I've=20
never used Wordclock, so I'm only speaking from what<BR>> >=20
>>>>>>I've<BR>> > >>>>>>read =
here, but=20
after reading 500 posts on the subject I kinda<BR>> thought<BR>> =
>=20
>>><BR>> > >>>I<BR>> > =
>>><BR>> >=20
>>><BR>> > >>>>>had<BR>> >=20
>>>>><BR>> > >>>>><BR>> >=20
>>>>><BR>> > >>>>>>the idea. =
;o)<BR>>=20
> >>>>>><BR>> >=20
>>>>>>Cheers,<BR>> >=20
>>>>>>Kim.<BR>> > =
>>>>>><BR>> >=20
>>>>>><BR>> > >>>>>><BR>> =
>=20
>>>>>><BR>> > =
>>>>>>>Davi d. <BR>>=20
> >>>>>>><BR >> > =
>>>>>>>Kim= 20
wrote:<BR>> > >>>>>>><BR >> >=20
>>>>>>><BR >> > =
>>>>>>><BR >>=20
> >>>>>>><BR >> >=20
>>>>>>>& ;gt;Correct. If you're losing wordclock that =
will be=20
fine.<BR>> > >>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt;Cheers, <BR>> >=20
>>>>>>>& ;gt;Kim. <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; "Steve Cox" <</FONT><A=20
href=3D"mailto:stevec1@charter.net"><FONT face=3DArial=20
size=3D2>stevec1@charter.net</FONT></A><FONT face=3DArial size=3D2>> =
wrote:<BR>>=20
> >>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt;>Not sure if it matters, but I don't =
really=20
need to bnc the 2 mecs<BR>> >=20
>>>>>>>& ;gt;>together <BR>> >=20
>>>>>>>& ;gt;>do I? as I use a master word clock. =
The=20
Aardsync. 4 word clock<BR>> >=20
>>>>>>>& ;gt;>sends, <BR>> >=20
>>>>>><BR>> > >>>>>>I<BR>> =
>=20
>>>>>><BR>> > >>>>>><BR>> =
>=20
>>>>>><BR>> >=20
>>>>>>>& ;gt;have <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt; <BR>> >=20
>>>>>>>& ;gt;>everything set to 44.1 And I use a =
Ramsa DA7=20
motorized fader<BR>> digital<BR>> > =
>>>>><BR>> >=20
>>>>>console<BR>> > >>>>><BR>> =
>=20
>>>>><BR>> > >>>>><BR>> >=20
>>>>>>>& ;gt;>for input, also set for 44.1<BR>> =
>=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> "Dave(EK Sound)" <</FONT><A=20
href=3D"mailto:audioguy_editout_@shaw.ca"><FONT face=3DArial=20
size=3D2>audioguy_editout_@shaw.ca</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>> > >>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;>>Don't do as I say, do as I =
think!=20
;-)<BR>> > >>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>>David. <BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>>Kim wrote:<BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>> <BR>> >=20
>>>>>>>& ;gt;>>> "Dave(EK Sound)" =
<</FONT><A=20
href=3D"mailto:audioguy_editout_@shaw.ca"><FONT face=3DArial=20
size=3D2>audioguy_editout_@shaw.ca</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>> > >>>>>>>& ;gt;>>> <BR>> =
>=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>>>one connected to Card A =
(default=20
master) and as Tom mentioned,<BR>> >=20
>>>>>>>& ;gt;>>>>one MEC connected to the =
*last=20
EDS card*<BR>> > =
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>>You should also note that =
"last EDS=20
card" refers to "whichever<BR>> >=20
>>>>>>>& ;gt;>>>card <BR>> >=20
>>>>>><BR>> > =
>>>>>>has<BR>> >=20
>>>>>><BR>> > >>>>>><BR>> =
>=20
>>>>>><BR>> >=20
>>>>>>>& ;gt;>the <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;>>>last designation". It does =
not refer=20
to anything to do with<BR>> their<BR>> > >>><BR>> =
>=20
>>>physical<BR>> > >>><BR>> > =
>>><BR>>=20
> >>>>>>>& ;gt;>>>location in your =
machine. Which=20
one is last in a given machine<BR>> >=20
>>>>>>>& ;gt;>>>with <BR>> >=20
>>>>>><BR>> > >>>>>>a<BR>> =
>=20
>>>>>><BR>> > >>>>>><BR>> =
>=20
>>>>>><BR>> >=20
>>>>>>>& ;gt;>given <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;>>>OS is almost impossible to =
predict.=20
You will have to experiment<BR>> to<BR>> > =
>>>>><BR>>=20
> >>>>>work<BR>> > >>>>><BR>> =
>=20
>>>>><BR>> > >>>>><BR>> >=20
>>>>>>>& ;gt;>it <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;> <BR>> >=20
>>>>>>>& ;gt;>>>out. <BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>>But the interfaces need to =
be on=20
card A and card C in your<BR>> case,<BR>> > =
>>><BR>> >=20
>>>as<BR>> > >>><BR>> > =
>>><BR>> >=20
>>>>>>decided<BR>> > =
>>>>>><BR>>=20
> >>>>>><BR>> > =
>>>>>><BR>> >=20
>>>>>>>& ;gt;>>>by the Paris =
software.<BR>> >=20
>>>>>>>& ;gt;>>> <BR>> >=20
>>>>>>>& ;gt;>>>Cheers, <BR>> >=20
>>>>>>>& ;gt;>>>Kim. <BR>> >=20
>>>>>>>& ;gt;> <BR>> > ><BR>> > =
><BR>>=20
> > I choose Polesoft Lockspam to fight spam, and you?<BR>> =
> >=20
</FONT><A href=3D"http://www.polesoft.com/refer.html"><FONT face=3DArial =
size=3D2>http://www.polesoft.com/refer.html</FONT></A><BR><FONT =
face=3DArial=20
size=3D2>> > ><BR>> > ><BR>> <BR>> =
</FONT></BODY></HTML>
------=_NextPart_000_0084_01C66029.F453DC20--The complication is that the server runs Linux, and hence I can't load the
software on it, and it's the only box that plugs in to the UPS, so there's
no box which could run this software and warn me. Unless there's a Linux
version on there, but there's no mention of it on the disk.
So it's really going to be a case of loading the software on my windows laptop
and configuring the UPS to act like I want it to, and then leaving it to
do it's thing unfortunately. An email would be fantastic if I could make
it work though.
I should check the Linux community and see if they've made anything which
will work on it. Seeing as how major UPS players aren't producing Linux software,
I'd make a guess that the Linux community has a solution.
Cheers,
Kim.
"Aaron Allen" <nospam@not_here.dude> wrote:
>If you can get business edition on it, you'll LOVE it. It even emails you
>when things get out of whack.
>AA
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:44409620$1@linux...
>>
>>
>> This is the one:
>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=BR1500I&full_sku=BR1500I%20%2B%20%281%29BR24BP
>>
>> PowerChute Personal Edition v1.5 is on this here disk. Why do you ask.
>>
>> Cheers,
>> Kim.
>>
>> "Aaron Allen" <nospam@not_here.dude> wrote:
>>>
>>>
>>>Not sure about the Aussie version, but the US one is:
>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
>>>X413
>>>
>>>Kim, what version of Power Chute did that come with bro?
>>>
>>>AA
>>>
>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>>>news:444090bc@linux...
>>> Kim,
>>> Looks cool. Post a liink to it's specs. =20
>>> I'm curious.
>>> Tom
>>>
>>> "Kim" <hiddensounds@hotmail.com> wrote in message =
>>>news:444089fb$1@linux...
>>>
>>>
>>> Not quite in service yet. It has to charge for 8 hours first.
>>>
>>> But it's in the building. :o) There was a line at the store out on
=
>>>to the
>>> street. Business is booming in computer parts on the Easter weekend.
>> =
>>>I got
>>> it though, and it's unpacked. Now I've gotta load up some software
=
>>>and see
>>> what I need to tweak before I put it in service.
>>>
>>> Thank you again to all the people who donated. Excellent work. And
=
>>>you'll
>>> note we've had no outages since the server has been taken off the
=
>>>UPS and
>>> plugged into mains. :o) And hopefully once the UPS is on we'll have
>> =
>>>even
>>> less... or, well, not less than none of course, but, oh you know
=
>>>what I
>>> mean! ;o)
>>>
>>> Cheers,
>>> Kim.
>>>
>>>
>>>I choose Polesoft Lockspam to fight spam, and you?
>>>http://www.polesoft.com/refer.html
>>>
>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>><HTML><HEAD>
>>><META http-equiv=3DContent-Type content=3D"text/html; =
>>>charset=3Diso-8859-1">
>>><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
>>><STYLE></STYLE>
>>></HEAD>
>>><BODY bgColor=3D#ffffff>
>>><DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but
>> =
>>>the US one=20
>>>is:<BR><A=20
>>>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>>>SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
>>>sku=3DSUA1500X413</A></FONT></DIV>
>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>><DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did
=
>>>that come with=20
>>>bro?</FONT></DIV>
>>><DIV> </DIV>
>>><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>><BLOCKQUOTE dir=3Dltr=20
>>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>> <DIV>"Tom Bruhl" <<A=20
>>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>>>in message=20
>>> <A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>>> <DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
>>>it's=20
>>> specs. </FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
>>> <DIV> </DIV>
>>> <BLOCKQUOTE=20
>>> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>> <DIV>"Kim" <<A=20
>>> =
>>>href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
>>>=20
>>> wrote in message <A=20
>>> =
>>>href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
>>>Not=20
>>> quite in service yet. It has to charge for 8 hours first.<BR><BR>But
>> =
>>>it's in=20
>>> the building. :o) There was a line at the store out on to =
>>>the<BR>street.=20
>>> Business is booming in computer parts on the Easter weekend. I =
>>>got<BR>it=20
>>> though, and it's unpacked. Now I've gotta load up some software and=20
>>> see<BR>what I need to tweak before I put it in service.<BR><BR>Thank
>> =
>>>you=20
>>> again to all the people who donated. Excellent work. And =
>>>you'll<BR>note=20
>>> we've had no outages since the server has been taken off the UPS=20
>>> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
>>>we'll have=20
>>> even<BR>less... or, well, not less than none of course, but, =
>>>oh you=20
>>> know what I<BR>mean! =
>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>>><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam,
=
>>>and=20
>>>you?<BR><A=20
>>>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>>>.html</A> </FONT></DIV></BODY></HTML>
>>>
>>>
>>
>
>Dedric Terry <dterry@keyofd.net> wrote:
>Developers don¹t just guess at techniques to improve quality.
Absolutely, but it does not follow therefore that all of this is both
known and quantifiable. It's not. Look at the tremendous
variables in phase shift and group delay in various eq's, both
analog and digital! But wait, it's just 1 & 0's right?
>If there is a way to generate a result, there is a way to test it, because
>that's the way someone found it to begin with - testing, trying and
>guessing. The fact is, a 1 is a 1 and a 0 is a 0, but the problem comes
in
>how strings of them are interpreted into sound waves, and all the variables
>in between, and so the likelihood of simplified testing at the user level
>flies out the window.
Genius. Here's your degree. I wish I had said that.
So, why doesn't
anyone know why the sound changes when you write it to CD?
Of course, different D-A and all, but it is different even when you
pop the CD player into your D-A for your DAW!
There is more to be learned. period.
>And also it is often the expectation of the test that leads us to results
>that aren't there. The brain is a tricky interpreter, and that is why I
>there there is usually a way to ferret out the anomaly and give
>repeatability and solidity to what we perceive, or don't perceive.
Yep it is called double-blind testing and one pound of it is worth
a ton of circular reasoning about 1's and 0's.
>Actually I was referring to the subtleties of summing and audio quality,
>which I assumed you were referring to when saying Nuendo couldn't cut it
for
>recording classical. I presumed you had put them side by side and found
one
>to be missing X where the other was wider at Z. To detect that level of
>detail obviously requires a quiet studio environment. Now, whether the
>material rocks or sucks is another matter entirely, and no doubt should
be
>the first consideration for booth reps.
Well I've never gotten that far because the company is run by
people who are not interested in me as a client. I suspect that
explains why so few classical people use it, even if it is as good
as the others. I refuse to reject the evidence at hand that these
people do not care about audio quality and treat customers who
call them like dirt. Now, you call up Sequoia and spend 2 hours
sitting down with a product that sounds wonderful and works
great, and they give you their cellphone numbers, and it gets hard
to find the diamond in the mudpile over at Steinberg.
People who do classical are real serious about their work. Funky and
warm with a good groove means nothing. It is way
different from pop because you literally cannot overkill the sound
quality. Listen to the better Telarc or Dorian stuff. A good guy
can do better work with careful mic placement, a great convertor
and just the right EQ in post, all at 44.1, than a lesser guy can
do at 192, no matter the gear, yet so many people think you can
determine quality from specs and numbers... yikes!
>Colorado, so I'm on the same side of the Mississippi. A bit of a hike,
but
>maybe sometime we can put these tools to a test for a musical purpose beyond
>just comparing bits and bytes.
That would be fun. I want come through this summer and see
DJ as well.
take care
DC"Babu" <musiclab@lund.bonet.se> wrote:
>Well, DC almighty. It seems like it is difficult to argue with you since
>you have the best ears on the planet and that your opinion is some kind
of
>physical absolute.
This is so silly and childish. I will not respond, thanks!
>I need not to say that the comparisons should be on a
>scientific level and not some bullshit "feeling" or "it sounded better yesterday
>with Paris" comparison.
And there you have exposed yourself. Oh yeah. "science" as in
your opinion? Yeah "science" like that which produced the music?
Nah, it's art and if you can't hear the difference, then you are in the
wrong business.
>I guess you weren´t taught to be humble by your mother...
Say, do they still let you have mothers over there?
If you are so humble, try contributing something to this group
besides trolling and baiting, ok Buhu??
DC"Aaron Allen" <nospam@not_here.dude> wrote:
>What is the current state of affairs in analyzer Big D? I'm getting ready
to
>shoot my new room now that I have Paris back up.
>AA
I want Smaartlive, but I always do spend too much. Right now I
use the contractor Audio Toolbox on FFT into a Mac laptop so I can
get a big bright display that I can see across the room. Terrasonde
got bought by Sencore and I don't know much about their present
gear. I would stay away from hardware and buy an analysis app.
MLSSA is good too, but the PC guys say there are better/cheaper
apps. I can't remember at the moment.
Suggestions anyone?
DCFantastic.
Looks just like mine.Who is trolling? My post is full of IMO´s and I never stated that my experiences
were non-disputable. It is YOU who put that angle to the discussion. Please
tell me, if you are such an experienced Paris user, how come you didn´t mention
any of the anomalies I mentioned. Miraculously you never encountered them???
Paris´ all time biggest advocate, Brian T left the building in favour of
Nuendo, which you mention as inferior...
BTW. What I meant by scientific was simply a proper A-B comparison with all
other things being equal with perfect level matching in the same enviroment
with the same tracks.
There are more things to the sound than just playing back raw tracks. For
example, the possibility to properly route drums to a seperate bus and process
them affects sound. I know it can be done in Paris, but how long does it
take and how easy is it compared to other systems?
"DC" <dc@spamthemoon.com> wrote:
>
>"Babu" <musiclab@lund.bonet.se> wrote:
>
>>Well, DC almighty. It seems like it is difficult to argue with you since
>>you have the best ears on the planet and that your opinion is some kind
>of
>>physical absolute.
>
>This is so silly and childish. I will not respond, thanks!
>
>>I need not to say that the comparisons should be on a
>>scientific level and not some bullshit "feeling" or "it sounded better
yesterday
>>with Paris" comparison.
>
>And there you have exposed yourself. Oh yeah. "science" as in
>your opinion? Yeah "science" like that which produced the music?
>
>Nah, it's art and if you can't hear the difference, then you are in the
>wrong business.
>
>
>>I guess you weren´t taught to be humble by your mother...
>
>Say, do they still let you have mothers over there?
>
>If you are so humble, try contributing something to this group
>besides trolling and baiting, ok Buhu??
>
>DCCan anyone help?
I have just installed a second EDS card. When I load Paris it tells me that
I have "Error in initializing . . ." - "No interface connected to master
card". I have tried switching my interface from one EDS to the other but I
get the same problem. When I disable the driver for one of the EDSs, or have
only EDS plugged in, Paris loads fine - ie. I do not have a faulty EDS card,
they both work independently.
Summary: Both EDS's work fine as a single card with my interface - which is
"Interface 2". When both cards are plugged in, they are in slot 4 and slot 5
with IRQs 20 & 21 respectively - there appears to be no conflict. I'm using
XP, with Version 3 of Paris which is working fine with one card. I just
can't seem to get Paris to load with both EDS cards.
Any Ideas?
Cheers,
Chris.Observation if I may; your words are a dead give away that the "heat" and
the "triggers" are yours bro.... you've been in the bathroom too long.
Regards,
W. Mark Wilson
"Babu" <musiclab@lund.bonet.se> wrote in message news:44409acb$1@linux...
>
> Wow, this is a truly heated discussion. I sense it triggers all kinds of
> emotions.
>
> Well, DC almighty. It seems like it is difficult to argue with you since
> you have the best ears on the planet and that your opinion is some kind of
> physical absolute. It´s also fascinating that you seem to be the best
> Paris
> operator which gives you the power to simply tell a fellow Paris user that
> he doesn´t know how to use his rig, which he has been using probably
> longer
> than yourself.
>
> Please direct us to some tracks to prove your superiority as a Paris
> operator
> and sound engineer. I need not to say that the comparisons should be on a
> scientific level and not some bullshit "feeling" or "it sounded better
> yesterday
> with Paris" comparison.
>
> I guess you weren´t taught to be humble by your mother...
>
> "DC" <dc@spamthemoon.com> wrote:
>>
>>"Babu" <musiclab@lund.bonet.se> wrote:
>>
>>
>>>Anyway, I agree with most of the comments about Paris and it´s sound but
>>>when it comes to classical music, Paris simply has much left so desire.
>>It
>>>nowhere as clean and accurate as the newer modern systems, be it PT,
>>>Soundscape,
>>>Nuendo, Samplitude etc.
>>
>>
>>Then you don't know how to use Paris, and I have the tracks to prove it.
>>
>>Samplitude is competitive with Paris on orchestras, Nuendo is not.
>>
>>
>>DC
>I'll install the new UPS 10AM tomorrow morning my time, which is 0:00 GMT
to make it easy for everyone.
That's 14.5 hours from the time on this post.
Should only take 15 minutes or so I imagine...
Cheers,
Kim.wearing those dark glasses to hide the...well you know...is a good
idea you crazy man you.
On Fri, 14 Apr 2006 10:48:01 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>we're on his trail now......somehow I think it's gonna be a long walk
>
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:f3fv32paettooao0ug688q54tbk327efrg@4ax.com...
>> oh douglas just doesn't want people to think he's stalking them
>> because of that last "incident". so he just stands there pretending
>> not to notice...it's really kinda sad.
>>
>>
>>
>> On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
>> <artguy@longtimenosee.net> wrote:
>>
>> >
>> >Douglas-
>> >
>> >Let me see. Hmm. It seems like I have been here:
>> >
>> >
>> >
>> >
>> >
>> >
>> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >> Where on earth have you been? I was getting ready to put the dogs on
>your
>> >>trail
>> >>
>> >>;oP
>> >>
>> >>
>> >>"steve the artguy" <artguy@longtimenosee.net> wrote in message
>> >>news:443d4fad$1@linux...
>> >>>
>> >>> "Neil" <OIUOIU@OI.com> wrote:
>> >>> >
>> >>> >
>> >>> >And if I may add, this place is great for getting advice or
>> >>> >opinions on more than just "systems"... there's a great wealth
>> >>> >of knowledge here on audio in general, and that's - personally -
>> >>> >why I prefer to hang here more than any other audio forum.
>> >>> >
>> >>>
>> >>> Yes, Neil!
>> >>>
>> >>> This is the key. There is more knowledge per square monitor inch here
>> >than
>> >>> any other online spot I've found.
>> >>>
>> >>> There seems to be someone here knows just about ANYTHING about
>ANYTHING.
>> >>> I wish I had the time to be here as much as I used to be. But I still
>> >scan
>> >>> the posts as often as possible.
>> >>>
>> >>> -steve
>> >>
>> >>
>>
>did you have either the loop or punch in function active at the time
of saving the project? if you did try as soon as you load the ppj to
save it under another name after turning off either or both of those
functions.
On 15 Apr 2006 16:35:03 +1000, "Dave Thompson"
<dfthompson@_nospam_lanset.com> wrote:
>
>Hi,
>This error messege pops up when I hit the record button.
>"Error in queuing project Error code 1879048233/70000029."
>Wha' happen?
>It only happens on one song.
>How do I fix the situation?
>Thanks for the help.i'm assuming you have the cables connecting the 2 cards installed
properly in a X pattern
On Sat, 15 Apr 2006 18:23:28 +1000, "Chris Griffiths"
<cgriffo@aapt.net.au> wrote:
>Can anyone help?
>
>I have just installed a second EDS card. When I load Paris it tells me that
>I have "Error in initializing . . ." - "No interface connected to master
>card". I have tried switching my interface from one EDS to the other but I
>get the same problem. When I disable the driver for one of the EDSs, or have
>only EDS plugged in, Paris loads fine - ie. I do not have a faulty EDS card,
>they both work independently.
>
>Summary: Both EDS's work fine as a single card with my interface - which is
>"Interface 2". When both cards are plugged in, they are in slot 4 and slot 5
>with IRQs 20 & 21 respectively - there appears to be no conflict. I'm using
>XP, with Version 3 of Paris which is working fine with one card. I just
>can't seem to get Paris to load with both EDS cards.
>
>Any Ideas?
>
>Cheers,
>
>Chris.
>i don[t know why but i thought for sure that breasts would be involved
in some way...i am both relieved and disappointed...
On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Not quite in service yet. It has to charge for 8 hours first.
>
>But it's in the building. :o) There was a line at the store out on to the
>street. Business is booming in computer parts on the Easter weekend. I got
>it though, and it's unpacked. Now I've gotta load up some software and see
>what I need to tweak before I put it in service.
>
>Thank you again to all the people who donated. Excellent work. And you'll
>note we've had no outages since the server has been taken off the UPS and
>plugged into mains. :o) And hopefully once the UPS is on we'll have even
>less... or, well, not less than none of course, but, oh you know what I
>mean! ;o)
>
>Cheers,
>Kim.Yes, cables are connected properly - but I can't seem to even get far enough
to have Paris load at all with the 2 Eds plugged in - let alone any problems
with the cards sync'ing properly. Are you saying that Paris won't load if
the cables weren't connected? Maybe I have a faulty cable?
Chris
"rick" <parnell68@hotmail.com> wrote in message
news:k8g1429ng6f9r7hjdh6qc83qa98evsbvpa@4ax.com...
> i'm assuming you have the cables connecting the 2 cards installed
> properly in a X pattern
>
> On Sat, 15 Apr 2006 18:23:28 +1000, "Chris Griffiths"
> <cgriffo@aapt.net.au> wrote:
>
>>Can anyone help?
>>
>>I have just installed a second EDS card. When I load Paris it tells me
>>that
>>I have "Error in initializing . . ." - "No interface connected to master
>>card". I have tried switching my interface from one EDS to the other but I
>>get the same problem. When I disable the driver for one of the EDSs, or
>>have
>>only EDS plugged in, Paris loads fine - ie. I do not have a faulty EDS
>>card,
>>they both work independently.
>>
>>Summary: Both EDS's work fine as a single card with my interface - which
>>is
>>"Interface 2". When both cards are plugged in, they are in slot 4 and slot
>>5
>>with IRQs 20 & 21 respectively - there appears to be no conflict. I'm
>>using
>>XP, with Version 3 of Paris which is working fine with one card. I just
>>can't seem to get Paris to load with both EDS cards.
>>
>>Any Ideas?
>>
>>Cheers,
>>
>>Chris.
>>
>Well I disagree... Babu gave his opinion.. and I read it. Perhaps we agree
with him on some things... whatever, it didn't call for a reply saying "You
don't know how to use it... I can prove it" and turn around and run with
your fuckin tail up your ass.... PUSSY! DO NOT respond if you you can't
back it... I am Paris owner for many years... but Paris, especially 3.0 has
so many flaws... it pathetic... Accept the truth... EMU trashed it, ID
pretty much trashed it too... It is a DEAD daw... but I am going to use it
as long as it works for me and until I can afford to acquire something
better.
I use to come on this newsgroup and we kept out the blabber bullshit I see
all over this place. We use to talk strictly Paris and recording and
components and products.. now all I read about is a person personal crap
that is unwanted by most... as I did before, I'll prolly quit coming here
again.. too much bullshit. adios...
"W. Mark Wilson" <wmarkwilson@integrity.com> wrote in message
news:4440b9ba@linux...
> Observation if I may; your words are a dead give away that the "heat" and
> the "triggers" are yours bro.... you've been in the bathroom too long.
>
> Regards,
> W. Mark Wilson
>
> "Babu" <musiclab@lund.bonet.se> wrote in message news:44409acb$1@linux...
> >
> > Wow, this is a truly heated discussion. I sense it triggers all kinds of
> > emotions.
> >
> > Well, DC almighty. It seems like it is difficult to argue with you since
> > you have the best ears on the planet and that your opinion is some kind
of
> > physical absolute. It´s also fascinating that you seem to be the best
> > Paris
> > operator which gives you the power to simply tell a fellow Paris user
that
> > he doesn´t know how to use his rig, which he has been using probably
> > longer
> > than yourself.
> >
> > Please direct us to some tracks to prove your superiority as a Paris
> > operator
> > and sound engineer. I need not to say that the comparisons should be on
a
> > scientific level and not some bullshit "feeling" or "it sounded better
> > yesterday
> > with Paris" comparison.
> >
> > I guess you weren´t taught to be humble by your mother...
> >
> > "DC" <dc@spamthemoon.com> wrote:
> >>
> >>"Babu" <musiclab@lund.bonet.se> wrote:
> >>
> >>
> >>>Anyway, I agree with most of the comments about Paris and it´s sound
but
> >>>when it comes to classical music, Paris simply has much left so desire.
> >>It
> >>>nowhere as clean and accurate as the newer modern systems, be it PT,
> >>>Soundscape,
> >>>Nuendo, Samplitude etc.
> >>
> >>
> >>Then you don't know how to use Paris, and I have the tracks to prove it.
> >>
> >>Samplitude is competitive with Paris on orchestras, Nuendo is not.
> >>
> >>
> >>DC
> >
>
>Hey Ed
Don't sweat it...it's been pretty cordial around here lately...you just
picked a bad time to check the NG out again
Stick around, there's been some pretty informative cross platform, digital
interface and work around discussions going on lately...oh and a few more
people bailing on Paris but that's to be expected.
Don
"Ed" <askme@email.com> wrote in message news:4440cd0d@linux...
> Well I disagree... Babu gave his opinion.. and I read it. Perhaps we
> agree
> with him on some things... whatever, it didn't call for a reply saying
> "You
> don't know how to use it... I can prove it" and turn around and run with
> your fuckin tail up your ass.... PUSSY! DO NOT respond if you you can't
> back it... I am Paris owner for many years... but Paris, especially 3.0
> has
> so many flaws... it pathetic... Accept the truth... EMU trashed it, ID
> pretty much trashed it too... It is a DEAD daw... but I am going to use
> it
> as long as it works for me and until I can afford to acquire something
> better.
>
> I use to come on this newsgroup and we kept out the blabber bullshit I see
> all over this place. We use to talk strictly Paris and recording and
> components and products.. now all I read about is a person personal crap
> that is unwanted by most... as I did before, I'll prolly quit coming here
> again.. too much bullshit. adios...
>
> "W. Mark Wilson" <wmarkwilson@integrity.com> wrote in message
> news:4440b9ba@linux...
>> Observation if I may; your words are a dead give away that the "heat" and
>> the "triggers" are yours bro.... you've been in the bathroom too long.
>>
>> Regards,
>> W. Mark Wilson
>>
>> "Babu" <musiclab@lund.bonet.se> wrote in message news:44409acb$1@linux...
>> >
>> > Wow, this is a truly heated discussion. I sense it triggers all kinds
>> > of
>> > emotions.
>> >
>> > Well, DC almighty. It seems like it is difficult to argue with you
>> > since
>> > you have the best ears on the planet and that your opinion is some kind
> of
>> > physical absolute. It´s also fascinating that you seem to be the best
>> > Paris
>> > operator which gives you the power to simply tell a fellow Paris user
> that
>> > he doesn´t know how to use his rig, which he has been using probably
>> > longer
>> > than yourself.
>> >
>> > Please direct us to some tracks to prove your superiority as a Paris
>> > operator
>> > and sound engineer. I need not to say that the comparisons should be on
> a
>> > scientific level and not some bullshit "feeling" or "it sounded better
>> > yesterday
>> > with Paris" comparison.
>> >
>> > I guess you weren´t taught to be humble by your mother...
>> >
>> > "DC" <dc@spamthemoon.com> wrote:
>> >>
>> >>"Babu" <musiclab@lund.bonet.se> wrote:
>> >>
>> >>
>> >>>Anyway, I agree with most of the comments about Paris and it´s sound
> but
>> >>>when it comes to classical music, Paris simply has much left so
>> >>>desire.
>> >>It
>> >>>nowhere as clean and accurate as the newer modern systems, be it PT,
>> >>>Soundscape,
>> >>>Nuendo, Samplitude etc.
>> >>
>> >>
>> >>Then you don't know how to use Paris, and I have the tracks to prove
>> >>it.
>> >>
>> >>Samplitude is competitive with Paris on orchestras, Nuendo is not.
>> >>
>> >>
>> >>DC
>> >
>>
>>
>
>Hi All,
Does anybody know if you have to have a 442 or a MEC to run multiple EDS
cards? I only have an "Interface 2" - 2 in's and 2 out's. With 2 EDSs Paris
gives the following error on launch - "No interface connected to master
card" - even though my interface is connected to the master card. All cables
are connected as per instructions.
Thanks,
Chris Griffiths.
P.S. Unfortunately I don't know anyone who still uses paris with a MEC
interface I can try (From Australia).I have a Trap Kat drum electronic drum set and think it's time to get a
new set. This one has 24 pads which allows for a great variety of drum
sounds but it has no windows program to configure the midi parts of it
and I have to use an external sound module (my motif keyboard) for the
sounds. To make matters worse, the sensors fail every 2 years. I've
had it for 7 years. So every 2 years they want $200 for a new film pad.
So...........
Is there an electronic drum set with lots of pads that is reliable?
Is there a windows midi interface program for it?
Ideally I want to have a couple thousand drum sounds in a library and be
able to EASILY build drum sets based on them, then easily switch drum
sets. I want to be able to easily configure the pan/volumes of each
drum in the set through a windows midi app. Can this be done? Easily?
This is 2006 for crying out loud.
Thanks.
JohnOn 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Not quite in service yet. It has to charge for 8 hours first.
>
>But it's in the building. :o) There was a line at the store out on to the
>street. Business is booming in computer parts on the Easter weekend. I got
>it though, and it's unpacked. Now I've gotta load up some software and see
>what I need to tweak before I put it in service.
>
>Thank you again to all the people who donated. Excellent work. And you'll
>note we've had no outages since the server has been taken off the UPS and
>plugged into mains. :o) And hopefully once the UPS is on we'll have even
>less... or, well, not less than none of course, but, oh you know what I
>mean! ;o)
>
Kim,
I've been swamped and forgetful the last week or so... I will paypal a
little to help the cause later today.
D'oh!
pabKim,
I haven't been watching the posts so much lately. If I knew what this was
about, I would probably donate. Is it something for the forum??
Steve Cox
Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>>
>>
>>Not quite in service yet. It has to charge for 8 hours first.
>>
>>But it's in the building. :o) There was a line at the store out on to the
>>street. Business is booming in computer parts on the Easter weekend. I
got
>>it though, and it's unpacked. Now I've gotta load up some software and
see
>>what I need to tweak before I put it in service.
>>
>>Thank you again to all the people who donated. Excellent work. And you'll
>>note we've had no outages since the server has been taken off the UPS and
>>plugged into mains. :o) And hopefully once the UPS is on we'll have even
>>less... or, well, not less than none of course, but, oh you know what
I
>>mean! ;o)
>>
>Kim,
>
>I've been swamped and forgetful the last week or so... I will paypal a
>little to help the cause later today.
>
>D'oh!
>
>pabHi Chris,
IF2s don't have sync capability, thus can't be used as the only interface
in a two card system. You will need 2 442s or 2mecs. 2 442s should be a
really cheap way to go.
Chuck
"Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>Hi All,
>
>Does anybody know if you have to have a 442 or a MEC to run multiple EDS
>cards? I only have an "Interface 2" - 2 in's and 2 out's. With 2 EDSs Paris
>gives the following error on launch - "No interface connected to master
>card" - even though my interface is connected to the master card. All cables
>are connected as per instructions.
>
>Thanks,
>
>Chris Griffiths.
>
>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>interface I can try (From Australia).
>
>Hi,
I sometimes get that when (I'm running 2 EDS XP also). I find that if the
MEC's are powered down when I boot I get it , but I also get it randomly.
If I try Paris 2-3 times it alsways seems to work.
Thanks,
Dave
"Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>Yes, cables are connected properly - but I can't seem to even get far enough
>to have Paris load at all with the 2 Eds plugged in - let alone any problems
>with the cards sync'ing properly. Are you saying that Paris won't load if
>the cables weren't connected? Maybe I have a faulty cable?
>
>Chris
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:k8g1429ng6f9r7hjdh6qc83qa98evsbvpa@4ax.com...
>> i'm assuming you have the cables connecting the 2 cards installed
>> properly in a X pattern
>>
>> On Sat, 15 Apr 2006 18:23:28 +1000, "Chris Griffiths"
>> <cgriffo@aapt.net.au> wrote:
>>
>>>Can anyone help?
>>>
>>>I have just installed a second EDS card. When I load Paris it tells me
>>>that
>>>I have "Error in initializing . . ." - "No interface connected to master
>>>card". I have tried switching my interface from one EDS to the other but
I
>>>get the same problem. When I disable the driver for one of the EDSs, or
>>>have
>>>only EDS plugged in, Paris loads fine - ie. I do not have a faulty EDS
>>>card,
>>>they both work independently.
>>>
>>>Summary: Both EDS's work fine as a single card with my interface - which
>>>is
>>>"Interface 2". When both cards are plugged in, they are in slot 4 and
slot
>>>5
>>>with IRQs 20 & 21 respectively - there appears to be no conflict. I'm
>>>using
>>>XP, with Version 3 of Paris which is working fine with one card. I just
>>>can't seem to get Paris to load with both EDS cards.
>>>
>>>Any Ideas?
>>>
>>>Cheers,
>>>
>>>Chris.
>>>
>>
>
>Lots of pads + good quality = $$$$
For Mesh Pads - Roland, Hart Dynamics, Pintek
For rubber pads - see above and add Yamaha
You're still going to need to interface these pads with your computer so use
either a dedicated interface unit like an older Roland PM 16 or a module
like an Alesis DMPro (or any module for that matter) then midi it to your
computer and use your choice if Drum program...I use NI Battery and it's
quite the beast
Don
"John" <no@no.com> wrote in message news:4440f55c@linux...
>I have a Trap Kat drum electronic drum set and think it's time to get a new
>set. This one has 24 pads which allows for a great variety of drum sounds
>but it has no windows program to configure the midi parts of it and I have
>to use an external sound module (my motif keyboard) for the sounds. To
>make matters worse, the sensors fail every 2 years. I've had it for 7
>years. So every 2 years they want $200 for a new film pad.
>
> So...........
>
> Is there an electronic drum set with lots of pads that is reliable?
> Is there a windows midi interface program for it?
>
> Ideally I want to have a couple thousand drum sounds in a library and be
> able to EASILY build drum sets based on them, then easily switch drum
> sets. I want to be able to easily configure the pan/volumes of each drum
> in the set through a windows midi app. Can this be done? Easily? This
> is 2006 for crying out loud.
>
> Thanks.
> JohnHey Steve
the UPs for the forum server bit the big one so Kim asked for voluntary
donations at:
http://news.parisnewsgroup.com/
Hit the donations button. It will take you directly to his Paypal Account
Don
"Steve Cox" <stevec1@charter.net> wrote in message news:44410432$1@linux...
