Home » The PARIS Forums » PARIS: Main » Mastering in Paris
| Re: Multi Band Mastering in Paris [message #68796 is a reply to message #68787] |
Wed, 31 May 2006 15:43   |
Aaron Allen
Messages: 1988
Registered: May 2008
|
Senior Member |
|
|
>(currently
>>> tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead from
>>the
>>> tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That oughta'
>>> get me there, right?
>>>
>>> Thanks for your help.
>>>
>>> Deej
>>>
>>>
>>>
>>>
>>>
>>> "gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
>>> news:44b037d8$1@linux...
>>> >
>>> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>> > >I need to build balanced I/O cables for the analog outputs of my
>>Roland
>>> > >R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot. That's
>>> not
>>> > >the normal state of affairs around here. Everything I'm using is pin
>>> 2-hot
>>> > >and is routed to 1/4" TRS patchbays.
>>> > >These cables need to be XLR to TRS in order to interface with said
>>> balanced
>>> > >patchbay. From there they would be patched to other gear (with trs-trs
>>> patch
>>> > >cables) that is pin 2-hot. I'm guessing I'm going to have to make
up
>a
>>> > >couple of special trs-trs patch cables to get this all strack. It's
>>> making
>>> > >my head hurt. Could someone give me a clue as to what I need to do
>to
>>> patch
>>> > >a pin 3-hot device through a balanced PB in order to interface properly
>>> > with
>>> > >the rest of my (pin 2 hot) studio?
>>> > >
>>> > >Thanks,
>>> > >
>>> > >Deej (the obscure)
>>> > >
>>> > >
>>> >
>>> > In this case you can reverse either end. I keep some colored shrink
>>tubing
>>> > around to mark non-normal cables. Personally I reverse at the XLR,
>>because
>>> > it's easier to reverse.
>>> > Gene
>>> >
>>>
>>>
>>
>>
>TheR880 doesn't have a fan, but I've had my eye on a 480L and it has a fan.
DJ
<Kris .> wrote in message news:44b26c77$1@linux...
>
> I'm surprised your 880 has a fan in it....mine does not.
>
> Analog I/O on this thing sounds very good IMO...better than you might
expect
> considering the age of it.
>
> Another solution is to make (6) (R880 has 2 ins and 4 outs IIRC) 1 foot
lengths
> of XLR-XLR cables with the polarity swapped. Connect these to your 880,
and
> then, connect your snake to them. This would make your 880 appear to be
pin
> 2 hot to your patch bay.
>
> Cheers
>
> Kris
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >........or, I could keep the Mogami snake *as is* and just make two TRS
> >Patch cables (for patching this particular dievice) wired tip to ring and
> >ring to tip. That might be a better solution for my particular situation
> >actually. I may not end up using the analog I/O of the R880 all that much
> >and it's very possible that I might want to run this long snake to a
certain
> >device that I've got my eye on. It's got a fan in the chassis so I will
> need
> >to keep it in the machine room. I think it's wired with standard US
> >polarity.
> >
> >;o)
> >
> >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >news:44b04210$1@linux...
> >> It is a 20' cable run from the rack that is housing the R880 mainframe
> to
> >> the standard balanced patch bay. Seems a shame to use 80' of mic cable
> to
> >> make 4 x 20' patch cables when I've got a 20' 4 x pair standard
polarity
> >> Mogami XLR-TRS snake sitting here doing nothing.....sooooo........ I
could
> >> modify the standard mogami cable by taking the lead from the ring
> >(currently
> >> tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead from
> >the
> >> tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That
oughta'
> >> get me there, right?
> >>
> >> Thanks for your help.
> >>
> >> Deej
> >>
> >>
> >>
> >>
> >>
> >> "gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
> >> news:44b037d8$1@linux...
> >> >
> >> > "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >> > >I need to build balanced I/O cables for the analog outputs of my
> >Roland
> >> > >R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot.
That's
> >> not
> >> > >the normal state of affairs around here. Everything I'm using is pin
> >> 2-hot
> >> > >and is routed to 1/4" TRS patchbays.
> >> > >These cables need to be XLR to TRS in order to interface with said
> >> balanced
> >> > >patchbay. From there they would be patched to other gear (with
trs-trs
> >> patch
> >> > >cables) that is pin 2-hot. I'm guessing I'm going to have to make up
> a
> >> > >couple of special trs-trs patch cables to get this all strack. It's
> >> making
> >> > >my head hurt. Could someone give me a clue as to what I need to do
> to
> >> patch
> >> > >a pin 3-hot device through a balanced PB in order to interface
properly
> >> > with
> >> > >the rest of my (pin 2 hot) studio?
> >> > >
> >> > >Thanks,
> >> > >
> >> > >Deej (the obscure)
> >> > >
> >> > >
> >> >
> >> > In this case you can reverse either end. I keep some colored shrink
> >tubing
> >> > around to mark non-normal cables. Personally I reverse at the XLR,
> >because
> >> > it's easier to reverse.
> >> > Gene
> >> >
> >>
> >>
> >
> >
>There are come cool Armadillo World Headquarters posters/memorabilia there
too. One of the Armadillo artists was a runnin' buddy of mine for many years
and after Lowell George died, we used to channel him on a regular basis with
the aid of old tapes and certain esoteric substances.
;o)
"DC" <dc@spammersonmars.org> wrote in message news:44b1ea33$1@linux...
>
> http://www.wolfgangsvault.com
>
> Wolfgang Grajonca, aka Bill Graham, was a notorious obsessive. But
> he loved what he did, and we are now all his beneficiaries because
> one of his obsessions was that he kept everything from all his
> shows. Everything.
>
> It was all stashed in a warehouse; nobody even knew what was
> there, and after Graham died in a helicopter crash in 1991 nobody
> knew what to do with it, or didn't want to invest the time to find out
> what was there. After passing thru several owners, businessman &
> music fan Bill Sagan bought the whole 'mess' for about $1.5 million.
> It was piled over 25 feet high in that warehouse. It took
> TWENTY-FIVE tractor trailer rigs to carry it all to its new home
> where Sagan began digging thru and cataloging what he'd bought.
>
> He found:
>
>
> Original Contracts signed by the artists
> Mint condition super-rare posters; some worth $15k each today
> Handbills
> Unused tickets
> Over a million slides, negatives and photographs.
>
> Then one day while poking thru it Sagan found what he'd never even
> dreamed of: Bill Graham had even saved the concerts themselves.
> He'd made video & high res audio recordings of thousands of shows!
> Sagan is not even sure, but it might be over 7,000 recordings in
> number.
>
> He is selling some of it thru the above website. He is also making
> available "Vault Radio" where you can click on the link and listen
> (free) to some of those recordings in a rotation that includes dozens
> of those recordings.
>
> Just click on "vault radio" Priceless....
>
> DC
>Oh, no not that, that would be nice, I meant UAD stuff and the like.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>
>"Cujo" <chris@nospamapplemanstudio.com> wrote in message
>news:44b265f3$1@linux...
>>
>>
>> What would a decent USB interface be?
>>
>> The wavelab I have allows effects on the master.
>>
>
>external FX???.....if so, then you are using the most recent version.
>
>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>> >Hi Cujo and John,
>> >Your low mid bump is a result of horrible converter quality of all on
>> >board sound cards. I wouldn't trust any use of EQ with the on board
>> >sound cards. There are some very inexpensive audio PCI , USB and
>> >Firewire cards available that will make a big difference.
>> >Also Steinberg is putting out a mid=priced version of Wavelab that is
a
>>
>> >stereo only very and no DVD support which will go for 299.00 and a
>> >competitive upgrade version for 199.00. It will probably be out in end
>> >of August.
>> >
>> >In the full version you be able to place a effects on th master
>> >sections, individual tracks and on individual clips all with send volume
>>
>> >control. Oh and you can also us external effect nay were in the effect
>> >chain just like you can in Cubase/Nuendo. This way you can use outboard
>>
>> >gear or even Paris effects directly inside of Wavelab.
>> >
>> >
>> >Chris
>> >
>> >
>> >Cujo wrote:
>> >> John, I have WL Essentials which is somehting like 99.00 bucks and
it
>> is
>> >> way cool. The montage thing is a cd sequencer, you can lay out each
>"track"
>> >> in a linear fasion, and slide songs back and forth to make the time
>inbetween
>> >> just as you want them, you can also aply fades, adjust volume, add
UAD
>> plugs
>> >> to the mix (presision limite) really it is a mastering suite. Now,
I
>would
>> >> bot master a dang thing, but I got it so I could sequence a CD EXACTLY
>> how
>> >> i want it before I send it to the mastering house. Say if you uses
>Roxio
>> >> for rough cd;s you only can do 2 second intervals or whatever, and
you
>> can
>> >> not nudge..
>> >>
>> >> Ok, so right now I am mastering something, an R&B record I worked on
>that
>> >> has NO budget., it is sort of liek a hip hop mix tape. When using WL
>the
>> >> output goes via my Comps on board sound card in there is some strange
>> EQ
>> >> thing going on there, (low mid bump) so I can;t use any EQ on the mix
>> in
>> >> WL!
>> >>
>> >> John <no@no.com> wrote:
>> >>
>> >>>Cujo, What kind of multiple song things can you do in wavelab, what's
>> >>
>> >>
>> >>>this montage thing?
>> >>>
>> >>>cujo wrote:
>> >>>
>> >>>>For years I have used CEP and it is a snap, but with WL you can do
all
>> >>
>> >> the
>> >>
>> >>>>songs on a cd in one go, and it offers a bit more in noise shaping
so
>> >>
>> >> I wondered
>> >>
>> >>>>if it was the more "pro" option.
>> >>>>
>> >>>>John <no@no.com> wrote:
>> >>>>
>> >>>>
>> >>>>>I was using the free dither app written for paris.
>> >>>>>
>> >>>>>cujo wrote:
>> >>>>>
>> >>>>>
>> >>>>>>Which do you prefer for dithering: CEP or Wavelab with the plug
you
>> place
>> >>>>>>on the master bus on the montage mode?
>> >>>>>>
>> >>>>>>Also does the render button on the effects group in Montage mode
>permanently
>> >>>>>>change the individual files or does it save the new CD as a seperate
>> >>
>> >> bunch
>> >>
>> >>>>>>of files?
>> >>>>>>I don't know if I am making sense here.
>> >
>> >--
>> >Chris Ludwig
>> >ADK
>> >chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
>> >www.adkproaudio.com <http://www.adkproaudio.com/>
>> >(859) 635-5762
>
>I can't imagine anybody on this group hijacking any thread
:)
El Miguel
"macle" <Mates9999@cs.com> wrote in message news:44b1996b$1@linux...
>
> El Miguel, hola amigo to you!! Thanks man, and thanks for
> signing the guestbook.
>
> P.S. everyone, feel free to sign The Mates guestbook even if
> you didn't buy the CD: http://www.themateswebsite.com/page24.html
>
> Oh, and if anyone is on MySpace, hit us up, The Mates need
> mates!
>
> http://www.myspace.com/themates
>
> Sorry Miguel, for turning this into a spammish thing, man this
> promo stuff is addicting...almost as addicting as The Mates
> new CD, in record stores everywhere!!
>
> "Miguel Vigil" <nospam@nospam.com> wrote:
> >Hello PayPal...
> >
> >Regards,
> >
> >El Miguel
> >
> >
> >
> >"macle" <Mates9999@cs.com> wrote in message news:44acca76$1@linux...
> >>
> >> Hey Paris People, how are you!?
> >>
> >> Well, I don't really know who's still here after all this time, but I
> just
> >> wanted to let those who may be interested, or were interested at one
time,
> >> or used to be interesed and still just might be interested, that we
> >finally
> >> have a CD for sale of the
> >> songs I posted oh so long ago (all recorded on Paris in my
> >> little home studio).
> >>
> >> Please check out our website:
> >>
> >> http://www.themateswebsite.com/
> >>
> >> Thanks a lot!!!
> >>
> >>
> >>
> >>
> >>
> >
> >
>Right. I've considered upgrading to the newer version so I can insert a
hardware reverbs before the limiter in a mastering scenario.
"Cujo" <chris@nospamapplemanstudio.com> wrote in message
news:44b27732$1@linux...
>
>
> Oh, no not that, that would be nice, I meant UAD stuff and the like.
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >
> >"Cujo" <chris@nospamapplemanstudio.com> wrote in message
> >news:44b265f3$1@linux...
> >>
> >>
> >> What would a decent USB interface be?
> >>
> >> The wavelab I have allows effects on the master.
> >>
> >
> >external FX???.....if so, then you are using the most recent version.
> >
> >> Chris Ludwig <chrisl@adkproaudio.com> wrote:
> >> >Hi Cujo and John,
> >> >Your low mid bump is a result of horrible converter quality of all on
> >> >board sound cards. I wouldn't trust any use of EQ with the on board
> >> >sound cards. There are some very inexpensive audio PCI , USB and
> >> >Firewire cards available that will make a big difference.
> >> >Also Steinberg is putting out a mid=priced version of Wavelab that is
> a
> >>
> >> >stereo only very and no DVD support which will go for 299.00 and a
> >> >competitive upgrade version for 199.00. It will probably be out in end
> >> >of August.
> >> >
> >> >In the full version you be able to place a effects on th master
> >> >sections, individual tracks and on individual clips all with send
volume
> >>
> >> >control. Oh and you can also us external effect nay were in the effect
> >> >chain just like you can in Cubase/Nuendo. This way you can use
outboard
> >>
> >> >gear or even Paris effects directly inside of Wavelab.
> >> >
> >> >
> >> >Chris
> >> >
> >> >
> >> >Cujo wrote:
> >> >> John, I have WL Essentials which is somehting like 99.00 bucks and
> it
> >> is
> >> >> way cool. The montage thing is a cd sequencer, you can lay out each
> >"track"
> >> >> in a linear fasion, and slide songs back and forth to make the time
> >inbetween
> >> >> just as you want them, you can also aply fades, adjust volume, add
> UAD
> >> plugs
> >> >> to the mix (presision limite) really it is a mastering suite. Now,
> I
> >would
> >> >> bot master a dang thing, but I got it so I could sequence a CD
EXACTLY
> >> how
> >> >> i want it before I send it to the mastering house. Say if you uses
> >Roxio
> >> >> for rough cd;s you only can do 2 second intervals or whatever, and
> you
> >> can
> >> >> not nudge..
> >> >>
> >> >> Ok, so right now I am mastering something, an R&B record I worked on
> >that
> >> >> has NO budget., it is sort of liek a hip hop mix tape. When using WL
> >the
> >> >> output goes via my Comps on board sound card in there is some
strange
> >> EQ
> >> >> thing going on there, (low mid bump) so I can;t use any EQ on the
mix
> >> in
> >> >> WL!
> >> >>
> >> >> John <no@no.com> wrote:
> >> >>
> >> >>>Cujo, What kind of multiple song things can you do in wavelab,
what's
> >> >>
> >> >>
> >> >>>this montage thing?
> >> >>>
> >> >>>cujo wrote:
> >> >>>
> >> >>>>For years I have used CEP and it is a snap, but with WL you can do
> all
> >> >>
> >> >> the
> >> >>
> >> >>>>songs on a cd in one go, and it offers a bit more in noise shaping
> so
> >> >>
> >> >> I wondered
> >> >>
> >> >>>>if it was the more "pro" option.
> >> >>>>
> >> >>>>John <no@no.com> wrote:
> >> >>>>
> >> >>>>
> >> >>>>>I was using the free dither app written for paris.
> >> >>>>>
> >> >>>>>cujo wrote:
> >> >>>>>
> >> >>>>>
> >> >>>>>>Which do you prefer for dithering: CEP or Wavelab with the plug
> you
> >> place
> >> >>>>>>on the master bus on the montage mode?
> >> >>>>>>
> >> >>>>>>Also does the render button on the effects group in Montage mode
> >permanently
> >> >>>>>>change the individual files or does it save the new CD as a
seperate
> >> >>
> >> >> bunch
> >> >>
> >> >>>>>>of files?
> >> >>>>>>I don't know if I am making sense here.
> >> >
> >> >--
> >> >Chris Ludwig
> >> >ADK
> >> >chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
> >> >www.adkproaudio.com <http://www.adkproaudio.com/>
> >> >(859) 635-5762
> >
> >I just wish that Colorgraphics or *somebody* would make a 6 head AGP
graphics card with a gig of VRAM based on an NVidia chipset so it would
share IRQ's nicely with other devices on the PCI bus.
"Miguel Vigil" <nospam@nospam.com> wrote in message news:44b278ac@linux...
> I can't imagine anybody on this group hijacking any thread
>
> :)
>
> El Miguel
>
>
>
> "macle" <Mates9999@cs.com> wrote in message news:44b1996b$1@linux...
> >
> > El Miguel, hola amigo to you!! Thanks man, and thanks for
> > signing the guestbook.
> >
> > P.S. everyone, feel free to sign The Mates guestbook even if
> > you didn't buy the CD: http://www.themateswebsite.com/page24.html
> >
> > Oh, and if anyone is on MySpace, hit us up, The Mates need
> > mates!
> >
> > http://www.myspace.com/themates
> >
> > Sorry Miguel, for turning this into a spammish thing, man this
> > promo stuff is addicting...almost as addicting as The Mates
> > new CD, in record stores everywhere!!
> >
> > "Miguel Vigil" <nospam@nospam.com> wrote:
> > >Hello PayPal...
> > >
> > >Regards,
> > >
> > >El Miguel
> > >
> > >
> > >
> > >"macle" <Mates9999@cs.com> wrote in message news:44acca76$1@linux...
> > >>
> > >> Hey Paris People, how are you!?
> > >>
> > >> Well, I don't really know who's still here after all this time, but I
> > just
> > >> wanted to let those who may be interested, or were interested at one
> time,
> > >> or used to be interesed and still just might be interested, that we
> > >finally
> > >> have a CD for sale of the
> > >> songs I posted oh so long ago (all recorded on Paris in my
> > >> little home studio).
> > >>
> > >> Please check out our website:
> > >>
> > >> http://www.themateswebsite.com/
> > >>
> > >> Thanks a lot!!!
> > >>
> > >>
> > >>
> > >>
> > >>
> > >
> > >
> >
>
>How do you guys and gals handle it when you get a client who is insistant
on very little or no compression? How do you handle it when they want to
know everything about the signal chain?(hence your mixing secrets)
BHey Brandon- hope everything is cool! I still listen to that
"21" song every now and then!
I would just give them what they want, in both cases.
My band just played at a Denver club, and recorded the gig.
The sound guy had good equipment, but nothing real high-end.
He proceded to do an absolutely AWESOME and artistic job of
utilizing that gear, and the sound, both live and on disk, is
just amazing. Even the sound board mix is fabulous.
My point is that any amount of info you share on gear, settings,
etc, will not help the client become a pro. They might go away
for a while, thinking that they can do it themselves, but they
will return when they realize that if it sounds good, and you
can make it sound good, then it's worth it to hire you.
Peace,
Chris
"brandon" <a@a.com> wrote:
>
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression? How do you handle it when they want to
>know everything about the signal chain?(hence your mixing secrets)
>
>BThis is a multi-part message in MIME format.
------=_NextPart_000_0045_01C6A41C.D6EF14B0
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charset="iso-8859-1"
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Brandon,
Tell them just enough to get into murky water and charge them for
the extra time it takes to tell them everything in gory detail.
I had a client like that once. I've never heard anything good from his
home studio yet but he always likes it. =20
I must have done okay.
Honestly, I like telling those that are interested some of my ideas
but sometimes there are people who don't deserve to know on a=20
personal level.
Tom
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
How do you guys and gals handle it when you get a client who is =
insistant
on very little or no compression? How do you handle it when they want =
to
know everything about the signal chain?(hence your mixing secrets)
B
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
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charset="iso-8859-1"
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<!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>Brandon,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tell them just enough to get into murky =
water and=20
charge them for</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>the extra time it takes to tell them =
everything in=20
gory detail.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>I had a client like that once. =
I've never=20
heard anything good from his</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>home studio yet but he always likes =
it. =20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>I must have done okay.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Honestly, I like telling those that are =
interested=20
some of my ideas</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>but sometimes there are people who =
don't deserve to=20
know on a </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>personal level.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"brandon" <<A href=3D"mailto:a@a.com">a@a.com</A>> wrote in =
message=20
<A =
href=3D"news:44b27b39$1@linux">news:44b27b39$1@linux</A>...</DIV><BR>How =
do=20
you guys and gals handle it when you get a client who is =
insistant<BR>on very=20
little or no compression? How do you handle it when they want =
to<BR>know=20
everything about the signal chain?(hence your mixing=20
secrets)<BR><BR>B</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>
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DJ,
6 monitors for everyone!!!
What about that Matrox thingy that splits one VGA into two with no =
software?
Get a three headed monster and three Matrox thingies.
http://www.matrox.com/graphics/offhome/dh2go/home.cfm
Or stick with the dual head and get two of these:
http://www.matrox.com/graphics/offhome/th2go/home.cfm
Tom
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message =
news:44b279a9$1@linux...
I just wish that Colorgraphics or *somebody* would make a 6 head AGP
graphics card with a gig of VRAM based on an NVidia chipset so it =
would
share IRQ's nicely with other devices on the PCI bus.
"Miguel Vigil" <nospam@nospam.com> wrote in message =
news:44b278ac@linux...
> I can't imagine anybody on this group hijacking any thread
>
> :)
>
> El Miguel
>
>
>
> "macle" <Mates9999@cs.com> wrote in message news:44b1996b$1@linux...
> >
> > El Miguel, hola amigo to you!! Thanks man, and thanks for
> > signing the guestbook.
> >
> > P.S. everyone, feel free to sign The Mates guestbook even if
> > you didn't buy the CD: http://www.themateswebsite.com/page24.html
> >
> > Oh, and if anyone is on MySpace, hit us up, The Mates need
> > mates!
> >
> > http://www.myspace.com/themates
> >
> > Sorry Miguel, for turning this into a spammish thing, man this
> > promo stuff is addicting...almost as addicting as The Mates
> > new CD, in record stores everywhere!!
> >
> > "Miguel Vigil" <nospam@nospam.com> wrote:
> > >Hello PayPal...
> > >
> > >Regards,
> > >
> > >El Miguel
> > >
> > >
> > >
> > >"macle" <Mates9999@cs.com> wrote in m
|
|
|
|
| Re: Multi Band Mastering in Paris [message #68797 is a reply to message #68785] |
Wed, 31 May 2006 15:48 |
Aaron Allen
Messages: 1988
Registered: May 2008
|
Senior Member |
|
|
essage =
news:44acca76$1@linux...
> > >>
> > >> Hey Paris People, how are you!?
> > >>
> > >> Well, I don't really know who's still here after all this time, =
but I
> > just
> > >> wanted to let those who may be interested, or were interested =
at one
> time,
> > >> or used to be interesed and still just might be interested, =
that we
> > >finally
> > >> have a CD for sale of the
> > >> songs I posted oh so long ago (all recorded on Paris in my
> > >> little home studio).
> > >>
> > >> Please check out our website:
> > >>
> > >> http://www.themateswebsite.com/
> > >>
> > >> Thanks a lot!!!
> > >>
> > >>
> > >>
> > >>
> > >>
> > >
> > >
> >
>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_0056_01C6A41D.BD7D2520
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>DJ,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>6 monitors for everyone!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>What about that Matrox thingy that =
splits one VGA=20
into two with <U>no software</U>?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Get a three headed monster and three =
Matrox=20
thingies.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.matrox.com/graphics/offhome/dh2go/home.cfm">http://www=
..matrox.com/graphics/offhome/dh2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Or stick with the dual head and get two =
of=20
these:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.matrox.com/graphics/offhome/th2go/home.cfm">http://www=
..matrox.com/graphics/offhome/th2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></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>"DJ" <<A=20
=
href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole=
_@animas.net</A>>=20
wrote in message <A=20
href=3D"news:44b279a9$1@linux">news:44b279a9$1@linux</A>...</DIV>I =
just wish=20
that Colorgraphics or *somebody* would make a 6 head AGP<BR>graphics =
card with=20
a gig of VRAM based on an NVidia chipset so it would<BR>share IRQ's =
nicely=20
with other devices on the PCI bus.<BR><BR><BR>"Miguel Vigil" <<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> wrote in =
message <A=20
href=3D"news:44b278ac@linux">news:44b278ac@linux</A>...<BR>> I =
can't imagine=20
anybody on this group hijacking any thread<BR>><BR>> =
:)<BR>><BR>>=20
El Miguel<BR>><BR>><BR>><BR>> "macle" <<A=20
href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> wrote in =
message <A=20
href=3D"news:44b1996b$1@linux">news:44b1996b$1@linux</A>...<BR>> =
><BR>>=20
> El Miguel, hola amigo to you!! Thanks man, and thanks for<BR>> =
>=20
signing the guestbook.<BR>> ><BR>> > P.S. everyone, feel =
free to=20
sign The Mates guestbook even if<BR>> > you didn't buy the CD: =
<A=20
=
href=3D"http://www.themateswebsite.com/page24.html">http://www.themateswe=
bsite.com/page24.html</A><BR>>=20
><BR>> > Oh, and if anyone is on MySpace, hit us up, The =
Mates=20
need<BR>> > mates!<BR>> ><BR>> > <A=20
=
href=3D"http://www.myspace.com/themates">http://www.myspace.com/themates<=
/A><BR>>=20
><BR>> > Sorry Miguel, for turning this into a spammish =
thing, man=20
this<BR>> > promo stuff is addicting...almost as addicting as =
The=20
Mates<BR>> > new CD, in record stores everywhere!!<BR>> =
><BR>>=20
> "Miguel Vigil" <<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> =
wrote:<BR>> >=20
>Hello PayPal...<BR>> > ><BR>> > =
>Regards,<BR>> >=20
><BR>> > >El Miguel<BR>> > ><BR>> > =
><BR>>=20
> ><BR>> > >"macle" <<A=20
href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> wrote in =
message <A=20
href=3D"news:44acca76$1@linux">news:44acca76$1@linux</A>...<BR>> =
>=20
>><BR>> > >> Hey Paris People, how are you!?<BR>> =
>=20
>><BR>> > >> Well, I don't really know who's still =
here=20
after all this time, but I<BR>> > just<BR>> > >> =
wanted to=20
let those who may be interested, or were interested at one<BR>>=20
time,<BR>> > >> or used to be interesed and still just =
might be=20
interested, that we<BR>> > >finally<BR>> > >> =
have a CD=20
for sale of the<BR>> > >> songs I posted oh so long ago =
(all=20
recorded on Paris in my<BR>> > >> little home =
studio).<BR>>=20
> >><BR>> > >> Please check out our =
website:<BR>> >=20
>><BR>> > >> <A=20
=
href=3D"http://www.themateswebsite.com/">http://www.themateswebsite.com/<=
/A><BR>>=20
> >><BR>> > >> Thanks a lot!!!<BR>> >=20
>><BR>> > >><BR>> > >><BR>> >=20
>><BR>> > >><BR>> > ><BR>> > =
><BR>>=20
><BR>><BR>><BR><BR></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_0056_01C6A41D.BD7D2520--I am using just the essentials it is about a 6 months old, would the essentails
allow this? My next gear goal (goooooooaaaaaaaal!) is possibly a Merc 1968
for the stereo buss.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Right. I've considered upgrading to the newer version so I can insert a
>hardware reverbs before the limiter in a mastering scenario.
