Home » The PARIS Forums » PARIS: Main » Bomb attacks in London England
| Re: Bomb attacks in London England [message #55809 is a reply to message #55781] |
Thu, 14 July 2005 22:01   |
Neil
Messages: 1645
Registered: April 2006
|
Senior Member |
|
|
and louder than the rest... it's closer...
> >>right? Too much work.
> >>
> >>
> >>>I figure that if I've got a group of musicians on a stage 50' wide,
then
> >>>each panning increment in the 100-100 L/R spread equals 0.25' so for
> >
> > every
> >
> >>>4 increments, I'm moving the performer to the left or right by 1'. For
> >>>example, if I wanted to position the band members within a space 30'
> >
> > across,
> >
> >>>then from the center, to place the guitarist 15' to stage left, I would
> >
> > pan
> >
> >>>him left to 60.
> >>
> >>That would depend on the viewing angle... are you in the
> >>front row, or center of the hall?
> >>
> >>
> >>>This would theoretically put him 10' from the closest wall and 35' from
> >
> > the
> >
> >>>farthest wall.
> >>>
> >>>Now a few questions about early reflections and predelay and
> >
> > soundstaging in
> >
> >>>general, as follows:
> >>>
> >>>1. If I'm using a stereo reverb, since the performer is stage left at
> >
> > pan
> >
> >>>position 60, I would pan the reverb return to stage right 60 and set
the
> >>>ER's for the right side to around 35ms and the ER's to the left to
> >
> > around
> >
> >>>10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
> >>>original signal. This woulld theoretically give me a basic two
> >
> > dimensional
> >
> >>>(L/R) location of the musician in an ambient space, right?
> >>
> >>The delay would not be necessary and would actually
> >>"clutter" the mix. Longer reverb pre-delays will simulate a
> >>larger overall "space". You would be better off "thinning
> >>out" the sound slightly to make it seem to come from a
> >>distance. You would have to combine this with reduced
> >>bandwidth on the reverb return to simulate greater distance
> >>as highs and are acoustically rolled off naturally over
> >>distance.
> >>
> >>
> >>>Also, do you pan the reverb send to mirror the return? I'm just not
> >
> > getting
> >
> >>>this for some reason. Seems that panning the send does nothing. Maybe
> >
> > I'm
> >
> >>>just too overwhelmed at the moment to notice.
> >>
> >>Panning the return and reducing the reverb width would be a
> >>better way to accomplish this as most reverbs are not
> >>"discrete" stereo.
> >>
> >>
> >>>2. In order to get the front/back positioning of the musician relative
> >
> > to
> >
> >>>the other band members and the front/back of the room, using predealy
> >
> > would
> >
> >>>provide some dimensional space........right? what I'm not clear about
is
> >>>whether the predelay should be set for positioning the performers
> >
> > relative
> >
> >>>to the fall of the space that is farthest from them or from the wall
> >
> > that is
> >
> >>>behind them. I know that since they are broadcasting into the room,
that
> >
> > the
> >
> >>>front makes sense, but music travels all directions and it seems it
> >
> > would
> >
> >>>make smoe sense to at least take the back wall into consideration.
> >>>
> >>>Also, I'm thinking that using actual short (2-3 ms delays) between the
> >>>instruments/performers themselves would help to create some sense of
> >>>relative front-to-back relational spatiality.
> >>
> >>Too much trouble for not enough benefit... try thinning for
> >>distance instead. Leave the arrival time intact, it will
> >>help to maintain the "impact" of the piece..
> >>
> >>
> >>>I'm working mostly with acoustic musicians, some drums, but very little
> >
> > in
> >
> >>>the way of special FX like phaser/chorus/synth stuff,..........just
> >
> > trying
> >
> >>>to create a realistic optimal and dimensionally realistic space for the
> >>>performance.
> >>>
> >>>How big a soundstage is generally used for commercial studio projects?
I
> >>>know it's all relative, but if there is some sxort of *go-by* here that
> >
> > is
> >
> >>>an accepted standard, I'd like to know.
> >>
> >>I think only classical people would get really fussy about
> >>this stuff... Don??? I think for your type of projects, you
> >>won't have to get too crazy with sound stage. The two
> >>things you have going for you in a stereo mix are position
> >>and timbre. Make sonic "holes" for different instruments to
> >>sit in. What sounds killer in a mix will often sound weak
> >>or stale soloed. Don't make your EQ decisions in solo
> >>mode... always tweak it with other instruments going. Make
> >>it louder than it's surroundings to make EQ judgments, then
> >>pull it way down in the mix and bring up slowly to taste.
> >>You should find that the instrument is more audible at a
> >>lower volume or fader level. If you are struggling to hear
> >>it and the meters are pegged, your tone is off.