>
> Kim,
> I haven't been watching the posts so much lately. If I knew what this was
> about, I would probably donate. Is it something for the forum??
> Steve Cox
>
> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>
>>>
>>>
>>>Not quite in service yet. It has to charge for 8 hours first.
>>>
>>>But it's in the building. :o) There was a line at the store out on to the
>>>street. Business is booming in computer parts on the Easter weekend. I
> got
>>>it though, and it's unpacked. Now I've gotta load up some software and
> see
>>>what I need to tweak before I put it in service.
>>>
>>>Thank you again to all the people who donated. Excellent work. And you'll
>>>note we've had no outages since the server has been taken off the UPS and
>>>plugged into mains. :o) And hopefully once the UPS is on we'll have even
>>>less... or, well, not less than none of course, but, oh you know what
> I
>>>mean! ;o)
>>>
>>Kim,
>>
>>I've been swamped and forgetful the last week or so... I will paypal a
>>little to help the cause later today.
>>
>>D'oh!
>>
>>pab
>Brian Tankersley's name comes up regularly on this forum. As some of
us know, his new gig in Houston (check out
http://broadcastengineering.com/mag/broadcasting_lakewood_ch urch/index.html)
would seem to spell the end of Brian's association with Paris.
However, though it is not mentioned in the above article, a little
Connecticuit birdie tells me there is still some Paris in the middle
of all this technology.
BTW, the ADK computers mentioned in the article is the home of our own
Chris Ludwig! Attaboy, Chris. Care to comment on the setup they are
running at Lakewood?
- Paul Artola
Ellicott City, MarylandHe doesn't have to worry about that... I'll be phoning him! ;-)
David.
Aaron Allen wrote:
> If you can get business edition on it, you'll LOVE it. It even emails you
> when things get out of whack.
> AA
>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:44409620$1@linux...
>
>>
>>This is the one:
>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=BR1500I&full_sku=BR1500I%20%2B%20%281%29BR24BP
>>
>>PowerChute Personal Edition v1.5 is on this here disk. Why do you ask.
>>
>>Cheers,
>>Kim.
>>
>>"Aaron Allen" <nospam@not_here.dude> wrote:
>>
>>>
>>>Not sure about the Aussie version, but the US one is:
>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
>>>X413
>>>
>>>Kim, what version of Power Chute did that come with bro?
>>>
>>>AA
>>>
>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>>>news:444090bc@linux...
>>> Kim,
>>> Looks cool. Post a liink to it's specs. =20
>>> I'm curious.
>>> Tom
>>>
>>> "Kim" <hiddensounds@hotmail.com> wrote in message =
>>>news:444089fb$1@linux...
>>>
>>>
>>> Not quite in service yet. It has to charge for 8 hours first.
>>>
>>> But it's in the building. :o) There was a line at the store out on =
>>>to the
>>> street. Business is booming in computer parts on the Easter weekend.
>>
>>=
>>
>>>I got
>>> it though, and it's unpacked. Now I've gotta load up some software =
>>>and see
>>> what I need to tweak before I put it in service.
>>>
>>> Thank you again to all the people who donated. Excellent work. And =
>>>you'll
>>> note we've had no outages since the server has been taken off the =
>>>UPS and
>>> plugged into mains. :o) And hopefully once the UPS is on we'll have
>>
>>=
>>
>>>even
>>> less... or, well, not less than none of course, but, oh you know =
>>>what I
>>> mean! ;o)
>>>
>>> Cheers,
>>> Kim.
>>>
>>>
>>>I choose Polesoft Lockspam to fight spam, and you?
>>>http://www.polesoft.com/refer.html
>>>
>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>><HTML><HEAD>
>>><META http-equiv=3DContent-Type content=3D"text/html; =
>>>charset=3Diso-8859-1">
>>><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
>>><STYLE></STYLE>
>>></HEAD>
>>><BODY bgColor=3D#ffffff>
>>><DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but
>>
>>=
>>
>>>the US one=20
>>>is:<BR><A=20
>>>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>>>SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
>>>sku=3DSUA1500X413</A></FONT></DIV>
>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>><DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did =
>>>that come with=20
>>>bro?</FONT></DIV>
>>><DIV> </DIV>
>>><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>><BLOCKQUOTE dir=3Dltr=20
>>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>> <DIV>"Tom Bruhl" <<A=20
>>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>>>in message=20
>>> <A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>>> <DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
>>>it's=20
>>> specs. </FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
>>> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
>>> <DIV> </DIV>
>>> <BLOCKQUOTE=20
>>> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>> <DIV>"Kim" <<A=20
>>> =
>>>href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
>>>=20
>>> wrote in message <A=20
>>> =
>>>href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
>>>Not=20
>>> quite in service yet. It has to charge for 8 hours first.<BR><BR>But
>>
>>=
>>
>>>it's in=20
>>> the building. :o) There was a line at the store out on to =
>>>the<BR>street.=20
>>> Business is booming in computer parts on the Easter weekend. I =
>>>got<BR>it=20
>>> though, and it's unpacked. Now I've gotta load up some software and=20
>>> see<BR>what I need to tweak before I put it in service.<BR><BR>Thank
>>
>>=
>>
>>>you=20
>>> again to all the people who donated. Excellent work. And =
>>>you'll<BR>note=20
>>> we've had no outages since the server has been taken off the UPS=20
>>> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
>>>we'll have=20
>>> even<BR>less... or, well, not less than none of course, but, =
>>>oh you=20
>>> know what I<BR>mean! =
>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>>><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
>>>and=20
>>>you?<BR><A=20
>>>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>>>.html</A> </FONT></DIV></BODY></HTML>
>>>
>>>
>
>Just to clarify, you would only "need" one 442 or MEC to get
a two card system operational... the second if you wanted to
be able to record to two subgroups at one time.
David.
chuck wrote:
> Hi Chris,
>
> IF2s don't have sync capability, thus can't be used as the only interface
> in a two card system. You will need 2 442s or 2mecs. 2 442s should be a
> really cheap way to go.
>
> Chuck
>
> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>
>>Hi All,
>>
>>Does anybody know if you have to have a 442 or a MEC to run multiple EDS
>
>
>>cards? I only have an "Interface 2" - 2 in's and 2 out's. With 2 EDSs Paris
>
>
>>gives the following error on launch - "No interface connected to master
>
>
>>card" - even though my interface is connected to the master card. All cables
>
>
>>are connected as per instructions.
>>
>>Thanks,
>>
>>Chris Griffiths.
>>
>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>interface I can try (From Australia).
>>
>>
>
>Hey guys,
I've just set up to record my new band. Pretty straight forward 14
tracks off the floor. I've got everything going through the patchbays
into an Allen & Heath GL 24000 board and direct channel outs to the MEC.
The weirdness I'm experincing is that the channels, 1, 4, 9, 10,
seemingly, for sure 1, 4 and 9 are , rather than going to their
respective MEC inputs, all lighting up on the #9 MEC input channel.
I'm not going through the GL's matix, just the direct outs on each
channel and it's not a Paris patchbay issue as they are all lighting up
the #9 MEC input led. I'm using a custom made snake to get to the mech
room - 4ft away - but I don't see how it could be the snake. It's a new
A&H board and still under warrantee, but I really don't want it to be a
flakey board, but I won't rule it out either, though I don't see how
you'd get that much "crosstalk" on non-neighbouring channels.
Other than that everything is working tickedy-boo.
Any suggestions where/how to start diagnosing this?
jefI use pintech/alesis here. but I'd like to get the Roland td-20 module.
it's very robust, accurate and sounds quite nice. beau coupe bucks
though, and as I'm not playing live with them, can't justify getting.
I also don't like the mesh heads. I have Even's Ambassador's on now,
with the underlying padding removed and the are remarkabley real in
feel. I found that the mesh heads "give back" too much and are very
fatiguing on the wrists after an while... don't want carpel tunnel
syndrome.
I actually only use the alesis modules, 2x pm-pro's - one for cym's and
snare one for kick and toms because of "voice-eating", I only use them
for monitoring. They go into the comp via the midi on the hdsp card and
are assigned to BFD drum software - which i might say is phenomenal
sounding.
sorry if i'm not being too helpful, just wanted to chime in.. ; )
jef
John wrote:
> I have a Trap Kat drum electronic drum set and think it's time to get
> a new set. This one has 24 pads which allows for a great variety of
> drum sounds but it has no windows program to configure the midi parts
> of it and I have to use an external sound module (my motif keyboard)
> for the sounds. To make matters worse, the sensors fail every 2
> years. I've had it for 7 years. So every 2 years they want $200 for
> a new film pad.
>
> So...........
>
> Is there an electronic drum set with lots of pads that is reliable?
> Is there a windows midi interface program for it?
>
> Ideally I want to have a couple thousand drum sounds in a library and
> be able to EASILY build drum sets based on them, then easily switch
> drum sets. I want to be able to easily configure the pan/volumes of
> each drum in the set through a windows midi app. Can this be done?
> Easily? This is 2006 for crying out loud.
>
> Thanks.
> JohnThis is a multi-part message in MIME format.
--------------030801000909050804000208
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
Content-Transfer-Encoding: 7bit
I've been getting that error alot lately, with no loops or punch, so I
jacked up the config values, fixed the front of the files to exhibit 0
fade in and it seems to have taken care of it....for now....lol
j
rick wrote:
>did you have either the loop or punch in function active at the time
>of saving the project? if you did try as soon as you load the ppj to
>save it under another name after turning off either or both of those
>functions.
>
>On 15 Apr 2006 16:35:03 +1000, "Dave Thompson"
><dfthompson@_nospam_lanset.com> wrote:
>
>
>
>>Hi,
>>This error messege pops up when I hit the record button.
>>"Error in queuing project Error code 1879048233/70000029."
>>Wha' happen?
>>It only happens on one song.
>>How do I fix the situation?
>>Thanks for the help.
>>
>>
>
>
>
--------------030801000909050804000208
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit
<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
<meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type">
</head>
<body bgcolor="#ffffff" text="#000000">
I've been getting that error alot lately, with no loops or punch, so I
jacked up the config values, fixed the front of the files to exhibit 0
fade in and it seems to have taken care of it....for now....lol<br>
j<br>
<br>
rick wrote:
<blockquote cite="mid14g142hav8udpq60dh7u6qndstdat3cgtg@4ax.com"
type="cite">
<pre wrap="">did you have either the loop or punch in function active at the time
of saving the project? if you did try as soon as you load the ppj to
save it under another name after turning off either or both of those
functions.
On 15 Apr 2006 16:35:03 +1000, "Dave Thompson"
<a class="moz-txt-link-rfc2396E" href="mailto:dfthompson@_nospam_lanset.com"><dfthompson@_nospam_lanset.com></a> wrote:
</pre>
<blockquote type="cite">
<pre wrap="">Hi,
This error messege pops up when I hit the record button.
"Error in queuing project Error code 1879048233/70000029."
Wha' happen?
It only happens on one song.
How do I fix the situation?
Thanks for the help.
</pre>
</blockquote>
<pre wrap=""><!---->
</pre>
</blockquote>
</body>
</html>
--------------030801000909050804000208--"Babu" <musiclab@lund.bonet.se> wrote:
>
>Who is trolling?
Oh, now you are all reasonable and "I was only doing this" and
blah blah...
You were trolling. Now you want to have a debate? Tell you what,
why don't you actually contribute to this group for a while?
Share your favorite mics and pres. How about some tricks getting
a great bass sound? What do you use for choirs?
Then I will be happy to share with you all the details. But when you
come one here with a "reality check" and then accuse ME of a
lack of humility, you are nothing but a troll.
>My post is full of IMO´s and I never stated that my experiences
>were non-disputable. It is YOU who put that angle to the discussion.
EVERYONES experiences are disputable.
>Paris´ all time biggest advocate, Brian T left the building in favour of
>Nuendo, which you mention as inferior...
Brian doesn't do symphonic music, he does pop and works at
a modern church. I'll bet he still runs Paris at one place or another.
None of us cares who leaves and who stays. I have clients coming
here this morning who think Paris sounds fabulous. Now show me
where your opinion should count in the whole equation?
>BTW. What I meant by scientific was simply a proper A-B comparison with
all
>other things being equal with perfect level matching in the same enviroment
>with the same tracks.
Well, Paris killed Sonic Solutions in that very test, and NO ONE
claims that Nuendo sounds better than Sonic. My point was that
if you believe there is a lack of clarity and detail in Paris compared
to something else, than you are using it wrong. I stand by that point
and have done the work to prove it. Now, if you want to add
something to our little group instead of dumping on it, I will send
you a CD, all the way to Sweden, to let you hear some of it.
>There are more things to the sound than just playing back raw tracks. For
>example, the possibility to properly route drums to a seperate bus and process
>them affects sound. I know it can be done in Paris, but how long does it
>take and how easy is it compared to other systems?
Don't need this for what I do. Glad it works for you.
If you wish us to act collegial, then act like a colleague.
best,
DCThe TrapKAT has a template availalbe online to map the EMU Emulator X drum
samples. You can put something like this together pretty cheap compared to a
Clavia Ddrum or Roland set......but these now have mappings for BFD if you
want to use a computer for playing BFD live (it will need to be foarily
powerful though)
Deej
"John" <no@no.com> wrote in message news:4440f55c@linux...
> I have a Trap Kat drum electronic drum set and think it's time to get a
> new set. This one has 24 pads which allows for a great variety of drum
> sounds but it has no windows program to configure the midi parts of it
> and I have to use an external sound module (my motif keyboard) for the
> sounds. To make matters worse, the sensors fail every 2 years. I've
> had it for 7 years. So every 2 years they want $200 for a new film pad.
>
> So...........
>
> Is there an electronic drum set with lots of pads that is reliable?
> Is there a windows midi interface program for it?
>
> Ideally I want to have a couple thousand drum sounds in a library and be
> able to EASILY build drum sets based on them, then easily switch drum
> sets. I want to be able to easily configure the pan/volumes of each
> drum in the set through a windows midi app. Can this be done? Easily?
> This is 2006 for crying out loud.
>
> Thanks.
> JohnBUt i want to get rid of the trapkat cuz it's unreliable.
DJ wrote:
> The TrapKAT has a template availalbe online to map the EMU Emulator X drum
> samples. You can put something like this together pretty cheap compared to a
> Clavia Ddrum or Roland set......but these now have mappings for BFD if you
> want to use a computer for playing BFD live (it will need to be foarily
> powerful though)
>
> Deej
>
> "John" <no@no.com> wrote in message news:4440f55c@linux...
>> I have a Trap Kat drum electronic drum set and think it's time to get a
>> new set. This one has 24 pads which allows for a great variety of drum
>> sounds but it has no windows program to configure the midi parts of it
>> and I have to use an external sound module (my motif keyboard) for the
>> sounds. To make matters worse, the sensors fail every 2 years. I've
>> had it for 7 years. So every 2 years they want $200 for a new film pad.
>>
>> So...........
>>
>> Is there an electronic drum set with lots of pads that is reliable?
>> Is there a windows midi interface program for it?
>>
>> Ideally I want to have a couple thousand drum sounds in a library and be
>> able to EASILY build drum sets based on them, then easily switch drum
>> sets. I want to be able to easily configure the pan/volumes of each
>> drum in the set through a windows midi app. Can this be done? Easily?
>> This is 2006 for crying out loud.
>>
>> Thanks.
>> John
>
>Jef, change your clock dude...
David.
jef knight wrote:
> I've been getting that error alot lately, with no loops or punch, so I
> jacked up the config values, fixed the front of the files to exhibit 0
> fade in and it seems to have taken care of it....for now....lol
> j
>
> rick wrote:
>
>>did you have either the loop or punch in function active at the time
>>of saving the project? if you did try as soon as you load the ppj to
>>save it under another name after turning off either or both of those
>>functions.
>>
>>On 15 Apr 2006 16:35:03 +1000, "Dave Thompson"
>><dfthompson@_nospam_lanset.com> wrote:
>>
>>
>>
>>>Hi,
>>>This error messege pops up when I hit the record button.
>>>"Error in queuing project Error code 1879048233/70000029."
>>>Wha' happen?
>>>It only happens on one song.
>>>How do I fix the situation?
>>>Thanks for the help.
>>>
>>>
>>
>>
>>Steve,
If you are using 3 x MECs, then this is how to get you system to work.
follow these steps exactly:
Use good quality BNC cables to run from your AArdsync to the MECs. the
shorter, the better.
Terminate the BNC outputs of each MEC with 75ohm terminator caps.
Now go to C://Program Files/EMU/Paris and add the following line to the
Paris .cfg file:
UseHouseSync=1
Save the .cfg file and reboot your machine.
Now, start your WC module, set it to 44.1kHz, then power up the MECs, then
go to C://Program Files/EMU/Paris and boot Paris from the Paris.exe file.
When Paris opens, set the sync source of the project to Word Clock and set
the project sample rate to 48kHz (it is extremely important that you use
48kHz-Paris won't properly lock to external WC without this)
Now save the project to C://Program Files/EMU/Paris under the name "default
project" (no quotes). Now also save this default project to you desktop (do
not just use it as a shortcut-the one in the C://Program Files/EMU/Paris is
a backup in case the one on your desktop gets corrupted).
Now close Paris and reboot your machine. You can now launch Paris from the
default project on your desktop and it should sync reliably. don't worry
about this being set to 48kHz. Just open one of your existing projects that
is 44.1kHz and you should be good to go.
I've been doing this for a long time. I've got 3 x MEC, 3 x RME HDSP cards
(96 x lightpipe I/O plus 6 x spdif I/O), a Lexicon PC90, a POD Pro, a
Quantec Yardstick and a TC Electonics D2 all receiving sync from a Mytek WC
distributed through two Lucid WC distro boxes and routed in and out of
digital patchbays. None of this worked reliably until I set my Paris default
project to 48kHz. Now Paris and all this other stuff locks up just fine but
you these hoops are necessary to jump through if you want Paris to reliably
sync to an external clock.
Regards,
Deej
"Steve Cox" <stevec1@charter.net> wrote in message news:443f022f$1@linux...
>
> You'll probably read this and say "he's just not gettn' it" Buuuut....
Here's
> the wire scheme and hopfully explain. My master word clock has four BNC
outs.
> One cable going to #one MEC's input, Two cable going to #2 MEC's input
Three
> cable going to the digital console, and Four cable going to the eight ch.
> mic pre. Sooo with both ins on the MECs being taken up, I can't really run
> a jumper from the out of MEC #1 to the in of MEC #3, because the in on MEC
> #3 is already taken up by the master word clock. I don't want to daisy
chain
> the MECs. It defeats the whole reason for having 4 ports on a master
wordclock.
> But thanks for the thought.
>
> EK Sound <askme@nospam.com> wrote:
> >What I was refering to was feeding the WC from the external generator
> >to your master MEC, then connecting a short BNC cable from the master
> >MEC to the slave MEC (assuming both MEC's are connected to EDS cards
> >in ONE computer). The two MEC's will clock quite happily this way,
> >and will be more stable (by my experience) than feeding them both
> >directly from the WC gen. If you had 3+ MEC's, you would have to
> >connect WC directly to each unit and place the "Use house sync" line
> >into the Paris config file.
> >
> >David.
> >
> >Steve Cox wrote:
> >> You can't. There is only one in and one out on each MEC. I need to have
> both
> >> ins tied up with the master word clock or I will have pops n' snaps
galore.
> >> People hate hearing that in their headphones, and I really don't care
> to
> >> spend the time snipping them out. With all the digital equipment, they
> all
> >> have to be controled by one clock source. What you are suggesting would
> be
> >> fine if I was ITB, but I am not. I have a motorized fader Digital
console,
> >> Eight ch. mic pres, and two MECs. The whole idea behind having a master
> word
> >> clock is to stablize all your gear to 44.1 coming from one source.(my
> choice)Right??
> >> Steve not the art guy
> >>
> >> EK Sound <askme@nospam.com> wrote:
> >>
> >>>Seriously Steve... try looping from one MEC to the other.
> >>>
> >>>David.
> >>>
> >>>Steve Cox wrote:
> >>>
> >>>
> >>>>The reason I have the master word clock is because of the DA7 Digital
> >>
> >> 32 channel
> >>
> >>>>board, an 8 ch. mic pre, and 2 MECs. All locked in at 44.1
> >>>>Steve
> >>>>
> >>>>"Kim" <hiddensounds@hotmail.com> wrote:
> >>>>
> >>>>
> >>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>
> >>>>>
> >>>>>>huh??? have another beer mate! ;-)
> >>>>>
> >>>>>Well I'm assuming he's running the wordclock to both MEC's...?
....isn't
> >>>>>that OK?
> >>>>>
> >>>>>...or am I missing something?
> >>>>>
> >>>>>...I mean I've never used Wordclock, so I'm only speaking from what
> I've
> >>>>>read here, but after reading 500 posts on the subject I kinda thought
> >>
> >> I
> >>
> >>>>had
> >>>>
> >>>>
> >>>>>the idea. ;o)
> >>>>>
> >>>>>Cheers,
> >>>>>Kim.
> >>>>>
> >>>>>
> >>>>>
> >>>>>>David.
> >>>>>>
> >>>>>>Kim wrote:
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>>Correct. If you're losing wordclock that will be fine.
> >>>>>>>
> >>>>>>>Cheers,
> >>>>>>>Kim.
> >>>>>>>
> >>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>>Not sure if it matters, but I don't really need to bnc the 2 mecs
> together
> >>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word clock
sends,
> >>>>>
> >>>>>I
> >>>>>
> >>>>>
> >>>>>>>have
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>>everything set to 44.1 And I use a Ramsa DA7 motorized fader
digital
> >>>>
> >>>>console
> >>>>
> >>>>
> >>>>>>>>for input, also set for 44.1
> >>>>>>>>
> >>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>Don't do as I say, do as I think! ;-)
> >>>>>>>>>
> >>>>>>>>>David.
> >>>>>>>>>
> >>>>>>>>>Kim wrote:
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>
> >>>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>>one connected to Card A (default
> >>>>>>>>>>>master) and as Tom mentioned, one MEC connected to the *last
> >>>>>>>>>>>EDS card*
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>You should also note that "last EDS card" refers to "whichever
> card
> >>>>>
> >>>>>has
> >>>>>
> >>>>>
> >>>>>>>>the
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>>last designation". It does not refer to anything to do with
their
> >>
> >> physical
> >>
> >>>>>>>>>>location in your machine. Which one is last in a given machine
> with
> >>>>>
> >>>>>a
> >>>>>
> >>>>>
> >>>>>>>>given
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>>OS is almost impossible to predict. You will have to experiment
> to
> >>>>
> >>>>work
> >>>>
> >>>>
> >>>>>>>>it
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>
> >>>>>>>>>>out.
> >>>>>>>>>>
> >>>>>>>>>>But the interfaces need to be on card A and card C in your case,
> >>
> >> as
> >>
> >>>>>decided
> >>>>>
> >>>>>
> >>>>>>>>>>by the Paris software.
> >>>>>>>>>>
> >>>>>>>>>>Cheers,
> >>>>>>>>>>Kim.
> >>>>>>>>
> >>
>We gave up and are back home now.......We had a windstorm last night and
this morning it is snowing. Crashbasket had an anxiety attack during the
windstorm and I've been up all night. I'm getting ready to start drinking
mass quantities of coffee so you guys get ready. No telling what will happen
once I start the caffiene hallucinations
;O)
"rick" <parnell68@hotmail.com> wrote in message
news:ehf142tbetko8uajl6m7tvnf2n2j8hqao2@4ax.com...
> wearing those dark glasses to hide the...well you know...is a good
> idea you crazy man you.
>
> On Fri, 14 Apr 2006 10:48:01 -0600, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> >we're on his trail now......somehow I think it's gonna be a long walk
> >
> >
> >"rick" <parnell68@hotmail.com> wrote in message
> >news:f3fv32paettooao0ug688q54tbk327efrg@4ax.com...
> >> oh douglas just doesn't want people to think he's stalking them
> >> because of that last "incident". so he just stands there pretending
> >> not to notice...it's really kinda sad.
> >>
> >>
> >>
> >> On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
> >> <artguy@longtimenosee.net> wrote:
> >>
> >> >
> >> >Douglas-
> >> >
> >> >Let me see. Hmm. It seems like I have been here:
> >> >
> >> >
> >> >
> >> >
> >> >
> >> >
> >> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >> >> Where on earth have you been? I was getting ready to put the dogs on
> >your
> >> >>trail
> >> >>
> >> >>;oP
> >> >>
> >> >>
> >> >>"steve the artguy" <artguy@longtimenosee.net> wrote in message
> >> >>news:443d4fad$1@linux...
> >> >>>
> >> >>> "Neil" <OIUOIU@OI.com> wrote:
> >> >>> >
> >> >>> >
> >> >>> >And if I may add, this place is great for getting advice or
> >> >>> >opinions on more than just "systems"... there's a great wealth
> >> >>> >of knowledge here on audio in general, and that's - personally -
> >> >>> >why I prefer to hang here more than any other audio forum.
> >> >>> >
> >> >>>
> >> >>> Yes, Neil!
> >> >>>
> >> >>> This is the key. There is more knowledge per square monitor inch
here
> >> >than
> >> >>> any other online spot I've found.
> >> >>>
> >> >>> There seems to be someone here knows just about ANYTHING about
> >ANYTHING.
> >> >>> I wish I had the time to be here as much as I used to be. But I
still
> >> >scan
> >> >>> the posts as often as possible.
> >> >>>
> >> >>> -steve
> >> >>
> >> >>
> >>
> >
>Clavis dDrums are supposed to be great stuff, and as I said, they can be
mapped to BFD if you want ultimate realism, though I hear the sample sets
for dDrums are reall great as well. I played around on a big Roland VDrum
kit at GC in Phoenix last summer. I sounded *very* realistic......and I
mean.......*very*.
"John" <no@no.com> wrote in message news:44413661@linux...
> BUt i want to get rid of the trapkat cuz it's unreliable.
>
> DJ wrote:
> > The TrapKAT has a template availalbe online to map the EMU Emulator X
drum
> > samples. You can put something like this together pretty cheap compared
to a
> > Clavia Ddrum or Roland set......but these now have mappings for BFD if
you
> > want to use a computer for playing BFD live (it will need to be foarily
> > powerful though)
> >
> > Deej
> >
> > "John" <no@no.com> wrote in message news:4440f55c@linux...
> >> I have a Trap Kat drum electronic drum set and think it's time to get a
> >> new set. This one has 24 pads which allows for a great variety of drum
> >> sounds but it has no windows program to configure the midi parts of it
> >> and I have to use an external sound module (my motif keyboard) for the
> >> sounds. To make matters worse, the sensors fail every 2 years. I've
> >> had it for 7 years. So every 2 years they want $200 for a new film
pad.
> >>
> >> So...........
> >>
> >> Is there an electronic drum set with lots of pads that is reliable?
> >> Is there a windows midi interface program for it?
> >>
> >> Ideally I want to have a couple thousand drum sounds in a library and
be
> >> able to EASILY build drum sets based on them, then easily switch drum
> >> sets. I want to be able to easily configure the pan/volumes of each
> >> drum in the set through a windows midi app. Can this be done?
Easily?
> >> This is 2006 for crying out loud.
> >>
> >> Thanks.
> >> John
> >
> >another planned outrage????......man.......maybe some counselling???
"Kim" <hiddensounds@hotmail.com> wrote in message news:4440bcb8$1@linux...
>
>
> I'll install the new UPS 10AM tomorrow morning my time, which is 0:00 GMT
> to make it easy for everyone.
>
> That's 14.5 hours from the time on this post.
>
> Should only take 15 minutes or so I imagine...
>
> Cheers,
> Kim.This is a multi-part message in MIME format.
------=_NextPart_000_0016_01C66092.D577D590
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Here you go Kim, contact them to see if your UPS is compatible with this =
package:
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
04
Compatibility
Operating system compatibility Version 7.0.4
Windows=AE XP SP2 Professional=20
Windows=AE 2000 SP4 Server/Professional/Advanced Server=20
Windows=AE 2003 Standard/Enterprise/Web/Small Business Server=20
Windows=AE Server 2003=20
Red Hat=AE Linux=AE Personal/Professional 7.3, 8.0, 9.0=20
Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; WS =
3.0, 4.0=20
Turbolinux=AE Server 8, 10=20
SUSE=AE LINUX=AE Professional 8.2, 9.0, 9.1=20
Novell=AE Netware=AE 6.0, 6.5=20
SolarisT 8,9
AA
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:4440a120$1@linux...
>=20
>=20
> The complication is that the server runs Linux, and hence I can't load =
the
> software on it, and it's the only box that plugs in to the UPS, so =
there's
> no box which could run this software and warn me. Unless there's a =
Linux
> version on there, but there's no mention of it on the disk.
>=20
> So it's really going to be a case of loading the software on my =
windows laptop
> and configuring the UPS to act like I want it to, and then leaving it =
to
> do it's thing unfortunately. An email would be fantastic if I could =
make
> it work though.=20
>=20
> I should check the Linux community and see if they've made anything =
which
> will work on it. Seeing as how major UPS players aren't producing =
Linux software,
> I'd make a guess that the Linux community has a solution.
>=20
> Cheers,
> Kim.
>=20
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>If you can get business edition on it, you'll LOVE it. It even emails =
you
>=20
>>when things get out of whack.
>>AA
>>
>>"Kim" <hiddensounds@hotmail.com> wrote in message =
news:44409620$1@linux...
>>>
>>>
>>> This is the one:
>>> =
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
&full_sku=3DBR1500I%20%2B%20%281%29BR24BP
>>>
>>> PowerChute Personal Edition v1.5 is on this here disk. Why do you =
ask.
>>>
>>> Cheers,
>>> Kim.
>>>
>>> "Aaron Allen" <nospam@not_here.dude> wrote:
>>>>
>>>>
>>>>Not sure about the Aussie version, but the US one is:
>>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D3DS=
UA1500=3D
>>>>X413
>>>>
>>>>Kim, what version of Power Chute did that come with bro?
>>>>
>>>>AA
>>>>
>>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =3D
>>>>news:444090bc@linux...
>>>> Kim,
>>>> Looks cool. Post a liink to it's specs. =3D20
>>>> I'm curious.
>>>> Tom
>>>>
>>>> "Kim" <hiddensounds@hotmail.com> wrote in message =3D
>>>>news:444089fb$1@linux...
>>>>
>>>>
>>>> Not quite in service yet. It has to charge for 8 hours first.
>>>>
>>>> But it's in the building. :o) There was a line at the store out =
on
> =3D
>>>>to the
>>>> street. Business is booming in computer parts on the Easter =
weekend.
>>> =3D
>>>>I got
>>>> it though, and it's unpacked. Now I've gotta load up some =
software
> =3D
>>>>and see
>>>> what I need to tweak before I put it in service.
>>>>
>>>> Thank you again to all the people who donated. Excellent work. =
And
> =3D
>>>>you'll
>>>> note we've had no outages since the server has been taken off =
the
> =3D
>>>>UPS and
>>>> plugged into mains. :o) And hopefully once the UPS is on we'll =
have
>>> =3D
>>>>even
>>>> less... or, well, not less than none of course, but, oh you =
know
> =3D
>>>>what I
>>>> mean! ;o)
>>>>
>>>> Cheers,
>>>> Kim.
>>>>
>>>>
>>>>I choose Polesoft Lockspam to fight spam, and you?