>
> "Cujo" <chris@nospamapplemanstudio.com> wrote in message
>news:44b27732$1@linux...
>>
>>
>> Oh, no not that, that would be nice, I meant UAD stuff and the like.
>>
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >
>> >"Cujo" <chris@nospamapplemanstudio.com> wrote in message
>> >news:44b265f3$1@linux...
>> >>
>> >>
>> >> What would a decent USB interface be?
>> >>
>> >> The wavelab I have allows effects on the master.
>> >>
>> >
>> >external FX???.....if so, then you are using the most recent version.
>> >
>> >> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>> >> >Hi Cujo and John,
>> >> >Your low mid bump is a result of horrible converter quality of all
on
>> >> >board sound cards. I wouldn't trust any use of EQ with the on board
>> >> >sound cards. There are some very inexpensive audio PCI , USB and
>> >> >Firewire cards available that will make a big difference.
>> >> >Also Steinberg is putting out a mid=priced version of Wavelab that
is
>> a
>> >>
>> >> >stereo only very and no DVD support which will go for 299.00 and a
>> >> >competitive upgrade version for 199.00. It will probably be out in
end
>> >> >of August.
>> >> >
>> >> >In the full version you be able to place a effects on th master
>> >> >sections, individual tracks and on individual clips all with send
>volume
>> >>
>> >> >control. Oh and you can also us external effect nay were in the effect
>> >> >chain just like you can in Cubase/Nuendo. This way you can use
>outboard
>> >>
>> >> >gear or even Paris effects directly inside of Wavelab.
>> >> >
>> >> >
>> >> >Chris
>> >> >
>> >> >
>> >> >Cujo wrote:
>> >> >> John, I have WL Essentials which is somehting like 99.00 bucks and
>> it
>> >> is
>> >> >> way cool. The montage thing is a cd sequencer, you can lay out each
>> >"track"
>> >> >> in a linear fasion, and slide songs back and forth to make the time
>> >inbetween
>> >> >> just as you want them, you can also aply fades, adjust volume, add
>> UAD
>> >> plugs
>> >> >> to the mix (presision limite) really it is a mastering suite. Now,
>> I
>> >would
>> >> >> bot master a dang thing, but I got it so I could sequence a CD
>EXACTLY
>> >> how
>> >> >> i want it before I send it to the mastering house. Say if you uses
>> >Roxio
>> >> >> for rough cd;s you only can do 2 second intervals or whatever, and
>> you
>> >> can
>> >> >> not nudge..
>> >> >>
>> >> >> Ok, so right now I am mastering something, an R&B record I worked
on
>> >that
>> >> >> has NO budget., it is sort of liek a hip hop mix tape. When using
WL
>> >the
>> >> >> output goes via my Comps on board sound card in there is some
>strange
>> >> EQ
>> >> >> thing going on there, (low mid bump) so I can;t use any EQ on the
>mix
>> >> in
>> >> >> WL!
>> >> >>
>> >> >> John <no@no.com> wrote:
>> >> >>
>> >> >>>Cujo, What kind of multiple song things can you do in wavelab,
>what's
>> >> >>
>> >> >>
>> >> >>>this montage thing?
>> >> >>>
>> >> >>>cujo wrote:
>> >> >>>
>> >> >>>>For years I have used CEP and it is a snap, but with WL you can
do
>> all
>> >> >>
>> >> >> the
>> >> >>
>> >> >>>>songs on a cd in one go, and it offers a bit more in noise shaping
>> so
>> >> >>
>> >> >> I wondered
>> >> >>
>> >> >>>>if it was the more "pro" option.
>> >> >>>>
>> >> >>>>John <no@no.com> wrote:
>> >> >>>>
>> >> >>>>
>> >> >>>>>I was using the free dither app written for paris.
>> >> >>>>>
>> >> >>>>>cujo wrote:
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>>Which do you prefer for dithering: CEP or Wavelab with the plug
>> you
>> >> place
>> >> >>>>>>on the master bus on the montage mode?
>> >> >>>>>>
>> >> >>>>>>Also does the render button on the effects group in Montage mode
>> >permanently
>> >> >>>>>>change the individual files or does it save the new CD as a
>seperate
>> >> >>
>> >> >> bunch
>> >> >>
>> >> >>>>>>of files?
>> >> >>>>>>I don't know if I am making sense here.
>> >> >
>> >> >--
>> >> >Chris Ludwig
>> >> >ADK
>> >> >chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
>> >> >www.adkproaudio.com <http://www.adkproaudio.com/>
>> >> >(859) 635-5762
>> >
>> >
>
>This is a multi-part message in MIME format.
------=_NextPart_000_00C4_01C6A410.EFDB5A80
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
http://www.compusabusiness.com/products/product_info.asp?pfp =3DSEARCH&pro=
duct_code=3D51810990&Pn=3DDualHead2Go_External_Multi_Dis play_Upgrade
Not a bad price actually......but this concerns me:
>DualHead2Go takes the existing single monitor display output (i.e. =
external VGA output) from your system and expands it into >dual display =
outputs, allowing you to run your Windows desktop at up to 2560 x 1024 =
resolution stretched across two displays.=20
WTF happens if your monitors don't support 2560 x 1024?
:OP
"Tom Bruhl" <arpegio@comcast.net> wrote in message =
news:44b2813d@linux...
DJ,
6 monitors for everyone!!!
What about that Matrox thingy that splits one VGA into two with no =
software?
Get a three headed monster and three Matrox thingies.
http://www.matrox.com/graphics/offhome/dh2go/home.cfm
Or stick with the dual head and get two of these:
http://www.matrox.com/graphics/offhome/th2go/home.cfm
Tom
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message =
news:44b279a9$1@linux...
I just wish that Colorgraphics or *somebody* would make a 6 head AGP
graphics card with a gig of VRAM based on an NVidia chipset so it =
would
share IRQ's nicely with other devices on the PCI bus.
"Miguel Vigil" <nospam@nospam.com> wrote in message =
news:44b278ac@linux...
> I can't imagine anybody on this group hijacking any thread
>
> :)
>
> El Miguel
>
>
>
> "macle" <Mates9999@cs.com> wrote in message =
news:44b1996b$1@linux...
> >
> > El Miguel, hola amigo to you!! Thanks man, and thanks for
> > signing the guestbook.
> >
> > P.S. everyone, feel free to sign The Mates guestbook even if
> > you didn't buy the CD: =
http://www.themateswebsite.com/page24.html
> >
> > Oh, and if anyone is on MySpace, hit us up, The Mates need
> > mates!
> >
> > http://www.myspace.com/themates
> >
> > Sorry Miguel, for turning this into a spammish thing, man this
> > promo stuff is addicting...almost as addicting as The Mates
> > new CD, in record stores everywhere!!
> >
> > "Miguel Vigil" <nospam@nospam.com> wrote:
> > >Hello PayPal...
> > >
> > >Regards,
> > >
> > >El Miguel
> > >
> > >
> > >
> > >"macle" <Mates9999@cs.com> wrote in message =
news:44acca76$1@linux...
> > >>
> > >> Hey Paris People, how are you!?
> > >>
> > >> Well, I don't really know who's still here after all this =
time, but I
> > just
> > >> wanted to let those who may be interested, or were interested =
at one
> time,
> > >> or used to be interesed and still just might be interested, =
that we
> > >finally
> > >> have a CD for sale of the
> > >> songs I posted oh so long ago (all recorded on Paris in my
> > >> little home studio).
> > >>
> > >> Please check out our website:
> > >>
> > >> http://www.themateswebsite.com/
> > >>
> > >> Thanks a lot!!!
> > >>
> > >>
> > >>
> > >>
> > >>
> > >
> > >
> >
>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_00C4_01C6A410.EFDB5A80
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 bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D" http://www.compusabusiness.com/products/product_info.asp?pfp =3DSE=
ARCH&product_code=3D51810990&Pn=3DDualHead2G o_External_Multi_Disp=
lay_Upgrade"> http://www.compusabusiness.com/products/product_info.asp?pfp =
=3DSEARCH&product_code=3D51810990&Pn=3DDualH ead2Go_External_Multi=
_Display_Upgrade</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Not a bad price actually.<FONT=20
face=3D"Times New Roman" size=3D3>.....but this concerns =
me:</FONT></FONT></DIV>
<DIV> </DIV>
<DIV>>DualHead2Go takes the existing single monitor display output =
(i.e.=20
external VGA output) from your system and expands it into >dual =
display=20
outputs, allowing you to run your Windows desktop at up to 2560 x 1024=20
resolution stretched across two displays. </DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>WTF happens if your monitors don't =
support 2560 x=20
1024?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>:OP</FONT></DIV>
<DIV> </DIV>
<DIV>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote in =
message=20
<A href=3D"news:44b2813d@linux">news:44b2813d@linux</A>...</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><FONT face=3DArial size=3D2>DJ,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>6 monitors for =
everyone!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>What about that Matrox thingy that =
splits one VGA=20
into two with <U>no software</U>?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Get a three headed monster and three =
Matrox=20
thingies.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
=
href=3D"http://www.matrox.com/graphics/offhome/dh2go/home.cfm">http://www=
..matrox.com/graphics/offhome/dh2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Or stick with the dual head and get =
two of=20
these:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
=
href=3D"http://www.matrox.com/graphics/offhome/th2go/home.cfm">http://www=
..matrox.com/graphics/offhome/th2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></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>"DJ" <<A=20
=
href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole=
_@animas.net</A>>=20
wrote in message <A=20
href=3D"news:44b279a9$1@linux">news:44b279a9$1@linux</A>...</DIV>I =
just wish=20
that Colorgraphics or *somebody* would make a 6 head AGP<BR>graphics =
card=20
with a gig of VRAM based on an NVidia chipset so it would<BR>share =
IRQ's=20
nicely with other devices on the PCI bus.<BR><BR><BR>"Miguel Vigil" =
<<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> wrote in =
message=20
<A href=3D"news:44b278ac@linux">news:44b278ac@linux</A>...<BR>> I =
can't=20
imagine anybody on this group hijacking any thread<BR>><BR>>=20
:)<BR>><BR>> El Miguel<BR>><BR>><BR>><BR>> "macle" =
<<A=20
href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> wrote in =
message <A=20
href=3D"news:44b1996b$1@linux">news:44b1996b$1@linux</A>...<BR>>=20
><BR>> > El Miguel, hola amigo to you!! Thanks man, and =
thanks=20
for<BR>> > signing the guestbook.<BR>> ><BR>> > =
P.S.=20
everyone, feel free to sign The Mates guestbook even if<BR>> > =
you=20
didn't buy the CD: <A=20
=
href=3D"http://www.themateswebsite.com/page24.html">http://www.themateswe=
bsite.com/page24.html</A><BR>>=20
><BR>> > Oh, and if anyone is on MySpace, hit us up, The =
Mates=20
need<BR>> > mates!<BR>> ><BR>> > <A=20
=
href=3D"http://www.myspace.com/themates">http://www.myspace.com/themates<=
/A><BR>>=20
><BR>> > Sorry Miguel, for turning this into a spammish =
thing, man=20
this<BR>> > promo stuff is addicting...almost as addicting as =
The=20
Mates<BR>> > new CD, in record stores everywhere!!<BR>>=20
><BR>> > "Miguel Vigil" <<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> =
wrote:<BR>>=20
> >Hello PayPal...<BR>> > ><BR>> > =
>Regards,<BR>>=20
> ><BR>> > >El Miguel<BR>> > ><BR>> >=20
><BR>> > ><BR>> > >"macle" <<A=20
href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> wrote in =
message <A=20
href=3D"news:44acca76$1@linux">news:44acca76$1@linux</A>...<BR>> =
>=20
>><BR>> > >> Hey Paris People, how are =
you!?<BR>> >=20
>><BR>> > >> Well, I don't really know who's still =
here=20
after all this time, but I<BR>> > just<BR>> > >> =
wanted to=20
let those who may be interested, or were interested at one<BR>>=20
time,<BR>> > >> or used to be interesed and still just =
might be=20
interested, that we<BR>> > >finally<BR>> > >> =
have a CD=20
for sale of the<BR>> > >> songs I posted oh so long ago =
(all=20
recorded on Paris in my<BR>> > >> little home =
studio).<BR>>=20
> >><BR>> > >> Please check out our =
website:<BR>>=20
> >><BR>> > >> <A=20
=
href=3D"http://www.themateswebsite.com/">http://www.themateswebsite.com/<=
/A><BR>>=20
> >><BR>> > >> Thanks a lot!!!<BR>> >=20
>><BR>> > >><BR>> > >><BR>> >=20
>><BR>> > >><BR>> > ><BR>> > =
><BR>>=20
><BR>><BR>><BR><BR></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_00C4_01C6A410.EFDB5A80--Re: compression....if you can try and understand your client's motivation
for not wanting compression and you may be bettter off. Perhaps they are
misinformed, or have had some propblems with over compression in the past.
Maybe compression for dynamic range control is okay by them, but compression
as a sound shaping tool is not...thats fine with me, as long as the client
is making an informed decision.
Re: signal chain...there are no secrets as far as I'm concerned. The *real
secret* is knowing when to use a certain mix trick, and more importantly,
when NOT to. And that's a skill that has to be learned by experience....
Cheers,
Kris
"brandon" <a@a.com> wrote:
>
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression? How do you handle it when they want to
>know everything about the signal chain?(hence your mixing secrets)
>
>BThis is a multi-part message in MIME format.
------=_NextPart_000_0082_01C6A423.10BC3BE0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
That's a problem. Buy 6 new monitors.
You know you want to.
T
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message =
news:44b289a3@linux...
=
http://www.compusabusiness.com/products/product_info.asp?pfp =3DSEARCH&pro=
duct_code=3D51810990&Pn=3DDualHead2Go_External_Multi_Dis play_Upgrade
Not a bad price actually......but this concerns me:
>DualHead2Go takes the existing single monitor display output (i.e. =
external VGA output) from your system and expands it into >dual display =
outputs, allowing you to run your Windows desktop at up to 2560 x 1024 =
resolution stretched across two displays.=20
WTF happens if your monitors don't support 2560 x 1024?
:OP
"Tom Bruhl" <arpegio@comcast.net> wrote in message =
news:44b2813d@linux...
DJ,
6 monitors for everyone!!!
What about that Matrox thingy that splits one VGA into two with no =
software?
Get a three headed monster and three Matrox thingies.
http://www.matrox.com/graphics/offhome/dh2go/home.cfm
Or stick with the dual head and get two of these:
http://www.matrox.com/graphics/offhome/th2go/home.cfm
Tom
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message =
news:44b279a9$1@linux...
I just wish that Colorgraphics or *somebody* would make a 6 head =
AGP
graphics card with a gig of VRAM based on an NVidia chipset so it =
would
share IRQ's nicely with other devices on the PCI bus.
"Miguel Vigil" <nospam@nospam.com> wrote in message =
news:44b278ac@linux...
> I can't imagine anybody on this group hijacking any thread
>
> :)
>
> El Miguel
>
>
>
> "macle" <Mates9999@cs.com> wrote in message =
news:44b1996b$1@linux...
> >
> > El Miguel, hola amigo to you!! Thanks man, and thanks for
> > signing the guestbook.
> >
> > P.S. everyone, feel free to sign The Mates guestbook even if
> > you didn't buy the CD: =
http://www.themateswebsite.com/page24.html
> >
> > Oh, and if anyone is on MySpace, hit us up, The Mates need
> > mates!
> >
> > http://www.myspace.com/themates
> >
> > Sorry Miguel, for turning this into a spammish thing, man this
> > promo stuff is addicting...almost as addicting as The Mates
> > new CD, in record stores everywhere!!
> >
> > "Miguel Vigil" <nospam@nospam.com> wrote:
> > >Hello PayPal...
> > >
> > >Regards,
> > >
> > >El Miguel
> > >
> > >
> > >
> > >"macle" <Mates9999@cs.com> wrote in message =
news:44acca76$1@linux...
> > >>
> > >> Hey Paris People, how are you!?
> > >>
> > >> Well, I don't really know who's still here after all this =
time, but I
> > just
> > >> wanted to let those who may be interested, or were =
interested at one
> time,
> > >> or used to be interesed and still just might be interested, =
that we
> > >finally
> > >> have a CD for sale of the
> > >> songs I posted oh so long ago (all recorded on Paris in my
> > >> little home studio).
> > >>
> > >> Please check out our website:
> > >>
> > >> http://www.themateswebsite.com/
> > >>
> > >> Thanks a lot!!!
> > >>
> > >>
|
|
|
|
|
|
| Re: Multi Band Mastering in Paris [message #68800 is a reply to message #68782] |
Wed, 31 May 2006 15:59 |
John [1]
Messages: 2229
Registered: September 2005
|
Senior Member |
|
|
lt;/DIV>
<DIV><FONT face=3DArial size=3D2>You know you want to.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>T</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>"DJ" <<A=20
=
href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole=
_@animas.net</A>>=20
wrote in message <A=20
href=3D"news:44b289a3@linux">news:44b289a3@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
=
href=3D" http://www.compusabusiness.com/products/product_info.asp?pfp =3DSE=
ARCH&product_code=3D51810990&Pn=3DDualHead2G o_External_Multi_Disp=
lay_Upgrade"> http://www.compusabusiness.com/products/product_info.asp?pfp =
=3DSEARCH&product_code=3D51810990&Pn=3DDualH ead2Go_External_Multi=
_Display_Upgrade</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Not a bad price actually.<FONT=20
face=3D"Times New Roman" size=3D3>.....but this concerns =
me:</FONT></FONT></DIV>
<DIV> </DIV>
<DIV>>DualHead2Go takes the existing single monitor display output =
(i.e.=20
external VGA output) from your system and expands it into >dual =
display=20
outputs, allowing you to run your Windows desktop at up to 2560 x 1024 =
resolution stretched across two displays. </DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>WTF happens if your monitors don't =
support 2560 x=20
1024?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>:OP</FONT></DIV>
<DIV> </DIV>
<DIV>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
in message=20
<A href=3D"news:44b2813d@linux">news:44b2813d@linux</A>...</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><FONT face=3DArial size=3D2>DJ,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>6 monitors for =
everyone!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>What about that Matrox thingy that =
splits one=20
VGA into two with <U>no software</U>?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Get a three headed monster and =
three Matrox=20
thingies.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
=
href=3D"http://www.matrox.com/graphics/offhome/dh2go/home.cfm">http://www=
..matrox.com/graphics/offhome/dh2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Or stick with the dual head and get =
two of=20
these:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
=
href=3D"http://www.matrox.com/graphics/offhome/th2go/home.cfm">http://www=
..matrox.com/graphics/offhome/th2go/home.cfm</A></FONT></DIV >
<DIV><FONT face=3DArial size=3D2></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>"DJ" <<A=20
=
href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole=
_@animas.net</A>>=20
wrote in message <A=20
href=3D"news:44b279a9$1@linux">news:44b279a9$1@linux</A>...</DIV>I =
just wish=20
that Colorgraphics or *somebody* would make a 6 head =
AGP<BR>graphics card=20
with a gig of VRAM based on an NVidia chipset so it would<BR>share =
IRQ's=20
nicely with other devices on the PCI bus.<BR><BR><BR>"Miguel =
Vigil" <<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> wrote =
in message=20
<A href=3D"news:44b278ac@linux">news:44b278ac@linux</A>...<BR>> =
I can't=20
imagine anybody on this group hijacking any thread<BR>><BR>> =
:)<BR>><BR>> El Miguel<BR>><BR>><BR>><BR>> =
"macle"=20
<<A href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> =
wrote in=20
message <A=20
=
href=3D"news:44b1996b$1@linux">news:44b1996b$1@linux</A>...<BR>>=20
><BR>> > El Miguel, hola amigo to you!! Thanks man, and =
thanks=20
for<BR>> > signing the guestbook.<BR>> ><BR>> > =
P.S.=20
everyone, feel free to sign The Mates guestbook even if<BR>> =
> you=20
didn't buy the CD: <A=20
=
href=3D"http://www.themateswebsite.com/page24.html">http://www.themateswe=
bsite.com/page24.html</A><BR>>=20
><BR>> > Oh, and if anyone is on MySpace, hit us up, The =
Mates=20
need<BR>> > mates!<BR>> ><BR>> > <A=20
=
href=3D"http://www.myspace.com/themates">http://www.myspace.com/themates<=
/A><BR>>=20
><BR>> > Sorry Miguel, for turning this into a spammish =
thing,=20
man this<BR>> > promo stuff is addicting...almost as =
addicting as=20
The Mates<BR>> > new CD, in record stores =
everywhere!!<BR>>=20
><BR>> > "Miguel Vigil" <<A=20
href=3D"mailto:nospam@nospam.com">nospam@nospam.com</A>> =
wrote:<BR>>=20
> >Hello PayPal...<BR>> > ><BR>> >=20
>Regards,<BR>> > ><BR>> > >El Miguel<BR>> =
>=20
><BR>> > ><BR>> > ><BR>> > >"macle" =
<<A=20
href=3D"mailto:Mates9999@cs.com">Mates9999@cs.com</A>> wrote in =
message=20
<A =
href=3D"news:44acca76$1@linux">news:44acca76$1@linux</A>...<BR>> > =
>><BR>> > >> Hey Paris People, how are =
you!?<BR>>=20
> >><BR>> > >> Well, I don't really know =
who's still=20
here after all this time, but I<BR>> > just<BR>> > =
>>=20
wanted to let those who may be interested, or were interested at=20
one<BR>> time,<BR>> > >> or used to be interesed =
and still=20
just might be interested, that we<BR>> > >finally<BR>> =
>=20
>> have a CD for sale of the<BR>> > >> songs I =
posted oh=20
so long ago (all recorded on Paris in my<BR>> > >> =
little home=20
studio).<BR>> > >><BR>> > >> Please check =
out our=20
website:<BR>> > >><BR>> > >> <A=20
=
href=3D"http://www.themateswebsite.com/">http://www.themateswebsite.com/<=
/A><BR>>=20
> >><BR>> > >> Thanks a lot!!!<BR>> >=20
>><BR>> > >><BR>> > >><BR>> >=20
>><BR>> > >><BR>> > ><BR>> > =
><BR>>=20
><BR>><BR>><BR><BR></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 ></BLOCKQUOTE></BODY>=
</HTML>
------=_NextPart_000_0082_01C6A423.10BC3BE0--On 10 Jul 2006 09:40:35 +1000, "macle" <Mates9999@cs.com> wrote:
>>But the instant I have disposable income again, I'm ordering me one of
>>those! The original mp3's have been living on myPod ever since you
>>posted them, and are some of my favorite tracks!
>>
>>pab
>
>Hey Paul, yes, it's quite a miracle we finally got it out. Nearly
>as miraculous as a Paris 4 update! Really glad you are still
>digging this stuff. Best of luck with the job search, that sucks!
Yep, it does. And it seems that every Human Resources director in the
two-state region is on vacation right now...
I'm hoping for an A/V technician gig at the Shedd Aquarium in Chicago.
Fish, whales, dolphins, and sound/video toys. Ahhhhhh.....
I'll pass the website link along to Peterik, since as you remember he
went nuts over the demos.
pab"brandon" <a@a.com> wrote:
>
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression? How do you handle it when they want to
>know everything about the signal chain?(hence your mixing secrets)
>
>B
Brandon,
Let me flip this around on you. Even though I have a fairly nice project
studio, I still like to rent out large commercial studios for important mixes
or for the occasional group recording that my space can’t handle well.
If I go into a studio that I’m paying for and the assistant engineer or studio
owner is not willing to share setup information details or any other information
about the session that I am paying for….
You fill in the rest. It’s my dime!
GeneOur '880 also does not have a fan... but the whine from the
controller display drives me crazy!! ;-)
David.
"Kris" . wrote:
> I'm surprised your 880 has a fan in it....mine does not.
>
> Analog I/O on this thing sounds very good IMO...better than you might expect
> considering the age of it.
>
> Another solution is to make (6) (R880 has 2 ins and 4 outs IIRC) 1 foot lengths
> of XLR-XLR cables with the polarity swapped. Connect these to your 880, and
> then, connect your snake to them. This would make your 880 appear to be pin
> 2 hot to your patch bay.
>
> Cheers
>
> Kris
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>
>>........or, I could keep the Mogami snake *as is* and just make two TRS
>>Patch cables (for patching this particular dievice) wired tip to ring and
>>ring to tip. That might be a better solution for my particular situation
>>actually. I may not end up using the analog I/O of the R880 all that much
>>and it's very possible that I might want to run this long snake to a certain
>>device that I've got my eye on. It's got a fan in the chassis so I will
>
> need
>
>>to keep it in the machine room. I think it's wired with standard US
>>polarity.
>>
>>;o)
>>
>>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>>news:44b04210$1@linux...
>>
>>>It is a 20' cable run from the rack that is housing the R880 mainframe
>
> to
>
>>>the standard balanced patch bay. Seems a shame to use 80' of mic cable
>
> to
>
>>>make 4 x 20' patch cables when I've got a 20' 4 x pair standard polarity
>>>Mogami XLR-TRS snake sitting here doing nothing.....sooooo........ I could
>>>modify the standard mogami cable by taking the lead from the ring
>>
>>(currently
>>
>>>tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead from
>>
>>the
>>
>>>tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That oughta'
>>>get me there, right?
>>>
>>>Thanks for your help.
>>>
>>>Deej
>>>
>>>
>>>
>>>
>>>
>>>"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
>>>news:44b037d8$1@linux...
>>>
>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>
>>>>>I need to build balanced I/O cables for the analog outputs of my
>>
>>Roland
>>
>>>>>R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot. That's
>>>
>>>not
>>>
>>>>>the normal state of affairs around here. Everything I'm using is pin
>>>
>>>2-hot
>>>
>>>>>and is routed to 1/4" TRS patchbays.
>>>>>These cables need to be XLR to TRS in order to interface with said
>>>
>>>balanced
>>>
>>>>>patchbay. From there they would be patched to other gear (with trs-trs
>>>
>>>patch
>>>
>>>>>cables) that is pin 2-hot. I'm guessing I'm going to have to make up
>
> a
>
>>>>>couple of special trs-trs patch cables to get this all strack. It's
>>>
>>>making
>>>
>>>>>my head hurt. Could someone give me a clue as to what I need to do
>
> to
>
>>>patch
>>>
>>>>>a pin 3-hot device through a balanced PB in order to interface properly
>>>>
>>>>with
>>>>
>>>>>the rest of my (pin 2 hot) studio?