> >>
> >>
> >>>Thanks for indulging my ignorance and enlightening me..Also, I've got
an
> >
> > MP3
> >
> >>>of a mix that I did last night that I'd like to get some of your
> >
> > opinions
> >
> >>>on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
> >>>the soundstage I created for it is small.......around 30' wide. I was
> >
> > trying
> >
> >>>to get an intimate, realistic feeling to this as it was tracked live in
> >
> > my
> >
> >>>studio with 10 open mics.
> >>
> >>Keep in mind, intimate means CLOSE... this means full sounds
> >>and WIDE panning as they would be literally right in front
> >>of you. I really think you are overANALizing things too
> >>far... Can you hear all the instruments clearly? Do they
> >>sound pleasing in the mix? Is there some "space or air"
> >>around the instruments (not piled on top of each other
> >>acoustically). Is there some "ear-candy" present (subtle,
> >>but not instantly audible).
> >>
> >>I may be way off base to what others do, so take this with a
> >>truck-load of salt! ;-)
> >>
> >>My $.02
> >>
> >>David.
> >>
> >>
> >>>I'd be glad to e-mail it to those here who would be willing to critique
> >
> > it.
> >
> >>>TIA for the enlightenment.
> >>>
> >>>;o)
> >>>
> >>>Deej
> >
> >
> >I've been playing around with a couple of these songs I'm mixing. 10 tracks
on one submix. I'm applying compression in SX, then lightpiping to Paris,
ap[plying reverb and panning and bouncing to disk. I'm mixing hot, the
faders are often kissing the 0dBfs limit on the individual Paris channels
and the submix fader is redlined almost constantly. The Global fader is at
0dBfs and I've got NoLimit set with a threshold of -2 , limiting at -0.9.
This mix sounds very big and I hear no distortion at all. It's really
reminiscent of analog tape, no harshness/brittle sound. It may be a bit much
for a Bluegrass mix but it held together well and there is plenty of
separation.
When I open it in Wavelab, it's obvious where the NoLimit was doing it's
thing. Certain peaks were squared off a bit.........nothing resembling a
square wave situation, just a number of spots where it is visually apparent.
When I run an analysis of the mix file in Wavelab, I'm getting huge amounts
of errors, like 1000 errors in the first 6 seconds.
I wonder what's up. If NoLimit is doing something to this file which would
preclude it being dupliccated in reproduction plant, then I'm going to have
to be much more careful. I'm also wondeering if lightpiping this many tracks
from SX to Paris with a dither lgo applied to each track to avoid
quantization errors is perhaps causing errors somehow. I have listened very
closely and I hear absolutely no audible problems, other than the sort of
smooth glue that is the *secret sauce* that mixing hot on this system can
impart to the tracks.wanting to buy another c16 can anyone help ?
Pretty Please!!I KNEW IT, I KNEW IT, I KNEW IT! YOU'VE GOT A COACHING
STAFF...BASTARDO
On Mon, 15 Aug 2005 14:30:59 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>huh?????
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:iut1g15mjl6tq0j32fur8r5havd4kb72v9@4ax.com...
>> "I do know a little about Lava Lamps though"
>>
>> but isn't that an inhale deeply and forget thing???
>>
>> On Mon, 15 Aug 2005 09:13:53 -0600, "DJ"
>> <animix_spam-this-ahole_@animas.net> wrote:
>>
>> >This Wormhole stuff is a question for Gene Lennon and/or Dimitrios. I've
>> >never tried it. I do know a little about Lava Lamps though.
>> >
>> >;o)
>> >
>> >"W. Mark Wilson" <wmarkwilson@verizon.net> wrote in message
>> >news:43004a41$1@linux...
>> >> Ask Deej; he'll know for sure. Hey, and while your at it, I think you
>> >> should find some place in your loops to insert a nice warm sounding
>70's
>> >> lavalamp.... reddish orange would probably sound good.
>> >>
>> >> Global Master Out,
>> >> Dubya
>> >>
>> >> (all written "tongue-in-cheek" I assure you).
>> >>
>> >>
>> >> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
>> >> news:42ff5fda@linux...
>> >> > Global Master Outs to the ADAT lightpipe outs
>> >> > Hard Loop from ADAT lightpipe Out to ADAT lightpipe In
>> >> > ADAT lightpipe In to Tacks 15 & 16 (L&R respectively)
>> >> > Mute Tracks 15 &16 and Insert instance of Wormhole on each track
>> >> > Open WaveLab and Or CoolEdit Pro and Insert Wormhole on two new
>tracks
>> >> > (L&R)
>> >> > Use VST/DX plugs from within and bounce inside the second app. Should
>> >not
>> >> > loose any PARIS sound since Digital transfer correct?
>> >> > Then go SPDIF out to converter to XLR for my monitors
>> >> >
>> >> > This is all on one machine.
>> >> >
>> >> > Possible?????