>>>>http://www.polesoft.com/refer.html
>>>>
>>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>><HTML><HEAD>
>>>><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
>>>>charset=3D3Diso-8859-1">
>>>><META content=3D3D"MSHTML 6.00.5296.0" name=3D3DGENERATOR>
>>>><STYLE></STYLE>
>>>></HEAD>
>>>><BODY bgColor=3D3D#ffffff>
>>>><DIV><FONT face=3D3DArial size=3D3D2>Not sure about the Aussie =
version, but
>>> =3D
>>>>the US one=3D20
>>>>is:<BR><A=3D20
>>>>href=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base=
_sku=3D3D=3D
>>>>SUA1500X413">http://www.apc.com/resource/include/techspec_index.cfm?b=
ase_=3D
>>>>sku=3D3DSUA1500X413</A></FONT></DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2>Kim, what version of Power =
Chute did
> =3D
>>>>that come with=3D20
>>>>bro?</FONT></DIV>
>>>><DIV> </DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2>AA</FONT></DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>><BLOCKQUOTE dir=3D3Dltr=3D20
>>>>style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
=3D
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Tom Bruhl" <<A=3D20
>>>> href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> =
wrote =3D
>>>>in message=3D20
>>>> <A href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Kim,</FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. Post a liink to =
=3D
>>>>it's=3D20
>>>> specs. </FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>I'm curious.</FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
>>>> <DIV> </DIV>
>>>> <BLOCKQUOTE=3D20
>>>> style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; =3D
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Kim" <<A=3D20
>>>> =3D
>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</=
A>>=3D
>>>>=3D20
>>>> wrote in message <A=3D20
>>>> =3D
>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><B=
R><BR>=3D
>>>>Not=3D20
>>>> quite in service yet. It has to charge for 8 hours =
first.<BR><BR>But
>>> =3D
>>>>it's in=3D20
>>>> the building. :o) There was a line at the store out on to =3D
>>>>the<BR>street.=3D20
>>>> Business is booming in computer parts on the Easter weekend. I =
=3D
>>>>got<BR>it=3D20
>>>> though, and it's unpacked. Now I've gotta load up some software =
and=3D20
>>>> see<BR>what I need to tweak before I put it in =
service.<BR><BR>Thank
>>> =3D
>>>>you=3D20
>>>> again to all the people who donated. Excellent work. And =3D
>>>>you'll<BR>note=3D20
>>>> we've had no outages since the server has been taken off the =
UPS=3D20
>>>> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
=3D
>>>>we'll have=3D20
>>>> even<BR>less... or, well, not less than none of course, but, =
=3D
>>>>oh you=3D20
>>>> know what I<BR>mean! =3D
>>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>>>><DIV><FONT size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight =
spam,
> =3D
>>>>and=3D20
>>>>you?<BR><A=3D20
>>>>href=3D3D"http://www.polesoft.com/refer.html">http://www.polesoft.com=
/refer=3D
>>>>.html</A> </FONT></DIV></BODY></HTML>
>>>>
>>>>
>>>=20
>>
>>
>
------=_NextPart_000_0016_01C66092.D577D590
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff background=3D"">
<DIV align=3Dleft><FONT face=3DArial size=3D2>Here you go Kim, contact =
them to see if=20
your UPS is compatible with this=20
package:<BR><BR>http://www.apc.com/resource/include/techspec_index.cfm?ba=
se_sku=3DSFPCBE704<BR><BR><STRONG><FONT=20
size=3D3><U>Compatibility</U></FONT></STRONG><BR>Operating system=20
compatibility Version 7.0.4<BR><BR>Windows=AE XP SP2 Professional=20
<BR>Windows=AE 2000 SP4 Server/Professional/Advanced Server =
<BR>Windows=AE 2003=20
Standard/Enterprise/Web/Small Business Server <BR>Windows=AE Server 2003 =
</FONT></DIV><FONT face=3DArial size=3D2>
<DIV align=3Dleft><BR><U><EM>Red Hat=AE Linux=AE Personal/Professional =
7.3, 8.0, 9.0=20
<BR>Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; =
WS 3.0, 4.0=20
<BR>Turbolinux=AE Server 8, 10 <BR>SUSE=AE LINUX=AE Professional 8.2, =
9.0,=20
9.1</EM></U> </DIV>
<DIV align=3Dleft><U></U><BR>Novell=AE Netware=AE 6.0, 6.5 =
<BR>Solaris=99=20
8,9<BR><BR>AA<BR><BR><BR>"Kim" <hiddensounds@hotmail.com> wrote in =
message=20
news:4440a120$1@linux...<BR>> <BR>> <BR>> The complication is =
that the=20
server runs Linux, and hence I can't load the<BR>> software on it, =
and it's=20
the only box that plugs in to the UPS, so there's<BR>> no box which =
could run=20
this software and warn me. Unless there's a Linux<BR>> version on =
there, but=20
there's no mention of it on the disk.<BR>> <BR>> So it's really =
going to=20
be a case of loading the software on my windows laptop<BR>> and =
configuring=20
the UPS to act like I want it to, and then leaving it to<BR>> do it's =
thing=20
unfortunately. An email would be fantastic if I could make<BR>> it =
work=20
though. <BR>> <BR>> I should check the Linux community and see if =
they've=20
made anything which<BR>> will work on it. Seeing as how major UPS =
players=20
aren't producing Linux software,<BR>> I'd make a guess that the Linux =
community has a solution.<BR>> <BR>> Cheers,<BR>> Kim.<BR>> =
<BR>>=20
"Aaron Allen" <nospam@not_here.dude> wrote:<BR>>>If you can =
get=20
business edition on it, you'll LOVE it. It even emails you<BR>>=20
<BR>>>when things get out of=20
whack.<BR>>>AA<BR>>><BR>>> "Kim"=20
<hiddensounds@hotmail.com> wrote in message=20
news:44409620$1@linux...<BR>>>><BR>>>><BR >>>> =
This is=20
the one:<BR>>>>=20
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
&full_sku=3DBR1500I%20%2B%20%281%29BR24BP<BR>>>> <BR>>>=
>=20
PowerChute Personal Edition v1.5 is on this here disk. Why do you=20
ask.<BR>>>><BR>>>> Cheers,<BR>>>>=20
Kim.<BR>>>><BR>>>> "Aaron Allen" =
<nospam@not_here.dude>=20
wrote:<BR>>>>><BR>>>>> <BR>>>>>Not =
sure about=20
the Aussie version, but the US one=20
is:<BR>>>>>http://www.apc.com/resource/include/techspec_index=
..cfm?base_sku=3D3DSUA1500=3D<BR>>>>>X413 <BR>>>>><=
BR>>>>>Kim,=20
what version of Power Chute did that come with=20
bro?<BR>>>>><BR>>>>>AA <BR>>>>><BR>>=
;>>> =20
"Tom Bruhl" <arpegio@comcast.net> wrote in message=20
=3D<BR>>>>>news:444090bc@linux...<BR>>>>> =20
Kim,<BR>>>>> Looks cool. Post a liink to it's =
specs.=20
=3D20<BR>>>>> I'm curious.<BR>>>>> =20
Tom<BR>>>>><BR> >>>> &nbs p; "Kim"=20
<hiddensounds@hotmail.com> wrote in message=20
=3D<BR>>>>>news:444089fb$1@linux...<BR>>>>><BR>&g=
t;>>><BR> >>>> &nbs p;=20
Not quite in service yet. It has to charge for 8 hours=20
first.<BR>>>>><BR> >>>> &nbs p; But =
it's in the=20
building. :o) There was a line at the store out on<BR>>=20
=3D<BR>>>>>to the<BR> >>>> &nbs p; =
street.=20
Business is booming in computer parts on the Easter =
weekend.<BR>>>>=20
=3D<BR>>>>>I got<BR> >>>> &nbs p; it =
though, and=20
it's unpacked. Now I've gotta load up some software<BR>>=20
=3D<BR>>>>>and see<BR> >>>> &nbs p; =
what I need=20
to tweak before I put it in=20
service.<BR>>>>><BR> >>>> &nbs p; Thank =
you=20
again to all the people who donated. Excellent work. And<BR>>=20
=3D<BR>>>>>you'll<BR> >>>> &nbs p; note =
we've had=20
no outages since the server has been taken off the<BR>>=20
=3D<BR>>>>>UPS and<BR> >>>> &nbs p; =
plugged into=20
mains. :o) And hopefully once the UPS is on we'll have<BR>>>>=20
=3D<BR>>>>>even<BR> >>>> &nbs p; =
less... =20
or, well, not less than none of course, but, oh you know<BR>>=20
=3D<BR>>>>>what I<BR> >>>> &nbs p; =
mean!=20
;o)<BR>>>>><BR> >>>> &nbs p;=20
Cheers,<BR> >>>> &nbs p;=20
Kim.<BR>>>>><BR>>>>> <BR>>>>>I choose =
Polesoft Lockspam to fight spam, and=20
you?<BR>>>>>http://www.polesoft.com/refer.html<BR>>>>=
;><BR>>>>><!DOCTYPE=20
HTML PUBLIC "-//W3C//DTD HTML 4.0=20
Transitional//EN"><BR> >>>><HTML>< HEAD> <BR>>=
>>><META=20
http-equiv=3D3DContent-Type content=3D3D"text/html;=20
=3D<BR>>>>>charset=3D3Diso-8859-1 "><BR>>>>><=
;META=20
content=3D3D"MSHTML 6.00.5296.0"=20
name=3D3DGENERATOR><BR> >>>><STYLE>< ;/STYLE> <BR>=
>>>></HEAD><BR>>>>><BODY=20
bgColor=3D3D#ffffff><BR> >>>><DIV><F ONT =
face=3D3DArial=20
size=3D3D2>Not sure about the Aussie version, but<BR>>>>=20
=3D<BR>>>>>the US=20
one=3D20<BR> >>>>is:<BR>< ;A=3D20 <BR>>>>>hr=
ef=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
3D=3D<BR>>>>>SUA1500X413">http://www.apc.com/resource/incl=
ude/techspec_index.cfm?base_=3D<BR>>>>>sku=3D3DSUA1500X413<=
;/A></FONT></DIV><BR> >>>><DIV><F ONT=20
face=3D3DArial size=3D3D2></FONT>=20
</DIV><BR> >>>><DIV><F ONT face=3D3DArial=20
size=3D3D2>Kim, what version of Power Chute did<BR>>=20
=3D<BR>>>>>that come=20
with=3D20<BR> >>>>bro?</FONT>&am p;lt;/DIV> <BR>>>>=
;><DIV>=20
</DIV><BR> >>>><DIV><F ONT face=3D3DArial=20
size=3D3D2>AA</FONT></DIV> ; <BR>>>>><DIV>&=
lt;FONT=20
face=3D3DArial size=3D3D2></FONT>=20
</DIV><BR>>>>><BLOCKQUOTE=20
dir=3D3Dltr=3D20<BR>>>>>style=3D3D "PADDING-RIGHT: 0px; =
PADDING-LEFT: 5px;=20
MARGIN-LEFT: 5px; =3D<BR>>>>>BORDER-LEFT: #000000 2px solid; =
MARGIN-RIGHT: 0px"><BR>>>>> <DIV>"Tom Bruhl"=20
<<A=3D20<BR>>>>> =20
href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=
; wrote=20
=3D<BR>>>>>in message=3D20<BR>>>>> <A=20
href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DI=
V><BR>>>>> =20
<DIV><FONT face=3D3DArial=20
size=3D3D2>Kim,</FONT></DIV& gt; <BR>>>>> =20
<DIV><FONT face=3D3DArial size=3D3D2>Looks cool. Post =
a liink to=20
=3D<BR>>>>>it's=3D20<BR>>>>> specs. =20
</FONT></DIV><BR>>>>> <DIV><FONT=20
face=3D3DArial size=3D3D2>I'm=20
curious.</FONT></DIV><BR>>>>> =
<DIV><FONT=20
face=3D3DArial =
size=3D3D2>Tom</FONT></DIV&g t; <BR>>>>> =20
<DIV> </DIV><BR>>>>> =20
<BLOCKQUOTE=3D20<BR>>>>> style=3D3D"PADDING-RIGHT: =
0px;=20
PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D<BR>>>>>BORDER-LEFT: =
#000000=20
2px solid; MARGIN-RIGHT: 0px"><BR> >>>> &nbs p;=20
<DIV>"Kim" <<A=3D20<BR> >>>> &nbs p;=20
=3D<BR>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hidd=
ensounds@hotmail.com</A>>=3D<BR>>>>>=3D20 <BR>>>=
;>> =20
wrote in message <A=3D20<BR> >>>> &nbs p;=20
=3D<BR>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$=
1@linux </A>...</DIV><BR>& amp;lt;BR>=3D <BR>>>>&g=
t;Not=3D20<BR> >>>> &nbs p;=20
quite in service yet. It has to charge for 8 hours=20
first.<BR><BR>But<BR>>>> =
=3D<BR>>>>>it's=20
in=3D20<BR> >>>> &nbs p; the building. :o) There =
was a line=20
at the store out on to=20
=3D<BR> >>>>the<BR>street. =3D20 <BR>>>>> =
; =20
Business is booming in computer parts on the Easter weekend. I=20
=3D<BR> >>>>got<BR>it=3D20 <BR>>>>> &nbs=
p; =20
though, and it's unpacked. Now I've gotta load up some software=20
and=3D20<BR> >>>> &nbs p; see<BR>what I need =
to tweak=20
before I put it in service.<BR><BR>Thank<BR>>>>=20
=3D<BR>>>>>you=3D20<BR> >>>> &nbs p; =
again to all=20
the people who donated. Excellent work. And=20
=3D<BR> >>>>you'll<BR>note =3D20 <BR>>>>> =
; =20
we've had no outages since the server has been taken off the=20
UPS=3D20<BR> >>>> &nbs p; and<BR>plugged into =
mains.=20
:o) And hopefully once the UPS is on =3D<BR>>>>>we'll=20
have=3D20<BR> >>>> &nbs p; =
even<BR>less... or,=20
well, not less than none of course, but, =3D<BR>>>>>oh=20
you=3D20<BR> >>>> &nbs p; know what =
I<BR>mean!=20
=3D<BR> >>>>;o)<BR>< ;BR>Cheers,<BR>Kim.</B=
LOCKQUOTE></BLOCKQUOTE><BR> >>>><DIV><F ONT=20
size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight=20
spam,<BR>>=20
=3D<BR>>>>>and=3D20<BR> >>>>you?<BR>&l t;A=3D=
20<BR>>>>>href=3D3D"http://www.polesoft.com/refer.html">ht=
tp://www.polesoft.com/refer=3D<BR> >>>>.html</A>& nbsp;&n=
bsp;=20
</FONT></DIV></BODY&g t;</HTML> <BR>>>>><B=
R>>>>><BR>>>>=20
<BR>>><BR>>><BR>> </FONT></DIV></BODY></HTML>
------=_NextPart_000_0016_01C66092.D577D590--Chris, here's the problem. Once you move past one EDS card, you have to use
either a 442 or a MEC interface - IF2 does not work with more than one EDS
card unless you have it plugged through the 442/MEC.
Sorry bro for the news, but picking up a used MEC or 442 these days is dirt
cheap.
AA
"Chris Griffiths" <cgriffo@aapt.net.au> wrote in message
news:4440ace2@linux...
> Can anyone help?
>
> I have just installed a second EDS card. When I load Paris it tells me
> that I have "Error in initializing . . ." - "No interface connected to
> master card". I have tried switching my interface from one EDS to the
> other but I get the same problem. When I disable the driver for one of the
> EDSs, or have only EDS plugged in, Paris loads fine - ie. I do not have a
> faulty EDS card, they both work independently.
>
> Summary: Both EDS's work fine as a single card with my interface - which
> is "Interface 2". When both cards are plugged in, they are in slot 4 and
> slot 5 with IRQs 20 & 21 respectively - there appears to be no conflict.
> I'm using XP, with Version 3 of Paris which is working fine with one card.
> I just can't seem to get Paris to load with both EDS cards.
>
> Any Ideas?
>
> Cheers,
>
> Chris.
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlThis is a multi-part message in MIME format.
------=_NextPart_000_0076_01C66097.363D6800
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
well, stink. That URL didn't come out at all.. lemme try this again:
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
04&tab=3Dfeatures
Must be tax season eroding my brain.=20
AA
"Aaron Allen" <nospam@not_here.dude> wrote in message =
news:44413e8f@linux...
Here you go Kim, contact them to see if your UPS is compatible with =
this package:
=
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
04
Compatibility
Operating system compatibility Version 7.0.4
Windows=AE XP SP2 Professional=20
Windows=AE 2000 SP4 Server/Professional/Advanced Server=20
Windows=AE 2003 Standard/Enterprise/Web/Small Business Server=20
Windows=AE Server 2003=20
Red Hat=AE Linux=AE Personal/Professional 7.3, 8.0, 9.0=20
Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; WS =
3.0, 4.0=20
Turbolinux=AE Server 8, 10=20
SUSE=AE LINUX=AE Professional 8.2, 9.0, 9.1=20
Novell=AE Netware=AE 6.0, 6.5=20
SolarisT 8,9
AA
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:4440a120$1@linux...
>=20
>=20
> The complication is that the server runs Linux, and hence I can't =
load the
> software on it, and it's the only box that plugs in to the UPS, so =
there's
> no box which could run this software and warn me. Unless there's a =
Linux
> version on there, but there's no mention of it on the disk.
>=20
> So it's really going to be a case of loading the software on my =
windows laptop
> and configuring the UPS to act like I want it to, and then leaving =
it to
> do it's thing unfortunately. An email would be fantastic if I could =
make
> it work though.=20
>=20
> I should check the Linux community and see if they've made anything =
which
> will work on it. Seeing as how major UPS players aren't producing =
Linux software,
> I'd make a guess that the Linux community has a solution.
>=20
> Cheers,
> Kim.
>=20
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>If you can get business edition on it, you'll LOVE it. It even =
emails you
>=20
>>when things get out of whack.
>>AA
>>
>>"Kim" <hiddensounds@hotmail.com> wrote in message =
news:44409620$1@linux...
>>>
>>>
>>> This is the one:
>>> =
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
&full_sku=3DBR1500I%20%2B%20%281%29BR24BP
>>>
>>> PowerChute Personal Edition v1.5 is on this here disk. Why do you =
ask.
>>>
>>> Cheers,
>>> Kim.
>>>
>>> "Aaron Allen" <nospam@not_here.dude> wrote:
>>>>
>>>>
>>>>Not sure about the Aussie version, but the US one is:
=
>>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D3DS=
UA1500=3D
>>>>X413
>>>>
>>>>Kim, what version of Power Chute did that come with bro?
>>>>
>>>>AA
>>>>
>>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =3D
>>>>news:444090bc@linux...
>>>> Kim,
>>>> Looks cool. Post a liink to it's specs. =3D20
>>>> I'm curious.
>>>> Tom
>>>>
>>>> "Kim" <hiddensounds@hotmail.com> wrote in message =3D
>>>>news:444089fb$1@linux...
>>>>
>>>>
>>>> Not quite in service yet. It has to charge for 8 hours first.
>>>>
>>>> But it's in the building. :o) There was a line at the store =
out on
> =3D
>>>>to the
>>>> street. Business is booming in computer parts on the Easter =
weekend.
>>> =3D
>>>>I got
>>>> it though, and it's unpacked. Now I've gotta load up some =
software
> =3D
>>>>and see
>>>> what I need to tweak before I put it in service.
>>>>
>>>> Thank you again to all the people who donated. Excellent work. =
And
> =3D
>>>>you'll
>>>> note we've had no outages since the server has been taken off =
the
> =3D
>>>>UPS and
>>>> plugged into mains. :o) And hopefully once the UPS is on we'll =
have
>>> =3D
>>>>even
>>>> less... or, well, not less than none of course, but, oh you =
know
> =3D
>>>>what I
>>>> mean! ;o)
>>>>
>>>> Cheers,
>>>> Kim.
>>>>
>>>>
>>>>I choose Polesoft Lockspam to fight spam, and you?
>>>>http://www.polesoft.com/refer.html
>>>>
>>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>><HTML><HEAD>
>>>><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
>>>>charset=3D3Diso-8859-1">
>>>><META content=3D3D"MSHTML 6.00.5296.0" name=3D3DGENERATOR>
>>>><STYLE></STYLE>
>>>></HEAD>
>>>><BODY bgColor=3D3D#ffffff>
>>>><DIV><FONT face=3D3DArial size=3D3D2>Not sure about the Aussie =
version, but
>>> =3D
>>>>the US one=3D20
>>>>is:<BR><A=3D20
=
>>>>href=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base=
_sku=3D3D=3D
=
>>>>SUA1500X413">http://www.apc.com/resource/include/techspec_index.cfm?b=
ase_=3D
>>>>sku=3D3DSUA1500X413</A></FONT></DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2>Kim, what version of Power =
Chute did
> =3D
>>>>that come with=3D20
>>>>bro?</FONT></DIV>
>>>><DIV> </DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2>AA</FONT></DIV>
>>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
>>>><BLOCKQUOTE dir=3D3Dltr=3D20
>>>>style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; =3D
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Tom Bruhl" <<A=3D20
>>>> href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> =
wrote =3D
>>>>in message=3D20
>>>> <A =
href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Kim,</FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. Post a liink =
to =3D
>>>>it's=3D20
>>>> specs. </FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>I'm curious.</FONT></DIV>
>>>> <DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
>>>> <DIV> </DIV>
>>>> <BLOCKQUOTE=3D20
>>>> style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; =3D
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Kim" <<A=3D20
>>>> =3D
=
>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</=
A>>=3D
>>>>=3D20
>>>> wrote in message <A=3D20
>>>> =3D
=
>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><B=
R><BR>=3D
>>>>Not=3D20
>>>> quite in service yet. It has to charge for 8 hours =
first.<BR><BR>But
>>> =3D
>>>>it's in=3D20
>>>> the building. :o) There was a line at the store out on to =3D
>>>>the<BR>street.=3D20
>>>> Business is booming in computer parts on the Easter weekend. I =
=3D
>>>>got<BR>it=3D20
>>>> though, and it's unpacked. Now I've gotta load up some =
software and=3D20
>>>> see<BR>what I need to tweak before I put it in =
service.<BR><BR>Thank
>>> =3D
>>>>you=3D20
>>>> again to all the people who donated. Excellent work. And =3D
>>>>you'll<BR>note=3D20
>>>> we've had no outages since the server has been taken off the =
UPS=3D20
>>>> and<BR>plugged into mains. :o) And hopefully once the UPS is =
on =3D
>>>>we'll have=3D20
>>>> even<BR>less... or, well, not less than none of course, but, =
=3D
>>>>oh you=3D20
>>>> know what I<BR>mean! =3D
>>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>>>><DIV><FONT size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight =
spam,
> =3D
>>>>and=3D20
>>>>you?<BR><A=3D20
=
>>>>href=3D3D"http://www.polesoft.com/refer.html">http://www.polesoft.com=
/refer=3D
>>>>.html</A> </FONT></DIV></BODY></HTML>
>>>>
>>>>
>>>=20
>>
>>
>
------=_NextPart_000_0076_01C66097.363D6800
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff background=3D"">
<DIV><FONT face=3DArial size=3D2>well, stink. That URL didn't come out =
at all..=20
lemme try this again:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
SFPCBE704&tab=3Dfeatures">http://www.apc.com/resource/include/techspe=
c_index.cfm?base_sku=3DSFPCBE704&tab=3Dfeatures</A> </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Must be tax season eroding my brain. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Aaron Allen" <<A=20
href=3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>> =
wrote in=20
message <A =
href=3D"news:44413e8f@linux">news:44413e8f@linux</A>...</DIV>
<DIV align=3Dleft><FONT face=3DArial size=3D2>Here you go Kim, contact =
them to see=20
if your UPS is compatible with this=20
=
package:<BR><BR>http://www.apc.com/resource/include/techspec_index.cfm?ba=
se_sku=3DSFPCBE704<BR><BR><STRONG><FONT=20
size=3D3><U>Compatibility</U></FONT></STRONG><BR>Operating system=20
compatibility Version 7.0.4<BR><BR>Windows=AE XP SP2 =
Professional=20
<BR>Windows=AE 2000 SP4 Server/Professional/Advanced Server =
<BR>Windows=AE 2003=20
Standard/Enterprise/Web/Small Business Server <BR>Windows=AE Server =
2003=20
</FONT></DIV><FONT face=3DArial size=3D2>
<DIV align=3Dleft><BR><U><EM>Red Hat=AE Linux=AE Personal/Professional =
7.3, 8.0, 9.0=20
<BR>Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; =
WS 3.0, 4.0=20
<BR>Turbolinux=AE Server 8, 10 <BR>SUSE=AE LINUX=AE Professional 8.2, =
9.0,=20
9.1</EM></U> </DIV>
<DIV align=3Dleft><U></U><BR>Novell=AE Netware=AE 6.0, 6.5 =
<BR>Solaris=99=20
8,9<BR><BR>AA<BR><BR><BR>"Kim" <hiddensounds@hotmail.com> wrote =
in=20
message news:4440a120$1@linux...<BR>> <BR>> <BR>> The =
complication is=20
that the server runs Linux, and hence I can't load the<BR>> =
software on it,=20
and it's the only box that plugs in to the UPS, so there's<BR>> no =
box=20
which could run this software and warn me. Unless there's a =
Linux<BR>>=20
version on there, but there's no mention of it on the disk.<BR>> =
<BR>>=20
So it's really going to be a case of loading the software on my =
windows=20
laptop<BR>> and configuring the UPS to act like I want it to, and =
then=20
leaving it to<BR>> do it's thing unfortunately. An email would be =
fantastic=20
if I could make<BR>> it work though. <BR>> <BR>> I should =
check the=20
Linux community and see if they've made anything which<BR>> will =
work on=20
it. Seeing as how major UPS players aren't producing Linux =
software,<BR>>=20
I'd make a guess that the Linux community has a solution.<BR>> =
<BR>>=20
Cheers,<BR>> Kim.<BR>> <BR>> "Aaron Allen"=20
<nospam@not_here.dude> wrote:<BR>>>If you can get business =
edition=20
on it, you'll LOVE it. It even emails you<BR>> <BR>>>when =
things get=20
out of whack.<BR>>>AA<BR>>><BR>>> "Kim"=20
<hiddensounds@hotmail.com> wrote in message=20
=
news:44409620$1@linux...<BR>>>><BR>>>><BR >>>> =
This=20
is the one:<BR>>>>=20
=
http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
&full_sku=3DBR1500I%20%2B%20%281%29BR24BP<BR>>>> <BR>>>=
>=20
PowerChute Personal Edition v1.5 is on this here disk. Why do you=20
ask.<BR>>>><BR>>>> Cheers,<BR>>>>=20
Kim.<BR>>>><BR>>>> "Aaron Allen"=20
<nospam@not_here.dude>=20
wrote:<BR>>>>><BR>>>>> <BR>>>>>Not =
sure=20
about the Aussie version, but the US one=20
=
is:<BR>>>>>http://www.apc.com/resource/include/techspec_index=
..cfm?base_sku=3D3DSUA1500=3D<BR>>>>>X413 <BR>>>>><=
BR>>>>>Kim,=20
what version of Power Chute did that come with=20
=
bro?<BR>>>>><BR>>>>>AA <BR>>>>><BR>>=
;>>> =20
"Tom Bruhl" <arpegio@comcast.net> wrote in message=20
=
=3D<BR>>>>>news:444090bc@linux...<BR>>>>> =20
Kim,<BR>>>>> Looks cool. Post a liink to it's =
specs.=20
=3D20<BR>>>>> I'm curious.<BR>>>>> =
Tom<BR>>>>><BR> >>>> &nbs p; "Kim"=20
<hiddensounds@hotmail.com> wrote in message=20
=
=3D<BR>>>>>news:444089fb$1@linux...<BR>>>>><BR>&g=
t;>>><BR> >>>> &nbs p;=20
Not quite in service yet. It has to charge for 8 hours=20
first.<BR>>>>><BR> >>>> &nbs p; But =
it's in=20
the building. :o) There was a line at the store out on<BR>>=20
=3D<BR>>>>>to the<BR> >>>> &nbs p; =
street.=20
Business is booming in computer parts on the Easter =
weekend.<BR>>>>=20
=3D<BR>>>>>I got<BR> >>>> &nbs p; it =
though,=20
and it's unpacked. Now I've gotta load up some software<BR>>=20
=3D<BR>>>>>and see<BR> >>>> &nbs p; =
what I need=20
to tweak before I put it in=20
service.<BR>>>>><BR> >>>> &nbs p; =
Thank you=20
again to all the people who donated. Excellent work. And<BR>>=20
=3D<BR>>>>>you'll<BR> >>>> &nbs p; =
note we've=20
had no outages since the server has been taken off the<BR>>=20
=3D<BR>>>>>UPS and<BR> >>>> &nbs p; =
plugged=20
into mains. :o) And hopefully once the UPS is on we'll =
have<BR>>>>=20
=3D<BR>>>>>even<BR> >>>> &nbs p; =
less... =20
or, well, not less than none of course, but, oh you know<BR>>=20
=3D<BR>>>>>what I<BR> >>>> &nbs p; =
mean!=20
;o)<BR>>>>><BR> >>>> &nbs p;=20
Cheers,<BR> >>>> &nbs p;=20
Kim.<BR>>>>><BR>>>>> <BR>>>>>I =
choose=20
Polesoft Lockspam to fight spam, and=20
=
you?<BR>>>>>http://www.polesoft.com/refer.html<BR>>>>=
;><BR>>>>><!DOCTYPE=20
HTML PUBLIC "-//W3C//DTD HTML 4.0=20
=
Transitional//EN"><BR> >>>><HTML>< HEAD> <BR>>=
>>><META=20
http-equiv=3D3DContent-Type content=3D3D"text/html;=20
=
=3D<BR>>>>>charset=3D3Diso-8859-1 "><BR>>>>><=
;META=20
content=3D3D"MSHTML 6.00.5296.0"=20
=
name=3D3DGENERATOR><BR> >>>><STYLE>< ;/STYLE> <BR>=
>>>></HEAD><BR>>>>><BODY=20
bgColor=3D3D#ffffff><BR> >>>><DIV><F ONT =
face=3D3DArial=20
size=3D3D2>Not sure about the Aussie version, but<BR>>>>=20
=3D<BR>>>>>the US=20
=
one=3D20<BR> >>>>is:<BR>< ;A=3D20 <BR>>>>>hr=
ef=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
3D=3D<BR>>>>>SUA1500X413">http://www.apc.com/resource/incl=
ude/techspec_index.cfm?base_=3D<BR>>>>>sku=3D3DSUA1500X413<=
;/A></FONT></DIV><BR> >>>><DIV><F ONT=20
face=3D3DArial size=3D3D2></FONT>=20
</DIV><BR> >>>><DIV><F ONT face=3D3DArial=20
size=3D3D2>Kim, what version of Power Chute did<BR>>=20
=3D<BR>>>>>that come=20
=
with=3D20<BR> >>>>bro?</FONT>&am p;lt;/DIV> <BR>>>>=
;><DIV>=20
</DIV><BR> >>>><DIV><F ONT face=3D3DArial=20
=
size=3D3D2>AA</FONT></DIV> ; <BR>>>>><DIV>&=
lt;FONT=20
face=3D3DArial size=3D3D2></FONT>=20
</DIV><BR>>>>><BLOCKQUOTE=20
dir=3D3Dltr=3D20<BR>>>>>style=3D3D "PADDING-RIGHT: 0px; =
PADDING-LEFT:=20
5px; MARGIN-LEFT: 5px; =3D<BR>>>>>BORDER-LEFT: #000000 2px =
solid;=20
MARGIN-RIGHT: 0px"><BR>>>>> <DIV>"Tom =
Bruhl"=20
<<A=3D20<BR>>>>> =20
=
href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=
; wrote=20
=3D<BR>>>>>in message=3D20<BR>>>>> <A =
=
href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DI=
V><BR>>>>> =20
<DIV><FONT face=3D3DArial=20
size=3D3D2>Kim,</FONT></DIV& gt; <BR>>>>> =20
<DIV><FONT face=3D3DArial size=3D3D2>Looks cool. =
Post a liink to=20
=3D<BR>>>>>it's=3D20<BR>>>>> =
specs. =20
</FONT></DIV><BR>>>>> =
<DIV><FONT=20
face=3D3DArial size=3D3D2>I'm=20
curious.</FONT></DIV><BR>>>>> =20
<DIV><FONT face=3D3DArial=20
size=3D3D2>Tom</FONT></DIV&g t; <BR>>>>> =
<DIV>=20
</DIV><BR>>>>> =20
<BLOCKQUOTE=3D20<BR>>>>> =
style=3D3D"PADDING-RIGHT: 0px;=20
PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
=3D<BR>>>>>BORDER-LEFT: #000000=20
2px solid; MARGIN-RIGHT: =
0px"><BR> >>>> &nbs p;=20
<DIV>"Kim" <<A=3D20<BR> >>>> &nbs p;=20
=
=3D<BR>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hidd=
ensounds@hotmail.com</A>>=3D<BR>>>>>=3D20 <BR>>>=
;>> =20
wrote in message <A=3D20<BR> >>>> &nbs p;=20
=
=3D<BR>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$=
1@linux </A>...</DIV><BR>& amp;lt;BR>=3D <BR>>>>&g=
t;Not=3D20<BR> >>>> &nbs p;=20
quite in service yet. It has to charge for 8 hours=20
first.<BR><BR>But<BR>>>> =
=3D<BR>>>>>it's=20
in=3D20<BR> >>>> &nbs p; the building. :o) There =
was a line=20
at the store out on to=20
=
=3D<BR> >>>>the<BR>street. =3D20 <BR>>>>> =
; =20
Business is booming in computer parts on the Easter weekend. I=20
=
=3D<BR> >>>>got<BR>it=3D20 <BR>>>>> &nbs=
p; =20
though, and it's unpacked. Now I've gotta load up some software=20
and=3D20<BR> >>>> &nbs p; see<BR>what I =
need to tweak=20
before I put it in service.<BR><BR>Thank<BR>>>>=20
=3D<BR>>>>>you=3D20<BR> >>>> &nbs p; =
again to all=20
the people who donated. Excellent work. And=20
=
=3D<BR> >>>>you'll<BR>note =3D20 <BR>>>>> =
; =20
we've had no outages since the server has been taken off the=20
UPS=3D20<BR> >>>> &nbs p; and<BR>plugged =
into mains.=20
:o) And hopefully once the UPS is on =3D<BR>>>>>we'll=20
have=3D20<BR> >>>> &nbs p; =
even<BR>less... or,=20
well, not less than none of course, but, =3D<BR>>>>>oh=20
you=3D20<BR> >>>> &nbs p; know what =
I<BR>mean!=20
=
=3D<BR> >>>>;o)<BR>< ;BR>Cheers,<BR>Kim.</B=
LOCKQUOTE></BLOCKQUOTE><BR> >>>><DIV><F ONT=20
size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight=20
spam,<BR>>=20
=
=3D<BR>>>>>and=3D20<BR> >>>>you?<BR>&l t;A=3D=
20<BR>>>>>href=3D3D"http://www.polesoft.com/refer.html">ht=
tp://www.polesoft.com/refer=3D<BR> >>>>.html</A>& nbsp;&n=
bsp;=20
=
</FONT></DIV></BODY&g t;</HTML> <BR>>>>><B=
R>>>>><BR>>>>=20
<BR>>><BR>>><BR>> =
</FONT></DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0076_01C66097.363D6800--Deej, have you noticed if it makes any difference *where* in the file you
put the house sync text? I'm wondering if that has any effect upon the load
order/stability of initializing Paris, or if you've played with that as an
option?
AA
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:44413bc5@linux...
> Steve,
>
> If you are using 3 x MECs, then this is how to get you system to work.
> follow these steps exactly:
>
> Use good quality BNC cables to run from your AArdsync to the MECs. the
> shorter, the better.
>
> Terminate the BNC outputs of each MEC with 75ohm terminator caps.
>
> Now go to C://Program Files/EMU/Paris and add the following line to the
> Paris .cfg file:
>
> UseHouseSync=1
>
> Save the .cfg file and reboot your machine.
>
> Now, start your WC module, set it to 44.1kHz, then power up the MECs, then
> go to C://Program Files/EMU/Paris and boot Paris from the Paris.exe file.
>
> When Paris opens, set the sync source of the project to Word Clock and set
> the project sample rate to 48kHz (it is extremely important that you use
> 48kHz-Paris won't properly lock to external WC without this)
>
> Now save the project to C://Program Files/EMU/Paris under the name
> "default
> project" (no quotes). Now also save this default project to you desktop
> (do
> not just use it as a shortcut-the one in the C://Program Files/EMU/Paris
> is
> a backup in case the one on your desktop gets corrupted).
>
> Now close Paris and reboot your machine. You can now launch Paris from the
> default project on your desktop and it should sync reliably. don't worry
> about this being set to 48kHz. Just open one of your existing projects
> that
> is 44.1kHz and you should be good to go.
>
> I've been doing this for a long time. I've got 3 x MEC, 3 x RME HDSP cards
> (96 x lightpipe I/O plus 6 x spdif I/O), a Lexicon PC90, a POD Pro, a
> Quantec Yardstick and a TC Electonics D2 all receiving sync from a Mytek
> WC
> distributed through two Lucid WC distro boxes and routed in and out of
> digital patchbays. None of this worked reliably until I set my Paris
> default
> project to 48kHz. Now Paris and all this other stuff locks up just fine
> but
> you these hoops are necessary to jump through if you want Paris to
> reliably
> sync to an external clock.
>
> Regards,
>
> Deej
>
>
>
> "Steve Cox" <stevec1@charter.net> wrote in message
> news:443f022f$1@linux...
>>
>> You'll probably read this and say "he's just not gettn' it" Buuuut....
> Here's
>> the wire scheme and hopfully explain. My master word clock has four BNC
> outs.
>> One cable going to #one MEC's input, Two cable going to #2 MEC's input
> Three
>> cable going to the digital console, and Four cable going to the eight ch.
>> mic pre. Sooo with both ins on the MECs being taken up, I can't really
>> run
>> a jumper from the out of MEC #1 to the in of MEC #3, because the in on
>> MEC
>> #3 is already taken up by the master word clock. I don't want to daisy
> chain
>> the MECs. It defeats the whole reason for having 4 ports on a master
> wordclock.
>> But thanks for the thought.
>>
>> EK Sound <askme@nospam.com> wrote:
>> >What I was refering to was feeding the WC from the external generator
>> >to your master MEC, then connecting a short BNC cable from the master
>> >MEC to the slave MEC (assuming both MEC's are connected to EDS cards
>> >in ONE computer). The two MEC's will clock quite happily this way,
>> >and will be more stable (by my experience) than feeding them both
>> >directly from the WC gen. If you had 3+ MEC's, you would have to
>> >connect WC directly to each unit and place the "Use house sync" line
>> >into the Paris config file.
>> >
>> >David.
>> >
>> >Steve Cox wrote:
>> >> You can't. There is only one in and one out on each MEC. I need to
>> >> have
>> both
>> >> ins tied up with the master word clock or I will have pops n' snaps
> galore.
>> >> People hate hearing that in their headphones, and I really don't care
>> to
>> >> spend the time snipping them out. With all the digital equipment, they
>> all
>> >> have to be controled by one clock source. What you are suggesting
>> >> would
>> be
>> >> fine if I was ITB, but I am not. I have a motorized fader Digital
> console,
>> >> Eight ch. mic pres, and two MECs. The whole idea behind having a
>> >> master
>> word
>> >> clock is to stablize all your gear to 44.1 coming from one source.(my
>> choice)Right??
>> >> Steve not the art guy
>> >>
>> >> EK Sound <askme@nospam.com> wrote:
>> >>
>> >>>Seriously Steve... try looping from one MEC to the other.
>> >>>
>> >>>David.
>> >>>
>> >>>Steve Cox wrote:
>> >>>
>> >>>
>> >>>>The reason I have the master word clock is because of the DA7 Digital
>> >>
>> >> 32 channel
>> >>
>> >>>>board, an 8 ch. mic pre, and 2 MECs. All locked in at 44.1
>> >>>>Steve
>> >>>>
>> >>>>"Kim" <hiddensounds@hotmail.com> wrote:
>> >>>>
>> >>>>
>> >>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>> >>>>>
>> >>>>>
>> >>>>>>huh??? have another beer mate! ;-)
>> >>>>>
>> >>>>>Well I'm assuming he's running the wordclock to both MEC's...?
> ...isn't
>> >>>>>that OK?
>> >>>>>
>> >>>>>...or am I missing something?
>> >>>>>
>> >>>>>...I mean I've never used Wordclock, so I'm only speaking from what
>> I've
>> >>>>>read here, but after reading 500 posts on the subject I kinda
>> >>>>>thought
>> >>
>> >> I
>> >>
>> >>>>had
>> >>>>
>> >>>>
>> >>>>>the idea. ;o)
>> >>>>>
>> >>>>>Cheers,
>> >>>>>Kim.
>> >>>>>
>> >>>>>
>> >>>>>
>> >>>>>>David.