>>>>>
>>>>>Thanks,
>>>>>
>>>>>Deej (the obscure)
>>>>>
>>>>>
>>>>
>>>>In this case you can reverse either end. I keep some colored shrink
>>
>>tubing
>>
>>>>around to mark non-normal cables. Personally I reverse at the XLR,
>>
>>because
>>
>>>>it's easier to reverse.
>>>>Gene
>>>>
>>>
>>>
>>
>Yeah...that's the inverter that drives the backlight. A competant tech should
be able to install a switch on it, so you can turn the back light (and whine)
off when the controller is not in use.
Cheers,
Kris
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>Our '880 also does not have a fan... but the whine from the
>controller display drives me crazy!! ;-)
>
>David.
>
>"Kris" . wrote:
>> I'm surprised your 880 has a fan in it....mine does not.
>>
>> Analog I/O on this thing sounds very good IMO...better than you might
expect
>> considering the age of it.
>>
>> Another solution is to make (6) (R880 has 2 ins and 4 outs IIRC) 1 foot
lengths
>> of XLR-XLR cables with the polarity swapped. Connect these to your 880,
and
>> then, connect your snake to them. This would make your 880 appear to be
pin
>> 2 hot to your patch bay.
>>
>> Cheers
>>
>> Kris
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>
>>>........or, I could keep the Mogami snake *as is* and just make two TRS
>>>Patch cables (for patching this particular dievice) wired tip to ring
and
>>>ring to tip. That might be a better solution for my particular situation
>>>actually. I may not end up using the analog I/O of the R880 all that much
>>>and it's very possible that I might want to run this long snake to a certain
>>>device that I've got my eye on. It's got a fan in the chassis so I will
>>
>> need
>>
>>>to keep it in the machine room. I think it's wired with standard US
>>>polarity.
>>>
>>>;o)
>>>
>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>>>news:44b04210$1@linux...
>>>
>>>>It is a 20' cable run from the rack that is housing the R880 mainframe
>>
>> to
>>
>>>>the standard balanced patch bay. Seems a shame to use 80' of mic cable
>>
>> to
>>
>>>>make 4 x 20' patch cables when I've got a 20' 4 x pair standard polarity
>>>>Mogami XLR-TRS snake sitting here doing nothing.....sooooo........ I
could
>>>>modify the standard mogami cable by taking the lead from the ring
>>>
>>>(currently
>>>
>>>>tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead from
>>>
>>>the
>>>
>>>>tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That oughta'
>>>>get me there, right?
>>>>
>>>>Thanks for your help.
>>>>
>>>>Deej
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
>>>>news:44b037d8$1@linux...
>>>>
>>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>>
>>>>>>I need to build balanced I/O cables for the analog outputs of my
>>>
>>>Roland
>>>
>>>>>>R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot. That's
>>>>
>>>>not
>>>>
>>>>>>the normal state of affairs around here. Everything I'm using is pin
>>>>
>>>>2-hot
>>>>
>>>>>>and is routed to 1/4" TRS patchbays.
>>>>>>These cables need to be XLR to TRS in order to interface with said
>>>>
>>>>balanced
>>>>
>>>>>>patchbay. From there they would be patched to other gear (with trs-trs
>>>>
>>>>patch
>>>>
>>>>>>cables) that is pin 2-hot. I'm guessing I'm going to have to make up
>>
>> a
>>
>>>>>>couple of special trs-trs patch cables to get this all strack. It's
>>>>
>>>>making
>>>>
>>>>>>my head hurt. Could someone give me a clue as to what I need to do
>>
>> to
>>
>>>>patch
>>>>
>>>>>>a pin 3-hot device through a balanced PB in order to interface properly
>>>>>
>>>>>with
>>>>>
>>>>>>the rest of my (pin 2 hot) studio?
>>>>>>
>>>>>>Thanks,
>>>>>>
>>>>>>Deej (the obscure)
>>>>>>
>>>>>>
>>>>>
>>>>>In this case you can reverse either end. I keep some colored shrink
>>>
>>>tubing
>>>
>>>>>around to mark non-normal cables. Personally I reverse at the XLR,
>>>
>>>because
>>>
>>>>>it's easier to reverse.
>>>>>Gene
>>>>>
>>>>
>>>>
>>>
>>Go a long with it. I would tell him that it took years and thousand of dollars
to gain your knowledge, and that you would have to charge him $100.00 with
a two hour minimum paid up front. Tell him that it will be worth more than
the money he will pay. Make sure you get paid! I've had people get a free
education out of me only to never see them again, or even go in to competition
with me.
After your done telling him what he wants to know, you should tell him that
you can't buy years of experience, and that he should consider letting you
do your job and that he do his, make music. Tell him that his money would
be well spent paying you to do the audio engineering.
Good Luck!
James
"brandon" <a@a.com> wrote:
>
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression? How do you handle it when they want to
>know everything about the signal chain?(hence your mixing secrets)
>
>BI may do this. I've got a LEXI MRC that is doing the same thing. I haven't
been able to test it yet because the 110>220 step up converter hasn't
arrived. I found another GC8 on EBay and bought it cheap as a backup. Maybe
one of them won't whine....or maybe both of them will.
<Kris .> wrote in message news:44b29258$1@linux...
>
> Yeah...that's the inverter that drives the backlight. A competant tech
should
> be able to install a switch on it, so you can turn the back light (and
whine)
> off when the controller is not in use.
>
> Cheers,
>
> Kris
>
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
> >Our '880 also does not have a fan... but the whine from the
> >controller display drives me crazy!! ;-)
> >
> >David.
> >
> >"Kris" . wrote:
> >> I'm surprised your 880 has a fan in it....mine does not.
> >>
> >> Analog I/O on this thing sounds very good IMO...better than you might
> expect
> >> considering the age of it.
> >>
> >> Another solution is to make (6) (R880 has 2 ins and 4 outs IIRC) 1 foot
> lengths
> >> of XLR-XLR cables with the polarity swapped. Connect these to your 880,
> and
> >> then, connect your snake to them. This would make your 880 appear to be
> pin
> >> 2 hot to your patch bay.
> >>
> >> Cheers
> >>
> >> Kris
> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >>
> >>>........or, I could keep the Mogami snake *as is* and just make two TRS
> >>>Patch cables (for patching this particular dievice) wired tip to ring
> and
> >>>ring to tip. That might be a better solution for my particular
situation
> >>>actually. I may not end up using the analog I/O of the R880 all that
much
> >>>and it's very possible that I might want to run this long snake to a
certain
> >>>device that I've got my eye on. It's got a fan in the chassis so I will
> >>
> >> need
> >>
> >>>to keep it in the machine room. I think it's wired with standard US
> >>>polarity.
> >>>
> >>>;o)
> >>>
> >>>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >>>news:44b04210$1@linux...
> >>>
> >>>>It is a 20' cable run from the rack that is housing the R880 mainframe
> >>
> >> to
> >>
> >>>>the standard balanced patch bay. Seems a shame to use 80' of mic cable
> >>
> >> to
> >>
> >>>>make 4 x 20' patch cables when I've got a 20' 4 x pair standard
polarity
> >>>>Mogami XLR-TRS snake sitting here doing nothing.....sooooo........ I
> could
> >>>>modify the standard mogami cable by taking the lead from the ring
> >>>
> >>>(currently
> >>>
> >>>>tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead
from
> >>>
> >>>the
> >>>
> >>>>tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That
oughta'
> >>>>get me there, right?
> >>>>
> >>>>Thanks for your help.
> >>>>
> >>>>Deej
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
> >>>>news:44b037d8$1@linux...
> >>>>
> >>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >>>>>
> >>>>>>I need to build balanced I/O cables for the analog outputs of my
> >>>
> >>>Roland
> >>>
> >>>>>>R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot.
That's
> >>>>
> >>>>not
> >>>>
> >>>>>>the normal state of affairs around here. Everything I'm using is pin
> >>>>
> >>>>2-hot
> >>>>
> >>>>>>and is routed to 1/4" TRS patchbays.
> >>>>>>These cables need to be XLR to TRS in order to interface with said
> >>>>
> >>>>balanced
> >>>>
> >>>>>>patchbay. From there they would be patched to other gear (with
trs-trs
> >>>>
> >>>>patch
> >>>>
> >>>>>>cables) that is pin 2-hot. I'm guessing I'm going to have to make up
> >>
> >> a
> >>
> >>>>>>couple of special trs-trs patch cables to get this all strack. It's
> >>>>
> >>>>making
> >>>>
> >>>>>>my head hurt. Could someone give me a clue as to what I need to do
> >>
> >> to
> >>
> >>>>patch
> >>>>
> >>>>>>a pin 3-hot device through a balanced PB in order to interface
properly
> >>>>>
> >>>>>with
> >>>>>
> >>>>>>the rest of my (pin 2 hot) studio?
> >>>>>>
> >>>>>>Thanks,
> >>>>>>
> >>>>>>Deej (the obscure)
> >>>>>>
> >>>>>>
> >>>>>
> >>>>>In this case you can reverse either end. I keep some colored shrink
> >>>
> >>>tubing
> >>>
> >>>>>around to mark non-normal cables. Personally I reverse at the XLR,
> >>>
> >>>because
> >>>
> >>>>>it's easier to reverse.
> >>>>>Gene
> >>>>>
> >>>>
> >>>>
> >>>
> >>
>Itemize the hours you spend with gain riding every fader both during
tracking and mixing while you're physically emulating a compressor with your
pot rotational/fader moves.....then charge him for the time.
;o)
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> BJust wanted to get an idea of what the general population thoughts were. I
wouldn't really have a problem explaining what I am doing and why I am doing
it as long they understand it is on their dime and aren't fighting me every
step of the way. But even if they were fighting me...as long as they were
paying I would indulge them.
Hey Chris..Hope things are going good with you!
I still listen to it from time to time as well.
I haven't been doing much songwriting lately..just
been focusing on rebuilding my studio/mixing enviroment.
Getting close to completion.
Started using Cubase in conjunction with PARIS.
Lots of stuff to figure out.
Take care all.
"Chris Lang" <yo@yo.yo> wrote:
>
>Hey Brandon- hope everything is cool! I still listen to that
>"21" song every now and then!
>
>I would just give them what they want, in both cases.
>
>My band just played at a Denver club, and recorded the gig.
>The sound guy had good equipment, but nothing real high-end.
>He proceded to do an absolutely AWESOME and artistic job of
>utilizing that gear, and the sound, both live and on disk, is
>just amazing. Even the sound board mix is fabulous.
>
>My point is that any amount of info you share on gear, settings,
>etc, will not help the client become a pro. They might go away
>for a while, thinking that they can do it themselves, but they
>will return when they realize that if it sounds good, and you
>can make it sound good, then it's worth it to hire you.
>
>Peace,
>
>Chris
>
>
>"brandon" <a@a.com> wrote:
>>
>>How do you guys and gals handle it when you get a client who is insistant
>>on very little or no compression? How do you handle it when they want to
>>know everything about the signal chain?(hence your mixing secrets)
>>
>>B
>I
> wouldn't really have a problem explaining what I am doing and why I am
doing
> it as long they understand it is on their dime and aren't fighting me
every
> step of the way. But even if they were fighting me...as long as they were
> paying I would indulge them.
What I hate about these situations is that if this guy is a rank amateur and
is clueless, he's going to insist on trying to run the show and the mix will
leave your studio sounding fine to him, but then he will compare it to mixes
that have been properly done with compression and his/your mix will sound
wimpy by comparison and then he will run around all over town telling
everyone that it is your fault.
"Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>
> Just wanted to get an idea of what the general population thoughts were. I
> wouldn't really have a problem explaining what I am doing and why I am
doing
> it as long they understand it is on their dime and aren't fighting me
every
> step of the way. But even if they were fighting me...as long as they were
> paying I would indulge them.
> Hey Chris..Hope things are going good with you!
> I still listen to it from time to time as well.
> I haven't been doing much songwriting lately..just
> been focusing on rebuilding my studio/mixing enviroment.
> Getting close to completion.
> Started using Cubase in conjunction with PARIS.
> Lots of stuff to figure out.
>
> Take care all.
>
>
>
>
>
>
>
>
> "Chris Lang" <yo@yo.yo> wrote:
> >
> >Hey Brandon- hope everything is cool! I still listen to that
> >"21" song every now and then!
> >
> >I would just give them what they want, in both cases.
> >
> >My band just played at a Denver club, and recorded the gig.
> >The sound guy had good equipment, but nothing real high-end.
> >He proceded to do an absolutely AWESOME and artistic job of
> >utilizing that gear, and the sound, both live and on disk, is
> >just amazing. Even the sound board mix is fabulous.
> >
> >My point is that any amount of info you share on gear, settings,
> >etc, will not help the client become a pro. They might go away
> >for a while, thinking that they can do it themselves, but they
> >will return when they realize that if it sounds good, and you
> >can make it sound good, then it's worth it to hire you.
> >
> >Peace,
> >
> >Chris
> >
> >
> >"brandon" <a@a.com> wrote:
> >>
> >>How do you guys and gals handle it when you get a client who is
insistant
> >>on very little or no compression? How do you handle it when they want to
> >>know everything about the signal chain?(hence your mixing secrets)
> >>
> >>B
> >
>How do you set the patch bay so you can record analog and digital inputs at
the same time? Can it be done?...You're welcome Kim. Man, I almost forgot I even wrote that. That was a
long time ago in a far away place!!!!
I don't use Paris for Midi though, and after all that trouble to get it working!
I use Performer, slaved to Paris for all my work. Works great for what
I need to do.
Lou
www.enchantedvibrations.comWhat hardware are you using with Cubase - I've been looking at the Mackie
Oynox mixer with a firewire card added to it... as an addition to Paris
"Brandon" <a@a.com> wrote:
>
>Just wanted to get an idea of what the general population thoughts were.
I
>wouldn't really have a problem explaining what I am doing and why I am doing
>it as long they understand it is on their dime and aren't fighting me every
>step of the way. But even if they were fighting me...as long as they were
>paying I would indulge them.
>Hey Chris..Hope things are going good with you!
>I still listen to it from time to time as well.
>I haven't been doing much songwriting lately..just
>been focusing on rebuilding my studio/mixing enviroment.
>Getting close to completion.
>Started using Cubase in conjunction with PARIS.
>Lots of stuff to figure out.
>
>Take care all.
>
>
>
>
>
>
>
>
>"Chris Lang" <yo@yo.yo> wrote:
>>
>>Hey Brandon- hope everything is cool! I still listen to that
>>"21" song every now and then!
>>
>>I would just give them what they want, in both cases.
>>
>>My band just played at a Denver club, and recorded the gig.
>>The sound guy had good equipment, but nothing real high-end.
>>He proceded to do an absolutely AWESOME and artistic job of
>>utilizing that gear, and the sound, both live and on disk, is
>>just amazing. Even the sound board mix is fabulous.
>>
>>My point is that any amount of info you share on gear, settings,
>>etc, will not help the client become a pro. They might go away
>>for a while, thinking that they can do it themselves, but they
>>will return when they realize that if it sounds good, and you
>>can make it sound good, then it's worth it to hire you.
>>
>>Peace,
>>
>>Chris
>>
>>
>>"brandon" <a@a.com> wrote:
>>>
>>>How do you guys and gals handle it when you get a client who is insistant
>>>on very little or no compression? How do you handle it when they want
to
>>>know everything about the signal chain?(hence your mixing secrets)
>>>
>>>B
>>
>HI Cujo,
Only the Full version of Wavelab offers the external effects option.
POssibly the upcoming Wavelab Studio version will also but haven't seen
a concrete list of features yet on that version to know for sure.
Chris
Cujo wrote:
> I am using just the essentials it is about a 6 months old, would the essentails
> allow this? My next gear goal (goooooooaaaaaaaal!) is possibly a Merc 1968
> for the stereo buss.
>
>
> "DJ" <Report message to a moderator
|
|
|
|
| Re: Multi Band Mastering in Paris [message #68801 is a reply to message #68791] |
Wed, 31 May 2006 16:01 |
John [1]
Messages: 2229
Registered: September 2005
|
Senior Member |
|
|
this-ahole_@animas.net" target="_blank">animix_spam-this-ahole_@animas.net> wrote:
>> Right. I've considered upgrading to the newer version so I can insert a
>> hardware reverbs before the limiter in a mastering scenario.
>>
>> "Cujo" <chris@nospamapplemanstudio.com> wrote in message
>> news:44b27732$1@linux...
>>>
>>> Oh, no not that, that would be nice, I meant UAD stuff and the like.
>>>
>>>
>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>> "Cujo" <chris@nospamapplemanstudio.com> wrote in message
>>>> news:44b265f3$1@linux...
>>>>>
>>>>> What would a decent USB interface be?
>>>>>
>>>>> The wavelab I have allows effects on the master.
>>>>>
>>>> external FX???.....if so, then you are using the most recent version.
>>>>
>>>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>>>> Hi Cujo and John,
>>>>>> Your low mid bump is a result of horrible converter quality of all
> on
>>>>>> board sound cards. I wouldn't trust any use of EQ with the on board
>>>>>> sound cards. There are some very inexpensive audio PCI , USB and
>>>>>> Firewire cards available that will make a big difference.
>>>>>> Also Steinberg is putting out a mid=priced version of Wavelab that
> is
>>> a
>>>>>> stereo only very and no DVD support which will go for 299.00 and a
>>>>>> competitive upgrade version for 199.00. It will probably be out in
> end
>>>>>> of August.
>>>>>>
>>>>>> In the full version you be able to place a effects on th master
>>>>>> sections, individual tracks and on individual clips all with send
>> volume
>>>>>> control. Oh and you can also us external effect nay were in the effect
>>>>>> chain just like you can in Cubase/Nuendo. This way you can use
>> outboard
>>>>>> gear or even Paris effects directly inside of Wavelab.
>>>>>>
>>>>>>
>>>>>> Chris
>>>>>>
>>>>>>
>>>>>> Cujo wrote:
>>>>>>> John, I have WL Essentials which is somehting like 99.00 bucks and
>>> it
>>>>> is
>>>>>>> way cool. The montage thing is a cd sequencer, you can lay out each
>>>> "track"
>>>>>>> in a linear fasion, and slide songs back and forth to make the time
>>>> inbetween
>>>>>>> just as you want them, you can also aply fades, adjust volume, add
>>> UAD
>>>>> plugs
>>>>>>> to the mix (presision limite) really it is a mastering suite. Now,
>>> I
>>>> would
>>>>>>> bot master a dang thing, but I got it so I could sequence a CD
>> EXACTLY
>>>>> how
>>>>>>> i want it before I send it to the mastering house. Say if you uses
>>>> Roxio
>>>>>>> for rough cd;s you only can do 2 second intervals or whatever, and
>>> you
>>>>> can
>>>>>>> not nudge..
>>>>>>>
>>>>>>> Ok, so right now I am mastering something, an R&B record I worked
> on
>>>> that
>>>>>>> has NO budget., it is sort of liek a hip hop mix tape. When using
> WL
>>>> the
>>>>>>> output goes via my Comps on board sound card in there is some
>> strange
>>>>> EQ
>>>>>>> thing going on there, (low mid bump) so I can;t use any EQ on the
>> mix
>>>>> in
>>>>>>> WL!
>>>>>>>
>>>>>>> John <no@no.com> wrote:
>>>>>>>
>>>>>>>> Cujo, What kind of multiple song things can you do in wavelab,
>> what's
>>>>>>>
>>>>>>>> this montage thing?
>>>>>>>>
>>>>>>>> cujo wrote:
>>>>>>>>
>>>>>>>>> For years I have used CEP and it is a snap, but with WL you can
> do
>>> all
>>>>>>> the
>>>>>>>
>>>>>>>>> songs on a cd in one go, and it offers a bit more in noise shaping
>>> so
>>>>>>> I wondered
>>>>>>>
>>>>>>>>> if it was the more "pro" option.
>>>>>>>>>
>>>>>>>>> John <no@no.com> wrote:
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>> I was using the free dither app written for paris.
>>>>>>>>>>
>>>>>>>>>> cujo wrote:
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>> Which do you prefer for dithering: CEP or Wavelab with the plug
>>> you
>>>>> place
>>>>>>>>>>> on the master bus on the montage mode?
>>>>>>>>>>>
>>>>>>>>>>> Also does the render button on the effects group in Montage mode
>>>> permanently
>>>>>>>>>>> change the individual files or does it save the new CD as a
>> seperate
>>>>>>> bunch
>>>>>>>
>>>>>>>>>>> of files?
>>>>>>>>>>> I don't know if I am making sense here.
>>>>>> --
>>>>>> Chris Ludwig
>>>>>> ADK
>>>>>> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
>>>>>> www.adkproaudio.com <http://www.adkproaudio.com/>
>>>>>> (859) 635-5762
>>>>
>>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comOn 7/10/06 1:22 PM, in article 44b2a970$1@linux, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>
> What I hate about these situations is that if this guy is a rank amateur and
> is clueless, he's going to insist on trying to run the show and the mix will
> leave your studio sounding fine to him, but then he will compare it to mixes
> that have been properly done with compression and his/your mix will sound
> wimpy by comparison and then he will run around all over town telling
> everyone that it is your fault.
>
I know an engineer that says he's gotten more work by turning down work.
It's both reverse psychology and good time management. It's a concept I'm
adopting for the very reason you stated DJ. Amateur clients usually want
miracles for peanuts, and are the most difficult to deal with - not worth my
time, or theirs.
It's hard to know what a client will be like up front though, and takes a
bit of diplomacy to steer them in the right direction without offending or
turning them away, so sometimes you just have to let a few go.
If you are stuck in a situation you couldn't avoid, my advice would be to do
what the client asks, and move on.
Regards,
Dedric
>
> "Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>>
>> Just wanted to get an idea of what the general population thoughts were. I
>> wouldn't really have a problem explaining what I am doing and why I am
> doing
>> it as long they understand it is on their dime and aren't fighting me
> every
>> step of the way. But even if they were fighting me...as long as they were
>> paying I would indulge them.
>> Hey Chris..Hope things are going good with you!
>> I still listen to it from time to time as well.
>> I haven't been doing much songwriting lately..just
>> been focusing on rebuilding my studio/mixing enviroment.
>> Getting close to completion.
>> Started using Cubase in conjunction with PARIS.
>> Lots of stuff to figure out.
>>
>> Take care all.
>>
>>
>>
>>
>>
>>
>>
>>
>> "Chris Lang" <yo@yo.yo> wrote:
>>>
>>> Hey Brandon- hope everything is cool! I still listen to that
>>> "21" song every now and then!
>>>
>>> I would just give them what they want, in both cases.
>>>
>>> My band just played at a Denver club, and recorded the gig.
>>> The sound guy had good equipment, but nothing real high-end.
>>> He proceded to do an absolutely AWESOME and artistic job of
>>> utilizing that gear, and the sound, both live and on disk, is
>>> just amazing. Even the sound board mix is fabulous.
>>>
>>> My point is that any amount of info you share on gear, settings,
>>> etc, will not help the client become a pro. They might go away
>>> for a while, thinking that they can do it themselves, but they
>>> will return when they realize that if it sounds good, and you
>>> can make it sound good, then it's worth it to hire you.
>>>
>>> Peace,
>>>
>>> Chris
>>>
>>>
>>> "brandon" <a@a.com> wrote:
>>>>
>>>> How do you guys and gals handle it when you get a client who is
> insistant
>>>> on very little or no compression? How do you handle it when they want to
>>>> know everything about the signal chain?(hence your mixing secrets)
>>>>
>>>> B
>>>
>>
>
>Well........exactly are you wanting to do? Unless you are recording into
Paris digitally, from another digital device, you will need an A/D converter
before the Paris digital input. Just patch the digital input to a Paris
channel just like you would an analog input and set it to record.
"tonehouse" <zmcleod@comcast.net> wrote in message news:44b2aea2@linux...
> How do you set the patch bay so you can record analog and digital inputs
at
> the same time? Can it be done?...
>
>"brandon" <a@a.com> wrote:
>
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression?
Go ahead & do it, just give him an "option" mix the way you
think it ought to be, even if you do it on your own time...
that way:
a.) You're giving him a choice that you're not charging him
extra for... unless he's a total asshole, he'll appreciate this.
b.) You've got your ass covered if someone comes in to check out
your studio, but says: "Yeah, but I heard that stuff you did
for Dilbert Dillwinkle, and I didn't think it sounded all that
great." then you say: "Oh yeah, well listen to THIS version of
it." Monitors up, Scotty!
c.) Dilbert may come around after listening to your version a
few times.
>How do you handle it when they want to know everything about
>the signal chain?(hence your mixing secrets)
Tell 'em the stuff they can see, but not the stuff they
can't... such as:
"Hey, so what is it again that you're doing to get my vocal
sound?"
"Well, you remember we used that old mic over there into this
Preamp here, with just a little bit of compression on the
way in."
"I see.. and the rest? Like what kind of stuff did you put on
it during the mix? What were those 'plug-in' thingies?"
"Secret Weapon... can't tell ya."
Or, really, if you're confident enough in your abilities, you
can just go ahead & spill every detail, because you KNOW he's
not gonna get the same results anywhere else, because YOU RAWK!
Something like this:
"Hey, so what is it again that you're doing to get my vocal
sound?"
"Well, you remember we used that Neumann M-47, into this
Muscusrite Red-15, and I made sure to max out the gain as far
as I could go before distorting the loud parts - that way we
got more breathiness in your softer parts, which you said you
liked when we were trying out mics earlier; then I slapped on
a little bit of this Distressor with the Brit Mod before we hit
the convertors, just in case things got too hot... you know, I
didn't want to lose a good take. Then I used this plugin called
a Voxengo Voxformer for some transparent compression & also
de-essing... see what happens when I pull it out? Sounds much
better with it in, huh? I also cut a very shallow swath out at
750 hz to get rid of that nasal thing you said you didn't like
about your voice, then I used this linear-phase EQ to boost
1.5db at a 2.7 "Q" setting at each 10k, 16k & 22k just to
enhance the airiness of the track, but I automated that - it
only comes in on the chorus parts. Check it... with...
without... with... without... you like? For reverb I used a
Lexicon Pantheon on a small-ish room setting, but with no high-
end cutoff, and on the chorus parts a delay comes in that's
sync'ed to the quarter-beat, but then backed-off one
millisecond so it lags just a tiny bit so the vocals seem a
little bit more relaxed, and it's set to 27% feedback so you
only clearly hear two repeats at this tempo, and the third
repeat gets mostly covered up by the start of your next line,
but it's just barely audible so it all flows smoothly."
That's me... I pretty much tell 'em everything. I figure no
one's going to remember it anyway, and unless I'm someone
famous, no one's going to think my secrets are worth stealing
anyhoo.