>> >> >
>> >> > I don't know if wormhole w
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| Re: Bomb attacks in London England [message #55810 is a reply to message #55809] |
Thu, 14 July 2005 21:59 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
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orks like this or if I can hard loop on
>ADAT
>> >> > like that without clocking.
>> >> >
>> >> >
>> >>
>> >>
>> >
>>
>i'd use either click detection 1 or 2 only on the obviously hot
passages. like i said to you on the phone, you can run the digi
detection on any production cd and it will pull up the same thing @ 20
threshold. if you want to stick with the digi format then try
starting the threshold setting @ 100 and work your way down then
listen to it after every 5 clicks down.
On Tue, 16 Aug 2005 01:36:54 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I've been playing around with a couple of these songs I'm mixing. 10 tracks
>on one submix. I'm applying compression in SX, then lightpiping to Paris,
>ap[plying reverb and panning and bouncing to disk. I'm mixing hot, the
>faders are often kissing the 0dBfs limit on the individual Paris channels
>and the submix fader is redlined almost constantly. The Global fader is at
>0dBfs and I've got NoLimit set with a threshold of -2 , limiting at -0.9.
>
>This mix sounds very big and I hear no distortion at all. It's really
>reminiscent of analog tape, no harshness/brittle sound. It may be a bit much
>for a Bluegrass mix but it held together well and there is plenty of
>separation.
>
>When I open it in Wavelab, it's obvious where the NoLimit was doing it's
>thing. Certain peaks were squared off a bit.........nothing resembling a
>square wave situation, just a number of spots where it is visually apparent.
>
>When I run an analysis of the mix file in Wavelab, I'm getting huge amounts
>of errors, like 1000 errors in the first 6 seconds.
>
>I wonder what's up. If NoLimit is doing something to this file which would
>preclude it being dupliccated in reproduction plant, then I'm going to have
>to be much more careful. I'm also wondeering if lightpiping this many tracks
>from SX to Paris with a dither lgo applied to each track to avoid
>quantization errors is perhaps causing errors somehow. I have listened very
>closely and I hear absolutely no audible problems, other than the sort of
>smooth glue that is the *secret sauce* that mixing hot on this system can
>impart to the tracks.
>"Dominic" <BERTSTUDIO@aol.com> wrote:
>I have been using my 2 inch MCI with Paris ever since Paris came out.
I produce country records and I trck drums bass and acoucoustic guitars on
the tape.
I then dump it all in Paris and and do my overdubs and mix.
I used to slave my 2 inch with Paris and run both using my origanal tape
tracks.
I dont anymore as Paris sounds great with the stuff that has been dumped.
cheers
Hank
>Hello fellow Parisites.........
>I just completed restoring an Ampex MM1200, now what to do?
>Iam running PARIS with two EDS cards Iam going to sync them
>has anyone had any experience with this type of set up and what
>are you doing? Rerecording your anolog tracks in Paris? or
>syncing them and playing back all together. By the way Ive been
>recording on PARIS for over 5yrs with good results but hearing
>wide band analog tracks reminds me of what music was when I was
>growing up. It's a shame whats happened to our industry... oh
>well thats another story.
>Thanx again
>Dominic
>Sanctuary StudiosFor those who were listening, I've had the new machine running for a few
days now with every driver and windows update under the sun loaded, and it
seems to now be fairly stable.
I haven't tested much Paris-wise as of yet, but the machine iteself has stopped
BSODing and is behaving and performing beautifully.
I'll give another update in a week or so. Over the weekend I should get to
do some more experimenting, as I plan to buy some new HDD's and start loading
a few different boots on to the machine. We'll see how it goes...
Cheers,
Kim.DJ, I was having this problem, have you tried pulling down the global submix
faders, say start with -2 or something....It seems to work. If you pull down
just the master fader, you get big time flat files. Leave that all the way
up.
rick <parnell68@hotmail.com> wrote:
>i'd use either click detection 1 or 2 only on the obviously hot
>passages. like i said to you on the phone, you can run the digi
>detection on any production cd and it will pull up the same thing @ 20
>threshold. if you want to stick with the digi format then try
>starting the threshold setting @ 100 and work your way down then
>listen to it after every 5 clicks down.
>
>On Tue, 16 Aug 2005 01:36:54 -0600, "DJ"
><animix_spam-this-ahole_@animas.net> wrote:
>
>>I've been playing around with a couple of these songs I'm mixing. 10 tracks
>>on one submix. I'm applying compression in SX, then lightpiping to Paris,
>>ap[plying reverb and panning and bouncing to disk. I'm mixing hot, the
>>faders are often kissing the 0dBfs limit on the individual Paris channels
>>and the submix fader is redlined almost constantly. The Global fader is
at
>>0dBfs and I've got NoLimit set with a threshold of -2 , limiting at -0.9.