>> >>>>>>
>> >>>>>>Kim wrote:
>> >>>>>>
>> >>>>>>
>> >>>>>>
>> >>>>>>>Correct. If you're losing wordclock that will be fine.
>> >>>>>>>
>> >>>>>>>Cheers,
>> >>>>>>>Kim.
>> >>>>>>>
>> >>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
>> >>>>>>>
>> >>>>>>>
>> >>>>>>>
>> >>>>>>>>Not sure if it matters, but I don't really need to bnc the 2 mecs
>> together
>> >>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word clock
> sends,
>> >>>>>
>> >>>>>I
>> >>>>>
>> >>>>>
>> >>>>>>>have
>> >>>>>>>
>> >>>>>>>
>> >>>>>>>
>> >>>>>>>>everything set to 44.1 And I use a Ramsa DA7 motorized fader
> digital
>> >>>>
>> >>>>console
>> >>>>
>> >>>>
>> >>>>>>>>for input, also set for 44.1
>> >>>>>>>>
>> >>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>> >>>>>>>>
>> >>>>>>>>
>> >>>>>>>>
>> >>>>>>>>>Don't do as I say, do as I think! ;-)
>> >>>>>>>>>
>> >>>>>>>>>David.
>> >>>>>>>>>
>> >>>>>>>>>Kim wrote:
>> >>>>>>>>>
>> >>>>>>>>>
>> >>>>>>>>>
>> >>>>>>>>>
>> >>>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>> >>>>>>>>>>
>> >>>>>>>>>>
>> >>>>>>>>>>
>> >>>>>>>>>>
>> >>>>>>>>>>>one connected to Card A (default
>> >>>>>>>>>>>master) and as Tom mentioned, one MEC connected to the *last
>> >>>>>>>>>>>EDS card*
>> >>>>>>>>>>
>> >>>>>>>>>>
>> >>>>>>>>>>You should also note that "last EDS card" refers to "whichever
>> card
>> >>>>>
>> >>>>>has
>> >>>>>
>> >>>>>
>> >>>>>>>>the
>> >>>>>>>>
>> >>>>>>>>
>> >>>>>>>>
>> >>>>>>>>>>last designation". It does not refer to anything to do with
> their
>> >>
>> >> physical
>> >>
>> >>>>>>>>>>location in your machine. Which one is last in a given machine
>> with
>> >>>>>
>> >>>>>a
>> >>>>>
>
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65515 is a reply to message #65513] |
Sat, 18 March 2006 12:16 |
Tom Bruhl
Messages: 1368
Registered: June 2007
|
Senior Member |
|
|
>
"Aaron Allen" <nospam@not_here.dude> wrote in message news:44414699@linux...
> Deej, have you noticed if it makes any difference *where* in the file you
> put the house sync text? I'm wondering if that has any effect upon the
load
> order/stability of initializing Paris, or if you've played with that as an
> option?
>
> AA
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:44413bc5@linux...
> > Steve,
> >
> > If you are using 3 x MECs, then this is how to get you system to work.
> > follow these steps exactly:
> >
> > Use good quality BNC cables to run from your AArdsync to the MECs. the
> > shorter, the better.
> >
> > Terminate the BNC outputs of each MEC with 75ohm terminator caps.
> >
> > Now go to C://Program Files/EMU/Paris and add the following line to the
> > Paris .cfg file:
> >
> > UseHouseSync=1
> >
> > Save the .cfg file and reboot your machine.
> >
> > Now, start your WC module, set it to 44.1kHz, then power up the MECs,
then
> > go to C://Program Files/EMU/Paris and boot Paris from the Paris.exe
file.
> >
> > When Paris opens, set the sync source of the project to Word Clock and
set
> > the project sample rate to 48kHz (it is extremely important that you use
> > 48kHz-Paris won't properly lock to external WC without this)
> >
> > Now save the project to C://Program Files/EMU/Paris under the name
> > "default
> > project" (no quotes). Now also save this default project to you desktop
> > (do
> > not just use it as a shortcut-the one in the C://Program Files/EMU/Paris
> > is
> > a backup in case the one on your desktop gets corrupted).
> >
> > Now close Paris and reboot your machine. You can now launch Paris from
the
> > default project on your desktop and it should sync reliably. don't worry
> > about this being set to 48kHz. Just open one of your existing projects
> > that
> > is 44.1kHz and you should be good to go.
> >
> > I've been doing this for a long time. I've got 3 x MEC, 3 x RME HDSP
cards
> > (96 x lightpipe I/O plus 6 x spdif I/O), a Lexicon PC90, a POD Pro, a
> > Quantec Yardstick and a TC Electonics D2 all receiving sync from a Mytek
> > WC
> > distributed through two Lucid WC distro boxes and routed in and out of
> > digital patchbays. None of this worked reliably until I set my Paris
> > default
> > project to 48kHz. Now Paris and all this other stuff locks up just fine
> > but
> > you these hoops are necessary to jump through if you want Paris to
> > reliably
> > sync to an external clock.
> >
> > Regards,
> >
> > Deej
> >
> >
> >
> > "Steve Cox" <stevec1@charter.net> wrote in message
> > news:443f022f$1@linux...
> >>
> >> You'll probably read this and say "he's just not gettn' it" Buuuut....
> > Here's
> >> the wire scheme and hopfully explain. My master word clock has four BNC
> > outs.
> >> One cable going to #one MEC's input, Two cable going to #2 MEC's input
> > Three
> >> cable going to the digital console, and Four cable going to the eight
ch.
> >> mic pre. Sooo with both ins on the MECs being taken up, I can't really
> >> run
> >> a jumper from the out of MEC #1 to the in of MEC #3, because the in on
> >> MEC
> >> #3 is already taken up by the master word clock. I don't want to daisy
> > chain
> >> the MECs. It defeats the whole reason for having 4 ports on a master
> > wordclock.
> >> But thanks for the thought.
> >>
> >> EK Sound <askme@nospam.com> wrote:
> >> >What I was refering to was feeding the WC from the external generator
> >> >to your master MEC, then connecting a short BNC cable from the master
> >> >MEC to the slave MEC (assuming both MEC's are connected to EDS cards
> >> >in ONE computer). The two MEC's will clock quite happily this way,
> >> >and will be more stable (by my experience) than feeding them both
> >> >directly from the WC gen. If you had 3+ MEC's, you would have to
> >> >connect WC directly to each unit and place the "Use house sync" line
> >> >into the Paris config file.
> >> >
> >> >David.
> >> >
> >> >Steve Cox wrote:
> >> >> You can't. There is only one in and one out on each MEC. I need to
> >> >> have
> >> both
> >> >> ins tied up with the master word clock or I will have pops n' snaps
> > galore.
> >> >> People hate hearing that in their headphones, and I really don't
care
> >> to
> >> >> spend the time snipping them out. With all the digital equipment,
they
> >> all
> >> >> have to be controled by one clock source. What you are suggesting
> >> >> would
> >> be
> >> >> fine if I was ITB, but I am not. I have a motorized fader Digital
> > console,
> >> >> Eight ch. mic pres, and two MECs. The whole idea behind having a
> >> >> master
> >> word
> >> >> clock is to stablize all your gear to 44.1 coming from one
source.(my
> >> choice)Right??
> >> >> Steve not the art guy
> >> >>
> >> >> EK Sound <askme@nospam.com> wrote:
> >> >>
> >> >>>Seriously Steve... try looping from one MEC to the other.
> >> >>>
> >> >>>David.
> >> >>>
> >> >>>Steve Cox wrote:
> >> >>>
> >> >>>
> >> >>>>The reason I have the master word clock is because of the DA7
Digital
> >> >>
> >> >> 32 channel
> >> >>
> >> >>>>board, an 8 ch. mic pre, and 2 MECs. All locked in at 44.1
> >> >>>>Steve
> >> >>>>
> >> >>>>"Kim" <hiddensounds@hotmail.com> wrote:
> >> >>>>
> >> >>>>
> >> >>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >> >>>>>
> >> >>>>>
> >> >>>>>>huh??? have another beer mate! ;-)
> >> >>>>>
> >> >>>>>Well I'm assuming he's running the wordclock to both MEC's...?
> > ...isn't
> >> >>>>>that OK?
> >> >>>>>
> >> >>>>>...or am I missing something?
> >> >>>>>
> >> >>>>>...I mean I've never used Wordclock, so I'm only speaking from
what
> >> I've
> >> >>>>>read here, but after reading 500 posts on the subject I kinda
> >> >>>>>thought
> >> >>
> >> >> I
> >> >>
> >> >>>>had
> >> >>>>
> >> >>>>
> >> >>>>>the idea. ;o)
> >> >>>>>
> >> >>>>>Cheers,
> >> >>>>>Kim.
> >> >>>>>
> >> >>>>>
> >> >>>>>
> >> >>>>>>David.
> >> >>>>>>
> >> >>>>>>Kim wrote:
> >> >>>>>>
> >> >>>>>>
> >> >>>>>>
> >> >>>>>>>Correct. If you're losing wordclock that will be fine.
> >> >>>>>>>
> >> >>>>>>>Cheers,
> >> >>>>>>>Kim.
> >> >>>>>>>
> >> >>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
> >> >>>>>>>
> >> >>>>>>>
> >> >>>>>>>
> >> >>>>>>>>Not sure if it matters, but I don't really need to bnc the 2
mecs
> >> together
> >> >>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word clock
> > sends,
> >> >>>>>
> >> >>>>>I
> >> >>>>>
> >> >>>>>
> >> >>>>>>>have
> >> >>>>>>>
> >> >>>>>>>
> >> >>>>>>>
> >> >>>>>>>>everything set to 44.1 And I use a Ramsa DA7 motorized fader
> > digital
> >> >>>>
> >> >>>>console
> >> >>>>
> >> >>>>
> >> >>>>>>>>for input, also set for 44.1
> >> >>>>>>>>
> >> >>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>>Don't do as I say, do as I think! ;-)
> >> >>>>>>>>>
> >> >>>>>>>>>David.
> >> >>>>>>>>>
> >> >>>>>>>>>Kim wrote:
> >> >>>>>>>>>
> >> >>>>>>>>>
> >> >>>>>>>>>
> >> >>>>>>>>>
> >> >>>>>>>>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >> >>>>>>>>>>
> >> >>>>>>>>>>
> >> >>>>>>>>>>
> >> >>>>>>>>>>
> >> >>>>>>>>>>>one connected to Card A (default
> >> >>>>>>>>>>>master) and as Tom mentioned, one MEC connected to the *last
> >> >>>>>>>>>>>EDS card*
> >> >>>>>>>>>>
> >> >>>>>>>>>>
> >> >>>>>>>>>>You should also note that "last EDS card" refers to
"whichever
> >> card
> >> >>>>>
> >> >>>>>has
> >> >>>>>
> >> >>>>>
> >> >>>>>>>>the
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>>>last designation". It does not refer to anything to do with
> > their
> >> >>
> >> >> physical
> >> >>
> >> >>>>>>>>>>location in your machine. Which one is last in a given
machine
> >> with
> >> >>>>>
> >> >>>>>a
> >> >>>>>
> >> >>>>>
> >> >>>>>>>>given
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>>>OS is almost impossible to predict. You will have to
experiment
> >> to
> >> >>>>
> >> >>>>work
> >> >>>>
> >> >>>>
> >> >>>>>>>>it
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>
> >> >>>>>>>>>>out.
> >> >>>>>>>>>>
> >> >>>>>>>>>>But the interfaces need to be on card A and card C in your
> >> >>>>>>>>>>case,
> >> >>
> >> >> as
> >> >>
> >> >>>>>decided
> >> >>>>>
> >> >>>>>
> >> >>>>>>>>>>by the Paris software.
> >> >>>>>>>>>>
> >> >>>>>>>>>>Cheers,
> >> >>>>>>>>>>Kim.
> >> >>>>>>>>
> >> >>
> >>
> >
> >
>
>
> I choose Polesoft Lockspam to fight spam, and you?
> http://www.polesoft.com/refer.html
>
>I was reading some recent posts on the gearslutz site and
came across one where although Brian T uses nuendo and they
also have pthd lying arond he still has paris hooked up in
a summing configuration for certain types of music.
I believe he referred to paris as his "secret weapon"by now it'll be used for beer and breasts...
On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>Hey Steve
>
>the UPs for the forum server bit the big one so Kim asked for voluntary
>donations at:
>
>http://news.parisnewsgroup.com/
>
>Hit the donations button. It will take you directly to his Paypal Account
>
>Don
>
>
>"Steve Cox" <stevec1@charter.net> wrote in message news:44410432$1@linux...
>>
>> Kim,
>> I haven't been watching the posts so much lately. If I knew what this was
>> about, I would probably donate. Is it something for the forum??
>> Steve Cox
>>
>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>
>>>>
>>>>
>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>
>>>>But it's in the building. :o) There was a line at the store out on to the
>>>>street. Business is booming in computer parts on the Easter weekend. I
>> got
>>>>it though, and it's unpacked. Now I've gotta load up some software and
>> see
>>>>what I need to tweak before I put it in service.
>>>>
>>>>Thank you again to all the people who donated. Excellent work. And you'll
>>>>note we've had no outages since the server has been taken off the UPS and
>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have even
>>>>less... or, well, not less than none of course, but, oh you know what
>> I
>>>>mean! ;o)
>>>>
>>>Kim,
>>>
>>>I've been swamped and forgetful the last week or so... I will paypal a
>>>little to help the cause later today.
>>>
>>>D'oh!
>>>
>>>pab
>>
>never had fun or alternative life experiences with cafeeeeeeeeeeen
but....i'm not you...you crazy guy you.
On Sat, 15 Apr 2006 12:24:43 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>We gave up and are back home now.......We had a windstorm last night and
>this morning it is snowing. Crashbasket had an anxiety attack during the
>windstorm and I've been up all night. I'm getting ready to start drinking
>mass quantities of coffee so you guys get ready. No telling what will happen
>once I start the caffiene hallucinations
>
>;O)
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:ehf142tbetko8uajl6m7tvnf2n2j8hqao2@4ax.com...
>> wearing those dark glasses to hide the...well you know...is a good
>> idea you crazy man you.
>>
>> On Fri, 14 Apr 2006 10:48:01 -0600, "DJ"
>> <animix_spam-this-ahole_@animas.net> wrote:
>>
>> >we're on his trail now......somehow I think it's gonna be a long walk
>> >
>> >
>> >"rick" <parnell68@hotmail.com> wrote in message
>> >news:f3fv32paettooao0ug688q54tbk327efrg@4ax.com...
>> >> oh douglas just doesn't want people to think he's stalking them
>> >> because of that last "incident". so he just stands there pretending
>> >> not to notice...it's really kinda sad.
>> >>
>> >>
>> >>
>> >> On 14 Apr 2006 08:11:17 +1000, "steve the artguy"
>> >> <artguy@longtimenosee.net> wrote:
>> >>
>> >> >
>> >> >Douglas-
>> >> >
>> >> >Let me see. Hmm. It seems like I have been here:
>> >> >
>> >> >
>> >> >
>> >> >
>> >> >
>> >> >
>> >> >"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >> >> Where on earth have you been? I was getting ready to put the dogs on
>> >your
>> >> >>trail
>> >> >>
>> >> >>;oP
>> >> >>
>> >> >>
>> >> >>"steve the artguy" <artguy@longtimenosee.net> wrote in message
>> >> >>news:443d4fad$1@linux...
>> >> >>>
>> >> >>> "Neil" <OIUOIU@OI.com> wrote:
>> >> >>> >
>> >> >>> >
>> >> >>> >And if I may add, this place is great for getting advice or
>> >> >>> >opinions on more than just "systems"... there's a great wealth
>> >> >>> >of knowledge here on audio in general, and that's - personally -
>> >> >>> >why I prefer to hang here more than any other audio forum.
>> >> >>> >
>> >> >>>
>> >> >>> Yes, Neil!
>> >> >>>
>> >> >>> This is the key. There is more knowledge per square monitor inch
>here
>> >> >than
>> >> >>> any other online spot I've found.
>> >> >>>
>> >> >>> There seems to be someone here knows just about ANYTHING about
>> >ANYTHING.
>> >> >>> I wish I had the time to be here as much as I used to be. But I
>still
>> >> >scan
>> >> >>> the posts as often as possible.
>> >> >>>
>> >> >>> -steve
>> >> >>
>> >> >>
>> >>
>> >
>>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:44413dee$1@linux...
> Clavis dDrums are supposed to be great stuff, and as I said, they can be
> mapped to BFD if you want ultimate realism, though I hear the sample sets
> for dDrums are reall great as well. I played around on a big Roland VDrum
> kit at GC in Phoenix last summer. I sounded *very* realistic......and I
> mean.......*very*.
>
>>
That was my initial impression of the VDrums (TD10) until I actually had to
record with them
the final verdict....Donkey Balls
Great for practice or rehearsal.
BDF or DKFH are a great way to go, but you'll need horsepower in your rig
for accurate triggering from what I hear...
The ddrum module (from what I've heard) is probably the most realistic
module but the pads and # of inputs is limited.
Don"DC" <dc@spamthemoon.com> wrote:
>
>"Jesse Skeens" <jskeens@gmail.com> wrote:
>
>>But we can measure bits in digital audio just fine? I mean whats the mystery.
>> If all the sound is made up of its bit values and we should two files
to
>>have the same values what possibly could make them sound different?
>
>
>Ever seen the code for a word processor, let alone a DAW?
>
>Oh yeah, that's simple...
>
>So you do a cancel at one point in the process and then tell
>yourself something you can hear is not real?
>
>We hear better than we can measure. That may change someday
>but it ain't here yet.
The complexity of code in a DAW has no bearing on the fact that an audio
file is just 1's and 0's. At the level that a DAW reads those values two
files with the same set of values should read exactly the same by the DAW,
theres no way for it to see a difference.
>>There's
>>no other hidden value to account for that. We know this becuase we designed
>>the systems that record and playback the sound based on a fairly simple
>scheme.
>> Record audio as numbers and play those numbers back. IF the numbers match
>>then what could possibly make them not the same?
>
>
>Now what happens when something IS different? If you can't
>answer the above question do you convince yourself that you are
>hearing things? ARE you hearing things?
>
>How you answer those questions will determine if you are an audio
>engineer or an IT guy.
So I have to be either or? If you hear something different then your mind
is probably fooling you. Theres many variables at play, you'd have to examime
each case induvidually. It's hard to just sit here and making sweeping statements
without looking at the details.Still a worthy investment.
Don
"rick" <parnell68@hotmail.com> wrote in message
news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
> by now it'll be used for beer and breasts...
>
> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>
>>Hey Steve
>>
>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>donations at:
>>
>>http://news.parisnewsgroup.com/
>>
>>Hit the donations button. It will take you directly to his Paypal Account
>>
>>Don
>>
>>
>>"Steve Cox" <stevec1@charter.net> wrote in message
>>news:44410432$1@linux...
>>>
>>> Kim,
>>> I haven't been watching the posts so much lately. If I knew what this
>>> was
>>> about, I would probably donate. Is it something for the forum??
>>> Steve Cox
>>>
>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>
>>>>>
>>>>>
>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>
>>>>>But it's in the building. :o) There was a line at the store out on to
>>>>>the
>>>>>street. Business is booming in computer parts on the Easter weekend. I
>>> got
>>>>>it though, and it's unpacked. Now I've gotta load up some software and
>>> see
>>>>>what I need to tweak before I put it in service.
>>>>>
>>>>>Thank you again to all the people who donated. Excellent work. And
>>>>>you'll
>>>>>note we've had no outages since the server has been taken off the UPS
>>>>>and
>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>>>>>even
>>>>>less... or, well, not less than none of course, but, oh you know what
>>> I
>>>>>mean! ;o)
>>>>>
>>>>Kim,
>>>>
>>>>I've been swamped and forgetful the last week or so... I will paypal a
>>>>little to help the cause later today.
>>>>
>>>>D'oh!
>>>>
>>>>pab
>>>
>>
>Donkey balls?????.....yiikes!!!!!.......donkey balls????
;o)
"Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:44413dee$1@linux...
> > Clavis dDrums are supposed to be great stuff, and as I said, they can be
> > mapped to BFD if you want ultimate realism, though I hear the sample
sets
> > for dDrums are reall great as well. I played around on a big Roland
VDrum
> > kit at GC in Phoenix last summer. I sounded *very* realistic......and I
> > mean.......*very*.
> >
> >>
>
> That was my initial impression of the VDrums (TD10) until I actually had
to
> record with them
>
> the final verdict....Donkey Balls
>
> Great for practice or rehearsal.
>
> BDF or DKFH are a great way to go, but you'll need horsepower in your rig
> for accurate triggering from what I hear...
>
> The ddrum module (from what I've heard) is probably the most realistic
> module but the pads and # of inputs is limited.
>
> Don
>
>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>He doesn't have to worry about that... I'll be phoning him! ;-)
Ah, but if I get an email warning I'll sometimes be able to fix the problem
before the server even goes out! :o)
Cheers,
Kim.
>
>David.
>
>Aaron Allen wrote:
>> If you can get business edition on it, you'll LOVE it. It even emails
you
>> when things get out of whack.
>> AA
>>
>> "Kim" <hiddensounds@hotmail.com> wrote in message news:44409620$1@linux...
>>
>>>
>>>This is the one:
>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=BR1500I&full_sku=BR1500I%20%2B%20%281%29BR24BP
>>>
>>>PowerChute Personal Edition v1.5 is on this here disk. Why do you ask.
>>>
>>>Cheers,
>>>Kim.
>>>
>>>"Aaron Allen" <nospam@not_here.dude> wrote:
>>>
>>>>
>>>>Not sure about the Aussie version, but the US one is:
>>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSUA1500=
>>>>X413
>>>>
>>>>Kim, what version of Power Chute did that come with bro?
>>>>
>>>>AA
>>>>
>>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>>>>news:444090bc@linux...
>>>> Kim,
>>>> Looks cool. Post a liink to it's specs. =20
>>>> I'm curious.
>>>> Tom
>>>>
>>>> "Kim" <hiddensounds@hotmail.com> wrote in message =
>>>>news:444089fb$1@linux...
>>>>
>>>>
>>>> Not quite in service yet. It has to charge for 8 hours first.
>>>>
>>>> But it's in the building. :o) There was a line at the store out on
=
>>>>to the
>>>> street. Business is booming in computer parts on the Easter weekend.
>>>
>>>=
>>>
>>>>I got
>>>> it though, and it's unpacked. Now I've gotta load up some software
=
>>>>and see
>>>> what I need to tweak before I put it in service.
>>>>
>>>> Thank you again to all the people who donated. Excellent work. And
=
>>>>you'll
>>>> note we've had no outages since the server has been taken off the
=
>>>>UPS and
>>>> plugged into mains. :o) And hopefully once the UPS is on we'll have
>>>
>>>=
>>>
>>>>even
>>>> less... or, well, not less than none of course, but, oh you know
=
>>>>what I
>>>> mean! ;o)
>>>>
>>>> Cheers,
>>>> Kim.
>>>>
>>>>
>>>>I choose Polesoft Lockspam to fight spam, and you?
>>>>http://www.polesoft.com/refer.html
>>>>
>>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
>>>><HTML><HEAD>
>>>><META http-equiv=3DContent-Type content=3D"text/html; =
>>>>charset=3Diso-8859-1">
>>>><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
>>>><STYLE></STYLE>
>>>></HEAD>
>>>><BODY bgColor=3D#ffffff>
>>>><DIV><FONT face=3DArial size=3D2>Not sure about the Aussie version, but
>>>
>>>=
>>>
>>>>the US one=20
>>>>is:<BR><A=20
>>>>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>>>>SUA1500X413"> http://www.apc.com/resource/include/techspec_index.cfm?base_ =
>>>>sku=3DSUA1500X413</A></FONT></DIV>
>>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>>><DIV><FONT face=3DArial size=3D2>Kim, what version of Power Chute did
=
>>>>that come with=20
>>>>bro?</FONT></DIV>
>>>><DIV> </DIV>
>>>><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
>>>><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
>>>><BLOCKQUOTE dir=3Dltr=20
>>>>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Tom Bruhl" <<A=20
>>>> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>>>>in message=20
>>>> <A href=3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
>>>> <DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
>>>> <DIV><FONT face=3DArial size=3D2>Looks cool. Post a liink to =
>>>>it's=20
>>>> specs. </FONT></DIV>
>>>> <DIV><FONT face=3DArial size=3D2>I'm curious.</FONT></DIV>
>>>> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
>>>> <DIV> </DIV>
>>>> <BLOCKQUOTE=20
>>>> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
>>>> <DIV>"Kim" <<A=20
>>>> =
>>>>href=3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</A>>=
>>>>=20
>>>> wrote in message <A=20
>>>> =
>>>>href=3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><BR><BR>=
>>>>Not=20
>>>> quite in service yet. It has to charge for 8 hours first.<BR><BR>But
>>>
>>>=
>>>
>>>>it's in=20
>>>> the building. :o) There was a line at the store out on to =
>>>>the<BR>street.=20
>>>> Business is booming in computer parts on the Easter weekend. I =
>>>>got<BR>it=20
>>>> though, and it's unpacked. Now I've gotta load up some software and=20
>>>> see<BR>what I need to tweak before I put it in service.<BR><BR>Thank
>>>
>>>=
>>>
>>>>you=20
>>>> again to all the people who donated. Excellent work. And =
>>>>you'll<BR>note=20
>>>> we've had no outages since the server has been taken off the UPS=20
>>>> and<BR>plugged into mains. :o) And hopefully once the UPS is on =
>>>>we'll have=20
>>>> even<BR>less... or, well, not less than none of course, but, =
>>>>oh you=20
>>>> know what I<BR>mean! =
>>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
>>>><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam,
=
>>>>and=20
>>>>you?<BR><A=20
>>>>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>>>>.html</A> </FONT></DIV></BODY></HTML>
>>>>
>>>>
>>
>>I can get an extra battery pack for the UPS for $270 Australian (about $200US).
Hence if the amount starts getting close to that I'll go and buy one. There
are a couple of donations already in the kitty for that.
The extra battery pack will give us 3x the backup time. I suspect backup
time as it stands will be about an hour at a guess, so we should get about
3 hours with the extra battery. I'm completely guessing on the times though.
Cheers,
Kim.
"Don Nafe" <dnafe@magma.ca> wrote:
>Still a worthy investment.
>
>Don
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>> by now it'll be used for beer and breasts...
>>
>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>
>>>Hey Steve
>>>
>>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>>donations at:
>>>
>>>http://news.parisnewsgroup.com/
>>>
>>>Hit the donations button. It will take you directly to his Paypal Account
>>>
>>>Don
>>>
>>>
>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>news:44410432$1@linux...
>>>>
>>>> Kim,
>>>> I haven't been watching the posts so much lately. If I knew what this
>>>> was
>>>> about, I would probably donate. Is it something for the forum??
>>>> Steve Cox
>>>>
>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>>
>>>>>>
>>>>>>
>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>
>>>>>>But it's in the building. :o) There was a line at the store out on
to
>>>>>>the
>>>>>>street. Business is booming in computer parts on the Easter weekend.
I
>>>> got
>>>>>>it though, and it's unpacked. Now I've gotta load up some software
and
>>>> see
>>>>>>what I need to tweak before I put it in service.
>>>>>>
>>>>>>Thank you again to all the people who donated. Excellent work. And
>>>>>>you'll
>>>>>>note we've had no outages since the server has been taken off the UPS
>>>>>>and
>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>>>>>>even
>>>>>>less... or, well, not less than none of course, but, oh you know what
>>>> I
>>>>>>mean! ;o)
>>>>>>
>>>>>Kim,
>>>>>
>>>>>I've been swamped and forgetful the last week or so... I will paypal
a
>>>>>little to help the cause later today.
>>>>>
>>>>>D'oh!
>>>>>
>>>>>pab
>>>>
>>>
>>
>
>"Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>interface I can try (From Australia).
I'm in Australia and still use Paris. In Northcote, in Melbourne. What city
are you in?
Though the other guys are right. With two cards you'll need a 442 or an MEC.
442's come up pretty cheap on the for sale site.
And you'll still be able to plug the Interface 2 into the system. There's
a plug in the MEC so that you can piggy back it on to the MEC (I assume the
442 has that as well? Andyone?)
Cheers,
Kim.I thought Kim was planning to come out of the closet...
Don
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:44413e86@linux...
> another planned outrage????......man.......maybe some counselling???
>
>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:4440bcb8$1@linux...
>>
>>
>> I'll install the new UPS 10AM tomorrow morning my time, which is 0:00 GMT
>> to make it easy for everyone.
>>
>> That's 14.5 hours from the time on this post.
>>
>> Should only take 15 minutes or so I imagine...
>>
>> Cheers,
>> Kim.
>
>Not JUST donkey balls Deej....sweaty horned up donkey balls
dcn
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:444169e7$1@linux...
> Donkey balls?????.....yiikes!!!!!.......donkey balls????
>
> ;o)
>
> "Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> news:44413dee$1@linux...
>> > Clavis dDrums are supposed to be great stuff, and as I said, they can
>> > be
>> > mapped to BFD if you want ultimate realism, though I hear the sample
> sets
>> > for dDrums are reall great as well. I played around on a big Roland
> VDrum
>> > kit at GC in Phoenix last summer. I sounded *very* realistic......and I
>> > mean.......*very*.
>> >
>> >>
>>
>> That was my initial impression of the VDrums (TD10) until I actually had
> to
>> record with them
>>
>> the final verdict....Donkey Balls
>>
>> Great for practice or rehearsal.
>>
>> BDF or DKFH are a great way to go, but you'll need horsepower in your rig
>> for accurate triggering from what I hear...
>>
>> The ddrum module (from what I've heard) is probably the most realistic
>> module but the pads and # of inputs is limited.
>>
>> Don
>>
>>
>
>Don't forget to include a sloar powered battery recharger so you battery is
always topped up
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>
>
> I can get an extra battery pack for the UPS for $270 Australian (about
> $200US).
> Hence if the amount starts getting close to that I'll go and buy one.
> There
> are a couple of donations already in the kitty for that.
>
> The extra battery pack will give us 3x the backup time. I suspect backup
> time as it stands will be about an hour at a guess, so we should get about
> 3 hours with the extra battery. I'm completely guessing on the times
> though.
>
> Cheers,
> Kim.
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>Still a worthy investment.
>>
>>Don
>>
>>"rick" <parnell68@hotmail.com> wrote in message
>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>> by now it'll be used for beer and breasts...
>>>
>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>
>>>>Hey Steve
>>>>
>>>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>>>donations at:
>>>>
>>>>http://news.parisnewsgroup.com/
>>>>
>>>>Hit the donations button. It will take you directly to his Paypal
>>>>Account
>>>>
>>>>Don
>>>>
>>>>
>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>news:44410432$1@linux...
>>>>>
>>>>> Kim,
>>>>> I haven't been watching the posts so much lately. If I knew what this
>
>>>>> was
>>>>> about, I would probably donate. Is it something for the forum??
>>>>> Steve Cox
>>>>>
>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>
>>>>>>>But it's in the building. :o) There was a line at the store out on
> to
>>>>>>>the
>>>>>>>street. Business is booming in computer parts on the Easter weekend.
> I
>>>>> got
>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
> and
>>>>> see
>>>>>>>what I need to tweak before I put it in service.
>>>>>>>
>>>>>>>Thank you again to all the people who donated. Excellent work. And
>
>>>>>>>you'll
>>>>>>>note we've had no outages since the server has been taken off the UPS
>
>>>>>>>and
>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>
>>>>>>>even
>>>>>>>less... or, well, not less than none of course, but, oh you know
>>>>>>>what
>>>>> I
>>>>>>>mean! ;o)
>>>>>>>
>>>>>>Kim,
>>>>>>
>>>>>>I've been swamped and forgetful the last week or so... I will paypal
> a
>>>>>>little to help the cause later today.
>>>>>>
>>>>>>D'oh!
>>>>>>
>>>>>>pab
>>>>>
>>>>
>>>
>>
>>
>I'll gladly pony up a few more sheckles if need be
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>
>
> I can get an extra battery pack for the UPS for $270 Australian (about
> $200US).
> Hence if the amount starts getting close to that I'll go and buy one.
> There
> are a couple of donations already in the kitty for that.
>
> The extra battery pack will give us 3x the backup time. I suspect backup
> time as it stands will be about an hour at a guess, so we should get about
> 3 hours with the extra battery. I'm completely guessing on the times
> though.
>
> Cheers,
> Kim.
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>Still a worthy investment.
>>
>>Don
>>
>>"rick" <parnell68@hotmail.com> wrote in message
>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>> by now it'll be used for beer and breasts...
>>>
>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>
>>>>Hey Steve
>>>>
>>>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>>>donations at:
>>>>
>>>>http://news.parisnewsgroup.com/
>>>>
>>>>Hit the donations button. It will take you directly to his Paypal
>>>>Account
>>>>
>>>>Don
>>>>
>>>>
>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>news:44410432$1@linux...
>>>>>
>>>>> Kim,
>>>>> I haven't been watching the posts so much lately. If I knew what this
>
>>>>> was
>>>>> about, I would probably donate. Is it something for the forum??
>>>>> Steve Cox
>>>>>
>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>
>>>>>>>But it's in the building. :o) There was a line at the store out on
> to
>>>>>>>the
>>>>>>>street. Business is booming in computer parts on the Easter weekend.
> I
>>>>> got
>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
> and
>>>>> see
>>>>>>>what I need to tweak before I put it in service.
>>>>>>>
>>>>>>>Thank you again to all the people who donated. Excellent work. And
>
>>>>>>>you'll
>>>>>>>note we've had no outages since the server has been taken off the UPS
>
>>>>>>>and
>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>
>>>>>>>even
>>>>>>>less... or, well, not less than none of course, but, oh you know
>>>>>>>what
>>>>> I
>>>>>>>mean! ;o)
>>>>>>>
>>>>>>Kim,
>>>>>>
>>>>>>I've been swamped and forgetful the last week or so... I will paypal
> a
>>>>>>little to help the cause later today.
>>>>>>
>>>>>>D'oh!
>>>>>>
>>>>>>pab
>>>>>
>>>>
>>>
>>
>>
>For electronic drums: My DDrum 4 kit has taken a serious beating for
years without complaints or failure. I have the cast precision pads
which they don't make anymore but you can find that version of the kit
used on ebay. I've replaced the heads with long lasting mesh heads which
I prefer to the standard drum heads, but you can use either with those
pads. This setup offers positional sensing.
For live I use the internal sounds which are reasonably responsive and
convincing. It was the most convincing electronic set at the time I
chose it. Still one of the best. I recently got a DW/Pacific Chameleon
kit (mesh on one side, regular head on the other) to try with DDrum
triggers. Can use it as an acoustic kit or as a trigger kit.
For recording I sometimes use DDrum samples but more often trigger
Native Intruments' Battery 2 via MIDI to control bigger sample sets (you
can also sample your own sounds for Battery 2). I also use additional
pads through an Alesis D4 so I can trigger my 6 tom, 7 cymbal, plus a
few specials, mondo kit. I built my own extra pads out of Remo practice
pads, old mouse pads and piezo pickups, they've been surprisingly long
lived.
If I were buying a new electronic kit I'd give serious thought to the
Yamaha DTXtremeIIS since it has more trigger inputs than the DDrum4,
plus other useful extra features, at about the same price point. Doesn't
look as well built, though.
A DDrum5 is said to be under development but who knows if or when we'll
see it.
The Roland TD20 is an improvement over their previous efforts but
overpriced.
The Trap Kat always seemed like a cool unit to me. Compact. But I like
my DDrum kit's layout. I ditched the rack and have it mounted on
standard hardware, plays like a regular kit.
Another option: You could build your own pads or throw triggers onto an
acoustic kit; use whatever you want to get trigger-to-MIDI (it wouldn't
have to sound good internally, an old Alesis or Roland, or maybe someone
has done it in software); and then use Battery 2, a general purpose
sampler or one of the preset drum romplers like BFD for your actual
sound library.
Cheers,
-Jamie
http://www.JamieKrutz.com
John wrote:
> I have a Trap Kat drum electronic drum set and think it's time to get a
> new set. This one has 24 pads which allows for a great variety of drum
> sounds but it has no windows program to configure the midi parts of it
> and I have to use an external sound module (my motif keyboard) for the
> sounds. To make matters worse, the sensors fail every 2 years. I've
> had it for 7 years. So every 2 years they want $200 for a new film pad.
