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| Re: To add fuel to the fire [message #78379 is a reply to message #78369] |
Sun, 14 January 2007 20:20   |
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Deej [4]
Messages: 1292
Registered: January 2007
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u
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---=_linux45cb7fb6--FWIW, I wasn't dismissing rap or hip-hop out-of-hand,
allimsayinis: don't try & tell me that it's groundbreaking or
even remotely original.
When the only thing new or fresh is a vocal line, then there
really hasn't been anything "original" in that genre since Kurtis
Blow.
Also, what's "PK"?
Neil
"TCB" <nobody@ishere.com> wrote:
>
>I've never understood it either. I mean, I'm 37, white, played in blues/jazz
>bands for years, and I can enjoy hip hop so I would think everyone could.
>For me it was the first time I heard 'Fight the Power' that I realized there
>was something going on that demanded my immediate attention.
>
>We used to have Derek around which helped a bit.
>
>Oh well, more cool tunes for me,
>
>TCB
>
>"chuck duffy" <c@c.com> wrote:
>>
>>You know the thing that has always bugged me about this group is how hiphop
>>gets dismissed out of hand almost every time its mentioned. If I close
>my
>>eyes I can almost see the bumperstickers that say RAP=CRAP next to the
picture
>>of calvin peeing on the chevy.
>>
>>I love three chord rockers, love the who, stones, beatles, kinks. But
I
>>also (I'm dating myself) love innovative, sonically interesting, thought
>>provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>> I don't understand how anyone could listen to that and not find at least
>>something sonically or lyrically interesting. Who gives a rats ass if
it's
>>samples and loops put together.
>>
>>It also get's me thinking about intolerance. As many of you know, i am
>a
>>PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
>>things he percieved to be innately 'worthless', how society was going to
>>hell with violence, the emptyness of the consumer society, the list goes
>>on and on. One day he was raving on and on about a movie he had seen.
>Couldn't
>>stop talking about it. Said it was the best thing he had seen in 20 years.
>> Go figure, guy can't stand to see a bloddy nose, change a diaper or hear
>>a curse word and his favorite movie of the the past 20 years turns out
to
>>be BOYS IN THE HOOD!!!!
>>
>>
>>"LaMont" <jjdpro@ameritech.net> wrote:
>>>
>>>Agreed..Those 2 genres are the titans..
>>>
>>>"DC" <dc@spammersinhell.com> wrote:
>>>>
>>>>At my daughter's high school it's a big mix of everything, but
>>>>there are lots of people rockin' including black kids. Also
>>>>with a lot of music, the line between rock and rap is pretty
>>>>darn hard to find sometimes.
>>>>
>>>>DC
>>>>
>>>>
>>>>"LaMont" <jjdpro@ameritch.net> wrote:
>>>>>
>>>>>James , I'm talking about the teens..Most of teen, including my own
and
>>>>neighbors
>>>>>listen to Hip /Rap..
>>>>>
>>>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>
>>>>>>LaMont we live in the same place, and run in two different crowds,
not
>>>>everybody
>>>>>>here is in to RAP. Many are though.
>>>>>>
>>>>>>"LaMont" <jjdpro@ameritech.net> wrote:
>>>>>>>
>>>>>>>Not Me..I'm not surprised... Both Rock and RAP have been battling
each
>>>>>for
>>>>>>>the better part of the last 10 years. Rap
>>>>>>>
>>>>>>>RAP Sales have been dominate for the last 2 years with groups such
>as
>>>>Outcast.
>>>>>>>But this where things get's confusing.. Both Outcast & Ludacris aven
>>>Em
>>>>>>&
>>>>>>>EM where catagorzed aS ROCK!!!! As is Jay-Z..
>>>>>>>
>>>>>>>So, you can see that how the numbers for Rock climbed. Some in the
>industry
>>>>>>>calls this racism. I can tel you that in my neighborhood (Macomb)
Mi
>>>nearly
>>>>>>>all kid(Wjites , Blacks, Hispanic) listen to only Hip Hop rap..And
>No
>>>>Rock..
>>>>>>>
>>>>>>>And that's the trend all over this world not just the US..
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>>>
>>>>>>>>Music industry stats.
>>>>>>>>
>>>>>>>> http://home.businesswire.com/portal/site/google/index.jsp?nd mViewId=news_view&newsId=20070104005813&newsLang=en
>>>>>>>>
>>>>>>>>By genre, I'm surprised that Metal sold more than RAP. In fact,
I'm
>>>>surprised
>>>>>>>>that Rock is about three times bigger than RAP. You'd never know
>it
>>>>by
>>>>>>>watching
>>>>>>>>MTV or by watching any music award shows. You'd think nothing is
>bigger
>>>>>>>>than RAP.
>>>>>>>>
>>>>>>>>I was also surprised that the band No Doubt wasn't listed in the
top
>>>>ten
>>>>>>>>albums from 1991-2006. I read and was told by Matt Wilder and Tony
>>>Ferguson
>>>>>>>>(Interscope Records) that Tragic Kingdom sold around 16 million records
>>>>>>>and
>>>>>>>>set sales records???
>>>>>>>>
>>>>>>>>http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>>
>>>>>>>>James
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>"DC" <dc@spammersinhollywood.com> wrote:
>And we have a song on the next CD called 'Hobo Rocket' that's
about, you guessed it, a bunch of hobos who take over a rocket, and I wouldn't
>want
>>some smart producer to keep us from doing all of the stupid, silly stuff
>>we do.
>
>Smart producer??
>
>Like Phil?
Yeah, one wouldn't want some smart producer like George Martin
coming along & forbidding any silly stuff... you know, like he
did with "Yellow Submarine" or "Octopus' Garden".
;)People talking and yelling in rhythm over a sonic background can be
listenable, even compelling. But it's harder to be as _musical_ as you
can be in genres that make greater use of melody and development.
Lyrically, when it's just shock lyrics it's not particularly
interesting. Even though not all rapping is like that, the genre has
that reputation.
When posturing and dance have to take up the slack, sometimes the
dancing is spectacular. Other times it's mostly about marching back and
forth, repetitive gesturing, crotch grabbing and other simplistic and
cheesy moves.
So really, it all depends on the piece and the performer.
I could say similar things about other genres. So it's not the genre,
per se, it's the results that opens rappers to criticism from people who
would rather hear something more musical.
Also, if you're looking for a virtuostic performance on an instrument or
amazing singing, there's not much there in a lot of hip hop. Some, yes,
but generally it doesn't deliver those goods. So the question of musical
talent comes up.
To point those aspects out isn't dismissing the genre out of hand, it's
just recognizing some of the limitations that have become obvious since
the day when rapping actually was something new and fresh, and that's
been a while.
Cheers,
-Jamie
www.JamieKrutz.com
chuck duffy wrote:
> You know the thing that has always bugged me about this group is how hiphop
> gets dismissed out of hand almost every time its mentioned. If I close my
> eyes I can almost see the bumperstickers that say RAP=CRAP next to the picture
> of calvin peeing on the chevy.
>
> I love three chord rockers, love the who, stones, beatles, kinks. But I
> also (I'm dating myself) love innovative, sonically interesting, thought
> provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
> I don't understand how anyone could listen to that and not find at least
> something sonically or lyrically interesting. Who gives a rats ass if it's
> samples and loops put together.
>
> It also get's me thinking about intolerance. As many of you know, i am a
> PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
> things he percieved to be innately 'worthless', how society was going to
> hell with violence, the emptyness of the consumer society, the list goes
> on and on. One day he was raving on and on about a movie he had seen. Couldn't
> stop talking about it. Said it was the best thing he had seen in 20 years.
> Go figure, guy can't stand to see a bloddy nose, change a diaper or hear
> a curse word and his favorite movie of the the past 20 years turns out to
> be BOYS IN THE HOOD!!!!
>
>
> "LaMont" <jjdpro@ameritech.net> wrote:
>> Agreed..Those 2 genres are the titans..
>>
>> "DC" <dc@spamme
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| Re: To add fuel to the fire [message #78381 is a reply to message #78378] |
Sun, 14 January 2007 21:14 |
Nappy
Messages: 198
Registered: September 2006
|
Senior Member |
|
|
>>>> But this where things get's confusing.. Both Outcast & Ludacris aven
>> Em
>>>>> &
>>>>>> EM where catagorzed aS ROCK!!!! As is Jay-Z..
>>>>>>
>>>>>> So, you can see that how the numbers for Rock climbed. Some in the industry
>>>>>> calls this racism. I can tel you that in my neighborhood (Macomb) Mi
>> nearly
>>>>>> all kid(Wjites , Blacks, Hispanic) listen to only Hip Hop rap..And No
>>> Rock..
>>>>>> And that's the trend all over this world not just the US..
>>>>>>
>>>>>>
>>>>>>
>>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>> Music industry stats.
>>>>>>>
>>>>>>> http://home.businesswire.com/portal/site/google/index.jsp?nd mViewId=news_view&newsId=20070104005813&newsLang=en
>>>>>>>
>>>>>>> By genre, I'm surprised that Metal sold more than RAP. In fact, I'm
>>> surprised
>>>>>>> that Rock is about three times bigger than RAP. You'd never know it
>>> by
>>>>>> watching
>>>>>>> MTV or by watching any music award shows. You'd think nothing is bigger
>>>>>>> than RAP.
>>>>>>>
>>>>>>> I was also surprised that the band No Doubt wasn't listed in the top
>>> ten
>>>>>>> albums from 1991-2006. I read and was told by Matt Wilder and Tony
>> Ferguson
>>>>>>> (Interscope Records) that Tragic Kingdom sold around 16 million records
>>>>>> and
>>>>>>> set sales records???
>>>>>>>
>>>>>>> http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>
>>>>>>> James
>"Neil" <IUOIU@OIU.com> wrote:
>Also, what's "PK"?
Preacher's Kid...
Usually the rowdiest kid in class...Neil,
"When the only thing new or fresh is a vocal line, then there
>really hasn't been anything "original" in that genre since "
I don't think you listen to hip-hop, not that that matters, but there is
plenty of original thinking, lyric, delivery and musical content amongst
the groups I cited and dozens of others. You'll probably think this is criticism
of you personally, but it's not, everyone likes what they like.
Chuck
"Neil" <IUOIU@OIU.com> wrote:
>
>FWIW, I wasn't dismissing rap or hip-hop out-of-hand,
>allimsayinis: don't try & tell me that it's groundbreaking or
>even remotely original.
>
>When the only thing new or fresh is a vocal line, then there
>really hasn't been anything "original" in that genre since Kurtis
>Blow.
>
>Also, what's "PK"?
>
>
>Neil
>
>
>"TCB" <nobody@ishere.com> wrote:
>>
>>I've never understood it either. I mean, I'm 37, white, played in blues/jazz
>>bands for years, and I can enjoy hip hop so I would think everyone could.
>>For me it was the first time I heard 'Fight the Power' that I realized
there
>>was something going on that demanded my immediate attention.
>>
>>We used to have Derek around which helped a bit.
>>
>>Oh well, more cool tunes for me,
>>
>>TCB
>>
>>"chuck duffy" <c@c.com> wrote:
>>>
>>>You know the thing that has always bugged me about this group is how hiphop
>>>gets dismissed out of hand almost every time its mentioned. If I close
>>my
>>>eyes I can almost see the bumperstickers that say RAP=CRAP next to the
>picture
>>>of calvin peeing on the chevy.
>>>
>>>I love three chord rockers, love the who, stones, beatles, kinks. But
>I
>>>also (I'm dating myself) love innovative, sonically interesting, thought
>>>provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>>> I don't understand how anyone could listen to that and not find at least
>>>something sonically or lyrically interesting. Who gives a rats ass if
>it's
>>>samples and loops put together.
>>>
>>>It also get's me thinking about intolerance. As many of you know, i am
>>a
>>>PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
>>>things he percieved to be innately 'worthless', how society was going
to
>>>hell with violence, the emptyness of the consumer society, the list goes
>>>on and on. One day he was raving on and on about a movie he had seen.
>
>>Couldn't
>>>stop talking about it. Said it was the best thing he had seen in 20
years.
>>> Go figure, guy can't stand to see a bloddy nose, change a diaper or hear
>>>a curse word and his favorite movie of the the past 20 years turns out
>to
>>>be BOYS IN THE HOOD!!!!
>>>
>>>
>>>"LaMont" <jjdpro@ameritech.net> wrote:
>>>>
>>>>Agreed..Those 2 genres are the titans..
>>>>
>>>>"DC" <dc@spammersinhell.com> wrote:
>>>>>
>>>>>At my daughter's high school it's a big mix of everything, but
>>>>>there are lots of people rockin' including black kids. Also
>>>>>with a lot of music, the line between rock and rap is pretty
>>>>>darn hard to find sometimes.
>>>>>
>>>>>DC
>>>>>
>>>>>
>>>>>"LaMont" <jjdpro@ameritch.net> wrote:
>>>>>>
>>>>>>James , I'm talking about the teens..Most of teen, including my own
>and
>>>>>neighbors
>>>>>>listen to Hip /Rap..
>>>>>>
>>>>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>>
>>>>>>>LaMont we live in the same place, and run in two different crowds,
>not
>>>>>everybody
>>>>>>>here is in to RAP. Many are though.
>>>>>>>
>>>>>>>"LaMont" <jjdpro@ameritech.net> wrote:
>>>>>>>>
>>>>>>>>Not Me..I'm not surprised... Both Rock and RAP have been battling
>each
>>>>>>for
>>>>>>>>the better part of the last 10 years. Rap
>>>>>>>>
>>>>>>>>RAP Sales have been dominate for the last 2 years with groups such
>>as
>>>>>Outcast.
>>>>>>>>But this where things get's confusing.. Both Outcast & Ludacris aven
>>>>Em
>>>>>>>&
>>>>>>>>EM where catagorzed aS ROCK!!!! As is Jay-Z..
>>>>>>>>
>>>>>>>>So, you can see that how the numbers for Rock climbed. Some in the
>>industry
>>>>>>>>calls this racism. I can tel you that in my neighborhood (Macomb)
>Mi
>>>>nearly
>>>>>>>>all kid(Wjites , Blacks, Hispanic) listen to only Hip Hop rap..And
>>No
>>>>>Rock..
>>>>>>>>
>>>>>>>>And that's the trend all over this world not just the US..
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>>>>
>>>>>>>>>Music industry stats.
>>>>>>>>>
>>>>>>>>> http://home.businesswire.com/portal/site/google/index.jsp?nd mViewId=news_view&newsId=20070104005813&newsLang=en
>>>>>>>>>
>>>>>>>>>By genre, I'm surprised that Metal sold more than RAP. In fact,
>I'm
>>>>>surprised
>>>>>>>>>that Rock is about three times bigger than RAP. You'd never know
>>it
>>>>>by
>>>>>>>>watching
>>>>>>>>>MTV or by watching any music award shows. You'd think nothing is
>>bigger
>>>>>>>>>than RAP.
>>>>>>>>>
>>>>>>>>>I was also surprised that the band No Doubt wasn't listed in the
>top
>>>>>ten
>>>>>>>>>albums from 1991-2006. I read and was told by Matt Wilder and Tony
>>>>Ferguson
>>>>>>>>>(Interscope Records) that Tragic Kingdom sold around 16 million
records
>>>>>>>>and
>>>>>>>>>set sales records???
>>>>>>>>>
>>>>>>>>>http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>>>
>>>>>>>>>James
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>...or Record Label Exec, or former-Playmate-Widow-of-an-oil
baron, it's still clear that money and/or fame can't buy you
happiness, it can just rent it for awhile:
http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.htmlYeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
up and think about it!
"Neil" <OIUOIU@OIU.com> wrote:
>
>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>baron, it's still clear that money and/or fame can't buy you
>happiness, it can just rent it for awhile:
>
> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>
>Well, she just gave birth to a baby girl, so I would think her
little daughter will end up with it, along with whomever wins
the "who's the daddy?" dispute, as a trustee.
....or are you saying the record labels did?
:)
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
>up and think about it!
>
>"Neil" <OIUOIU@OIU.com> wrote:
>>
>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>baron, it's still clear that money and/or fame can't buy you
>>happiness, it can just rent it for awhile:
>>
>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>
>>
>Well, she just gave birth to a baby girl, so I would think her
little daughter will end up with it, along with whomever wins
the "who's the daddy?" dispute, as a trustee.
....or are you saying the record labels did?
:)
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
>up and think about it!
>
>"Neil" <OIUOIU@OIU.com> wrote:
>>
>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>baron, it's still clear that money and/or fame can't buy you
>>happiness, it can just rent it for awhile:
>>
>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>
>>
>I'm saying her death and her sons death were way too convenient. She was
also recently married! Who do you think will get the money?
"Neil" <OIUOIU@OIU.com> wrote:
>
>Well, she just gave birth to a baby girl, so I would think her
>little daughter will end up with it, along with whomever wins
>the "who's the daddy?" dispute, as a trustee.
>
>...or are you saying the record labels did?
>
>:)
>
>
>"James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
>>up and think about it!
>>
>>"Neil" <OIUOIU@OIU.com> wrote:
>>>
>>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>>baron, it's still clear that money and/or fame can't buy you
>>>happiness, it can just rent it for awhile:
>>>
>>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>>
>>>
>>
>"Neil" <OIUOIU@OIU.com> wrote:
>
>Geno, which BASE version do you have? The one with the
>unbalanced, or balanced i/o's?
>
>Also, do you have the users' manual for it?
>
>Neil
>
It was the original unit – unbalanced.
I think I sold the manual with the box, but I will look through my “Historic
Documents File" ( pile ) in the attic.
I think the suggested retail was around 6K for that unit."Gene Lennon" <glennon@nospMyrealbox.com> wrote:
>It was the original unit – unbalanced.
>I think I sold the manual with the box, but I will look through my “Historic
>Documents File" ( pile ) in the attic.
If you still have it, check the credits in the front. :D
>I think the suggested retail was aro
|
|
|
|
| Re: To add fuel to the fire [message #78382 is a reply to message #78381] |
Sun, 14 January 2007 20:38 |
Deej [4]
Messages: 1292
Registered: January 2007
|
Senior Member |
|
|
und 6K for that unit.
Yup, $6k, but sold it to you for $3k if you promised to include
the BASE logo on every release you used it on (like Aphex did
with the original Exciters).
NeilApple?
David.
James McCloskey wrote:
> I'm saying her death and her sons death were way too convenient. She was
> also recently married! Who do you think will get the money?
>
> "Neil" <OIUOIU@OIU.com> wrote:
>
>>Well, she just gave birth to a baby girl, so I would think her
>>little daughter will end up with it, along with whomever wins
>>the "who's the daddy?" dispute, as a trustee.
>>
>>...or are you saying the record labels did?
>>
>>:)
>>
>>
>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
>>>up and think about it!
>>>
>>>"Neil" <OIUOIU@OIU.com> wrote:
>>>
>>>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>>>baron, it's still clear that money and/or fame can't buy you
>>>>happiness, it can just rent it for awhile:
>>>>
>>>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>>>
>>>>
>>>
>According to the info here the marriage was not legally binding. I bet he
will contest it. It will be interesting to see how this plays out.
http://en.wikipedia.org/wiki/Anna_Nicole_Smith
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>I'm saying her death and her sons death were way too convenient. She was
>also recently married! Who do you think will get the money?
>
>"Neil" <OIUOIU@OIU.com> wrote:
>>
>>Well, she just gave birth to a baby girl, so I would think her
>>little daughter will end up with it, along with whomever wins
>>the "who's the daddy?" dispute, as a trustee.
>>
>>...or are you saying the record labels did?
>>
>>:)
>>
>>
>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!! Wake
>>>up and think about it!
>>>
>>>"Neil" <OIUOIU@OIU.com> wrote:
>>>>
>>>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>>>baron, it's still clear that money and/or fame can't buy you
>>>>happiness, it can just rent it for awhile:
>>>>
>>>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>>>
>>>>
>>>
>>
>Heh, I find this amusing, and thought I'd share it with the group. This is a
link to a band I'm currently drumming for (I'm *not* a drummer) - Forty
Minutes of Hell. It's a pretty rowdy group, but all in fun, and when I
started mixing it I goofed off with pushing the output of an EDS comp on the
L/R buss. It is a bit sloppy, rude, and I'm sure there are slight clips here
and there..... but it works for the band - and it's really freaking LOUD.
Makes me laugh. So - don't play it for your kids, but some of you might
appreciate it. The band's video on their myspace page is.... amusing too. :)
! ? And, if anyone's going down for sxsw, we'll be down around there then.
the album is here.... http://www.carlamburn.com/fmoh.htm
the myspace is here.... http://www.myspace.com/fortyminutesofhell
rock on,
-CarlHow much money can this basket-case chick have had, though?
She really never did get the $400+ Million judgement appeal, and
I'm sure she's got nothing left from however little her reality
show paid her, so what's left? The TrimSpa endorsement money?
Neil
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>According to the info here the marriage was not legally binding. I bet
he
>will contest it. It will be interesting to see how this plays out.
>
>http://en.wikipedia.org/wiki/Anna_Nicole_Smith
>
>"James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>I'm saying her death and her sons death were way too convenient. She was
>>also recently married! Who do you think will get the money?
>>
>>"Neil" <OIUOIU@OIU.com> wrote:
>>>
>>>Well, she just gave birth to a baby girl, so I would think her
>>>little daughter will end up with it, along with whomever wins
>>>the "who's the daddy?" dispute, as a trustee.
>>>
>>>...or are you saying the record labels did?
>>>
>>>:)
>>>
>>>
>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>>
>>>>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!!
Wake
>>>>up and think about it!
>>>>
>>>>"Neil" <OIUOIU@OIU.com> wrote:
>>>>>
>>>>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>>>>baron, it's still clear that money and/or fame can't buy you
>>>>>happiness, it can just rent it for awhile:
>>>>>
>>>>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>>>>
>>>>>
>>>>
>>>
>>
>Some of us find beats and bass lines to be at least as interesting as melody
and harmony. Which is not to say that all hip hop is lacking in melodic or
harmonic interest, just that there is a universe in the rhythm.
Jamie K <Meta@Dimensional.com> wrote:
>
>People talking and yelling in rhythm over a sonic background can be
>listenable, even compelling. But it's harder to be as _musical_ as you
>can be in genres that make greater use of melody and development.
>
>Lyrically, when it's just shock lyrics it's not particularly
>interesting. Even though not all rapping is like that, the genre has
>that reputation.
>
>When posturing and dance have to take up the slack, sometimes the
>dancing is spectacular. Other times it's mostly about marching back and
>forth, repetitive gesturing, crotch grabbing and other simplistic and
>cheesy moves.
>
>So really, it all depends on the piece and the performer.
>
>I could say similar things about other genres. So it's not the genre,
>per se, it's the results that opens rappers to criticism from people who
>would rather hear something more musical.
>
>Also, if you're looking for a virtuostic performance on an instrument or
>amazing singing, there's not much there in a lot of hip hop. Some, yes,
>but generally it doesn't deliver those goods. So the question of musical
>talent comes up.
>
>To point those aspects out isn't dismissing the genre out of hand, it's
>just recognizing some of the limitations that have become obvious since
>the day when rapping actually was something new and fresh, and that's
>been a while.
>
>Cheers,
> -Jamie
> www.JamieKrutz.com
>
>
>chuck duffy wrote:
>> You know the thing that has always bugged me about this group is how hiphop
>> gets dismissed out of hand almost every time its mentioned. If I close
my
>> eyes I can almost see the bumperstickers that say RAP=CRAP next to the
picture
>> of calvin peeing on the chevy.
>>
>> I love three chord rockers, love the who, stones, beatles, kinks. But
I
>> also (I'm dating myself) love innovative, sonically interesting, thought
>> provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>> I don't understand how anyone could listen to that and not find at least
>> something sonically or lyrically interesting. Who gives a rats ass if
it's
>> samples and loops put together.
>>
>> It also get's me thinking about intolerance. As many of you know, i am
a
>> PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
>> things he percieved to be innately 'worthless', how society was going
to
>> hell with violence, the emptyness of the consumer society, the list goes
>> on and on. One day he was raving on and on about a movie he had seen.
Couldn't
>> stop talking about it. Said it was the best thing he had seen in 20
years.
>> Go figure, guy can't stand to see a bloddy nose, change a diaper or hear
>> a curse word and his favorite movie of the the past 20 years turns out
to
>> be BOYS IN THE HOOD!!!!
>>
>>
>> "LaMont" <jjdpro@ameritech.net> wrote:
>>> Agreed..Those 2 genres are the titans..
>>>
>>> "DC" <dc@spammersinhell.com> wrote:
>>>> At my daughter's high school it's a big mix of everything, but
>>>> there are lots of people rockin' including black kids. Also
>>>> with a lot of music, the line between rock and rap is pretty
>>>> darn hard to find sometimes.
>>>>
>>>> DC
>>>>
>>>>
>>>> "LaMont" <jjdpro@ameritch.net> wrote:
>>>>> James , I'm talking about the teens..Most of teen, including my own
and
>>>> neighbors
>>>>> listen to Hip /Rap..
>>>>>
>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>> LaMont we live in the same place, and run in two different crowds,
not
>>>> everybody
>>>>>> here is in to RAP. Many are though.
>>>>>>
>>>>>> "LaMont" <jjdpro@ameritech.net> wrote:
>>>>>>> Not Me..I'm not surprised... Both Rock and RAP have been battling
each
>>>>> for
>>>>>>> the better part of the last 10 years. Rap
>>>>>>>
>>>>>>> RAP Sales have been dominate for the last 2 years with groups such
as
>>>> Outcast.
>>>>>>> But this where things get's confusing.. Both Outcast & Ludacris aven
>>> Em
>>>>>> &
>>>>>>> EM where catagorzed aS ROCK!!!! As is Jay-Z..
>>>>>>>
>>>>>>> So, you can see that how the numbers for Rock climbed. Some in the
industry
>>>>>>> calls this racism. I can tel you that in my neighborhood (Macomb)
Mi
>>> nearly
>>>>>>> all kid(Wjites , Blacks, Hispanic) listen to only Hip Hop rap..And
No
>>>> Rock..
>>>>>>> And that's the trend all over this world not just the US..
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>>> Music industry stats.
>>>>>>>>
>>>>>>>> http://home.businesswire.com/portal/site/google/index.jsp?nd mViewId=news_view&newsId=20070104005813&newsLang=en
>>>>>>>>
>>>>>>>> By genre, I'm surprised that Metal sold more than RAP. In fact,
I'm
>>>> surprised
>>>>>>>> that Rock is about three times bigger than RAP. You'd never know
it
>>>> by
>>>>>>> watching
>>>>>>>> MTV or by watching any music award shows. You'd think nothing is
bigger
>>>>>>>> than RAP.
>>>>>>>>
>>>>>>>> I was also surprised that the band No Doubt wasn't listed in the
top
>>>> ten
>>>>>>>> albums from 1991-2006. I read and was told by Matt Wilder and Tony
>>> Ferguson
>>>>>>>> (Interscope Records) that Tragic Kingdom sold around 16 million
records
>>>>>>> and
>>>>>>>> set sales records???
>>>>>>>>
>>>>>>>> http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>>
>>>>>>>> James
>>EK Sound <askme@nospam.com> wrote:
>Apple?
>
>David.
>
Well, I think, I kind of feel, I believe and I think Apple and the record
industry had nothing to do with this!
James
>James McCloskey wrote:
>> I'm saying her death and her sons death were way too convenient. She
was
>> also recently married! Who do you think will get the money?
>>
>> "Neil" <OIUOIU@OIU.com> wrote:
>>
>>>Well, she just gave birth to a baby girl, so I would think her
>>>little daughter will end up with it, along with whomever wins
>>>the "who's the daddy?" dispute, as a trustee.