NeilHi Zan,
I do more or less the same thing all the time - I use the analog inuts for
tracking and the S/PDIF inputs to bring the signal from my PCM-91 back to
submix 1's FX returns. All you need to do is patch the digital inputs (MEC
Master dL and dR at bottom of the icon) to whichever mixer inputs you want
to use.
Gantt
"tonehouse" <zmcleod@comcast.net> wrote:
>How do you set the patch bay so you can record analog and digital inputs
at
>the same time? Can it be done?...
>
>"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> BOops . . . what I meant to say was . . . first I agree with them, "Oh, I
know . . . compression is way overused . . . takes the life right out of the
mix." Then I go ahead and compress the shit out of everything anyway. :)
SJB
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> B"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Maybe one of them won't whine....or maybe both of them will.
If that's the case, then just make sure that you flip polarity
on the 2nd whine & aim it directly at the first... that way
they cancel each other out & you'll have a whine-free studio...
....until the next time you try to "upgrade" something; then we
expect the whining to resume! lol
:D :DLOL!!!!....exactly what I'd do.
;o)
"Sarah" <sarahjane@sarahtonin.com> wrote in message news:44b30653@linux...
> Oops . . . what I meant to say was . . . first I agree with them, "Oh, I
> know . . . compression is way overused . . . takes the life right out of
the
> mix." Then I go ahead and compress the shit out of everything anyway. :)
>
> SJB
>
>
> "brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
> >
> > How do you guys and gals handle it when you get a client who is
insistant
> > on very little or no compression? How do you handle it when they want to
> > know everything about the signal chain?(hence your mixing secrets)
> >
> > B
>
>When I (rarely) get into a situation where I am]
pressed to do something I would not want to do,
I just tell the client that I will be glad to do
it, but there can be no mention of my name in the
credits on the project. Usually takes less than 5
minutes to come around.... :)
Dedric Terry <dterry@keyofd.net> wrote:
>On 7/10/06 1:22 PM, in article 44b2a970$1@linux, "DJ"
><animix_spam-this-ahole_@animas.net> wrote:
>
>>
>> What I hate about these situations is that if this guy is a rank amateur
and
>> is clueless, he's going to insist on trying to run the show and the mix
will
>> leave your studio sounding fine to him, but then he will compare it to
mixes
>> that have been properly done with compression and his/your mix will sound
>> wimpy by comparison and then he will run around all over town telling
>> everyone that it is your fault.
>>
>
>I know an engineer that says he's gotten more work by turning down work.
>It's both reverse psychology and good time management. It's a concept I'm
>adopting for the very reason you stated DJ. Amateur clients usually want
>miracles for peanuts, and are the most difficult to deal with - not worth
my
>time, or theirs.
>
>It's hard to know what a client will be like up front though, and takes
a
>bit of diplomacy to steer them in the right direction without offending
or
>turning them away, so sometimes you just have to let a few go.
>
>If you are stuck in a situation you couldn't avoid, my advice would be to
do
>what the client asks, and move on.
>
>Regards,
>Dedric
>
>>
>> "Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>>>
>>> Just wanted to get an idea of what the general population thoughts were.
I
>>> wouldn't really have a problem explaining what I am doing and why I am
>> doing
>>> it as long they understand it is on their dime and aren't fighting me
>> every
>>> step of the way. But even if they were fighting me...as long as they
were
>>> paying I would indulge them.
>>> Hey Chris..Hope things are going good with you!
>>> I still listen to it from time to time as well.
>>> I haven't been doing much songwriting lately..just
>>> been focusing on rebuilding my studio/mixing enviroment.
>>> Getting close to completion.
>>> Started using Cubase in conjunction with PARIS.
>>> Lots of stuff to figure out.
>>>
>>> Take care all.
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> "Chris Lang" <yo@yo.yo> wrote:
>>>>
>>>> Hey Brandon- hope everything is cool! I still listen to that
>>>> "21" song every now and then!
>>>>
>>>> I would just give them what they want, in both cases.
>>>>
>>>> My band just played at a Denver club, and recorded the gig.
>>>> The sound guy had good equipment, but nothing real high-end.
>>>> He proceded to do an absolutely AWESOME and artistic job of
>>>> utilizing that gear, and the sound, both live and on disk, is
>>>> just amazing. Even the sound board mix is fabulous.
>>>>
>>>> My point is that any amount of info you share on gear, settings,
>>>> etc, will not help the client become a pro. They might go away
>>>> for a while, thinking that they can do it themselves, but they
>>>> will return when they realize that if it sounds good, and you
>>>> can make it sound good, then it's worth it to hire you.
>>>>
>>>> Peace,
>>>>
>>>> Chris
>>>>
>>>>
>>>> "brandon" <a@a.com> wrote:
>>>>>
>>>>> How do you guys and gals handle it when you get a client who is
>> insistant
>>>>> on very little or no compression? How do you handle it when they want
to
>>>>> know everything about the signal chain?(hence your mixing secrets)
>>>>>
>>>>> B
>>>>
>>>
>>
>>
>That type of statement certainly would be an eye opener. Good idea.
"John Macy" <spamlessjohn@johnmacy.com> wrote in message
news:44b32bf9$1@linux...
>
> When I (rarely) get into a situation where I am]
> pressed to do something I would not want to do,
> I just tell the client that I will be glad to do
> it, but there can be no mention of my name in the
> credits on the project. Usually takes less than 5
> minutes to come around.... :)
>
>
>
> Dedric Terry <dterry@keyofd.net> wrote:
> >On 7/10/06 1:22 PM, in article 44b2a970$1@linux, "DJ"
> ><animix_spam-this-ahole_@animas.net> wrote:
> >
> >>
> >> What I hate about these situations is that if this guy is a rank
amateur
> and
> >> is clueless, he's going to insist on trying to run the show and the mix
> will
> >> leave your studio sounding fine to him, but then he will compare it to
> mixes
> >> that have been properly done with compression and his/your mix will
sound
> >> wimpy by comparison and then he will run around all over town telling
> >> everyone that it is your fault.
> >>
> >
> >I know an engineer that says he's gotten more work by turning down work.
> >It's both reverse psychology and good time management. It's a concept I'm
> >adopting for the very reason you stated DJ. Amateur clients usually want
> >miracles for peanuts, and are the most difficult to deal with - not worth
> my
> >time, or theirs.
> >
> >It's hard to know what a client will be like up front though, and takes
> a
> >bit of diplomacy to steer them in the right direction without offending
> or
> >turning them away, so sometimes you just have to let a few go.
> >
> >If you are stuck in a situation you couldn't avoid, my advice would be to
> do
> >what the client asks, and move on.
> >
> >Regards,
> >Dedric
> >
> >>
> >> "Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
> >>>
> >>> Just wanted to get an idea of what the general population thoughts
were.
> I
> >>> wouldn't really have a problem explaining what I am doing and why I am
> >> doing
> >>> it as long they understand it is on their dime and aren't fighting me
> >> every
> >>> step of the way. But even if they were fighting me...as long as they
> were
> >>> paying I would indulge them.
> >>> Hey Chris..Hope things are going good with you!
> >>> I still listen to it from time to time as well.
> >>> I haven't been doing much songwriting lately..just
> >>> been focusing on rebuilding my studio/mixing enviroment.
> >>> Getting close to completion.
> >>> Started using Cubase in conjunction with PARIS.
> >>> Lots of stuff to figure out.
> >>>
> >>> Take care all.
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>> "Chris Lang" <yo@yo.yo> wrote:
> >>>>
> >>>> Hey Brandon- hope everything is cool! I still listen to that
> >>>> "21" song every now and then!
> >>>>
> >>>> I would just give them what they want, in both cases.
> >>>>
> >>>> My band just played at a Denver club, and recorded the gig.
> >>>> The sound guy had good equipment, but nothing real high-end.
> >>>> He proceded to do an absolutely AWESOME and artistic job of
> >>>> utilizing that gear, and the sound, both live and on disk, is
> >>>> just amazing. Even the sound board mix is fabulous.
> >>>>
> >>>> My point is that any amount of info you share on gear, settings,
> >>>> etc, will not help the client become a pro. They might go away
> >>>> for a while, thinking that they can do it themselves, but they
> >>>> will return when they realize that if it sounds good, and you
> >>>> can make it sound good, then it's worth it to hire you.
> >>>>
> >>>> Peace,
> >>>>
> >>>> Chris
> >>>>
> >>>>
> >>>> "brandon" <a@a.com> wrote:
> >>>>>
> >>>>> How do you guys and gals handle it when you get a client who is
> >> insistant
> >>>>> on very little or no compression? How do you handle it when they
want
> to
> >>>>> know everything about the signal chain?(hence your mixing secrets)
> >>>>>
> >>>>> B
> >>>>
> >>>
> >>
> >>
> >
>I'm taking advantage of the employment downtime to catch up on some
mixing I've had stacked up for a while...
The one I'm working on now is tracked from the board during a concert
at the theatre. 3 singer/songwriters in the group, seated on 3 stools
across the stage.
I have the guitars panned 60 left and center (from audience POV) and
the bass panned 60 right - these approximate their physical locations
on stage.
Would you pan the vocals to match the guitars, or would you pull them
closer to center?
I realize this is somewhat a matter of preference and taste. I've
been listening to my rough, and I'm still not sure if I like it that
way. I may try it with the vocals tightened up but then they wouldn't
match the guitars.
What would you guys do?
pabI know you guys will laugh at this ploy but (and perhaps others will employ
my ploy) but when I was heavy on the road doing guitar I used to get
post-show exams on "how do you get should great tone, sounds, blah blah."
Because so few could really grasp that great guitar tone starts in your head
and can pretty much happen with most any guitar/amp setup, I developed
several more "believable" answers. So I built a small flat black box with a
wire coming out of it, wood and metal with rivets here and there and a made
up model number on placard. Wire went into my rack and disappeared into a
darkened recess. It was just easier to tell guys that the black box was
where the sound was really happening. Typical dialogue:
Q: Great tone... really cut it's own space in the show... whadya got going
here
A: Well this stuff is really pretty ordinary, Old Roland GP-100, a Rocktron
Type IIc for minimizing noise from the dirty patches out of the JMP-1, old
Rockman rackmount guitar pre for some of the clean stuff, I keep this old
Quadraverb for some patches that really do it for me - the noise doesn't
bother me much, and this guy here by DMC is where all my routing takes
place, and I output a stereo pair into this Ibanez SDR1000 which goes
directly to the 50/50 power amp... and these are just knock-offs of the old
Pacific 1x12" cabs. I had a guy copy them and build them from a slightly
denser woods... and that's pretty much it.
Q: But where are getting that tone of that tune (XYZ)?
A: That was the Rockman with some verb off the GP-100.
Q: Your cables must all be oxygen free or something, right?
A: Nah... I gotta mix of Canare quad and belden co-ax in there
Q: What kinda tubes in the power amp?
A: Ahhh... GT's, 5 rateds... nothing special there.
Q: What's this thing (black box) doing?
A: Some guy in California built that for me and that I don't really
couldn't tell you what it does or how it works but without it, my tone
pretty much just isn't there."
Q: Where can I get one?
And they are always so disappointed to learn that the builder is no longer
in business.
W.
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> Bor his girlfriend/manager will call demanding their money
back...that's why you get them to sign a waiver on their mix.
On Mon, 10 Jul 2006 13:22:30 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I
>> wouldn't really have a problem explaining what I am doing and why I am
>doing
>> it as long they understand it is on their dime and aren't fighting me
>every
>> step of the way. But even if they were fighting me...as long as they were
>> paying I would indulge them.
>
>What I hate about these situations is that if this guy is a rank amateur and
>is clueless, he's going to insist on trying to run the show and the mix will
>leave your studio sounding fine to him, but then he will compare it to mixes
>that have been properly done with compression and his/your mix will sound
>wimpy by comparison and then he will run around all over town telling
>everyone that it is your fault.
>
>
>"Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>>
>> Just wanted to get an idea of what the general population thoughts were. I
>> wouldn't really have a problem explaining what I am doing and why I am
>doing
>> it as long they understand it is on their dime and aren't fighting me
>every
>> step of the way. But even if they were fighting me...as long as they were
>> paying I would indulge them.
>> Hey Chris..Hope things are going good with you!
>> I still listen to it from time to time as well.
>> I haven't been doing much songwriting lately..just
>> been focusing on rebuilding my studio/mixing enviroment.
>> Getting close to completion.
>> Started using Cubase in conjunction with PARIS.
>> Lots of stuff to figure out.
>>
>> Take care all.
>>
>>
>>
>>
>>
>>
>>
>>
>> "Chris Lang" <yo@yo.yo> wrote:
>> >
>> >Hey Brandon- hope everything is cool! I still listen to that
>> >"21" song every now and then!
>> >
>> >I would just give them what they want, in both cases.
>> >
>> >My band just played at a Denver club, and recorded the gig.
>> >The sound guy had good equipment, but nothing real high-end.
>> >He proceded to do an absolutely AWESOME and artistic job of
>> >utilizing that gear, and the sound, both live and on disk, is
>> >just amazing. Even the sound board mix is fabulous.
>> >
>> >My point is that any amount of info you share on gear, settings,
>> >etc, will not help the client become a pro. They might go away
>> >for a while, thinking that they can do it themselves, but they
>> >will return when they realize that if it sounds good, and you
>> >can make it sound good, then it's worth it to hire you.
>> >
>> >Peace,
>> >
>> >Chris
>> >
>> >
>> >"brandon" <a@a.com> wrote:
>> >>
>> >>How do you guys and gals handle it when you get a client who is
>insistant
>> >>on very little or no compression? How do you handle it when they want to
>> >>know everything about the signal chain?(hence your mixing secrets)
>> >>
>> >>B
>> >
>>
>Definitely closer to the center. If there are some harmonies you can ride
pan them out also.
John
Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>I'm taking advantage of the employment downtime to catch up on some
>mixing I've had stacked up for a while...
>
>The one I'm working on now is tracked from the board during a concert
>at the theatre. 3 singer/songwriters in the group, seated on 3 stools
>across the stage.
>
>I have the guitars panned 60 left and center (from audience POV) and
>the bass panned 60 right - these approximate their physical locations
>on stage.
>
>Would you pan the vocals to match the guitars, or would you pull them
>closer to center?
>
>I realize this is somewhat a matter of preference and taste. I've
>been listening to my rough, and I'm still not sure if I like it that
>way. I may try it with the vocals tightened up but then they wouldn't
>match the guitars.
>
>What would you guys do?
>
>pabI just got a EMU 0404. It was about $80 with a rebate that I haven't sent
in yet. The only thing that disappoints me about it is it doesn't send out
optical ADAT format. DJ posted a conversion box though that costs about $80.
Antway the coaxial SPDIF works fine. My current config monitors Cubase thru
PARIS via SPDIF on the MEC.
b
"rich" <studiodog_99@yahoo.com> wrote:
>
>What hardware are you using with Cubase - I've been looking at the Mackie
>Oynox mixer with a firewire card added to it... as an addition to Paris
>
>
>"Brandon" <a@a.com> wrote:
>>
>>Just wanted to get an idea of what the general population thoughts were.
>I
>>wouldn't really have a problem explaining what I am doing and why I am
doing
>>it as long they understand it is on their dime and aren't fighting me every
>>step of the way. But even if they were fighting me...as long as they were
>>paying I would indulge them.
>>Hey Chris..Hope things are going good with you!
>>I still listen to it from time to time as well.
>>I haven't been doing much songwriting lately..just
>>been focusing on rebuilding my studio/mixing enviroment.
>>Getting close to completion.
>>Started using Cubase in conjunction with PARIS.
>>Lots of stuff to figure out.
>>
>>Take care all.
>>
>>
>>
>>
>>
>>
>>
>>
>>"Chris Lang" <yo@yo.yo> wrote:
>>>
>>>Hey Brandon- hope everything is cool! I still listen to that
>>>"21" song every now and then!
>>>
>>>I would just give them what they want, in both cases.
>>>
>>>My band just played at a Denver club, and recorded the gig.
>>>The sound guy had good equipment, but nothing real high-end.
>>>He proceded to do an absolutely AWESOME and artistic job of
>>>utilizing that gear, and the sound, both live and on disk, is
>>>just amazing. Even the sound board mix is fabulous.
>>>
>>>My point is that any amount of info you share on gear, settings,
>>>etc, will not help the client become a pro. They might go away
>>>for a while, thinking that they can do it themselves, but they
>>>will return when they realize that if it sounds good, and you
>>>can make it sound good, then it's worth it to hire you.
>>>
>>>Peace,
>>>
>>>Chris
>>>
>>>
>>>"brandon" <a@a.com> wrote:
>>>>
>>>>How do you guys and gals handle it when you get a client who is insistant
>>>>on very little or no compression? How do you handle it when they want
>to
>>>>know everything about the signal chain?(hence your mixing secrets)
>>>>
>>>>B
>>>
>>
>You have all three voices on separate tracks, as well as 2
guitars & a bass on separate tracks? I'd put the bass in the
center, just for balance, & then pan the voices out a little
bit - not necessarily as much as the guitars.
For a small ensemble like this, I'd actually probably mix it in
mono first, to get the balances between the instruments & voices
the way I wanted it, then work on the panning using something
like the above as a starting point.
Neil
Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>I'm taking advantage of the employment downtime to catch up on some
>mixing I've had stacked up for a while...
>
>The one I'm working on now is tracked from the board during a concert
>at the theatre. 3 singer/songwriters in the group, seated on 3 stools
>across the stage.
>
>I have the guitars panned 60 left and center (from audience POV) and
>the bass panned 60 right - these approximate their physical locations
>on stage.
>
>Would you pan the vocals to match the guitars, or would you pull them
>closer to center?
>
>I realize this is somewhat a matter of preference and taste. I've
>been listening to my rough, and I'm still not sure if I like it that
>way. I may try it with the vocals tightened up but then they wouldn't
>match the guitars.
>
>What would you guys do?
>
>pabYou may be able to, depending on physical attributes, encase the invertor in
epoxy or some kind of non conductive resin to stop the high speed
oscillating. Consider heat and dimension before doing so, of course.
AA
<Kris .> wrote in message news:44b29258$1@linux...
>
> Yeah...that's the inverter that drives the backlight. A competant tech
> should
> be able to install a switch on it, so you can turn the back light (and
> whine)
> off when the controller is not in use.
>
> Cheers,
>
> Kris
>
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>>Our '880 also does not have a fan... but the whine from the
>>controller display drives me crazy!! ;-)
>>
>>David.
>>
>>"Kris" . wrote:
>>> I'm surprised your 880 has a fan in it....mine does not.
>>>
>>> Analog I/O on this thing sounds very good IMO...better than you might
> expect
>>> considering the age of it.
>>>
>>> Another solution is to make (6) (R880 has 2 ins and 4 outs IIRC) 1 foot
> lengths
>>> of XLR-XLR cables with the polarity swapped. Connect these to your 880,
> and
>>> then, connect your snake to them. This would make your 880 appear to be
> pin
>>> 2 hot to your patch bay.
>>>
>>> Cheers
>>>
>>> Kris
>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>
>>>>........or, I could keep the Mogami snake *as is* and just make two TRS
>>>>Patch cables (for patching this particular dievice) wired tip to ring
> and
>>>>ring to tip. That might be a better solution for my particular situation
>>>>actually. I may not end up using the analog I/O of the R880 all that
>>>>much
>>>>and it's very possible that I might want to run this long snake to a
>>>>certain
>>>>device that I've got my eye on. It's got a fan in the chassis so I will
>>>
>>> need
>>>
>>>>to keep it in the machine room. I think it's wired with standard US
>>>>polarity.
>>>>
>>>>;o)
>>>>
>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>>>>news:44b04210$1@linux...
>>>>
>>>>>It is a 20' cable run from the rack that is housing the R880 mainframe
>>>
>>> to
>>>
>>>>>the standard balanced patch bay. Seems a shame to use 80' of mic cable
>>>
>>> to
>>>
>>>>>make 4 x 20' patch cables when I've got a 20' 4 x pair standard
>>>>>polarity
>>>>>Mogami XLR-TRS snake sitting here doing nothing.....sooooo........ I
> could
>>>>>modify the standard mogami cable by taking the lead from the ring
>>>>
>>>>(currently
>>>>
>>>>>tied to XLR pin 3 and swapping it to XLR pin 2, then take the lead from
>>>>
>>>>the
>>>>
>>>>>tip (currently tied to XLR pin 2) and swap it to XLR pin 3.. That
>>>>>oughta'
>>>>>get me there, right?
>>>>>
>>>>>Thanks for your help.
>>>>>
>>>>>Deej
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
>>>>>news:44b037d8$1@linux...
>>>>>
>>>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>>>
>>>>>>>I need to build balanced I/O cables for the analog outputs of my
>>>>
>>>>Roland
>>>>
>>>>>>>R880. The pinout calls for pin 1-ground, pin 2-cold, pin 3-hot.
>>>>>>>That's
>>>>>
>>>>>not
>>>>>
>>>>>>>the normal state of affairs around here. Everything I'm using is pin
>>>>>
>>>>>2-hot
>>>>>
>>>>>>>and is routed to 1/4" TRS patchbays.
>>>>>>>These cables need to be XLR to TRS in order to interface with said
>>>>>
>>>>>balanced
>>>>>
>>>>>>>patchbay. From there they would be patched to other gear (with
>>>>>>>trs-trs
>>>>>
>>>>>patch
>>>>>
>>>>>>>cables) that is pin 2-hot. I'm guessing I'm going to have to make up
>>>
>>> a
>>>
>>>>>>>couple of special trs-trs patch cables to get this all strack. It's
>>>>>
>>>>>making
>>>>>
>>>>>>>my head hurt. Could someone give me a clue as to what I need to do
>>>
>>> to
>>>
>>>>>patch
>>>>>
>>>>>>>a pin 3-hot device through a balanced PB in order to interface
>>>>>>>properly
>>>>>>
>>>>>>with
>>>>>>
>>>>>>>the rest of my (pin 2 hot) studio?
>>>>>>>
>>>>>>>Thanks,
>>>>>>>
>>>>>>>Deej (the obscure)
>>>>>>>
>>>>>>>
>>>>>>
>>>>>>In this case you can reverse either end. I keep some colored shrink
>>>>
>>>>tubing
>>>>
>>>>>>around to mark non-normal cables. Personally I reverse at the XLR,
>>>>
>>>>because
>>>>
>>>>>>it's easier to reverse.
>>>>>>Gene
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlOn 11 Jul 2006 22:38:45 +1000, "Neil" <IOIU@OIU.com> wrote:
>
>You have all three voices on separate tracks, as well as 2
>guitars & a bass on separate tracks? I'd put the bass in the
>center, just for balance, & then pan the voices out a little
>bit - not necessarily as much as the guitars.
>
>For a small ensemble like this, I'd actually probably mix it in
>mono first, to get the balances between the instruments & voices
>the way I wanted it, then work on the panning using something
>like the above as a starting point.
>
>Neil
>
Yes, separate tracks for each muso - one for his vocal, one for his
instrument.
Yeah, even though the bass player was sitting house right, it does bug
me that the bass isn't coming from center. I will try to remix with
him in the center.
The "mix in mono first" idea makes sense. I'm pretty close with
balances - after listening on two different sets of speakers,
including my car, I definitely want the guitars down some more to
emphasize the vocal harmonies.
I'll try it again with gtr at L60 and R60, bass in center, and then
maybe spread the vocals at L30 and R30 plus center - just enough to
give them some space, but keeping them fairly centered.
I will report back after. And maybe I'll post a piece of one of the
songs.
pabI LOVE it! HA. I'm going to build one of those for the studio.
Rod
"Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote:
>I know you guys will laugh at this ploy but (and perhaps others will employ
>my ploy) but when I was heavy on the road doing guitar I used to get
>post-show exams on "how do you get should great tone, sounds, blah blah."
>Because so few could really grasp that great guitar tone starts in your
head
>and can pretty much happen with most any guitar/amp setup, I developed
>several more "believable" answers. So I built a small flat black box with
a
>wire coming out of it, wood and metal with rivets here and there and a made
>up model number on placard. Wire went into my rack and disappeared into
a
>darkened recess. It was just easier to tell guys that the black box was
>where the sound was really happening. Typical dialogue:
>
>Q: Great tone... really cut it's own space in the show... whadya got going
>here
>
>A: Well this stuff is really pretty ordinary, Old Roland GP-100, a Rocktron
>Type IIc for minimizing noise from the dirty patches out of the JMP-1, old
>Rockman rackmount guitar pre for some of the clean stuff, I keep this old
>Quadraverb for some patches that really do it for me - the noise doesn't
>bother me much, and this guy here by DMC is where all my routing takes
>place, and I output a stereo pair into this Ibanez SDR1000 which goes
>directly to the 50/50 power amp... and these are just knock-offs of the
old
>Pacific 1x12" cabs. I had a guy copy them and build them from a slightly
>denser woods... and that's pretty much it.
>
>Q: But where are getting that tone of that tune (XYZ)?
>
>A: That was the Rockman with some verb off the GP-100.
>
>Q: Your cables must all be oxygen free or something, right?
>
>A: Nah... I gotta mix of Canare quad and belden co-ax in there
>
>Q: What kinda tubes in the power amp?
>
>A: Ahhh... GT's, 5 rateds... nothing special there.
>
>Q: What's this thing (black box) doing?
>
>A: Some guy in California built that for me and that I don't really
>couldn't tell you what it does or how it works but without it, my tone
>pretty much just isn't there."
>
>Q: Where can I get one?
>
>And they are always so disappointed to learn that the builder is no longer
>in business.
>
>W.
>
>"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>>
>> How do you guys an
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| Re: Multi Band Mastering in Paris [message #68804 is a reply to message #68800] |
Wed, 31 May 2006 16:19 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
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Senior Member |
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<pre wrap="">mix." Then I go ahead and compress the shit out of everything anyway. :)
SJB
"brandon" <a class="moz-txt-link-rfc2396E" href="mailto:a@a.com"><a@a.com></a> wrote in message <a class="moz-txt-link-freetext" href="news:44b27b39$1@linux">news:44b27b39$1@linux</a>...
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<pre wrap="">How do you guys and gals handle it when you get a client who is
</pre>
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<pre wrap="">on very little or no compression? How do you handle it when they want to
know everything about the signal chain?(hence your mixing secrets)
B
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--------------040508090402000102020207--Hi to all.
I was experiencing some things working under Xp with external wordclock as
opposed to with Me.
I don't know ifothers share similar oppinipns but DJ posted that he also
though some mid frequencies differences which could be XP or/and wordclock.
I am nexperiencing the following...
I get some sound spikes in random frequencies...
Sound although clean in the mids frequencies do not stay at the same level
all the way in a song.
I have a difficult time in using compressors to solve these things !!
Maybe the eq is producing this... remeber that I found that the eq behaves
differently under XP as opposed to under Me.
Anyone maybe heard similar things ??
I really need to be certain on that because I want to know who and what to
blame for that.
Maybe also an external wordclock could introduce such things ??
I do not get any crackles or other anomalies though.