>
> So...........
>
> Is there an electronic drum set with lots of pads that is reliable?
> Is there a windows midi interface program for it?
>
> Ideally I want to have a couple thousand drum sounds in a library and be
> able to EASILY build drum sets based on them, then easily switch drum
> sets. I want to be able to easily configure the pan/volumes of each
> drum in the set through a windows midi app. Can this be done? Easily?
> This is 2006 for crying out loud.
>
> Thanks.
> JohnThat's supposed to read solar powered....duh!
dcn
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>
>
> I can get an extra battery pack for the UPS for $270 Australian (about
> $200US).
> Hence if the amount starts getting close to that I'll go and buy one.
> There
> are a couple of donations already in the kitty for that.
>
> The extra battery pack will give us 3x the backup time. I suspect backup
> time as it stands will be about an hour at a guess, so we should get about
> 3 hours with the extra battery. I'm completely guessing on the times
> though.
>
> Cheers,
> Kim.
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>Still a worthy investment.
>>
>>Don
>>
>>"rick" <parnell68@hotmail.com> wrote in message
>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>> by now it'll be used for beer and breasts...
>>>
>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>
>>>>Hey Steve
>>>>
>>>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>>>donations at:
>>>>
>>>>http://news.parisnewsgroup.com/
>>>>
>>>>Hit the donations button. It will take you directly to his Paypal
>>>>Account
>>>>
>>>>Don
>>>>
>>>>
>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>news:44410432$1@linux...
>>>>>
>>>>> Kim,
>>>>> I haven't been watching the posts so much lately. If I knew what this
>
>>>>> was
>>>>> about, I would probably donate. Is it something for the forum??
>>>>> Steve Cox
>>>>>
>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>
>>>>>>>But it's in the building. :o) There was a line at the store out on
> to
>>>>>>>the
>>>>>>>street. Business is booming in computer parts on the Easter weekend.
> I
>>>>> got
>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
> and
>>>>> see
>>>>>>>what I need to tweak before I put it in service.
>>>>>>>
>>>>>>>Thank you again to all the people who donated. Excellent work. And
>
>>>>>>>you'll
>>>>>>>note we've had no outages since the server has been taken off the UPS
>
>>>>>>>and
>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>
>>>>>>>even
>>>>>>>less... or, well, not less than none of course, but, oh you know
>>>>>>>what
>>>>> I
>>>>>>>mean! ;o)
>>>>>>>
>>>>>>Kim,
>>>>>>
>>>>>>I've been swamped and forgetful the last week or so... I will paypal
> a
>>>>>>little to help the cause later today.
>>>>>>
>>>>>>D'oh!
>>>>>>
>>>>>>pab
>>>>>
>>>>
>>>
>>
>>
>And here I was thinking that you were implying that our electricity is slower
than yours... ;o)
"Don Nafe" <dnafe@magma.ca> wrote:
>That's supposed to read solar powered....duh!
>
>dcn
>
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>>
>>
>> I can get an extra battery pack for the UPS for $270 Australian (about
>> $200US).
>> Hence if the amount starts getting close to that I'll go and buy one.
>> There
>> are a couple of donations already in the kitty for that.
>>
>> The extra battery pack will give us 3x the backup time. I suspect backup
>> time as it stands will be about an hour at a guess, so we should get about
>> 3 hours with the extra battery. I'm completely guessing on the times
>> though.
>>
>> Cheers,
>> Kim.
>>
>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>Still a worthy investment.
>>>
>>>Don
>>>
>>>"rick" <parnell68@hotmail.com> wrote in message
>>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>>> by now it'll be used for beer and breasts...
>>>>
>>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>>
>>>>>Hey Steve
>>>>>
>>>>>the UPs for the forum server bit the big one so Kim asked for voluntary
>>>>>donations at:
>>>>>
>>>>>http://news.parisnewsgroup.com/
>>>>>
>>>>>Hit the donations button. It will take you directly to his Paypal
>>>>>Account
>>>>>
>>>>>Don
>>>>>
>>>>>
>>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>>news:44410432$1@linux...
>>>>>>
>>>>>> Kim,
>>>>>> I haven't been watching the posts so much lately. If I knew what this
>>
>>>>>> was
>>>>>> about, I would probably donate. Is it something for the forum??
>>>>>> Steve Cox
>>>>>>
>>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>>
>>>>>>>>But it's in the building. :o) There was a line at the store out on
>> to
>>>>>>>>the
>>>>>>>>street. Business is booming in computer parts on the Easter weekend.
>> I
>>>>>> got
>>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
>> and
>>>>>> see
>>>>>>>>what I need to tweak before I put it in service.
>>>>>>>>
>>>>>>>>Thank you again to all the people who donated. Excellent work. And
>>
>>>>>>>>you'll
>>>>>>>>note we've had no outages since the server has been taken off the
UPS
>>
>>>>>>>>and
>>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>>
>>>>>>>>even
>>>>>>>>less... or, well, not less than none of course, but, oh you know
>>>>>>>>what
>>>>>> I
>>>>>>>>mean! ;o)
>>>>>>>>
>>>>>>>Kim,
>>>>>>>
>>>>>>>I've been swamped and forgetful the last week or so... I will paypal
>> a
>>>>>>>little to help the cause later today.
>>>>>>>
>>>>>>>D'oh!
>>>>>>>
>>>>>>>pab
>>>>>>
>>>>>
>>>>
>>>
>>>
>>
>
>I think for me the Roland blows it on the plastic quality of the drums.. too
processed for me, and I like processing. It's like that decision has already
been made for you and you get no alternative and there is no backing out of
it to a more natural state. Kind of like the POD versus a real amp. Is that
what you're hearing Don?
AA
"Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:44413dee$1@linux...
>> Clavis dDrums are supposed to be great stuff, and as I said, they can be
>> mapped to BFD if you want ultimate realism, though I hear the sample sets
>> for dDrums are reall great as well. I played around on a big Roland VDrum
>> kit at GC in Phoenix last summer. I sounded *very* realistic......and I
>> mean.......*very*.
>>
>>>
>
> That was my initial impression of the VDrums (TD10) until I actually had
> to record with them
>
> the final verdict....Donkey Balls
>
> Great for practice or rehearsal.
>
> BDF or DKFH are a great way to go, but you'll need horsepower in your rig
> for accurate triggering from what I hear...
>
> The ddrum module (from what I've heard) is probably the most realistic
> module but the pads and # of inputs is limited.
>
> Don
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlCorrect, 442 has that option as well. I used one for years w/o any hassles.
AA
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416ece$1@linux...
>
> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>interface I can try (From Australia).
>
> I'm in Australia and still use Paris. In Northcote, in Melbourne. What
> city
> are you in?
>
> Though the other guys are right. With two cards you'll need a 442 or an
> MEC.
> 442's come up pretty cheap on the for sale site.
>
> And you'll still be able to plug the Interface 2 into the system. There's
> a plug in the MEC so that you can piggy back it on to the MEC (I assume
> the
> 442 has that as well? Andyone?)
>
> Cheers,
> Kim.
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlFrom what I can tell on the site, this only works with Smart-UPS which doesn't
include mine.
Bummer. Sounds good though.
Cheers,
Kim.
"Aaron Allen" <nospam@not_here.dude> wrote:
>
>
>well, stink. That URL didn't come out at all.. lemme try this again:
>
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
>04&tab=3Dfeatures
>
>Must be tax season eroding my brain.=20
>AA
> "Aaron Allen" <nospam@not_here.dude> wrote in message =
>news:44413e8f@linux...
> Here you go Kim, contact them to see if your UPS is compatible with =
>this package:
>
> =
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
>04
>
> Compatibility
> Operating system compatibility Version 7.0.4
>
> Windows=AE XP SP2 Professional=20
> Windows=AE 2000 SP4 Server/Professional/Advanced Server=20
> Windows=AE 2003 Standard/Enterprise/Web/Small Business Server=20
> Windows=AE Server 2003=20
>
> Red Hat=AE Linux=AE Personal/Professional 7.3, 8.0, 9.0=20
> Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; WS
=
>3.0, 4.0=20
> Turbolinux=AE Server 8, 10=20
> SUSE=AE LINUX=AE Professional 8.2, 9.0, 9.1=20
>
> Novell=AE Netware=AE 6.0, 6.5=20
> SolarisT 8,9
>
> AA
>
>
> "Kim" <hiddensounds@hotmail.com> wrote in message =
>news:4440a120$1@linux...
> >=20
> >=20
> > The complication is that the server runs Linux, and hence I can't =
>load the
> > software on it, and it's the only box that plugs in to the UPS, so =
>there's
> > no box which could run this software and warn me. Unless there's a =
>Linux
> > version on there, but there's no mention of it on the disk.
> >=20
> > So it's really going to be a case of loading the software on my =
>windows laptop
> > and configuring the UPS to act like I want it to, and then leaving =
>it to
> > do it's thing unfortunately. An email would be fantastic if I could
=
>make
> > it work though.=20
> >=20
> > I should check the Linux community and see if they've made anything
=
>which
> > will work on it. Seeing as how major UPS players aren't producing =
>Linux software,
> > I'd make a guess that the Linux community has a solution.
> >=20
> > Cheers,
> > Kim.
> >=20
> > "Aaron Allen" <nospam@not_here.dude> wrote:
> >>If you can get business edition on it, you'll LOVE it. It even =
>emails you
> >=20
> >>when things get out of whack.
> >>AA
> >>
> >>"Kim" <hiddensounds@hotmail.com> wrote in message =
>news:44409620$1@linux...
> >>>
> >>>
> >>> This is the one:
> >>> =
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
>&full_sku=3DBR1500I%20%2B%20%281%29BR24BP
> >>>
> >>> PowerChute Personal Edition v1.5 is on this here disk. Why do you
=
>ask.
> >>>
> >>> Cheers,
> >>> Kim.
> >>>
> >>> "Aaron Allen" <nospam@not_here.dude> wrote:
> >>>>
> >>>>
> >>>>Not sure about the Aussie version, but the US one is:
> =
>>>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D3DS=
>UA1500=3D
> >>>>X413
> >>>>
> >>>>Kim, what version of Power Chute did that come with bro?
> >>>>
> >>>>AA
> >>>>
> >>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =3D
> >>>>news:444090bc@linux...
> >>>> Kim,
> >>>> Looks cool. Post a liink to it's specs. =3D20
> >>>> I'm curious.
> >>>> Tom
> >>>>
> >>>> "Kim" <hiddensounds@hotmail.com> wrote in message =3D
> >>>>news:444089fb$1@linux...
> >>>>
> >>>>
> >>>> Not quite in service yet. It has to charge for 8 hours first.
> >>>>
> >>>> But it's in the building. :o) There was a line at the store =
>out on
> > =3D
> >>>>to the
> >>>> street. Business is booming in computer parts on the Easter =
>weekend.
> >>> =3D
> >>>>I got
> >>>> it though, and it's unpacked. Now I've gotta load up some =
>software
> > =3D
> >>>>and see
> >>>> what I need to tweak before I put it in service.
> >>>>
> >>>> Thank you again to all the people who donated. Excellent work.
=
>And
> > =3D
> >>>>you'll
> >>>> note we've had no outages since the server has been taken off
=
>the
> > =3D
> >>>>UPS and
> >>>> plugged into mains. :o) And hopefully once the UPS is on we'll
=
>have
> >>> =3D
> >>>>even
> >>>> less... or, well, not less than none of course, but, oh you =
>know
> > =3D
> >>>>what I
> >>>> mean! ;o)
> >>>>
> >>>> Cheers,
> >>>> Kim.
> >>>>
> >>>>
> >>>>I choose Polesoft Lockspam to fight spam, and you?
> >>>>http://www.polesoft.com/refer.html
> >>>>
> >>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> >>>><HTML><HEAD>
> >>>><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
> >>>>charset=3D3Diso-8859-1">
> >>>><META content=3D3D"MSHTML 6.00.5296.0" name=3D3DGENERATOR>
> >>>><STYLE></STYLE>
> >>>></HEAD>
> >>>><BODY bgColor=3D3D#ffffff>
> >>>><DIV><FONT face=3D3DArial size=3D3D2>Not sure about the Aussie =
>version, but
> >>> =3D
> >>>>the US one=3D20
> >>>>is:<BR><A=3D20
> =
>>>>>href=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base=
>_sku=3D3D=3D
> =
>>>>>SUA1500X413">http://www.apc.com/resource/include/techspec_index.cfm?b=
>ase_=3D
> >>>>sku=3D3DSUA1500X413</A></FONT></DIV>
> >>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
> >>>><DIV><FONT face=3D3DArial size=3D3D2>Kim, what version of Power =
>Chute did
> > =3D
> >>>>that come with=3D20
> >>>>bro?</FONT></DIV>
> >>>><DIV> </DIV>
> >>>><DIV><FONT face=3D3DArial size=3D3D2>AA</FONT></DIV>
> >>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
> >>>><BLOCKQUOTE dir=3D3Dltr=3D20
> >>>>style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
>5px; =3D
> >>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> >>>> <DIV>"Tom Bruhl" <<A=3D20
> >>>> href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> =
>wrote =3D
> >>>>in message=3D20
> >>>> <A =
>href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
> >>>> <DIV><FONT face=3D3DArial size=3D3D2>Kim,</FONT></DIV>
> >>>> <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. Post a liink =
>to =3D
> >>>>it's=3D20
> >>>> specs. </FONT></DIV>
> >>>> <DIV><FONT face=3D3DArial size=3D3D2>I'm curious.</FONT></DIV>
> >>>> <DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
> >>>> <DIV> </DIV>
> >>>> <BLOCKQUOTE=3D20
> >>>> style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
>5px; =3D
> >>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> >>>> <DIV>"Kim" <<A=3D20
> >>>> =3D
> =
>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</=
>A>>=3D
> >>>>=3D20
> >>>> wrote in message <A=3D20
> >>>> =3D
> =
>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><B=
>R><BR>=3D
> >>>>Not=3D20
> >>>> quite in service yet. It has to charge for 8 hours =
>first.<BR><BR>But
> >>> =3D
> >>>>it's in=3D20
> >>>> the building. :o) There was a line at the store out on to =3D
> >>>>the<BR>street.=3D20
> >>>> Business is booming in computer parts on the Easter weekend. I
=
>=3D
> >>>>got<BR>it=3D20
> >>>> though, and it's unpacked. Now I've gotta load up some =
>software and=3D20
> >>>> see<BR>what I need to tweak before I put it in =
>service.<BR><BR>Thank
> >>> =3D
> >>>>you=3D20
> >>>> again to all the people who donated. Excellent work. And =3D
> >>>>you'll<BR>note=3D20
> >>>> we've had no outages since the server has been taken off the =
>UPS=3D20
> >>>> and<BR>plugged into mains. :o) And hopefully once the UPS is =
>on =3D
> >>>>we'll have=3D20
> >>>> even<BR>less... or, well, not less than none of course, but,
=
>=3D
> >>>>oh you=3D20
> >>>> know what I<BR>mean! =3D
> >>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
> >>>><DIV><FONT size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight
=
>spam,
> > =3D
> >>>>and=3D20
> >>>>you?<BR><A=3D20
> =
>>>>>href=3D3D"http://www.polesoft.com/refer.html">http://www.polesoft.com=
>/refer=3D
> >>>>.html</A> </FONT></DIV></BODY></HTML>
> >>>>
> >>>>
> >>>=20
> >>
> >>
> >
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
><HTML><HEAD>
><META http-equiv=3DContent-Type content=3D"text/html; =
>charset=3Diso-8859-1">
><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff background=3D"">
><DIV><FONT face=3DArial size=3D2>well, stink. That URL didn't come out =
>at all..=20
>lemme try this again:</FONT></DIV>
><DIV> </DIV>
><DIV><FONT face=3DArial size=3D2><A=20
>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>SFPCBE704&tab=3Dfeatures">http://www.apc.com/resource/include/techspe=
>c_index.cfm?base_sku=3DSFPCBE704&tab=3Dfeatures</A></FONT ></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><DIV><FONT face=3DArial size=3D2>Must be tax season eroding my brain. =
></FONT></DIV>
><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
><BLOCKQUOTE dir=3Dltr=20
>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"Aaron Allen" <<A=20
> href=3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>> =
>wrote in=20
> message <A =
>href=3D"news:44413e8f@linux">news:44413e8f@linux</A>...</DIV>
> <DIV align=3Dleft><FONT face=3DArial size=3D2>Here you go Kim, contact
=
>them to see=20
> if your UPS is compatible with this=20
> =
>package:<BR><BR>http://www.apc.com/resource/include/techspec_index.cfm?ba=
>se_sku=3DSFPCBE704<BR><BR><STRONG><FONT=20
> size=3D3><U>Compatibility</U></FONT></STRONG><BR>Operating system=20
> compatibility Version 7.0.4<BR><BR>Windows=AE XP SP2 =
>Professional=20
> <BR>Windows=AE 2000 SP4 Server/Professional/Advanced Server =
><BR>Windows=AE 2003=20
> Standard/Enterprise/Web/Small Business Server <BR>Windows=AE Server =
>2003=20
> </FONT></DIV><FONT face=3DArial size=3D2>
> <DIV align=3Dleft><BR><U><EM>Red Hat=AE Linux=AE Personal/Professional
=
>7.3, 8.0, 9.0=20
> <BR>Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0;
=
>WS 3.0, 4.0=20
> <BR>Turbolinux=AE Server 8, 10 <BR>SUSE=AE LINUX=AE Professional 8.2,
=
>9.0,=20
> 9.1</EM></U> </DIV>
> <DIV align=3Dleft><U></U><BR>Novell=AE Netware=AE 6.0, 6.5 =
><BR>Solaris=99=20
> 8,9<BR><BR>AA<BR><BR><BR>"Kim" <hiddensounds@hotmail.com> wrote =
>in=20
> message news:4440a120$1@linux...<BR>> <BR>> <BR>> The =
>complication is=20
> that the server runs Linux, and hence I can't load the<BR>> =
>software on it,=20
> and it's the only box that plugs in to the UPS, so there's<BR>> no =
>box=20
> which could run this software and warn me. Unless there's a =
>Linux<BR>>=20
> version on there, but there's no mention of it on the disk.<BR>> =
><BR>>=20
> So it's really going to be a case of loading the software on my =
>windows=20
> laptop<BR>> and configuring the UPS to act like I want it to, and =
>then=20
> leaving it to<BR>> do it's thing unfortunately. An email would be =
>fantastic=20
> if I could make<BR>> it work though. <BR>> <BR>> I should =
>check the=20
> Linux community and see if they've made anything which<BR>> will =
>work on=20
> it. Seeing as how major UPS players aren't producing Linux =
>software,<BR>>=20
> I'd make a guess that the Linux community has a solution.<BR>> =
><BR>>=20
> Cheers,<BR>> Kim.<BR>> <BR>> "Aaron Allen"=20
> <nospam@not_here.dude> wrote:<BR>>>If you can get business =
>edition=20
> on it, you'll LOVE it. It even emails you<BR>> <BR>>>when =
>things get=20
> out of whack.<BR>>>AA<BR>>><BR>>>"Kim"=20
> <hiddensounds@hotmail.com> wrote in message=20
> =
>news:44409620$1@linux...<BR>>>><BR>>>><BR>>>> =
>This=20
> is the one:<BR>>>>=20
> =
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
>&full_sku=3DBR1500I%20%2B%20%281%29BR24BP<BR>>>><BR>> >=
>>=20
> PowerChute Personal Edition v1.5 is on this here disk. Why do you=20
> ask.<BR>>>><BR>>>> Cheers,<BR>>>>=20
> Kim.<BR>>>><BR>>>> "Aaron Allen"=20
> <nospam@not_here.dude>=20
> wrote:<BR>>>>><BR>>>>><BR>>>>>Not =
>sure=20
> about the Aussie version, but the US one=20
> =
>is:<BR>>>>>http://www.apc.com/resource/include/techspec_index=
>.cfm?base_sku=3D3DSUA1500=3D<BR>>>>>X413<BR>>>>><=
>BR>>>>>Kim,=20
> what version of Power Chute did that come with=20
> =
>bro?<BR>>>>><BR>>>>>AA<BR>>>>><BR>>=
>;>>> =20
> "Tom Bruhl" <arpegio@comcast.net> wrote in message=20
> =
>=3D<BR>>>>>news:444090bc@linux...<BR>>>>> =20
> Kim,<BR>>>>> Looks cool. Post a liink to it's =
>specs.=20
> =3D20<BR>>>>> I'm curious.<BR>>>>> =
>
> Tom<BR>>>>><BR>>>>> "Kim"=20
> <hiddensounds@hotmail.com> wrote in message=20
> =
>=3D<BR>>>>>news:444089fb$1@linux...<BR>>>>><BR>&g=
>t;>>><BR>>>>> =20
> Not quite in service yet. It has to charge for 8 hours=20
> first.<BR>>>>><BR>>>>> But =
>it's in=20
> the building. :o) There was a line at the store out on<BR>>=20
> =3D<BR>>>>>to the<BR>>>>> =
>street.=20
> Business is booming in computer parts on the Easter =
>weekend.<BR>>>>=20
> =3D<BR>>>>>I got<BR>>>>> it =
>though,=20
> and it's unpacked. Now I've gotta load up some software<BR>>=20
> =3D<BR>>>>>and see<BR>>>>> =
>what I need=20
> to tweak before I put it in=20
> service.<BR>>>>><BR>>>>> =
>Thank you=20
> again to all the people who donated. Excellent work. And<BR>>=20
> =3D<BR>>>>>you'll<BR>>>>> =
>note we've=20
> had no outages since the server has been taken off the<BR>>=20
> =3D<BR>>>>>UPS and<BR>>>>> =
>plugged=20
> into mains. :o) And hopefully once the UPS is on we'll =
>have<BR>>>>=20
> =3D<BR>>>>>even<BR>>>>> =
>less... =20
> or, well, not less than none of course, but, oh you know<BR>>=20
> =3D<BR>>>>>what I<BR>>>>> =
>mean!=20
> ;o)<BR>>>>><BR>>>>> =20
> Cheers,<BR>>>>> =20
> Kim.<BR>>>>><BR>>>>><BR>>>>>I =
>choose=20
> Polesoft Lockspam to fight spam, and=20
> =
>you?<BR>>>>>http://www.polesoft.com/refer.html<BR>>>>=
>;><BR>>>>><!DOCTYPE=20
> HTML PUBLIC "-//W3C//DTD HTML 4.0=20
> =
>Transitional//EN"><BR>>>>><HTML><HEAD><BR>>=
>>>><META=20
> http-equiv=3D3DContent-Type content=3D3D"text/html;=20
> =
>=3D<BR>>>>>charset=3D3Diso-8859-1"><BR>>>>><=
>;META=20
> content=3D3D"MSHTML 6.00.5296.0"=20
> =
>name=3D3DGENERATOR><BR>>>>><STYLE></STYLE><BR>=
>>>>></HEAD><BR>>>>><BODY=20
> bgColor=3D3D#ffffff><BR>>>>><DIV><FONT =
>face=3D3DArial=20
> size=3D3D2>Not sure about the Aussie version, but<BR>>>>=20
> =3D<BR>>>>>the US=20
> =
>one=3D20<BR>>>>>is:<BR><A=3D20<BR>>>>>hr=
>ef=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
>3D=3D<BR>>>>>SUA1500X413">http://www.apc.com/resource/incl=
>ude/techspec_index.cfm?base_=3D<BR>>>>>sku=3D3DSUA1500X413 <=
>;/A></FONT></DIV><BR>>>>><DIV><FONT=20
> face=3D3DArial size=3D3D2></FONT>=20
> </DIV><BR>>>>><DIV><FONT face=3D3DArial=20
> size=3D3D2>Kim, what version of Power Chute did<BR>>=20
> =3D<BR>>>>>that come=20
> =
>with=3D20<BR>>>>>bro?</FONT></DIV><BR>>>>=
>;><DIV>=20
> </DIV><BR>>>>><DIV><FONT face=3D3DArial=20
> =
>size=3D3D2>AA</FONT></DIV><BR>>>>><DIV>&=
>lt;FONT=20
> face=3D3DArial size=3D3D2></FONT>=20
> </DIV><BR>>>>><BLOCKQUOTE=20
> dir=3D3Dltr=3D20<BR>>>>>style=3D3D"PADDING-RIGHT: 0px; =
>PADDING-LEFT:=20
> 5px; MARGIN-LEFT: 5px; =3D<BR>>>>>BORDER-LEFT: #000000 2px =
>solid;=20
> MARGIN-RIGHT: 0px"><BR>>>>> <DIV>"Tom =
>Bruhl"=20
> <<A=3D20<BR>>>>> =20
> =
>href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=
>; wrote=20
> =3D<BR>>>>>in message=3D20<BR>>>>> <A =
>
> =
>href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DI=
>V><BR>>>>> =20
> <DIV><FONT face=3D3DArial=20
> size=3D3D2>Kim,</FONT></DIV><BR>>>>> =20
> <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. =
>Post a liink to=20
> =3D<BR>>>>>it's=3D20<BR>>>>> =
>specs. =20
> </FONT></DIV><BR>>>>> =
><DIV><FONT=20
> face=3D3DArial size=3D3D2>I'm=20
> curious.</FONT></DIV><BR>>>>> =20
> <DIV><FONT face=3D3DArial=20
> size=3D3D2>Tom</FONT></DIV><BR>>>>> =
><DIV>=20
> </DIV><BR>>>>> =20
> <BLOCKQUOTE=3D20<BR>>>>> =
>style=3D3D"PADDING-RIGHT: 0px;=20
> PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>=3D<BR>>>>>BORDER-LEFT: #000000=20
> 2px solid; MARGIN-RIGHT: =
>0px"><BR>>>>> =20
> <DIV>"Kim" <<A=3D20<BR>>>>> =20
> =
>=3D<BR>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hidd=
>ensounds@hotmail.com</A>>=3D<BR>>>>>=3D20<BR>>>=
>;>> =20
> wrote in message <A=3D20<BR>>>>> =20
> =
>=3D<BR>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$=
>1@linux</A>...</DIV><BR><BR>=3D<BR>>>>&g=
>t;Not=3D20<BR>>>>> =20
> quite in service yet. It has to charge for 8 hours=20
> first.<BR><BR>But<BR>>>> =
>=3D<BR>>>>>it's=20
> in=3D20<BR>>>>> the building. :o) There =
>was a line=20
> at the store out on to=20
> =
>=3D<BR>>>>>the<BR>street.=3D20<BR>>>>> =
>; =20
> Business is booming in computer parts on the Easter weekend. I=20
> =
>=3D<BR>>>>>got<BR>it=3D20<BR>>>>> &nbs=
>p; =20
> though, and it's unpacked. Now I've gotta load up some software=20
> and=3D20<BR>>>>> see<BR>what I =
>need to tweak=20
> before I put it in service.<BR><BR>Thank<BR>>>>=20
> =3D<BR>>>>>you=3D20<BR>>>>> =
>again to all=20
> the people who donated. Excellent work. And=20
> =
>=3D<BR>>>>>you'll<BR>note=3D20<BR>>>>> =
>; =20
> we've had no outages since the server has been taken off the=20
> UPS=3D20<BR>>>>> and<BR>plugged =
>into mains.=20
> :o) And hopefully once the UPS is on =3D<BR>>>>>we'll=20
> have=3D20<BR>>>>> =
>even<BR>less... or,=20
> well, not less than none of course, but, =3D<BR>>>>>oh=20
> you=3D20<BR>>>>> know what =
>I<BR>mean!=20
> =
>=3D<BR>>>>>;o)<BR><BR>Cheers,<BR>Kim.</B=
>LOCKQUOTE></BLOCKQUOTE><BR>>>>><DIV><FONT=20
> size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight=20
> spam,<BR>>=20
> =
>=3D<BR>>>>>and=3D20<BR>>>>>you?<BR><A=3D=
>20<BR>>>>>href=3D3D"http://www.polesoft.com/refer.html">ht=
>tp://www.polesoft.com/refer=3D<BR>>>>>.html</A> &n=
>bsp;=20
> =
></FONT></DIV></BODY></HTML><BR>>>>><B=
>R>>>>><BR>>>>=20
> <BR>>><BR>>><BR>> =
></FONT></DIV></BLOCKQUOTE></BODY></HTML>
>
>I tried really hard to like the TD10 and spent time trying to get it to
sound good using the simplistic programming interface but I have to
agree about that box. The toms sucked, in particular.
I haven't spent much time with it but from limited exposure I think the
TD20 is improved. I wouldn't dismiss that one without trying it, if it's
within your budget. I can't say if it's as good as the DDrum4 or how it
compares to the Yamaha DTXtremeIIS.
BTW, I think the PODXTLive is better sounding than earlier PODs.
Cheers,
-Jamie
http://www.JamieKrutz.com
Aaron Allen wrote:
> I think for me the Roland blows it on the plastic quality of the drums.. too
> processed for me, and I like processing. It's like that decision has already
> been made for you and you get no alternative and there is no backing out of
> it to a more natural state. Kind of like the POD versus a real amp. Is that
> what you're hearing Don?
>
> AA
>
>
> "Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> news:44413dee$1@linux...
>>> Clavis dDrums are supposed to be great stuff, and as I said, they can be
>>> mapped to BFD if you want ultimate realism, though I hear the sample sets
>>> for dDrums are reall great as well. I played around on a big Roland VDrum
>>> kit at GC in Phoenix last summer. I sounded *very* realistic......and I
>>> mean.......*very*.
>>>
>> That was my initial impression of the VDrums (TD10) until I actually had
>> to record with them
>>
>> the final verdict....Donkey Balls
>>
>> Great for practice or rehearsal.
>>
>> BDF or DKFH are a great way to go, but you'll need horsepower in your rig
>> for accurate triggering from what I hear...
>>
>> The ddrum module (from what I've heard) is probably the most realistic
>> module but the pads and # of inputs is limited.
>>
>> Don
>>
>
>
> I choose Polesoft Lockspam to fight spam, and you?
> http://www.polesoft.com/refer.html
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>I'll install the new UPS 10AM tomorrow morning my time, which is 0:00 GMT
>to make it easy for everyone.
>
>That's 14.5 hours from the time on this post.
>
>Should only take 15 minutes or so I imagine...
>
>Cheers,
>Kim.mmmmmmm plastic
Yes, although the initial impression was WOW upon close scrutiny they were
just lacking that "je ne c'est quoi"
I could live with the toms and kick and most of the percussion but the
snares hihats and cymbals...total ass
Don
"Aaron Allen" <nospam@not_here.dude> wrote in message news:44417948@linux...
>I think for me the Roland blows it on the plastic quality of the drums..
>too processed for me, and I like processing. It's like that decision has
>already been made for you and you get no alternative and there is no
>backing out of it to a more natural state. Kind of like the POD versus a
>real amp. Is that what you're hearing Don?
>
> AA
>
>
> "Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> news:44413dee$1@linux...
>>> Clavis dDrums are supposed to be great stuff, and as I said, they can be
>>> mapped to BFD if you want ultimate realism, though I hear the sample
>>> sets
>>> for dDrums are reall great as well. I played around on a big Roland
>>> VDrum
>>> kit at GC in Phoenix last summer. I sounded *very* realistic......and I
>>> mean.......*very*.
>>>
>>>>
>>
>> That was my initial impression of the VDrums (TD10) until I actually had
>> to record with them
>>
>> the final verdict....Donkey Balls
>>
>> Great for practice or rehearsal.
>>
>> BDF or DKFH are a great way to go, but you'll need horsepower in your rig
>> for accurate triggering from what I hear...
>>
>> The ddrum module (from what I've heard) is probably the most realistic
>> module but the pads and # of inputs is limited.
>>
>> Don
>>
>
>
> I choose Polesoft Lockspam to fight spam, and you?
> http://www.polesoft.com/refer.html
>Never!
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:44417907$1@linux...
>
>
> And here I was thinking that you were implying that our electricity is
> slower
> than yours... ;o)
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>That's supposed to read solar powered....duh!
>>
>>dcn
>>
>>
>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>>>
>>>
>>> I can get an extra battery pack for the UPS for $270 Australian (about
>
>>> $200US).
>>> Hence if the amount starts getting close to that I'll go and buy one.
>
>>> There
>>> are a couple of donations already in the kitty for that.
>>>
>>> The extra battery pack will give us 3x the backup time. I suspect backup
>>> time as it stands will be about an hour at a guess, so we should get
>>> about
>>> 3 hours with the extra battery. I'm completely guessing on the times
>>> though.
>>>
>>> Cheers,
>>> Kim.
>>>
>>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>>Still a worthy investment.
>>>>
>>>>Don
>>>>
>>>>"rick" <parnell68@hotmail.com> wrote in message
>>>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>>>> by now it'll be used for beer and breasts...
>>>>>
>>>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>>>
>>>>>>Hey Steve
>>>>>>
>>>>>>the UPs for the forum server bit the big one so Kim asked for
>>>>>>voluntary
>>>>>>donations at:
>>>>>>
>>>>>>http://news.parisnewsgroup.com/
>>>>>>
>>>>>>Hit the donations button. It will take you directly to his Paypal
>>>>>>Account
>>>>>>
>>>>>>Don
>>>>>>
>>>>>>
>>>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>>>news:44410432$1@linux...
>>>>>>>
>>>>>>> Kim,
>>>>>>> I haven't been watching the posts so much lately. If I knew what
>>>>>>> this
>>>
>>>>>>> was
>>>>>>> about, I would probably donate. Is it something for the forum??
>>>>>>> Steve Cox
>>>>>>>
>>>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com>
>>>>>>>>wrote:
>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>>>
>>>>>>>>>But it's in the building. :o) There was a line at the store out on
>>> to
>>>>>>>>>the
>>>>>>>>>street. Business is booming in computer parts on the Easter
>>>>>>>>>weekend.
>>> I
>>>>>>> got
>>>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
>>> and
>>>>>>> see
>>>>>>>>>what I need to tweak before I put it in service.
>>>>>>>>>
>>>>>>>>>Thank you again to all the people who donated. Excellent work. And
>>>
>>>>>>>>>you'll
>>>>>>>>>note we've had no outages since the server has been taken off the
> UPS
>>>
>>>>>>>>>and
>>>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll have
>>>
>>>>>>>>>even
>>>>>>>>>less... or, well, not less than none of course, but, oh you know
>
>>>>>>>>>what
>>>>>>> I
>>>>>>>>>mean! ;o)
>>>>>>>>>
>>>>>>>>Kim,
>>>>>>>>
>>>>>>>>I've been swamped and forgetful the last week or so... I will paypal
>>> a
>>>>>>>>little to help the cause later today.
>>>>>>>>
>>>>>>>>D'oh!
>>>>>>>>
>>>>>>>>pab
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>>
>>>
>>
>>
>Well that was painless...or has it happened yet?
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:444183e2$1@linux...
>
> "Kim" <hiddensounds@hotmail.com> wrote:
>>
>>
>>I'll install the new UPS 10AM tomorrow morning my time, which is 0:00 GMT
>>to make it easy for everyone.
>>
>>That's 14.5 hours from the time on this post.
>>
>>Should only take 15 minutes or so I imagine...
>>
>>Cheers,
>>Kim.
>"Don Nafe" <dnafe@magma.ca> wrote:
>Well that was painless...or has it happened yet?
Yeh all done. Gee you were quick off the rank to get on board once the server
was back up. ;o)
Should be good now. AND I was reading the specs on the side of the UPS box...
looks like we might get more like 1.5 hours or more out of this unit I suspect.
All good. :o)
Cheers,
Kim.Well from one point I guess is actually is. We're at 50Hz here. Aren't you
guys at 60Hz?
Though I'm quite sure it travels the same speed down the wires. ;o)
Cheers,
Kim.
"Don Nafe" <dnafe@magma.ca> wrote:
>Never!
>
>Don
>
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:44417907$1@linux...
>>
>>
>> And here I was thinking that you were implying that our electricity is
>> slower
>> than yours... ;o)
>>
>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>That's supposed to read solar powered....duh!
>>>
>>>dcn
>>>
>>>
>>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44416d50$1@linux...
>>>>
>>>>
>>>> I can get an extra battery pack for the UPS for $270 Australian (about
>>
>>>> $200US).