>>>
>>>...or are you saying the record labels did?
>>>
>>>:)
>>>
>>>
>>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>>Yeah, and who and what ended up with all her money!!!!!!!!!!!!!!!!!
Wake
>>>>up and think about it!
>>>>
>>>>"Neil" <OIUOIU@OIU.com> wrote:
>>>>
>>>>>..or Record Label Exec, or former-Playmate-Widow-of-an-oil
>>>>>baron, it's still clear that money and/or fame can't buy you
>>>>>happiness, it can just rent it for awhile:
>>>>>
>>>>> http://www.cnn.com/2007/SHOWBIZ/TV/02/08/anna.nicole.collaps es/index.html
>>>>>
>>>>>
>>>>
>>Of course not, saying something isn't even remotely original isn't dismissive
at all. Farthest from it.
It's in the beats guys, and the bass. And if you think it's easy cook up
a groove half as cool as the Diwali riddim and play it for me. Listen to
Sean Paul's 'Get Busy' to hear Diwali, it was the supernova riddim of about
3 years ago and you'll still hear it now and then. Maybe try any of the recent
Missy Elliot records, Timbaland usually saves his choicest beats for her
and he has his ear tuned to dancehall more than almost anyone in US hip hop.
Oh yeah, and scratch me up juggled beat like Qbert while you're at it since
it's so easy and unoriginal and all.
TCB
P.S. The last truly original band was Kraftwerk, so even if hip hop ended
with Kurtis Blow it's more current.
"Neil" <IUOIU@OIU.com> wrote:
>
>FWIW, I wasn't dismissing rap or hip-hop out-of-hand,
>allimsayinis: don't try & tell me that it's groundbreaking or
>even remotely original.
>
>When the only thing new or fresh is a vocal line, then there
>really hasn't been anything "original" in that genre since Kurtis
>Blow.
>
>Also, what's "PK"?
>
>
>Neil
>
>
>"TCB" <nobody@ishere.com> wrote:
>>
>>I've never understood it either. I mean, I'm 37, white, played in blues/jazz
>>bands for years, and I can enjoy hip hop so I would think everyone could.
>>For me it was the first time I heard 'Fight the Power' that I realized
there
>>was something going on that demanded my immediate attention.
>>
>>We used to have Derek around which helped a bit.
>>
>>Oh well, more cool tunes for me,
>>
>>TCB
>>
>>"chuck duffy" <c@c.com> wrote:
>>>
>>>You know the thing that has always bugged me about this group is how hiphop
>>>gets dismissed out of hand almost every time its mentioned. If I close
>>my
>>>eyes I can almost see the bump
|
|
|
|
| Re: To add fuel to the fire [message #78385 is a reply to message #78376] |
Sun, 14 January 2007 21:14 |
Dedric Terry
Messages: 788
Registered: June 2007
|
Senior Member |
|
|
er
>>>>>>>>>than RAP.
>>>>>>>>>
>>>>>>>>>I was also surprised that the band No Doubt wasn't listed in the
>top
>>>>>ten
>>>>>>>>>albums from 1991-2006. I read and was told by Matt Wilder and Tony
>>>>Ferguson
>>>>>>>>>(Interscope Records) that Tragic Kingdom sold around 16 million
records
>>>>>>>>and
>>>>>>>>>set sales records???
>>>>>>>>>
>>>>>>>>>http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>>>
>>>>>>>>>James
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>Challenging someone to put out something in a genre that they
don't work in is a pretty irrelevant challenge, kinda like
if I were to suggest that you go try to deadlift 1,000 pounds
if you were to bemoan the fact that our powerlifters always lose
to the eastern european powerlifters. Would my challenging you
to do that suddenly make you wrong?
Enjoy your groove thang.
Neil
"TCB" <nobody@ishere.com> wrote:
>
>Of course not, saying something isn't even remotely original isn't dismissive
>at all. Farthest from it.
>
>It's in the beats guys, and the bass. And if you think it's easy cook up
>a groove half as cool as the Diwali riddim and play it for me. Listen to
>Sean Paul's 'Get Busy' to hear Diwali, it was the supernova riddim of about
>3 years ago and you'll still hear it now and then. Maybe try any of the
recent
>Missy Elliot records, Timbaland usually saves his choicest beats for her
>and he has his ear tuned to dancehall more than almost anyone in US hip
hop.
>
>
>Oh yeah, and scratch me up juggled beat like Qbert while you're at it since
>it's so easy and unoriginal and all.
>
>TCB
>
>P.S. The last truly original band was Kraftwerk, so even if hip hop ended
>with Kurtis Blow it's more current.
>
>"Neil" <IUOIU@OIU.com> wrote:
>>
>>FWIW, I wasn't dismissing rap or hip-hop out-of-hand,
>>allimsayinis: don't try & tell me that it's groundbreaking or
>>even remotely original.
>>
>>When the only thing new or fresh is a vocal line, then there
>>really hasn't been anything "original" in that genre since Kurtis
>>Blow.
>>
>>Also, what's "PK"?
>>
>>
>>Neil
>>
>>
>>"TCB" <nobody@ishere.com> wrote:
>>>
>>>I've never understood it either. I mean, I'm 37, white, played in blues/jazz
>>>bands for years, and I can enjoy hip hop so I would think everyone could.
>>>For me it was the first time I heard 'Fight the Power' that I realized
>there
>>>was something going on that demanded my immediate attention.
>>>
>>>We used to have Derek around which helped a bit.
>>>
>>>Oh well, more cool tunes for me,
>>>
>>>TCB
>>>
>>>"chuck duffy" <c@c.com> wrote:
>>>>
>>>>You know the thing that has always bugged me about this group is how
hiphop
>>>>gets dismissed out of hand almost every time its mentioned. If I close
>>>my
>>>>eyes I can almost see the bumperstickers that say RAP=CRAP next to the
>>picture
>>>>of calvin peeing on the chevy.
>>>>
>>>>I love three chord rockers, love the who, stones, beatles, kinks. But
>>I
>>>>also (I'm dating myself) love innovative, sonically interesting, thought
>>>>provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>>>> I don't understand how anyone could listen to that and not find at least
>>>>something sonically or lyrically interesting. Who gives a rats ass if
>>it's
>>>>samples and loops put together.
>>>>
>>>>It also get's me thinking about intolerance. As many of you know, i
am
>>>a
>>>>PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
>>>>things he percieved to be innately 'worthless', how society was going
>to
>>>>hell with violence, the emptyness of the consumer society, the list goes
>>>>on and on. One day he was raving on and on about a movie he had see
|
|
|
|
| Re: To add fuel to the fire [message #78389 is a reply to message #78385] |
Sun, 14 January 2007 23:59 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
DS-100 cards
and
>am working on upgrading my Paris system to a 3 card system. The 2 cards
>came with the ribbon cables to connect them together and I had a local company
>make me an extra 16-pin and 1-pin cable to connect the first one up to them.
> I switched around a bunch of PCI cards in my computer and plugged all the
>cards in, using the daisy-chain methodology described in the manual.
>
>For 16-pin connectors:
>Top left to middle right
>Middle left to bottom right
>Bottom left to top right
>
>For 10-pin connectors:
>Top right to middle right
>Middle left to bottom left
>
>Everything boots up just fine, but when I go to start up Paris, it runs
and
>then give me an error message that I don't have the master EDS card hooked
>up to my hardware (my hardware is an MEC) and that I should check my connection.
> The connection seems to be working as the lights on my MEC seem to blink
>on and off when I plug it in. I have gotten this exact same error message
>from Paris 2.2 and Paris 3.0.
>
>Here are a few ideas that are making me scratch my head:
>
>1. The manual mentions synching my EDS cards via BNC cables, but I can't
>seem to find any BNC connectors on the EDS cards. So I don't really know
>what they're talking about there.
>
>2. When I upgraded my EDS cards I also added extra input and output modules
>to my MEC. I don't know if this has any bearing on the problem that I'm
>having.
>
>I feel like the most likely problem that I'm having is that I've done something
>wrong with the way I've inter-connected my EDS cards, but I really have
no
>idea and I don't know anyone nearby here in San Diego who has any sort of
>expertise with these systems. If any of you guys have any sort of feedback
>or ideas for me, please let me know. I'll be forever grateful.
>Thanks,
>DavidNeil,
And I've been saying the opposite, and I know your post is not intended in
reply to me.
Why dismiss a genre as limited and just loops and samples, when it's not
even a genre you are interested in?
Chuck
"Neil" <OIUOIU@OIU.com> wrote:
>
>Challenging someone to put out something in a genre that they
>don't work in is a pretty irrelevant challenge, kinda like
>if I were to suggest that you go try to deadlift 1,000 pounds
>if you were to bemoan the fact that our powerlifters always lose
>to the eastern european powerlifters. Would my challenging you
>to do that suddenly make you wrong?
>
>Enjoy your groove thang.
>
>Neil
>
>"TCB" <nobody@ishere.com> wrote:
>>
>>Of course not, saying something isn't even remotely original isn't dismissive
>>at all. Farthest from it.
>>
>>It's in the beats guys, and the bass. And if you think it's easy cook up
>>a groove half as cool as the Diwali riddim and play it for me. Listen to
>>Sean Paul's 'Get Busy' to hear Diwali, it was the supernova riddim of about
>>3 years ago and you'll still hear it now and then. Maybe try any of the
>recent
>>Missy Elliot records, Timbaland usually saves his choicest beats for her
>>and he has his ear tuned to dancehall more than almost anyone in US hip
>hop.
>>
>>
>>Oh yeah, and scratch me up juggled beat like Qbert while you're at it since
>>it's so easy and unoriginal and all.
>>
>>TCB
>>
>>P.S. The last truly original band was Kraftwerk, so even if hip hop ended
>>with Kurtis Blow it's more current.
>>
>>"Neil" <IUOIU@OIU.com> wrote:
>>>
>>>FWIW, I wasn't dismissing rap or hip-hop out-of-hand,
>>>allimsayinis: don't try & tell me that it's groundbreaking or
>>>even remotely original.
>>>
>>>When the only thing new or fresh is a vocal line, then there
>>>really hasn't been anything "original" in that genre since Kurtis
>>>Blow.
>>>
>>>Also, what's "PK"?
>>>
>>>
>>>Neil
>>>
>>>
>>>"TCB" <nobody@ishere.com> wrote:
>>>>
>>>>I've never understood it either. I mean, I'm 37, white, played in blues/jazz
>>>>bands for years, and I can enjoy hip hop so I would think everyone could.
>>>>For me it was the first time I heard 'Fight the Power' that I realized
>>there
>>>>was something going on that demanded my immediate attention.
>>>>
>>>>We used to have Derek around which helped a bit.
>>>>
>>>>Oh well, more cool tunes for me,
>>>>
>>>>TCB
>>>>
>>>>"chuck duffy" <c@c.com> wrote:
>>>>>
>>>>>You know the thing that has always bugged me about this group is how
>hiphop
>>>>>gets dismissed out of hand almost every time its mentioned. If I close
>>>>my
>>>>>eyes I can almost see the bumperstickers that say RAP=CRAP next to the
>>>picture
>>>>>of calvin peeing on the chevy.
>>>>>
>>>>>I love three chord rockers, love the who, stones, beatles, kinks. But
>>>I
>>>>>also (I'm dating myself) love innovative, sonically interesting, thought
>>>>>provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>>>>> I don't understand how anyone could listen to that and not find at
least
>>>>>something sonically or lyrically interesting. Who gives a rats ass
if
>>>it's
>>>>>samples and loops put together.
>>>>>
>>>>>It also get's me thinking ab
|
|
|
|
| Re: To add fuel to the fire [message #78391 is a reply to message #78379] |
Mon, 15 January 2007 02:21 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
st-jazz
jams, with actual musicians playing live instruments behind a very
socially conscious rapper, they are better than most. But still not
something I'd listen to every day. There's no melody, very little
development, no singing, and no playing that makes my skin tingle. It
doesn't suck but it doesn't climb the musical mountain to a really
stunning view.
There's room in the world for a lot of different tastes. So enjoy what
you dig but don't be surprised if other people simply don't dig it.
Cheers,
-Jamie
www.JamieKrutz.com
> Jamie K <Meta@Dimensional.com> wrote:
>> People talking and yelling in rhythm over a sonic background can be
>> listenable, even compelling. But it's harder to be as _musical_ as you
>> can be in genres that make greater use of melody and development.
>>
>> Lyrically, when it's just shock lyrics it's not particularly
>> interesting. Even though not all rapping is like that, the genre has
>> that reputation.
>>
>> When posturing and dance have to take up the slack, sometimes the
>> dancing is spectacular. Other times it's mostly about marching back and
>
>> forth, repetitive gesturing, crotch grabbing and other simplistic and
>> cheesy moves.
>>
>> So really, it all depends on the piece and the performer.
>>
>> I could say similar things about other genres. So it's not the genre,
>> per se, it's the results that opens rappers to criticism from people who
>
>> would rather hear something more musical.
>>
>> Also, if you're looking for a virtuostic performance on an instrument or
>
>> amazing singing, there's not much there in a lot of hip hop. Some, yes,
>
>> but generally it doesn't deliver those goods. So the question of musical
>
>> talent comes up.
>>
>> To point those aspects out isn't dismissing the genre out of hand, it's
>
>> just recognizing some of the limitations that have become obvious since
>
>> the day when rapping actually was something new and fresh, and that's
>> been a while.
>>
>> Cheers,
>> -Jamie
>> www.JamieKrutz.com
>>
>>
>> chuck duffy wrote:
>>> You know the thing that has always bugged me about this group is how hiphop
>>> gets dismissed out of hand almost every time its mentioned. If I close
> my
>>> eyes I can almost see the bumperstickers that say RAP=CRAP next to the
> picture
>>> of calvin peeing on the chevy.
>>>
>>> I love three chord rockers, love the who, stones, beatles, kinks. But
> I
>>> also (I'm dating myself) love innovative, sonically interesting, thought
>>> provoking hiphop by guys like dela soul, pharcyde and tribe called quest.
>>> I don't understand how anyone could listen to that and not find at least
>>> something sonically or lyrically interesting. Who gives a rats ass if
> it's
>>> samples and loops put together.
>>>
>>> It also get's me thinking about intolerance. As many of you know, i am
> a
>>> PK. My dad is nutty as a fruitcake intolerant. Bad language, bad manners,
>>> things he percieved to be innately 'worthless', how society was going
> to
>>> hell with violence, the emptyness of the consumer society, the list goes
>>> on and on. One day he was raving on and on about a movie he had seen.
> Couldn't
>>> stop talking about it. Said it was the best thing he had seen in 20
> years.
>>> Go figure, guy can't stand to see a bloddy nose, change a diaper or hear
>>> a curse word and his favorite movie of the the past 20 years turns out
> to
>>> be BOYS IN THE HOOD!!!!
>>>
>>>
>>> "LaMont" <jjdpro@ameritech.net> wrote:
>>>> Agreed..Those 2 genres are the titans..
>>>>
>>>> "DC" <dc@spammersinhell.com> wrote:
>>>>> At my daughter's high school it's a big mix of everything, but
>>>>> there are lots of people rockin' including black kids. Also
>>>>> with a lot of music, the line between rock and rap is pretty
>>>>> darn hard to find sometimes.
>>>>>
>>>>> DC
>>>>>
>>>>>
>>>>> "LaMont" <jjdpro@ameritch.net> wrote:
>>>>>> James , I'm talking about the teens..Most of teen, including my own
> and
>>>>> neighbors
>>>>>> listen to Hip /Rap..
>>>>>>
>>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>> LaMont we live in the same place, and run in two different crowds,
> not
>>>>> everybody
>>>>>>> here is in to RAP. Many are though.
>>>>>>>
>>>>>>> "LaMont" <jjdpro@ameritech.net> wrote:
>>>>>>>> Not Me..I'm not surprised... Both Rock and RAP have been battling
> each
>>>>>> for
>>>>>>>> the better part of the last 10 years. Rap
>>>>>>>>
>>>>>>>> RAP Sales have been dominate for the last 2 years with groups such
> as
>>>>> Outcast.
>>>>>>>> But this where things get's confusing.. Both Outcast & Ludacris aven
>>>> Em
>>>>>>> &
>>>>>>>> EM where catagorzed aS ROCK!!!! As is Jay-Z..
>>>>>>>>
>>>>>>>> So, you can see that how the numbers for Rock climbed. Some in the
> industry
>>>>>>>> calls this racism. I can tel you that in my neighborhood (Macomb)
> Mi
>>>> nearly
>>>>>>>> all kid(Wjites , Blacks, Hispanic) listen to only Hip Hop rap..And
> No
>>>>> Rock..
>>>>>>>> And that's the trend all over this world not just the US..
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>>>> Music industry stats.
>>>>>>>>>
>>>>>>>>> http://home.businesswire.com/portal/site/google/index.jsp?nd mViewId=news_view&newsId=20070104005813&newsLang=en
>>>>>>>>>
>>>>>>>>> By genre, I'm surprised that Metal sold more than RAP. In fact,
> I'm
>>>>> surprised
>>>>>>>>> that Rock is about three times bigger than RAP. You'd never know
> it
>>>>> by
>>>>>>>> watching
>>>>>>>>> MTV or by watching any music award shows. You'd think nothing is
> bigger
>>>>>>>>> than RAP.
>>>>>>>>>
>>>>>>>>> I was also surprised that the band No Doubt wasn't listed in the
> top
>>>>> ten
>>>>>>>>> albums from 1991-2006. I read and was told by Matt Wilder and Tony
>>>> Ferguson
>>>>>>>>> (Interscope Records) that Tragic Kingdom sold around 16 million
> records
>>>>>>>> and
>>>>>>>>> set sales records???
>>>>>>>>>
>>>>>>>>> http://www.taxi.com/faq/ar/ferguson.html
>>>>>>>>>
>>>>>>>>> James
>Awesome Neil. Yeah, this band is all about having crazy fun - I'd say you
got it. I will say, the live shows are amazing though - it'll rock your
balls off. The singer is an insane-go-nuts-Iggy-Pop-type, and very often
injures himself.... it's a blast to watch. Attached is a photo from out last
show - I setup a winch/harness rig and we hung the singer over the audience
(all of 5' up) for the set. It was halloween, so he was an angel. :)
rock on,
-Carl
"Nil" <IOUOIU@OIU.com> wrote in message news:45cbc399$1@linux...
>
> I listened to a few of those clips, and I don't know if this is
> the reaction you were looking for, but it's pretty hilarious.
>
> In a good way.
>
> :D
> Neil
>
>
> "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
> >Heh, I find this amusing, and thought I'd share it with the group. This
> is a
> >link to a band I'm currently drumming for (I'm *not* a drummer) - Forty
> >Minutes of Hell. It's a pretty rowdy group, but all in fun, and when I
> >started mixing it I goofed off with pushing the output of an EDS comp on
> the
> >L/R buss. It is a bit sloppy, rude, and I'm sure there are slight clips
> here
> >and there..... but it works for the band - and it's really freaking LOUD.
> >Makes me laugh. So - don't play it for your kids, but some of you might
> >appreciate it. The band's video on their myspace page is.... amusing too.
> :)
> >! ? And, if anyone's going down for sxsw, we'll be down around there
then.
> >
> >the album is here.... http://www.carlamburn.com/fmoh.htm
> >
> >the myspace is here.... http://www.myspace.com/fortyminutesofhell
> >
> >rock on,
> >-Carl
> >
> >
>
Hehe ,
The lauph is for "poor" DJ who sold his Paris rig (I got one of his adat
cards thanks DJ) when he could not have two adat cards on single mec under
XP...
Well I just hooked it up on my third mec along with another adat card (total
two adat cards on same mec) and no other cards.
One thing for sure is two adat cards work at least without any in and out
cards.
I have put the first adat card on slot 6 and the other on slot 4.
Regards,
Dimitrios1699 @ SW
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
news:45c94b4b$1@linux...
>I have a 428 with the Dig card... love it. I can get great results with
>many sources, and the conversion on the Dig card is excellent. Big bang
>for the buck. Not colored by any means... just a nice clean pre.
>
> David.
>
> Robert wrote:
>> Anyone have/use one of these?
>> Was also looking at the Mackie Onyx.
>>
>> Thanks
>> Rob http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_headJamie K <Meta@Dimensional.com> wrote:
>But if you and Chuck are wondering why not everyone is thoroughly amazed
by hip hop in general, there are reasons people may want to look elsewhere
without it being a knee-jerk diss."
Jamie I never asked anyone to be amazed. I just don't understand the overly
simplistic rap is just samples and loops bit.
For example, i'm not a fan of symphonic death metal. I think that the use
of large scale symphonic sample libraries is a cheap demeaning cheat to real
orchestra players, conductors and composers who have spent their lives honing
their skills and applying their craft. These symphonic death metal guys
come along with huge oversized midi rigs, gigantic over-powered computers
with massive amounts of RAM, and ham fistedly thrust away at their touch
sensitive keyboards in a frenzy of mellodramatic hair brained insanity, stopping
only to print out scores they never wrote (and definitely can't read) to
impress their symphonic death metal groupies.
It makes me sick to my stomache, not only for the appalling lack of musicianship,
but for the atrocious misunderstanding of the nature of death, and the very
idea that they can sufficiently illuminate the twin realities of lifelessness
and the void using the self-limiting vocabulary of symphonic death metal.If you read the last 2 or 3 lines, you'll note that his sayonara is to PC's,
not Windows; despite the title of the article.
W. Mark Wilson
"John" <no@no.com> wrote in message news:45cc74d4$1@linux...
> http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_headHey Carl,
Your post and the photo take me back...
...smashing up cheap acoustic guitars, playing out in boxer shorts, audience
members rolling around on a beer soaked floor "dancing," and whole bar
rooms emptying out as the crowd went outside, circled the building, and did
the bunny hop. Good clean fun :-)
MR
"Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote in message
news:45cbe970@linux...
> Awesome Neil. Yeah, this band is all about having crazy fun - I'd say you
> got it. I will say, the live shows are amazing though - it'll rock your
> balls off. The singer is an insane-go-nuts-Iggy-Pop-type, and very often
> injures himself.... it's a blast to watch. Attached is a photo from out
last
> show - I setup a winch/harness rig and we hung the singer over the
audience
> (all of 5' up) for the set. It was halloween, so he was an angel. :)
>
> rock on,
> -Carl
>
> "Nil" <IOUOIU@OIU.com> wrote in message news:45cbc399$1@linux...
> >
> > I listened to a few of those clips, and I don't know if this is
> > the reaction you were looking for, but it's pretty hilarious.
> >
> > In a good way.
> >
> > :D
> > Neil
> >
> >
> > "Carl Amburn" <carlamburn@hotNOSPAMmail.com> wrote:
> > >Heh, I find this amusing, and thought I'd share it with the group. This
> > is a
> > >link to a band I'm currently drumming for (I'm *not* a drummer) - Forty
> > >Minutes of Hell. It's a pretty rowdy group, but all in fun, and when I
> > >started mixing it I goofed off with pushing the output of an EDS comp
on
> > the
> > >L/R buss. It is a bit sloppy, rude, and I'm sure there are slight clips
> > here
> > >and there..... but it works for the band - and it's really freaking
LOUD.
> > >Makes me laugh. So - don't play it for your kids, but some of you might
> > >ap
|
|
|
|
| Re: To add fuel to the fire [message #78392 is a reply to message #78368] |
Mon, 15 January 2007 02:37 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
preciate it. The band's video on their myspace page is.... amusing
too.
> > :)
> > >! ? And, if anyone's going down for sxsw, we'll be down around there
> then.
> > >
> > >the album is here.... http://www.carlamburn.com/fmoh.htm
> > >
> > >the myspace is here.... http://www.myspace.com/fortyminutesofhell
> > >
> > >rock on,
> > >-Carl
> > >
> > >
> >
>
>
>This is a multi-part message in MIME format.
------=_NextPart_000_001F_01C74C27.F93CDEE0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
How would you guys go about getting those intimate sounding vocals with =
lots of bass...low end in them.
Genre like you would hear Sinatra or Dino sing.
Like Christmas carols.
Kind of like a radio announcer voice but singing.
I heard a CD that was Christamas songs and there was this type of song.
I just like the intamacy and low end.
I have not been able to achieve this before.
Obviousely lots of processing, but it doesnt really sound overly =
processed.
--=20
Thanks,
Brandon
------=_NextPart_000_001F_01C74C27.F93CDEE0
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 6.00.2900.3020" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial>How would you guys go about getting those =
intimate=20
sounding vocals with lots of bass...low end in them.</FONT></DIV>
<DIV><FONT face=3DArial>Genre like you would hear Sinatra or Dino=20
sing.</FONT></DIV>
<DIV><FONT face=3DArial>Like Christmas carols.</FONT></DIV>
<DIV><FONT face=3DArial>Kind of like a radio announcer voice but=20
singing.</FONT></DIV>
<DIV><FONT face=3DArial>I heard a CD that was Christamas songs and there =
was this=20
type of song.</FONT></DIV>
<DIV><FONT face=3DArial>I just like the intamacy and low =
end.</FONT></DIV>
<DIV><FONT face=3DArial>I have not been able to achieve this =
before.</FONT></DIV>
<DIV><FONT face=3DArial>Obviousely lots of processing, but it doesnt =
really sound=20
overly processed.</FONT></DIV>
<DIV><FONT face=3DArial></FONT> </DIV><FONT face=3DArial>
<DIV><BR>-- <BR>Thanks,</DIV>
<DIV> </DIV>
<DIV>Brandon </DIV></FONT></BODY></HTML>
------=_NextPart_000_001F_01C74C27.F93CDEE0--Hey Dimitrios
Am I correct in assuming these two cards are in your third MEC?
And which position is this MEC in your Paris setup A, B or C
Thanks
DOn
"Dimitrios" <musurgio@otenet.gr> wrote in message news:45cc5f22$1@linux...
>
> Hehe ,
> The lauph is for "poor" DJ who sold his Paris rig (I got one of his adat
> cards thanks DJ) when he could not have two adat cards on single mec under
> XP...
> Well I just hooked it up on my third mec along with another adat card
> (total
> two adat cards on same mec) and no other cards.
> One thing for sure is two adat cards work at least without any in and out
> cards.
> I have put the first adat card on slot 6 and the other on slot 4.
> Regards,
> DimitriosGood point. Do you agree he appears to be totally straddling the fence
on both XP and Mac OS ?
W. Mark Wilson wrote:
> If you read the last 2 or 3 lines, you'll note that his sayonara is to PC's,
> not Windows; despite the title of the article.
>
> W. Mark Wilson
>
> "John" <no@no.com> wrote in message news:45cc74d4$1@linux...
>> http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_head
>
>Large diaphram mic like C1 studio projects mic and princeton digital
reverb stereo room on Vocal Chamber preset 1 with 15% mix will do very
nicely.
Also, stand back 1 foot from the mic and crank up the gain into the mixer.
Brandon wrote:
> How would you guys go about getting those intimate sounding vocals with
> lots of bass...low end in them.
> Genre like you would hear Sinatra or Dino sing.
> Like Christmas carols.
> Kind of like a radio announcer voice but singing.
> I heard a CD that was Christamas songs and there was this type of song.
> I just like the intamacy and low end.
> I have not been able to achieve this before.
> Obviousely lots of processing, but it doesnt really sound overly processed.
>
>
> --
> Thanks,
>
> BrandonIt really sounds like there is more than that.
Like major compression on the lower register.
You really hear the smooth low end of the male vocalist.
--
Thanks,
Brandon
"John" <no@no.com> wrote in message news:45cc8eb3@linux...
> Large diaphram mic like C1 studio projects mic and princeton digital
> reverb stereo room on Vocal Chamber preset 1 with 15% mix will do very
> nicely.