I use Soundscape's wordclock as a master and i distribute crazy after that
but very stable afterall.
Sound is punchy in the mids except for the problems I described.
One test you can make and see (in a dense mix) is to dial a 80 hz in Paris
eq with 0.1 Q and give a healthy 8-12 dbs.
That gives great analogish kick sound.
In a mix though the level of that 80 hz is not constant giving spikes (in
volume increses) very often...
I would like your input here !!!!!
Regards,
DimitriosI just show them Frankencomp. After they get over the shock of seeing
Frankencomp I hand them a copy of the session methodology. Then tell them
that the reason it the way it does is because if everything id done exactly
right, that it is possible to configure two computers in a way that makes
the digital information sound like it's not being recorded on a computer at
all. They are usually so totally bewildered by that time that they get the
thousand yard stare, their eyes become glassy and fixed and they become meek
and submissive. I can sometimes even get them to go pick up my laundry and
go grocvery shopping for me. Sorta' like feeding them a digital dose of
Rohypnol.
;o)
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
news:44b3d8eb$1@linux...
>
> I LOVE it! HA. I'm going to build one of those for the studio.
> Rod
> "Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote:
> >I know you guys will laugh at this ploy but (and perhaps others will
employ
>
> >my ploy) but when I was heavy on the road doing guitar I used to get
> >post-show exams on "how do you get should great tone, sounds, blah blah."
>
> >Because so few could really grasp that great guitar tone starts in your
> head
> >and can pretty much happen with most any guitar/amp setup, I developed
> >several more "believable" answers. So I built a small flat black box
with
> a
> >wire coming out of it, wood and metal with rivets here and there and a
made
>
> >up model number on placard. Wire went into my rack and disappeared into
> a
> >darkened recess. It was just easier to tell guys that the black box was
>
> >where the sound was really happening. Typical dialogue:
> >
> >Q: Great tone... really cut it's own space in the show... whadya got
going
>
> >here
> >
> >A: Well this stuff is really pretty ordinary, Old Roland GP-100, a
Rocktron
>
> >Type IIc for minimizing noise from the dirty patches out of the JMP-1,
old
>
> >Rockman rackmount guitar pre for some of the clean stuff, I keep this old
>
> >Quadraverb for some patches that really do it for me - the noise doesn't
>
> >bother me much, and this guy here by DMC is where all my routing takes
> >place, and I output a stereo pair into this Ibanez SDR1000 which goes
> >directly to the 50/50 power amp... and these are just knock-offs of the
> old
> >Pacific 1x12" cabs. I had a guy copy them and build them from a slightly
>
> >denser woods... and that's pretty much it.
> >
> >Q: But where are getting that tone of that tune (XYZ)?
> >
> >A: That was the Rockman with some verb off the GP-100.
> >
> >Q: Your cables must all be oxygen free or something, right?
> >
> >A: Nah... I gotta mix of Canare quad and belden co-ax in there
> >
> >Q: What kinda tubes in the power amp?
> >
> >A: Ahhh... GT's, 5 rateds... nothing special there.
> >
> >Q: What's this thing (black box) doing?
> >
> >A: Some guy in California built that for me and that I don't really
> >couldn't tell you what it does or how it works but without it, my tone
> >pretty much just isn't there."
> >
> >Q: Where can I get one?
> >
> >And they are always so disappointed to learn that the builder is no
longer
>
> >in business.
> >
> >W.
> >
> >"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
> >>
> >> How do you guys and gals handle it when you get a client who is
insistant
> >> on very little or no compression? How do you handle it when they want
> to
> >> know everything about the signal chain?(hence your mixing secrets)
> >>
> >> B
> >
> >
>
Yeah...Frankencomp is pretty bewildering. I show people I know pics of Frankencomp.
Just the fact I know you gets a reaction.
I wish I had the room for a Frankencomp. In my head as well as my studio.
8Op'''''' oooops the stage is NOT level.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I just show them Frankencomp. After they get over the shock of seeing
>Frankencomp I hand them a copy of the session methodology. Then tell them
>that the reason it the way it does is because if everything id done exactly
>right, that it is possible to configure two computers in a way that makes
>the digital information sound like it's not being recorded on a computer
at
>all. They are usually so totally bewildered by that time that they get
the
>thousand yard stare, their eyes become glassy and fixed and they become
meek
>and submissive. I can sometimes even get them to go pick up my laundry and
>go grocvery shopping for me. Sorta' like feeding them a digital dose of
>Rohypnol.
>
>;o)
>
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>news:44b3d8eb$1@linux...
>>
>> I LOVE it! HA. I'm going to build one of those for the studio.
>> Rod
>> "Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote:
>> >I know you guys will laugh at this ploy but (and perhaps others will
>employ
>>
>> >my ploy) but when I was heavy on the road doing guitar I used to get
>> >post-show exams on "how do you get should great tone, sounds, blah blah."
>>
>> >Because so few could really grasp that great guitar tone starts in your
>> head
>> >and can pretty much happen with most any guitar/amp setup, I developed
>> >several more "believable" answers. So I built a small flat black box
>with
>> a
>> >wire coming out of it, wood and metal with rivets here and there and
a
>made
>>
>> >up model number on placard. Wire went into my rack and disappeared into
>> a
>> >darkened recess. It was just easier to tell guys that the black box
was
>>
>> >where the sound was really happening. Typical dialogue:
>> >
>> >Q: Great tone... really cut it's own space in the show... whadya got
>going
>>
>> >here
>> >
>> >A: Well this stuff is really pretty ordinary, Old Roland GP-100, a
>Rocktron
>>
>> >Type IIc for minimizing noise from the dirty patches out of the JMP-1,
>old
>>
>> >Rockman rackmount guitar pre for some of the clean stuff, I keep this
old
>>
>> >Quadraverb for some patches that really do it for me - the noise doesn't
>>
>> >bother me much, and this guy here by DMC is where all my routing takes
>> >place, and I output a stereo pair into this Ibanez SDR1000 which goes
>> >directly to the 50/50 power amp... and these are just knock-offs of the
>> old
>> >Pacific 1x12" cabs. I had a guy copy them and build them from a slightly
>>
>> >denser woods... and that's pretty much it.
>> >
>> >Q: But where are getting that tone of that tune (XYZ)?
>> >
>> >A: That was the Rockman with some verb off the GP-100.
>> >
>> >Q: Your cables must all be oxygen free or something, right?
>> >
>> >A: Nah... I gotta mix of Canare quad and belden co-ax in there
>> >
>> >Q: What kinda tubes in the power amp?
>> >
>> >A: Ahhh... GT's, 5 rateds... nothing special there.
>> >
>> >Q: What's this thing (black box) doing?
>> >
>> >A: Some guy in California built that for me and that I don't really
>> >couldn't tell you what it does or how it works but without it, my tone
>> >pretty much just isn't there."
>> >
>> >Q: Where can I get one?
>> >
>> >And they are always so disappointed to learn that the builder is no
>longer
>>
>> >in business.
>> >
>> >W.
>> >
>> >"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>> >>
>> >> How do you guys and gals handle it when you get a client who is
>insistant
>> >> on very little or no compression? How do you handle it when they want
>> to
>> >> know everything about the signal chain?(hence your mixing secrets)
>> >>
>> >> B
>> >
>> >
>>
>
>
>
>I've had'm all here; the no-compression guy, a bunch of "make it sound
organic" guys (whatever the hell that means....lol), the "it's My Vision
and I'll tell you how to mix it" guys, the chicks that can't even tie
their shoes but are "engineers"....the list goes on..... control freaks
and passive-aggressives....
So I've taken Todd Rundgren's advice and just never let anyone into the
control room when I'm mixing. Period. I simply tell them that if they
want their cd to have that "special" sound that they came here for, then
they gotta trust me. Works most times. When it doesn't, I know it's not
someone I'd be interested in working with and turn down the job. It
takes big cow-bells to say these things to clients but ya gotta do it
sometimes or else you'll end up cucking sock all the time....and who
likes the taste of socks?.....lol
j
brandon wrote:
>How do you guys and gals handle it when you get a client who is insistant
>on very little or no compression? How do you handle it when they want to
>know everything about the signal chain?(hence your mixing secrets)
>
>B
>
>Sounds like a Chicago/Electrical Audio/Albini wannabe. Tell them to go
there. I also really dig DJ's and also Sarah's response. !!!
rock on,
-Carl
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> BThis assumes your client can't hear well. More than once I've gotten into
pretty heated arguments with people in mixing situations where I caught them
doing just this. Once I said something along the lines of, 'If I wanted the
drums to sound like an effin' beer commercial I would have told you. Now
TURN THAT SHIT OFF!'
To the original poster, you try to explain to them that they spent money
on your for a reason and that they might want to take some suggestions. At
the same time, they're writing the check, and perhaps giving word of mouth
recommendations for/against other people working with you, so that's something
consider. I don't know how many 'secrets' there really are these days but
I bet you could probably throw people off by giving them incorrect advice
('yes, it's PARIS, it sounds more clinical than Pro Tools which is why I
like it, less coloration in the final sonics') if you think you have true
'trade secrets.'
TCB
"Sarah" <sarahjane@sarahtonin.com> wrote:
>Oops . . . what I meant to say was . . . first I agree with them, "Oh,
I
>know . . . compression is way overused . . . takes the life right out of
the
>mix." Then I go ahead and compress the shit out of everything anyway.
:)
>
>SJB
>
>
>"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>>
>> How do you guys and gals handle it when you get a client who is insistant
>> on very little or no compression? How do you handle it when they want
to
>> know everything about the signal chain?(hence your mixing secrets)
>>
>> B
>
>Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>I'm hoping for an A/V technician gig at the Shedd Aquarium in Chicago.
>Fish, whales, dolphins, and sound/video toys. Ahhhhhh.....
Sounds cool. You can autotune a singer, but you can't autotuna
fish...or something like that.
>I'll pass the website link along to Peterik, since as you remember he
>went nuts over the demos.
>
>pab
Alright, thanks Paul.
And thanks everyone here, especially those who bought the CD,
it means a lot to us.
-macleany ideas
Don"Don Nafe" <dnafe@magma.ca> wrote:
>any ideas
Batch convert using r8Brain?"Fingerprints" are blasting out of the speakers, even as I type.
-steve
The refrigerator magnet is the very essence of cool
"macle" <Mates9999@cs.com> wrote:
>
>Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>I'm hoping for an A/V technician gig at the Shedd Aquarium in Chicago.
>>Fish, whales, dolphins, and sound/video toys. Ahhhhhh.....
>
>Sounds cool. You can autotune a singer, but you can't autotuna
>fish...or something like that.
>
>>I'll pass the website link along to Peterik, since as you remember he
>>went nuts over the demos.
>>
>>pab
>
>Alright, thanks Paul.
>
>And thanks everyone here, especially those who bought the CD,
>it means a lot to us.
>
>-macleOr bounce using 16 bit instead of 24 in PAris..Truncate I think it is called
yes?
"Neil" <OIUOIU@OI.com> wrote:
>
>"Don Nafe" <dnafe@magma.ca> wrote:
>>any ideas
>
>Batch convert using r8Brain?
>Honestly - and I don't mean for this to come across in any
belittling manner - but I don't see why you guys/gals get upset
about this sort of thing... what's the big deal?
Consider that:
a.) At one time you were interested in this stuff too, and at
some point SOMEONE must've helped you out - told you what was
what, or clue'd you in just a little bit as to what they were
doing. This is how I got into being a recordist - and many of
us here play an instrument or sing or both... I assume that you
didn't start playing an instrument as a result of going into
engineeering, but the other way around; so what's wrong with
giving a little of your expertise or experience? Telling
someone the details of one or two or three things that they
happen to ask about is not going to enable them to set up a
studio & start stealing your business. In most cases, this
isn't what they're after anyway, they're just interested like
you were when you first started asking questions about
recording & how certain things are done & certain sounds are
achieved.
b.) With regard to too much compression, not enough
compression, no compression, nothing but a trackful of
compressor noise-with compression applied to it... why not
give the client what they want? Or at least what they THINK
they want? How many of you are so busy that you couldn't take
the time to tell the guy: "OK, i really don't think this is
going to come across the way you're imagining it, but i'll do
it, then i'll do a slightly different version for you to
compare, so you can see what i'm talking about - how's that
sound? You can pick whichever one you like better - it's up to
you, of course." Who's going to say no to that? It'd take you
not much time, off the clock, to do a slightly different
version in most cases - then you're a hero if he likes it
better, and you're at the very least a cool guy in his mind
just for trying it even if he doesn't. You've also given
yourself an ass-covering opportunity as i mentioned in a
previous post.
3.) What if the band/artist is strapped for cash & they're just
paranoid about "getting it right" the first time, so they don't
incur extra hours on the clock? Maybe that's why they're being
so specific about what they want - maybe they're wrong in the
interpretation of what they want & how to actually get there,
but then again, maybe they can't identify what's going on to
cause the sounds they like in the CD they gave you a copy of &
said: "I want to sound like THAT!". Take a little pity... try &
work it out & define exactly what it is they're looking for...
"Hey JimBob, what you're telling me you want to hear is
completely different from that Hank Williams Jr. kinda sound,
who's CD you played for me & whom you said was your main
influence for writing this song: "Are you ready for some Ping-
Pong?", are you sure you want me to break away from that & go
with this mix that sounds like it's off the 2nd "Strange
Advance" record? Let's just take a moment off the clock here &
discuss this, because ultimately what's most important to me is
that you leave here with a product that makes you happy."
I dunno - I guess I think that as engineering/producing types
we get a little cocky about what's right & what's not. Imagine
how you'd feel if you went into record with someone else at the
helm & they fought you on something? In that respect, what's
the difference between you & the artist you're recording?
None - except YOUR perception of their ability to know what
sounds good or not - and don't forget, that perception may be
right or it may be wrong. I think if a client has a "vision",
you ought to fulfill it. If a client is insisting on a certain
sound that you think is below your quality standards, think of
how Dave Stewart & Annie Lennox recorded "Sweet Dreams" in an
apartment on a 1/4-inch 8-track R2R at the height of the mega-
studios with their sync'ed 2" Studers.... that song sold a few
copies, as I recall.
Anyway, I should shut up because now this is starting to sound
like some kind of pompous lecture. Bottom line here - I'm with
Gene... if someone's paying for your time, then they're paying
for whatever you impart as a result of that time - you're not
going to give the farm by being generous with your revelations
of what you did - in fact, you might even get more work out of
it - if you did something really cool, chances are greater that
someone will try to work the same kind of magic & fail, than
those of someone trying to work the same kind of magic &
succeed. As for the clients wishes and whether you should give
them what they want or not, I refer your imagination to Eugene
Levy's car salesdude taliing to Chevy Chase in the
original "Vacation":
"I owe it to myself to tell you that if you're taking the whole
tribe cross-country, the Wagon Queen Family Truckster is the
way to go. You think you hate it now, but just wait until you
drive it!"
Bottom line - Clark Griswold didn't get what he wanted... don't
give 'em what they'll think of as the audio equivalent of a
"Family Truckster".
Neil
(bracing for the flames)
"Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
>Sounds like a Chicago/Electrical Audio/Albini wannabe. Tell them to go
>there. I also really dig DJ's and also Sarah's response. !!!
>
>rock on,
>-Carl
>
>
>"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>>
>> How do you guys and gals handle it when you get a client who is insistant
>> on very little or no compression? How do you handle it when they want
to
>> know everything about the signal chain?(hence your mixing secrets)
>>
>> B
>
>Hey Chris, what's your band's name? What club was it, and what engineer?
Just curious since I'm in Denver.
Cheers,
-Jamie
http://www.JamieKrutz.com
Chris Lang wrote:
> Hey Brandon- hope everything is cool! I still listen to that
> "21" song every now and then!
>
> I would just give them what they want, in both cases.
>
> My band just played at a Denver club, and recorded the gig.
> The sound guy had good equipment, but nothing real high-end.
> He proceded to do an absolutely AWESOME and artistic job of
> utilizing that gear, and the sound, both live and on disk, is
> just amazing. Even the sound board mix is fabulous.
>
> My point is that any amount of info you share on gear, settings,
> etc, will not help the client become a pro. They might go away
> for a while, thinking that they can do it themselves, but they
> will return when they realize that if it sounds good, and you
> can make it sound good, then it's worth it to hire you.
>
> Peace,
>
> Chris
>
>
> "brandon" <a@a.com> wrote:
>> How do you guys and gals handle it when you get a client who is insistant
>> on very little or no compression? How do you handle it when they want to
>> know everything about the signal chain?(hence your mixing secrets)
>>
>> B
>If your running 3.0 set the project window for 16 bit and render. You can
go the other way too. I've had projects where I found out the client really
wanted 24 bit files, after it was too late. I just render the 16 bits to
24. Yeah, the last 8 bits are empty, but I've NEVER had anyone complain.
Actually, they all remark on how good it sounds. One guy even said how glad
he was I could do 24 bit....it really made a difference.
Go figure.
Rod
Rod
"Don Nafe" <dnafe@magma.ca> wrote:
>any ideas
>
>Don
>
>Hey Neil,
I totally get where you are coming from, and you make some great points. For
the type of bands I mostly work with, this specific "we don't want
compression" phrase has become trendy thing to say, and it's derived from
the Electrical Audio/Albini/Tape Op scene. It's not a *bad* thing,
however... I don't know how familliar you are with that style... I have
never liked the sound of it too much. Drums are mid-rangy boxes, it isn't
punchy, and it's very two-dimensional, IMO. I will say that it does work for
a few bands, but I've heard *more* done that way that it doesn't do justice
for (again, IMO).
It's no different to me than when people think if they buy a finalizer or
some magic piece of gear, that they will then have 'quality' recordings. I
have had bands tell me, "we want the biggest, loudest recording you've ever
done - we want ours to stand out from your other stuff - oh, and we want no
compression". Quite silly now, ey?
rock on,
-Carl
"Neil" <OIUOIU@OIU.com> wrote in message news:44b4500f$1@linux...
>
> Honestly - and I don't mean for this to come across in any
> belittling manner - but I don't see why you guys/gals get upset
> about this sort of thing... what's the big deal?
> Consider that:
>
> a.) At one time you were interested in this stuff too, and at
> some point SOMEONE must've helped you out - told you what was
> what, or clue'd you in just a little bit as to what they were
> doing. This is how I got into being a recordist - and many of
> us here play an instrument or sing or both... I assume that you
> didn't start playing an instrument as a result of going into
> engineeering, but the other way around; so what's wrong with
> giving a little of your expertise or experience? Telling
> someone the details of one or two or three things that they
> happen to ask about is not going to enable them to set up a
> studio & start stealing your business. In most cases, this
> isn't what they're after anyway, they're just interested like
> you were when you first started asking questions about
> recording & how certain things are done & certain sounds are
> achieved.
>
> b.) With regard to too much compression, not enough
> compression, no compression, nothing but a trackful of
> compressor noise-with compression applied to it... why not
> give the client what they want? Or at least what they THINK
> they want? How many of you are so busy that you couldn't take
> the time to tell the guy: "OK, i really don't think this is
> going to come across the way you're imagining it, but i'll do
> it, then i'll do a slightly different version for you to
> compare, so you can see what i'm talking about - how's that
> sound? You can pick whichever one you like better - it's up to
> you, of course." Who's going to say no to that? It'd take you
> not much time, off the clock, to do a slightly different
> version in most cases - then you're a hero if he likes it
> better, and you're at the very least a cool guy in his mind
> just for trying it even if he doesn't. You've also given
> yourself an ass-covering opportunity as i mentioned in a
> previous post.
>
> 3.) What if the band/artist is strapped for cash & they're just
> paranoid about "getting it right" the first time, so they don't
> incur extra hours on the clock? Maybe that's why they're being
> so specific about what they want - maybe they're wrong in the
> interpretation of what they want & how to actually get there,
> but then again, maybe they can't identify what's going on to
> cause the sounds they like in the CD they gave you a copy of &
> said: "I want to sound like THAT!". Take a little pity... try &
> work it out & define exactly what it is they're looking for...
> "Hey JimBob, what you're telling me you want to hear is
> completely different from that Hank Williams Jr. kinda sound,
> who's CD you played for me & whom you said was your main
> influence for writing this song: "Are you ready for some Ping-
> Pong?", are you sure you want me to break away from that & go
> with this mix that sounds like it's off the 2nd "Strange
> Advance" record? Let's just take a moment off the clock here &
> discuss this, because ultimately what's most important to me is
> that you leave here with a product that makes you happy."
>
> I dunno - I guess I think that as engineering/producing types
> we get a little cocky about what's right & what's not. Imagine
> how you'd feel if you went into record with someone else at the
> helm & they fought you on something? In that respect, what's
> the difference between you & the artist you're recording?
> None - except YOUR perception of their ability to know what
> sounds good or not - and don't forget, that perception may be
> right or it may be wrong. I think if a client has a "vision",
> you ought to fulfill it. If a client is insisting on a certain
> sound that you think is below your quality standards, think of
> how Dave Stewart & Annie Lennox recorded "Sweet Dreams" in an
> apartment on a 1/4-inch 8-track R2R at the height of the mega-
> studios with their sync'ed 2" Studers.... that song sold a few
> copies, as I recall.
>
> Anyway, I should shut up because now this is starting to sound
> like some kind of pompous lecture. Bottom line here - I'm with
> Gene... if someone's paying for your time, then they're paying
> for whatever you impart as a result of that time - you're not
> going to give the farm by being generous with your revelations
> of what you did - in fact, you might even get more work out of
> it - if you did something really cool, chances are greater that
> someone will try to work the same kind of magic & fail, than
> those of someone trying to work the same kind of magic &
> succeed. As for the clients wishes and whether you should give
> them what they want or not, I refer your imagination to Eugene
> Levy's car salesdude taliing to Chevy Chase in the
> original "Vacation":
>
> "I owe it to myself to tell you that if you're taking the whole
> tribe cross-country, the Wagon Queen Family Truckster is the
> way to go. You think you hate it now, but just wait until you
> drive it!"
>
> Bottom line - Clark Griswold didn't get what he wanted... don't
> give 'em what they'll think of as the audio equivalent of a
> "Family Truckster".
>
> Neil
> (bracing for the flames)
>
>
>
>
>
>
>
> "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
> >Sounds like a Chicago/Electrical Audio/Albini wannabe. Tell them to go
> >there. I also really dig DJ's and also Sarah's response. !!!
> >
> >rock on,
> >-Carl
> >
> >
> >"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
> >>
> >> How do you guys and gals handle it when you get a client who is
insistant
> >> on very little or no compression? How do you handle it when they want
> to
> >> know everything about the signal chain?(hence your mixing secrets)
> >>
> >> B
> >
> >
>Hi Jamie- cool, another Denver-Paris person.
Band name: His Beloved (www.hisbeloved.net)
Club: The Walnut Room
Engineer: Ron Gordon (ron@thewalnutroom.com)
Ron designed the layout of the room, and picked all of the gear.
The room and the mix are incredible. I would compare the sound
to the old Rainbow Music Hall or the current Fox Theater in
Boulder. It's that good; he's that good.
I cannot say enough about Ron. He is a pro's pro, and a
wonderful guy. I am trying to find ways to work with him
again. He is a perfect example of the answer to all of the
ranting in this particular thread: No smug attitude. No
patronization of the client. Just great sound.
Nice to meet you, Jamie-
Chris
Jamie K <Meta@Dimensional.com> wrote:
>
>Hey Chris, what's your band's name? What club was it, and what engineer?
>Just curious since I'm in Denver.
>
>Cheers,
> -Jamie
> http://www.JamieKrutz.com
>
>
>Chris Lang wrote:
>> Hey Brandon- hope everything is cool! I still listen to that
>> "21" song every now and then!
>>
>> I would just give them what they want, in both cases.
>>
>> My band just played at a Denver club, and recorded the gig.
>> The sound guy had good equipment, but nothing real high-end.
>> He proceded to do an absolutely AWESOME and artistic job of
>> utilizing that gear, and the sound, both live and on disk, is
>> just amazing. Even the sound board mix is fabulous.
>>
>> My point is that any amount of info you share on gear, settings,
>> etc, will not help the client become a pro. They might go away
>> for a while, thinking that they can do it themselves, but they
>> will return when they realize that if it sounds good, and you
>> can make it sound good, then it's worth it to hire you.
>>
>> Peace,
>>
>> Chris
>>
>>
>> "brandon" <a@a.com> wrote:
>>> How do you guys and gals handle it when you get a client who is insistant
>>> on very little or no compression? How do you handle it when they want
to
>>> know everything about the signal chain?(hence your mixing secrets)
>>>
>>> B
>>AMEN BROTHER!!!!!
For a bunch of cool and helpful people, the arrogance of some
of the posts in this thread really surprised me.
Hey, I'm living proof. I've gotten some great advice from a
lot of you, but I still can't mix. I can track now, though,
so I'm making progress! Look out man, if your business starts
shrinking it's because I'm taking over!! MUHAHAHAHA
Peace,
Chris
"Neil" <OIUOIU@OIU.com> wrote:
>
>Honestly - and I don't mean for this to come across in any
>belittling manner - but I don't see why you guys/gals get upset
>about this sort of thing... what's the big deal?
>Consider that:
>
>a.) At one time you were interested in this stuff too, and at
>some point SOMEONE must've helped you out - told you what was
>what, or clue'd you in just a little bit as to what they were
>doing. This is how I got into being a recordist - and many of
>us here play an instrument or sing or both... I assume that you
>didn't start playing an instrument as a result of going into
>engineeering, but the other way around; so what's wrong with
>giving a little of your expertise or experience? Telling
>someone the details of one or two or three things that they
>happen to ask about is not going to enable them to set up a
>studio & start stealing your business. In most cases, this
>isn't what they're after anyway, they're just interested like
>you were when you first started asking questions about
>recording & how certain things are done & certain sounds are
>achieved.
>
>b.) With regard to too much compression, not enough
>compression, no compression, nothing but a trackful of
>compressor noise-with compression applied to it... why not
>give the client what they want? Or at least what they THINK
>they want? How many of you are so busy that you couldn't take
>the time to tell the guy: "OK, i really don't think this is
>going to come across the way you're imagining it, but i'll do
>it, then i'll do a slightly different version for you to
>compare, so you can see what i'm talking about - how's that
>sound? You can pick whichever one you like better - it's up to
>you, of course." Who's going to say no to that? It'd take you
>not much time, off the clock, to do a slightly different
>version in most cases - then you're a hero if he likes it
>better, and you're at the very least a cool guy in his mind
>just for trying it even if he doesn't. You've also given
>yourself an ass-covering opportunity as i mentioned in a
>previous post.
>
>3.) What if the band/artist is strapped for cash & they're just
>paranoid about "getting it right" the first time, so they don't
>incur extra hours on the clock? Maybe that's why they're being
>so specific about what they want - maybe they're wrong in the
>interpretation of what they want & how to actually get there,
>but then again, maybe they can't identify what's going on to
>cause the sounds they like in the CD they gave you a copy of &
>said: "I want to sound like THAT!". Take a little pity... try &
>work it out & define exactly what it is they're looking for...