>>
>>This mix sounds very big and I hear no distortion at all. It's really
>>reminiscent of analog tape, no harshness/brittle sound. It may be a bit
much
>>for a Bluegrass mix but it held together well and there is plenty of
>>separation.
>>
>>When I open it in Wavelab, it's obvious where the NoLimit was doing it's
>>thing. Certain peaks were squared off a bit.........nothing resembling
a
>>square wave situation, just a number of spots where it is visually apparent.
>>
>>When I run an analysis of the mix file in Wavelab, I'm getting huge amounts
>>of errors, like 1000 errors in the first 6 seconds.
>>
>>I wonder what's up. If NoLimit is doing something to this file which would
>>preclude it being dupliccated in reproduction plant, then I'm going to
have
>>to be much more careful. I'm also wondeering if lightpiping this many tracks
>>from SX to Paris with a dither lgo applied to each track to avoid
>>quantization errors is perhaps causing errors somehow. I have listened
very
>>closely and I hear absolutely no audible problems, other than the sort
of
>>smooth glue that is the *secret sauce* that mixing hot on this system can
>>impart to the tracks.
>>
>turntables ?????? hmmm
jason Miles wrote:
> "Rich Lamanna" <richard.lamanna@verizon.net> wrote:
>
>>Jason, whose playing with you? I'm up in Albany but will try to make a trip
>
>
> Myself-keys
> Aaron heick-sax
> Dominic Faranacci-trumpet
> Josh Dion -Drums
> Sherrod Barnes-Guitar
> Jonathan Maron-Bass
> DJ Logic-Turntables
>
> Peace, JMHi TC,
Not sure what your planning for this but if you having some strange urge
to use a small form factor PC with Paris then I would say the Shuttle
boxes are a far better option. They actually make a great AMD Nforce 3
chipset 939 based system.
http://global.shuttle.com/Product/Barebone/SN95G5%20V3.asp
Chris
TC wrote:
>
> I am thinking of putting together a new system with a magma chassis for
> Paris, and am looking at the following:
>
> http://usa.asus.com/prog/spec.asp?m=S-presso&langs=09
>
> Does anyone know if this board would work with Paris?
>
> All my experience has been with AMD processors and Paris, so this is new
> territory.
>
> Any thoughts are appreciated.
>
> Cheers,
>
> TC
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762HI Spappy,
Paris is 32 bit. It will not work with a 64 bit OS because the hardware
driver will not be compatible with 64bit. Paris will work fine with a
64bit processor and a 32bit OS. Example of this would be a AMD 939 based
motherboard which is 64 bit compatible but works perfect with 32 bit OS
such as Windows xp home or Pro.
Chris
Spappy wrote:
> Does *anything* in the Paris system operate in a 16 bit environment?
> (Primarily in the software.) If it does, can I use the 64 bit processor?
>
> Spappy
>
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762can anyone help this guy? I dont have any multicard expertise to offer.
"dan b" <daniel_burne@NOSPAMyahoo.com> wrote in message
news:43005fc9$1@linux...
>
> Hi,
>
> Sorry to trouble y'all again but I'm having some problems with Paris 3 on
> XP and am pulling out what remains of my hair. System details below. I've
> been running Paris on 98 / ME since 1998 and have done several installs
> (probably
> about 8 on ME/98 SE), but this is my first XP boot (actually second, since
> it was unstable the first time. and still is now).
>
> 1) With 1 card running, the system was unstable. It would sometimes crash,
> particularly when opening a project after having closed another project.
> Sometimes a crash would trigger the machine to reboot (i.e. just reset
> it).
> Equally (perhaps even more!) frustratingly, EDS effects presets (even in
> the main library) would not save when Paris was rebooted. Other than that,
> everything was fine.
>
> 2) Having added a second recently purchased second-hand card, I'm now
> getting
> Error 2/2 messages when I start Paris. On a few occasions the 2/2 message
> did not appear, but once Paris was started no audio would play back from
> the project. Audio on Card A would show on the meters (channel, submix and
> master); audio on Card B would show on the channel meters, but not in the
> submix or master meters).
>
> Is it possible that the EDS to EDS ribbon cables are at fault? They are
> homemade.
> I've connected one 10 pin to the same 10 pin slot on the other card, and
> the 16 pin ones are in an X. For all ribbon cables, the cable that would
> be red (but isn't as it's homemade from an IDE cable and new ends) runs
> from
> the left of the slot of one card to the left of the slot of the other card
> (hope that makes sense!).
>
> I've since tried swapping the cards around into the other ones PCI slot
> (no
> joy). I've also tried disabling one EDS (only) at a time in Device Manager
> and then launching Paris. I either get Error 2/2 (on one card) or Error
> 1/1
> (on the other).
>
> I may have to go back to ME! Although I'd like to run a system with more
> Ram (1.5+ Gb) for plug-ins, and I believe ME can't take advantage of this.