>
> Also, stand back 1 foot from the mic and crank up the gain into the mixer.
>
> Brandon wrote:
>> How would you guys go about getting those intimate sounding vocals with
>> lots of bass...low end in them.
>> Genre like you would hear Sinatra or Dino sing.
>> Like Christmas carols.
>> Kind of like a radio announcer voice but singing.
>> I heard a CD that was Christamas songs and there was this type of song.
>> I just like the intamacy and low end.
>> I have not been able to achieve this before.
>> Obviousely lots of processing, but it doesnt really sound overly
>> processed.
>> --
>> Thanks,
>> BrandonLD – U47, Sony C-37A, etc. Others work but these are the best.
Worked close for proximity.
Quality Pre like a Class A Neve.
Original LA-2A!!!!
1/4 turn counter clockwise of R37 (Side-Chain Pre-Emphasis)
Gene
"Brandon" <a@a.com> wrote:
>
>
>How would you guys go about getting those intimate sounding vocals with
=
>lots of bass...low end in them.
>Genre like you would hear Sinatra or Dino sing.
>Like Christmas carols.
>Kind of like a radio announcer voice but singing.
>I heard a CD that was Christamas songs and there was this type of song.
>I just like the intamacy and low end.
>I have not been able to achieve this before.
>Obviousely lots of processing, but it doesnt really sound overly =
>processed.
>
>
>--=20
>Thanks,
>
>Brandon
>
><!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 6.00.2900.3020" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff>
><DIV><FONT face=3DArial>How would you guys go about getting those =
>intimate=20
>sounding vocals with lots of bass...low end in them.</FONT></DIV>
><DIV><FONT face=3DArial>Genre like you would hear Sinatra or Dino=20
>sing.</FONT></DIV>
><DIV><FONT face=3DArial>Like Christmas carols.</FONT></DIV>
><DIV><FONT face=3DArial>Kind of like a radio announcer voice but=20
>singing.</FONT></DIV>
><DIV><FONT face=3DArial>I heard a CD that was Christamas songs and there
=
>was this=20
>type of song.</FONT></DIV>
><DIV><FONT face=3DArial>I just like the intamacy and low =
>end.</FONT></DIV>
><DIV><FONT face=3DArial>I have not been able to achieve this =
>before.</FONT></DIV>
><DIV><FONT face=3DArial>Obviousely lots of processing, but it doesnt =
>really sound=20
>overly processed.</FONT></DIV>
><DIV><FONT face=3DArial></FONT> </DIV><FONT face=3DArial>
><DIV><BR>-- <BR>Thanks,</DIV>
><DIV> </DIV>
><DIV>Brandon </DIV></FONT></BODY></HTML>
>
>"Brandon" <a@a.com> wrote:
>
>
>How would you guys go about getting those intimate sounding vocals with
=
>lots of bass...low end in them.
>Genre like you would hear Sinatra or Dino sing.
>Like Christmas carols.
>Kind of like a radio announcer voice but singing.
That's a U-47, baby!
NeilThe crooner sound is all about the great proximity effect from a
figure-8 ribbon mic.
Graham
Brandon wrote:
> How would you guys go about getting those intimate sounding vocals with
> lots of bass...low end in them.
> Genre like you would hear Sinatra or Dino sing.
> Like Christmas carols.
> Kind of like a radio announcer voice but singing.
> I heard a CD that was Christamas songs and there was this type of song.
> I just like the intamacy and low end.
> I have not been able to achieve this before.
> Obviousely lots of processing, but it doesnt really sound overly processed.
>
>
> --
> Thanks,
>
> BrandonK... so my AKG 414 with the Anteres mic modeler set to U-47 will do the
trick???
:-)
--
Thanks,
Brandon
"Neil" <IOUOIU@OIU.com> wrote in message news:45cc9a8a$1@linux...
>
> "Brandon" <a@a.com> wrote:
>>
>>
>>How would you guys go about getting those intimate sounding vocals with
> =
>>lots of bass...low end in them.
>>Genre like you would hear Sinatra or Dino sing.
>>Like Christmas carols.
>>Kind of like a radio announcer voice but singing.
>
> That's a U-47, baby!
>
> Neil
>
>Hi Dimitrios,
I did have two ADAT cards and an A8iT and A8oT working in one MEC running
XP, but couldn't get 2 ADAT cards working in more than one MEC. Good luck to
you getting this happening though. If you do, be careful to never disconnect
the word clock from the MECs. I know of one Parisite who actually had 2 x
ADAT cards working in 4 x MECs, but then he unhooked this WC cables during
some maintence or other and when he rebooted the system, he could never get
them all working again, at least last time I talked to him.
Great that you have this happening. Good luck. If anyone can figure this out
;o)
"Dimitrios" <musurgio@otenet.gr> wrote in message news:45cc5f22$1@linux...
>
> Hehe ,
> The lauph is for "poor" DJ who sold his Paris rig (I got one of his adat
> cards thanks DJ) when he could not have two
|
|
|
|
| Re: To add fuel to the fire [message #78397 is a reply to message #78391] |
Mon, 15 January 2007 06:45 |
Deej [4]
Messages: 1292
Registered: January 2007
|
Senior Member |
|
|
timal distance for the singer should be...you get in TOO
>>>>>close, and you get too many mouth noises; too far & you're not
>>>>>taking advantage of the promximity effect - I disagree with Gene
>>>>>on the compression, though - you don't always need it... some
>>>>>mics just kinda sound that way when worked up-close & personal
>>>>>like that. Dunno what you've got for mics, but if you've got a
>>>>>handful of LDCs, you should be able to find one that works.
>>>>>
>>>>>Neil
>>>>
>>>
>>>
>>
>>
>I'm all for the fence straddling. Why choose if you don't have to, and you
don't have to these days. Virtualization makes just about any combination
you want work just fine. Except of course that I can't choose XP as my base
operating system if I want to run osx. I'd love to do that, but as far as
I know I can't purchase osx and install it in a virtual machine.
Chuck
Jamie K <Meta@Dimensional.com> wrote:
>
>After living with it for a while, he chose OSX over Windows Vista. It
>will be interesting to see how many people move to OSX because of Vista.
>
>He is running XP under OSX using Parallels in order to have access to
>any XP software he still uses, a nice option for someone migrating from
>XP. You don't have to throw away your old software and you can move to
>OSX native software over time, at your own pace.
>
>But it looks like he's replaced most of his goto software with OSX apps,
>and just has a few programs he hasn't found replacements for yet.
>
>Also, he is very picky about screen capture programs. For manuals I've
>written I just used the built-in OSX grab program.
>
>Cheers,
> -Jamie
> www.JamieKrutz.com
>
>
>John wrote:
>> Good point. Do you agree he appears to be totally straddling the fence
>> on both XP and Mac OS ?
>>
>> W. Mark Wilson wrote:
>>> If you read the last 2 or 3 lines, you'll note that his sayonara is to
>>> PC's, not Windows; despite the title of the article.
>>>
>>> W. Mark Wilson
>>>
>>> "John" <no@no.com> wrote in message news:45cc74d4$1@linux...
>>>> http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_head
>
>>>
>>>
>>>I believe that you hit the nail on the head - it's mining the proximity effect.
Chuck
Graham Duncan <graham@grahamduncan.com> wrote:
>The crooner sound is all about the great proximity effect from a
>figure-8 ribbon mic.
>
>Graham
>
>Brandon wrote:
>> How would you guys go about getting those intimate sounding vocals with
>> lots of bass...low end in them.
>> Genre like you would hear Sinatra or Dino sing.
>> Like Christmas carols.
>> Kind of like a radio announcer voice but singing.
>> I heard a CD that was Christamas songs and there was this type of song.
>> I just
|
|
|
|
| Re: To add fuel to the fire [message #78398 is a reply to message #78392] |
Mon, 15 January 2007 06:48 |
Deej [4]
Messages: 1292
Registered: January 2007
|
Senior Member |
|
|
like the intamacy and low end.
>> I have not been able to achieve this before.
>> Obviousely lots of processing, but it doesnt really sound overly processed.
>>
>>
>> --
>> Thanks,
>>
>> BrandonAhhhh.......sorry Lou. I'm thinking of a midi interface, not ADAT. I have no
clue about any Steiny ADAT interface.
should have read your post more carefully,
;o)
"Louis Guarino Jr." <kateeba@snet.net> wrote in message
news:45ccb0ed$1@linux...
>
> I just found out (looking through boxes) that I still had a "Steinberg
> adat
> computer interface" like new in the box, that I used for a short time
> years
> ago.
>
> Are these things worth anything? I mean, does ANYONE still have a use
> for
> these kind of things, or should I throw it away?
>
> LouJamie K <Meta@Dimensional.com> wrote:
">I'll get you a bag to hork into."
See now you are just trying to get me going, cause if there's anything I
like less than symphonic death metal, it's proto weenie beat butchers like
Hork Bag.
ChuckTrue. I wouldn't choose XP as a boot OS but maybe Linux. It'd also be
nice to have the option of running OSX on homebrew boxes. Still, the
current situation is compelling enough to attract the guy who wrote the
article, and probably some number of others who, for whatever reasons,
aren't attracted to Vista and are looking for an alternative.
Cheers,
-Jamie
www.JamieKrutz.com
chuck duffy wrote:
> I'm all for the fence straddling. Why choose if you don't have to, and you
> don't have to these days. Virtualization makes just about any combination
> you want work just fine. Except of course that I can't choose XP as my base
> operating system if I want to run osx. I'd love to do that, but as far as
> I know I can't purchase osx and install it in a virtual machine.
>
> Chuck
>
> Jamie K <Meta@Dimensional.com> wrote:
>> After living with it for a while, he chose OSX over Windows Vista. It
>> will be interesting to see how many people move to OSX because of Vista.
>>
>> He is running XP under OSX using Parallels in order to have access to
>> any XP software he still uses, a nice option for someone migrating from
>
>> XP. You don't have to throw away your old software and you can move to
>> OSX native software over time, at your own pace.
>>
>> But it looks like he's replaced most of his goto software with OSX apps,
>
>> and just has a few programs he hasn't found replacements for yet.
>>
>> Also, he is very picky about screen capture programs. For manuals I've
>> written I just used the built-in OSX grab program.
>>
>> Cheers,
>> -Jamie
>> www.JamieKrutz.com
>>
>>
>> John wrote:
>>> Good point. Do you agree he appears to be totally straddling the fence
>
>>> on both XP and Mac OS ?
>>>
>>> W. Mark Wilson wrote:
>>>> If you read the last 2 or 3 lines, you'll note that his sayonara is to
>
>>>> PC's, not Windows; despite the title of the article.
>>>>
>>>> W. Mark Wilson
>>>>
>>>> "John" <no@no.com> wrote in message news:45cc74d4$1@linux...
>>>>> http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_head
>>>>
>>>>
>I haven't heard of them, but now it sounds like I'll need to get you a
bigger bag...
Cheers,
-Jamie
www.JamieKrutz.com
chuck duffy wrote:
> Jamie K <Meta@Dimensional.com> wrote:
>
> ">I'll get you a bag to hork into."
>
> See now you are just trying to get me going, cause if there's anything I
> like less than symphonic death metal, it's proto weenie beat butchers like
> Hork Bag.
>
> ChuckFWIW, I may be able to explain some of that to make sense to you. Think of
the music not as a death (as in real life) but more in a comic book / Alice
Cooper context. It is not real, it's a fantasy land for this genre' -
although there are always idiots out there that don't understand and take it
WAY too far...
As to the orchestral part of it, it's an extension, in my experiences, of
the limitations of being tuned down and very heavily distored. Sort of like
when they kick an ac gtr piece out, only an extension of this thinking. It's
an expanded view of their skills I have found, and that's pretty cool. Most
of (note, I said -most-) the death metal guys I've worked with/around are
quite thoughtful and intelligent. Sadly, much more so than the bible belt
free riding idiots from religious groups I have in the past had to deal
with.
FWIW anyway. I'm of the mind that you get it being a PK but if not I hope
I've only illuminated and not offended.
AA
"chuck duffy" <c@c.com> wrote in message news:45cc752d$1@linux...
>
> Jamie K <Meta@Dimensional.com> wrote:
>
>>But if you and Chuck are wondering why not everyone is thoroughly amazed
> by hip hop in general, there are reasons people may want to look elsewhere
> without it being a knee-jerk diss."
>
> Jamie I never asked anyone to be amazed. I just don't understand the
> overly
> simplistic rap is just samples and loops bit.
>
> For example, i'm not a fan of symphonic death metal. I think that the use
> of large scale symphonic sample libraries is a cheap demeaning cheat to
> real
> orchestra players, conductors and composers who have spent their lives
> honing
> their skills and applying their craft. These symphonic death metal guys
> come along with huge oversized midi rigs, gigantic over-powered computers
> with massive amounts of RAM, and ham fistedly thrust away at their touch
> sensitive keyboards in a frenzy of mellodramatic hair brained insanity,
> stopping
> only to print out scores they never wrote (and definitely can't read) to
> impress their symphonic death metal groupies.
>
> It makes me sick to my stomache, not only for the appalling lack of
> musicianship,
> but for the atrocious misunderstanding of the nature of death, and the
> very
> idea that they can sufficiently illuminate the twin realities of
> lifelessness
> and the void using the self-limiting vocabulary of symphonic death metal.
>
>
>
>This is a multi-part message in MIME format.
------=_NextPart_000_0049_01C74C4B.54AEF9C0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
RE20, proximity effect and a good compressor would be the place I'd =
start.=20
AA
"Brandon" <a@a.com> wrote in message news:45cc8ba5$1@linux...
How would you guys go about getting those intimate sounding vocals =
with lots of bass...low end in them.
Genre like you would hear Sinatra or Dino sing.
Like Christmas carols.
Kind of like a radio announcer voice but singing.
I heard a CD that was Christamas songs and there was this type of =
song.
I just like the intamacy and low end.
I have not been able to achieve this before.
Obviousely lots of processing, but it doesnt really sound overly =
processed.
--=20
Thanks,
Brandon
------=_NextPart_000_0049_01C74C4B.54AEF9C0
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 6.00.5730.11" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>RE20, proximity effect and a good =
compressor would=20
be the place I'd start. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Brandon" <<A href=3D"mailto:a@a.com">a@a.com</A>> wrote in =
message=20
<A href=3D"news:45cc8ba5$1@linux">news:45cc8ba5$1@linux</A>...</DIV>
<DIV><FONT face=3DArial>How would you guys go about getting those =
intimate=20
sounding vocals with lots of bass...low end in them.</FONT></DIV>
<DIV><FONT face=3DArial>Genre like you would hear Sinatra or Dino=20
sing.</FONT></DIV>
<DIV><FONT face=3DArial>Like Christmas carols.</FONT></DIV>
<DIV><FONT face=3DArial>Kind of like a radio announcer voice but=20
singing.</FONT></DIV>
<DIV><FONT face=3DArial>I heard a CD that was Christamas songs and =
there was=20
this type of song.</FONT></DIV>
<DIV><FONT face=3DArial>I just like the intamacy and low =
end.</FONT></DIV>
<DIV><FONT face=3DArial>I have not been able to achieve this=20
before.</FONT></DIV>
<DIV><FONT face=3DArial>Obviousely lots of processing, but it doesnt =
really=20
sound overly processed.</FONT></DIV>
<DIV><FONT face=3DArial></FONT> </DIV><FONT face=3DArial>
<DIV><BR>-- <BR>Thanks,</DIV>
<DIV> </DIV>
<DIV>Brandon </DIV></BLOCKQUOTE></FONT></BODY></HTML>
------=_NextPart_000_0049_01C74C4B.54AEF9C0--you can use it to push VSTi's to or plugs to/from paris.
AA
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45ccb93b@linux...
> Ahhhh.......sorry Lou. I'm thinking of a midi interface, not ADAT. I have
> no clue about any Steiny ADAT interface.
>
> should have read your post more carefully,
>
> ;o)
>
> "Louis Guarino Jr." <kateeba@snet.net> wrote in message
> news:45ccb0ed$1@linux...
>>
>> I just found out (looking through boxes) that I still had a "Steinberg
>> adat
>> computer interface" like new in the box, that I used for a short time
>> years
>> ago.
>>
>> Are these things worth anything? I mean, does ANYONE still have a use
>> for
>> these kind of things, or should I throw it away?
>>
>> Lou
>
>Lou - is this their 2 adat port (4 connector) card with D-sub pigtail for
midi, etc?
Probably the VSL2020 card.
If you don't want it I'll take it. I don't think it's supported
anymore so drivers may be suspect and obviously limited to WinXP or older
versions of OSX.
Regards,
Dedric
"Louis Guarino Jr." <kateeba@snet.net> wrote in message
news:45ccb0ed$1@linux...
>
> I just found out (looking through boxes) that I still had a "Steinberg
> adat
> computer interface" like new in the box, that I used for a short time
> years
> ago.
>
> Are these things worth anything? I mean, does ANYONE still have a use
> for
> these kind of things, or should I throw it away?
>
> LouWhat's an R37? Something I should own?
W. Mark Wilson
"Gene Lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:45cc962c$1@linux...
>
> LD - U47, Sony C-37A, etc. Others work but these are the best.
> Worked close for proximity.
> Quality Pre like a Class A Neve.
> Original LA-2A!!!!
> 1/4 turn counter clockwise of R37 (Side-Chain Pre-Emphasis)
> Gene
>
>
> "Brandon" <a@a.com> wrote:
>>
>>
>>How would you guys go about getting those intimate sounding vocals with
> =
>>lots of bass...low end in them.
>>Genre like you would hear Sinatra or Dino sing.
>>Like Christmas carols.
>>Kind of like a radio announcer voice b
|
|
|
|
| Re: To add fuel to the fire [message #78400 is a reply to message #78385] |
Mon, 15 January 2007 08:45 |
Nappy
Messages: 198
Registered: September 2006
|
Senior Member |
|
|
gt;> impress their symphonic death metal groupies.
>>
>> It makes me sick to my stomache, not only for the appalling lack of
>> musicianship,
>> but for the atrocious misunderstanding of the nature of death, and the
>> very
>> idea that they can sufficiently illuminate the twin realities of
>> lifelessness
>> and the void using the self-limiting vocabulary of symphonic death metal.
>>
>>
>>
>>
>
>Unfortunately running linux as my primary boot machine and virtualizing windows
is not an option for me. I would do it in a heartbeat if it was, but as
you know cubase needs direct access to the hardware. This setup would also
not allow me to run osx, which I would like to do in the near future.
I think osx is a very compelling alternative to vista, in fact it's so compelling
that i am starting to view it as vista is a lukewarm alternative to osx.
It is entirely plausible for me to run osx as my primary boot (it runs cubase
fine) and run XP and linux as VMs.
Chuck
Jamie K <Meta@Dimensional.com> wrote:
>
>True. I wouldn't choose XP as a boot OS but maybe Linux. It'd also be
>nice to have the option of running OSX on homebrew boxes. Still, the
>current situation is compelling enough to attract the guy who wrote the
>article, and probably some number of others who, for whatever reasons,
>aren't attracted to Vista and are looking for an alternative.
>
>Cheers,
> -Jamie
> www.JamieKrutz.com
>
>
>chuck duffy wrote:
>> I'm all for the fence straddling. Why choose if you don't have to, and
you
>> don't have to these days. Virtualization makes just about any combination
>> you want work just fine. Except of course that I can't choose XP as my
base
>> operating system if I want to run osx. I'd love to do that, but as far
as
>> I know I can't purchase osx and install it in a virtual machine.
>>
>> Chuck
>>
>> Jamie K <Meta@Dimensional.com> wrote:
>>> After living with it for a while, he chose OSX over Windows Vista. It
>>> will be interesting to see how many people move to OSX because of Vista.
>>>
>>> He is running XP under OSX using Parallels in order to have access to
>>> any XP software he still uses, a nice option for someone migrating from
>>
>>> XP. You don't have to throw away your old software and you can move to
>>> OSX native software over time, at your own pace.
>>>
>>> But it looks like he's replaced most of his goto software with OSX apps,
>>
>>> and just has a few programs he hasn't found replacements for yet.
>>>
>>> Also, he is very picky about screen capture programs. For manuals I've
>>> written I just used the built-in OSX grab program.
>>>
>>> Cheers,
>>> -Jamie
>>> www.JamieKrutz.com
>>>
>>>
>>> John wrote:
>>>> Good point. Do you agree he appears to be totally straddling the fence
>>
>>>> on both XP and Mac OS ?
>>>>
>>>> W. Mark Wilson wrote:
>>>>> If you read the last 2 or 3 lines, you'll note that his sayonara is
to
>>
>>>>> PC's, not Windows; despite the title of the article.
>>>>>
>>>>> W. Mark Wilson
>>>>>
>>>>> "John" <no@no.com> wrote in message news:45cc74d4$1@linux...
>>>>>> http://www.computerworld.com/action/article.do?command=viewA rticleBasic&articleId=9010759&intsrc=hm_ts_head
>>>>>
>>>>>
>>It's the proximity effect. No problem to get that out of a C1. The only
processing I had to do was rolling off some low end. (It was very close :-)
Bjorn R
"Neil" <IUOIU@OIU.com> wrote in message news:45cc9dd2$1@linux...
>
> "Brandon" <a@a.com> wrote:
> >K... so my AKG 414 with the Anteres mic modeler set to U-47 will do the
>
> >trick???
>
> As long as that mic model includes rolling off some of the 414's
> high end, it might.
>
> Actually, I shouldn'tve been so glib - you can get that sound
> without a u-47, of course, just make sure the mic gets worked in
> close, like Gene said, use a fairly neutral-sounding LDC (like
> NOT a C-1), set on something other than omni, and the cleanest
> preamp you have (since you'll be in real close - to capture the
> detail)... make sure you're paying attention for where
> the optimal distance for the singer should be...you get in TOO
> close, and you get too many mouth noises; too far & you're not
> taking advantage of the promximity effect - I disagree with Gene
> on the compression, though - you don't always need it... some
> mics just kinda sound that way when worked up-close & personal
> like that. Dunno what you've got for mics, but if you've got a
> handful of LDCs, you should be able to find one that works.
>
> NeilI'll have to try the figure 8 on my C3. Great tips here !
BR wrote:
> It's the proximity ef
|
|
|
|
| Re: To add fuel to the fire [message #78401 is a reply to message #78373] |
Mon, 15 January 2007 08:46 |
TCB
Messages: 1261
Registered: July 2007
|
Senior Member |
|
|
fect. No problem to get that out of a C1. The only
> processing I had to do was rolling off some low end. (It was very close :-)
>
> Bjorn R
>
>
> "Neil" <IUOIU@OIU.com> wrote in message news:45cc9dd2$1@linux...
>> "Brandon" <a@a.com> wrote:
>>> K... so my AKG 414 with the Anteres mic modeler set to U-47 will do the
>>> trick???
>> As long as that mic model includes rolling off some of the 414's
>> high end, it might.
>>
>> Actually, I shouldn'tve been so glib - you can get that sound
>> without a u-47, of course, just make sure the mic gets worked in
>> close, like Gene said, use a fairly neutral-sounding LDC (like
>> NOT a C-1), set on something other than omni, and the cleanest
>> preamp you have (since you'll be in real close - to capture the
>> detail)... make sure you're paying attention for where
>> the optimal distance for the singer should be...you get in TOO
>> close, and you get too many mouth noises; too far & you're not
>> taking advantage of the promximity effect - I disagree with Gene
>> on the compression, though - you don't always need it... some
>> mics just kinda sound that way when worked up-close & personal
>> like that. Dunno what you've got for mics, but if you've got a
>> handful of LDCs, you should be able to find one that works.
>>
>> Neil
>
>You guys should check out ichabod, they're an Amish Metal Rap band, it's going
to be the next big thing!
James
"chuck duffy" <c@c.com> wrote:
>
>Aaron,
>
>Reading your post reminded me of what a great guy you are :-) I wasn't
even
>aware there was really something called symphonic death metal. I was setting
>it up as a joke on how people categorize hip-hop as not music, contradicting
>my own post on how people shouldn't be bothered by genres they don't work
>in.
>
>I have no problem with mega orchestral sample libraries or the people who
>use them, no matter what the genre :-)
>
>Chuck
>
>"Aaron Allen" <know-spam@not_here.dude> wrote:
>>FWIW, I may be able to explain some of that to make sense to you. Think
>of
>>the music not as a death (as in real life) but more in a comic book / Alice
>
>>Cooper context. It is not real, it's a fantasy land for this genre' -
>>although there are always idiots out there that don't understand and take
>it
>>WAY too far...
>>As to the orchestral part of it, it's an extension, in my experiences,
of
>
>>the limitations of being tuned down and very heavily distored. Sort of
like
>
>>when they kick an ac gtr piece out, only an extension of this thinking.
>It's
>>an expanded view of their skills I have found, and that's pretty cool.
Most
>
>>of (note, I said -most-) the death metal guys I've worked with/around are
>
>>quite thoughtful and intelligent. Sadly, much more so than the bible belt
>
>>free riding idiots from religious groups I have in the past had to deal
>
>>with.
>>
>>FWIW anyway. I'm of the mind that you get it being a PK but if not I hope
>
>>I've only illuminated and not offended.
>>
>>AA
>>
>>
>>"chuck duffy" <c@c.com> wrote in message news:45cc752d$1@linux...
>>>
>>> Jamie K <Meta@Dimensional.com> wrote:
>>>
>>>>But if you and Chuck are wondering why not everyone is thoroughly amazed
>>> by hip hop in general, there are reasons people may want to look elsewhere
>>> without it being a knee-jerk diss."
>>>
>>> Jamie I never asked anyone to be amazed. I just don't understand the
>
>>> overly
>>> simplistic rap is just samples and loops bit.
>>>
>>> For example, i'm not a fan of symphonic death metal. I think that the
>use
>>> of large scale symphonic sample libraries is a cheap demeaning cheat
to
>
>>> real
>>> orchestra players, conductors and composers who have spent their lives
>
>>> honing
>>> their skills and applying their craft. These symphonic death metal guys
>>> come along with huge oversized midi rigs, gigantic over-powered computers
>>> with massive amounts of RAM, and ham fistedly thrust away at their touch
>>> sensitive keyboards in a frenzy of mellodramatic hair brained insanity,
>
>>> stopping
>>> only to print out scores they never wrote (and definitely can't read)
>to
>>> impress their symphonic death metal groupies.
>>>
>>> It makes me sick to my stomache, not only for the appalling lack of
>>> musicianship,
>>> but for the atrocious misunderstanding of the nature of death, and the
>
>>> very
>>> idea that they can sufficiently illuminate the twin realities of
>>> lifelessness
>>> and the void using the self-limiting vocabulary of symphonic death metal.
>>>
>>>
>>>
>>>
>>
>>
>James, although it pleases me to read about and then hear these musical
alloys, I doubt that Amish Metal Rap is going to be the next big thing.
W. Mark Wilson
"James McCloskey" <excelsm@hotmail.com> wrote in message
news:45ccd3e7$1@linux...
>
> You guys should check out ichabod, they're an Amish Metal Rap band, it's
> going
> to be the next big thing!
>
> JamesThanks so much Mark. That seems to have done the trick. It's funny how they
forgot to mention the ID issue in the Paris 2 manual. Now if only Intelligent
Devices will email me my authorization code.
the best,
David
"Mark McDermott" <nospam@stateofwail.com> wrote:
>
>Hi David,
>
>You need to follow the instructions in the manual to ID your "Master" card.
>This involves plugging the MEC in to each card to get the ID and quite a
>few power cycles on your computer. The cards will be ID's in PARIS as "A",
>"B", and "C".
>
>This is covered in the PARIS 3.0 manual.
>
>Let me know if you need more info.