>"Hey JimBob, what you're telling me you want to hear is
>completely different from that Hank Williams Jr. kinda sound,
>who's CD you played for me & whom you said was your main
>influence for writing this song: "Are you ready for some Ping-
>Pong?", are you sure you want me to break away from that & go
>with this mix that sounds like it's off the 2nd "Strange
>Advance" record? Let's just take a moment off the clock here &
>discuss this, because ultimately what's most important to me is
>that you leave here with a product that makes you happy."
>
>I dunno - I guess I think that as engineering/producing types
>we get a little cocky about what's right & what's not. Imagine
>how you'd feel if you went into record with someone else at the
>helm & they fought you on something? In that respect, what's
>the difference between you & the artist you're recording?
>None - except YOUR perception of their ability to know what
>sounds good or not - and don't forget, that perception may be
>right or it may be wrong. I think if a client has a "vision",
>you ought to fulfill it. If a client is insisting on a certain
>sound that you think is below your quality standards, think of
>how Dave Stewart & Annie Lennox recorded "Sweet Dreams" in an
>apartment on a 1/4-inch 8-track R2R at the height of the mega-
>studios with their sync'ed 2" Studers.... that song sold a few
>copies, as I recall.
>
>Anyway, I should shut up because now this is starting to sound
>like some kind of pompous lecture. Bottom line here - I'm with
>Gene... if someone's paying for your time, then they're paying
>for whatever you impart as a result of that time - you're not
>going to give the farm by being generous with your revelations
>of what you did - in fact, you might even get more work out of
>it - if you did something really cool, chances are greater that
>someone will try to work the same kind of magic & fail, than
>those of someone trying to work the same kind of magic &
>succeed. As for the clients wishes and whether you should give
>them what they want or not, I refer your imagination to Eugene
>Levy's car salesdude taliing to Chevy Chase in the
>original "Vacation":
>
>"I owe it to myself to tell you that if you're taking the whole
>tribe cross-country, the Wagon Queen Family Truckster is the
>way to go. You think you hate it now, but just wait until you
>drive it!"
>
>Bottom line - Clark Griswold didn't get what he wanted... don't
>give 'em what they'll think of as the audio equivalent of a
>"Family Truckster".
>
>Neil
>(bracing for the flames)
>
>
>
>
>
>
>
>"Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
>>Sounds like a Chicago/Electrical Audio/Albini wannabe. Tell them to go
>>there. I also really dig DJ's and also Sarah's response. !!!
>>
>>rock on,
>>-Carl
>>
>>
>>"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>>>
>>> How do you guys and gals handle it when you get a client who is insistant
>>> on very little or no compression? How do you handle it when they want
>to
>>> know everything about the signal chain?(hence your mixing secrets)
>>>
>>> B
>>
>>
>Thanks Rod
That's what I thought but to be sure I took them all into CEP and did them
there...I'll try that trick tomorrow.
Don
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
news:44b46619$1@linux...
>
> If your running 3.0 set the project window for 16 bit and render. You can
> go the other way too. I've had projects where I found out the client
> really
> wanted 24 bit files, after it was too late. I just render the 16 bits to
> 24. Yeah, the last 8 bits are empty, but I've NEVER had anyone complain.
> Actually, they all remark on how good it sounds. One guy even said how
> glad
> he was I could do 24 bit....it really made a difference.
> Go figure.
> Rod
> Rod
> "Don Nafe" <dnafe@magma.ca> wrote:
>>any ideas
>>
>>Don
>>
>>
>WOW!!!......nice box. There's one on EBay right now if anyone is needing a
serious
|
|
|
|
| Re: Multi Band Mastering in Paris [message #68805 is a reply to message #68801] |
Wed, 31 May 2006 16:47 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
outboard reverb. I'm very impressed. I can see why so many studios
have these in their racks.
;o)......oh yeah.......and the GC8 remote does whine a little bit, but it's
tolerable.
;o)
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:44b4774a$1@linux...
> WOW!!!......nice box. There's one on EBay right now if anyone is needing a
> serious outboard reverb. I'm very impressed. I can see why so many studios
> have these in their racks.
>
> ;o)
>
>Hi Neil,
In all seriousness, I have to go along with you. You're right (as is Gene)
IMHO.......and I'm not some legendary mixwizard.....and I've been in
situations like Brandon described, and like I described in my first answer
to his post.......and I've spent many many many hours of my own time
polishing turds until I felt like they were something I could let out of the
studio. I also learned a lot this way so I'm not sorry I did it, but to be
honest, Sarah's advice has been the best advice in many situations.....and
the client has been happiest when his wishes and thoughts were
acknowledged/validated while at the same time, ignored to the betterment of
the project.......and even the client admitted this after A/B'ing the mixes.
Regards,
Deej
"Neil" <OIUOIU@OIU.com> wrote in message news:44b4500f$1@linux...
>
> Honestly - and I don't mean for this to come across in any
> belittling manner - but I don't see why you guys/gals get upset
> about this sort of thing... what's the big deal?
> Consider that:
>
> a.) At one time you were interested in this stuff too, and at
> some point SOMEONE must've helped you out - told you what was
> what, or clue'd you in just a little bit as to what they were
> doing. This is how I got into being a recordist - and many of
> us here play an instrument or sing or both... I assume that you
> didn't start playing an instrument as a result of going into
> engineeering, but the other way around; so what's wrong with
> giving a little of your expertise or experience? Telling
> someone the details of one or two or three things that they
> happen to ask about is not going to enable them to set up a
> studio & start stealing your business. In most cases, this
> isn't what they're after anyway, they're just interested like
> you were when you first started asking questions about
> recording & how certain things are done & certain sounds are
> achieved.
>
> b.) With regard to too much compression, not enough
> compression, no compression, nothing but a trackful of
> compressor noise-with compression applied to it... why not
> give the client what they want? Or at least what they THINK
> they want? How many of you are so busy that you couldn't take
> the time to tell the guy: "OK, i really don't think this is
> going to come across the way you're imagining it, but i'll do
> it, then i'll do a slightly different version for you to
> compare, so you can see what i'm talking about - how's that
> sound? You can pick whichever one you like better - it's up to
> you, of course." Who's going to say no to that? It'd take you
> not much time, off the clock, to do a slightly different
> version in most cases - then you're a hero if he likes it
> better, and you're at the very least a cool guy in his mind
> just for trying it even if he doesn't. You've also given
> yourself an ass-covering opportunity as i mentioned in a
> previous post.
>
> 3.) What if the band/artist is strapped for cash & they're just
> paranoid about "getting it right" the first time, so they don't
> incur extra hours on the clock? Maybe that's why they're being
> so specific about what they want - maybe they're wrong in the
> interpretation of what they want & how to actually get there,
> but then again, maybe they can't identify what's going on to
> cause the sounds they like in the CD they gave you a copy of &
> said: "I want to sound like THAT!". Take a little pity... try &
> work it out & define exactly what it is they're looking for...
> "Hey JimBob, what you're telling me you want to hear is
> completely different from that Hank Williams Jr. kinda sound,
> who's CD you played for me & whom you said was your main
> influence for writing this song: "Are you ready for some Ping-
> Pong?", are you sure you want me to break away from that & go
> with this mix that sounds like it's off the 2nd "Strange
> Advance" record? Let's just take a moment off the clock here &
> discuss this, because ultimately what's most important to me is
> that you leave here with a product that makes you happy."
>
> I dunno - I guess I think that as engineering/producing types
> we get a little cocky about what's right & what's not. Imagine
> how you'd feel if you went into record with someone else at the
> helm & they fought you on something? In that respect, what's
> the difference between you & the artist you're recording?
> None - except YOUR perception of their ability to know what
> sounds good or not - and don't forget, that perception may be
> right or it may be wrong. I think if a client has a "vision",
> you ought to fulfill it. If a client is insisting on a certain
> sound that you think is below your quality standards, think of
> how Dave Stewart & Annie Lennox recorded "Sweet Dreams" in an
> apartment on a 1/4-inch 8-track R2R at the height of the mega-
> studios with their sync'ed 2" Studers.... that song sold a few
> copies, as I recall.
>
> Anyway, I should shut up because now this is starting to sound
> like some kind of pompous lecture. Bottom line here - I'm with
> Gene... if someone's paying for your time, then they're paying
> for whatever you impart as a result of that time - you're not
> going to give the farm by being generous with your revelations
> of what you did - in fact, you might even get more work out of
> it - if you did something really cool, chances are greater that
> someone will try to work the same kind of magic & fail, than
> those of someone trying to work the same kind of magic &
> succeed. As for the clients wishes and whether you should give
> them what they want or not, I refer your imagination to Eugene
> Levy's car salesdude taliing to Chevy Chase in the
> original "Vacation":
>
> "I owe it to myself to tell you that if you're taking the whole
> tribe cross-country, the Wagon Queen Family Truckster is the
> way to go. You think you hate it now, but just wait until you
> drive it!"
>
> Bottom line - Clark Griswold didn't get what he wanted... don't
> give 'em what they'll think of as the audio equivalent of a
> "Family Truckster".
>
> Neil
> (bracing for the flames)
>
>
>
>
>
>
>
> "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
> >Sounds like a Chicago/Electrical Audio/Albini wannabe. Tell them to go
> >there. I also really dig DJ's and also Sarah's response. !!!
> >
> >rock on,
> >-Carl
> >
> >
> >"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
> >>
> >> How do you guys and gals handle it when you get a client who is
insistant
> >> on very little or no compression? How do you handle it when they want
> to
> >> know everything about the signal chain?(hence your mixing secrets)
> >>
> >> B
> >
> >
>And if you get two, you can wire the whines out of phase so
that they cancel each other out... don't forget that part.
:)
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>.....oh yeah.......and the GC8 remote does whine a little bit, but it's
>tolerable.
>
>;o)
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>news:44b4774a$1@linux...
>> WOW!!!......nice box. There's one on EBay right now if anyone is needing
a
>> serious outboard reverb. I'm very impressed. I can see why so many studios
>> have these in their racks.
>>
>> ;o)
>>
>>
>
>Do you bother to tell them that the CIA has a large file on your system, and
that NORAD has a killer satellite hovering over your place in case they ever
have to take it out?
James
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I just show them Frankencomp. After they get over the shock of seeing
>Frankencomp I hand them a copy of the session methodology. Then tell them
>that the reason it the way it does is because if everything id done exactly
>right, that it is possible to configure two computers in a way that makes
>the digital information sound like it's not being recorded on a computer
at
>all. They are usually so totally bewildered by that time that they get
the
>thousand yard stare, their eyes become glassy and fixed and they become
meek
>and submissive. I can sometimes even get them to go pick up my laundry and
>go grocvery shopping for me. Sorta' like feeding them a digital dose of
>Rohypnol.
>
>;o)
>
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>news:44b3d8eb$1@linux...
>>
>> I LOVE it! HA. I'm going to build one of those for the studio.
>> Rod
>> "Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote:
>> >I know you guys will laugh at this ploy but (and perhaps others will
>employ
>>
>> >my ploy) but when I was heavy on the road doing guitar I used to get
>> >post-show exams on "how do you get should great tone, sounds, blah blah."
>>
>> >Because so few could really grasp that great guitar tone starts in your
>> head
>> >and can pretty much happen with most any guitar/amp setup, I developed
>> >several more "believable" answers. So I built a small flat black box
>with
>> a
>> >wire coming out of it, wood and metal with rivets here and there and
a
>made
>>
>> >up model number on placard. Wire went into my rack and disappeared into
>> a
>> >darkened recess. It was just easier to tell guys that the black box
was
>>
>> >where the sound was really happening. Typical dialogue:
>> >
>> >Q: Great tone... really cut it's own space in the show... whadya got
>going
>>
>> >here
>> >
>> >A: Well this stuff is really pretty ordinary, Old Roland GP-100, a
>Rocktron
>>
>> >Type IIc for minimizing noise from the dirty patches out of the JMP-1,
>old
>>
>> >Rockman rackmount guitar pre for some of the clean stuff, I keep this
old
>>
>> >Quadraverb for some patches that really do it for me - the noise doesn't
>>
>> >bother me much, and this guy here by DMC is where all my routing takes
>> >place, and I output a stereo pair into this Ibanez SDR1000 which goes
>> >directly to the 50/50 power amp... and these are just knock-offs of the
>> old
>> >Pacific 1x12" cabs. I had a guy copy them and build them from a slightly
>>
>> >denser woods... and that's pretty much it.
>> >
>> >Q: But where are getting that tone of that tune (XYZ)?
>> >
>> >A: That was the Rockman with some verb off the GP-100.
>> >
>> >Q: Your cables must all be oxygen free or something, right?
>> >
>> >A: Nah... I gotta mix of Canare quad and belden co-ax in there
>> >
>> >Q: What kinda tubes in the power amp?
>> >
>> >A: Ahhh... GT's, 5 rateds... nothing special there.
>> >
>> >Q: What's this thing (black box) doing?
>> >
>> >A: Some guy in California built that for me and that I don't really
>> >couldn't tell you what it does or how it works but without it, my tone
>> >pretty much just isn't there."
>> >
>> >Q: Where can I get one?
>> >
>> >And they are always so disappointed to learn that the builder is no
>longer
>>
>> >in business.
>> >
>> >W.
>> >
>> >"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>> >>
>> >> How do you guys and gals handle it when you get a client who is
>insistant
>> >> on very little or no compression? How do you handle it when they want
>> to
>> >> know everything about the signal chain?(hence your mixing secrets)
>> >>
>> >> B
>> >
>> >
>>
>
>
>
>Hey Chris,
Nice to meet you, too!
I haven't played the Walnut room but I've heard some bands there and
done a shoot there. Good to hear your recommendation about Ron and his
system, it's great when someone does it right.
Cheers,
-Jamie
http://www.JamieKrutz.com
Chris Lang wrote:
> Hi Jamie- cool, another Denver-Paris person.
>
> Band name: His Beloved (www.hisbeloved.net)
>
> Club: The Walnut Room
>
> Engineer: Ron Gordon (ron@thewalnutroom.com)
>
> Ron designed the layout of the room, and picked all of the gear.
>
> The room and the mix are incredible. I would compare the sound
> to the old Rainbow Music Hall or the current Fox Theater in
> Boulder. It's that good; he's that good.
>
> I cannot say enough about Ron. He is a pro's pro, and a
> wonderful guy. I am trying to find ways to work with him
> again. He is a perfect example of the answer to all of the
> ranting in this particular thread: No smug attitude. No
> patronization of the client. Just great sound.
>
> Nice to meet you, Jamie-
>
> Chris
>
>
>
>
> Jamie K <Meta@Dimensional.com> wrote:
>> Hey Chris, what's your band's name? What club was it, and what engineer?
>
>> Just curious since I'm in Denver.
>>
>> Cheers,
>> -Jamie
>> http://www.JamieKrutz.com
>>
>>
>> Chris Lang wrote:
>>> Hey Brandon- hope everything is cool! I still listen to that
>>> "21" song every now and then!
>>>
>>> I would just give them what they want, in both cases.
>>>
>>> My band just played at a Denver club, and recorded the gig.
>>> The sound guy had good equipment, but nothing real high-end.
>>> He proceded to do an absolutely AWESOME and artistic job of
>>> utilizing that gear, and the sound, both live and on disk, is
>>> just amazing. Even the sound board mix is fabulous.
>>>
>>> My point is that any amount of info you share on gear, settings,
>>> etc, will not help the client become a pro. They might go away
>>> for a while, thinking that they can do it themselves, but they
>>> will return when they realize that if it sounds good, and you
>>> can make it sound good, then it's worth it to hire you.
>>>
>>> Peace,
>>>
>>> Chris
>>>
>>>
>>> "brandon" <a@a.com> wrote:
>>>> How do you guys and gals handle it when you get a client who is insistant
>>>> on very little or no compression? How do you handle it when they want
> to
>>>> know everything about the signal chain?(hence your mixing secrets)
>>>>
>>>> B
>Well, it's not a bad choice by any means, I'm just not sure how you're going
to park it on top of the computer or insert it into the bitstream.
AA
"Cujo" <chris@nospamapplemanstudio.com> wrote in message
news:44b28298$1@linux...
>
>
> I am using just the essentials it is about a 6 months old, would the
> essentails
> allow this? My next gear goal (goooooooaaaaaaaal!) is possibly a Merc 1968
> for the stereo buss.
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>Right. I've considered upgrading to the newer version so I can insert a
>>hardware reverbs before the limiter in a mastering scenario.
>>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
The compression is easy when dealing with a lesser intelligence. Slam the
Paris mix bus and gains. Hey, you didn't insert a compressor, now didja? And
they can't really do that at home on their protools free, can they?
Seriously though.... if it's slammin and groovin at your digs, they'll be
back after figuring out it's about the ears, the space and the room/mix
equipment and that warez version of DAW-X isn't going to get them there.
Sorry, wierd mood tonight, hope you're getting the humor intended.
AA
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> B
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlThere's compression and then there's how hot can we get this before clipping
and/or squeezing the living daylights out of it. I think the use of the
word "compression" for some ametuers may be interchangeable with mixing and
mastering outputs that slam against zero so much that where compression may
or may not be employed (and where employed may or may not be over-employed),
that it sounds mashed because by some means, it IS. I've seen mixes and
masters that leave the output pair looking like twin caterpillars who just
walked out of a $3 flat-top haircut joint and have eaten steaks that had a
smoother topography. And I'm not talking about a lot of the zero-dynamic
dance stuff necessarily. I wonder if this is what "they" mean Brandon.
W.
"brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>
> How do you guys and gals handle it when you get a client who is insistant
> on very little or no compression? How do you handle it when they want to
> know everything about the signal chain?(hence your mixing secrets)
>
> BAhhh yes, the old Cimmeron Turnpike.
W.
"Miguel Vigil" <nospam@nospam.com> wrote in message news:44b13ee4@linux...
> I've written a few songs in this stretch. I get to Salinas and go south
> for
> more
> driving fun...
>
>
> El Miguel (someday I'll sing one of them)
>
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:449f057c@linux...
>> I have made quite a few long drives in my life. I thought that probably
> the
>> most gruelling dirive I had ever made was back in 1972 when I drove
> nonstop
>> from Austin to Chetumal. Yesterday I drove nonstop from Columbus Ohio to
> La
>> Junta Colorado.
>> I was on I70 and crossing the remainder of Ohio, Indiana and Missouri
> didn't
>> really seem to take that long..........then I entered Kansas. I never
>> thought it would end.......almost like there was some sort of time warp
>> where I'd drive for 100 miles and the next road sign sould say that the
> next
>> stop was 200 miles further away than I thought it was.
>> Unbelieveable!!...........and flat.........I think the definition of flat
> in
>> Websters should have a picture of I70 crossing Kansas. I wonder if the
> early
>> pioneers who crossed Kansas in their covered wagons though that it was
> wierd
>> to see endless miles of prarie occasionally interwspersed with
> anti-abortion
>> signs which are strung out on incremental billboards along the highway
> sort
>> of like old Burma shave ads, then absolutely nothing for the next 50
> miles,
>> then suddenly an adult sex toy/video superstore popping up out of the
> void,
>> only to be followed 50 miles later by more burma shave-like anti abortion
>> ads...........and I wonder if they got sick of hearing 70's music on
>> every
>> radio station. By the time I got out of Kansas about 9:00 last night, I
> felt
>> like I had driven 20 years backward in time.
>>
>> Absolutely surreal, twilight zone kinda' day.
>>
>> Toto
>>
>>
>
>Depends man.. didja do it in doubly?
AA
"rick" <parnell68@hotmail.com> wrote in message
news:pjq6b2lh1bqk6qa1kfff5o6h8rejui1fe0@4ax.com...
> or his girlfriend/manager will call demanding their money
> back...that's why you get them to sign a waiver on their mix.
>
> On Mon, 10 Jul 2006 13:22:30 -0600, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
>>I
>>> wouldn't really have a problem explaining what I am doing and why I am
>>doing
>>> it as long they understand it is on their dime and aren't fighting me
>>every
>>> step of the way. But even if they were fighting me...as long as they
>>> were
>>> paying I would indulge them.
>>
>>What I hate about these situations is that if this guy is a rank amateur
>>and
>>is clueless, he's going to insist on trying to run the show and the mix
>>will
>>leave your studio sounding fine to him, but then he will compare it to
>>mixes
>>that have been properly done with compression and his/your mix will sound
>>wimpy by comparison and then he will run around all over town telling
>>everyone that it is your fault.
>>
>>
>>"Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>>>
>>> Just wanted to get an idea of what the general population thoughts were.
>>> I
>>> wouldn't really have a problem explaining what I am doing and why I am
>>doing
>>> it as long they understand it is on their dime and aren't fighting me
>>every
>>> step of the way. But even if they were fighting me...as long as they
>>> were
>>> paying I would indulge them.
>>> Hey Chris..Hope things are going good with you!
>>> I still listen to it from time to time as well.
>>> I haven't been doing much songwriting lately..just
>>> been focusing on rebuilding my studio/mixing enviroment.
>>> Getting close to completion.
>>> Started using Cubase in conjunction with PARIS.
>>> Lots of stuff to figure out.
>>>
>>> Take care all.
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> "Chris Lang" <yo@yo.yo> wrote:
>>> >
>>> >Hey Brandon- hope everything is cool! I still listen to that
>>> >"21" song every now and then!
>>> >
>>> >I would just give them what they want, in both cases.
>>> >
>>> >My band just played at a Denver club, and recorded the gig.
>>> >The sound guy had good equipment, but nothing real high-end.
>>> >He proceded to do an absolutely AWESOME and artistic job of
>>> >utilizing that gear, and the sound, both live and on disk, is
>>> >just amazing. Even the sound board mix is fabulous.
>>> >
>>> >My point is that any amount of info you share on gear, settings,
>>> >etc, will not help the client become a pro. They might go away
>>> >for a while, thinking that they can do it themselves, but they
>>> >will return when they realize that if it sounds good, and you
>>> >can make it sound good, then it's worth it to hire you.
>>> >
>>> >Peace,
>>> >
>>> >Chris
>>> >
>>> >
>>> >"brandon" <a@a.com> wrote:
>>> >>
>>> >>How do you guys and gals handle it when you get a client who is
>>insistant
>>> >>on very little or no compression? How do you handle it when they want
>>> >>to
>>> >>know everything about the signal chain?(hence your mixing secrets)
>>> >>
>>> >>B
>>> >
>>>
>>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlJust because the original project was in 16 bit doesn't mean you only get
16 bits out of it when bouncing at 24 bit.
The mix bus, eq and effects all have more than 16 bit resolution, plus multiple
16 bit tracks added together equals more than 16 bits of resultion.
Bouncing a 16 bit project at 24 bit does increase resolution. If you look
at the files you will see the last 8 bits are not empty.
Cheers,
Kim.
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote:
>
>If your running 3.0 set the project window for 16 bit and render. You can
>go the other way too. I've had projects where I found out the client really
>wanted 24 bit files, after it was too late. I just render the 16 bits to
>24. Yeah, the last 8 bits are empty, but I've NEVER had anyone complain.
>Actually, they all remark on how good it sounds. One guy even said how glad
>he was I could do 24 bit....it really made a difference.
>Go figure.
>Rod
>Rod
>"Don Nafe" <dnafe@magma.ca> wrote:
>>any ideas
>>
>>Don
>>
>>
>Donuts says this is probably the case. Has been IME mostly.
AA
"Dubya Mark Wilson" <mark.xspam@avidrecording.com> wrote in message
news:44b49376$1@linux...
> There's compression and then there's how hot can we get this before
> clipping and/or squeezing the living daylights out of it. I think the use
> of the word "compression" for some ametuers may be interchangeable with
> mixing and mastering outputs that slam against zero so much that where
> compression may or may not be employed (and where employed may or may not
> be over-employed), that it sounds mashed because by some means, it IS.
> I've seen mixes and masters that leave the output pair looking like twin
> caterpillars who just walked out of a $3 flat-top haircut joint and have
> eaten steaks that had a smoother topography. And I'm not talking about a
> lot of the zero-dynamic dance stuff necessarily. I wonder if this is what
> "they" mean Brandon.
>
> W.
>
> "brandon" <a@a.com> wrote in message news:44b27b39$1@linux...
>>
>> How do you guys and gals handle it when you get a client who is insistant
>> on very little or no compression? How do you handle it when they want to
>> know everything about the signal chain?(hence your mixing secrets)
>>
>> B
>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlto be more accurate the mix was 99% done when he says "i've got a
friend in florida that will mix it for free" sp his girlfriend/manager
thought they shouldn't have to pay. the time log proved my point and
he told her to shut the eff up and drop it.
On Wed, 12 Jul 2006 01:22:50 -0500, "Aaron Allen"
<nospam@not_here.dude> wrote:
>Depends man.. didja do it in doubly?
>AA
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:pjq6b2lh1bqk6qa1kfff5o6h8rejui1fe0@4ax.com...
>> or his girlfriend/manager will call demanding their money
>> back...that's why you get them to sign a waiver on their mix.
>>
>> On Mon, 10 Jul 2006 13:22:30 -0600, "DJ"
>> <animix_spam-this-ahole_@animas.net> wrote:
>>
>>>I
>>>> wouldn't really have a problem explaining what I am doing and why I am
>>>doing
>>>> it as long they understand it is on their dime and aren't fighting me
>>>every
>>>> step of the way. But even if they were fighting me...as long as they
>>>> were
>>>> paying I would indulge them.
>>>
>>>What I hate about these situations is that if this guy is a rank amateur
>>>and
>>>is clueless, he's going to insist on trying to run the show and the mix
>>>will
>>>leave your studio sounding fine to him, but then he will compare it to
>>>mixes
>>>that have been properly done with compression and his/your mix will sound
>>>wimpy by comparison and then he will run around all over town telling
>>>everyone that it is your fault.
>>>
>>>
>>>"Brandon" <a@a.com> wrote in message news:44b2a77d@linux...
>>>>
>>>> Just wanted to get an idea of what the general population thoughts were.
>>>> I
>>>> wouldn't really have a problem explaining what I am doing and why I am
>>>doing
>>>> it as long they understand it is on their dime and aren't fighting me
>>>every
>>>> step of the way. But even if they were fighting me...as long as they
>>>> were
>>>> paying I would indulge them.
>>>> Hey Chris..Hope things are going good with you!
>>>> I still listen to it from time to time as well.
>>>> I haven't been doing much songwriting lately..just
>>>> been focusing on rebuilding my studio/mixing enviroment.
>>>> Getting close to completion.
>>>> Started using Cubase in conjunction with PARIS.
>>>> Lots of stuff to figure out.
>>>>
>>>> Take care all.
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> "Chris Lang" <yo@yo.yo> wrote:
>>>> >
>>>> >Hey Brandon- hope everything is cool! I still listen to that
>>>> >"21" song every now and then!