>
>
> In the meantime, I may try removing the disabled Oasys cards and putting
> the EDS cards in different PCI slots, testing one at a time with the MEC
> to see if the work.
>
> System:
> 1 MEC (8 in, 8 out, adapt); Windows XP Pro; Asus A7V880; 1 Gig ram; Athlon
> 3000 XP; Radeon VE dual-head agp graphics; Eds cards installed in PCI
> slots
> 2 and 3. Slot 4 has Korg Oasys (disabled). Other slots (including PCI slot
> 1) empty. I also have a 442 but this is not plugged into the system.
>
> Many thanks in advance for any advice or suggestions.
>
> Daniel
>Anone else notice that the graphical interface if the EQ is somewhat misleading.
For instance the highpass seems to leave a bunch of low stuff int here..but
the graphic looks like it is cutting everything.
Are there any more "accurate" eq's out there..Say I want to cut evrything
under 90hz..it it could make a hard cut there with out a slope?I may sound like a luddite(iI am occused of this often by friends) here,
but old Glynn Johns for instance had a left right and center pan control,
sounds like Ememrick did too. annd some tape delays, springs and plates.
Ok, they probably had some real chambers. I still think Zep 1 and Who's Next
sound amazing. and have "depth"
Of course the general public probably thinks they sound old..so what the
hell do I know?
"Neil" <OIUOIU@OIU.com> wrote:
>
>I don't believe that getting this analytical about something
>will necessarly make it sound better. Why do you feel you have
>to create a specific space (unless you're trying to match it to
>an existing specific space like in Foley work, ADR, replacment
>tracks for a live multitrack performance, etc).
>
>How about this... Imagine what kind of space you'd like to hear
>that particular song in, pic
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| Re: Anyone feel like we might have made some progress with the political thread? [message #55812 is a reply to message #55792] |
Thu, 14 July 2005 22:19 |
Neil
Messages: 1645
Registered: April 2006
|
Senior Member |
|
|
to be able to spend the next 6 months floundering around learning
by
>>making mistakes (my normal MO), but I don't seem to have that luxury right
>>now.
>>
>>I figure that if I've got a group of musicians on a stage 50' wide, then
>>each panning increment in the 100-100 L/R spread equals 0.25' so for every
>>4 increments, I'm moving the performer to the left or right by 1'. For
>>example, if I wanted to position the band members within a space 30' across,
>>then from the center, to place the guitarist 15' to stage left, I would
>pan
>>him left to 60.
>>
>>This would theoretically put him 10' from the closest wall and 35' from
>the
>>farthest wall.
>>
>>Now a few questions about early reflections and predelay and soundstaging
>in
>>general, as follows:
>>
>>1. If I'm using a stereo reverb, since the performer is stage left at
pan
>>position 60, I would pan the reverb return to stage right 60 and set the
>>ER's for the right side to around 35ms and the ER's to the left to around
>>10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
>>original signal. This woulld theoretically give me a basic two di
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| Re: Bomb attacks in London England [message #55820 is a reply to message #55794] |
Thu, 14 July 2005 23:33 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
cian relative
>
> to
>
>>>the other band members and the front/back of the room, using predealy would
>>>provide some dimensional space........right? what I'm not clear about is
>>>whether the predelay should be set for positioning the performers relative
>>>to the fall of the space that is farthest from them or from the wall that
>>
>>is
>>
>>>behind them. I know that since they are broadcasting into the room, that
>>
>>the
>>
>>>front makes sense, but music travels all directions and it seems it would
>>>make smoe sense to at least take the back wall into consideration.
>>>
>>>Also, I'm thinking that using actual short (2-3 ms delays) between the
>>>instruments/performers themselves would help to create some sense of
>>>relative front-to-back relational spatiality.
>>>
>>>I'm working mostly with acoustic musicians, some drums, but very little
>>
>>in
>>
>>>the way of special FX like phaser/chorus/synth stuff,..........just trying
>>>to create a realistic optimal and dimensionally realistic space for the
>>>performance.
>>>
>>>How big a soundstage is generally used for commercial studio projects?
>
> I
>
>>>know it's all relative, but if there is some sxort of *go-by* here that
>>
>>is
>>
>>>an accepted standard, I'd like to know.
>>>
>>>Thanks for indulging my ignorance and enlightening me..Also, I've got an
>>
>>MP3
>>
>>>of a mix that I did last night that I'd like to get some of your opinions
>>>on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
>>>the soundstage I created for it is small.......around 30' wide. I was trying
>>>to get an intimate, realistic feeling to this as it was tracked live in
>>
>>my
>>
>>>studio with 10 open mics.
>>>
>>>I'd be glad to e-mail it to those here who would be willing to critique
>>
>>it.
>>
>>>TIA for the enlightenment.
>>>
>>>;o)
>>>
>>>Deej
>>>
>>>Deej
>>>
>>>
>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I have listened very
>closely and I hear absolutely no audible problems, other than the sort of
>smooth glue that is the *secret sauce* that mixing hot on this system can
>impart to the tracks.