>
>Mark
>
>"David Feldman" <dfeldmania@gmail.com> wrote:
>>
>>Hi everyone,
>>I'm hoping that possibly some of you will be able to help me figure out
>what
>>I am doing wrong here. I just recently purchased 2 extra EDS-100 cards
>and
>>am working on upgrading my Paris system to a 3 card system. The 2 cards
>>came with the ribbon cables to connect them together and I had a local
company
>>make me an extra 16-pin and 1-pin cable to connect the first one up to
them.
>> I switched around a bunch of PCI cards in my computer and plugged all
the
>>cards in, using the daisy-chain methodology described in the manual.
>>
>>For 16-pin connectors:
>>Top left to middle right
>>Middle left to bottom right
>>Bottom left to top right
>>
>>For 10-pin connectors:
>>Top right to middle right
>>Middle left to bottom left
>>
>>Everything boots up just fine, but when I go to start up Paris, it runs
>and
>>then give me an error message that I don't have the master EDS card hooked
>>up to my hardware (my hardware is an MEC) and that I should check my connection.
>> The connection seems to be working as the lights on my MEC seem to blink
>>on and off when I plug it in. I have gotten this exact same error message
>>from Paris 2.2 and Paris 3.0.
>>
>>Here are a few ideas that are making me scratch my head:
>>
>>1. The manual mentions synching my EDS cards via BNC cables, but I can't
>>seem to find any BNC connectors on the EDS cards. So I don't really know
>>what they're talking about there.
>>
>>2. When I upgraded my EDS cards I also added extra input and output modules
>>to my MEC. I don't know if this has any bearing on the problem that I'm
>>having.
>>
>>I feel like the most likely problem that I'm having is that I've done something
>>wrong with the way I've inter-connected my EDS cards, but I really have
>no
>>idea and I don't know anyone nearby here in San Diego who has any sort
of
>>expertise with these systems. If any of you guys have any sort of feedback
>>or ideas for me, please let me know. I'll be forever grateful.
>>Thanks,
>>David
>Hey Rick -
How do you like the M24?
Thanks,
Jon
rick <parnell68@hotmail.com> wrote:
>i forgot the MixedLogic M24 controller
>
>
>
>On Wed, 24 Jan 2007 15:22:58 -0500, rick <parnell68@hotmail.com>
>wrote:
>
>>running...
>>PTLE, DP 4.6, Logic Pro 7.23
>>
>>On 25 Jan 2007 06:46:02 +1000, "Jon Jiles" <nope@nope.com> wrote:
>>
>>>
>>>Ok... so all of you that have bailed on Paris but still hang here because
>>>it's an excellent newsgroup..
>>>
>>>What are you using now? Software, Converters, control surface, etc?
>>>
>>>I'm being forced closer to the Paris crossroads and am trying to figure
out
>>>what I should do when/if I have to go there.
>>>
>>>Thanks,
>>>Jon
>"W. Mark Wilson" <xpam_mark@avidrecording> wrote:
>James, although it pleases me to read about and then hear these musical
>alloys, I doubt that Amish Metal Rap is going to be the next big thing.
>
>W. Mark Wilson
>
YES IT IS!!!!! It's going to be a lot bigger than Jamaican RAP!
>"James McCloskey" <excelsm@hotmail.com> wrote in message
>news:45ccd3e7$1@linux...
>>
>> You guys should check out ichabod, they're an Amish Metal Rap band, it's
>> going
>> to be the next big thing!
>>
>> James
>
>"W. Mark Wilson" <xpam_mark@avidrecording> wrote:
>James, although it pleases me to read about and then hear these musical
>alloys, I doubt that Amish Metal Rap is going to be the next big thing.
No? Then you ought to check out "Slap Up My Bitch Buggy" by the
Butter Churning Ho's. Charting at #2 on Soundscan right now.
:Dirony + internet = wha??
heh
DC
"chuck duffy" <c@c.com> wrote:
>
>Aaron,
>
>Reading your post reminded me of what a great guy you are :-) I wasn't
even
>aware there was really something called symphonic death metal. I was setting
>it up as a joke on how people categorize hip-hop as not music, contradicting
>my own post on how people shouldn't be bothered by genres they don't work
>in.
>
>I have no problem with mega orchestral sample libraries or the people who
>use them, no matter what the genre :-)
>
>Chuck
>
>"Aaron Allen" <know-spam@not_here.dude> wrote:
>>FWIW, I may be able to explain some of that to make sense to you. Think
>of
>>the music not as a death (as in real life) but more in a comic book / Alice
>
>>Cooper context. It is not real, it's a fantasy land for this genre' -
>>although there are always idiots out there that don't understand and take
>it
>>WAY too far...
>>As to the orchestral part of it, it's an extension, in my experiences,
of
>
>>the limitations of being tuned down and very heavily distored. Sort of
like
>
>>when they kick an ac gtr piece out, only an extension of this thinking.
>It's
>>an expanded view of their skills I have found, and that's pretty cool.
Most
>
>>of (note, I said -most-) the death metal guys I've worked with/around are
>
>>qu
|
|
|
|
| Re: To add fuel to the fire [message #78402 is a reply to message #78400] |
Mon, 15 January 2007 08:22 |
Dedric Terry
Messages: 788
Registered: June 2007
|
Senior Member |
|
|
ite thoughtful and intelligent. Sadly, much more so than the bible belt
>
>>free riding idiots from religious groups I have in the past had to deal
>
>>with.
>>
>>FWIW anyway. I'm of the mind that you get it being a PK but if not I hope
>
>>I've only illuminated and not offended.
>>
>>AA
>>
>>
>>"chuck duffy" <c@c.com> wrote in message news:45cc752d$1@linux...
>>>
>>> Jamie K <Meta@Dimensional.com> wrote:
>>>
>>>>But if you and Chuck are wondering why not everyone is thoroughly amazed
>>> by hip hop in general, there are reasons people may want to look elsewhere
>>> without it being a knee-jerk diss."
>>>
>>> Jamie I never asked anyone to be amazed. I just don't understand the
>
>>> overly
>>> simplistic rap is just samples and loops bit.
>>>
>>> For example, i'm not a fan of symphonic death metal. I think that the
>use
>>> of large scale symphonic sample libraries is a cheap demeaning cheat
to
>
>>> real
>>> orchestra players, conductors and composers who have spent their lives
>
>>> honing
>>> their skills and applying their craft. These symphonic death metal guys
>>> come along with huge oversized midi rigs, gigantic over-powered computers
>>> with massive amounts of RAM, and ham fistedly thrust away at their touch
>>> sensitive keyboards in a frenzy of mellodramatic hair brained insanity,
>
>>> stopping
>>> only to print out scores they never wrote (and definitely can't read)
>to
>>> impress their symphonic death metal groupies.
>>>
>>> It makes me sick to my stomache, not only for the appalling lack of
>>> musicianship,
>>> but for the atrocious misunderstanding of the nature of death, and the
>
>>> very
>>> idea that they can sufficiently illuminate the twin realities of
>>> lifelessness
>>> and the void using the self-limiting vocabulary of symphonic death metal.
>>>
>>>
>>>
>>>
>>
>>
>"chuck duffy" <c@c.com> wrote:
>See now you are just trying to get me going, cause if there's anything I
>like less than symphonic death metal, it's proto weenie beat butchers like
>Hork Bag.
>
>Chuck
Oh yeah???
Well, Geezer proto weenie beat butchers are much worse!!
DCMark, a couple of years ago, who would have imagined orthodox jewish reggae?
"W. Mark Wilson" <xpam_mark@avidrecording> wrote:
>James, although it pleases me to read about and then hear these musical
>alloys, I doubt that Amish Metal Rap is going to be the next big thing.
>
>W. Mark Wilson
>
>"James McCloskey" <excelsm@hotmail.com> wrote in message
>news:45ccd3e7$1@linux...
>>
>> You guys should check out ichabod, they're an Amish Metal Rap band, it's
>> going
>> to be the next big thing!
>>
>> James
>
>well...you know the rest......
http://www.duystore.com/com/index.html
Here it is!!! What all homestudio owners have been waiting for!!! DUY
DaD Tape is now available as a RTAS, Audio Units, VST and MAS/MOTU
plug-in! Real tape saturation and compression thanks to the accurate
physical modelling of 4 of the most relevant professional tape recorders
of all time! Try out the demo. You'll be amazed!!Actually, keep your eye on this web site (under construction):
http://www.amelsaudio.com/
This is the real deal.
David.
John wrote:
> well...you know the rest......
>
>
> http://www.duystore.com/com/index.html
>
>
> Here it is!!! What all homestudio owners have been waiting for!!! DUY
> DaD Tape is now available as a RTAS, Audio Units, VST and MAS/MOTU
> plug-in! Real tape saturation and compression thanks to the accurate
> physical modelling of 4 of the most relevant professional tape recorders
> of all time! Try out the demo. You'll be amazed!!Heh, you had to make something up to find something worse than hip hop.
Just kidding! ;^)
Cheers,
-Jamie
www.JamieKrutz.com
chuck duffy wrote:
> Aaron,
>
> Reading your post reminded me of what a great guy you are :-) I wasn't even
> aware there was really something called symphonic death metal. I was setting
> it up as a joke on how people categorize hip-hop as not music, contradicting
> my own post on how people shouldn't be bothered by genres they don't work
> in.
>
> I have no problem with mega orchestral sample libraries or the people who
> use them, no matter what the genre :-)
>
> Chuck
>
> "Aaron Allen" <know-spam@not_here.dude> wrote:
>> FWIW, I may be able to explain some of that to make sense to you. Think
> of
>> the music not as a death (as in real life) but more in a comic book / Alice
>
>> Cooper context. It is not real, it's a fantasy land for this genre' -
>> although there are always idiots out there that don't understand and take
> it
>> WAY too far...
>> As to the orchestral part of it, it's an extension, in my experiences, of
>
>> the limitations of being tuned down and very heavily distored. Sort of like
>
>> when they kick an ac gtr piece out, only an extension of this thinking.
> It's
>> an expanded view of their skills I have found, and that's pretty cool. Most
>
>> of (note, I said -most-) the death metal guys I've worked with/around are
>
>> quite thoughtful and intelligent. Sadly, much more so than the bible belt
>
>> free riding idiots from religious groups I have in the past had to deal
>
>> with.
>>
>> FWIW anyway. I'm of the mind that you get it being a PK but if not I hope
>
>> I've only illuminated and not offended.
>>
>> AA
>>
>>
>> "chuck duffy" <c@c.com> wrote in message news:45cc752d$
|
|
|
|
| Re: To add fuel to the fire [message #78416 is a reply to message #78398] |
Mon, 15 January 2007 11:23 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
_here.dude" target="_blank">know-spam@not_here.dude> wrote:
>>you can use it to push VSTi's to or plugs to/from paris.
>>
>>AA
>>
>>
>>"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45ccb93b@linux...
>>> Ahhhh.......sorry Lou. I'm thinking of a midi interface, not ADAT. I
>>> have
>
>>> no clue about any Steiny ADAT interface.
>>>
>>> should have read your post more carefully,
>>>
>>> ;o)
>>>
>>> "Louis Guarino Jr." <kateeba@snet.net> wrote in message
>>> news:45ccb0ed$1@linux...
>>>>
>>>> I just found out (looking through boxes) that I still had a "Steinberg
>
>>>> adat
>>>> computer interface" like new in the box, that I used for a short time
>
>>>> years
>>>> ago.
>>>>
>>>> Are these things worth anything? I mean, does ANYONE still have a use
>
>>>> for
>>>> these kind of things, or should I throw it away?
>>>>
>>>> Lou
>>>
>>>
>>
>>
>I'd like to try it actually. I've been doing some very critical listening
with the Neve 5042, switching it in and out of the signal path of a very
dense rock mix. It's extremely nice and even at some very aggressive
settings it just absolutely kills.......it's also $1699.00. From what I can
see, the tape plugin is VST Mac only.........right? I'll bet it's not
$1699.00 either.
Maybe I'm just too fried after this week to read properly?
;oP
"EK Sound" <askme@nospam.com> wrote in message news:45cced4c@linux...
> His first partner...
>
> David.
>
> DJ wrote:
>> Is this the insane ***hole Bomb Factory dude? I thought his name was
>> Eric, or something.
>>
>>
>> "EK Sound" <askme@nospam.com> wrote in message news:45cce269$1@linux...
>>
>>>Actually, keep your eye on this web site (under construction):
>>>
>>>http://www.amelsaudio.com/
>>>
>>>This is the real deal.
>>>
>>>David.
>>>
>>>John wrote:
>>>
>>>>well...you know the rest......
>>>>
>>>>
>>>>http://www.duystore.com/com/index.html
>>>>
>>>>
>>>>Here it is!!! What all homestudio owners have been waiting for!!! DUY
>>>>DaD Tape is now available as a RTAS, Audio Units, VST and MAS/MOTU
>>>>plug-in! Real tape saturation and compression thanks to the accurate
>>>>physical modelling of 4 of the most relevant professional tape recorders
>>>>of all time! Try out the demo. You'll be amazed!!
>>
>>Tried this............not anywhere close to the 5042
http://home.earthlink.net/~rocksonics/FreePlugs.htm
I've got an RNC here that I've got routed through Jensen 1:1 balancing
transformers. I'm routing the main group outs to the RNC set to *really
nice* mode, then patching into the Neve. Man, what an attitude on the mix
bus.
As soon as I can get around to it I'll do a bounce and post it somewhere.
I'll bet UAD could create a nuice tape emulation plugin if they put their
minds to it. Users over on that forum have been requesting one for5 years.
;o)
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45cd3dc3$1@linux...
> I'd like to try it actually. I've been doing some very critical listening
> with the Neve 5042, switching it in and out of the signal path of a very
> dense rock mix. It's extremely nice and even at some very aggressive
> settings it just absolutely kills.......it's also $1699.00. From what I
> can see, the tape plugin is VST Mac only.........right? I'll bet it's not
> $1699.00 either.
>
> Maybe I'm just too fried after this week to read properly?
>
> ;oP
>
> "EK Sound" <askme@nospam.com> wrote in message news:45cced4c@linux...
>> His first partner...
>>
>> David.
>>
>> DJ wrote:
>>> Is this the insane ***hole Bomb Factory dude? I thought his name was
>>> Eric, or something.
>>>
>>>
>>> "EK Sound" <askme@nospam.com> wrote in message news:45cce269$1@linux...
>>>
>>>>Actually, keep your eye on this web site (under construction):
>>>>
>>>>http://www.amelsaudio.com/
>>>>
>>>>This is the real deal.
>>>>
>>>>David.
>>>>
>>>>John wrote:
>>>>
>>>>>well...you know the rest......
>>>>>
>>>>>
>>>>>http://www.duystore.com/com/index.html
>>>>>
>>>>>
>>>>>Here it is!!! What all homestudio owners have been waiting for!!! DUY
>>>>>DaD Tape is now available as a RTAS, Audio Units, VST and MAS/MOTU
>>>>>plug-in! Real tape saturation and compression thanks to the accurate
>>>>>physical modelling of 4 of the most relevant professional tape
>>>>>recorders of all time! Try out the demo. You'll be amazed!!
>>>
>>>
>Good deal... look for my new band "iPod" coming soon to a CD
store near you.
What's good for the goose...
:)
"Aaron Allen" <know-spam@not_here.dude> wrote:
>
>The dispute between Apple Computer Inc. and Apple Corps over the use of
the
>trademark "Apple" has finally been settled. Apple Computer Inc. is to take
>full control of the Apple brand and license certain trademarks back to Apple
>Corps - a record company started by the Beatles - for continued use. The
two
>companies have been in a dispute over this issue for more than 25 years.
>
>Steve Jobs said the long running dispute had been "painful". "We love the
>Beatles and it has been painful being at odds with them over these
>trademarks." he said. "It feels great to resolve this in a positive manner,
>and in a way that should remove the potential of further disagreements in
>the future."
>
>The dispute dates back to 1980, when the George Harrison noticed an advert
>for Apple computers in a magazine. "It is great to put this dispute behind
>us and move on. The years ahead are going to be very exciting times for
us."
>Apple Corps manager Neil Aspinall said. "We wish Apple Inc every success
and
>look forward to many years of peaceful co-operation with them."
>
>http://www.afterdawn.com:80/news/archive/8598.cfm
>
>Hey guys, I'm running some new mic cable. Any preferences out there? Mogami,
Canare, etc.? Any good deals to be had. I need about 100'.
Thanks, TyroneThanks David. I finaly got enough courage to swap out the drive and the "Lite"
CD/DVD burner works like a charm and no crashes.
Tyrone
"David L" <david@revealaudio.com> wrote:
>I've been using a Plextor with no problems whatsoever. I've been doing
a
>little experimenting creating CD+G discs, and found out that the Plextor
is
>the only one of the DVD drives I have that handles this format. Not that
>you need it for that purpose, but it just gives me confidence that the drive
>is built to be that flexible.
>
>DavidGotham.
;o)
"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
news:45cd4e7b$1@linux...
>
> Hey guys, I'm running some new mic cable. Any preferences out there?
> Mogami,
> Canare, etc.? Any good deals to be had. I need about 100'.
>
> Thanks, TyroneThanks Deej! They've got a fairly extensive line. Any specific model you like?
"DJ" <www.aarrrrggghhh!!!.com> wrote:
>Gotham.
>;o)
>
>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>news:45cd4e7b$1@linux...
>>
>> Hey guys, I'm running some new mic cable. Any preferences out there?
>> Mogami,
>> Canare, etc.? Any good deals to be had. I need about 100'.
>>
>> Thanks, Tyrone
>
>Hi Tyrone,
I like both the DGS-4/1 http://www.gotham.ch/gac/gacindex.htm and the
GAC-4/1 http://www.gotham.ch/gac/gacindex.htm. I have used the GAC in high
RF environments (my old studio was right down the road from a bunch of
broadcast towers) with old mics that were actually picking up radio signals
when using cheap Horizon cables. The GAC put a stop to it. I'd not hesitate
to use any of their mic cables, but those two are ones I've had experience
with personally. I've got Mogami cables here as well. they are very nice and
a bit easier to find than Gotham in retail stores.
;o)
"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
news:45cd596d$1@linux...
>
> Thanks Deej! They've got a fairly extensive line. Any specific model you
> like?
>
> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>Gotham.
>>;o)
>>
>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>>news:45cd4e7b$1@linux...
>>>
>>> Hey guys, I'm running some new mic cable. Any preferences out there?
>>> Mogami,
>>> Canare, etc.? Any good deals to be had. I need about 100'.
>>>
>>> Thanks, Tyrone
>>
>>
>This is a multi-part message in MIME format.
------=_NextPart_000_0039_01C74C9F.A9E6E160
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Well.........poo!!!!........... I've been working with a bunch of 96k =
material tonight. Big yawn. Yeah, it sounds a little different......but =
not necessarily better......at least to my ears. SRC'ed and dithered =
down, the difference is neglibible. I'm playing back through a Benchmark =
DAC-1.=20
Well...at least I can record at 96k now........whoopee
------=_NextPart_000_0039_01C74C9F.A9E6E160
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 6.00.5730.11" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY>
<DIV><FONT face=3DArial size=3D2>Well.........poo!!!!........... I've =
been working=20
with a bunch of 96k material tonight. Big yawn. Yeah, it sounds a =
little=20
different......but not necessarily better......at least to my ears. =
SRC'ed and=20
dithered down, the difference is neglibible. I'm playing back through a=20
Benchmark DAC-1. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Well...at least I can record at 96k=20
now........<FONT size=3D1>whoopee</FONT></FONT></DIV></BODY></HTML>
------=_NextPart_000_0039_01C74C9F.A9E6E160--This is a multi-part message in MIME format.
------=_NextPart_000_005B_01C74CB2.421B17F0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Dimitrios,
If you find any reason why it's working for you in XP please tell all!
I have wordclock here so I'm ready to give it a go again. Two ADATs =
didn't
work for me without the wordclock generator in the past.
Tom
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45cc9d92@linux...
Hi Dimitrios,
I did have two ADAT cards and an A8iT and A8oT working in one MEC =
running=20
XP, but couldn't get 2 ADAT cards working in more than one MEC. Good =
luck to=20
you getting this happening though. If you do, be careful to never =
disconnect=20
the word clock from the MECs. I know of one Parisite who actually had =
2 x=20
ADAT cards working in 4 x MECs, but then he unhooked this WC cables =
during=20
some maintence or other and when he rebooted the system, he could =
never get=20
them all working again, at least last time I talked to him.
Great that you have this happening. Good luck. If anyone can figure =
this out
;o)
"Dimitrios" <musurgio@otenet.gr> wrote in message =
news:45cc5f22$1@linux...
>
> Hehe ,
> The lauph is for "poor" DJ who sold his Paris rig (I got one of his =
adat
> cards thanks DJ) when he could not have two adat cards on single mec =
under
> XP...
> Well I just hooked it up on my third mec along with another adat =
card=20
> (total
> two adat cards on same mec) and no other cards.
> One thing for sure is two adat cards work at least without any in =
and out
> cards.
> I have put the first adat card on slot 6 and the other on slot 4.
> Regards,
> Dimitrios=20
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_005B_01C74CB2.421B17F0
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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
|
|
|
|
| Re: To add fuel to the fire [message #78426 is a reply to message #78401] |
Mon, 15 January 2007 13:22 |
Nappy
Messages: 198
Registered: September 2006
|
Senior Member |
|
|
<www.aarrrrggghhh!!!.com> wrote:
>
>
>Well.........poo!!!!........... I've been working with a bunch of 96k =
>material tonight. Big yawn. Yeah, it sounds a little different......but
=
>not necessarily better......at least to my ears. SRC'ed and dithered =
>down, the difference is neglibible. I'm playing back through a Benchmark
=
>DAC-1.=20
>
>Well...at least I can record at 96k now........whoopee
>
><!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 6.00.5730.11" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY>
><DIV><FONT face=3DArial size=3D2>Well.........poo!!!!........... I've =
>been working=20
>with a bunch of 96k material tonight. Big yawn. Yeah, it sounds a =
>little=20
>different......but not necessarily better......at least to my ears. =
>SRC'ed and=20
>dithered down, the difference is neglibible. I'm playing back through a=20
>Benchmark DAC-1. </FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><DIV><FONT face=3DArial size=3D2>Well...at least I can record at 96k=20
>now........<FONT size=3D1>whoopee</FONT></FONT></DIV></BODY></HTML>
>
>So DJ,
Do you also hear any cable differences ?
Or is it all about just RF rejection ?
I for myself hear much difference beetween a Ramtech silverplated multicable
and Klotz.
I don't like the ramtech at all and I love the warm sound of Klotz.
Regards,
Dimitrios
"DJ" <www.aarrrrggghhh!!!.com> wrote:
>Hi Tyrone,
>
>I like both the DGS-4/1 http://www.gotham.ch/gac/gacindex.htm and the
>GAC-4/1 http://www.gotham.ch/gac/gacindex.htm. I have used the GAC in high
>RF environments (my old studio was right down the road from a bunch of
>broadcast towers) with old mics that were actually picking up radio signals
>when using cheap Horizon cables. The GAC put a stop to it. I'd not hesitate
>to use any of their mic cables, but those two are ones I've had experience
>with personally. I've got Mogami cables here as well. they are very nice
and
>a bit easier to find than Gotham in retail stores.
>
>;o)
>
>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>news:45cd596d$1@linux...
>>
>> Thanks Deej! They've got a fairly extensive line. Any specific model you
>> like?
>>
>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>Gotham.
>>>;o)
>>>
>>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>>>news:45cd4e7b$1@linux...
>>>>
>>>> Hey guys, I'm running some new mic cable. Any preferences out there?
>>>> Mogami,
>>>> Canare, etc.? Any good deals to be had. I need about 100'.
>>>>
>>>> Thanks, Tyrone
>>>
>>>
>>
>
>Awesome rick.
Men and women are indeed from different planets, but fergoshsakes, it's
certainly the freakin' same solar system :-)
Cheers,
MR
"rick" <parnell68@hotmail.com> wrote in message
news:k0ars2dcd6hkl4tgc8k72gummasimitsq4@4ax.com...
>
> The Guys' Rules
> At last a guy has taken the time to write this all down
>
> Finally , the guys' side of the story.
> ( I must admit, it's pretty good.)
> We always hear " the rules "
> From the female side.
>
>
> Now here are the rules from the male side.
> These are our rules!
> Please note.. these are all numbered "1"
> ON PURPOSE!
>
>
> 1. Men are NOT mind readers.
>
> 1. Learn to work the toilet seat.
> You're a big girl. If it's up, put it down.
> We need it up, you need it down.
> You don't hear us complaining about you leaving it down.
>
> 1. Sunday sports It's like the full moon
> or the changing of the tides.
> Let it be.
>
> 1. Shopping is NOT a sport.
> And no, we are never going to think of it that way.
>
> 1. Crying is blackmail.
>
> 1. Ask for what you want.
> Let us be clear on this one:
> Subtle hints do not work!
> Strong hints do not work!
> Obvious hints do not work!
> Just say it!
>
> 1. Yes and No are perfectly acceptable answers to almost every
> question.
>
> 1. Come to us with a problem only if you want help solving it. That's
> what we do.
> Sympathy is what your girlfriends are for.
>
> 1. A headache that lasts for 17 months is a Problem.
> See a doctor.
>
> 1. Anything we said 6 months ago is inadmissible in an argument.
> In fact, all comments become null and void after 7 Days.
>
> 1. If you won't dress like the Victoria 's Secret girls, don't Expect
> us to act like soap opera guys.
>
> 1. If you think you're fat, you probably are.
> Don't ask us.
>
> 1. If something we said can be interpreted two ways and one of the
> ways makes you sad or angry, we meant the other one
>
> 1. You can either ask us to do something
> Or tell us how you want it done.
> Not both.
> If you already know best how to do it, just do it yourself.
>
> 1. Whenever possible, Please say whatever you have to say during
> commercials.
>
> 1. Christopher Columbus did NOT need directions and neither do we.
>
> 1. ALL men see in only 16 colors, like Windows default settings.
> Peach, for example, is a fruit, not A color. Pumpkin is also a fruit.
> We have no idea what mauve is.
>
> 1. If it itches, it will be scratched.
> We do that.
>
> 1. If we ask what is wrong and you say "nothing," We will act like
> nothing's wrong.
> We know you are lying, but it is just not worth the hassle.
>
> 1. If you ask a question you don't want an answer to, Expect an answer
> you don't want to hear.
>
> 1. When we have to go somewhere, absolutely anything you wear is
> fine... Really .
>
> 1. Don't ask us what we're thinking about unless you are prepared to
> discuss such topics as baseball, the shotgun formation,
> or golf.
>
> 1. You have enough clothes.
>
> 1. You have too many shoes.
>
> 1. I am in shape. Round IS a shape!
>
> 1. Thank you for reading this.
> Yes, I know, I have to sleep on the couch tonight;
>
>
> But did you know men really don't mind that? It's like camping.
>
> Pass this to as many men as you can -
> to give them a laugh.
>
> Pass this to as many women as you can -
> to give them a bigger laugh.This is a multi-part message in MIME format.
------=_NextPart_000_0016_01C74CEF.0A53B060
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: 7bit
I'm trying to build a website to host my music -where listeners can playback
my tunes. I like the way the myspace and soundclick sites mp3 players work,
(click on a tune and it pretty much starts playing back right off) but I
can't seem to find code that will allow me to achieve similar results on my
own site. I could go to myspace or soundclick, but I'd prefer not. I found
some code on a site by an O'Rielly guy, but its not quite right. Any ideas
on how to handle this?