>>>> >
>>>> >I would just give them what they want, in both cases.
>>>> >
>>>> >My band just played at a Denver club, and recorded the gig.
>>>> >The sound guy had good equipment, but nothing real high-end.
>>>> >He proceded to do an absolutely AWESOME and artistic job of
>>>> >utilizing that gear, and the sound, both live and on disk, is
>>>> >just amazing. Even the sound board mix is fabulous.
>>>> >
>>>> >My point is that any amount of info you share on gear, settings,
>>>> >etc, will not help the client become a pro. They might go away
>>>> >for a while, thinking that they can do it themselves, but they
>>>> >will return when they realize that if it sounds good, and you
>>>> >can make it sound good, then it's worth it to hire you.
>>>> >
>>>> >Peace,
>>>> >
>>>> >Chris
>>>> >
>>>> >
>>>> >"brandon" <a@a.com> wrote:
>>>> >>
>>>> >>How do you guys and gals handle it when you get a client who is
>>>insistant
>>>> >>on very little or no compression? How do you handle it when they want
>>>> >>to
>>>> >>know everything about the signal chain?(hence your mixing secrets)
>>>> >>
>>>> >>B
>>>> >
>>>>
>>>
>>
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>"The refrigerator magnet is the very essence of cool" i'm definitely
not letting the wife see this comment....cans are already sticking to
the inside of the door...god knows what will happen if one more goes
up...
On 12 Jul 2006 10:23:50 +1000, "steve the artguy"
<artguy@longtimenosee.net> wrote:
>
>"Fingerprints" are blasting out of the speakers, even as I type.
>
>-steve
>
>The refrigerator magnet is the very essence of cool
>
>
>"macle" <Mates9999@cs.com> wrote:
>>
>>Paul Braun <cygnus_nospam@ctgonline.org> wrote:
>>>I'm hoping for an A/V technician gig at the Shedd Aquarium in Chicago.
>>>Fish, whales, dolphins, and sound/video toys. Ahhhhhh.....
>>
>>Sounds cool. You can autotune a singer, but you can't autotuna
>>fish...or something like that.
>>
>>>I'll pass the website link along to Peterik, since as you remember he
>>>went nuts over the demos.
>>>
>>>pab
>>
>>Alright, thanks Paul.
>>
>>And thanks everyone here, especially those who bought the CD,
>>it means a lot to us.
>>
>>-macleWell, after my first tracking session with the new comp, I am
(extremely) happy to report Paris XP is finally working for me.
It feels smoother, quicker, and more robust than ever before.
I did nothing as far as irq assigning, tweaks etc.
(I did disable the SATA,.. as I still use PATA, and also the parallel port.)
I'm running in APIC mode, (not standard PC),
I even bunged all four EDS's in at once, and let windows assign
resources as it seemed fit.
It's NEVER been this easy with any other comp. (I've been running
Paris pretty much since it was released...
starting with a 686 200 cyrix).
The IRQ sharing seems to have no negative effects, and both
dual-head Nvidia Quadras are happy.
To those thinking of upgrading their Paris boxes, grab one of
these mobos while/if you can, and XP3500+'s are cheap as chips
now.
Rave over :-))))
Kim W.
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Good to hear. Keep us updated. :o)
>
>Cheers,
>Kim.
>
>
>"Kim W." <no@way.com> wrote:
>>
>>
>>YEEHAH!!
>>This is ROCKIN!
>>After upping the cache sizes, I have a 64 track project playing
>>beautifully.
>>Everything feels snappy!
>>I can drag windows anywhare whilst playing without a hiccup!
>>(Couldn't do that with the '98 box.
>>I resized the drive using Acronis.
>>All looking good so far.
>>Now for the plugins....
>>Kim
>>
>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>
>>>
>>>Did you format the drive using WinXP pre-SP1? I beleive that the installer
>>>for WinXP original version has an upper limit on hdd size... I ran into
>>>this with my 2 x 250Gigs...
>>>
>>>Cheers,
>>>Kim.
>>>
>>>
>>>"Kim W." <no@way> wrote:
>>>>
>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>
>>>>>
>>>>>From the looks of your System Devices info vs what you posted there,
>you're
>>>>Hi again, Kim.
>>>>Just about to start fiddling again.
>>>>Gotta get my lost 120gb back. Would rather not reformat.
>>>>Also I need to arrange the drives so that my removeable (caddy)
>>>>drive becomes "E" again. Don't really want to reset filepaths
>>>>for all projects.
>>>>Will keep you posted.
>>>>Kim
>>>>
>>>>running in the default "ACPI Uniprocessor PC" mode, not standard PC mode.
>>>>>From my testing and talks with DJ this means that, unfortunately, the
>>PCI
>>>>>configuration stuff in the BIOS doesn't actually function, which is
>>>>
>>>>why you'll
>>>>>find discrpencies between what you have configured in the BIOS (Which
>>I
>>>>assume
>>>>>is what you just listed) vs what you see in Windows.
>>>>>
>>>>>HOWEVER...
>>>>>
>>>>>I suggest you just keep going. It is possible to switch to Standard
PC
>>>mode
>>>>>without a reinstall, though I have heard it can cause issues (never
has
>>>>for
>>>>>me though). Deej and I are interested to see if you can run your NVidia
>>>>cards
>>>>>sharing with the EDS cards on IRQs, as I suspect it will actually work
>>>(it's
>>>>>working for me here fine).
>>>>>
>>>>>Slot 1 is usually next to the AGP. If you go into the system device
manager
>>>>>IRQ screen and double click an item it tells you what slot things are
>>in,
>>>>>so this may help you confirm.
>>>>>
>>>>>On my system slot 4 on the MB seems to share with AGP, though that might
>>>>>be because that's how Windows decided to do it, not because they are
>hardwired...
>>>>> that's still up in the air.
>>>>>
>>>>>How's it going anyhow? Got it running? Is it stable?
>>>>>
>>>>>Cheers,
>>>>>Kim.
>>>>>
>>>>>"Kim W." <no@way.com> wrote:
>>>>>>
>>>>>>Hi, John.
>>>>>>I can't see the PCI slot numbers on the mobo, (or in the manual),
>>>>>>but here is what I have in the slots starting from the one next
>>>>>>to the AGP slot, and the IRQ assignments in the black boot-up
>>>>>>screen:
>>>>>>
>>>>>>1: Nvidia Quadro PCI irq 11
>>>>>>2: EDS irq 9
>>>>>>3: EDS irq 7
>>>>>>4: EDS irq 5
>>>>>>5: EDS irq 10
>>>>>>
>>>>>>Onboard audio uses irq 12, Firewire controller uses irq 10,
>>>>>>ACPI controller uses irq 9.
>>>>>>
>>>>>>Is this enough info?
>>>>>>
>>>>>>Cheers,
>>>>>>Kim.
>>>>>>
>>>>>>BTW why would my brand new 250 gb ata drive only have been formatted
>>for
>>>>>>130gb during XP install? Only just noticed it.
>>>>>>
>>>>>>
>>>>>>John <no@no.com> wrote:
>>>>>>>What slots are each card in. Also, their manual didn't mention what
>>>agp
>>>>>>
>>>>>>>uses for irq and whether it shares or not. Can't you tell on boot
>up
>>>>
>>>>>>>when that black resource screen shows what's on what?
>>>>>>>
>>>>>>>It would be good to know if you have 4 or 5 independent IRQs
>>>>>>>2,3,4,1/5,agp
>>>>>>>
>>>>>>>I run my 2 eds cards on the same IRQ 3 on my box.
>>>>>>>
>>>>>>>John
>>>>>>>
>>>>>>>Kim W. wrote:
>>>>>>>> Just returned from "The Dungeon", and am happy to report that
>>>>>>>> all appears to be working.
>>>>>>>> (4 EDS's, 2 Nvidia Qudras).
>>>>>>>> Thus far I have no DX/VST plugins installed.
>>>>>>>> (In the past this is where my installs have come unstuck.)
>>>>>>>> After initial disappointment with the dreaded Crash-on-
>>>>>>>> exit, I remembered about the "minimum install" effects subsystem
>fix,
>>>>>>with
>>>>>>>> wires.
>>>>>>>> Applying this seems to have cured the COE.
>>>>>>>> I'm pretty stoked at the moment, and have ghosted.
>>>>>>>> All slots are full, and there appears to be some sharing going on,(I
>>>>>attached
>>>>>>>> a screen grab)
>>>>>>>> but time will tell if it causes any problems. I just bunged all
>>>>>>>> four EDS's in, and let the system allocate resources as it
>>>>>>>> seemed fit.
>>>>>>>> I did, however, disable the SATA, and the parallel port in the bios.
>>>>>>>> Time for bed, as it's been 12 hours since I deemed it "Beer O'clock".
>>>>>>>>
>>>>>>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>>>>>
>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5, unless
>>>>>>>>>
>>>>>>>>>that's
>>>>>>>>>
>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
>>>>>>>>>
>>>>>>>>>Kim...........if PCI 1 and 5 "do not" share with the AGP, this is
>>>>>>>>>potentially a HUGE deal and this would be the most flexible (semi
>>current)
>>>>>>>>>mobo in existence today for 939 CPU's. I cannot find any reference
>>>to
>>>>>>this
>>>>>>>>>in the Gigabyte manual. When/if it is possible, could you insert
>a
>>>PCI
>>>>>>card
>>>>>>>>>in slot 1 or 5 (or both), then load the drivers for whatever that
>>device
>>>>>>>>
>>>>>>>> is,
>>>>>>>>
>>>>>>>>>then go to your system info, look under system resources, navigate
>>>to
>>>>>>>>>hardware resources>IRQ and let us know if the device(s) in PCI slots
>>>>>1
>>>>>>or
>>>>>>>>
>>>>>>>> 5
>>>>>>>>
>>>>>>>>>is/are sharing an IRQ with the AGP? If not, I'm gonna be thinking
>>hard
>>>>>>about
>>>>>>>>>switching mobo's on my Paris rig and trying to get that duallie
CPU
>>>>>>>>>happening with my Paris rig. Theis could conceivably allow 5 x EDS
>>>cards
>>>>>>>>
>>>>>>>> to
>>>>>>>>
>>>>>>>>>operate on a dual core Athlon. I would do this here, but I don't
>have
>>>>>>all
>>>>>>>>>the componentry that I need yet and the ergonomics of moving all
>of
>>>>my
>>>>>>EDS
>>>>>>>>>cards to a Magma chassis (which is already being used by another
>DAW)
>>>>>>is
>>>>>>>>>something that would take my entire studio down for a couple of
days,
>>>>>>and
>>>>>>>>>I'm pretty busy right now.
>>>>>>>>>
>>>>>>>>>Deej
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44afb30d$1@linux...
>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>Mine doesn't show that it's sharing with AGP, though 1 does share
>>>with
>>>>>>>>
>>>>>>>> 5.
>>>>>>>>
>>>>>>>>>>It has a BIOS window you can go to which allows you to set manually
>>>>>which
>>>>>>>>>>interrupt each slot uses, and tells you what will be sharing with
>>>it
>>>>>>if
>>>>>>>>>
>>>>>>>>>you
>>>>>>>>>
>>>>>>>>>>use that one. I have some things sharing, but everything is working
>>>>>fine
>>>>>>>>>>so I'm not concerned. Firewire shares with an EDS for example,
but
>>>>I
>>>>>>never
>>>>>>>>>>use Paris and firewire together so that's not really a problem.
>>>>>>>>>>
>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5, unless
>>>>>>>>>
>>>>>>>>>that's
>>>>>>>>>
>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
>>>>>>>>>>
>>>>>>>>>>Cheers,
>>>>>>>>>>Kim.
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>John <no@no.com> wrote:
>>>>>>>>>>
>>>>>>>>>>>lack of interrupt control is a deal breaker for me
>>>>>>>>>>>
>>>>>>>>>>>Kim wrote:
>>>>>>>>>>>
>>>>>>>>>>>>The biggest pitfall I found with the K8NS was that while the
manual
>>>>>>>>>
>>>>>>>>>states
>>>>>>>>>
>>>>>>>>>>>>you have pretty good interrupt control, they actually removed
>it
>>>>from
>>>>>>>>>>
>>>>>>>>>>the
>>>>>>>>>>
>>>>>>>>>>>>bios. The latest BIOS which gives you proper interrupt control
>>(unless
>>>>>>>>>>
>>>>>>>>>>they've
>>>>>>>>>>
>>>>>>>>>>>>added it back - haven't checked for months) is version F6, which
>>>>I
>>>>>>>>
>>>>>>>> use.
>>>>>>>>
>>>>>>>>>>It's
>>>>>>>>>>
>>>>>>>>>>>>quite old but I haven't had any issues. The thing never crashes.
>>>>It's
>>>>>>>>>>
>>>>>>>>>>maybe
>>>>>>>>>>
>>>>>>>>>>>>crashed once or twice since I've had it, which is about 12 months
>>>>>now.
>>>>>>>>>>>>
>>>>>>>>>>>>My motherboard seems to have a quirk in the BIOS and I'm currently
>>>>>>>>>
>>>>>>>>>running
>>>>>>>>>
>>>>>>>>>>>>on the backup BIOS on the board, but she runs fine like that.
>It
>>>>>>>>>
>>>>>>>>>forgets
>>>>>>>>>
>>>>>>>>>>>>HDD's on startup. Not sure why... (unless it's a quirk of the
>F6
>>>>>>>>>
>>>>>>>>>firmware,
>>>>>>>>>
>>>>>>>>>>>>but that seems unlikely...)
>>>>>>>>>>>>
>>>>>>>>>>>>Apart from that though it's great. I run only a two card system
>>>though,
>>>>>>>>>>
>>>>>>>>>>and
>>>>>>>>>>
>>>>>>>>>>>>only dual head video (A Nvidia card currently) but have had no
>>issues
>>>>>>>>>>
>>>>>>>>>>apart
>>>>>>>>>>
>>>>>>>>>>>>from the BIOS losing hdd's on startup which appears to be a MB
>>fault
>>>>>>>>>
>>>>>>>>>(should
>>>>>>>>>
>>>>>>>>>>>>take it back before my warranty runs out...).
>>>>>>>>>>>>
>>>>>>>>>>>>It's quick though, and very stable. I'm happy with it. :o)
>>>>>>>>>>>>
>>>>>>>>>>>>Cheers,
>>>>>>>>>>>>Kim.
>>>>>>>>>>>>
>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
>>>>>>>>>>>>
>>>>>>>>>>>>
>>>>>>>>>>>>>Forgot to mention I am running four 19" monitors,
>>>>>>>>>>>>>using AGP/PCI Nvidia Quadro cards.
>>>>>>>>>>>>>This has worked well with my old ASUS p4 system.
>>>>>>>>>>>>>Cheers.
>>>>>>>>>>>>>
>>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
>>>>>>>>>>>>>
>>>>>>>>>>>>>
>>>>>>>>>>>>>>Hi, all.
>>>>>>>>>>>>>>My Paris (win98) rig refused to boot the other day.
>>>>>>>>>>>>>>I bought a Gigabyte K8NS ultra 939 some months ago, with a
view
>>>>>to
>>>>>>>>>
>>>>>>>>>upgrade
>>>>>>>>>
>>>>>>>>>>>>>>at some stage.
>>>>>>>>>>>>>>It appears the time is nigh!!
>>>>>>>>>>>>>>I know many of you have successfully migrated to XP, and the
>>K8NS
>>>>>>>>>>>>>>is one of the fave mobos.
>>>>>>>>>>>>>>(I also have an Epox 9NDA3, in case I get grief with the Gigabyte.)
>>>>>>>>>>>>>>Are there any shortcuts that you guys could throw my way as
>far
>>>>>as
>>>>>>>>>
>>>>>>>>>which
>>>>>>>>>
>>>>>>>>>>>>>>drivers, service packs, XP tweaks, I should or shouldn't use,
>>>in
>>>>>>an
>>>>>>>>>
>>>>>>>>>attempt
>>>>>>>>>
>>>>>>>>>>>>>>to preserve what's left of my hair??
>>>>>>>>>>>>>>I have four EDS cards, two MECs, (only one adat card), and
four
>>>>>>>>>
>>>>>>>>>C-16's.
>>>>>>>>>
>>>>>>>>>>>>>>Or...... should I stick with 98 or ME???
>>>>>>>>>>>>>>I remember Kim having teething problems with this combo.
>>>>>>>>>>>>>>Di
|
|
|
|
| Re: Multi Band Mastering in Paris [message #68807 is a reply to message #68791] |
Wed, 31 May 2006 17:02 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
/www.polesoft.com/refer.html
>
>
>How about posting up your final config, what slots things are in, any tweaks.
Do you have a sound card? Ram, drive types, etc.
Glad you're cooking with hot weasel grease ! Image that sucka !
John
"Kim W." <no@way.com> wrote:
>
>Well, after my first tracking session with the new comp, I am
>(extremely) happy to report Paris XP is finally working for me.
>It feels smoother, quicker, and more robust than ever before.
>I did nothing as far as irq assigning, tweaks etc.
>(I did disable the SATA,.. as I still use PATA, and also the parallel port.)
>I'm running in APIC mode, (not standard PC),
>I even bunged all four EDS's in at once, and let windows assign
>resources as it seemed fit.
>It's NEVER been this easy with any other comp. (I've been running
>Paris pretty much since it was released...
>starting with a 686 200 cyrix).
>The IRQ sharing seems to have no negative effects, and both
>dual-head Nvidia Quadras are happy.
>To those thinking of upgrading their Paris boxes, grab one of
>these mobos while/if you can, and XP3500+'s are cheap as chips
>now.
>Rave over :-))))
>Kim W.
>
>
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>
>>Good to hear. Keep us updated. :o)
>>
>>Cheers,
>>Kim.
>>
>>
>>"Kim W." <no@way.com> wrote:
>>>
>>>
>>>YEEHAH!!
>>>This is ROCKIN!
>>>After upping the cache sizes, I have a 64 track project playing
>>>beautifully.
>>>Everything feels snappy!
>>>I can drag windows anywhare whilst playing without a hiccup!
>>>(Couldn't do that with the '98 box.
>>>I resized the drive using Acronis.
>>>All looking good so far.
>>>Now for the plugins....
>>>Kim
>>>
>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>
>>>>
>>>>Did you format the drive using WinXP pre-SP1? I beleive that the installer
>>>>for WinXP original version has an upper limit on hdd size... I ran
into
>>>>this with my 2 x 250Gigs...
>>>>
>>>>Cheers,
>>>>Kim.
>>>>
>>>>
>>>>"Kim W." <no@way> wrote:
>>>>>
>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>
>>>>>>
>>>>>>From the looks of your System Devices info vs what you posted there,
>>you're
>>>>>Hi again, Kim.
>>>>>Just about to start fiddling again.
>>>>>Gotta get my lost 120gb back. Would rather not reformat.
>>>>>Also I need to arrange the drives so that my removeable (caddy)
>>>>>drive becomes "E" again. Don't really want to reset filepaths
>>>>>for all projects.
>>>>>Will keep you posted.
>>>>>Kim
>>>>>
>>>>>running in the default "ACPI Uniprocessor PC" mode, not standard PC
mode.
>>>>>>From my testing and talks with DJ this means that, unfortunately, the
>>>PCI
>>>>>>configuration stuff in the BIOS doesn't actually function, which is
>
>>>>>
>>>>>why you'll
>>>>>>find discrpencies between what you have configured in the BIOS (Which
>>>I
>>>>>assume
>>>>>>is what you just listed) vs what you see in Windows.
>>>>>>
>>>>>>HOWEVER...
>>>>>>
>>>>>>I suggest you just keep going. It is possible to switch to Standard
>PC
>>>>mode
>>>>>>without a reinstall, though I have heard it can cause issues (never
>has
>>>>>for
>>>>>>me though). Deej and I are interested to see if you can run your NVidia
>>>>>cards
>>>>>>sharing with the EDS cards on IRQs, as I suspect it will actually work
>>>>(it's
>>>>>>working for me here fine).
>>>>>>
>>>>>>Slot 1 is usually next to the AGP. If you go into the system device
>manager
>>>>>>IRQ screen and double click an item it tells you what slot things are
>>>in,
>>>>>>so this may help you confirm.
>>>>>>
>>>>>>On my system slot 4 on the MB seems to share with AGP, though that
might
>>>>>>be because that's how Windows decided to do it, not because they are
>>hardwired...
>>>>>> that's still up in the air.
>>>>>>
>>>>>>How's it going anyhow? Got it running? Is it stable?
>>>>>>
>>>>>>Cheers,
>>>>>>Kim.
>>>>>>
>>>>>>"Kim W." <no@way.com> wrote:
>>>>>>>
>>>>>>>Hi, John.
>>>>>>>I can't see the PCI slot numbers on the mobo, (or in the manual),
>>>>>>>but here is what I have in the slots starting from the one next
>>>>>>>to the AGP slot, and the IRQ assignments in the black boot-up
>>>>>>>screen:
>>>>>>>
>>>>>>>1: Nvidia Quadro PCI irq 11
>>>>>>>2: EDS irq 9
>>>>>>>3: EDS irq 7
>>>>>>>4: EDS irq 5
>>>>>>>5: EDS irq 10
>>>>>>>
>>>>>>>Onboard audio uses irq 12, Firewire controller uses irq 10,
>>>>>>>ACPI controller uses irq 9.
>>>>>>>
>>>>>>>Is this enough info?
>>>>>>>
>>>>>>>Cheers,
>>>>>>>Kim.
>>>>>>>
>>>>>>>BTW why would my brand new 250 gb ata drive only have been formatted
>>>for
>>>>>>>130gb during XP install? Only just noticed it.
>>>>>>>
>>>>>>>
>>>>>>>John <no@no.com> wrote:
>>>>>>>>What slots are each card in. Also, their manual didn't mention what
>>>>agp
>>>>>>>
>>>>>>>>uses for irq and whether it shares or not. Can't you tell on boot
>>up
>>>>>
>>>>>>>>when that black resource screen shows what's on what?
>>>>>>>>
>>>>>>>>It would be good to know if you have 4 or 5 independent IRQs
>>>>>>>>2,3,4,1/5,agp
>>>>>>>>
>>>>>>>>I run my 2 eds cards on the same IRQ 3 on my box.
>>>>>>>>
>>>>>>>>John
>>>>>>>>
>>>>>>>>Kim W. wrote:
>>>>>>>>> Just returned from "The Dungeon", and am happy to report that
>>>>>>>>> all appears to be working.
>>>>>>>>> (4 EDS's, 2 Nvidia Qudras).
>>>>>>>>> Thus far I have no DX/VST plugins installed.
>>>>>>>>> (In the past this is where my installs have come unstuck.)
>>>>>>>>> After initial disappointment with the dreaded Crash-on-
>>>>>>>>> exit, I remembered about the "minimum install" effects subsystem
>>fix,
>>>>>>>with
>>>>>>>>> wires.
>>>>>>>>> Applying this seems to have cured the COE.
>>>>>>>>> I'm pretty stoked at the moment, and have ghosted.
>>>>>>>>> All slots are full, and there appears to be some sharing going
on,(I
>>>>>>attached
>>>>>>>>> a screen grab)
>>>>>>>>> but time will tell if it causes any problems. I just bunged all
>>>>>>>>> four EDS's in, and let the system allocate resources as it
>>>>>>>>> seemed fit.
>>>>>>>>> I did, however, disable the SATA, and the parallel port in the
bios.
>>>>>>>>> Time for bed, as it's been 12 hours since I deemed it "Beer O'clock".
>>>>>>>>>
>>>>>>>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>>>>>>
>>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5,
unless
>>>>>>>>>>
>>>>>>>>>>that's
>>>>>>>>>>
>>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
>>>>>>>>>>
>>>>>>>>>>Kim...........if PCI 1 and 5 "do not" share with the AGP, this
is
>>>>>>>>>>potentially a HUGE deal and this would be the most flexible (semi
>>>current)
>>>>>>>>>>mobo in existence today for 939 CPU's. I cannot find any reference
>>>>to
>>>>>>>this
>>>>>>>>>>in the Gigabyte manual. When/if it is possible, could you insert
>>a
>>>>PCI
>>>>>>>card
>>>>>>>>>>in slot 1 or 5 (or both), then load the drivers for whatever that
>>>device
>>>>>>>>>
>>>>>>>>> is,
>>>>>>>>>
>>>>>>>>>>then go to your system info, look under system resources, navigate
>>>>to
>>>>>>>>>>hardware resources>IRQ and let us know if the device(s) in PCI
slots
>>>>>>1
>>>>>>>or
>>>>>>>>>
>>>>>>>>> 5
>>>>>>>>>
>>>>>>>>>>is/are sharing an IRQ with the AGP? If not, I'm gonna be thinking
>>>hard
>>>>>>>about
>>>>>>>>>>switching mobo's on my Paris rig and trying to get that duallie
>CPU
>>>>>>>>>>happening with my Paris rig. Theis could conceivably allow 5 x
EDS
>>>>cards
>>>>>>>>>
>>>>>>>>> to
>>>>>>>>>
>>>>>>>>>>operate on a dual core Athlon. I would do this here, but I don't
>>have
>>>>>>>all
>>>>>>>>>>the componentry that I need yet and the ergonomics of moving all
>>of
>>>>>my
>>>>>>>EDS
>>>>>>>>>>cards to a Magma chassis (which is already being used by another
>>DAW)
>>>>>>>is
>>>>>>>>>>something that would take my entire studio down for a couple of
>days,
>>>>>>>and
>>>>>>>>>>I'm pretty busy right now.
>>>>>>>>>>
>>>>>>>>>>Deej
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote in message news:44afb30d$1@linux...
>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>>Mine doesn't show that it's sharing with AGP, though 1 does share
>>>>with
>>>>>>>>>
>>>>>>>>> 5.
>>>>>>>>>
>>>>>>>>>>>It has a BIOS window you can go to which allows you to set manually
>>>>>>which
>>>>>>>>>>>interrupt each slot uses, and tells you what will be sharing with
>>>>it
>>>>>>>if
>>>>>>>>>>
>>>>>>>>>>you
>>>>>>>>>>
>>>>>>>>>>>use that one. I have some things sharing, but everything is working
>>>>>>fine
>>>>>>>>>>>so I'm not concerned. Firewire shares with an EDS for example,
>but
>>>>>I
>>>>>>>never
>>>>>>>>>>>use Paris and firewire together so that's not really a problem.
>>>>>>>>>>>
>>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5,
unless
>>>>>>>>>>
>>>>>>>>>>that's
>>>>>>>>>>
>>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
>>>>>>>>>>>
>>>>>>>>>>>Cheers,
>>>>>>>>>>>Kim.