Deej, do you have anything that you can insert on individual
tracks or across the master before No-Limit in real-time to
see if you're getting any of these kind of problems beforehand?
If you don't, grab a copy of Voxengo's "Span" - it's a freebie
and seems to be very accurate in tracking overs, etc:
http://www.voxengo.com/product/SPAN/
NeilThanks so much!!
Randy
"Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
news:4301ed42@linux...
> HI Spappy,
>
> Paris is 32 bit. It will not work with a 64 bit OS because the hardware
> driver will not be compatible with 64bit. Paris will work fine with a
> 64bit processor and a 32bit OS. Example of this would be a AMD 939 based
> motherboard which is 64 bit compatible but works perfect with 32 bit OS
> such as Windows xp home or Pro.
>
>
> Chris
>
>
> Spappy wrote:
>
>> Does *anything* in the Paris system operate in a 16 bit environment?
>> (Primarily in the software.) If it does, can I use the 64 bit processor?
>>
>> Spappy
>>
>>
>
> --
> Chris Ludwig
> ADK
> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
> www.adkproaudio.com <http://www.adkproaudio.com/>
> (859) 635-5762The hipass has a slope so unless you set it with the bottom of the slope
around 90Hz, you are going to have some residual audible LF. What you will
hear will depend on how good your LF hearing is, but teeney computer
speakers might start fartin' at you if inaudible LF energy within their
frequency range capabilities is too high. Sounds like what you need is a
graphic EQ. If you're trying to mix to suit the masses of teeny speaker
users, the Waves MaXXBass is a cool tool to get this stuff under control
(though personally, I think it's cooler to watch tiny bits of smoking
speaker cone go flying out of the grilles of laptops. ;o)
"Cujo" <chris@nospamapplemanstudio.com> wrote in message
news:4301eec7$1@linux...
>
>
>
> Anone else notice that the graphical interface if the EQ is somewhat
misleading.
>
> For instance the highpass seems to leave a bunch of low stuff int
here..but
> the graphic looks like it is cutting everything.
>
> Are there any more "accurate" eq's out there..Say I want to cut evrything
> under 90hz..it it could make a hard cut there with out a slope?
>
>Speaking of which, have you seen this yet?
http://www.waves.com/content.asp?id=1600
You must have one or..... ;-)
David.
DJ wrote:
> The hipass has a slope so unless you set it with the bottom of the slope
> around 90Hz, you are going to have some residual audible LF. What you will
> hear will depend on how good your LF hearing is, but teeney computer
> speakers might start fartin' at you if inaudible LF energy within their
> frequency range capabilities is too high. Sounds like what you need is a
> graphic EQ. If you're trying to mix to suit the masses of teeny speaker
> users, the Waves MaXXBass is a cool tool to get this stuff under control
> (though personally, I think it's cooler to watch tiny bits of smoking
> speaker cone go flying out of the grilles of laptops. ;o)
>
> "Cujo" <chris@nospamapplemanstudio.com> wrote in message
> news:4301eec7$1@linux...
>
>>
>>
>>Anone else notice that the graphical interface if the EQ is somewhat
>
> misleading.
>
>>For instance the highpass seems to leave a bunch of low stuff int
>
> here..but
>
>>the graphic looks like it is cutting everything.
>>
>>Are there any more "accurate" eq's out there..Say I want to cut evrything
>>under 90hz..it it could make a hard cut there with out a slope?
>>
>>
>
>
>Couldn't he run Paris on Win 95 and then dither to Win 3.0 ?
;op
"Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
news:4301ed42@linux...
> HI Spappy,
>
> Paris is 32 bit. It will not work with a 64 bit OS because the hardware
> driver will not be compatible with 64bit. Paris will work fine with a
> 64bit processor and a 32bit OS. Example of this would be a AMD 939 based
> motherboard which is 64 bit compatible but works perfect with 32 bit OS
> such as Windows xp home or Pro.
>
>
> Chris
>
>
> Spappy wrote:
>
> > Does *anything* in the Paris system operate in a 16 bit environment?
> > (Primarily in the software.) If it does, can I use the 64 bit
processor?
> >
> > Spappy
> >
> >
>
> --
> Chris Ludwig
> ADK
> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
> www.adkproaudio.com <http://www.adkproaudio.com/>
> (859) 635-5762Saki's was demonstrating one of those at a recent expo in Downunderland. I
do need one really bad, but that's because I think it's cool because it's
black with chrome handles. Big awesome looking rack gear that is black with
lots of blinky little leds complements a Paris system very well and you can
show it to clients and they are so impressed that they give you all of their
money and you don't even have to do anything else.
;o)
"EK Sound" <spamnot.info@eksoundNO.com> wrote in message
news:43020d34$1@linux...