Hats off,
MR
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<DIV><FONT face=3DArial size=3D2>I'm trying to build a website to host =
my music=20
-where listeners can playback my tunes. I like the way the myspace =
and=20
soundclick sites mp3 players work, (click on a tune and it pretty much =
starts=20
playing back right off) but I can't seem to find code that will allow me =
to=20
achieve similar results on my own site. I <EM>could</EM> go to =
myspace or=20
soundclick, but I'd prefer not. I found some code on a site by an =
O'Rielly guy,=20
but its not quite right. Any ideas on how to handle this? =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Hats off,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>MR</FONT></DIV></BODY></HTML>
------=_NextPart_000_0016_01C74CEF.0A53B060--Hi All
When setting up a 2 track buss for slamming drums (to mix with the original
tracks) how do YOU go about it.
For Example
1) Do you use the whole drum kit (EQ'd) or just selected drum tracks - and
if you use the whole kit do you set up a separate mix for the compressors
(i.e. levels) and how would that mix differ from the regular drum mix
(generally speaking)
2) If you require EQ on this mix buss to the Compressors - do you do it pre
or post the compressors.
3) How do you deal with phasing issue
4) What settings on the compressor do you use i.e. attack, release comp
ratio etc...or do you have a general guideline you follow
5) Lastly what are you looking to hear with this blend of tracks
inquiring minds want to know
DOn
ps. Sorry if I got some of the terminology wrong?"DJ" <www.aarrrrggghhh!!!.com> wrote:
>
>
>Well.........poo!!!!........... I've been working with a bunch
of 96k = material tonight. Big yawn. Yeah, it sounds a little
different......but = >not necessarily better......
OH COME ON!!!
What exactly did you record & evalute in that short time
("tonight")?
Also, do you have enough tracks going to make a difference?
I don't know that you hear much of a difference on a small
handful of tracks like a single acoustic guitar & voice, for
example, but when you get even 10 or 12 tracks going and
ESPECIALLY when you start throwing them through a verb or two
working at those higher samplerates - you will absolutely hear a
difference in quality.
NeilThis is a multi-part message in MIME format.
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It's not a large project to be sure. I use outboard 'verbs (or two) and =
these will either have to be SRC'ed in real time (I've already concocted =
the madness to accomplish this, though I'm not sure I want to do it) or =
patched analog........so I can't imagine a drastic improvement using =
these. I'll be 'speramentin' some more soon.........whopee!!
;o)
"Neil" <IOU@OIU.com> wrote in message news:45cdde72$1@linux...
>=20
> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>
>>
>>Well.........poo!!!!........... I've been working with a bunch
> of 96k =3D material tonight. Big yawn. Yeah, it sounds a little
> different......but =3D >not necessarily better......
>=20
>=20
> OH COME ON!!!
>=20
> What exactly did you record & evalute in that short time
> ("tonight")?
>=20
> Also, do you have enough tracks going to make a difference?
> I don't know that you hear much of a difference on a small
> handful of tracks like a single acoustic guitar & voice, for
> example, but when you get even 10 or 12 tracks going and
> ESPECIALLY when you start throwing them through a verb or two
> working at those higher samplerates - you will absolutely hear a
> difference in quality.
>=20
> Neil
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<BODY>
<DIV><FONT face=3DArial size=3D2>It's not a large project to be sure. I =
use outboard=20
'verbs (or two) and these will either have to be SRC'ed in real time =
(I've=20
already concocted the madness to accomplish this, though I'm not sure I =
want to=20
do it) or patched analog........so I can't imagine a drastic =
improvement=20
using these. I'll be 'speramentin' some more soon.........</FONT><FONT=20
size=3D1>whopee!!</FONT></DIV>
<DIV><FONT size=3D1></FONT> </DIV>
<DIV><FONT size=3D1>;o)</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D1></FONT> </DIV>
<DIV><FONT size=3D1></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"Neil" <</FONT><A=20
href=3D"mailto:IOU@OIU.com"><FONT face=3DArial =
size=3D2>IOU@OIU.com</FONT></A><FONT=20
face=3DArial size=3D2>> wrote in message </FONT><A=20
href=3D"news:45cdde72$1@linux<
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| Re: To add fuel to the fire [message #78427 is a reply to message #78402] |
Mon, 15 January 2007 13:30 |
Nappy
Messages: 198
Registered: September 2006
|
Senior Member |
|
|
/a>"><FONT face=3DArial=20
size=3D2>news:45cdde72$1@linux</FONT></A><FONT face=3DArial=20
size=3D2>...</FONT></DIV><FONT face=3DArial size=3D2>> <BR>> "DJ" =
<</FONT><A=20
href=3D"http://www.aarrrrggghhh!!!.com"><FONT face=3DArial=20
size=3D2>www.aarrrrggghhh!!!.com</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote:<BR>>><BR>>><BR>>>Well.........poo!!!!...........=
I've=20
been working with a bunch<BR>> of 96k =3D material tonight. Big yawn. =
Yeah, it=20
sounds a little<BR>> different......but =3D >not necessarily=20
better......<BR>> <BR>> <BR>> OH COME ON!!!<BR>> <BR>> =
What=20
exactly did you record & evalute in that short time<BR>>=20
("tonight")?<BR>> <BR>> Also, do you have enough tracks going to =
make a=20
difference?<BR>> I don't know that you hear much of a difference on a =
small<BR>> handful of tracks like a single acoustic guitar & =
voice,=20
for<BR>> example, but when you get even 10 or 12 tracks going =
and<BR>>=20
ESPECIALLY when you start throwing them through a verb or two<BR>> =
working at=20
those higher samplerates - you will absolutely hear a<BR>> difference =
in=20
quality.<BR>> <BR>> Neil</FONT></BODY></HTML>
------=_NextPart_000_0080_01C74CEC.B4425F70--I hear very little difference, but some. For instance, I do hear a
difference between Mogami and Monster. Monster doesn't seem to have the same
sweet top that Mogami does. My gotham mic cables sound very close to Mogami.
I doubt any of this makes a huge difference until you've got, say 15 -20
mics recorded. I just know that with the Gotham, I'll not be bitten by
having any RF problems, pretty much ever.
Deej
"Dimitrios" <musurgio@otenet.gr> wrote in message news:45cdbf3a$1@linux...
>
> So DJ,
> Do you also hear any cable differences ?
> Or is it all about just RF rejection ?
> I for myself hear much difference beetween a Ramtech silverplated
> multicable
> and Klotz.
> I don't like the ramtech at all and I love the warm sound of Klotz.
> Regards,
> Dimitrios
>
> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>Hi Tyrone,
>>
>>I like both the DGS-4/1 http://www.gotham.ch/gac/gacindex.htm and the
>>GAC-4/1 http://www.gotham.ch/gac/gacindex.htm. I have used the GAC in high
>
>>RF environments (my old studio was right down the road from a bunch of
>>broadcast towers) with old mics that were actually picking up radio
>>signals
>
>>when using cheap Horizon cables. The GAC put a stop to it. I'd not
>>hesitate
>
>>to use any of their mic cables, but those two are ones I've had experience
>
>>with personally. I've got Mogami cables here as well. they are very nice
> and
>>a bit easier to find than Gotham in retail stores.
>>
>>;o)
>>
>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>>news:45cd596d$1@linux...
>>>
>>> Thanks Deej! They've got a fairly extensive line. Any specific model you
>
>>> like?
>>>
>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>Gotham.
>>>>;o)
>>>>
>>>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>>>>news:45cd4e7b$1@linux...
>>>>>
>>>>> Hey guys, I'm running some new mic cable. Any preferences out there?
>>>>> Mogami,
>>>>> Canare, etc.? Any good deals to be had. I need about 100'.
>>>>>
>>>>> Thanks, Tyrone
>>>>
>>>>
>>>
>>
>>
>I think it depends on the sound your looking for , but I have been just
compressing the snare and kik
lately.
--
Thanks,
Brandon
"Don Nafe" <dnafe@magma.ca> wrote in message news:45cdd909@linux...
> Hi All
>
> When setting up a 2 track buss for slamming drums (to mix with the
> original tracks) how do YOU go about it.
>
> For Example
>
> 1) Do you use the whole drum kit (EQ'd) or just selected drum tracks - and
> if you use the whole kit do you set up a separate mix for the compressors
> (i.e. levels) and how would that mix differ from the regular drum mix
> (generally speaking)
>
> 2) If you require EQ on this mix buss to the Compressors - do you do it
> pre or post the compressors.
>
> 3) How do you deal with phasing issue
>
> 4) What settings on the compressor do you use i.e. attack, release comp
> ratio etc...or do you have a general guideline you follow
>
> 5) Lastly what are you looking to hear with this blend of tracks
>
>
> inquiring minds want to know
>
> DOn
>
> ps. Sorry if I got some of the terminology wrong?
>I haven't enjoyed a CD so much in I don't know when. I mean *really,
seriously* enjoyed it...as in..it's gonna be in regular rotation around
here. Extremely interesting lyrics, arrangements and killer musicianship.
Sarah's voice has something unique about it that I really like.On Blow it
All Up, it reminded me a little bit of Grace Slick at her best in the
"White Rabbit" era, but I think Sarah's voice is more melodious. I'm not
saying that this song is some kind of knockoff on another genre. It's not.
It's refreshingly unique, as is all of the material on the CD.
Lots of really cool and interesting songs. There's not one song in there
that I didn't like. That's pretty much unheardof for me.
;o)I think it depends greatly on the drummer and the drums. For instance,
Yamaha notoriously IMO has a much more controlled sound/attack, whereas many
of the Pearl kits I've recorded are pretty wild on attack. DW's record
nicely generally, even the cheaper ones.
Drummers... well, that's self explanatory I think.
If a part of the kit is wild, it's gonna get a compressor and/or limiter
strapped to it. Thing to watch is keeping the phase aligned for all mics. If
I have time, I'd prefer to automate each and every drum track over using a
comp/limit, but many times a client wouldn't have that kind of cash so the
fix is comp/limit.
AA
"Don Nafe" <dnafe@magma.ca> wrote in message news:45cdd909@linux...
> Hi All
>
> When setting up a 2 track buss for slamming drums (to mix with the
> original tracks) how do YOU go about it.
>
> For Example
>
> 1) Do you use the whole drum kit (EQ'd) or just selected drum tracks - and
> if you use the whole kit do you set up a separate mix for the compressors
> (i.e. levels) and how would that mix differ from the regular drum mix
> (generally speaking)
>
> 2) If you require EQ on this mix buss to the Compressors - do you do it
> pre or post the compressors.
>
> 3) How do you deal with phasing issue
>
> 4)
|
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|
| Dedric : To add fuel to the fire [message #78428 is a reply to message #78402] |
Mon, 15 January 2007 14:17 |
LaMont
Messages: 828
Registered: October 2005
|
Senior Member |
|
|
What settings on the compressor do you use i.e. attack, release comp
> ratio etc...or do you have a general guideline you follow
>
> 5) Lastly what are you looking to hear with this blend of tracks
>
>
> inquiring minds want to know
>
> DOn
>
> ps. Sorry if I got some of the terminology wrong?
>I should have added using the parallel compression technique...after the
fact during mixdown
With that in mind how would you anser the questions
I realise there are so many possibilities when using this technique but I
was wondering what your "go to" set ups are.
Thanks
DOn
"Don Nafe" <dnafe@magma.ca> wrote in message news:45cdd909@linux...
> Hi All
>
> When setting up a 2 track buss for slamming drums (to mix with the
> original tracks) how do YOU go about it.
>
> For Example
>
> 1) Do you use the whole drum kit (EQ'd) or just selected drum tracks - and
> if you use the whole kit do you set up a separate mix for the compressors
> (i.e. levels) and how would that mix differ from the regular drum mix
> (generally speaking)
>
> 2) If you require EQ on this mix buss to the Compressors - do you do it
> pre or post the compressors.
>
> 3) How do you deal with phasing issue
>
> 4) What settings on the compressor do you use i.e. attack, release comp
> ratio etc...or do you have a general guideline you follow
>
> 5) Lastly what are you looking to hear with this blend of tracks
>
>
> inquiring minds want to know
>
> DOn
>
> ps. Sorry if I got some of the terminology wrong?
>Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
This is what I wrote
> Lots of older apps have problems with dual core cpus, and even
> hyperthreading on single core (older versions of giga for example).
> Check the bios for a setting to disable the second core and I bet you
> will be in business.
This was the reply
Another myth. But it is completely understandable how, if you haven't been
a
programmer, that you don't understand it. You can be a very intelligent
person, and still not understand.
ChuckIt's amazing anyone hangs there at all... I stopped going there when I
found this place in '97! :-)
David.
chuck duffy wrote:
> Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>
> This is what I wrote
>
>
>>Lots of older apps have problems with dual core cpus, and even
>>hyperthreading on single core (older versions of giga for example).
>>Check the bios for a setting to disable the second core and I bet you
>>will be in business.
>
>
> This was the reply
>
> Another myth. But it is completely understandable how, if you haven't been
> a
> programmer, that you don't understand it. You can be a very intelligent
> person, and still not understand.
>
> ChuckWell, you know, what do you expect, when what you have is
a situation where everyone there is smarter than everyone there?
It's like a nonstop perpetual motion machine of smartness.
:D
"chuck duffy" <c@c.com> wrote:
>
>Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>
>This is what I wrote
>
>> Lots of older apps have problems with dual core cpus, and even
>> hyperthreading on single core (older versions of giga for example).
>> Check the bios for a setting to disable the second core and I bet you
>> will be in business.
>
>This was the reply
>
>Another myth. But it is completely understandable how, if you haven't been
>a
>programmer, that you don't understand it. You can be a very intelligent
>person, and still not understand.
>
>ChuckI haven't been there in years. It's exactly the same.
Chuck
"Neil" <IOUOIU@OIU.com> wrote:
>
>Well, you know, what do you expect, when what you have is
>a situation where everyone there is smarter than everyone there?
>
>It's like a nonstop perpetual motion machine of smartness.
>
>:D
>
>
>"chuck duffy" <c@c.com> wrote:
>>
>>Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>>
>>This is what I wrote
>>
>>> Lots of older apps have problems with dual core cpus, and even
>>> hyperthreading on single core (older versions of giga for example).
>>> Check the bios for a setting to disable the second core and I bet you
>
>>> will be in business.
>>
>>This was the reply
>>
>>Another myth. But it is completely understandable how, if you haven't been
>>a
>>programmer, that you don't understand it. You can be a very intelligent
>
>>person, and still not understand.
>>
>>Chuck
>the Cuabse start sucking (on sound quality) after 50 plus if you don't use
a superior summing device.
"Neil" <IOU@OIU.com> wrote:
>
>"DJ" <www.aarrrrggghhh!!!.com> wrote:
>>
>>
>>Well.........poo!!!!........... I've been working with a bunch
>of 96k = material tonight. Big yawn. Yeah, it sounds a little
>different......but = >not necessarily better......
>
>
>OH COME ON!!!
>
>What exactly did you record & evalute in that short time
>("tonight")?
>
>Also, do you have enough tracks going to make a difference?
>I don't know that you hear much of a difference on a small
>handful of tracks like a single acoustic guitar & voice, for
>example, but when you get even 10 or 12 tracks going and
>ESPECIALLY when you start throwing them through a verb or two
>working at those higher samplerates - you will absolutely hear a
>difference in quality.
>
>NeilHi,
Anyone is using vcache with XP and if so what works best ?
I have 1,5 GB.
Regards,
DimitriosHaven't been on here in awhile.Just wanted to stop in and say hi
to everybody.
Haven't been using PARIS much since I joined up with my buddy in
our Neve VR/PT room.Just got an SSL so we'll be building an
additional room soon.I thought about taking my PARIS rig down to
integrate,but just haven't since everything down there works
pretty smoothly.We mix out of the box on the board by the way.
The website is www.musiccreekstudios.com if anyone wants to
take a look.
Just thought I'd stop in and say hey.
Hope everyone is doing well here and its good to see PARIS is
still kickin'!
peace,
Pete RuthenburgThere are two regulars there who I deal with from time to time. Occasionally
I drop in to see how they are doing/what they are up to and immediately get
sucked in to some kind of negative vortex. It's like I grow horns and a
tail. There's just so muh bait to choose from if you're feeling feisty and
ready to mix it up. It's disturbing, so I don't go unless I feel the need to
get bummed out or spend a bunch of my energy being pissed off at someone for
no good reason.
;oP
"chuck duffy" <c@c.com> wrote in message news:45ce0583$1@linux...
>
> I haven't been there in years. It's
|
|
|
|
| Re: To add fuel to the fire [message #78430 is a reply to message #78416] |
Mon, 15 January 2007 13:52 |
Deej [4]
Messages: 1292
Registered: January 2007
|
Senior Member |
|
|
on't understand it. You can be a very intelligent
>>
>>>person, and still not understand.
>>>
>>>Chuck
>>
>I still drop in daily as part of my morning routine but I rarely post or
reply...there's just too much BS
DOn
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45ce0854@linux...
> There are two regulars there who I deal with from time to time.
> Occasionally I drop in to see how they are doing/what they are up to and
> immediately get sucked in to some kind of negative vortex. It's like I
> grow horns and a tail. There's just so muh bait to choose from if you're
> feeling feisty and ready to mix it up. It's disturbing, so I don't go
> unless I feel the need to get bummed out or spend a bunch of my energy
> being pissed off at someone for no good reason.
>
> ;oP
>
> "chuck duffy" <c@c.com> wrote in message news:45ce0583$1@linux...
>>
>> I haven't been there in years. It's exactly the same.
>>
>> Chuck
>>
>> "Neil" <IOUOIU@OIU.com> wrote:
>>>
>>>Well, you know, what do you expect, when what you have is
>>>a situation where everyone there is smarter than everyone there?
>>>
>>>It's like a nonstop perpetual motion machine of smartness.
>>>
>>>:D
>>>
>>>
>>>"chuck duffy" <c@c.com> wrote:
>>>>
>>>>Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>>>>
>>>>This is what I wrote
>>>>
>>>>> Lots of older apps have problems with dual core cpus, and even
>>>>> hyperthreading on single core (older versions of giga for example).
>>>>> Check the bios for a setting to disable the second core and I bet you
>>>
>>>>> will be in business.
>>>>
>>>>This was the reply
>>>>
>>>>Another myth. But it is completely understandable how, if you haven't
>>>>been
>>>>a
>>>>programmer, that you don't understand it. You can be a very intelligent
>>>
>>>>person, and still not understand.
>>>>
>>>>Chuck
>>>
>>
>
>Hey Pete! The studio looks great! Next time I'm in STL I'll have to stop
by and check out the studio.
James
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
>Haven't been on here in awhile.Just wanted to stop in and say hi
>to everybody.
>
>Haven't been using PARIS much since I joined up with my buddy in
>our Neve VR/PT room.Just got an SSL so we'll be building an
>additional room soon.I thought about taking my PARIS rig down to
>integrate,but just haven't since everything down there works
>pretty smoothly.We mix out of the box on the board by the way.
>
>The website is www.musiccreekstudios.com if anyone wants to
>take a look.
>
>Just thought I'd stop in and say hey.
>Hope everyone is doing well here and its good to see PARIS is
>still kickin'!
>
>peace,
>Pete RuthenburgMan,
that studio is what I wanna be when I grow up.
Thanks for droppin by,
;o)
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote in message
news:45ce0764$1@linux...
>
> Haven't been on here in awhile.Just wanted to stop in and say hi
> to everybody.
>
> Haven't been using PARIS much since I joined up with my buddy in
> our Neve VR/PT room.Just got an SSL so we'll be building an
> additional room soon.I thought about taking my PARIS rig down to
> integrate,but just haven't since everything down there works
> pretty smoothly.We mix out of the box on the board by the way.
>
> The website is www.musiccreekstudios.com if anyone wants to
> take a look.
>
> Just thought I'd stop in and say hey.
> Hope everyone is doing well here and its good to see PARIS is
> still kickin'!
>
> peace,
> Pete RuthenburgI knew I left my drum kit somewhere!
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote in message
news:45ce0764$1@linux...
>
> Haven't been on here in awhile.Just wanted to stop in and say hi
> to everybody.
>
> Haven't been using PARIS much since I joined up with my buddy in
> our Neve VR/PT room.Just got an SSL so we'll be building an
> additional room soon.I thought about taking my PARIS rig down to
> integrate,but just haven't since everything down there works
> pretty smoothly.We mix out of the box on the board by the way.
>
> The website is www.musiccreekstudios.com if anyone wants to
> take a look.
>
> Just thought I'd stop in and say hey.
> Hope everyone is doing well here and its good to see PARIS is
> still kickin'!
>
> peace,
> Pete RuthenburgWhat are you guys using for memory.
Kingston,etc..
I always go with Crucial.
How important are the Heat Spreaders?
thx\bTried to send question to you early yesterday and a reply to your last email
later last night and both bounced back
I had a Faderworks question regarding inputing ,atency values and I got the
answer from the Company
DonHaven't been there in years man, I think that the last visit was around the
time Chuck posted the VST Paris release.
And I don't miss that in my life one iota.
AA
"EK Sound" <askme@nospam.com> wrote in message news:45cdfcec$1@linux...
> It's amazing anyone hangs there at all... I stopped going there when I
> found this place in '97! :-)
>
> David.
>
> chuck duffy wrote:
>
>> Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>>
>> This is what I wrote
>>>Lots of older apps have problems with dual core cpus, and even
>>>hyperthreading on single core (older versions of giga for example). Check
>>>the bios for a setting to disable the second core and I bet you will be
>>>in business.
>>
>>
>> This was the reply
>>
>> Another myth. But it is completely understandable how, if you haven't
>> been
>> a programmer, that you don't understand it. You can be a very intelligent
>> person, and still not understand.
>>
>> ChuckJust the other week, I picked up 2 sticks of Kingston 512MB, DDR400
from newegg for about $112. I am building a PC to host a UAD ultra
card and other VST and act as an external effects machine for Paris.
So far, the RAM seems to be humming along fine.
It did come with heat spreaders, and I guess they are a good thing. I
might consider spending a LITTLE extra for them but not too much,
provided you have decent case cooling.
- Paul Artola
Ellicott City, Maryland
On 11 Feb 2007 06:14:22 +1000, "brandon" <a@a.com> wrote:
>
>What are you guys using for memory.
>Kingston,etc..
>I always go with Crucial.
>How important are the Heat Spreaders?
>
>thx\bCorrrection: Then, Cubase's summing starts to collasp after 40 plus with good
alot of plugins.. Now, your mix sounds thin and weak.. Now, you have to invest
in a decent summing device to get your mix back..
"LaMOnt" <jjdpro@ameritech.net> wrote:
>
>the Cuabse start sucking (on sound quality) after 50 plus if you don't use
>a superior summing device.
>"Neil" <IOU@OIU.com> wrote:
>>
>>"DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>
>>>
>>>Well.........poo!!!!........... I've been working with a bunch
>>of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>different......but = >not necessarily better......
>>
>>
>>OH COME ON!!!
>>
>>What exactly did you record & evalute in that short time
>>("tonight")?
>>
>>Also, do you have enough tracks going to make a difference?
>>I don't know that you hear much of a difference on a small
>>handful of tracks like a single acoustic guitar & voice, for
>>example, but when you get even 10 or 12 tracks going and
>>ESPECIALLY when you start throwing them through a verb or two
>>working at those higher samplerates - you will absolutely hear a
>>difference in quality.
>>
>>Neil
>Well hello there everyone... Finally I managed to get it to work... functions
are all good.. but not a single led is on? had it tested by a cpl of elecritions
( studio gear repairing ones.. they said nothing seems to be wrong with
it !!!!! ) any body got any idea ? would the Wipers on AA's fixing C-16
have anything to do with that.. ( which I think it's sorta remote though
)... and by the way guys..thanks for the very positive inputs the other day
:)))Nice room Pete!
Gene
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
>Haven't been on here in awhile.Just wanted to stop in and say hi
>to everybody.
>
>Haven't been using PARIS much since I joined up with my buddy in
>our Neve VR/PT room.Just got an SSL so we'll be building an
>additional room soon.I thought about taking my PARIS rig down to
>integrate,but just haven't since everything down there works
>pretty smoothly.We mix out of the box on the board by the way.
>
>The website is www.musiccreekstudios.com if anyone wants to
>take a look.
>
>Just thought I'd stop in and say hey.
>Hope everyone is doing well here and its good to see PARIS is
>still kickin'!
>
>peace,
>Pete RuthenburgWow. Good thing that programmer set you straight ;-)
TCB
"chuck duffy" <c@c.com> wrote:
>
>Rec.audio.pro. Like an idiot I stopped by and tried to help someone :-)
>
>This is what I wrote
>
>> Lots of older apps have problems with dual core cpus, and even
>> hyperthreading on single core (older versions of giga for example).
>> Check the bios for a setting to disable the second core and I bet you
>> will be in business.
>
>This was the reply
>
>Another myth. But it is completely understandable how, if you haven't been
>a
>programmer, that you don't understand it. You can be a very intelligent
>person, and still not understand.
>
>Chuckor so it seems. I disconnected it from my setup (1 MEC w/ 24b I/O, 1 EDS card,
1 c16Pro, G4 Mac) to put it in a new rack and voila! it doesn't work anymore.
It powers up, cabling is fine (tested this), but when PARIS boots up it tells
me there are no I/O modules available (and true enough the patchbay window
is blank for I/O modules).
PARIS software seems to opererate w/out it, so the EDS card seems ok - anyone
got an idea about this? Is the MEC toast?
I sure love this system, but if i need a new MEC/24 bit I/O's, I think i
may just make the switch to another platform and throw in the towel. this
hardware has been touchy as of late and it is getting old...
thanks!
lucio
--
www.kingtone.comDoing this live in real time has some advantages, but this method will work.
Do a drum only mixdown to two tracks.
Bring the mix in on two additional channels.
Compress it VERY heavy and bring a small amount up behind your main drum
tracks.
You may need to shift this stereo track earlier to get the phase right. The
amount of shift will be determined by what plugin you use for the compression.
EQ on the compressed tracks is common…whatever works. Start with a little
high end boost post compressor. Personally I like less of the cymbals in
the compressed mix and I generally use just a hint of the smashed track.
1176 in all button mode, Vintage Warmer, Compadre Beatpuncher all work well
as will others. Settings vary. Start with a medium attack (10ms) a medium
release (200ms) and a heavy ratio deep into the threshold.
I’m looking to get an increase in energy and a melding of the sounds without
sacrificing too much clarity.
Dimitrios has a method that works for doing this real time in Paris. You
may want to search for his routing techniques. I typically do this by routing
out to a second computer in real time. The only major advantage of real time
is that you can adjust the individual send levels of your compressed drum
mix as you work your overall mix.
Gene
P.S.
If you just want to add a little compressed energy to a drum mix rather than
go with the "New York" smashed / parallel compressed sound, I would try Nebula2
free with the Boeing 747 settings. Nice!
"Don Nafe" <dnafe@magma.ca> wrote:
>Hi All
>
>When setting up a 2 track buss for slamming drums (to mix with the original
>tracks) how do YOU go about it.
>
>For Example
>
>1) Do you use the whole drum kit (EQ'd) or just selected drum tracks - and
>if you use the whole kit do you set up a separate mix for the compressors
>(i.e. levels) and how would that mix differ from the regular drum mix
>(generally speaking)
>
>2) If you require EQ on this mix buss to the Compressors - do you do it
pre
>or post the compressors.
>
>3) How do you deal with phasing issue
>
>4) What settings on the compressor do you use i.e. attack, release comp
>ratio etc...or do you have a general guideline you follow
>
>5) Lastly what are you looking to hear with this blend of tracks
>
>
>inquiring minds want to know
>
>DOn
>
>ps. Sorry if I got some of the terminology wrong?
>
>Lucio,
I am sorry to hear about this.
I would check the power to the <EC and try it without the expansion cards.