>>>> Hence if the amount starts getting close to that I'll go and buy one.
>>
>>>> There
>>>> are a couple of donations already in the kitty for that.
>>>>
>>>> The extra battery pack will give us 3x the backup time. I suspect backup
>>>> time as it stands will be about an hour at a guess, so we should get
>>>> about
>>>> 3 hours with the extra battery. I'm completely guessing on the times
>>>> though.
>>>>
>>>> Cheers,
>>>> Kim.
>>>>
>>>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>>>Still a worthy investment.
>>>>>
>>>>>Don
>>>>>
>>>>>"rick" <parnell68@hotmail.com> wrote in message
>>>>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>>>>> by now it'll be used for beer and breasts...
>>>>>>
>>>>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>>>>>>
>>>>>>>Hey Steve
>>>>>>>
>>>>>>>the UPs for the forum server bit the big one so Kim asked for
>>>>>>>voluntary
>>>>>>>donations at:
>>>>>>>
>>>>>>>http://news.parisnewsgroup.com/
>>>>>>>
>>>>>>>Hit the donations button. It will take you directly to his Paypal
>>>>>>>Account
>>>>>>>
>>>>>>>Don
>>>>>>>
>>>>>>>
>>>>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>>>>news:44410432$1@linux...
>>>>>>>>
>>>>>>>> Kim,
>>>>>>>> I haven't been watching the posts so much lately. If I knew what
>>>>>>>> this
>>>>
>>>>>>>> was
>>>>>>>> about, I would probably donate. Is it something for the forum??
>>>>>>>> Steve Cox
>>>>>>>>
>>>>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com>
>>>>>>>>>wrote:
>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>>>>
>>>>>>>>>>But it's in the building. :o) There was a line at the store out
on
>>>> to
>>>>>>>>>>the
>>>>>>>>>>street. Business is booming in computer parts on the Easter
>>>>>>>>>>weekend.
>>>> I
>>>>>>>> got
>>>>>>>>>>it though, and it's unpacked. Now I've gotta load up some software
>>>> and
>>>>>>>> see
>>>>>>>>>>what I need to tweak before I put it in service.
>>>>>>>>>>
>>>>>>>>>>Thank you again to all the people who donated. Excellent work.
And
>>>>
>>>>>>>>>>you'll
>>>>>>>>>>note we've had no outages since the server has been taken off the
>> UPS
>>>>
>>>>>>>>>>and
>>>>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll
have
>>>>
>>>>>>>>>>even
>>>>>>>>>>less... or, well, not less than none of course, but, oh you know
>>
>>>>>>>>>>what
>>>>>>>> I
>>>>>>>>>>mean! ;o)
>>>>>>>>>>
>>>>>>>>>Kim,
>>>>>>>>>
>>>>>>>>>I've been swamped and forgetful the last week or so... I will paypal
>>>> a
>>>>>>>>>little to help the cause later today.
>>>>>>>>>
>>>>>>>>>D'oh!
>>>>>>>>>
>>>>>>>>>pab
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>
>
>I was just about to call... 9489 5780? ;-)
David
Kim wrote:
> "Don Nafe" <dnafe@magma.ca> wrote:
>
>>Well that was painless...or has it happened yet?
>
>
> Yeh all done. Gee you were quick off the rank to get on board once the server
> was back up. ;o)
>
> Should be good now. AND I was reading the specs on the side of the UPS box...
> looks like we might get more like 1.5 hours or more out of this unit I suspect.
>
> All good. :o)
>
> Cheers,
> Kim.Probably should put that in a heading so people can see it easily... ;o)
"Kim" <hiddensounds@hotmail.com> wrote:
>
>"Don Nafe" <dnafe@magma.ca> wrote:
>>Well that was painless...or has it happened yet?
>
>Yeh all done. Gee you were quick off the rank to get on board once the server
>was back up. ;o)
>
>Should be good now. AND I was reading the specs on the side of the UPS box...
> looks like we might get more like 1.5 hours or more out of this unit I
suspect.
>
>All good. :o)
>
>Cheers,
>Kim."Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>I was just about to call... 9489 5780? ;-)
Hehe! What the?!? How'd you get that? ;o)
You'll need to put 613 in front of it to get here from your parts.
Give me a call if you like. :o)
Cheers,
Kim.Carefull what you ask for! :-)
David.
Kim wrote:
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>
>>I was just about to call... 9489 5780? ;-)
>
>
> Hehe! What the?!? How'd you get that? ;o)
>
> You'll need to put 613 in front of it to get here from your parts.
>
> Give me a call if you like. :o)
>
> Cheers,
> Kim.now that's some uuuugggggllllyyy donkey balls
"Don Nafe" <dnafe@magma.ca> wrote in message news:444172b3@linux...
> Not JUST donkey balls Deej....sweaty horned up donkey balls
>
> dcn
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:444169e7$1@linux...
> > Donkey balls?????.....yiikes!!!!!.......donkey balls????
> >
> > ;o)
> >
> > "Don Nafe" <dnafe@magma.ca> wrote in message news:44415827$1@linux...
> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >> news:44413dee$1@linux...
> >> > Clavis dDrums are supposed to be great stuff, and as I said, they can
> >> > be
> >> > mapped to BFD if you want ultimate realism, though I hear the sample
> > sets
> >> > for dDrums are reall great as well. I played around on a big Roland
> > VDrum
> >> > kit at GC in Phoenix last summer. I sounded *very* realistic......and
I
> >> > mean.......*very*.
> >> >
> >> >>
> >>
> >> That was my initial impression of the VDrums (TD10) until I actually
had
> > to
> >> record with them
> >>
> >> the final verdict....Donkey Balls
> >>
> >> Great for practice or rehearsal.
> >>
> >> BDF or DKFH are a great way to go, but you'll need horsepower in your
rig
> >> for accurate triggering from what I hear...
> >>
> >> The ddrum module (from what I've heard) is probably the most realistic
> >> module but the pads and # of inputs is limited.
> >>
> >> Don
> >>
> >>
> >
> >
>
>Like you said, now when I read your posts they have the right voice. :o)
Up until now your text sounded Australian. ;o)
Cheers,
Kim.
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>Carefull what you ask for! :-)
>
>David.
>
>Kim wrote:
>
>> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>>
>>>I was just about to call... 9489 5780? ;-)
>>
>>
>> Hehe! What the?!? How'd you get that? ;o)
>>
>> You'll need to put 613 in front of it to get here from your parts.
>>
>> Give me a call if you like. :o)
>>
>> Cheers,
>> Kim.Complete fluke...I had just finished a skype conversation with a bud in
Scotland and popped in to see how things were and noticed the time was about
right for UPS upgrade
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:44418cbe$1@linux...
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>Well that was painless...or has it happened yet?
>
> Yeh all done. Gee you were quick off the rank to get on board once the
> server
> was back up. ;o)
>
> Should be good now. AND I was reading the specs on the side of the UPS
> box...
> looks like we might get more like 1.5 hours or more out of this unit I
> suspect.
>
> All good. :o)
>
> Cheers,
> Kim.ya 60 / 61 Hz something like that
;-)
Don
"Kim" <hiddensounds@hotmail.com> wrote in message news:44418d0e$1@linux...
>
>
> Well from one point I guess is actually is. We're at 50Hz here. Aren't you
> guys at 60Hz?
>
> Though I'm quite sure it travels the same speed down the wires. ;o)
>
> Cheers,
> Kim.
>
> "Don Nafe" <dnafe@magma.ca> wrote:
>>Never!
>>
>>Don
>>
>>
>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44417907$1@linux...
>>>
>>>
>>> And here I was thinking that you were implying that our electricity is
>
>>> slower
>>> than yours... ;o)
>>>
>>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>>That's supposed to read solar powered....duh!
>>>>
>>>>dcn
>>>>
>>>>
>>>>"Kim" <hiddensounds@hotmail.com> wrote in message
>>>>news:44416d50$1@linux...
>>>>>
>>>>>
>>>>> I can get an extra battery pack for the UPS for $270 Australian (about
>>>
>>>>> $200US).
>>>>> Hence if the amount starts getting close to that I'll go and buy one.
>>>
>>>>> There
>>>>> are a couple of donations already in the kitty for that.
>>>>>
>>>>> The extra battery pack will give us 3x the backup time. I suspect
>>>>> backup
>>>>> time as it stands will be about an hour at a guess, so we should get
>
>>>>> about
>>>>> 3 hours with the extra battery. I'm completely guessing on the times
>>>>> though.
>>>>>
>>>>> Cheers,
>>>>> Kim.
>>>>>
>>>>> "Don Nafe" <dnafe@magma.ca> wrote:
>>>>>>Still a worthy investment.
>>>>>>
>>>>>>Don
>>>>>>
>>>>>>"rick" <parnell68@hotmail.com> wrote in message
>>>>>>news:2pk2425cva27gcgc08t1rcnh07afhlomo2@4ax.com...
>>>>>>> by now it'll be used for beer and breasts...
>>>>>>>
>>>>>>> On Sat, 15 Apr 2006 11:52:56 -0400, "Don Nafe" <dnafe@magma.ca>
>>>>>>> wrote:
>>>>>>>
>>>>>>>>Hey Steve
>>>>>>>>
>>>>>>>>the UPs for the forum server bit the big one so Kim asked for
>>>>>>>>voluntary
>>>>>>>>donations at:
>>>>>>>>
>>>>>>>>http://news.parisnewsgroup.com/
>>>>>>>>
>>>>>>>>Hit the donations button. It will take you directly to his Paypal
>>>>>>>>Account
>>>>>>>>
>>>>>>>>Don
>>>>>>>>
>>>>>>>>
>>>>>>>>"Steve Cox" <stevec1@charter.net> wrote in message
>>>>>>>>news:44410432$1@linux...
>>>>>>>>>
>>>>>>>>> Kim,
>>>>>>>>> I haven't been watching the posts so much lately. If I knew what
>
>>>>>>>>> this
>>>>>
>>>>>>>>> was
>>>>>>>>> about, I would probably donate. Is it something for the forum??
>>>>>>>>> Steve Cox
>>>>>>>>>
>>>>>>>>> Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>>>>>>>>On 15 Apr 2006 15:51:55 +1000, "Kim" <hiddensounds@hotmail.com>
>
>>>>>>>>>>wrote:
>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>>Not quite in service yet. It has to charge for 8 hours first.
>>>>>>>>>>>
>>>>>>>>>>>But it's in the building. :o) There was a line at the store out
> on
>>>>> to
>>>>>>>>>>>the
>>>>>>>>>>>street. Business is booming in computer parts on the Easter
>>>>>>>>>>>weekend.
>>>>> I
>>>>>>>>> got
>>>>>>>>>>>it though, and it's unpacked. Now I've gotta load up some
>>>>>>>>>>>software
>>>>> and
>>>>>>>>> see
>>>>>>>>>>>what I need to tweak before I put it in service.
>>>>>>>>>>>
>>>>>>>>>>>Thank you again to all the people who donated. Excellent work.
> And
>>>>>
>>>>>>>>>>>you'll
>>>>>>>>>>>note we've had no outages since the server has been taken off the
>>> UPS
>>>>>
>>>>>>>>>>>and
>>>>>>>>>>>plugged into mains. :o) And hopefully once the UPS is on we'll
> have
>>>>>
>>>>>>>>>>>even
>>>>>>>>>>>less... or, well, not less than none of course, but, oh you know
>>>
>>>>>>>>>>>what
>>>>>>>>> I
>>>>>>>>>>>mean! ;o)
>>>>>>>>>>>
>>>>>>>>>>Kim,
>>>>>>>>>>
>>>>>>>>>>I've been swamped and forgetful the last week or so... I will
>>>>>>>>>>paypal
>>>>> a
>>>>>>>>>>little to help the cause later today.
>>>>>>>>>>
>>>>>>>>>>D'oh!
>>>>>>>>>>
>>>>>>>>>>pab
>>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>>
>>>>>
>>>>
>>>>
>>>
>>
>>
>Hi Paul,
The machines if I remember are all using 2 MADI cards with a couple of
the newer ones using 3. The recording drives are Raid-0. Brian explained
his backup setup once but sense it is once of Brian's Frankenstein
creations I don't remember how it was setup. He only uses Paris in his
personal studio setup As far as I know at the moment. The Lakewood setup
is pretty complex and mostly MADI based going to the Euphonix that I'm
not sure how he would even integrate Paris into it. Those machines are
ina almost constantly used state. Usually recording and routing live
feeds from a few hundred sources. The setup they use its crazy that even
DJ would be jealous of it.
I think he might being Paris in some of the Post prod mixing stage for
DVD CD projects not for the live recording. 90% of what he does is in
Nuendo. No other app would even be able to do it anyways. The sonic
results are excellent. He's very familiar with how Nuendo handles the
audio so knows how to mix in it.
The Opteron /RME Madi combo is probably our most popular combo for the
"Pro" user types. Even though honestly most don't need it...;). Compared
to what they would have to spend on a HD system its a steal and sense
they can use a PTHD setup in the machine even at the same time if you
have the slots. UAD cards are the only things that can give people
headaches. But thats true on almost any current system at this point.
Intel or AMD. The TC power core MK2 work great on them. If someone is
using 2 or more UAD s we try to suggest a Magma which fixes allot of the
UAD issues. The Opteron setups make awesome sampler setup. Can't wait
for Vista to come out and software/ hardware stuff with it to use the 16
gigs of ram you can use on the Opterons.
I've been slowly when I've had time to go through our client list sense
it's pretty extensive right now but our web page is way out of date.
The most recent ones that I can remember ATM-
Frank Filipeti
Gary Paczoza
Steve Bishir
Remote Recording
They are all using Madi cards if I remember correctly.
Chris
Paul Artola wrote:
> Brian Tankersley's name comes up regularly on this forum. As some of
> us know, his new gig in Houston (check out
> http://broadcastengineering.com/mag/broadcasting_lakewood_ch urch/index.html)
> would seem to spell the end of Brian's association with Paris.
> However, though it is not mentioned in the above article, a little
> Connecticuit birdie tells me there is still some Paris in the middle
> of all this technology.
>
> BTW, the ADK computers mentioned in the article is the home of our own
> Chris Ludwig! Attaboy, Chris. Care to comment on the setup they are
> running at Lakewood?
>
> - Paul Artola
> Ellicott City, Maryland
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762This is a multi-part message in MIME format.
---=_linux44419d24
Content-Type: text/plain
Content-Transfer-Encoding: 7bit
Now, some of you may have picked up that I enjoy the odd beer. ;o)
I actually have a beer fridge with a glass door and all, which has a selection
of 12 beers, from all over the place, at all times, and I try and rotate
which beers are in the fridge each month when I do my beer shopping. :o)
So I was thinking that surely some of you have some great beer suggestions
for me. The difficult part is of course that boutique beers from north america
can be pretty hard to find down here in Australia. Our range of European
beers is getting better, especially if you shop in the right places, but
there's not that much from the U.S.
But if you have favourite beer, give it a shot,I'd love to know what it is.
I'll see if I can't find some of them and give them a go. :o)
I mean you guys must know something about beer. ;o)
Cheers,
Kim.
---=_linux44419d24
Content-Type: image/jpeg; name="BeerFridge.JPG"
Content-Transfer-Encoding: base64
Content-Disposition: attachment; filename="BeerFridge.JPG"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---=_linux44419d24--Up till now, your posts have all sounded like Steve Irwin...
now they sound like Steve with the VSO set to -15%! ;-)
Crickey!
David.
Kim wrote:
> Like you said, now when I read your posts they have the right voice. :o)
>
> Up until now your text sounded Australian. ;o)
>
> Cheers,
> Kim.
>
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>
>>Carefull what you ask for! :-)
>>
>>David.
>>
>>Kim wrote:
>>
>>
>>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>>>
>>>
>>>>I was just about to call... 9489 5780? ;-)
>>>
>>>
>>>Hehe! What the?!? How'd you get that? ;o)
>>>
>>>You'll need to put 613 in front of it to get here from your parts.
>>>
>>>Give me a call if you like. :o)
>>>
>>>Cheers,
>>>Kim.
>
>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>Up till now, your posts have all sounded like Steve Irwin...
>now they sound like Steve with the VSO set to -15%! ;-)
VSO? Vancouver Symphony Orchestra? ;o)
I should have made a point of including some more outlandish Australianisms.
Maybe thrown in the odd "Crickey" for flavour. A few "Strewth"s. The odd
"Stone the crows!". ;o)
Cheers,
Kim."Jesse Skeens" <jskeens@gmail.com> wrote:
>The complexity of code in a DAW has no bearing on the fact that an audio
>file is just 1's and 0's.
WHAT? it has every bearing on what is done to them, and that
changes dramatically according to that very-complex code.
>At the level that a DAW reads those values two
>files with the same set of values should read exactly the same by the DAW,
>theres no way for it to see a difference.
That's assuming a lot.
>So I have to be either or? If you hear something different then your mind
>is probably fooling you.
And there it is. As silly as some of the "golden ears" are, you guys
are much, much worse. You reason backwards from your
assumptions and convince yourself that something you hear is not
there. Then one day your assumptions are shown to be invalid.
>Theres many variables at play, you'd have to examime
>each case induvidually. It's hard to just sit here and making sweeping
statements
>without looking at the details.
Thank you. And a decent percentage of people who hear things that
you cannot measure are what drives forward progress. Remember
the sound of the early Sony 1630/1640 decks? The techies all
said the same thing you are saying. It's fine, it's just 1' and 0's and
your mind is fooling you.
BS
best,
DC http://www.atrservice.com/products/item_details.php?item_id= 13&dept_id=3
Showing my age... ;-)
David.
Kim wrote:
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>
>>Up till now, your posts have all sounded like Steve Irwin...
>>now they sound like Steve with the VSO set to -15%! ;-)
>
>
> VSO? Vancouver Symphony Orchestra? ;o)
>
> I should have made a point of including some more outlandish Australianisms.
> Maybe thrown in the odd "Crickey" for flavour. A few "Strewth"s. The odd
> "Stone the crows!". ;o)
>
> Cheers,
> Kim.Stay far, far away from Sam Adams.. yuk! I can't say I recommend any
domestics from USA, but I don't drink much.. I will say that SA is about the
most awful thing next to maybe dog pee, though I haven't had the displeasure
of urine. I imagine SA is much like it though.
Heheh..
AA
"Kim" <hiddensounds@hotmail.com> wrote in message news:44419d24$1@linux...
>
>
> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>
> I actually have a beer fridge with a glass door and all, which has a
> selection
> of 12 beers, from all over the place, at all times, and I try and rotate
> which beers are in the fridge each month when I do my beer shopping. :o)
>
> So I was thinking that surely some of you have some great beer suggestions
> for me. The difficult part is of course that boutique beers from north
> america
> can be pretty hard to find down here in Australia. Our range of European
> beers is getting better, especially if you shop in the right places, but
> there's not that much from the U.S.
>
> But if you have favourite beer, give it a shot,I'd love to know what it
> is.
> I'll see if I can't find some of them and give them a go. :o)
>
> I mean you guys must know something about beer. ;o)
>
> Cheers,
> Kim.
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlAh, so at a lower pitch. ;o) Hehe, fair enough. Though after a few beers
you'd probably find the VSO would only be -5% or so. ;o)
Cheers,
Kim.
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> http://www.atrservice.com/products/item_details.php?item_id= 13&dept_id=3
>
>Showing my age... ;-)
>
>David.
>
>Kim wrote:
>
>> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>>
>>>Up till now, your posts have all sounded like Steve Irwin...
>>>now they sound like Steve with the VSO set to -15%! ;-)
>>
>>
>> VSO? Vancouver Symphony Orchestra? ;o)
>>
>> I should have made a point of including some more outlandish Australianisms.
>> Maybe thrown in the odd "Crickey" for flavour. A few "Strewth"s. The odd
>> "Stone the crows!". ;o)
>>
>> Cheers,
>> Kim.Ah, I remember that one. I had some when I was over there back in 99 or whenever
it was. Didn't enjoy it much, though my beer taste has expanded since then.
As I recall it was like "the third beer". There was Bud, Miller, and Sam
Adams, which was for those who like something a bit "different"... but it
seemed to be all the wrong kinds of different. ;o)
I might buy just one stubbie of it though to try and to see if I still dislike
it so much. ;o) I should buy one Bud as well actually as I haven't had that
either for about a decade. Just to refresh the memory.
I mean if I want to be a man who knows his beer I should be familiar with
what people are drinking, even the beers I don't like. :o)
Cheers,
Kim.
"Aaron Allen" <nospam@not_here.dude> wrote:
>Stay far, far away from Sam Adams.. yuk! I can't say I recommend any
>domestics from USA, but I don't drink much.. I will say that SA is about
the
>most awful thing next to maybe dog pee, though I haven't had the displeasure
>of urine. I imagine SA is much like it though.
>Heheh..
>
>AA
>
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:44419d24$1@linux...
>>
>>
>> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>>
>> I actually have a beer fridge with a glass door and all, which has a
>> selection
>> of 12 beers, from all over the place, at all times, and I try and rotate
>> which beers are in the fridge each month when I do my beer shopping. :o)
>>
>> So I was thinking that surely some of you have some great beer suggestions
>> for me. The difficult part is of course that boutique beers from north
>> america
>> can be pretty hard to find down here in Australia. Our range of European
>> beers is getting better, especially if you shop in the right places, but
>> there's not that much from the U.S.
>>
>> But if you have favourite beer, give it a shot,I'd love to know what it
>> is.
>> I'll see if I can't find some of them and give them a go. :o)
>>
>> I mean you guys must know something about beer. ;o)
>>
>> Cheers,
>> Kim.
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
>Hi Kim,
I'm in Winston Hills, near Parramatta, Sydney. Thanks for your help.
Chris.
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416ece$1@linux...
>
> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>interface I can try (From Australia).
>
> I'm in Australia and still use Paris. In Northcote, in Melbourne. What
> city
> are you in?
>
> Though the other guys are right. With two cards you'll need a 442 or an
> MEC.
> 442's come up pretty cheap on the for sale site.
>
> And you'll still be able to plug the Interface 2 into the system. There's
> a plug in the MEC so that you can piggy back it on to the MEC (I assume
> the
> 442 has that as well? Andyone?)
>
> Cheers,
> Kim.Thanks Guys,
I guess I'll have to buy a 442.
Just to fill you in, I also use a Hammerfall card with 3 RMEs for 24 ins and
outs (used with Nuendo or SX). But I still use Paris all the time. Why? I
use Paris for Vocal recordings and individual instruments and have done so
for years - even after getting the Hammerfall/RME system. I just find it
sounds better (warmer? hard to explain). All I wanted to do was get another
EDS card before they're too hard to get, I'm sick of updating virtual tracks
all the time.
Interestingly, my angle with clients lately, is that I use Paris because
it's a warmer, earthier converter. They seem to agree, and really go for
Paris as an almost "Retro" alternative. Believe it or not, it seems to be
cool to use Paris (especially with young bands) because it's getting old and
it's a bit rare. I've also started using my ASR-10 again! Clients think it's
cool - go figure!
Chris.
"Chris Griffiths" <cgriffo@aapt.net.au> wrote in message
news:4440eb8f@linux...
> Hi All,
>
> Does anybody know if you have to have a 442 or a MEC to run multiple EDS
> cards? I only have an "Interface 2" - 2 in's and 2 out's. With 2 EDSs
> Paris gives the following error on launch - "No interface connected to
> master card" - even though my interface is connected to the master card.
> All cables are connected as per instructions.
>
> Thanks,
>
> Chris Griffiths.
>
> P.S. Unfortunately I don't know anyone who still uses paris with a MEC
> interface I can try (From Australia).
>Thanks Guys,
I guess I'll have to buy a 442 in order to use 2 EDS. Anyone want to sell?
Just to fill you in, I also use a Hammerfall card with 3 RMEs for 24 ins and
outs (used with Nuendo or SX). But I still use Paris all the time. Why? I
use Paris for Vocal recordings and individual instruments and have done so
for years - even after getting the Hammerfall/RME system. I just find it
sounds better (warmer? hard to explain). All I wanted to do was get another
EDS card before they're too hard to get, I'm sick of updating virtual tracks
all the time.
Interestingly, my angle with clients lately, is that I use Paris because
it's a warmer, earthier converter. They seem to agree, and really go for
Paris as an almost "Retro" alternative. Believe it or not, it seems to be
cool to use Paris (especially with young bands) because it's getting old and
it's a bit rare. I've also started using my ASR-10 again! Clients think it's
cool - go figure!
Chris.Chris is in Sydney, a mate of mine, but I can't help as I no longer have
Paris.
BTW, you should here some of the work Chris has achieved with Paris and 1
EDS card and an IF2.
Absolutely amazing.
--
Martin Harrington
www.lendanear-sound.com
"Kim" <hiddensounds@hotmail.com> wrote in message news:44416ece$1@linux...
>
> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>interface I can try (From Australia).
>
> I'm in Australia and still use Paris. In Northcote, in Melbourne. What
> city
> are you in?
>
> Though the other guys are right. With two cards you'll need a 442 or an
> MEC.
> 442's come up pretty cheap on the for sale site.
>
> And you'll still be able to plug the Interface 2 into the system. There's
> a plug in the MEC so that you can piggy back it on to the MEC (I assume
> the
> 442 has that as well? Andyone?)
>
> Cheers,
> Kim.Really? I'd love to hear.
Anyone know how I can get hold of some?
Cheers,
Kim.
"Martin Harrington" <lendan@bigpond.net.au> wrote:
>Chris is in Sydney, a mate of mine, but I can't help as I no longer have
>Paris.
>BTW, you should here some of the work Chris has achieved with Paris and
1
>EDS card and an IF2.
>
>Absolutely amazing.
>--
>Martin Harrington
>www.lendanear-sound.com
>"Kim" <hiddensounds@hotmail.com> wrote in message news:44416ece$1@linux...
>>
>> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>>interface I can try (From Australia).
>>
>> I'm in Australia and still use Paris. In Northcote, in Melbourne. What
>> city
>> are you in?
>>
>> Though the other guys are right. With two cards you'll need a 442 or an
>> MEC.
>> 442's come up pretty cheap on the for sale site.
>>
>> And you'll still be able to plug the Interface 2 into the system. There's
>> a plug in the MEC so that you can piggy back it on to the MEC (I assume
>> the
>> 442 has that as well? Andyone?)
>>
>> Cheers,
>> Kim.
>
>Odell's 90 Shilling.
BTW, deja vu. I think we did this last year.
Nice fridge.
Cheers,
-Jamie
http://www.JamieKrutz.com
Kim wrote:
>
> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>
> I actually have a beer fridge with a glass door and all, which has a selection
> of 12 beers, from all over the place, at all times, and I try and rotate
> which beers are in the fridge each month when I do my beer shopping. :o)
>
> So I was thinking that surely some of you have some great beer suggestions
> for me. The difficult part is of course that boutique beers from north america
> can be pretty hard to find down here in Australia. Our range of European
> beers is getting better, especially if you shop in the right places, but
> there's not that much from the U.S.
>
> But if you have favourite beer, give it a shot,I'd love to know what it is.
> I'll see if I can't find some of them and give them a go. :o)
>
> I mean you guys must know something about beer. ;o)
>
> Cheers,
> Kim.
>
>
> ------------------------------------------------------------ ------------
>Jamie K <Meta@Dimensional.com> wrote:
>
>Odell's 90 Shilling.
I'll see if I can find it.
>BTW, deja vu. I think we did this last year.
Mmm, does ring a bell, but can't find it in a search.
>Nice fridge.
I'm pretty happy with that. I mate of mine "aquired" it for me after it was
left behind at a trade show of some kind. It's one of my favourite things
I own...
....aside from Paris of course, oh, and all my instruments. ;o)
Cheers,
Kim.
>Cheers,
> -Jamie
> http://www.JamieKrutz.com
>
>
>Kim wrote:
>>
>> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>>
>> I actually have a beer fridge with a glass door and all, which has a selection
>> of 12 beers, from all over the place, at all times, and I try and rotate
>> which beers are in the fridge each month when I do my beer shopping. :o)
>>
>> So I was thinking that surely some of you have some great beer suggestions
>> for me. The difficult part is of course that boutique beers from north
america
>> can be pretty hard to find down here in Australia. Our range of European
>> beers is getting better, especially if you shop in the right places, but
>> there's not that much from the U.S.
>>
>> But if you have favourite beer, give it a shot,I'd love to know what it
is.
>> I'll see if I can't find some of them and give them a go. :o)
>>
>> I mean you guys must know something about beer. ;o)
>>
>> Cheers,
>> Kim.
>>
>>
>> ------------------------------------------------------------ ------------
>>Wow, Sam Adams and AnchorSteam, are the only US beers that I find drinkable.
The rest are, to me, like drinking p**s, (my personal opinion of course...no
offence).
--
Martin Harrington
www.lendanear-sound.com
"Aaron Allen" <nospam@not_here.dude> wrote in message
news:4441a33d$1@linux...
> Stay far, far away from Sam Adams.. yuk! I can't say I recommend any
> domestics from USA, but I don't drink much.. I will say that SA is about
> the most awful thing next to maybe dog pee, though I haven't had the
> displeasure of urine. I imagine SA is much like it though.
> Heheh..
>
> AA
>
>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:44419d24$1@linux...
>>
>>
>> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>>
>> I actually have a beer fridge with a glass door and all, which has a
>> selection
>> of 12 beers, from all over the place, at all times, and I try and rotate
>> which beers are in the fridge each month when I do my beer shopping. :o)
>>
>> So I was thinking that surely some of you have some great beer
>> suggestions
>> for me. The difficult part is of course that boutique beers from north
>> america
>> can be pretty hard to find down here in Australia. Our range of European
>> beers is getting better, especially if you shop in the right places, but
>> there's not that much from the U.S.
>>
>> But if you have favourite beer, give it a shot,I'd love to know what it
>> is.
>> I'll see if I can't find some of them and give them a go. :o)
>>
>> I mean you guys must know something about beer. ;o)
>>
>> Cheers,
>> Kim.
>
>
> I choose Polesoft Lockspam to fight spam, and you?
> http://www.polesoft.com/refer.html
>I think it's just plain old magic.
;o)
"DC" <dc@spamthemoon.com> wrote in message news:44419fa8$1@linux...
>
> "Jesse Skeens" <jskeens@gmail.com> wrote:
>
>
> >The complexity of code in a DAW has no bearing on the fact that an audio
> >file is just 1's and 0's.
>
>
> WHAT? it has every bearing on what is done to them, and that
> changes dramatically according to that very-complex code.
>
>
> >At the level that a DAW reads those values two
> >files with the same set of values should read exactly the same by the
DAW,
> >theres no way for it to see a difference.
>
> That's assuming a lot.
>
>
> >So I have to be either or? If you hear something different then your
mind
> >is probably fooling you.
>
> And there it is. As silly as some of the "golden ears" are, you guys
> are much, much worse. You reason backwards from your
> assumptions and convince yourself that something you hear is not
> there. Then one day your assumptions are shown to be invalid.
>
>
> >Theres many variables at play, you'd have to examime
> >each case induvidually. It's hard to just sit here and making sweeping
> statements
> >without looking at the details.
>
> Thank you. And a decent percentage of people who hear things that
> you cannot measure are what drives forward progress. Remember
> the sound of the early Sony 1630/1640 decks? The techies all
> said the same thing you are saying. It's fine, it's just 1' and 0's and
> your mind is fooling you.
>
> BS
>
> best,
>
> DC
>> Bummer. Sounds good though.
uhhhh.....noooo......here we go again.......so tell me, is it more
*accurate* or non linear?
"Kim" <hiddensounds@hotmail.com> wrote in message news:44417ef3$1@linux...
>
>
> From what I can tell on the site, this only works with Smart-UPS which
doesn't
> include mine.
>
> Bummer. Sounds good though.
>
> Cheers,
> Kim.
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
> >
> >
> >well, stink. That URL didn't come out at all.. lemme try this again:
> >
>
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
> >04&tab=3Dfeatures
> >
> >Must be tax season eroding my brain.=20
> >AA
> > "Aaron Allen" <nospam@not_here.dude> wrote in message =
> >news:44413e8f@linux...
> > Here you go Kim, contact them to see if your UPS is compatible with =
> >this package:
> >
> > =
>
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DSFPCBE7=
> >04
> >
> > Compatibility
> > Operating system compatibility Version 7.0.4
> >
> > Windows=AE XP SP2 Professional=20
> > Windows=AE 2000 SP4 Server/Professional/Advanced Server=20
> > Windows=AE 2003 Standard/Enterprise/Web/Small Business Server=20
> > Windows=AE Server 2003=20
> >
> > Red Hat=AE Linux=AE Personal/Professional 7.3, 8.0, 9.0=20
> > Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0; WS
> =
> >3.0, 4.0=20
> > Turbolinux=AE Server 8, 10=20
> > SUSE=AE LINUX=AE Professional 8.2, 9.0, 9.1=20
> >
> > Novell=AE Netware=AE 6.0, 6.5=20
> > SolarisT 8,9
> >
> > AA
> >
> >
> > "Kim" <hiddensounds@hotmail.com> wrote in message =
> >news:4440a120$1@linux...
> > >=20
> > >=20
> > > The complication is that the server runs Linux, and hence I can't =
> >load the
> > > software on it, and it's the only box that plugs in to the UPS, so =
> >there's
> > > no box which could run this software and warn me. Unless there's a =
> >Linux
> > > version on there, but there's no mention of it on the disk.
> > >=20
> > > So it's really going to be a case of loading the software on my =
> >windows laptop
> > > and configuring the UPS to act like I want it to, and then leaving =
> >it to
> > > do it's thing unfortunately. An email would be fantastic if I could
> =
> >make
> > > it work though.=20
> > >=20
> > > I should check the Linux community and see if they've made anything
> =
> >which
> > > will work on it. Seeing as how major UPS players aren't producing =
> >Linux software,
> > > I'd make a guess that the Linux community has a solution.
> > >=20
> > > Cheers,
> > > Kim.
> > >=20
> > > "Aaron Allen" <nospam@not_here.dude> wrote:
> > >>If you can get business edition on it, you'll LOVE it. It even =
> >emails you
> > >=20
> > >>when things get out of whack.
> > >>AA
> > >>
> > >>"Kim" <hiddensounds@hotmail.com> wrote in message =
> >news:44409620$1@linux...
> > >>>
> > >>>
> > >>> This is the one:
> > >>> =
>
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
> >&full_sku=3DBR1500I%20%2B%20%281%29BR24BP
> > >>>
> > >>> PowerChute Personal Edition v1.5 is on this here disk. Why do you
> =
> >ask.
> > >>>
> > >>> Cheers,
> > >>> Kim.
> > >>>
> > >>> "Aaron Allen" <nospam@not_here.dude> wrote:
> > >>>>
> > >>>>
> > >>>>Not sure about the Aussie version, but the US one is:
> > =
>
>>>>> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D3DS=
> >UA1500=3D
> > >>>>X413
> > >>>>
> > >>>>Kim, what version of Power Chute did that come with bro?
> > >>>>
> > >>>>AA
> > >>>>
> > >>>> "Tom Bruhl" <arpegio@comcast.net> wrote in message =3D
> > >>>>news:444090bc@linux...
> > >>>> Kim,
> > >>>> Looks cool. Post a liink to it's specs. =3D20
> > >>>> I'm curious.
> > >>>> Tom
> > >>>>
> > >>>> "Kim" <hiddensounds@hotmail.com> wrote in message =3D
> > >>>>news:444089fb$1@linux...
> > >>>>
> > >>>>
> > >>>> Not quite in service yet. It has to charge for 8 hours first.
> > >>>>
> > >>>> But it's in the building. :o) There was a line at the store =
> >out on
> > > =3D
> > >>>>to the
> > >>>> street. Business is booming in computer parts on the Easter =
> >weekend.
> > >>> =3D
> > >>>>I got
> > >>>> it though, and it's unpacked. Now I've gotta load up some =
> >software
> > > =3D
> > >>>>and see
> > >>>> what I need to tweak before I put it in service.
> > >>>>
> > >>>> Thank you again to all the people who donated. Excellent work.