> Speaking of which, have you seen this yet?
>
> http://www.waves.com/content.asp?id=1600
>
> You must have one or..... ;-)
>
> David.
>
> DJ wrote:
> > The hipass has a slope so unless you set it with the bottom of the slope
> > around 90Hz, you are going to have some residual audible LF. What you
will
> > hear will depend on how good your LF hearing is, but teeney computer
> > speakers might start fartin' at you if inaudible LF energy within their
> > frequency range capabilities is too high. Sounds like what you need is
a
> > graphic EQ. If you're trying to mix to suit the masses of teeny speaker
> > users, the Waves MaXXBass is a cool tool to get this stuff under control
> > (though personally, I think it's cooler to watch tiny bits of smoking
> > speaker cone go flying out of the grilles of laptops. ;o)
> >
> > "Cujo" <chris@nospamapplemanstudio.com> wrote in message
> > news:4301eec7$1@linux...
> >
> >>
> >>
> >>Anone else notice that the graphical interface if the EQ is somewhat
> >
> > misleading.
> >
> >>For instance the highpass seems to leave a bunch of low stuff int
> >
> > here..but
> >
> >>the graphic looks like it is cutting everything.
> >>
> >>Are there any more "accurate" eq's out there..Say I want to cut
evrything
> >>under 90hz..it it could make a hard cut there with out a slope?
> >>
> >>
> >
> >
> >OK,
It's been a long time since I've used Paris on win ME, but my thoughts are
that if it was unstable with one card that issue needs to be resolved first
off so losing the Korg Oaysis card (at least for now) is the first step.
When I was running Paris on Win XP I was using a pre-SP1 OS that was very
stable. Maybe the SP1 or SP2 is glitching things so if you've got an older
XP system disk, don't load the SP's. Paris doesn't need them and you don't
want to use this computer for anything other than audio
anyway.........right?
Assuming that there is a stable Win XP install, it sounds like one of the
following situations may be in play.
1. Maybe the newest Paris XP subsystem is not installed properly.
2. It may be an IRQ conflict with the graphics card (or other device besides
the Korg Oaysis which is no longer a factor in this)
3. It may be an actual problem with the EDS card itself.
4. It may be a bad SCSI cable between the card and the Paris IF
5. Faulty RAM can be a big party stopper and faulty ribbon cables that are
connecting the HD's to the controllers can cause instability as well.
6. The Radeon graphics card may not be happy on a VIA chipset. I had this
problem trying to use an NForce card on my ASUS A7V8X mobo. It likes
Matrox......argues with NForce.....not know why to save life.
Assuming that one EDS card can be configured to be stable, then after
checking to make sure there are no IRQ conflicts between the cards and any
other devices/controllers, I would start looking at the sync cables between
the two cards if the 2nd card starts causing additional instability
problems.
Also, TheSoniq knows the error codes and what causes them. He's a nice guy
and will help if you call him up.
Hope this helps.
Deej
"justcron" <justcron@hydrorecords.compound> wrote in message
news:4301ee1b@linux...
> can anyone help this guy? I dont have any multicard expertise to offer.
>
> "dan b" <daniel_burne@NOSPAMyahoo.com> wrote in message
> news:43005fc9$1@linux...
> >
> > Hi,
> >
> > Sorry to trouble y'all again but I'm having some problems with Paris 3
on
> > XP and am pulling out what remains of my hair. System details below.
I've
> > been running Paris on 98 / ME since 1998 and have done several installs
> > (probably
> > about 8 on ME/98 SE), but this is my first XP boot (actually second,
since
> > it was unstable the first time. and still is now).
> >
> > 1) With 1 card running, the system was unstable. It would sometimes
crash,
> > particularly when opening a project after having closed another project.
> > Sometimes a crash would trigger the machine to reboot (i.e. just reset
> > it).
> > Equally (perhaps even more!) frustratingly, EDS effects presets (even in
> > the main library) would not save when Paris was rebooted. Other than
that,
> > everything was fine.
> >
> > 2) Having added a second recently purchased second-hand card, I'm now
> > getting
> > Error 2/2 messages when I start Paris. On a few occasions the 2/2
message
> > did not appear, but once Paris was started no audio would play back from
> > the project. Audio on Card A would show on the meters (channel, submix
and
> > master); audio on Card B would show on the channel meters, but not in
the
> > submix or master meters).
> >
> > Is it possible that the EDS to EDS ribbon cables are at fault? They are
> > homemade.
> > I've connected one 10 pin to the same 10 pin slot on the other card, and
> > the 16 pin ones are in an X. For all ribbon cables, the cable that would
> > be red (but isn't as it's homemade from an IDE cable and new ends) runs
> > from
> > the left of the slot of one card to the left of the slot of the other
card
> > (hope that makes sense!).