I would check the cable. I would check the EDS card connector.
If you do determine that the MEC and 8in are toast...
And you decide to stay with PARIS... I have 1 of each available.
let me know and good luck.
brandon_goodwin AT sbcglobal DOT net
"lucio" <lucilightning@gmail.com> wrote:
>
>or so it seems. I disconnected it from my setup (1 MEC w/ 24b I/O, 1 EDS
card,
>1 c16Pro, G4 Mac) to put it in a new rack and voila! it doesn't work anymore.
>It powers up, cabling is fine (tested this), but when PARIS boots up it
tells
>me there are no I/O modules available (and true enough the patchbay window
>is blank for I/O modules).
>
>PARIS software seems to opererate w/out it, so the EDS card seems ok - anyone
>got an idea about this? Is the MEC toast?
>
>I sure love this system, but if i need a new MEC/24 bit I/O's, I think i
>may just make the switch to another platform and throw in the towel. this
>hardware has been touchy as of late and it is getting old...
>
>thanks!
>
>lucio
>--
>
>www.kingtone.comSo is it 40 or 50 tracks?
Is it only after a lot of plugins or without regard to plugins?
Is it a superior summing device or only a decent summing device?
Make up my mind!
Neil
"lamont" <jjdpro@ameritech.net> wrote:
>
>Corrrection: Then, Cubase's summing starts to collasp after 40 plus with
good
>alot of plugins.. Now, your mix sounds thin and weak.. Now, you have to
invest
>in a decent summing device to get your mix back..
>
>"LaMOnt" <jjdpro@ameritech.net> wrote:
>>
>>the Cuabse start sucking (on sound quality) after 50 plus if you don't
use
>>a superior summing device.
>>"Neil" <IOU@OIU.com> wrote:
>>>
>>>"DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>
>>>>
>>>>Well.........poo!!!!........... I've been working with a bunch
>>>of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>different......but = >not necessarily better......
>>>
>>>
>>>OH COME ON!!!
>>>
>>>What exactly did you record & evalute in that short time
>>>("tonight")?
>>>
>>>Also, do you have enough tracks going to make a difference?
>>>I don't know that you hear much of a difference on a small
>>>handful of tracks like a single acoustic guitar & voice, for
>>>example, but when you get even 10 or 12 tracks going and
>>>ESPECIALLY when you start throwing them through a verb or two
>>>working at those higher samplerates - you will absolutely hear a
>>>difference in quality.
>>>
>>>Neil
>>
>This is a multi-part message in MIME format.
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Easy,=20
Get a singer that sounds like Sinatra or Dino.
It's all in the voice modulation, not the recording.
--=20
Martin Harrington
www.lendanea
|
|
|
|
| Re: Dedric : To add fuel to the fire [message #78433 is a reply to message #78428] |
Mon, 15 January 2007 14:12 |
Dedric Terry
Messages: 788
Registered: June 2007
|
Senior Member |
|
|
;>
>>
>> "Neil" <oiuOIU@OIU.com> wrote:
>>>
>>>So is it 40 or 50 tracks?
>>>Is it only after a lot of plugins or without regard to plugins?
>>>Is it a superior summing device or only a decent summing device?
>>>
>>>Make up my mind!
>>>
>>>Neil
>>>
>>>"lamont" <jjdpro@ameritech.net> wrote:
>>>>
>>>>Corrrection: Then, Cubase's summing starts to collasp after 40 plus with
>>>good
>>>>alot of plugins.. Now, your mix sounds thin and weak.. Now, you have
to
>>>invest
>>>>in a decent summing device to get your mix back..
>>>>
>>>>"LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>>
>>>>>the Cuabse start sucking (on sound quality) after 50 plus if you don't
>>>use
>>>>>a superior summing device.
>>>>>"Neil" <IOU@OIU.com> wrote:
>>>>>>
>>>>>>"DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>>>
>>>>>>>
>>>>>>>Well.........poo!!!!........... I've been working with a bunch
>>>>>>of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>>>>different......but = >not necessarily better......
>>>>>>
>>>>>>
>>>>>>OH COME ON!!!
>>>>>>
>>>>>>What exactly did you record & evalute in that short time
>>>>>>("tonight")?
>>>>>>
>>>>>>Also, do you have enough tracks going to make a difference?
>>>>>>I don't know that you hear much of a difference on a small
>>>>>>handful of tracks like a single acoustic guitar & voice, for
>>>>>>example, but when you get even 10 or 12 tracks going and
>>>>>>ESPECIALLY when you start throwing them through a verb or two
>>>>>>working at those higher samplerates - you will absolutely hear a
>>>>>>difference in quality.
>>>>>>
>>>>>>Neil
>>>>>
>>>>
>>>
>>
>
>Guys & gals,
Samplitude has just made available their very cool new plugisn tha can be
found in their new version 9 DAW. They sound great and very professional...
http://www.samplitude.com/eng/vst/uebersicht.htmlWow Doug. Thanks! Your gonna make me cry or somethin' over here. Grace
Slick was even one of my early idols. :)
Feed your head,
Sarah
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45cdea2b$1@linux...
>I haven't enjoyed a CD so much in I don't know when. I mean *really,
>seriously* enjoyed it...as in..it's gonna be in regular rotation around
>here. Extremely interesting lyrics, arrangements and killer musicianship.
>Sarah's voice has something unique about it that I really like.On Blow it
>All Up, it reminded me a little bit of Grace Slick at her best in the
>"White Rabbit" era, but I think Sarah's voice is more melodious. I'm not
>saying that this song is some kind of knockoff on another genre. It's not.
>It's refreshingly unique, as is all of the material on the CD.
>
> Lots of really cool and interesting songs. There's not one song in there
> that I didn't like. That's pretty much unheardof for me.
>
> ;o)
>
>
>Hey guys,
I have posted before this technique with Paris eds compressor...
Here how it goes.
You open on your submixe's aux1 a stereo compressor and leaving threshold
to 0 you use this just for dry signal.
On aux 2 you put another stereo eds compressor and you use this for heavy
comprwession.
Now you select pre post on both Aux1 and Aux2 on all drum tracks and MUTE
all drumtracks and then:
1) You control your dry drum levels from aux1 and
2) your wet (heavily compressed) drumtracks from aux 2.
No phase problems here as long as you use the same lookahead for both instances
of eds compressor.
Have a nice day.
Regards,
Dimitrios
Chas. Duncan <duncan5199ATsbcglobalDOTnet@> wrote:
>You sir are a fountain of useful information of late. If I live long
>enough I may find time to try out half the things you've suggested
>just since the first of the year...
>
>MVP(oster)? -- My vote is for Mr. Gene.
>
>-- thanks -- chas
>
>On 11 Feb 2007 11:14:55 +1000, "Gene Lennon"
><glennon@NOSPmyrealbox.com> wrote:
>
>>
>>Doing this live in real time has some advantages, but this method will
work.
>>
>>Do a drum only mixdown to two tracks.
>>Bring the mix in on two additional channels.
>>Compress it VERY heavy and bring a small amount up behind your main drum
>>tracks.
>>You may need to shift this stereo track earlier to get the phase right.
The
>>amount of shift will be determined by what plugin you use for the compression.
>>EQ on the compressed tracks is common…whatever works. Start with a little
>>high end boost post compressor. Personally I like less of the cymbals
in
>>the compressed mix and I generally use just a hint of the smashed track.
>>
>>1176 in all button mode, Vintage Warmer, Compadre Beatpuncher all work
well
>>as will others. Settings vary. Start with a medium attack (10ms) a medium
>>release (200ms) and a heavy ratio deep into the threshold.
>>I’m looking to get an increase in energy and a melding of the sounds without
>>sacrificing too much clarity.
>>
>>Dimitrios has a method that works for doing this real time in Paris. You
>>may want to search for his routing techniques. I typically do this by routing
>>out to a second computer in real time. The only major advantage of real
time
>>is that you can adjust the individual send levels of your compressed drum
>>mix as you work your overall mix.
>>Gene
>>P.S.
>>If you just want to add a little compressed energy to a drum mix rather
than
>>go with the "New York" smashed / parallel compressed sound, I would try
Nebula2
>>free with the Boeing 747 settings. Nice!
>>
>>
>>
>>
>>"Don Nafe" <dnafe@magma.ca> wrote:
>>>Hi All
>>>
>>>When setting up a 2 track buss for slamming drums (to mix with the original
>>
>>>tracks) how do YOU go about it.
>>>
>>>For Example
>>>
>>>1) Do you use the whole drum kit (EQ'd) or just selected drum tracks -
and
>>
>>>if you use the whole kit do you set up a separate mix for the compressors
>>
>>>(i.e. levels) and how would that mix differ from the regular drum mix
>>>(generally speaking)
>>>
>>>2) If you require EQ on this mix buss to the Compressors - do you do it
>>pre
>>>or post the compressors.
>>>
>>>3) How do you deal with phasing issue
>>>
>>>4) What settings on the compressor do you use i.e. attack, release comp
>>
>>>ratio etc...or do you have a general guideline you follow
>>>
>>>5) Lastly what are you looking to hear with this blend of tracks
>>>
>>>
>>>inquiring minds want to know
>>>
>>>DOn
>>>
>>>ps. Sorry if I got some of the terminology wrong?
>>>
>>>
>Thanks Dimitrios
I'd forgot about that technique
DOn
"Dimitrios" <musurgio@otenet.gr> wrote in message news:45cef316$1@linux...
>
> Hey guys,
> I have posted before this technique with Paris eds compressor...
> Here how it goes.
> You open on your submixe's aux1 a stereo compressor and leaving threshold
> to 0 you use this just for dry signal.
> On aux 2 you put another stereo eds compressor and you use this for heavy
> comprwession.
> Now you select pre post on both Aux1 and Aux2 on all drum tracks and MUTE
> all drumtracks and then:
> 1) You control your dry drum levels from aux
|
|
|
|
| Re: To add fuel to the fire [message #78438 is a reply to message #78401] |
Mon, 15 January 2007 16:24 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
enburg" <ruthenburg@sbcglobal.net> wrote in message
>news:45ce0764$1@linux...
>>
>> Haven't been on here in awhile.Just wanted to stop in and say hi
>> to everybody.
>>
>> Haven't been using PARIS much since I joined up with my buddy in
>> our Neve VR/PT room.Just got an SSL so we'll be building an
>> additional room soon.I thought about taking my PARIS rig down to
>> integrate,but just haven't since everything down there works
>> pretty smoothly.We mix out of the box on the board by the way.
>>
>> The website is www.musiccreekstudios.com if anyone wants to
>> take a look.
>>
>> Just thought I'd stop in and say hey.
>> Hope everyone is doing well here and its good to see PARIS is
>> still kickin'!
>>
>> peace,
>> Pete Ruthenburg
>
>While there is certainly a lot of
BS, there is also a good bit of expertise. I don't see much posting elsewhere
by Scott Dorsey, Paul Stamler, and Ty Ford, all of whom contribute valuable
information.
It is certainly better than Gearslutz, where it seems a lot of folks simply
repeat other folks opinions of equipment.This is a multi-part message in MIME format.
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"Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>=20
> Hey Dedric, no it certainly has nothing to do with the summing,
> but maybe it more or less restores some stuff (dunno what) that
> might get lost in ITB summing? Maybe that's what Deej is
> hearing (I have no clue - haven't tried one yet). Or maybe it's
> really a magnetic thing more than tape compression or harmonic
> distortion that we liked about analog? This unit has an
> actual tape head circuit inside it, which is something I don't
> ever recall seeing in any other box.
>=20
> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
> Pre's from) about this box & he said he liked it so much he
> bought one for himself. He said it's a mysterious little box in
> a way, because sometimes you can't tell how it's affecting the
> sound, but when you disengage it you instantly say: "Nope...
> sounded better with it in!"
>=20
This is exactly the situation.
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<BODY>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"Neil" <</FONT><A=20
href=3D"mailto:UOIU@OIU.com"><FONT face=3DArial =
size=3D2>UOIU@OIU.com</FONT></A><FONT=20
face=3DArial size=3D2>> wrote in message </FONT><A=20
href=3D"news:45cf3ba4$1@linux"><FONT face=3DArial=20
size=3D2>news:45cf3ba4$1@linux</FONT></A><FONT face=3DArial =
size=3D2>...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>> <BR>> Hey Dedric, no it =
certainly has=20
nothing to do with the summing,<BR>> but maybe it more or less =
restores some=20
stuff (dunno what) that<BR>> might get lost in ITB summing? Maybe =
that's what=20
Deej is<BR>> hearing (I have no clue - haven't tried one yet). Or =
maybe=20
it's<BR>> really a magnetic thing more than tape compression or=20
harmonic<BR>> distortion that we liked about analog? This unit has =
an<BR>>=20
actual tape head circuit inside it, which is something I don't<BR>> =
ever=20
recall seeing in any other box.<BR>> <BR>> FWIW, I spoke to Brian =
at Sonic=20
Circus (where I got my Portico<BR>> Pre's from) about this box & =
he said=20
he liked it so much he<BR>> bought one for himself. <STRONG><EM>He =
said it's=20
a mysterious little box in<BR>> a way, because sometimes you can't =
tell how=20
it's affecting the<BR>> sound, but when you disengage it you =
instantly say:=20
"Nope...<BR>> sounded better with it in!"</EM></STRONG><BR>>=20
<BR></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>This is exactly the situation.=20
</DIV></FONT></BODY></HTML>
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Very strange, my MEC seems to be generating some hum, like 60hz
ground-problems stuff. Even when the thing is unplugged, I still get the
hum. The only time it goes away is when I unplug the audio cables running
from the monitor outs to the mix board. I hate to say it, but the cables
are unbalanced instrument cables. Unplugged from the MEC, but still hooked
into the board there is no hum, plugged back into the MEC -hum. Does this
make sense -even when the power cord from the MEC is unplugged? The only
thing I can think is to get some balanced cables, but if the cables
(unplugged from the MEC) create no hum, will balanced cables solve the
problem? I'm stumped --unless its some energy from the galactic core,
washing over my home town and somehow tuned to the frequency of the MEC -now
that would make at least SOME sense :-)
Thanks for any feedback,
MR
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Very strange, my MEC seems to be =
generating some=20
hum, like 60hz ground-problems stuff. Even when the thing is =
unplugged, I=20
still get the hum. The only time it goes away is when I unplug the =
audio=20
cables running from the monitor outs to the mix board. I hate to =
say it,=20
but the cables are unbalanced instrument cables. Unplugged from =
the MEC,=20
but still hooked into the board there is no hum, plugged back into the =
MEC=20
-hum. Does this make sense -even when the power cord from the MEC =
is=20
unplugged? The only thing I can think is to get some balanced =
cables, but=20
if the cables (unplugged from the MEC) create no hum, will balanced =
cables solve=20
the problem? I'm stumped --unless its some energy from the =
galactic core,=20
washing over my home town and somehow tuned to the frequency of the MEC =
-now=20
that would make at least SOME sense :-)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thanks for any feedback,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>MR</FONT></DIV></BODY></HTML>
------=_NextPart_000_0009_01C74DD6.F5EF76C0--This is great!
rick <parnell68@hotmail.com> wrote:
>
>The Guys' Rules
>At last a guy has taken the time to write this all down
>
> Finally , the guys' side of the story.
>( I must admit, it's pretty good.)
>We always hear " the rules "
>From the female side.
>
>
>Now here are the rules from the male side.
>These are our rules!
>Please note.. these are all numbered "1"
>ON PURPOSE!
>
>
>1. Men are NOT mind readers.
>
>1. Learn to work the toilet seat.
>You're a big girl. If it's up, put it down.
>We need it up, you need it down.
>You don't hear us complaining about you leaving it down.
>
>1. Sunday sports It's like the full moon
>or the changing of the tides.
>Let it be.
>
>1. Shopping is NOT a sport.
>And no, we are never going to think of it that way.
>
>1. Crying is blackmail.
>
>1. Ask for what you want.
>Let us be clear on this one:
>Subtle hints do not work!
>Strong hints do not work!
>Obvious hints do not work!
>Just say it!
>
>1. Yes and No are perfectly acceptable answers to almost every
>question.
>
>1. Come to us with a problem only if you want help solving it. That's
>what we do.
>Sympathy is what your girlfriends are for.
>
>1. A headache that lasts for 17 months is a Problem.
> See a doctor.
>
>1. Anything we said 6 months ago is inadmissible in an argument.
>In fact, all comments become null and void after 7 Days.
>
>1. If you won't dress like the Victoria 's Secret girls, don't Expect
>us to act like soap opera guys.
>
>1. If you think you're fat, you probably are.
>Don't ask us.
>
>1. If something we said can be interpreted two ways and one of the
>ways makes you sad or angry, we meant the other one
>
>1. You can either ask us to do something
>Or tell us how you want it done.
>Not both.
>If you already know best how to do it, just do it yourself.
>
>1. Whenever possible, Please say whatever you have to say during
>commercials.
>
>1. Christopher Columbus did NOT need directions and neither do we.
>
>1. ALL men see in only 16 colors, like Windows default settings.
>Peach, for example, is a fruit, not A color. Pumpkin is also a fruit.
>We have no idea what mauve is.
>
>1. If it itches, it will be scratched.
>We do that.
>
>1. If we ask what is wrong and you say "nothing," We will act like
>nothing's wrong.
>We know you are lying, but it is just not worth the hassle.
>
>1. If you ask a question you don't want an answer to, Expect an answer
>you don't want to hear.
>
>1. When we have to go somewhere, absolutely anything you wear is
>fine... Really .
>
>1. Don't ask us what we're thinking about unless you are prepared to
>discuss such topics as baseball, the shotgun formation,
>or golf.
>
>1. You have enough clothes.
>
>1. You have too many shoes.
>
>1. I am in shape. Round IS a shape!
>
>1. Thank you for reading this.
>Yes, I know, I have to sleep on the couch tonight;
>
>
>But did you know men really don't mind that? It's like camping.
>
>Pass this to as many men as you can -
>to give them a laugh.
>
>Pass this to as many women as you can -
>to give them a bigger laugh.> P.S..did you ever take a peek at the Neve 8816 summing
> ?mixerhttp://www.neve.eu/index.php?entry=8816&category=P roducts
>
I did indeed look at it.......and the fader control that goes with it. A
very cool concept. I just don't know if I want to mix to stems if I don't
have to right now. My projects here aren't of the massive track count
variety. I've mixed a couple of projects of 60 + tracks in Paris when I was
running 4 x MECs & 4 x EDS cards and I guess I'm just not *pro enough* to
enjoy this. It really wasn't enjoyable to me for some reason. I'm gonna be
working with a guy in this area in the near uture named Ed Stasium. He's got
a big PT rig and mixes large projects for a bunch of labels on the east
coast so maybe after flying under his wing for a while I'll be more
comfortable with the larger stuff, but the few projects I've been contacted
about for mixing with large track counts, I've referred elsewhere because I
felt like someone else could do a better job for the client. 50 tracks would
be a huge situation here. 36-40 is on the high side but I can do a od job
with this size mix. 24-32 is fairly typical and for bluegrass projects
(which is what happens here a lot, 10-15 is pretty common) I've got 16 RME
AD/DA's here. To integrate this box would necessitate my adding another 8 x
channels so that I could continue to have my analog gear patched in as
inserts during mixdown while stemming out 8 x stereo busses for summing
through the Neve into yet another computer or a Masterlink.
Maybe later, as my situation evolves, I become more experienced and I have
the clientele and larger track count projects to justify something like
this.
Thanks for your insight on this.
;o)Don't cry!!!...just take that stuff I shipped you and make more music with
it.
;o)
"Sarah" <sarahjane@sarahtonin.com> wrote in message news:45ceecd9$1@linux...
> Wow Doug. Thanks! Your gonna make me cry or somethin' over here. Grace
> Slick was even one of my early idols. :)
>
> Feed your head,
>
> Sarah
>
> "DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45cdea2b$1@linux...
>>I haven't enjoyed a CD so much in I don't know when. I mean *really,
>>seriously* enjoyed it...as in..it's gonna be in regular rotation around
>>here. Extremely interesting lyrics, arrangements and killer musicianship.
>>Sarah's voice has something unique about it that I really like.On Blow it
>>All Up, it reminded me a little bit of Grace Slick at her best in the
>>"White Rabbit" era, but I think Sarah's voice is more melodious. I'm not
>>saying that this song is some kind of knockoff on another genre. It's not.
>>It's refreshingly unique, as is all of the material on the CD.
>>
>> Lots of really cool and interesting songs. There's not one song in there
>> that I didn't like. That's pretty much unheardof for me.
>>
>> ;o)
>>
>>
>>
>
>Neil, your question is as confusing as your so-called daw mixing comparisions..
before you make any other comemnts on DAWs, get run out and get a version
of PT-Mpowered. Import your wav files into a session..Push the faders up..And
report your sonic findings..
Then, if you have copy of Paris, do the same..if you can...
Dude, I work with Nuendo daily. You cannot approach a mix on SX/NUendo he
same way as on Pro Tools(anyversion) Paris Samplitude, Logic.. If you did,
the mix would sart collasping. The summing stage get narrower, then have
to add in a stereo imager..
My resolution was one that is being imployed by many other Neundo studio,
and that by adding in a different summing stage. Beit a Digital Mixer, Analog
mixer, Portco , Summ boxes..Etc.
Until then, your only reference is SX, and we all know how you have to mix
with SX. If not, you're in for a long night...
"Neil" <IOUOI@OIU.com> wrote:
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>It's all the above that suck the life out of a Cubase SX mix. Not to mention,
>>keeping your levels way under unity gain zero..Say -6db?? :)
>
>Unity gain? In digital, zero isn't "unity gain", is "maxed out-
>you'd better not go any higher". So what are you saying,
>Lamont? Everyone knows that going over the zero line is bad, and
>now you're saying that bringing a fader below zero is
>bad, so everything should be exactly at zero?
>
>Nice mix, let's hear one of those.
>
>NeilNeil - I think that's the essence of it - harmonic distortion can smooth out
more barren and sterile frequency content - it also smears the picture
a bit in terms of accuracy, but we enjoy listening for the pleasing effect
of music rather than the stark accuracy of a recording. The top end is
really where a smearing
or smoothing effect can help, imho.
I think the 5042 is a cool idea - thanks for passing it along DJ - I look
forward to
hearing some A/Bs!
Regards,
Dedric
"Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>
> Hey Dedric, no it certainly has nothing to do with the summing,
> but maybe it more or less restores some stuff (dunno what) that
> might get lost in ITB summing? Maybe that's what Deej is
> hearing (I have no clue - haven't tried one yet). Or maybe it's
> really a magnetic thing more than tape compression or harmonic
> distortion that we liked about analog? This unit has an
> actual tape head circuit inside it, which is something I don't
> ever recall seeing in any other box.
>
> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
> Pre's from) about this box & he said he liked it so much he
> bought one for himself. He said it's a mysterious little box in
> a way, because sometimes you can't tell how it's affecting the
> sound, but when you disengage it you instantly say: "Nope...
> sounded better with it in!"
>
> Interesting stuff... I may have to get one of these or...
>
> Neil
>
>
> Dedric Terry <dterry@keyofd.net> wrote:
>>Just a minor technicality, but putting a 2 channel line driver
>>on the master bus (2 channel pass through) isn't changing the summing -
> it's
>>just rounding the final mix EQ, compressing a bit with a little
>>saturation,
>>and perhaps adding some phase non-linearities.
>>
>>That said, if you like the sound and you get a great mix, that's what it's
>>all about, regardless of the details of how you got there. :-)
>>
>>Regards,
>>Dedric
>>
>>On 2/11/07 12:53 AM, in article 45cebd82$1@linux, "LaMont"
>><jjdpro@ameritech.net> wrote:
>>
>>>
>>> hey DJ...Looks great.. I've heard some very good things about their
>>> entire
>>> Portico line..
>>>
>>> The 5042 looks like an analog gain stage on a mixer, with analog summing
>>> stage on the outs..Cool..
>>>
>>> You're doing it right DJ..You're adding a nice peice of gear for summing
>>> in SX/Neundo..With out it, well you know what your mix will sound..????
>>>
>>> P.S..did you ever take a peek at the Neve 8816 summing
>>> ?mixerhttp://www.neve.eu/index.php?entry=8816&category=P roducts
>>>
>>>
>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>> You should try a Neve 5042 with Nuendo LaMont
>>>>
>>>> "LaMont" <jjdpro@ameritech.net> wrote in message
>>>> news:45ce7bb9$1@linux...
>>>>>
>>>>> It's all the above that suck the life out of a Cubase SX mix. Not to
>>>>> mention,
>>>>> keeping your levels way under unity gain zero..Say -6db?? :)
>>>>>
>>>>> Great Workflow DAW (SX).. So so sonics (imo).. Need superior
>>>>> converters
>>>
>>>>> and
>>>>> decent summing device to get back the Punch and debt./. With out it,
> SX
>>>
>>>>> will
>>>>> give you a nice Wide-open sound that's not as "Crsipy as PT, Not as
> much
>>>>> Balls as Paris, and sonically not as sophisticated as Samplitude..
>>>>>
>>>>> In the Box mixing, SX is a comprimise on all levels..Better known as
> "Play
>>>>> it safe" digital mixing. Or as some like to say, "correct way of
>>>>> digital
>>>>> mixing"..Whatever..
>>>>> If I have offend, I'm sorry. But, I call them as I hear and use them
>>> ,and
>>>>> all I pretty much use them all..As a Nuendo Owner and everyday user,
> the
>>>>> above statements apply as well..
>>>>>
>>>>> That's why I have integrated a SoundCraft Ghost console/as my front
> end
>>> to
>>>>> Neundo and ProTools, and sum out of it.. World Of Different..
>>>>> YOu can use a Mackie (anything), Tascam, Whatever mixer(Digital or
>>>>> Analog)
>>>>> will be superior to your IN the Box summing..
>>>>>
>>>>>
>>>>> "Neil" <oiuOIU@OIU.com> wrote:
>>>>>>
>>>>>> So is it 40 or 50 tracks?
>>>>>> Is it only after a lot of plugins or without regard to plugins?
>>>>>> Is it a superior summing device or only a decent summing device?
>>>>>>
>>>>>> Make up my mind!
>>>>>>
>>>>>> Neil
>>>>>>
>>>>>> "lamont" <jjdpro@ameritech.net> wrote:
>>>>>>>
>>>>>>> Corrrection: Then, Cubase's summing starts to collasp after 40 plus
> with
>>>>>> good
>>>>>>> alot of plugins.. Now, your mix sounds thin and weak.. Now, you have
>>> to
>>>>>> invest
>>>>>>> in a decent summing device to get your mix back..
>>>>>>>
>>>>>>> "LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>>>>>
>>>>>>>> the Cuabse start sucking (on sound quality) after 50 plus if you
> don't
>>>>>> use
>>>>>>>> a superior summing device.
>>>>>>>> "Neil" <IOU@OIU.com> wrote:
>>>>>>>>>
>>>>>>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Well.........poo!!!!........... I've been working with a bunch
>>>>>>>>> of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>>>>>>> different......but = >not necessarily better......
>>>>>>>>>
>>>>>>>>>
>>>>>>>>> OH COME ON!!!
>>>>>>>>>
>>>>>>>>> What exactly did you record & evalute in that short time
>>>>>>>>> ("tonight")?
>>>>>>>>>
>>>>>>>>> Also, do you have enough tracks going to make a difference?
>>>>>>>>> I don't know that you hear much of a difference on a small
>>>>>>>>> handful of tracks like a single acoustic guitar & voice, for
>>>>>>>>> example, but when you get even 10 or 12 tracks going and
>>>>>>>>> ESPECIALLY when you start throwing them through a verb or two
>>>>>>>>> working at those higher samplerates - you will absolutely hear a
>>>>>>>>> difference in quality.