> =
> >And
> > > =3D
> > >>>>you'll
> > >>>> note we've had no outages since the server has been taken off
> =
> >the
> > > =3D
> > >>>>UPS and
> > >>>> plugged into mains. :o) And hopefully once the UPS is on we'll
> =
> >have
> > >>> =3D
> > >>>>even
> > >>>> less... or, well, not less than none of course, but, oh you =
> >know
> > > =3D
> > >>>>what I
> > >>>> mean! ;o)
> > >>>>
> > >>>> Cheers,
> > >>>> Kim.
> > >>>>
> > >>>>
> > >>>>I choose Polesoft Lockspam to fight spam, and you?
> > >>>>http://www.polesoft.com/refer.html
> > >>>>
> > >>>><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> > >>>><HTML><HEAD>
> > >>>><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
> > >>>>charset=3D3Diso-8859-1">
> > >>>><META content=3D3D"MSHTML 6.00.5296.0" name=3D3DGENERATOR>
> > >>>><STYLE></STYLE>
> > >>>></HEAD>
> > >>>><BODY bgColor=3D3D#ffffff>
> > >>>><DIV><FONT face=3D3DArial size=3D3D2>Not sure about the Aussie =
> >version, but
> > >>> =3D
> > >>>>the US one=3D20
> > >>>>is:<BR><A=3D20
> > =
>
>>>>>href=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base=
> >_sku=3D3D=3D
> > =
>
>>>>>SUA1500X413">http://www.apc.com/resource/include/techspec_index.cfm?b=
> >ase_=3D
> > >>>>sku=3D3DSUA1500X413</A></FONT></DIV>
> > >>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
> > >>>><DIV><FONT face=3D3DArial size=3D3D2>Kim, what version of Power =
> >Chute did
> > > =3D
> > >>>>that come with=3D20
> > >>>>bro?</FONT></DIV>
> > >>>><DIV> </DIV>
> > >>>><DIV><FONT face=3D3DArial size=3D3D2>AA</FONT></DIV>
> > >>>><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
> > >>>><BLOCKQUOTE dir=3D3Dltr=3D20
> > >>>>style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
> >5px; =3D
> > >>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> > >>>> <DIV>"Tom Bruhl" <<A=3D20
> > >>>> href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> =
> >wrote =3D
> > >>>>in message=3D20
> > >>>> <A =
> >href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DIV>
> > >>>> <DIV><FONT face=3D3DArial size=3D3D2>Kim,</FONT></DIV>
> > >>>> <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. Post a liink =
> >to =3D
> > >>>>it's=3D20
> > >>>> specs. </FONT></DIV>
> > >>>> <DIV><FONT face=3D3DArial size=3D3D2>I'm curious.</FONT></DIV>
> > >>>> <DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
> > >>>> <DIV> </DIV>
> > >>>> <BLOCKQUOTE=3D20
> > >>>> style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
> >5px; =3D
> > >>>>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> > >>>> <DIV>"Kim" <<A=3D20
> > >>>> =3D
> > =
>
>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hiddensounds@hotmail.com</=
> >A>>=3D
> > >>>>=3D20
> > >>>> wrote in message <A=3D20
> > >>>> =3D
> > =
>
>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$1@linux</A>...</DIV><B=
> >R><BR>=3D
> > >>>>Not=3D20
> > >>>> quite in service yet. It has to charge for 8 hours =
> >first.<BR><BR>But
> > >>> =3D
> > >>>>it's in=3D20
> > >>>> the building. :o) There was a line at the store out on to =3D
> > >>>>the<BR>street.=3D20
> > >>>> Business is booming in computer parts on the Easter weekend. I
> =
> >=3D
> > >>>>got<BR>it=3D20
> > >>>> though, and it's unpacked. Now I've gotta load up some =
> >software and=3D20
> > >>>> see<BR>what I need to tweak before I put it in =
> >service.<BR><BR>Thank
> > >>> =3D
> > >>>>you=3D20
> > >>>> again to all the people who donated. Excellent work. And =3D
> > >>>>you'll<BR>note=3D20
> > >>>> we've had no outages since the server has been taken off the =
> >UPS=3D20
> > >>>> and<BR>plugged into mains. :o) And hopefully once the UPS is =
> >on =3D
> > >>>>we'll have=3D20
> > >>>> even<BR>less... or, well, not less than none of course, but,
> =
> >=3D
> > >>>>oh you=3D20
> > >>>> know what I<BR>mean! =3D
> > >>>>;o)<BR><BR>Cheers,<BR>Kim.</BLOCKQUOTE></BLOCKQUOTE >
> > >>>><DIV><FONT size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight
> =
> >spam,
> > > =3D
> > >>>>and=3D20
> > >>>>you?<BR><A=3D20
> > =
>
>>>>>href=3D3D"http://www.polesoft.com/refer.html">http://www.polesoft.com=
> >/refer=3D
> > >>>>.html</A> </FONT></DIV></BODY></HTML>
> > >>>>
> > >>>>
> > >>>=20
> > >>
> > >>
> > >
> >
> ><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> ><HTML><HEAD>
> ><META http-equiv=3DContent-Type content=3D"text/html; =
> >charset=3Diso-8859-1">
> ><META content=3D"MSHTML 6.00.5296.0" name=3DGENERATOR>
> ><STYLE></STYLE>
> ></HEAD>
> ><BODY bgColor=3D#ffffff background=3D"">
> ><DIV><FONT face=3DArial size=3D2>well, stink. That URL didn't come out =
> >at all..=20
> >lemme try this again:</FONT></DIV>
> ><DIV> </DIV>
> ><DIV><FONT face=3DArial size=3D2><A=20
>
>href=3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
> >SFPCBE704&tab=3Dfeatures">http://www.apc.com/resource/include/techspe=
> >c_index.cfm?base_sku=3DSFPCBE704&tab=3Dfeatures</A></FONT ></DIV>
> ><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
> ><DIV><FONT face=3DArial size=3D2>Must be tax season eroding my brain. =
> ></FONT></DIV>
> ><DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
> ><BLOCKQUOTE dir=3Dltr=20
> >style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
> >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> > <DIV>"Aaron Allen" <<A=20
> > href=3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>> =
> >wrote in=20
> > message <A =
> >href=3D"news:44413e8f@linux">news:44413e8f@linux</A>...</DIV>
> > <DIV align=3Dleft><FONT face=3DArial size=3D2>Here you go Kim, contact
> =
> >them to see=20
> > if your UPS is compatible with this=20
> > =
>
>package:<BR><BR>http://www.apc.com/resource/include/techspec_index.cfm?ba=
> >se_sku=3DSFPCBE704<BR><BR><STRONG><FONT=20
> > size=3D3><U>Compatibility</U></FONT></STRONG><BR>Operating system=20
> > compatibility Version 7.0.4<BR><BR>Windows=AE XP SP2 =
> >Professional=20
> > <BR>Windows=AE 2000 SP4 Server/Professional/Advanced Server =
> ><BR>Windows=AE 2003=20
> > Standard/Enterprise/Web/Small Business Server <BR>Windows=AE Server =
> >2003=20
> > </FONT></DIV><FONT face=3DArial size=3D2>
> > <DIV align=3Dleft><BR><U><EM>Red Hat=AE Linux=AE Personal/Professional
> =
> >7.3, 8.0, 9.0=20
> > <BR>Ret Hat=AE Enterprise Linux=AE AS 2.1, 3.0, 4.0; ES 2.1, 3.0, 4.0;
> =
> >WS 3.0, 4.0=20
> > <BR>Turbolinux=AE Server 8, 10 <BR>SUSE=AE LINUX=AE Professional 8.2,
> =
> >9.0,=20
> > 9.1</EM></U> </DIV>
> > <DIV align=3Dleft><U></U><BR>Novell=AE Netware=AE 6.0, 6.5 =
> ><BR>Solaris=99=20
> > 8,9<BR><BR>AA<BR><BR><BR>"Kim" <hiddensounds@hotmail.com> wrote =
> >in=20
> > message news:4440a120$1@linux...<BR>> <BR>> <BR>> The =
> >complication is=20
> > that the server runs Linux, and hence I can't load the<BR>> =
> >software on it,=20
> > and it's the only box that plugs in to the UPS, so there's<BR>> no =
> >box=20
> > which could run this software and warn me. Unless there's a =
> >Linux<BR>>=20
> > version on there, but there's no mention of it on the disk.<BR>> =
> ><BR>>=20
> > So it's really going to be a case of loading the software on my =
> >windows=20
> > laptop<BR>> and configuring the UPS to act like I want it to, and =
> >then=20
> > leaving it to<BR>> do it's thing unfortunately. An email would be =
> >fantastic=20
> > if I could make<BR>> it work though. <BR>> <BR>> I should =
> >check the=20
> > Linux community and see if they've made anything which<BR>> will =
> >work on=20
> > it. Seeing as how major UPS players aren't producing Linux =
> >software,<BR>>=20
> > I'd make a guess that the Linux community has a solution.<BR>> =
> ><BR>>=20
> > Cheers,<BR>> Kim.<BR>> <BR>> "Aaron Allen"=20
> > <nospam@not_here.dude> wrote:<BR>>>If you can get business =
> >edition=20
> > on it, you'll LOVE it. It even emails you<BR>> <BR>>>when =
> >things get=20
> > out of whack.<BR>>>AA<BR>>><BR>>>"Kim"=20
> > <hiddensounds@hotmail.com> wrote in message=20
> > =
> >news:44409620$1@linux...<BR>>>><BR>>>><BR>>>> =
> >This=20
> > is the one:<BR>>>>=20
> > =
>
> http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3DBR1500I=
> >&full_sku=3DBR1500I%20%2B%20%281%29BR24BP<BR>>>><BR>> >=
> >>=20
> > PowerChute Personal Edition v1.5 is on this here disk. Why do you=20
> > ask.<BR>>>><BR>>>> Cheers,<BR>>>>=20
> > Kim.<BR>>>><BR>>>> "Aaron Allen"=20
> > <nospam@not_here.dude>=20
> > wrote:<BR>>>>><BR>>>>><BR>>>>>Not =
> >sure=20
> > about the Aussie version, but the US one=20
> > =
> >is:<BR>>>>>http://www.apc.com/resource/include/techspec_index=
> >.cfm?base_sku=3D3DSUA1500=3D<BR>>>>>X413<BR>>>>><=
> >BR>>>>>Kim,=20
> > what version of Power Chute did that come with=20
> > =
> >bro?<BR>>>>><BR>>>>>AA<BR>>>>><BR>>=
> >;>>> =20
> > "Tom Bruhl" <arpegio@comcast.net> wrote in message=20
> > =
> >=3D<BR>>>>>news:444090bc@linux...<BR>>>>> =20
> > Kim,<BR>>>>> Looks cool. Post a liink to it's =
> >specs.=20
> > =3D20<BR>>>>> I'm curious.<BR>>>>> =
> >
> > Tom<BR>>>>><BR>>>>> "Kim"=20
> > <hiddensounds@hotmail.com> wrote in message=20
> > =
> >=3D<BR>>>>>news:444089fb$1@linux...<BR>>>>><BR>&g=
> >t;>>><BR>>>>> =20
> > Not quite in service yet. It has to charge for 8 hours=20
> > first.<BR>>>>><BR>>>>> But =
> >it's in=20
> > the building. :o) There was a line at the store out on<BR>>=20
> > =3D<BR>>>>>to the<BR>>>>> =
> >street.=20
> > Business is booming in computer parts on the Easter =
> >weekend.<BR>>>>=20
> > =3D<BR>>>>>I got<BR>>>>> it =
> >though,=20
> > and it's unpacked. Now I've gotta load up some software<BR>>=20
> > =3D<BR>>>>>and see<BR>>>>> =
> >what I need=20
> > to tweak before I put it in=20
> > service.<BR>>>>><BR>>>>> =
> >Thank you=20
> > again to all the people who donated. Excellent work. And<BR>>=20
> > =3D<BR>>>>>you'll<BR>>>>> =
> >note we've=20
> > had no outages since the server has been taken off the<BR>>=20
> > =3D<BR>>>>>UPS and<BR>>>>> =
> >plugged=20
> > into mains. :o) And hopefully once the UPS is on we'll =
> >have<BR>>>>=20
> > =3D<BR>>>>>even<BR>>>>> =
> >less... =20
> > or, well, not less than none of course, but, oh you know<BR>>=20
> > =3D<BR>>>>>what I<BR>>>>> =
> >mean!=20
> > ;o)<BR>>>>><BR>>>>> =20
> > Cheers,<BR>>>>> =20
> > Kim.<BR>>>>><BR>>>>><BR>>>>>I =
> >choose=20
> > Polesoft Lockspam to fight spam, and=20
> > =
> >you?<BR>>>>>http://www.polesoft.com/refer.html<BR>>>>=
> >;><BR>>>>><!DOCTYPE=20
> > HTML PUBLIC "-//W3C//DTD HTML 4.0=20
> > =
> >Transitional//EN"><BR>>>>><HTML><HEAD><BR>>=
> >>>><META=20
> > http-equiv=3D3DContent-Type content=3D3D"text/html;=20
> > =
> >=3D<BR>>>>>charset=3D3Diso-8859-1"><BR>>>>><=
> >;META=20
> > content=3D3D"MSHTML 6.00.5296.0"=20
> > =
> >name=3D3DGENERATOR><BR>>>>><STYLE></STYLE><BR>=
> >>>>></HEAD><BR>>>>><BODY=20
> > bgColor=3D3D#ffffff><BR>>>>><DIV><FONT =
> >face=3D3DArial=20
> > size=3D3D2>Not sure about the Aussie version, but<BR>>>>=20
> > =3D<BR>>>>>the US=20
> > =
> >one=3D20<BR>>>>>is:<BR><A=3D20<BR>>>>>hr=
>
>ef=3D3D" http://www.apc.com/resource/include/techspec_index.cfm?base_ sku=3D=
> >3D=3D<BR>>>>>SUA1500X413">http://www.apc.com/resource/incl=
> >ude/techspec_index.cfm?base_=3D<BR>>>>>sku=3D3DSUA1500X413 <=
> >;/A></FONT></DIV><BR>>>>><DIV><FONT=20
> > face=3D3DArial size=3D3D2></FONT>=20
> > </DIV><BR>>>>><DIV><FONT face=3D3DArial=20
> > size=3D3D2>Kim, what version of Power Chute did<BR>>=20
> > =3D<BR>>>>>that come=20
> > =
> >with=3D20<BR>>>>>bro?</FONT></DIV><BR>>>>=
> >;><DIV>=20
> > </DIV><BR>>>>><DIV><FONT face=3D3DArial=20
> > =
> >size=3D3D2>AA</FONT></DIV><BR>>>>><DIV>&=
> >lt;FONT=20
> > face=3D3DArial size=3D3D2></FONT>=20
> > </DIV><BR>>>>><BLOCKQUOTE=20
> > dir=3D3Dltr=3D20<BR>>>>>style=3D3D"PADDING-RIGHT: 0px; =
> >PADDING-LEFT:=20
> > 5px; MARGIN-LEFT: 5px; =3D<BR>>>>>BORDER-LEFT: #000000 2px =
> >solid;=20
> > MARGIN-RIGHT: 0px"><BR>>>>> <DIV>"Tom =
> >Bruhl"=20
> > <<A=3D20<BR>>>>> =20
> > =
> >href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=
> >; wrote=20
> > =3D<BR>>>>>in message=3D20<BR>>>>> <A =
> >
> > =
> >href=3D3D"news:444090bc@linux">news:444090bc@linux</A>...</DI=
> >V><BR>>>>> =20
> > <DIV><FONT face=3D3DArial=20
> > size=3D3D2>Kim,</FONT></DIV><BR>>>>> =20
> > <DIV><FONT face=3D3DArial size=3D3D2>Looks cool. =
> >Post a liink to=20
> > =3D<BR>>>>>it's=3D20<BR>>>>> =
> >specs. =20
> > </FONT></DIV><BR>>>>> =
> ><DIV><FONT=20
> > face=3D3DArial size=3D3D2>I'm=20
> > curious.</FONT></DIV><BR>>>>> =20
> > <DIV><FONT face=3D3DArial=20
> > size=3D3D2>Tom</FONT></DIV><BR>>>>> =
> ><DIV>=20
> > </DIV><BR>>>>> =20
> > <BLOCKQUOTE=3D20<BR>>>>> =
> >style=3D3D"PADDING-RIGHT: 0px;=20
> > PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
> >=3D<BR>>>>>BORDER-LEFT: #000000=20
> > 2px solid; MARGIN-RIGHT: =
> >0px"><BR>>>>> =20
> > <DIV>"Kim" <<A=3D20<BR>>>>> =20
> > =
> >=3D<BR>>>>>href=3D3D"mailto:hiddensounds@hotmail.com">hidd=
> >ensounds@hotmail.com</A>>=3D<BR>>>>>=3D20<BR>>>=
> >;>> =20
> > wrote in message <A=3D20<BR>>>>> =20
> > =
> >=3D<BR>>>>>href=3D3D"news:444089fb$1@linux">news:444089fb$=
> >1@linux</A>...</DIV><BR><BR>=3D<BR>>>>&g=
> >t;Not=3D20<BR>>>>> =20
> > quite in service yet. It has to charge for 8 hours=20
> > first.<BR><BR>But<BR>>>> =
> >=3D<BR>>>>>it's=20
> > in=3D20<BR>>>>> the building. :o) There =
> >was a line=20
> > at the store out on to=20
> > =
> >=3D<BR>>>>>the<BR>street.=3D20<BR>>>>> =
> >; =20
> > Business is booming in computer parts on the Easter weekend. I=20
> > =
> >=3D<BR>>>>>got<BR>it=3D20<BR>>>>> &nbs=
> >p; =20
> > though, and it's unpacked. Now I've gotta load up some software=20
> > and=3D20<BR>>>>> see<BR>what I =
> >need to tweak=20
> > before I put it in service.<BR><BR>Thank<BR>>>>=20
> > =3D<BR>>>>>you=3D20<BR>>>>> =
> >again to all=20
> > the people who donated. Excellent work. And=20
> > =
> >=3D<BR>>>>>you'll<BR>note=3D20<BR>>>>> =
> >; =20
> > we've had no outages since the server has been taken off the=20
> > UPS=3D20<BR>>>>> and<BR>plugged =
> >into mains.=20
> > :o) And hopefully once the UPS is on =3D<BR>>>>>we'll=20
> > have=3D20<BR>>>>> =
> >even<BR>less... or,=20
> > well, not less than none of course, but, =3D<BR>>>>>oh=20
> > you=3D20<BR>>>>> know what =
> >I<BR>mean!=20
> > =
> >=3D<BR>>>>>;o)<BR><BR>Cheers,<BR>Kim.</B=
> >LOCKQUOTE></BLOCKQUOTE><BR>>>>><DIV><FONT=20
> > size=3D3D2><BR><BR>I choose Polesoft Lockspam to fight=20
> > spam,<BR>>=20
> > =
> >=3D<BR>>>>>and=3D20<BR>>>>>you?<BR><A=3D=
> >20<BR>>>>>href=3D3D"http://www.polesoft.com/refer.html">ht=
> >tp://www.polesoft.com/refer=3D<BR>>>>>.html</A> &n=
> >bsp;=20
> > =
> ></FONT></DIV></BODY></HTML><BR>>>>><B=
> >R>>>>><BR>>>>=20
> > <BR>>><BR>>><BR>> =
> ></FONT></DIV></BLOCKQUOTE></BODY></HTML>
> >
> >
>Hmm..
From that article, it seems that BT is really only into the technical side
of the production, and not actually recording and mixing anything.
Where does Paris come into it?
-- Martin Harrington
www.lendanear-sound.com
"Paul Artola" <artola@comcast.net> wrote in message
news:ac52425f6ip43f9et2od7skjvh2tu67vqp@4ax.com...
> Brian Tankersley's name comes up regularly on this forum. As some of
> us know, his new gig in Houston (check out
> http://broadcastengineering.com/mag/broadcasting_lakewood_ch urch/index.html)
> would seem to spell the end of Brian's association with Paris.
> However, though it is not mentioned in the above article, a little
> Connecticuit birdie tells me there is still some Paris in the middle
> of all this technology.
>
> BTW, the ADK computers mentioned in the article is the home of our own
> Chris Ludwig! Attaboy, Chris. Care to comment on the setup they are
> running at Lakewood?
>
> - Paul Artola
> Ellicott City, Maryland
>Very nice fridge. Looks tasty.
Bourbon and beer here in the South.
I'm a Miller High Life Man. Hundred-year-old recipe. Light American pilsner,
but the thickest of the original bunch. Everybody else changed their recipe
several times over the century, but not the High Life, beeatch. Tried and
true.
Can't beat it, you ask me. Tastes like crispy, caramelly water. With a buzz.
"Kim" <hiddensounds@hotmail.com> wrote in message news:44419d24$1@linux...
>
>
> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>
> I actually have a beer fridge with a glass door and all, which has a
selection
> of 12 beers, from all over the place, at all times, and I try and rotate
> which beers are in the fridge each month when I do my beer shopping. :o)
>
> So I was thinking that surely some of you have some great beer suggestions
> for me. The difficult part is of course that boutique beers from north
america
> can be pretty hard to find down here in Australia. Our range of European
> beers is getting better, especially if you shop in the right places, but
> there's not that much from the U.S.
>
> But if you have favourite beer, give it a shot,I'd love to know what it
is.
> I'll see if I can't find some of them and give them a go. :o)
>
> I mean you guys must know something about beer. ;o)
>
> Cheers,
> Kim.Budweiser sux.
Sam Adams sux.
Everything else is up for discussion.
"Kim" <hiddensounds@hotmail.com> wrote in message news:4441a49a$1@linux...
>
>
> Ah, I remember that one. I had some when I was over there back in 99 or
whenever
> it was. Didn't enjoy it much, though my beer taste has expanded since
then.
> As I recall it was like "the third beer". There was Bud, Miller, and Sam
> Adams, which was for those who like something a bit "different"... but it
> seemed to be all the wrong kinds of different. ;o)
>
> I might buy just one stubbie of it though to try and to see if I still
dislike
> it so much. ;o) I should buy one Bud as well actually as I haven't had
that
> either for about a decade. Just to refresh the memory.
>
> I mean if I want to be a man who knows his beer I should be familiar with
> what people are drinking, even the beers I don't like. :o)
>
> Cheers,
> Kim.
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
> >Stay far, far away from Sam Adams.. yuk! I can't say I recommend any
> >domestics from USA, but I don't drink much.. I will say that SA is about
> the
> >most awful thing next to maybe dog pee, though I haven't had the
displeasure
>
> >of urine. I imagine SA is much like it though.
> >Heheh..
> >
> >AA
> >
> >
> >"Kim" <hiddensounds@hotmail.com> wrote in message
news:44419d24$1@linux...
> >>
> >>
> >> Now, some of you may have picked up that I enjoy the odd beer. ;o)
> >>
> >> I actually have a beer fridge with a glass door and all, which has a
> >> selection
> >> of 12 beers, from all over the place, at all times, and I try and
rotate
> >> which beers are in the fridge each month when I do my beer shopping.
:o)
> >>
> >> So I was thinking that surely some of you have some great beer
suggestions
> >> for me. The difficult part is of course that boutique beers from north
>
> >> america
> >> can be pretty hard to find down here in Australia. Our range of
European
> >> beers is getting better, especially if you shop in the right places,
but
> >> there's not that much from the U.S.
> >>
> >> But if you have favourite beer, give it a shot,I'd love to know what it
>
> >> is.
> >> I'll see if I can't find some of them and give them a go. :o)
> >>
> >> I mean you guys must know something about beer. ;o)
> >>
> >> Cheers,
> >> Kim.
> >
> >
> >I choose Polesoft Lockspam to fight spam, and you?
> >http://www.polesoft.com/refer.html
> >
> >
>I was reviewing a mix the other day with RME's Digicheck bit analyzer and
found 3 twos, 4 fives and 1 eleven. I flipped them over and the mix sounded
a lot wider. Garage band....what are ya gonna do.
On 4/15/06 8:26 PM, in article 4441ae26@linux, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
> I think it's just plain old magic.
>
> ;o)
>
> "DC" <dc@spamthemoon.com> wrote in message news:44419fa8$1@linux...
>>
>> "Jesse Skeens" <jskeens@gmail.com> wrote:
>>
>>
>>> The complexity of code in a DAW has no bearing on the fact that an audio
>>> file is just 1's and 0's.
>>
>>
>> WHAT? it has every bearing on what is done to them, and that
>> changes dramatically according to that very-complex code.
>>
>>
>>> At the level that a DAW reads those values two
>>> files with the same set of values should read exactly the same by the
> DAW,
>>> theres no way for it to see a difference.
>>
>> That's assuming a lot.
>>
>>
>>> So I have to be either or? If you hear something different then your
> mind
>>> is probably fooling you.
>>
>> And there it is. As silly as some of the "golden ears" are, you guys
>> are much, much worse. You reason backwards from your
>> assumptions and convince yourself that something you hear is not
>> there. Then one day your assumptions are shown to be invalid.
>>
>>
>>> Theres many variables at play, you'd have to examime
>>> each case induvidually. It's hard to just sit here and making sweeping
>> statements
>>> without looking at the details.
>>
>> Thank you. And a decent percentage of people who hear things that
>> you cannot measure are what drives forward progress. Remember
>> the sound of the early Sony 1630/1640 decks? The techies all
>> said the same thing you are saying. It's fine, it's just 1' and 0's and
>> your mind is fooling you.
>>
>> BS
>>
>> best,
>>
>> DC
>>
>
>If you're doing Bud, go Bud dry if you can get it. Much, much better than
the other ones IMO.
AA
"Kim" <hiddensounds@hotmail.com> wrote in message news:4441a49a$1@linux...
>
>
> Ah, I remember that one. I had some when I was over there back in 99 or
> whenever
> it was. Didn't enjoy it much, though my beer taste has expanded since
> then.
> As I recall it was like "the third beer". There was Bud, Miller, and Sam
> Adams, which was for those who like something a bit "different"... but it
> seemed to be all the wrong kinds of different. ;o)
>
> I might buy just one stubbie of it though to try and to see if I still
> dislike
> it so much. ;o) I should buy one Bud as well actually as I haven't had
> that
> either for about a decade. Just to refresh the memory.
>
> I mean if I want to be a man who knows his beer I should be familiar with
> what people are drinking, even the beers I don't like. :o)
>
> Cheers,
> Kim.
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>Stay far, far away from Sam Adams.. yuk! I can't say I recommend any
>>domestics from USA, but I don't drink much.. I will say that SA is about
> the
>>most awful thing next to maybe dog pee, though I haven't had the
>>displeasure
>
>>of urine. I imagine SA is much like it though.
>>Heheh..
>>
>>AA
>>
>>
>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44419d24$1@linux...
>>>
>>>
>>> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>>>
>>> I actually have a beer fridge with a glass door and all, which has a
>>> selection
>>> of 12 beers, from all over the place, at all times, and I try and rotate
>>> which beers are in the fridge each month when I do my beer shopping. :o)
>>>
>>> So I was thinking that surely some of you have some great beer
>>> suggestions
>>> for me. The difficult part is of course that boutique beers from north
>
>>> america
>>> can be pretty hard to find down here in Australia. Our range of European
>>> beers is getting better, especially if you shop in the right places, but
>>> there's not that much from the U.S.
>>>
>>> But if you have favourite beer, give it a shot,I'd love to know what it
>
>>> is.
>>> I'll see if I can't find some of them and give them a go. :o)
>>>
>>> I mean you guys must know something about beer. ;o)
>>>
>>> Cheers,
>>> Kim.
>>
>>
>>I choose Polesoft Lockspam to fight spam, and you?
>>http://www.polesoft.com/refer.html
>>
>>
>No offense taken. We have a fair amount of watery mixturation
masquerading as beer, here.
For example steer clear of Budweiser. There's some kind of chemical
preservative in it that has no business in a beer.
But the local microbrews are good. In Colorado we have Odell's, New
Belgium Brewery, Breckenridge Brewery, a few others. Recommended.
Cheers,
-Jamie
http://www.JamieKrutz.com
Martin Harrington wrote:
> Wow, Sam Adams and AnchorSteam, are the only US beers that I find drinkable.
> The rest are, to me, like drinking p**s, (my personal opinion of course...no
> offence).My favorite:
The pride of San Diego
http://www.karlstrauss.com/
DC"Kim" <hiddensounds@hotmail.com> wrote:
>I should have made a point of including some more outlandish Australianisms.
>Maybe thrown in the odd "Crickey" for flavour. A few "Strewth"s. The odd
>"Stone the crows!". ;o)
AUSSIE AUSSIE AUSSIE!
OY! OY! OY!This is a multi-part message in MIME format.
---=_linux4441ccdf
Content-Type: text/plain
Content-Transfer-Encoding: 7bit
Three Floyds Dark Lord Russian Imperial Stout
Only available one day a year.
Next week! _ I hope to get some.
g
---=_linux4441ccdf
Content-Type: image/jpeg; name="3Fs.jpg"
Content-Transfer-Encoding: base64
Content-Disposition: attachment; filename="3Fs.jpg"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---=_linux4441ccdf-- http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=74066 01222&sspagename=ADM
E:B:AAQ:US:1
what a wanker.....we need to spam this dude. He's gonna end up hosing some
newbie.
I've already given him a heads up.
;oPThis is a multi-part message in MIME format.
------=_NextPart_000_00A8_01C660F6.AA309610
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Kim,
I'm not a Sam lover either but the two that pass the test
are Winter Lager and Cherry Wheat (if you like that fruity thing).
Brazilian Xingu is a black beer that is like eating a loaf of bread.
Hard to find and I think the recipe has changed for the worse=20
since the early 90s when I drank it more frequently. It makes=20
Guinness seem light.
Tom
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message =
news:4441ccdf$1@linux...
Three Floyds Dark Lord Russian Imperial Stout
Only available one day a year.
Next week! _ I hope to get some.
g
------=_NextPart_000_00A8_01C660F6.AA309610
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Kim,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm not a Sam lover either but the two =
that pass=20
the test</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>are Winter Lager and Cherry Wheat (if =
you like that=20
fruity thing).</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Brazilian Xingu is a black beer that is =
like eating=20
a loaf of bread.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Hard to find and I think the recipe has =
changed for=20
the worse </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>since the early 90s </FONT><FONT =
face=3DArial=20
size=3D2>when I drank it more frequently. It makes </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Guinness seem light.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"gene lennon" <<A=20
=
href=3D"mailto:glennon@NOSPmyrealbox.com">glennon@NOSPmyrealbox.com</A>&g=
t;=20
wrote in message <A=20
=
href=3D"news:4441ccdf$1@linux">news:4441ccdf$1@linux</A>...</DIV><BR>Thre=
e=20
Floyds Dark Lord Russian Imperial Stout<BR>Only available one day a=20
year.<BR>Next week! _ I hope to get =
some.<BR>g<BR></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_00A8_01C660F6.AA309610--"DC" <dc@spamtheswedes.com> wrote:
>
>"Babu" <musiclab@lund.bonet.se> wrote:
>>
>>Who is trolling?
>
>Oh, now you are all reasonable and "I was only doing this" and
>blah blah...
>
>You were trolling. Now you want to have a debate? Tell you what,
>why don't you actually contribute to this group for a while?
>Share your favorite mics and pres. How about some tricks getting
>a great bass sound? What do you use for choirs?
I didn´t know there was a rule on this NG, against silent lurkers voicing
their opinion.
>
>Then I will be happy to share with you all the details. But when you
>come one here with a "reality check" and then accuse ME of a
>lack of humility, you are nothing but a troll.
You are saying that my opinions are not valid because I don´t post as often
as you do???
>
>>My post is full of IMO´s and I never stated that my experiences
>>were non-disputable. It is YOU who put that angle to the discussion.
>
>EVERYONES experiences are disputable.
Yeah, you really left a lot of room for that in the sentence below:
>"Then you don't know how to use Paris, and I have the tracks to >prove it."
>
>
>>Paris´ all time biggest advocate, Brian T left the building in favour of
>>Nuendo, which you mention as inferior...
>
>
>Brian doesn't do symphonic music, he does pop and works at
>a modern church. I'll bet he still runs Paris at one place or another.
Huh, your bet? If you read my post you would see that I also record pop,
rock etc. and that I actually praised Paris in these applications.
>None of us cares who leaves and who stays. I have clients coming
>here this morning who think Paris sounds fabulous. Now show me
>where your opinion should count in the whole equation?
Thats why you were all over the poor guy, Dave who switched to PT and praised
his new system?
>
>
>>BTW. What I meant by scientific was simply a proper A-B comparison with
>all
>>other things being equal with perfect level matching in the same enviroment
>>with the same tracks.
>
>Well, Paris killed Sonic Solutions in that very test, and NO ONE
>claims that Nuendo sounds better than Sonic. My point was that
>if you believe there is a lack of clarity and detail in Paris compared
>to something else, than you are using it wrong. I stand by that point
>and have done the work to prove it. Now, if you want to add
>something to our little group instead of dumping on it, I will send
>you a CD, all the way to Sweden, to let you hear some of it.
>
I thought NG´s were places where one could freely chat with people sharing
same interest WITHOUT any obligations, provided that you don´t insult anyone.
>
>>There are more things to the sound than just playing back raw tracks. For
>>example, the possibility to properly route drums to a seperate bus and
process
>>them affects sound. I know it can be done in Paris, but how long does it
>>take and how easy is it compared to other systems?
>
>
>Don't need this for what I do. Glad it works for you.
>
>
>If you wish us to act collegial, then act like a colleague.
Us??? Are you now the voice of the whole NG? I didn´t hear anyone else complaining.
>
>best,
>
>DC
This will be my last post on this topic. Waste of time...
The sensmoral is that you are welcome to post as long as you don´t critisize
Paris!!!???
Regards
BabuTalk to Chris
--
Martin Harrington
www.lendanear-sound.com
"Kim" <hiddensounds@hotmail.com> wrote in message news:4441a794$1@linux...
>
>
> Really? I'd love to hear.
>
> Anyone know how I can get hold of some?
>
> Cheers,
> Kim.
>
> "Martin Harrington" <lendan@bigpond.net.au> wrote:
>>Chris is in Sydney, a mate of mine, but I can't help as I no longer have
>
>>Paris.
>>BTW, you should here some of the work Chris has achieved with Paris and
> 1
>>EDS card and an IF2.
>>
>>Absolutely amazing.
>>--
>>Martin Harrington
>>www.lendanear-sound.com
>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44416ece$1@linux...
>>>
>>> "Chris Griffiths" <cgriffo@aapt.net.au> wrote:
>>>>P.S. Unfortunately I don't know anyone who still uses paris with a MEC
>>>>interface I can try (From Australia).
>>>
>>> I'm in Australia and still use Paris. In Northcote, in Melbourne. What
>
>>> city
>>> are you in?
>>>
>>> Though the other guys are right. With two cards you'll need a 442 or an
>
>>> MEC.
>>> 442's come up pretty cheap on the for sale site.
>>>
>>> And you'll still be able to plug the Interface 2 into the system.
>>> There's
>>> a plug in the MEC so that you can piggy back it on to the MEC (I assume
>
>>> the
>>> 442 has that as well? Andyone?)
>>>
>>> Cheers,
>>> Kim.
>>
>>
>I like mostly anything from GIB:
http://www.gib.ca
I used to frequent the place when I lived there before
moving to Alberta. It's tough to get the next province
over, let alone across the other side of the planet! ;-)
The Black Pil from here is also really good:
http://www.brewbrothers.com/
Cheers! ;-)
David.
Kim wrote:
>
> Now, some of you may have picked up that I enjoy the odd beer. ;o)
>
> I actually have a beer fridge with a glass door and all, which has a selection
> of 12 beers, from all over the place, at all times, and I try and rotate
> which beers are in the fridge each month when I do my beer shopping. :o)
>
> So I was thinking that surely some of you have some great beer suggestions
> for me. The difficult part is of course that boutique beers from north america
> can be pretty hard to find down here in Australia. Our range of European
> beers is getting better, especially if you shop in the right places, but
> there's not that much from the U.S.
>
> But if you have favourite beer, give it a shot,I'd love to know what it is.
> I'll see if I can't find some of them and give them a go. :o)
>
> I mean you guys must know something about beer. ;o)
>
> Cheers,
> Kim.
>
>
> ------------------------------------------------------------ ------------
>"DC" <dc@spamtheswedes.com> wrote:
>
>why don't you actually contribute to this group for a while?
>Share your favorite mics and pres. How about some tricks getting
>a great bass sound? What do you use for choirs?