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>>John <no@no.com> wrote:
>>>>>>>>>>>
>>>>>>>>>>>>lack of interrupt control is a deal breaker for me
>>>>>>>>>>>>
>>>>>>>>>>>>Kim wrote:
>>>>>>>>>>>>
>>>>>>>>>>>>>The biggest pitfall I found with the K8NS was that while the
>manual
>>>>>>>>>>
>>>>>>>>>>states
>>>>>>>>>>
>>>>>>>>>>>>>you have pretty good interrupt control, they actually removed
>>it
>>>>>from
>>>>>>>>>>>
>>>>>>>>>>>the
>>>>>>>>>>>
>>>>>>>>>>>>>bios. The latest BIOS which gives you proper interrupt control
>>>(unless
>>>>>>>>>>>
>>>>>>>>>>>they've
>>>>>>>>>>>
>>>>>>>>>>>>>added it back - haven't checked for months) is version F6, which
>>>>>I
>>>>>>>>>
>>>>>>>>> use.
>>>>>>>>>
>>>>>>>>>>>It's
>>>>>>>>>>>
>>>>>>>>>>>>>quite old but I haven't had any issues. The thing never crashes.
>>>>>It's
>>>>>>>>>>>
>>>>>>>>>>>maybe
>>>>>>>>>>>
>>>>>>>>>>>>>crashed once or twice since I've had it, which is about 12 months
>>>>>>now.
>>>>>>>>>>>>>
>>>>>>>>>>>>>My motherboard seems to have a quirk in the BIOS and I'm currently
>>>>>>>>>>
>>>>>>>>>>running
>>>>>>>>>>
>>>>>>>>>>>>>on the backup BIOS on the board, but she runs fine like that.
>>It
>>>>>>>>>>
>>>>>>>>>>forgets
>>>>>>>>>>
>>>>>>>>>>>>>HDD's on startup. Not sure why... (unless it's a quirk of the
>>F6
>>>>>>>>>>
>>>>>>>>>>firmware,
>>>>>>>>>>
>>>>>>>>>>>>>but that seems unlikely...)
>>>>>>>>>>>>>
>>>>>>>>>>>>>Apart from that though it's great. I run only a two card system
>>>>though,
>>>>>>>>>>>
>>>>>>>>>>>and
>>>>>>>>>>>
>>>>>>>>>>>>>only dual head video (A Nvidia card currently) but have had
no
>>>issues
>>>>>>>>>>>
>>>>>>>>>>>apart
>>>>>>>>>>>
>>>>>>>>>>>>>from the BIOS losing hdd's on startup which appears to be a
MB
>>>fault
>>>>>>>>>>
>>>>>>>>>>(should
>>>>>>>>>>
>>>>>>>>>>>>>take it back before my warranty runs out...).
>>>>>>>>>>>>>
>>>>>>>>>>>>>It's quick though, and very stable. I'm happy with it. :o)
>>>>>>>>>>>>>
>>>>>>>>>>>>>Cheers,
>>>>>>>>>>>>>Kim.
>>>>>>>>>>>>>
>>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
>>>>>>>>>>>>>
>>>>>>>>>>>>>
>>>>>>>>>>>>>>Forgot to mention I am running four 19" monitors,
>>>>>>>>>>>>>>using AGP/PCI Nvidia Quadro cards.
>>>>>>>>>>>>>>This has worked well with my old ASUS p4 system.
>>>>>>>>>>>>>>Cheers.
>>>>>>>>>>>>>>
>>>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
>>>>>>>>>>>>>>
>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>Hi, all.
>>>>>>>>>>>>>>>My Paris (win98) rig refused to boot the other day.
>>>>>>>>>>>>>>>I bought a Gigabyte K8NS ultra 939 some months ago, with a
>view
>>>>>>to
>>>>>>>>>>
>>>>>>>>>>upgrade
>>>>>>>>>>
>>>>>>>>>>>>>>>at some stage.
>>>>>>>>>>>>>>>It appears the time is nigh!!
>>>>>>>>>>>>>>>I know many of you have successfully migrated to XP, and the
>>>K8NS
>>>>>>>>>>>>>>>is one of the fave mobos.
>>>>>>>>>>>>>>>(I also have an Epox 9NDA3, in case I get grief with the Gigabyte.)
>>>>>>>>>>>>>>>Are there any shortcuts that you guys could throw my way as
>>far
>>>>>>as
>>>>>>>>>>
>>>>>>>>>>which
>>>>>>>>>>
>>>>>>>>>>>>>>>drivers, service packs, XP tweaks, I should or shouldn't use,
>>>>in
>>>>>>>an
>>>>>>>>>>
>>>>>>>>>>attempt
>>>>>>>>>>
>>>>>>>>>>>>>>>to preserve what's left of my hair??
>>>>>>>>>>>>>>>I have four EDS cards, two MECs, (only one adat card), and
>four
>>>>>>>>>>
>>>>>>>>>>C-16's.
>>>>>>>>>>
>>>>>>>>>>>>>>>Or...... should I stick with 98 or ME???
>>>>>>>>>>>>>>>I remember Kim having teething problems with this combo.
>>>>>>>>>>>>>>>Did it pan out for you??
>>>>>>>>>>>>>>>Thanks,
>>>>>>>>>>>>>>>Kim #2.
>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>>
>>>>>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> ------------------------------------------------------------ ------------
>>>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>Hot weasel grease? I'm having a Zappa moment!
;o)
"John" <no@no.com> wrote in message news:44b503dc$1@linux...
>
> How about posting up your final config, what slots things are in, any
tweaks.
> Do you have a sound card? Ram, drive types, etc.
>
> Glad you're cooking with hot weasel grease ! Image that sucka !
> John
>
> "Kim W." <no@way.com> wrote:
> >
> >Well, after my first tracking session with the new comp, I am
> >(extremely) happy to report Paris XP is finally working for me.
> >It feels smoother, quicker, and more robust than ever before.
> >I did nothing as far as irq assigning, tweaks etc.
> >(I did disable the SATA,.. as I still use PATA, and also the parallel
port.)
> >I'm running in APIC mode, (not standard PC),
> >I even bunged all four EDS's in at once, and let windows assign
> >resources as it seemed fit.
> >It's NEVER been this easy with any other comp. (I've been running
> >Paris pretty much since it was released...
> >starting with a 686 200 cyrix).
> >The IRQ sharing seems to have no negative effects, and both
> >dual-head Nvidia Quadras are happy.
> >To those thinking of upgrading their Paris boxes, grab one of
> >these mobos while/if you can, and XP3500+'s are cheap as chips
> >now.
> >Rave over :-))))
> >Kim W.
> >
> >
> >
> >"Kim" <hiddensounds@hotmail.com> wrote:
> >>
> >>
> >>Good to hear. Keep us updated. :o)
> >>
> >>Cheers,
> >>Kim.
> >>
> >>
> >>"Kim W." <no@way.com> wrote:
> >>>
> >>>
> >>>YEEHAH!!
> >>>This is ROCKIN!
> >>>After upping the cache sizes, I have a 64 track project playing
> >>>beautifully.
> >>>Everything feels snappy!
> >>>I can drag windows anywhare whilst playing without a hiccup!
> >>>(Couldn't do that with the '98 box.
> >>>I resized the drive using Acronis.
> >>>All looking good so far.
> >>>Now for the plugins....
> >>>Kim
> >>>
> >>>"Kim" <hiddensounds@hotmail.com> wrote:
> >>>>
> >>>>
> >>>>Did you format the drive using WinXP pre-SP1? I beleive that the
installer
> >>>>for WinXP original version has an upper limit on hdd size... I ran
> into
> >>>>this with my 2 x 250Gigs...
> >>>>
> >>>>Cheers,
> >>>>Kim.
> >>>>
> >>>>
> >>>>"Kim W." <no@way> wrote:
> >>>>>
> >>>>>"Kim" <hiddensounds@hotmail.com> wrote:
> >>>>>>
> >>>>>>
> >>>>>>From the looks of your System Devices info vs what you posted there,
> >>you're
> >>>>>Hi again, Kim.
> >>>>>Just about to start fiddling again.
> >>>>>Gotta get my lost 120gb back. Would rather not reformat.
> >>>>>Also I need to arrange the drives so that my removeable (caddy)
> >>>>>drive becomes "E" again. Don't really want to reset filepaths
> >>>>>for all projects.
> >>>>>Will keep you posted.
> >>>>>Kim
> >>>>>
> >>>>>running in the default "ACPI Uniprocessor PC" mode, not standard PC
> mode.
> >>>>>>From my testing and talks with DJ this means that, unfortunately,
the
> >>>PCI
> >>>>>>configuration stuff in the BIOS doesn't actually function, which is
> >
> >>>>>
> >>>>>why you'll
> >>>>>>find discrpencies between what you have configured in the BIOS
(Which
> >>>I
> >>>>>assume
> >>>>>>is what you just listed) vs what you see in Windows.
> >>>>>>
> >>>>>>HOWEVER...
> >>>>>>
> >>>>>>I suggest you just keep going. It is possible to switch to Standard
> >PC
> >>>>mode
> >>>>>>without a reinstall, though I have heard it can cause issues (never
> >has
> >>>>>for
> >>>>>>me though). Deej and I are interested to see if you can run your
NVidia
> >>>>>cards
> >>>>>>sharing with the EDS cards on IRQs, as I suspect it will actually
work
> >>>>(it's
> >>>>>>working for me here fine).
> >>>>>>
> >>>>>>Slot 1 is usually next to the AGP. If you go into the system device
> >manager
> >>>>>>IRQ screen and double click an item it tells you what slot things
are
> >>>in,
> >>>>>>so this may help you confirm.
> >>>>>>
> >>>>>>On my system slot 4 on the MB seems to share with AGP, though that
> might
> >>>>>>be because that's how Windows decided to do it, not because they are
> >>hardwired...
> >>>>>> that's still up in the air.
> >>>>>>
> >>>>>>How's it going anyhow? Got it running? Is it stable?
> >>>>>>
> >>>>>>Cheers,
> >>>>>>Kim.
> >>>>>>
> >>>>>>"Kim W." <no@way.com> wrote:
> >>>>>>>
> >>>>>>>Hi, John.
> >>>>>>>I can't see the PCI slot numbers on the mobo, (or in the manual),
> >>>>>>>but here is what I have in the slots starting from the one next
> >>>>>>>to the AGP slot, and the IRQ assignments in the black boot-up
> >>>>>>>screen:
> >>>>>>>
> >>>>>>>1: Nvidia Quadro PCI irq 11
> >>>>>>>2: EDS irq 9
> >>>>>>>3: EDS irq 7
> >>>>>>>4: EDS irq 5
> >>>>>>>5: EDS irq 10
> >>>>>>>
> >>>>>>>Onboard audio uses irq 12, Firewire controller uses irq 10,
> >>>>>>>ACPI controller uses irq 9.
> >>>>>>>
> >>>>>>>Is this enough info?
> >>>>>>>
> >>>>>>>Cheers,
> >>>>>>>Kim.
> >>>>>>>
> >>>>>>>BTW why would my brand new 250 gb ata drive only have been
formatted
> >>>for
> >>>>>>>130gb during XP install? Only just noticed it.
> >>>>>>>
> >>>>>>>
> >>>>>>>John <no@no.com> wrote:
> >>>>>>>>What slots are each card in. Also, their manual didn't mention
what
> >>>>agp
> >>>>>>>
> >>>>>>>>uses for irq and whether it shares or not. Can't you tell on boot
> >>up
> >>>>>
> >>>>>>>>when that black resource screen shows what's on what?
> >>>>>>>>
> >>>>>>>>It would be good to know if you have 4 or 5 independent IRQs
> >>>>>>>>2,3,4,1/5,agp
> >>>>>>>>
> >>>>>>>>I run my 2 eds cards on the same IRQ 3 on my box.
> >>>>>>>>
> >>>>>>>>John
> >>>>>>>>
> >>>>>>>>Kim W. wrote:
> >>>>>>>>> Just returned from "The Dungeon", and am happy to report that
> >>>>>>>>> all appears to be working.
> >>>>>>>>> (4 EDS's, 2 Nvidia Qudras).
> >>>>>>>>> Thus far I have no DX/VST plugins installed.
> >>>>>>>>> (In the past this is where my installs have come unstuck.)
> >>>>>>>>> After initial disappointment with the dreaded Crash-on-
> >>>>>>>>> exit, I remembered about the "minimum install" effects subsystem
> >>fix,
> >>>>>>>with
> >>>>>>>>> wires.
> >>>>>>>>> Applying this seems to have cured the COE.
> >>>>>>>>> I'm pretty stoked at the moment, and have ghosted.
> >>>>>>>>> All slots are full, and there appears to be some sharing going
> on,(I
> >>>>>>attached
> >>>>>>>>> a screen grab)
> >>>>>>>>> but time will tell if it causes any problems. I just bunged all
> >>>>>>>>> four EDS's in, and let the system allocate resources as it
> >>>>>>>>> seemed fit.
> >>>>>>>>> I did, however, disable the SATA, and the parallel port in the
> bios.
> >>>>>>>>> Time for bed, as it's been 12 hours since I deemed it "Beer
O'clock".
> >>>>>>>>>
> >>>>>>>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >>>>>>>>>
> >>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5,
> unless
> >>>>>>>>>>
> >>>>>>>>>>that's
> >>>>>>>>>>
> >>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
> >>>>>>>>>>
> >>>>>>>>>>Kim...........if PCI 1 and 5 "do not" share with the AGP, this
> is
> >>>>>>>>>>potentially a HUGE deal and this would be the most flexible
(semi
> >>>current)
> >>>>>>>>>>mobo in existence today for 939 CPU's. I cannot find any
reference
> >>>>to
> >>>>>>>this
> >>>>>>>>>>in the Gigabyte manual. When/if it is possible, could you insert
> >>a
> >>>>PCI
> >>>>>>>card
> >>>>>>>>>>in slot 1 or 5 (or both), then load the drivers for whatever
that
> >>>device
> >>>>>>>>>
> >>>>>>>>> is,
> >>>>>>>>>
> >>>>>>>>>>then go to your system info, look under system resources,
navigate
> >>>>to
> >>>>>>>>>>hardware resources>IRQ and let us know if the device(s) in PCI
> slots
> >>>>>>1
> >>>>>>>or
> >>>>>>>>>
> >>>>>>>>> 5
> >>>>>>>>>
> >>>>>>>>>>is/are sharing an IRQ with the AGP? If not, I'm gonna be
thinking
> >>>hard
> >>>>>>>about
> >>>>>>>>>>switching mobo's on my Paris rig and trying to get that duallie
> >CPU
> >>>>>>>>>>happening with my Paris rig. Theis could conceivably allow 5 x
> EDS
> >>>>cards
> >>>>>>>>>
> >>>>>>>>> to
> >>>>>>>>>
> >>>>>>>>>>operate on a dual core Athlon. I would do this here, but I don't
> >>have
> >>>>>>>all
> >>>>>>>>>>the componentry that I need yet and the ergonomics of moving all
> >>of
> >>>>>my
> >>>>>>>EDS
> >>>>>>>>>>cards to a Magma chassis (which is already being used by another
> >>DAW)
> >>>>>>>is
> >>>>>>>>>>something that would take my entire studio down for a couple of
> >days,
> >>>>>>>and
> >>>>>>>>>>I'm pretty busy right now.
> >>>>>>>>>>
> >>>>>>>>>>Deej
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote in message
news:44afb30d$1@linux...
> >>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>Mine doesn't show that it's sharing with AGP, though 1 does
share
> >>>>with
> >>>>>>>>>
> >>>>>>>>> 5.
> >>>>>>>>>
> >>>>>>>>>>>It has a BIOS window you can go to which allows you to set
manually
> >>>>>>which
> >>>>>>>>>>>interrupt each slot uses, and tells you what will be sharing
with
> >>>>it
> >>>>>>>if
> >>>>>>>>>>
> >>>>>>>>>>you
> >>>>>>>>>>
> >>>>>>>>>>>use that one. I have some things sharing, but everything is
working
> >>>>>>fine
> >>>>>>>>>>>so I'm not concerned. Firewire shares with an EDS for example,
> >but
> >>>>>I
> >>>>>>>never
> >>>>>>>>>>>use Paris and firewire together so that's not really a problem.
> >>>>>>>>>>>
> >>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5,
> unless
> >>>>>>>>>>
> >>>>>>>>>>that's
> >>>>>>>>>>
> >>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
> >>>>>>>>>>>
> >>>>>>>>>>>Cheers,
> >>>>>>>>>>>Kim.
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>
> >>>>>>>>>>>John <no@no.com> wrote:
> >>>>>>>>>>>
> >>>>>>>>>>>>lack of interrupt control is a deal breaker for me
> >>>>>>>>>>>>
> >>>>>>>>>>>>Kim wrote:
> >>>>>>>>>>>>
> >>>>>>>>>>>>>The biggest pitfall I found with the K8NS was that while the
> >manual
> >>>>>>>>>>
> >>>>>>>>>>states
> >>>>>>>>>>
> >>>>>>>>>>>>>you have pretty good interrupt control, they actually removed
> >>it
> >>>>>from
> >>>>>>>>>>>
> >>>>>>>>>>>the
> >>>>>>>>>>>
> >>>>>>>>>>>>>bios. The latest BIOS which gives you proper interrupt
control
> >>>(unless
> >>>>>>>>>>>
> >>>>>>>>>>>they've
> >>>>>>>>>>>
> >>>>>>>>>>>>>added it back - haven't checked for months) is version F6,
which
> >>>>>I
> >>>>>>>>>
> >>>>>>>>> use.
> >>>>>>>>>
> >>>>>>>>>>>It's
> >>>>>>>>>>>
> >>>>>>>>>>>>>quite old but I haven't had any issues. The thing never
crashes.
> >>>>>It's
> >>>>>>>>>>>
> >>>>>>>>>>>maybe
> >>>>>>>>>>>
> >>>>>>>>>>>>>crashed once or twice since I've had it, which is about 12
months
> >>>>>>now.
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>My motherboard seems to have a quirk in the BIOS and I'm
currently
> >>>>>>>>>>
> >>>>>>>>>>running
> >>>>>>>>>>
> >>>>>>>>>>>>>on the backup BIOS on the board, but she runs fine like that.
> >>It
> >>>>>>>>>>
> >>>>>>>>>>forgets
> >>>>>>>>>>
> >>>>>>>>>>>>>HDD's on startup. Not sure why... (unless it's a quirk of the
> >>F6
> >>>>>>>>>>
> >>>>>>>>>>firmware,
> >>>>>>>>>>
> >>>>>>>>>>>>>but that seems unlikely...)
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>Apart from that though it's great. I run only a two card
system
> >>>>though,
> >>>>>>>>>>>
> >>>>>>>>>>>and
> >>>>>>>>>>>
> >>>>>>>>>>>>>only dual head video (A Nvidia card currently) but have had
> no
> >>>issues
> >>>>>>>>>>>
> >>>>>>>>>>>apart
> >>>>>>>>>>>
> >>>>>>>>>>>>>from the BIOS losing hdd's on startup which appears to be a
> MB
> >>>fault
> >>>>>>>>>>
> >>>>>>>>>>(should
> >>>>>>>>>>
> >>>>>>>>>>>>>take it back before my warranty runs out...).
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>It's quick though, and very stable. I'm happy with it. :o)
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>Cheers,
> >>>>>>>>>>>>>Kim.
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>
> >>>>>>>>>>>>>>Forgot to mention I am running four 19" monitors,
> >>>>>>>>>>>>>>using AGP/PCI Nvidia Quadro cards.
> >>>>>>>>>>>>>>This has worked well with my old ASUS p4 system.
> >>>>>>>>>>>>>>Cheers.
> >>>>>>>>>>>>>>
> >>>>>>>>>>>>>>"Kim W." <no@way.com> wrote:
> >>>>>>>>>>>>>>
> >>>>>>>>>>>>>>
> >>>>>>>>>>>>>>>Hi, all.
> >>>>>>>>>>>>>>>My Paris (win98) rig refused to boot the other day.
> >>>>>>>>>>>>>>>I bought a Gigabyte K8NS ultra 939 some months ago, with a
> >view
> >>>>>>to
> >>>>>>>>>>
> >>>>>>>>>>upgrade
> >>>>>>>>>>
> >>>>>>>>>>>>>>>at some stage.
> >>>>>>>>>>>>>>>It appears the time is nigh!!
> >>>>>>>>>>>>>>>I know many of you have successfully migrated to XP, and
the
> >>>K8NS
> >>>>>>>>>>>>>>>is one of the fave mobos.
> >>>>>>>>>>>>>>>(I also have an Epox 9NDA3, in case I get grief with the
Gigabyte.)
> >>>>>>>>>>>>>>>Are there any shortcuts that you guys could throw my way as
> >>far
> >>>>>>as
> >>>>>>>>>>
> >>>>>>>>>>which
> >>>>>>>>>>
> >>>>>>>>>>>>>>>drivers, service packs, XP tweaks, I should or shouldn't
use,
> >>>>in
> >>>>>>>an
> >>>>>>>>>>
> >>>>>>>>>>attempt
> >>>>>>>>>>
> >>>>>>>>>>>>>>>to preserve what's left of my hair??
> >>>>>>>>>>>>>>>I have four EDS cards, two MECs, (only one adat card), and
> >four
> >>>>>>>>>>
> >>>>>>>>>>C-16's.
> >>>>>>>>>>
> >>>>>>>>>>>>>>>Or...... should I stick with 98 or ME???
> >>>>>>>>>>>>>>>I remember Kim having teething problems with this combo.
> >>>>>>>>>>>>>>>Did it pan out for you??
> >>>>>>>>>>>>>>>Thanks,
> >>>>>>>>>>>>>>>Kim #2.
> >>>>>>>>>>>>>>>
> >>>>>>>>>>>>>>>
> >>>>>>>>>>>>>>
> >>>>>>>>>>
> >>>>>>>>>>
>
>>>>>>>>>> ------------------------------------------------------------ -----
-------
> >>>>>>>>>>
> >>>>>>>
> >>>>>>
> >>>>>
> >>>>
> >>>
> >>
> >
>They're like baby snakes, you look around and there's a couple right near
ya !
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Hot weasel grease? I'm having a Zappa moment!
>
>;o)
>
>"John" <no@no.com> wrote in message news:44b503dc$1@linux...
>>
>> How about posting up your final config, what slots things are in, any
>tweaks.
>> Do you have a sound card? Ram, drive types, etc.
>>
>> Glad you're cooking with hot weasel grease ! Image that sucka !
>> John
>>
>> "Kim W." <no@way.com> wrote:
>> >
>> >Well, after my first tracking session with the new comp, I am
>> >(extremely) happy to report Paris XP is finally working for me.
>> >It feels smoother, quicker, and more robust than ever before.
>> >I did nothing as far as irq assigning, tweaks etc.
>> >(I did disable the SATA,..
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| Re: Multi Band Mastering in Paris [message #68836 is a reply to message #68815] |
Thu, 01 June 2006 23:14 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.htmlVERY cool, DC! Thanks so much for the post. Bookmarked prominently, and I'm
already groovin' (once again) to those fabulous sounds of days gone by.
:-)
Cheers,
Larry Hogan
"DC" <dc@spammersonmars.org> wrote:
>
>http://www.wolfgangsvault.com
>
>Wolfgang Grajonca, aka Bill Graham, was a notorious obsessive. But
>he loved what he did, and we are now all his beneficiaries because
>one of his obsessions was that he kept everything from all his
>shows. Everything.
>
>It was all stashed in a warehouse; nobody even knew what was
>there, and after Graham died in a helicopter crash in 1991 nobody
>knew what to do with it, or didn't want to invest the time to find out
>what was there. After passing thru several owners, businessman &
>music fan Bill Sagan bought the whole 'mess' for about $1.5 million.
>It was piled over 25 feet high in that warehouse. It took
>TWENTY-FIVE tractor trailer rigs to carry it all to its new home
>where Sagan began digging thru and cataloging what he'd bought.
>
>He found:
>
>
>Original Contracts signed by the artists
>Handbills
>Unused tickets
>Over a million slides, negatives and photographs.
>
>Then one day while poking thru it Sagan found what he'd never even
>dreamed of: Bill Graham had even saved the concerts themselves.
>He'd made video & high res audio recordings of thousands of shows!
>Sagan is not even sure, but it might be over 7,000 recordings in
>number.
>
>He is selling some of it thru the above website. He is also making
>available "Vault Radio" where you can click on the link and listen
>(free) to some of those recordings in a rotation that includes dozens
>of those recordings.
>
>Just click on "vault radio" Priceless....
>
>DC
>I was amazind at how good some of the tracks sounded too.
I wonder who is doing the resto and transfer for them.
I heard Hendrix the other day!
DC
"Larry Hogan" <ooglybong@nycap.rr.com> wrote:
>
>VERY cool, DC! Thanks so much for the post. Bookmarked prominently, and
I'm
>already groovin' (once again) to those fabulous sounds of days gone by.
>:-)
>
>Cheers,
>Larry Hogan
>
>
>"DC" <dc@spammersonmars.org> wrote:
>>
>>http://www.wolfgangsvault.com
>>
>>Wolfgang Grajonca, aka Bill Graham, was a notorious obsessive. But
>>he loved what he did, and we are now all his beneficiaries because
>>one of his obsessions was that he kept everything from all his
>>shows. Everything.
>>
>>It was all stashed in a warehouse; nobody even knew what was
>>there, and after Graham died in a helicopter crash in 1991 nobody
>>knew what to do with it, or didn't want to invest the time to find out
>>what was there. After passing thru several owners, bus
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| Re: Multi Band Mastering in Paris [message #68873 is a reply to message #68871] |
Fri, 02 June 2006 14:56 |
dc[3]
Messages: 895
Registered: September 2005
|
Senior Member |
|
|
>>>>>>>attached
>>>>>>>>>>> a screen grab)
>>>>>>>>>>> but time will tell if it causes any problems. I just bunged all
>>>>>>>>>>> four EDS's in, and let the system allocate resources as it
>>>>>>>>>>> seemed fit.
>>>>>>>>>>> I did, however, disable the SATA, and the parallel port in the
>>bios.
>>>>>>>>>>> Time for bed, as it's been 12 hours since I deemed it "Beer O'clock".
>>>>>>>>>>>
>>>>>>>>>>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>>>>>>>>
>>>>>>>>>>>>>It doesn't say on mine that the AGP card is sharing with 1/5,
>>unless
>>>>>>>>>>>>
>>>>>>>>>>>>that's
>>>>>>>>>>>>
>>>>>>>>>>>>>just assumed...? I know often 1 shares with AGP.
>>>>>>>>>>>>
>>>>>>>>>>>>Kim...........if PCI 1 and 5 "do not" share with the AGP, this
>>is
>>>>>>>>>>>>potentially a HUGE deal and this would be the most flexible (semi
>>>>>current)
>>>>>>>>>>>>mobo in existence today for 939 CPU's. I cannot find any reference
>>>>>>to
>>>>>>>>>this
>>>>>>>>>>>>in the Gigabyte manual. When/if it is possible, could you insert
>>>>a
>>>>>>PCI
>>>>>>>>>card
>>>>>>>>>>>>in slot
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