>>>>>>>>>
>>>>>>>>> Neil
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>>
>>>
>>
>Hi Mike,
My guess would be that you've got a ground loop between your computer and
the mixer. If this is the case, balanced cables won't help. Have you tried
the ground compensate buttons on the back of the MEC to see if one setting
or other resoves it? Are your computer and mixer plugged into the same outlet?
I've had very few ground problems with my MECs, so it definitely doesn't
have to be this way.
Hope this helps,
Mike A.
"Mike R." <emarenot@yahoo.com> wrote:
>
>
>Very strange, my MEC seems to be generating some hum, like 60hz
>ground-problems stuff. Even when the thing is unplugged, I still get the
>hum. The only time it goes away is when I unplug the audio cables running
>from the monitor outs to the mix board. I hate to say it, but the cables
>are unbalanced instrument cables. Unplugged from the MEC, but still hooked
>into the board there is no hum, plugged back into the MEC -hum. Does this
>make sense -even when the power cord from the MEC is unplugged? The only
>thing I can think is to get some balanced cables, but if the cables
>(unplugged from the MEC) create no hum, will balanced cables solve the
>problem? I'm stumped --unless its some energy from the galactic core,
>washing over my home town and somehow tuned to the frequency of the MEC
-now
>that would make at least SOME sense :-)
>Thanks for any feedback,
>MR
>
>
><!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 6.00.2800.1555" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff>
><DIV><FONT face=3DArial size=3D2>Very strange, my MEC seems to be =
>generating some=20
>hum, like 60hz ground-problems stuff. Even when the thing is =
>unplugged, I=20
>still get the hum. The only time it goes away is when I unplug the =
>audio=20
>cables running from the monitor outs to the mix board. I hate to =
>say it,=20
>but the cables are unbalanced instrument cables. Unplugged from =
>the MEC,=20
>but still hooked into the board there is no hum, plugged back into the =
>MEC=20
>-hum. Does this make sense -even when the power cord from the MEC =
>is=20
>unplugged? The only thing I can think is to get some balanced =
>cables, but=20
>if the cables (unplugged from the MEC) create no hum, will balanced =
>cables solve=20
>the problem? I'm stumped --unless its some energy from the =
>galactic core,=20
>washing over my home town and somehow tuned to the frequency of the MEC
=
>-now=20
>that would make at least SOME sense :-)</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Thanks for any feedback,</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>MR</FONT></DIV></BODY></HTML>
>
>It's a lot of money Dedric. It's not as much as a new Empirical Labs Fatso
or a Cranesong Hedd 192, but it's still $1700.00 street no matter where you
go. The one I've got here is a loaner from a friend who might want to sell
it. If I can't get it for *substantially* less than I could get it from an
audio house, I may look at demoing other products as well to see what other
toys could do the job as well. I may see if Morgan has access to these
products and see if I can get some demo units out here. I know for sure that
my old buddy Al Priest at Studio Tech Supply
http://www.studiotechsupply.com carries this stuff.. I've dealt with him a
lot over the years and he is always pretty heavily invested in demo units so
lots of high end stuff is available for test drive. Morgan is just so good
to work on every level with that I send my business that way if he can
access the product without having to buy into a distributorship for a
product that he wouldn't normally find profitable to carry.
;o)
"Dedric Terry" <dedric@echomg.com> wrote in message news:45cf81f8@linux...
> Neil - I think that's the essence of it - harmonic distortion can smooth
> out
> more barren and sterile frequency content - it also smears the picture
> a bit in terms of accuracy, but we enjoy listening for the pleasing effect
> of music rather than the stark accuracy of a recording. The top end is
> really where a smearing
> or smoothing effect can help, imho.
>
> I think the 5042 is a cool idea - thanks for passing it along DJ - I look
> forward to
> hearing some A/Bs!
>
> Regards,
> Dedric
>
> "Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>>
>> Hey Dedric, no it certainly has nothing to do with the summing,
>> but maybe it more or less restores some stuff (dunno what) that
>> might get lost in ITB summing? Maybe that's what Deej is
>> hearing (I have no clue - haven't tried one yet). Or maybe it's
>> really a magnetic thing more than tape compression or harmonic
>> distortion that we liked about analog? This unit has an
>> actual tape head circuit inside it, which is something I don't
>> ever recall seeing in any other box.
>>
>> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
>> Pre's from) about this box & he said he liked it so much he
>> bought one for himself. He said it's a mysterious little box in
>> a way, because sometimes you can't tell how it's affecting the
>> sound, but when you disengage it you instantly say: "Nope...
>> sounded better with it in!"
>>
>> Interesting stuff... I may have to get one of these or...
>>
>> Neil
>>
>>
>> Dedric Terry <dterry@keyofd.net> wrote:
>>>Just a minor technicality, but putting a 2 channel line driver
>>>on the master bus (2 channel pass through) isn't changing the summing -
>> it's
>>>just rounding the final mix EQ, compressing a bit with a little
>>>saturation,
>>>and perhaps adding some phase non-linearities.
>>>
>>>That said, if you like the sound and you get a great mix, that's what
>>>it's
>>>all about, regardless of the details of how you got there. :-)
>>>
>>>Regards,
>>>Dedric
>>>
>>>On 2/11/07 12:53 AM, in article 45cebd82$1@linux, "LaMont"
>>><jjdpro@ameritech.net> wrote:
>>>
>>>>
>>>> hey DJ...Looks great.. I've heard some very good things about their
>>>> entire
>>>> Portico line..
>>>>
>>>> The 5042 looks like an analog gain stage on a mixer, with analog
>>>> summing
>>>> stage on the outs..Cool..
>>>>
>>>> You're doing it right DJ..You're adding a nice peice of gear for
>>>> summing
>>>> in SX/Neundo..With out it, well you know what your mix will sound..????
>>>>
>>>> P.S..did you ever take a peek at the Neve 8816 summing
>>>> ?mixerhttp://www.neve.eu/index.php?entry=8816&category=P roducts
>>>>
>>>>
>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>> You should try a Neve 5042 with Nuendo LaMont
>>>>>
>>>>> "LaMont" <jjdpro@ameritech.net> wrote in message
>>>>> news:45ce7bb9$1@linux...
>>>>>>
>>>>>> It's all the above that suck the life out of a Cubase SX mix. Not to
>>>>>> mention,
>>>>>> keeping your levels way under unity gain zero..Say -6db?? :)
>>>>>>
>>>>>> Great Workflow DAW (SX).. So so sonics (imo).. Need superior
>>>>>> converters
>>>>
>>>>>> and
>>>>>> decent summing device to get back the Punch and debt./. With out it,
>> SX
>>>>
>>>>>> will
>>>>>> give you a nice Wide-open sound that's not as "Crsipy as PT, Not as
>> much
>>>>>> Balls as Paris, and sonically not as sophisticated as Samplitude..
>>>>>>
>>>>>> In the Box mixing, SX is a comprimise on all levels..Better known as
>> "Play
>>>>>> it safe" digital mixing. Or as some like to say, "correct way of
>>>>>> digital
>>>>>> mixing"..Whatever..
>>>>>> If I have offend, I'm sorry. But, I call them as I hear and use them
>>>> ,and
>>>>>> all I pretty much use them all..As a Nuendo Owner and everyday user,
>> the
>>>>>> above statements apply as well..
>>>>>>
>>>>>> That's why I have integrated a SoundCraft Ghost console/as my front
>> end
>>>> to
>>>>>> Neundo and ProTools, and sum out of it.. World Of Different..
>>>>>> YOu can use a Mackie (anything), Tascam, Whatever mixer(Digital or
>>>>>> Analog)
>>>>>> will be superior to your IN the Box summing..
>>>>>>
>>>>>>
>>>>>> "Neil" <oiuOIU@OIU.com> wrote:
>>>>>>>
>>>>>>> So is it 40 or 50 tracks?
>>>>>>> Is it only after a lot of plugins or without regard to plugins?
>>>>>>> Is it a superior summing device or only a decent summing device?
>>>>>>>
>>>>>>> Make up my mind!
>>>>>>>
>>>>>>> Neil
>>>>>>>
>>>>>>> "lamont" <jjdpro@ameritech.net> wrote:
>>>>>>>>
>>>>>>>> Corrrection: Then, Cubase's summing starts to collasp after 40 plus
>> with
>>>>>>> good
>>>>>>>> alot of plugins.. Now, your mix sounds thin and weak.. Now, you
>>>>>>>> have
>>>> to
>>>>>>> invest
>>>>>>>> in a decent summing device to get your mix back..
>>>>>>>>
>>>>>>>> "LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>>>>>>
>>>>>>>>> the Cuabse start sucking (on sound quality) after 50 plus if you
>> don't
>>>>>>> use
>>>>>>>>> a superior summing device.
>>>>>>>>> "Neil" <IOU@OIU.com> wrote:
>>>>>>>>>>
>>>>>>>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>> Well.........poo!!!!........... I've been working with a bunch
>>>>>>>>>> of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>>>>>>>> different......but = >not necessarily better......
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> OH COME ON!!!
>>>>>>>>>>
>>>>>>>>>> What exactly did you record & evalute in that short time
>>>>>>>>>> ("tonight")?
>>>>>>>>>>
>>>>>>>>>> Also, do you have enough tracks going to make a difference?
>>>>>>>>>> I don't know that you hear much of a difference on a small
>>>>>>>>>> handful of tracks like a single acoustic guitar & voice, for
>>>>>>>>>> example, but when you get even 10 or 12 tracks going and
>>>>>>>>>> ESPECIALLY when you start throwing them through a verb or two
>>>>>>>>>> working at those higher samplerates - you will absolutely hear a
>>>>>>>>>> difference in quality.
>>>>>>>>>>
>>>>>>>>>> Neil
>>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>
>
>You say: “Even when it is unplugged”. Do you have other analog or digital
cables plugged into the MEC when you try this? Is it in a metal rack? Your
unwanted ground reference could be coming from other places than the power
ground.
Gene
"Mike R." <emarenot@yahoo.com> wrote:
>
>
>Very strange, my MEC seems to be generating some hum, like 60hz
>ground-problems stuff. Even when the thing is unplugged, I still get the
>hum. The only time it goes away is when I unplug the audio cables running
>from the monitor outs to the mix board. I hate to say it, but the cables
>are unbalanced instrument cables. Unplugged from the MEC, but still hooked
>into the board there is no hum, plugged back into the MEC -hum. Does this
>make sense -even when the power cord from the MEC is unplugged? The only
>thing I can think is to get some balanced cables, but if the cables
>(unplugged from the MEC) create no hum, will balanced cables solve the
>problem? I'm stumped --unless its some energy from the galactic core,
>washing over my home town and somehow tuned to the frequency of the MEC
-now
>that would make at least SOME sense :-)
>Thanks for any feedback,
>MR
>
>
><!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 6.00.2800.1555" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff>
><DIV><FONT face=3DArial size=3D2>Very strange, my MEC seems to be =
>generating some=20
>hum, like 60hz ground-problems stuff. Even when the thing is =
>unplugged, I=20
>still get the hum. The only time it goes away is when I unplug the =
>audio=20
>cables running from the monitor outs to the mix board. I hate to =
>say it,=20
>but the cables are unbalanced instrument cables. Unplugged from =
>the MEC,=20
>but still hooked into the board there is no hum, plugged back into the =
>MEC=20
>-hum. Does this make sense -even when the power cord from the MEC =
>is=20
>unplugged? The only thing I can think is to get some balanced =
>cables, but=20
>if the cables (unplugged from the MEC) create no hum, will balanced =
>cables solve=20
>the problem? I'm stumped --unless its some energy from the =
>galactic core,=20
>washing over my home town and somehow tuned to the frequency of the MEC
=
>-now=20
>that would make at least SOME sense :-)</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Thanks for any feedback,</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>MR</FONT></DIV></BODY></HTML>
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>
>Neil, your question is as confusing as your so-called daw
mixing comparisions..
So-Called? Those weren't confusing for anyone but you - I've
been trying to hint around in a nice way that you're full of
shit, and seeing if you'll bow out of the argument for which
you pose no sensible thoughts, but that doesn't seem to be
working - so, now I've said in as plain a way as possible...
still confused?
>before you make any other comemnts on DAWs, get run out and
get a version of PT-Mpowered. Import your wav files into a
session..Push the faders up..And
>report your sonic findings..
Actually I may if you're that certain about it... Guitar
Center's still open here... will you refund my money if I don't
like it? Or wait, you HAVE all these DAW's, Mister Master of
all DAW's individual sonic characteristics... why don't you
throw up a mix done in each?
Anyway, are you saying that PT-M-Powered is DSP summing (or
PTLE, for that matter)? 'Cause it ain't so.
>Until then, your only reference is SX,
'Fraid not, pally... in addition to Paris & SX, I've used
Cakewalk (before it was Sonar), Magix (not Sam, never tried
Sam), PTMix, PTLE, and PTHD, as well. My impressions of each,
in that order, are: utterly useless, nothing special, sucks the
big one, not all that bad, & very nice.
I happen to like SX quite a bit, I could probably live with
PTLE if it weren't for the track count & i/o limitations, and I
could definitely live with a full-out HD system, but I can't
really justify that much of a cash outlay.
>and we all know how you have to mix with SX.
Personally, I'll bet you DIDN'T know how to mix in SX before
I mapped it out here... not saying you never mixed with it,
but you only had bad things to say about it - now you're an
authority on "how to mix in it" - as a result of what? You
parroting my own words, no doubt.
>If not, you're in for a long night...
If you use any tool in a manner in which you're not optimizing
it, you're often in for a bad night.
You mock me for posting comparisons & examples of various
stuff, which I've done for no other reason than to give people
here a chance to hear summing example A vs. B, before they
cough up a thousand bucks for a Pulsar card; or to have a
chance to hear mic A, B & C through a preamp they don't happen
to own. At least I put my mixes where my mouth is... everyone
here has heard various stuff that I've done and they can judge
for their own self if they like it/hate it/think it's the worst
trash they ever heard... you, however, we hear nothing from
except something your buddies mixed that you played on... you
render an opinion, and just expect everyone to take your word
for it, but you've presented nothing to back your word up.
You're coming across more like a giant parrot-headed troll
every day.
NeilYou were not hinting at all.. It was plain to see. Most of the time I chose
to ignore your lame ass comments, but not this time.
What arguments!! and your so-called Daw test with "trying to make sound like
the other daw buy using a series of un related plugins.. That's a fair test?
It's stupid..!!
Did I make myself clear.. Punk ass
"Neil" <IUOIU@OIU.com> wrote:
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>Neil, your question is as confusing as your so-called daw
>mixing comparisions..
>
>So-Called? Those weren't confusing for anyone but you - I've
>been trying to hint around in a nice way that you're full of
>shit, and seeing if you'll bow out of the argument for which
>you pose no sensible thoughts, but that doesn't seem to be
>working - so, now I've said in as plain a way as possible...
>still confused?
>
>>before you make any other comemnts on DAWs, get run out and
>get a version of PT-Mpowered. Import your wav files into a
>session..Push the faders up..And
>>report your sonic findings..
>
>Actually I may if you're that certain about it... Guitar
>Center's still open here... will you refund my money if I don't
>like it? Or wait, you HAVE all these DAW's, Mister Master of
>all DAW's individual sonic characteristics... why don't you
>throw up a mix done in each?
>
>Anyway, are you saying that PT-M-Powered is DSP summing (or
>PTLE, for that matter)? 'Cause it ain't so.
>
>>Until then, your only reference is SX,
>
>'Fraid not, pally... in addition to Paris & SX, I've used
>Cakewalk (before it was Sonar), Magix (not Sam, never tried
>Sam), PTMix, PTLE, and PTHD, as well. My impressions of each,
>in that order, are: utterly useless, nothing special, sucks the
>big one, not all that bad, & very nice.
>I happen to like SX quite a bit, I could probably live with
>PTLE if it weren't for the track count & i/o limitations, and I
>could definitely live with a full-out HD system, but I can't
>really justify that much of a cash outlay.
>
>>and we all know how you have to mix with SX.
>
>Personally, I'll bet you DIDN'T know how to mix in SX before
>I mapped it out here... not saying you never mixed with it,
>but you only had bad things to say about it - now you're an
>authority on "how to mix in it" - as a result of what? You
>parroting my own words, no doubt.
>
>>If not, you're in for a long night...
>
>If you use any tool in a manner in which you're not optimizing
>it, you're often in for a bad night.
>
>You mock me for posting comparisons & examples of various
>stuff, which I've done for no other reason than to give people
>here a chance to hear summing example A vs. B, before they
>cough up a thousand bucks for a Pulsar card; or to have a
>chance to hear mic A, B & C through a preamp they don't happen
>to own. At least I put my mixes where my mouth is... everyone
>here has heard various stuff that I've done and they can judge
>for their own self if they like it/hate it/think it's the worst
>trash they ever heard... you, however, we hear nothing from
>except something your buddies mixed that you played on... you
>render an opinion, and just expect everyone to take your word
>for it, but you've presented nothing to back your word up.
>
>You're coming across more like a giant parrot-headed troll
>every day.
>
>Neil"LaMont" <jjdpro@ameritech.net> wrote:
> Punk ass
That's about the first thing you've spelled correctly in about
seven years of posting.
NeilHi Dedric,
That's exactly what's going on. I don;t knwo if you guys have had achance
to watch the DVD 'Mix It Sound Like a Record"..Highly recomended for ITB
mixing.
Engineer Charles Dye uses a tape saturation plugins on the input stage and
strap on the output stage.
He goes into great detail about why harmonmic distortion is the missing "Glue"
to that Record Sound that we've been raised on..
Check out some excerpts.. http://www.harddisklife.com then click on the
lower right side "saturation and the digital mix buss" button..
"Dedric Terry" <dedric@echomg.com> wrote:
>Neil - I think that's the essence of it - harmonic distortion can smooth
out
>more barren and sterile frequency content - it also smears the picture
>a bit in terms of accuracy, but we enjoy listening for the pleasing effect
>of music rather than the stark accuracy of a recording. The top end is
>really where a smearing
>or smoothing effect can help, imho.
>
>I think the 5042 is a cool idea - thanks for passing it along DJ - I look
>forward to
>hearing some A/Bs!
>
>Regards,
>Dedric
>
>"Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>>
>> Hey Dedric, no it certainly has nothing to do with the summing,
>> but maybe it more or less restores some stuff (dunno what) that
>> might get lost in ITB summing? Maybe that's what Deej is
>> hearing (I have no clue - haven't tried one yet). Or maybe it's
>> really a magnetic thing more than tape compression or harmonic
>> distortion that we liked about analog? This unit has an
>> actual tape head circuit inside it, which is something I don't
>> ever recall seeing in any other box.
>>
>> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
>> Pre's from) about this box & he said he liked it so much he
>> bought one for himself. He said it's a mysterious little box in
>> a way, because sometimes you can't tell how it's affecting the
>> sound, but when you disengage it you instantly say: "Nope...
>> sounded better with it in!"
>>
>> Interesting stuff... I may have to get one of these or...
>>
>> Neil
>>
>>
>> Dedric Terry <dterry@keyofd.net> wrote:
>>>Just a minor technicality, but putting a 2 channel line driver
>>>on the master bus (2 channel pass through) isn't changing the summing
-
>> it's
>>>just rounding the final mix EQ, compressing a bit with a little
>>>saturation,
>>>and perhaps adding some phase non-linearities.
>>>
>>>That said, if you like the sound and you get a great mix, that's what
it's
>>>all about, regardless of the details of how you got there. :-)
>>>
>>>Regards,
>>>Dedric
>>>
>>>On 2/11/07 12:53 AM, in article 45cebd82$1@linux, "LaMont"
>>><jjdpro@ameritech.net> wrote:
>>>
>>>>
>>>> hey DJ...Looks great.. I've heard some very good things about their
>>>> entire
>>>> Portico line..
>>>>
>>>> The 5042 looks like an analog gain stage on a mixer, with analog summing
>>>> stage on the outs..Cool..
>>>>
>>>> You're doing it right DJ..You're adding a nice peice of gear for summing
>>>> in SX/Neundo..With out it, well you know what your mix will sound..????
>>>>
>>>> P.S..did you ever take a peek at the Neve 8816 summing
>>>> ?mixerhttp://www.neve.eu/index.php?entry=8816&category=P roducts
>>>>
>>>>
>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>> You should try a Neve 5042 with Nuendo LaMont
>>>>>
>>>>> "LaMont" <jjdpro@ameritech.net> wrote in message
>>>>> news:45ce7bb9$1@linux...
>>>>>>
>>>>>> It's all the above that suck the life out of a Cubase SX mix. Not
to
>>>>>> mention,
>>>>>> keeping your levels way under unity gain zero..Say -6db?? :)
>>>>>>
>>>>>> Great Workflow DAW (SX).. So so sonics (imo).. Need superior
>>>>>> converters
>>>>
>>>>>> and
>>>>>> decent summing device to get back the Punch and debt./. With out it,
>> SX
>>>>
>>>>>> will
>>>>>> give you a nice Wide-open sound that's not as "Crsipy as PT, Not as
>> much
>>>>>> Balls as Paris, and sonically not as sophisticated as Samplitude..
>>>>>>
>>>>>> In the Box mixing, SX is a comprimise on all levels..Better known
as
>> "Play
>>>>>> it safe" digital mixing. Or as some like to say, "correct way of
>>>>>> digital
>>>>>> mixing"..Whatever..
>>>>>> If I have offend, I'm sorry. But, I call them as I hear and use them
>>>> ,and
>>>>>> all I pretty much use them all..As a Nuendo Owner and everyday user,
>> the
>>>>>> above statements apply as well..
>>>>>>
>>>>>> That's why I have integrated a SoundCraft Ghost console/as my front
>> end
>>>> to
>>>>>> Neundo and ProTools, and sum out of it.. World Of Different..
>>>>>> YOu can use a Mackie (anything), Tascam, Whatever mixer(Digital or
>>>>>> Analog)
>>>>>> will be superior to your IN the Box summing..
>>>>>>
>>>>>>
>>>>>> "Neil" <oiuOIU@OIU.com> wrote:
>>>>>>>
>>>>>>> So is it 40 or 50 tracks?
>>>>>>> Is it only after a lot of plugins or without regard to plugins?
>>>>>>> Is it a superior summing device or only a decent summing device?
>>>>>>>
>>>>>>> Make up my mind!
>>>>>>>
>>>>>>> Neil
>>>>>>>
>>>>>>> "lamont" <jjdpro@ameritech.net> wrote:
>>>>>>>>
>>>>>>>> Corrrection: Then, Cubase's summing starts to collasp after 40 plus
>> with
>>>>>>> good
>>>>>>>> alot of plugins.. Now, your mix sounds thin and weak.. Now, you
have
>>>> to
>>>>>>> invest
>>>>>>>> in a decent summing device to get your mix back..
>>>>>>>>
>>>>>>>> "LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>>>>>>
>>>>>>>>> the Cuabse start sucking (on sound quality) after 50 plus if you
>> don't
>>>>>>> use
>>>>>>>>> a superior summing device.
>>>>>>>>> "Neil" <IOU@OIU.com> wrote:
>>>>>>>>>>
>>>>>>>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>> Well.........poo!!!!........... I've been working with a bunch
>>>>>>>>>> of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>>>>>>>> different......but = >not necessarily better......
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> OH COME ON!!!
>>>>>>>>>>
>>>>>>>>>> What exactly did you record & evalute in that short time
>>>>>>>>>> ("tonight")?
>>>>>>>>>>
>>>>>>>>>> Also, do you have enough tracks going to make a difference?
>>>>>>>>>> I don't know that you hear much of a difference on a small
>>>>>>>>>> handful of tracks like a single acoustic guitar & voice, for
>>>>>>>>>> example, but when you get even 10 or 12 tracks going and
>>>>>>>>>> ESPECIALLY when you start throwing them through a verb or two
>>>>>>>>>> working at those higher samplerates - you will absolutely hear
a
>>>>>>>>>> difference in quality.
>>>>>>>>>>
>>>>>>>>>> Neil
>>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>
>
>:)You are right.. I type too fast..
"Neil" <IUOIU@OI.com> wrote:
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>
>> Punk ass
>
>That's about the first thing you've spelled correctly in about
>seven years of posting.
>
>NeilDJ,
I'm jealous -- my favorite band in my teen years was Living Colour, and
Ed Stasium was behind their first two records. Awesome stuff.
Definitely let us know how your work with him goes.
Just because I'm curious, and since the Grammy Awards are tonight, how
many here are in the Producers & Engineers wing of the Recording
Academy? AES?
As to 96k: I'm going to be upgrading my monitoring chain this year
(Benchmark DAC-1 at least, and maybe some PMC monitors). That is of
course if our car can stop being smashed up by car thieves in Texas.
Gotta love humanity. I get the sense that my current chain (Audio
Upgrades modified HD24XR and JBL LSR28p) are not revealing the benefits
of 96k. Actually, I think it's more the speakers, but I'll do my best
to find this out, budget willing.
GrahamThis is a multi-part message in MIME format.
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This is all very reminiscent of the introduction of the Aphex Aural =
Harmonizer in the 70's.
No one knew how it worked, but we all wanted it, even if you could only =
hire at a charge per 30 second of each song it was used on..
--=20
Martin Harrington
www.lendanear-sound.com
"DJ" <www.aarrrrggghhh!!!.com> wrote in message news:45cf4dcb@linux...
"Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>=20
> Hey Dedric, no it certainly has nothing to do with the summing,
> but maybe it more or less restores some stuff (dunno what) that
> might get lost in ITB summing? Maybe that's what Deej is
> hearing (I have no clue - haven't tried one yet). Or maybe it's
> really a magnetic thing more than tape compression or harmonic
> distortion that we liked about analog? This unit has an
> actual tape head circuit inside it, which is something I don't
> ever recall seeing in any other box.
>=20
> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
> Pre's from) about this box & he said he liked it so much he
> bought one for himself. He said it's a mysterious little box in
> a way, because sometimes you can't tell how it's affecting the
> sound, but when you disengage it you instantly say: "Nope...
> sounded better with it in!"
>=20
This is exactly the situation.
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<DIV><FONT size=3D2>This is all very reminiscent of the introduction of =
the Aphex=20
Aural Harmonizer in the 70's.</FONT></DIV>
<DIV><FONT size=3D2>No one knew how it worked, but we all wanted it, =
even if you=20
could only hire at a charge per 30 second of each song it was used =
on..</FONT><BR>-- <BR>Martin Harrington<BR><A=20
href=3D"http://www.lendanear-sound.com">www.lendanear-sound.com</A><BR></=
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"http://www.aarrrrggghhh!!!.com">www.aarrrrggghhh!!!.com</A>> =
wrote in=20
message <A =
href=3D"news:45cf4dcb@linux">news:45cf4dcb@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"Neil" <</FONT><A=20
href=3D"mailto:UOIU@OIU.com"><FONT face=3DArial=20
size=3D2>UOIU@OIU.com</FONT></A><FONT face=3DArial size=3D2>> wrote =
in message=20
</FONT><A href=3D"news:45cf3ba4$1@linux"><FONT face=3DArial=20
size=3D2>news:45cf3ba4$1@linux</FONT></A><FONT face=3DArial=20
size=3D2>...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>> <BR>> Hey Dedric, no it =
certainly has=20
nothing to do with the summing,<BR>> but maybe it more or less =
restores=20
some stuff (dunno what) that<BR>> might get lost in ITB summing? =
Maybe=20
that's what Deej is<BR>> hearing (I have no clue - haven't tried =
one yet).=20
Or maybe it's<BR>> really a magnetic thing more than tape =
compression or=20
harmonic<BR>> distortion that we liked about analog? This unit has=20
an<BR>> actual tape head circuit inside it, which is something I=20
don't<BR>> ever recall seeing in any other box.<BR>> <BR>> =
FWIW, I=20
spoke to Brian at Sonic Circus (where I got my Portico<BR>> Pre's =
from)=20
about this box & he said he liked it so much he<BR>> bought one =
for=20
himself. <STRONG><EM>He said it's a mysterious little box in<BR>> a =
way,=20
because sometimes you can't tell how it's affecting the<BR>> sound, =
but=20
when you disengage it you instantly say: "Nope...<BR>> sounded =
better with=20
it in!"</EM></STRONG><BR>> <BR></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>This is exactly the situation.=20
</DIV></BLOCKQUOTE></FONT></BODY></HTML>
------=_NextPart_000_0047_01C74E91.875CD160--Hi Guys,
I have a nearly perfect Godley/Creme Gizmotron that I have had in storage
forever. Used it once in the early '80's. It's the six string model. Anyone
know what one of these is worth or where I might be able to find the value?