>
BTW. If you really are interested, I usually use one of the following setups
for recording choirs. All depending on time available for preparation etc.
Recording medium: SS32 with 896 I/O or RME Fireface800 and a laptop.
MicPre: Millenia Media HV3
Mics: Depending on size of choir; Either a pair of Sennheiser MKH40´s in
X-Y or a Royer SF12 ribbon.
Back in the studio I usually edit the wav´s directly in Wavelab, but sometimes
do very slight limiting/compression with a Crane Song STC8.
Regards
BabuParis 3 soft free?It's some kind of bullshit look:
http://www.emu.com/support/files/download3.asp?Centric=653&a mp;Platform=1&File=274
Zmora
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=74066 01222&sspagename=ADM
>E:B:AAQ:US:1
>
>what a wanker.....we need to spam this dude. He's gonna end up hosing some
>newbie.
>
>I've already given him a heads up.
>
>;oP
>
>
>In somewhat urgent need of some assistance adding a second EDS card. I’ve
a mixdown session tomorrow with a client and I really need the second card
for the session.
So, my year long struggle to add a second working EDS card continues. First
card was dud. Second one has finally arrived. Both cards work by themselves,
but the system (Win XP Pro) or Paris can’t seem to recognise both at once.
Booting paris (boots fine), and checking version info only shows one EDS.
I’ve stripped out all other PCI cards and tried both EDSs in any possible
PCI positions I can think of whilst the cables still reach (i.e. no more
than one empty slot between them). Still no joy.
I can’t find any options (in bios or in device manager) to assign the IRQs.
Under device manager properties, the “change settings” option is greyed out.
In the BIOS, the only options are to enable or disable Plug & Play O/S (determines
whether the BIOS or the OS configures PCI) and for IRQs to be Avaible (to
be used by PCI/PnP devices) or Reservces (specified IRQ is reserved for use
by Legacy ISA devices). I’m running on an Asus A7V880 with the internal Ethernet
and sound card disabled.
In most PCI positions, only one ENSONIQ Scherzo was showing in device manager,
and it’s only listed under one IRQ (18 or 16). No conflicts.
With the cards in slots 4 and 5 (irqs 16 and 18), Schezo shows two instances.
However, when I try to boot paris I get Error 1/1 (whether the MEC is connected
to either card). Which means Paris isn’t recognising the hardware at all.
My only other thought is that this could be cause by faulty 16 / 10 pin ribbon
cables. I’ve quadrouple checked that the cables are correctly installed.
2 x 16 pins cross in an X, but the red cable is to the left (rear of computer)
when plugged in both plugs. 1 x 10 pin straight across, red cable to left
in both sockets. Doubt that this is the problem though since why would this
affect how many cards the system recognises…?
I think it was Derek that mentioned that in some systems the connection needs
to be “opposite” but I can’t understand what opposite means in this context.
Many, many thanks in advance for any help.
DanielI put together this quick hack version to help ya out man.
AA
"db" <danielNOSPAM_burne@yahoo.com> wrote in message
news:4441fda3$1@linux...
>
> In somewhat urgent need of some assistance adding a second EDS card. I've
> a mixdown session tomorrow with a client and I really need the second card
> for the session.
>
> So, my year long struggle to add a second working EDS card continues.
> First
> card was dud. Second one has finally arrived. Both cards work by
> themselves,
> but the system (Win XP Pro) or Paris can't seem to recognise both at once.
>
>
> Booting paris (boots fine), and checking version info only shows one EDS.
>
>
> I've stripped out all other PCI cards and tried both EDSs in any possible
> PCI positions I can think of whilst the cables still reach (i.e. no more
> than one empty slot between them). Still no joy.
>
> I can't find any options (in bios or in device manager) to assign the
> IRQs.
> Under device manager properties, the "change settings" option is greyed
> out.
> In the BIOS, the only options are to enable or disable Plug & Play O/S
> (determines
> whether the BIOS or the OS configures PCI) and for IRQs to be Avaible (to
> be used by PCI/PnP devices) or Reservces (specified IRQ is reserved for
> use
> by Legacy ISA devices). I'm running on an Asus A7V880 with the internal
> Ethernet
> and sound card disabled.
>
> In most PCI positions, only one ENSONIQ Scherzo was showing in device
> manager,
> and it's only listed under one IRQ (18 or 16). No conflicts.
>
> With the cards in slots 4 and 5 (irqs 16 and 18), Schezo shows two
> instances.
> However, when I try to boot paris I get Error 1/1 (whether the MEC is
> connected
> to either card). Which means Paris isn't recognising the hardware at all.
>
>
>
> My only other thought is that this could be cause by faulty 16 / 10 pin
> ribbon
> cables. I've quadrouple checked that the cables are correctly installed.
> 2 x 16 pins cross in an X, but the red cable is to the left (rear of
> computer)
> when plugged in both plugs. 1 x 10 pin straight across, red cable to left
> in both sockets. Doubt that this is the problem though since why would
> this
> affect how many cards the system recognises.?
> I think it was Derek that mentioned that in some systems the connection
> needs
> to be "opposite" but I can't understand what opposite means in this
> context.
>
>
> Many, many thanks in advance for any help.
> Daniel
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
man, i keep missing the good stuff...ARRRRRRRRRRRRRRRRRRRRRGH!
On 16 Apr 2006 10:20:02 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Probably should put that in a heading so people can see it easily... ;o)
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>"Don Nafe" <dnafe@magma.ca> wrote:
>>>Well that was painless...or has it happened yet?
>>
>>Yeh all done. Gee you were quick off the rank to get on board once the server
>>was back up. ;o)
>>
>>Should be good now. AND I was reading the specs on the side of the UPS box...
>> looks like we might get more like 1.5 hours or more out of this unit I
>suspect.
>>
>>All good. :o)
>>
>>Cheers,
>>Kim.thanks aaron.
woohoo. cards now recognised.
played around with more slots, reinstalled the scherzo driver several times,
made new cables... and eventually (3 hours later) got the desired result.
except that one of the eds cards emits a horrible crackling noise...
"Aaron Allen" <nospam@not_here.dude> wrote:
>I put together this quick hack version to help ya out man.
>
>AA
>
>
>"db" <danielNOSPAM_burne@yahoo.com> wrote in message
>news:4441fda3$1@linux...
>>
>> In somewhat urgent need of some assistance adding a second EDS card. I've
>> a mixdown session tomorrow with a client and I really need the second
card
>> for the session.
>>
>> So, my year long struggle to add a second working EDS card continues.
>> First
>> card was dud. Second one has finally arrived. Both cards work by
>> themselves,
>> but the system (Win XP Pro) or Paris can't seem to recognise both at once.
>>
>>
>> Booting paris (boots fine), and checking version info only shows one EDS.
>>
>>
>> I've stripped out all other PCI cards and tried both EDSs in any possible
>> PCI positions I can think of whilst the cables still reach (i.e. no more
>> than one empty slot between them). Still no joy.
>>
>> I can't find any options (in bios or in device manager) to assign the
>> IRQs.
>> Under device manager properties, the "change settings" option is greyed
>> out.
>> In the BIOS, the only options are to enable or disable Plug & Play O/S
>> (determines
>> whether the BIOS or the OS configures PCI) and for IRQs to be Avaible
(to
>> be used by PCI/PnP devices) or Reservces (specified IRQ is reserved for
>> use
>> by Legacy ISA devices). I'm running on an Asus A7V880 with the internal
>> Ethernet
>> and sound card disabled.
>>
>> In most PCI positions, only one ENSONIQ Scherzo was showing in device
>> manager,
>> and it's only listed under one IRQ (18 or 16). No conflicts.
>>
>> With the cards in slots 4 and 5 (irqs 16 and 18), Schezo shows two
>> instances.
>> However, when I try to boot paris I get Error 1/1 (whether the MEC is
>> connected
>> to either card). Which means Paris isn't recognising the hardware at all.
>>
>>
>>
>> My only other thought is that this could be cause by faulty 16 / 10 pin
>> ribbon
>> cables. I've quadrouple checked that the cables are correctly installed.
>> 2 x 16 pins cross in an X, but the red cable is to the left (rear of
>> computer)
>> when plugged in both plugs. 1 x 10 pin straight across, red cable to left
>> in both sockets. Doubt that this is the problem though since why would
>> this
>> affect how many cards the system recognises.?
>> I think it was Derek that mentioned that in some systems the connection
>> needs
>> to be "opposite" but I can't understand what opposite means in this
>> context.
>>
>>
>> Many, many thanks in advance for any help.
>> Daniel
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
>
>Ok, finally got a second EDS card installed properly and working. After about
1 minute of working with it, I started getting a permanent crackle in one
of the two card submixes. Even whilst playback was stopped. The crackle
shows the submix faders. Any ideas?
I've tried reinstalling the driver (both using setup and device manager -
the latter doesn't work at all, although having searched the newsgroup this
was a suggested crackle solution).
I'm going to try removing effects and plugs ins to see if that makes any
difference. In the meantime any advice greatly appreciated.
Could it be a bad second eds card?
Thanks,
DanOoops.
Just being an idiot.
SPDIF insert with the effect switched off was the problem.
So looking forward to finally playing with two cards after the 1 year wait
of trying to get this to happen and the 8 year wait to upgrade to a second
card!
Dan
"db" <daniel_burneNOSPAM@yahoo.com> wrote:
>
>Ok, finally got a second EDS card installed properly and working. After
about
>1 minute of working with it, I started getting a permanent crackle in one
>of the two card submixes. Even whilst playback was stopped. The crackle
>shows the submix faders. Any ideas?
>
>I've tried reinstalling the driver (both using setup and device manager
-
>the latter doesn't work at all, although having searched the newsgroup this
>was a suggested crackle solution).
>
>I'm going to try removing effects and plugs ins to see if that makes any
>difference. In the meantime any advice greatly appreciated.
>
>Could it be a bad second eds card?
>
>Thanks,
>DanEnjoy the freedom
Don
"db" <daniel_burne@yahoo.com> wrote in message news:44422050$1@linux...
>
> Ooops.
> Just being an idiot.
> SPDIF insert with the effect switched off was the problem.
> So looking forward to finally playing with two cards after the 1 year wait
> of trying to get this to happen and the 8 year wait to upgrade to a sec
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65560 is a reply to message #65515] |
Mon, 20 March 2006 01:07 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
uite passages. Wonderful
>for strings, ac guitars as well.
Absolutely and great folks at the company with comprehensive
support.
I use a modded Jensen 990 Twin Servo that I just love. Detail to
die for and as smooth as can be. Another place I like clean pres
in pop is on drum overheads and pianos. I also have had great luck
when a singer has a big voice, with the 990 and a good condensor
mic. Otherwise, I like my Summit Tube mic pre for pop.
>Spaced omnis should be the most accurate with less phase issues, but they
>also require quite good acoustics from the room, don´t they?
Oh absolutely. Most of my work was done in nice concert halls so
the clarity off-axis was a big plus. It also allowed me to get really
close to the orchestra without getting too dry. Often I would be
right over the conductor's head about 18 feet up (5.5m) and I
always used the nosecones on the B&K's. I did a classical harp
disc in a cathedral with spaced omni's about 4 feet (1.2m) from
the strings. I took the harp's padded bag, and anything else I
could find and put them on the floor around the harp to cut down
on the reflection from the floor. I like the results.
You can compensate for omni's if you don't like the room
by getting close, but they don't work everywhere. This is why we
need so many mics! (this is what I tell my wife at least)
>I would love
>to have a pair of omnis as well.
Can't beat the Danes on this! (B&K) Not inexpensive of course and
do get the nosecones.
>The Royers are wonderful on certain material, but you need A LOT of clean
>gain to record choirs. I usually put it on a very high boom quite near the
>center of the choir. It´s a bit more difficult to use it with wider spread
>choirs. However, the uncolored mids and the incridibly smooth highs are
very
>hard to achieve with conventional condensers.
I think choirs, recorded well, are just glorious. One of my favorite
discs is Lauridsen's Lux Aeterna by the Los Angeles Master Chorale.
The music is so radiant I would have recorded it for free. (shhhh
don't tell anyone...) The guys who did it are very good.
http://www.lamc.org/tickets/recordings.html
DCKim,
I'm lucky to live in the microbrew capital of the world - Portland, Oregon.
I can walk down almost any street and find a great local ale.
However, I highly recommend the following brews, which are in fairly wide
distribution:
1. Lagunitas Maximus
2. Lagunitas IPA
3. Stone Brewing Ruination IPA
4. Hop Rod Rye
Let me know if you ever plan a visit to Portland and we'll go on one hell
of a great pub crawl!
Mark
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>
>
>Now, some of you may have picked up that I enjoy the odd beer. ;o)
>
>I actually have a beer fridge with a glass door and all, which has a selection
>of 12 beers, from all over the place, at all times, and I try and rotate
>which beers are in the fridge each month when I do my beer shopping. :o)
>
>So I was thinking that surely some of you have some great beer suggestions
>for me. The difficult part is of course that boutique beers from north america
>can be pretty hard to find down here in Australia. Our range of European
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65765 is a reply to message #65399] |
Sun, 26 March 2006 21:06 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
r />
you
=3D
>have
> >>>them do? What would you be willing to pay for this =3D
>software/service?
> >>>
> >>>I may have somebody interested.
> >>>
> >>>James
> >>
> >
> >
> >I choose Polesoft Lockspam to fight spam, and you?
> >http://www.polesoft.com/refer.html=3D20
> >
> >
>
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
><HTML><HEAD>
><META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D
>charset=3D3Diso-8859-1">
><META content=3D3D"MSHTML 6.00.2800.1400" name=3D3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D3D#ffffff>
><DIV><FONT face=3D3DArial size=3D3D2>James,</FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>That's outside the box for sure! =
=3D
>Good=3D20
>idea.</FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>It's all in the =
implementation... =3D
>
></FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2></FONT> </DIV>
><DIV><FONT face=3D3DArial size=3D3D2>All of these Paris fixes are so =
heavily
=3D
>
>ridden</FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>with work. I wonder if anyone =
has =3D
>that much=3D20
>time.</FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>ID sure isn't giving or =3D
>selling anything=3D20
>away. </FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>I'll never know =
why.</FONT></DIV>
><DIV><FONT face=3D3DArial size=3D3D2>Tom</FONT></DIV>
><DIV> </DIV>
><BLOCKQUOTE=3D20
>style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
=3D
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"James McCloskey" <<A=3D20
> href=3D3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>> =
wrote =3D
>in message=3D20
> <A =3D
=
>href=3D3D"news:4445c390$1@linux">news:4445c390$1@linux</A>...</DIV><BR>I=
=3D
>was=3D20
> thinking out side the box and fell off the cliff; o I was=3D20
> thinking<BR>the other way around. Wrap a VST and run it on the =3D
>EDS card,=3D20
> it doesn't<BR>sound like it would work.<BR><BR><BR>"Aaron Allen" =
=3D
><<A=3D20
> =
href=3D3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>>=3D20
> wrote:<BR>>If the delay is not ridiculous, yes.<BR>>You do mean =3D
>running=3D20
> EDS algo's in VST, right?<BR>>AA<BR>><BR>><BR>>"James =3D
>McCloskey"=3D20
> <<A href=3D3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>> =
=3D
>wrote in=3D20
> message <BR>>news:4445155e$1@linux...<BR>>><BR>>> would =3D
>you=3D20
> guys be willing to pay for a VST to EDS FX wrapper? What=3D20
> do<BR>you<BR>>> think it would be=3D20
> worth?<BR>>><BR>>><BR>>> "James McCloskey" <<A=3D20
> href=3D3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>>=3D20
> wrote:<BR>>>><BR>>>>I'm kind of thinking out=3D20
> loud.<BR>>>><BR>>>>What kind of native plugins would =3D
>you=3D20
> guys like to see developed for=3D20
> =3D
><BR>>>>Paris?<BR>>>><BR>>>><BR>>>>Wha=3D
>t do=3D20
> you think you guys would be willing to pay for these=3D20
> plugins?<BR>>>><BR>>>>If we could get the algorithms =3D
>ported=3D20
> from the Ensoniq DP pro, what would<BR>>>>you guys be willing =3D
>to pay=3D20
> for that?<BR>>>><BR>>>>I'm not sure that this is =3D
>possible,=3D20
> but, what would you guys be willing<BR>>> to<BR>>>>pay =3D
>for=3D20
> automatic plugin delay compensation?<BR>>>><BR>>>>If =3D
>you=3D20
> could have somebody do coding work for Paris, what would you=3D20
> have<BR>>>>them do? What would you be willing to pay =3D
>for this=3D20
> software/service?<BR>>>><BR>>>>I may have somebody=3D20
> =3D
>interested.<BR>>>><BR>>>>James<BR>>><BR>><BR>&=3D
>gt;<BR>>I=3D20
> choose Polesoft Lockspam to fight spam, and=3D20
> you?<BR>>http://www.polesoft.com/refer.html=3D20
><BR>><BR>><BR></BLOCKQUOTE></BODY></HTML>
>
>
------=_NextPart_000_0212_01C663A0.A6B53B10
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Cujo,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Macro Express can do that key command =
for you if=20
you set it up to do so.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"cujo" <<A=20
=
href=3D"mailto:chris@nospamapplemanstudio.com">chris@nospamapplemanstudio=
..com</A>>=20
wrote in message <A=20
=
href=3D"news:444640ec$1@linux">news:444640ec$1@linux</A>...</DIV><BR><BR>=
Oh and=20
while at it,<BR>Can we automate XF sends? also besides the sample =
accurate=20
nudging can we<BR>make a key command to toggle between "During Rcird" =
and=20
"Always Monitor Input"?<BR><BR><BR>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>>=20
wrote:<BR>><BR>><BR>>James,<BR>>That's outside the box for =
sure! Good idea.<BR>>It's all in the implementation...=20
=3D20<BR>><BR>>All of these Paris fixes are so heavily =
ridden<BR>>with=20
work. I wonder if anyone has that much time.<BR>>ID sure =
isn't giving=20
or selling anything away. =3D20<BR>>I'll never know=20
why.<BR>>Tom<BR>><BR>> "James McCloskey" <<A=20
href=3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>> wrote =
in message=20
=3D<BR>>news:4445c390$1@linux...<BR>><BR>> I was =
thinking out=20
side the box and fell off the cliff; o I was=20
=3D<BR>>thinking<BR>> the other way around. Wrap a =
VST and run=20
it on the EDS card, it =3D<BR>>doesn't<BR>> sound like it =
would=20
work.<BR>><BR>><BR>> "Aaron Allen" <<A=20
href=3D"mailto:nospam@not_here.dude">nospam@not_here.dude</A>>=20
wrote:<BR>> >If the delay is not ridiculous, =
yes.<BR>> =20
>You do mean running EDS algo's in VST, right?<BR>> =20
>AA<BR>> ><BR>> ><BR>> >"James=20
McCloskey" <<A=20
href=3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>> wrote =
in=20
message=3D20<BR>> >news:4445155e$1@linux...<BR>> =20
>><BR>> >> would you guys be willing to pay for a =
VST to=20
EDS FX wrapper? What<BR>=3D<BR>>do<BR>> =
you<BR>> =20
>> think it would be worth?<BR>> >><BR>> =
>><BR>> >> "James McCloskey" <<A=20
href=3D"mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>>=20
wrote:<BR>> >>><BR>> >>>I'm kind =
of=20
thinking out loud.<BR>> >>><BR>> =
>>>What=20
kind of native plugins would you guys like to see developed=20
=3D<BR>>for=3D20<BR>> >>>Paris?<BR>> =20
>>><BR>> >>><BR>> >>>What =
do you=20
think you guys would be willing to pay for these=20
=3D<BR>>plugins?<BR>> >>><BR>> =
>>>If we=20
could get the algorithms ported from the Ensoniq DP pro,=20
what<BR>=3D<BR>>would<BR>> >>>you guys be willing =
to pay=20
for that?<BR>> >>><BR>> >>>I'm not =
sure=20
that this is possible, but, what would you guys be=20
=3D<BR>>willing<BR>> >> to<BR>> =
>>>pay for=20
automatic plugin delay compensation?<BR>> =
>>><BR>> =20
>>>If you could have somebody do coding work for Paris, what =
would=20
you<BR>=3D<BR>>have<BR>> >>>them do? What =
would you=20
be willing to pay for this =3D<BR>>software/service?<BR>> =20
>>><BR>> >>>I may have somebody=20
interested.<BR>> >>><BR>> =20
>>>James<BR>> >><BR>> =
><BR>> =20
><BR>> >I choose Polesoft Lockspam to fight spam, and=20
you?<BR>> =
>http://www.polesoft.com/refer.html=3D20<BR>> =20
><BR>> ><BR>><BR>><BR>><!DOCTYPE HTML =
PUBLIC=20
"-//W3C//DTD HTML 4.0=20
Transitional//EN"><BR>><HTML><HEAD> <BR>><META=20
http-equiv=3D3DContent-Type content=3D3D"text/html;=20
=3D<BR>>charset=3D3Diso-8859-1"><BR>><META =
content=3D3D"MSHTML=20
6.00.2800.1400"=20
=
name=3D3DGENERATOR><BR>><STYLE></STYLE> <BR>></HEA=
D><BR>><BODY=20
bgColor=3D3D#ffffff><BR>><DIV><FONT face=3D3DArial=20
=
size=3D3D2>James,</FONT></DIV&am p;gt; <BR>><DIV><FONT =
face=3D3DArial size=3D3D2>That's outside the box for sure!=20
=
=3D<BR>>Good=3D20<BR>>idea.</FONT></DIV> <BR>><DIV=
><FONT=20
face=3D3DArial size=3D3D2>It's all in the implementation...=20
=
=3D<BR>><BR>></FONT></DIV> <BR>><DIV><FONT=20
face=3D3DArial size=3D3D2></FONT> =
</DIV><BR>><DIV><FONT=20
face=3D3DArial size=3D3D2>All of these Paris fixes are so=20
=
heavily<BR>=3D<BR>><BR>>ridden</FONT></DIV> <BR>><=
DIV><FONT=20
face=3D3DArial size=3D3D2>with work. I wonder if anyone has =
=3D<BR>>that=20
=
much=3D20<BR>>time.</FONT></DIV> <BR>><DIV><FON=
T=20
face=3D3DArial size=3D3D2>ID sure isn't giving or =
=3D<BR>>selling=20
anything=3D20<BR>>away. =
</FONT></DIV><BR>><DIV><FONT=20
face=3D3DArial size=3D3D2>I'll never know=20
why.</FONT></DIV><BR>><DIV><FONT =
face=3D3DArial=20
size=3D3D2>Tom</FONT></DIV&g t; <BR>><DIV>=20
=
</DIV><BR>><BLOCKQUOTE=3D20<BR >>style=3D3D"PADDING-RIGHT: =
0px;=20
PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D<BR>>BORDER-LEFT: #000000 =
2px solid;=20
MARGIN-RIGHT: 0px"><BR>> <DIV>"James McCloskey"=20
<<A=3D20<BR>> href=3D3D"<A=20
=
href=3D'mailto:excelsm@hotmail.com">excelsm@hotmail.com</A'>mailto:excels=
m@hotmail.com">excelsm@hotmail.com</A</A>>>=20
wrote =3D<BR>>in message=3D20<BR>> <A =
=3D<BR>>href=3D3D"<A=20
=
href=3D'news:4445c390$1@linux">news:4445c390$1@linux</A>...</DIV><BR>I'>n=
ews:4445c390$1@linux">news:4445c390$1@linux</A>...</DIV>&l=
t;BR>I</A>=20
=3D<BR>>was=3D20<BR>> thinking out side the box and fell =
off the=20
cliff; o I was=3D20<BR>> thinking<BR>the other way =
around. Wrap a=20
VST and run it on the =3D<BR>>EDS card,=3D20<BR>> it=20
doesn't<BR>sound like it would =
work.<BR><BR><BR>"Aaron=20
Allen" =3D<BR>><<A=3D20<BR>> href=3D3D"<A=20
=
href=3D'mailto:nospam@not_here.dude">nospam@not_here.dude</A>>=3D20'>mail=
to:nospam@not_here.dude">nospam@not_here.dude</A>>=3D20</A><B=
R>> =20
wrote:<BR>>If the delay is not ridiculous, =
yes.<BR>>You do=20
mean =3D<BR>>running=3D20<BR>> EDS algo's in VST,=20
right?<BR>>AA<BR>> <BR>><BR>> "James =
=3D<BR>>McCloskey"=3D20<BR>> <<A href=3D3D"<A=20
=
href=3D'mailto:excelsm@hotmail.com">excelsm@hotmail.com</A'>mailto:excels=
m@hotmail.com">excelsm@hotmail.com</A</A>>>=20
=3D<BR>>wrote in=3D20<BR>> message=20
=
<BR>>news:4445155e$1@linux... <BR>>><BR>> >=
;=20
would =3D<BR>>you=3D20<BR>> guys be willing to pay for a =
VST to EDS FX=20
wrapper? What=3D20<BR>> do<BR>you<BR>>> =
think it=20
would be=3D20<BR>> =20
worth?<BR>>><BR>&a mp;gt;><BR>>> "James =
McCloskey"=20
<<A=3D20<BR>> href=3D3D"<A=20
=
href=3D'mailto:excelsm@hotmail.com">excelsm@hotmail.com</A>>=3D20'>mailto=
:excelsm@hotmail.com">excelsm@hotmail.com</A>>=3D20</A><BR>&g=
t; =20
wrote:<BR>>>><BR&a mp;gt;>>>I'm kind of thinking =
out=3D20<BR>> =
loud.<BR>>>><BR&am p;gt;>>>What=20
kind of native plugins would =3D<BR>>you=3D20<BR>> guys =
like to see=20
developed for=3D20<BR>> =20
=
=3D<BR> ><BR>>>>Paris?& ;lt;BR>>>><BR>& ;g=
t;>><BR>>>> Wha=3D <BR>>t=20
do=3D20<BR>> you think you guys would be willing to pay for=20
these=3D20<BR>> =
plugins?<BR>>>><BR >>>>If=20
we could get the algorithms =3D<BR>>ported=3D20<BR>> from =
the Ensoniq=20
DP pro, what would<BR>>>>you guys be willing =
=3D<BR>>to=20
pay=3D20<BR>> for =
that?<BR>>>><BR&am p;gt;>>>I'm=20
not sure that this is =3D<BR>>possible,=3D20<BR>> but, =
what would you=20
guys be willing<BR>>> to<BR>>>>pay=20
=3D<BR>>for=3D20<BR>> automatic plugin delay=20
compensation?<BR>>>>& lt;BR>>>>If=20
=3D<BR>>you=3D20<BR>> could have somebody do coding work =
for Paris,=20
what would you=3D20<BR>> have<BR>>>>them do? =
What would=20
you be willing to pay =3D<BR>>for this=3D20<BR>> =20
software/service?<BR>>>>& amp;lt;BR>>>>I may =
have=20
somebody=3D20<BR>> =20
=
=3D<BR> >interested.<BR>>>> ;<BR>>>>James&l=
t;BR>>><BR>>&l t;BR>&=3D <BR>>gt;<BR>>=
I=3D20<BR>> =20
choose Polesoft Lockspam to fight spam, and=3D20<BR>> =20
=
you?<BR>>http://www.polesoft.com/refer.html=3D20<BR>><BR&g=
t;><BR>><BR>&l t;/BLOCKQUOTE></BODY></HTML& g=
t;<BR>><BR>></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0212_01C663A0.A6B53B10--Hey Gang,
does anyone have the Paris EDS(multicard) cable layout format. I'm re-installing
, but get the 'Cards are not connected properly" blah blah blah....
ThanksLOL! :^)
Cheers,
-Jamie
http://www.JamieKrutz.com
W. Mark Wilson wrote:
> Mail it to me - it should ship okay!!! You know.. "Special" Sauce and all.
>
> Dubya
>
> "Neil" <OIUOIU@OIU.com> wrote in message news:4445929c$1@linux...
>> "W. Mark Wilson" <wmarkwilson@integrity.com> wrote:
>>> This makes the 8th and/or 9th time I've read here that someone wants to
>> know
>>> where this guy is. I did some light sleuthing; here's what I found in 3
>>> minutes. If this is him, I figger I'm owed at least a McDonald's gift
>>> certificate or something.
>> Drive down to El Paso, I'll buy you a Big Mac lol
>>
>>
>
>Sent you a PDF with the instructions.
Mark
"LaMont" <jjdpro@ameritech.net> wrote:
>
>Hey Gang,
>does anyone have the Paris EDS(multicard) cable layout format. I'm re-installing
>, but get the 'Cards are not connected properly" blah blah blah....
>ThanksDimitrios, How do you determine the latency of each plugin? How about writing
a VST to determine the latencies. hehe
Thanks,
John
"Dimitrios" <musurgio@otenet.gr> wrote:
>
>I don't know if most of you are aware of Latency delay vst plugin from Voxengo.
>IT IS NOT Sample delay from Voxengo again.
>The beauty of Latency delay is that it uses a fixed 10.000 samples around
>200ms for every instance put on a vst slot.
>So the concept is this.
>Put one instance of it ON EVEY audio track you have on one vst slot.
>Thus every instance will show 0000 and all your audio tracks will be latent
>for 10.000 samples.
>Now lets say on track 5 you wanna use a rencomp from Waves .
>You just go there on your Latency delay and just put the 64 number.
>This is the actual rencomp latency.
>Thus all your tracks will be alligned.
>Now say you put a LA2 UAD1 plug on track 7 (please use Chainer wrapped from
>Spinaudio to have the 4096 latency) then you just put on latency delay the
>4096 number.
>Now lets say you put a EDS compressor on track 8 that has a 2 sample latency
>with 0 lookahead and 47 samples with 0.001 lookahead
>So you just put that number there...
>Easy right ?
>No nudging to the left and delaying to the right.
>Voxengo latency delay does not makes your cpu any heavier at all !!
>
>Regards,
>DimitriosBut the tracks are going to play back 10000 samples behind the waveform in
the editor.......right? this is the problem with the UAD latency
compensator. It's really hard to use real time fader automation when the
audio plays so far behind the waveform, though maybe 200ms would work. I'd
have to try it..
"Dimitrios" <musurgio@otenet.gr> wrote in message news:444647d4$1@linux...
>
> I don't know if most of you are aware of Latency delay vst plugin from
Voxengo.
> IT IS NOT Sample delay from Voxengo again.
> The beauty of Latency delay is that it uses a fixed 10.000 samples around
> 200ms for every instance put on a vst slot.
> So the concept is this.
> Put one instance of it ON EVEY audio track you have on one vst slot.
> Thus every instance will show 0000 and all your audio tracks will be
latent
> for 10.000 samples.
> Now lets say on track 5 you wanna use a rencomp from Waves .
> You just go there on your Latency delay and just put the 64 number.
> This is the actual rencomp latency.
> Thus all your tracks will be alligned.
> Now say you put a LA2 UAD1 plug on track 7 (please use Chainer wrapped
from
> Spinaudio to have the 4096 latency) then you just put on latency delay the
> 4096 number.
> Now lets say you put a EDS compressor on track 8 that has a 2 sample
latency
> with 0 lookahead and 47 samples with 0.001 lookahead
> So you just put that number there...
> Easy right ?
> No nudging to the left and delaying to the right.
> Voxengo latency delay does not makes your cpu any heavier at all !!
>
> Regards,
> Dimitriosnot sure if i want to see your balls on the monitor here...or anywhere
else for that matter. what's next jacks ass???
On 19 Apr 2006 21:12:25 +1000, "john" <no@no.com> wrote:
>
>especially the golf balls
>http://search.ebay.com/_W0QQsassZbercikjQQhtZ-1?
http://www.irc.atr.jp/~mlyons/mouthesizer.html
gDear John,
There is a free app called vstspy that reads all your vst'd and shows amoung
other info the delay too...
http://tobybear.phreque.com/files/vstspy.zip
Enjoy
Regards,
Dimitrios
"John" <no@no.com> wrote:
>
>Dimitrios, How do you determine the latency of each plugin? How about
writing
>a VST to determine the latencies. hehe
>
>Thanks,
>John
>
>"Dimitrios" <musurgio@otenet.gr> wrote:
>>
>>I don't know if most of you are aware of Latency delay vst plugin from
Voxengo.
>>IT IS NOT Sample delay from Voxengo again.
>>The beauty of Latency delay is that it uses a fixed 10.000 samples around
>>200ms for every instance put on a vst slot.
>>So the concept is this.
>>Put one instance of it ON EVEY audio track you have on one vst slot.
>>Thus every instance will show 0000 and all your audio tracks will be latent
>>for 10.000 samples.
>>Now lets say on track 5 you wanna use a rencomp from Waves .
>>You just go there on your Latency delay and just put the 64 number.
>>This is the actual rencomp latency.
>>Thus all your tracks will be alligned.
>>Now say you put a LA2 UAD1 plug on track 7 (please use Chainer wrapped
from
>>Spinaudio to have the 4096 latency) then you just put on latency delay
the
>>4096 number.
>>Now lets say you put a EDS compressor on track 8 that has a 2 sample latency
>>with 0 lookahead and 47 samples with 0.001 lookahead
>>So you just put that number there...
>>Easy right ?
>>No nudging to the left and delaying to the right.
>>Voxengo latency delay does not makes your cpu any heavier at all !!
>>
>>Regards,
>>Dimitrios
>Hey Guys
Greatly appreciated
DonI really like running Paris on XP after my last computer died, however there
has been a nagging problem with my plug-ins causing a nasty pop at the
beginning of each track where they are applied. I have been able to remedy
this in the mix by placing a mute at the beginning of each track with a
plug-in, but this did nothing to prevent pops when starting the mix anywhere
midway. This has been a problem when working with clients present doing
tweaks and overdubs.
The simple solution was to place a stereo Gate on the mix bus with a slow
attack time. I have made this part of my start template. The only caveat
is when switching card designations the bus gate goes away. No problem I
have the template saved for easy reloading.
Hope this is helpful to someone.
RZhttp://goatonapole.com/
Endless possibilities!
Of course, here in Texas we call it "Cabrito on a spit!"
Whole different thang.
;0)What bullshit! Or is that bull on a shit? Or is it shit on a stick? Or
is it brainwashing on a pole?
"Mike Claytor" <claytor@psy.utexas.edu> wrote:
>
>http://goatonapole.com/
>
>Endless possibilities!
>
>Of course, here in Texas we call it "Cabrito on a spit!"
>
>Whole different thang.
>
>;0)you have helped me in my quest to divest myself of all
possessions...so thank you wise platehopper.
;o)
On Wed, 19 Apr 2006 11:59:07 -0400, "Don Nafe" <dnafe@magma.ca> wrote:
>Hey Guys
>
>Greatly appreciated
>
>Don
>along with children i gave up trying to conceive concepts so what's
yours? and ewwwwww...up here we don't eat nuthin' that's got spit on
it.
;o)
On 20 Apr 2006 03:48:56 +1000, "Mike Claytor" <claytor@psy.utexas.edu>
|
|
|
|
|
|
|
|
| Re: If you have a fever for some cowbell today [message #65797 is a reply to message #65787] |
Mon, 27 March 2006 21:20 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
s like Bill Evans, Oscar =
Peterson, Chick, Herbie, George Shearing, etc... Transcribe and shed =
like hell.
Cheers and good luck,
Rich
"Kim" <hiddensounds@hotmail.com> wrote in message =
news:4448377b$1@linux...
>=20
>=20
> Well, I went to a jazz gig last night. Paul Grabowsky and a bunch of =
other
> dudes who's names I probably would know if I knew as much about jazz =
as I'd
> like to. ;o)
>=20
> So this week's whim for me is that I want to switch all my musical =
persuits
> to jazz. I mean rock is all so yesterday. ;o) Actually, it's not a =
sudden
> whim for this week. It's been brewing for some time,but I've been =
avoiding
> ths switch because it sounds like too much hard work.
>=20
> Part of the problem is that jazz musos, or good ones at least, are so =
good.
> ;o) I mean when you compare the keyboard parts in the average top ten =
tune,
&
|
|
|
|
|
|
|
|
Goto Forum:
Current Time: Sun May 24 11:06:31 PDT 2026
Total time taken to generate the page: 0.03708 seconds
|
The PARIS Forums
Search
Help
Members
Register
Login
Home