It's a real collectors item but I'm upgrading my stuff and can't afford collector's
items if I want to get new toys.
Thanks Mucho,
JonIt's interesting. Ed is one reason I decided to try to simplify things. We
were talking the other day and I was describing the studiomonster in it's
(then) current incarnation and how I liked the Neve box. I won't go into the
whole thing, but the gist of it was "if you think you can get that close to
what you're liking about the giant behemouth you've created by using a
little box, then lose the behemouth, buy the box" ........or something
similar. I still had to test it for a few days before I drew a big breath
and listed the Paris system for sale.
"Graham Duncan" <graham@grahamduncan.com> wrote in message
news:45cfa73e@linux...
> DJ,
>
> I'm jealous -- my favorite band in my teen years was Living Colour, and Ed
> Stasium was behind their first two records. Awesome stuff. Definitely let
> us know how your work with him goes.
>
> Just because I'm curious, and since the Grammy Awards are tonight, how
> many here are in the Producers & Engineers wing of the Recording Academy?
> AES?
>
> As to 96k: I'm going to be upgrading my monitoring chain this year
> (Benchmark DAC-1 at least, and maybe some PMC monitors). That is of
> course if our car can stop being smashed up by car thieves in Texas. Gotta
> love humanity. I get the sense that my current chain (Audio Upgrades
> modified HD24XR and JBL LSR28p) are not revealing the benefits of 96k.
> Actually, I think it's more the speakers, but I'll do my best to find this
> out, budget willing.
>
> Graham"LaMont" <jjdpro@ameritech.net> wrote:
>
>What arguments!! and your so-called Daw test with "trying to make sound
like
>the other daw buy using a series of un related plugins.. That's a fair test?
By the way - and I have stated this repeatedly, but you can't
seem to get it through your addled mind - that particular test
was simply a: "here are two versions, which one do you think
sounds better?" test - it wasn't a trick, it wasn't a scam, it
was as if you could drop yourself into two different cars going
down the road, without knowing what kind of cars they were &
being asked "which one drives better to your liking?"
Everyone seems to have gotten this except for you. The only
reason I can guess is that you could in fact NOT tell any
difference between the two - in which case it's not me you
should be pissed at, it's your ears, or your monitors or
whatever.
>It's stupid..!!
Again, you're the only one that thinks this - in that scenario
you would must be right, and all the rest of us must be
stupid... an unlikely outcome.
NeilI just can't seem to get my head around simplicity, I guess. I've still got
my native DAW here with Cubase 3 on it and all of my VSTi's. Most of these
will operate in standalone mode. I also still have my Scope Luna card with
16 ADAT I/O and a S/Pdif I/O. I'm thinking of keeping it around as a farm
system for lightpiping audio from VSTi's to Cubase SX. I'm also thinking of
getting something like VStack to use as a VSTi host. I could even sync it
via ADAT sync since I have the Scope Sync plate.
I'm just wondering.....it looks to me like I could even patch the Luna midi
out to one of my RME midi inputs and record the midi direct to Cubase SX in
real time simultaneously. then, if the two systems were synced gvia ADAT
sync, I could patch the midi out of my RME card to the Luna midi input and
use it as a sound generator .................but then I would have to
monitor the incoming tracks in real time during a mix.......but if the
buffers on both systems were the same, that *should* work, right?
How do you guys use farm systems? Just record the audio and be done with it?
the point of this whole exercise would be to save resources on the DAW
streaming audio, but as usual, I'm probably trying to snatch defeat from the
jaws of victory.
;o)Can't you just use your VSTi's in stand-alone mode on that PC &
drive 'em with MIDI coming off of your main DAW? Or if they all
don't have stand-alone options, just open up Cubase v3 & insert
them across various MIDI channels set to receive the
corresponding MIDI channel(s) from your main DAW. SX3 wouldn't
have to be running, it'd just be in "IDLE" mode.
Or would that not sync up properly with the streaming audio on
the main machine?
Neil
"DJ" <www.aarrrrggghhh!!!.com> wrote:
>I just can't seem to get my head around simplicity, I guess. I've still
got
>my native DAW here with Cubase 3 on it and all of my VSTi's. Most of these
>will operate in standalone mode. I also still have my Scope Luna card with
>16 ADAT I/O and a S/Pdif I/O. I'm thinking of keeping it around as a farm
>system for lightpiping audio from VSTi's to Cubase SX. I'm also thinking
of
>getting something like VStack to use as a VSTi host. I could even sync it
>via ADAT sync since I have the Scope Sync plate.
>
>I'm just wondering.....it looks to me like I could even patch the Luna midi
>out to one of my RME midi inputs and record the midi direct to Cubase SX
in
>real time simultaneously. then, if the two systems were synced gvia ADAT
>sync, I could patch the midi out of my RME card to the Luna midi input and
>use it as a sound generator .................but then I would have to
>monitor the incoming tracks in real time during a mix.......but if the
>buffers on both systems were the same, that *should* work, right?
>
>How do you guys use farm systems? Just record the audio and be done with
it?
>the point of this whole exercise would be to save resources on the DAW
>streaming audio, but as usual, I'm probably trying to snatch defeat from
the
>jaws of victory.
>
>;o)
>
>
>
>This is a multi-part message in MIME format.
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Hey Neil,
thanks for the reply,
"Neil" <OIUOIU@OIU.com> wrote in message news:45cfc0e3$1@linux...
>=20
> Can't you just use your VSTi's in stand-alone mode on that PC &
> drive 'em with MIDI coming off of your main DAW?=20
..........hmmmm......well, I don't know because3 I've never tried =
it...........
Or if they all
> don't have stand-alone options, just open up Cubase v3 & insert
> them across various MIDI channels set to receive the
> corresponding MIDI channel(s) from your main DAW. SX3 wouldn't
> have to be running, it'd just be in "IDLE" mode.
.......ahhhh...yeah, but then I've got to *buy* another copy of Cubase 3, =
because my dongle is in my main DAW.....seems a VSTi host would work for =
this though.
>=20
> Or would that not sync up properly with the streaming audio on
> the main machine?
Don't know....................damn!!!.......why is achieving simplicity =
so complicated???
;o)
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<DIV><FONT face=3DArial size=3D2>Hey Neil,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>thanks for the reply,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"Neil" <</FONT><A=20
href=3D"mailto:OIUOIU@OIU.com"><FONT face=3DArial=20
size=3D2>OIUOIU@OIU.com</FONT></A><FONT face=3DArial size=3D2>> wrote =
in message=20
</FONT><A href=3D"news:45cfc0e3$1@linux"><FONT face=3DArial=20
size=3D2>news:45cfc0e3$1@linux</FONT></A><FONT face=3DArial =
size=3D2>...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>> <BR>> Can't you just use your =
VSTi's in=20
stand-alone mode on that PC &<BR>> drive 'em with MIDI coming off =
of your=20
main DAW? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><EM>.........hmmmm......well, I don't =
know because3=20
I've never tried it...........</EM></FONT></DIV>
<DIV><EM><FONT face=3DArial size=3D2></FONT></EM><FONT face=3DArial=20
size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Or if they all<BR>> don't have =
stand-alone=20
options, just open up Cubase v3 & insert<BR>> them across various =
MIDI=20
channels set to receive the<BR>> corresponding MIDI channel(s) from =
your main=20
DAW. SX3 wouldn't<BR>> have to be running, it'd just be in "IDLE"=20
mode.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><EM>......ahhhh...yeah, but then I've =
got to *buy*=20
another copy of Cubase 3, because my dongle is in my main DAW.....seems =
a VSTi=20
host would work for this though.</EM></DIV>
<DIV><BR>> <BR>> Or would that not sync up properly with the =
streaming=20
audio on<BR>> the main machine?</DIV>
<DIV> </DIV>
<DIV><EM>Don't know....................damn!!!.......why is achieving =
simplicity=20
so complicated???</EM></DIV>
<DIV><EM></EM> </DIV>
<DIV><EM>;o)</EM></DIV>
<DIV> </DIV>
<DIV><BR></FONT> </DIV></BODY></HTML>
------=_NextPart_000_0110_01C74E0D.46039610--So I emailed emu asking if the EDS-1000 is 5 volt "KEYED" - note, that does
NOT say "Universal Keyed" - they actually responded within 24 hours! :0 (that's
me in shock)
This is a copy of the email:
"I am not sure, but I do believe that it is a keyed 5V PCI card. It did NOT
work in the more recent Mac systems."
Well, I guess that's as good as it gets and it's what I figured.
The reason this is relevant:
If you are planning to build a 'modern' computer and want to run the PARIS
in that system, be sure to Google "PCI 2.2" and take note of the backwards-compatibility
of 5 Volt KEYED Cards with PCI 2.1, 2.2, 2.3, and now the final revision
3.0.
Otherwise, you'll prolly end up fusing your new Mobo!
And no, no - this did NOT happen to me, I did my research first to avoid
this.
Oh, and thank you to Aaron Allen and Don Nafe for responding to my first
post and trying to help!>Just the other week, I picked up 2 sticks of Kingston 512MB, DDR400
from newegg for about $112. I am building a PC to host a UAD ultra
card and other VST and act as an external effects machine for Paris.
So far, the RAM seems to be humming along fine.<
Heeeeehehehe!!!! I'm glad someone is still carrying on with the frankenstein
stuff.
;o)Good show Diana, thanks for sharing out loud your findings here
AA
"Diana" <Io_Project@hotmail.com> wrote in message news:45cfd250@linux...
>
> So I emailed emu asking if the EDS-1000 is 5 volt "KEYED" - note, that
> does
> NOT say "Universal Keyed" - they actually responded within 24 hours! :0
> (that's
> me in shock)
> This is a copy of the email:
> "I am not sure, but I do believe that it is a keyed 5V PCI card. It did
> NOT
> work in the more recent Mac systems."
>
> Well, I guess that's as good as it gets and it's what I figured.
> The reason this is relevant:
> If you are planning to build a 'modern' computer and want to run the PARIS
> in that system, be sure to Google "PCI 2.2" and take note of the
> backwards-compatibility
> of 5 Volt KEYED Cards with PCI 2.1, 2.2, 2.3, and now the final revision
> 3.0.
> Otherwise, you'll prolly end up fusing your new Mobo!
> And no, no - this did NOT happen to me, I did my research first to avoid
> this.
> Oh, and thank you to Aaron Allen and Don Nafe for responding to my first
> post and trying to help!The thing is - I've never been 100% sold on "the record sound" - some
aspects are good, but to me it usually sounds like a creative approximation
of what a band sounds like, rather than an uncanny representation. Glue is
fine creatively, but it doesn't exist in the real world, which is what
recording was original intended to capture.
Imho, because of the stargazing factor among engineers (copy the
"hitmakers"), what used to be a limitation in the goal of reproducing a
performance (noise, nonlinear phase, crosstalk, saturation, harmonic
distortion) has become a vintage fad.
I say use what works creatively, but not because it's "that sound" or
someone says you need it, but because "that sound" happens to be the one you
personally want to make a specific recording more enjoyable. Let's keep the
creativity in art rather than trying to duplicate what xyz famous engineer
did. Certainly learn new techniques, but also learn the real reasons behind
them - including knowing when these happen by intent, by default, by
accident, or simply by limitation (i.e. because there was no other option).
Imho, the best people in any field seek to find the source and very dna of
any accepted concepts or rules, and in their quest to improve, expand and
even reinvent the bounds of their craft, proceed to break them judiciously,
untethered by the chains of desire for fame or fortune.
Regards,
Dedric
On 2/11/07 5:25 PM, in article 45cfa5e5$1@linux, "LaMont"
<jjdpro@ameritech.net> wrote:
>
> Hi Dedric,
> That's exactly what's going on. I don;t knwo if you guys have had achance
> to watch the DVD 'Mix It Sound Like a Record"..Highly recomended for ITB
> mixing.
>
> Engineer Charles Dye uses a tape saturation plugins on the input stage and
> strap on the output stage.
>
> He goes into great detail about why harmonmic distortion is the missing "Glue"
> to that Record Sound that we've been raised on..
>
> Check out some excerpts.. http://www.harddisklife.com then click on the
> lower right side "saturation and the digital mix buss" button..
>
>
> "Dedric Terry" <dedric@echomg.com> wrote:
>> Neil - I think that's the essence of it - harmonic distortion can smooth
> out
>> more barren and sterile frequency content - it also smears the picture
>> a bit in terms of accuracy, but we enjoy listening for the pleasing effect
>> of music rather than the stark accuracy of a recording. The top end is
>
>> really where a smearing
>> or smoothing effect can help, imho.
>>
>> I think the 5042 is a cool idea - thanks for passing it along DJ - I look
>
>> forward to
>> hearing some A/Bs!
>>
>> Regards,
>> Dedric
>>
>> "Neil" <UOIU@OIU.com> wrote in message news:45cf3ba4$1@linux...
>>>
>>> Hey Dedric, no it certainly has nothing to do with the summing,
>>> but maybe it more or less restores some stuff (dunno what) that
>>> might get lost in ITB summing? Maybe that's what Deej is
>>> hearing (I have no clue - haven't tried one yet). Or maybe it's
>>> really a magnetic thing more than tape compression or harmonic
>>> distortion that we liked about analog? This unit has an
>>> actual tape head circuit inside it, which is something I don't
>>> ever recall seeing in any other box.
>>>
>>> FWIW, I spoke to Brian at Sonic Circus (where I got my Portico
>>> Pre's from) about this box & he said he liked it so much he
>>> bought one for himself. He said it's a mysterious little box in
>>> a way, because sometimes you can't tell how it's affecting the
>>> sound, but when you disengage it you instantly say: "Nope...
>>> sounded better with it in!"
>>>
>>> Interesting stuff... I may have to get one of these or...
>>>
>>> Neil
>>>
>>>
>>> Dedric Terry <dterry@keyofd.net> wrote:
>>>> Just a minor technicality, but putting a 2 channel line driver
>>>> on the master bus (2 channel pass through) isn't changing the summing
> -
>>> it's
>>>> just rounding the final mix EQ, compressing a bit with a little
>>>> saturation,
>>>> and perhaps adding some phase non-linearities.
>>>>
>>>> That said, if you like the sound and you get a great mix, that's what
> it's
>>>> all about, regardless of the details of how you got there. :-)
>>>>
>>>> Regards,
>>>> Dedric
>>>>
>>>> On 2/11/07 12:53 AM, in article 45cebd82$1@linux, "LaMont"
>>>> <jjdpro@ameritech.net> wrote:
>>>>
>>>>>
>>>>> hey DJ...Looks great.. I've heard some very good things about their
>
>>>>> entire
>>>>> Portico line..
>>>>>
>>>>> The 5042 looks like an analog gain stage on a mixer, with analog summing
>>>>> stage on the outs..Cool..
>>>>>
>>>>> You're doing it right DJ..You're adding a nice peice of gear for summing
>>>>> in SX/Neundo..With out it, well you know what your mix will sound..????
>>>>>
>>>>> P.S..did you ever take a peek at the Neve 8816 summing
>>>>> ?mixerhttp://www.neve.eu/index.php?entry=8816&category=P roducts
>>>>>
>>>>>
>>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>> You should try a Neve 5042 with Nuendo LaMont
>>>>>>
>>>>>> "LaMont" <jjdpro@ameritech.net> wrote in message
>>>>>> news:45ce7bb9$1@linux...
>>>>>>>
>>>>>>> It's all the above that suck the life out of a Cubase SX mix. Not
> to
>>>>>>> mention,
>>>>>>> keeping your levels way under unity gain zero..Say -6db?? :)
>>>>>>>
>>>>>>> Great Workflow DAW (SX).. So so sonics (imo).. Need superior
>>>>>>> converters
>>>>>
>>>>>>> and
>>>>>>> decent summing device to get back the Punch and debt./. With out it,
>>> SX
>>>>>
>>>>>>> will
>>>>>>> give you a nice Wide-open sound that's not as "Crsipy as PT, Not as
>>> much
>>>>>>> Balls as Paris, and sonically not as sophisticated as Samplitude..
>>>>>>>
>>>>>>> In the Box mixing, SX is a comprimise on all levels..Better known
> as
>>> "Play
>>>>>>> it safe" digital mixing. Or as some like to say, "correct way of
>>>>>>> digital
>>>>>>> mixing"..Whatever..
>>>>>>> If I have offend, I'm sorry. But, I call them as I hear and use them
>>>>> ,and
>>>>>>> all I pretty much use them all..As a Nuendo Owner and everyday user,
>>> the
>>>>>>> above statements apply as well..
>>>>>>>
>>>>>>> That's why I have integrated a SoundCraft Ghost console/as my front
>>> end
>>>>> to
>>>>>>> Neundo and ProTools, and sum out of it.. World Of Different..
>>>>>>> YOu can use a Mackie (anything), Tascam, Whatever mixer(Digital or
>
>>>>>>> Analog)
>>>>>>> will be superior to your IN the Box summing..
>>>>>>>
>>>>>>>
>>>>>>> "Neil" <oiuOIU@OIU.com> wrote:
>>>>>>>>
>>>>>>>> So is it 40 or 50 tracks?
>>>>>>>> Is it only after a lot of plugins or without regard to plugins?
>>>>>>>> Is it a superior summing device or only a decent summing device?
>>>>>>>>
>>>>>>>> Make up my mind!
>>>>>>>>
>>>>>>>> Neil
>>>>>>>>
>>>>>>>> "lamont" <jjdpro@ameritech.net> wrote:
>>>>>>>>>
>>>>>>>>> Corrrection: Then, Cubase's summing starts to collasp after 40 plus
>>> with
>>>>>>>> good
>>>>>>>>> alot of plugins.. Now, your mix sounds thin and weak.. Now, you
> have
>>>>> to
>>>>>>>> invest
>>>>>>>>> in a decent summing device to get your mix back..
>>>>>>>>>
>>>>>>>>> "LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>>>>>>>
>>>>>>>>>> the Cuabse start sucking (on sound quality) after 50 plus if you
>>> don't
>>>>>>>> use
>>>>>>>>>> a superior summing device.
>>>>>>>>>> "Neil" <IOU@OIU.com> wrote:
>>>>>>>>>>>
>>>>>>>>>>> "DJ" <www.aarrrrggghhh!!!.com> wrote:
>>>>>>>>>>>>
>>>>>>>>>>>>
>>>>>>>>>>>> Well.........poo!!!!........... I've been working with a bunch
>>>>>>>>>>> of 96k = material tonight. Big yawn. Yeah, it sounds a little
>>>>>>>>>>> different......but = >not necessarily better......
>>>>>>>>>>>
>>>>>>>>>>>
>>>>>>>>>>> OH COME ON!!!
>>>>>>>>>>>
>>>>>>>>>>> What exactly did you record & evalute in that short time
>>>>>>>>>>> ("tonight")?
>>>>>>>>>>>
>>>>>>>>>>> Also, do you have enough tracks going to make a difference?
>>>>>>>>>>> I don't know that you hear much of a difference on a small
>>>>>>>>>>> handful of tracks like a single acoustic guitar & voice, for
>>>>>>>>>>> example, but when you get even 10 or 12 tracks going and
>>>>>>>>>>> ESPECIALLY when you start throwing them through a verb or two
>>>>>>>>>>> working at those higher samplerates - you will absolutely hear
> a
>>>>>>>>>>> difference in quality.
>>>>>>>>>>>
>>>>>>>>>>> Neil
>>>>>>>>>>
>>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>>
>I attemted to move Paris to an older AMD based computer, to free up my P4
for VSTis. I went thru the installation as outlined for 3.0 under XP,
although I didn't get the scherzo installed til last. Anyway, now I am
getting the failure to load Paris engine, error 1/1, which as far as I can
find out means that Paris is not finding the scherzo driver. There are no
conflicts showing in device manager, and the scherzo is listed in System
Devices as "working." Video card (G400 matrox) is on an irq by itself.
Anyone have any hints as to what I can try?DJ - I run Kontakt 2 (and others at times - Absynth, Reaktor, etc)
separately via Midi Over Lan (all are on a Gigabit ethernet), with audio
between RME interfaces, locked to the master system's word clock (another
option for multiple VSTis is VStack, rather than burning a copy of Cubase
for hosting alone).
You may already know and have tried this, but with Nuendo/Cubase, there are
external instruments in the Control Room/Studio setup that allow you to
assign midi devices, and audio inputs to any external device, including a
farm PC. I have 4 stereo inputs and 64 midi channels to a farm PC, and that
routes via Totalmix/lightpipe back to the main PC. The advantage of
offloading that much processing is that I can run both PCs at low latency.
External instruments are then opened in the VSTi list (under "External") as
if they were VSTis.
When mixing down with external instruments, the bounce will run real time
since it is including outboard audio, but will include the external
instruments in the mix as live inputs, without having to track them down
first (of course those external instrument channels are like any other - you
can add plugins, route them to groups, etc).
Very, very cool.
Regards,
Dedric
On 2/11/07 5:29 PM, in article 45cfb4e8@linux, "DJ"
<www.aarrrrggghhh!!!.com> wrote:
> How do you guys use farm systems? Just record the audio and be done with it?
> the point of this whole exercise would be to save resources on the DAW
> streaming audio, but as usual, I'm probably trying to snatch defeat from the
> jaws of victory.
>
> ;o)
>
>
>
>Neil-
Your experience and contributions aside, which I've thanked you for repeatedly,
this is a really inappropriate and offensive response to LaMont's opinions.
Why would you take personally, the comments someoene else makes about
a piece of software written by people half way around the world, who have
nothing to do with you?
Everyone saw your repeated put downs of LaMont. To his credit, he ignored
them.
As far as LaMont being the only one who "didn't get" your tests, I'm pretty
sure
there were others who Q'd you on them too.
As far as commenting on LaMont's spelling - pathetic. It makes you look silly,
or
if it was a joke, it was bad. Either way, it sucks.
As far as the whole Native mix/buss thing goes, my experience generally leads
me to share LaMont's opinions. I've worked with only a few of the DAWS -
Paris, CuBase/Nuendo, Logic, Sonar and PT (up to Mix). The integrated ones
have always sounded better to me. I do not like CuBase/Nuendo. I have heard
many CuBase/Nuendo mixes, both in the studio and on all my usual playback
systems,
done by very good engineers, and they are _always_ lacking to my ears (so
far)
unless they have been sent OTB at some point.
All LaMont is saying is what the _audio community at large_ is saying right
now.
Why do you think there is such a selection of Summing/Line mixing/Tape emulating
products out there???
The assertion that all DAWS sound the same when a file is dropped in with
no
pan, gain, dynamic or EQ changes is virtually meaningless in a real world
setting,
since none of us would even use a DAW if we weren't going to manipulate pan,
gain, dynamics and EQ (and time).
What does "better" mean? Remember Audio 101? "Stereo" means 3 dimensional.
Aside from transient and frequency response, and distortion issues, the ability
to present audio material across 3 axes is what makes the difference to me.
I just got a project in here that a guy had recorded to a 4 track Teac 20
years ago.
He repeatedly bounced down to VHS to get his overdubs (!) It sounds awesome.
(Can't stand the tunes themselves, but...) As my wife says, it just seems
to jump
out at you.
3 dimensionality cannot currently be quantified. Please don't say that since
we can't
currently measure it, it must not exist. Yes, yes I know that the audiophiles
have
a well earned "crack" reputation for the commercially driven audio voodoo
they
sometimes espouse, but lab based assertions without the admission that we,
at this
time, don't know it all, are vain. Right now we measure amplitude, Freq and
x-y axis
I fully expect that we'll be able to quantify 3 dimensionality in the future
as well.
To my ears, CuBase/Nuendo, without sending something OTB at some point in
the
mixing/mastering chain, just does not cut it. It lacks the punch, the glue,
the
realism, the 3 dimensionality that music needs to communicate at the highest
level.
So what if I think this? So what if LaMont does too?
Peace,
Respectfully,
Ted
"Neil" <OIOIU@OIU.com> wrote:
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>What arguments!! and your so-called Daw test with "trying to make sound
>like
>>the other daw buy using a series of un related plugins.. That's a fair
test?
>
>By the way - and I have stated this repeatedly, but you can't
>seem to get it through your addled mind - that particular test
>was simply a: "here are two versions, which one do you think
>sounds better?" test - it wasn't a trick, it wasn't a scam, it
>was as if you could drop yourself into two different cars going
>down the road, without knowing what kind of cars they were &
>being asked "which one drives better to your liking?"
>
>Everyone seems to have gotten this except for you. The only
>reason I can guess is that you could in fact NOT tell any
>difference between the two - in which case it's not me you
>should be pissed at, it's your ears, or your monitors or
>whatever.
>
>>It's stupid..!!
>
>Again, you're the only one that thinks this - in that scenario
>you would must be right, and all the rest of us must be
>stupid... an unlikely outcome.
>
>Neil1/1 means the software doesn't recognize a usable hardware set. Check IRQ
sharing, make sure that you see the EDS in the hardware list correctly, and
make sure the connection from the MEC to the EDS is all good. Be very sure
of these things, and be methodical and you'll find it.
AA
"RiverLake Farms" <edna@texomaonline.com> wrote in message
news:45cfef8b@linux...
>I attemted to move Paris to an older AMD based computer, to free up my P4
>for VSTis. I went thru the installation as outlined for 3.0 under XP,
>although I didn't get the scherzo installed til last. Anyway, now I am
>getting the failure to load Paris engine, error 1/1, which as far as I can
>find out means that Paris is not finding the scherzo driver. There are no
>conflicts showing in device manager, and the scherzo is listed in System
>Devices as "working." Video card (G400 matrox) is on an irq by itself.
>Anyone have any hints as to what I can try?
>My personal observation is that there have been some rather strong opinions
about DAW "sound", quite often with comments along the lines of "we all know
you can't mix in Nuendo", "you have to use OTB summing to get a good mix",
or "you need to get your ears checked if you can't hear what I do" as if
other posters need convincing or converting for some reason.
Making absolute statements isn't really being objective, and that's a basic
requirement of any A/B comparison debate - objectivity.
If you are going to make absolute statements, please provide audible proof,
otherwise, qualify your comments with "to me, this sounds like...", or "in
my opinion...", or "I prefer...", and leave it at that.
Differing opinions are fine, and you don't have to prove your opinion to
have a right to it. But, questioning the skills of other posters to back up
your opinion isn't a credible response.
There are a wide range of opinions on this debate at all levels, so that's
probably the only point we all need to agree on.
Regard,
Dedric
On 2/11/07 11:02 PM, in article 45cff4e0$1@linux, "Ted Gerber"
<tedgerber@rogers.com> wrote:
>
> Neil-
>
> Your experience and contributions aside, which I've thanked you for
> repeatedly,
> this is a really inappropriate and offensive response to LaMont's opinions.
>
> Why would you take personally, the comments someoene else makes about
> a piece of software written by people h
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