> >
> > I've since tried swapping the cards around into the other ones PCI slot
> > (no
> > joy). I've also tried disabling one EDS (only) at a time in Device
Manager
> > and then launching Paris. I either get Error 2/2 (on one card) or Error
> > 1/1
> > (on the other).
> >
> > I may have to go back to ME! Although I'd like to run a system with more
> > Ram (1.5+ Gb) for plug-ins, and I believe ME can't take advantage of
this.
> >
> >
> > In the meantime, I may try removing the disabled Oasys cards and putting
> > the EDS cards in different PCI slots, testing one at a time with the MEC
> > to see if the work.
> >
> > System:
> > 1 MEC (8 in, 8 out, adapt); Windows XP Pro; Asus A7V880; 1 Gig ram;
Athlon
> > 3000 XP; Radeon VE dual-head agp graphics; Eds cards installed in PCI
> > slots
> > 2 and 3. Slot 4 has Korg Oasys (disabled). Other slots (including PCI
slot
> > 1) empty. I also have a 442 but this is not plugged into the system.
> >
> > Many thanks in advance for any advice or suggestions.
> >
> > Daniel
> >
>
>Thanks for the feedback everyone. Basically what's happening here is
iondividual files being pumped up in SX at 32 bit float with UAD-1 plugins
and analog compressors routed in and out of RME Multiface AD/DA converters
and then each channel hitting a very transparent dither algo at the channel
output before it is being lightpiped into Paris with the channel faders in
Paris set at unity and all panned tracks and reverbs happening there.
Considering the 52 bit fixed point multiplier that Paris is using
internally, plus the NOoLimit plugin, there are lots of possibilities for
squirrelliness. Maybe the digital errors are just the way that non linear
behaviour is displayed in binary math. whatever is happening, it isn't
audibly ugly at all, it will burn to a CD and the CD can be duplicated.
That's really all I care about.
I am going to back off a bit on my mix levels, just because after
experimenting with it both ways, the *smear* that this causes is more
appropriate for pop/rock oriented stuff with a drum kit, IMHO. Still I may
be mixing a little
bit hotter this way than would normally with SX.
It's more of an option than a necessity really. Sounds good both ways.
Another thing I'm finding is that using 4 x UAD-1 cards seems to give the SX
system some extra breathing room as compared to three. Not sure why, but
it's like the 4th card seems to just give things an overall boost when
applying 6 x 1176's, a pair of Pultec Pro's, a Cambridge or two, a couple of
Fairchilds, an LA-2A and the EMT 140.
The UAD-1 meter is only showing about 30% so there's definitely a horsepower
reserve advantage to the 4th card.
Deej
"Neil" <IUOIU@OIU.com> wrote in message news:4301fd15$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >I have listened very
> >closely and I hear absolutely no audible problems, other than the sort of
> >smooth glue that is the *secret sauce* that mixing hot on this system can
> >impart to the tracks.
>
> Deej, do you have anything that you can insert on individual
> tracks or across the master before No-Limit in real-time to
> see if you're getting any of these kind of problems beforehand?
>
> If you don't, grab a copy of Voxengo's "Span" - it's a freebie
> and seems to be very accurate in tracking overs, etc:
>
> http://www.voxengo.com/product/SPAN/
>
> Neil
>
>
>
>
>Hi Chris,
Thanks for the link. So I assume that I should stay away from
Pentium processors with Paris then? The reason I was looking
at that asus one was that my dealer down the street carries it,
and gave me a good price on a customized system. I'm not going
to be able to fit that many EDS cards in my tower so I thought I
may as well go smaller and use the magma.
Cheers,
TC
Chris Ludwig wrote:
> Hi TC,
> Not sure what your planning for this but if you having some strange urge
> to use a small form factor PC with Paris then I w
|
|
|
|
| Re: Bomb attacks in London England [message #55821 is a reply to message #55820] |
Fri, 15 July 2005 01:26 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
ould say the Shuttle
> boxes are a far better option. They actually make a great AMD Nforce 3
> chipset 939 based system.
> http://global.shuttle.com/Product/Barebone/SN95G5%20V3.asp
>
> Chris
>
>
> TC wrote:
>
>>
>> I am thinking of putting together a new system with a magma chassis
>> for Paris, and am looking at the following:
>>
>> http://usa.asus.com/prog/spec.asp?m=S-presso&langs=09
>>
>> Does anyone know if this board would work with Paris?
>>
>> All my experience has been with AMD processors and Paris, so this is
>> new territory.
>>
>> Any thoughts are appreciated.
>>
>> Cheers,
>>
>> TC
>
>I am having a hard time with my Insurance Agent getting insurance to cover
my studio
equipment. I am not actually running it as a business right now so I wasn't
going to
insure it as such...problem is they don't have a policy that will cover over
$1000 on
electronics. I know it sounds outrageous to me too....
There is also no way to upgrade that policy to cover the dollar value
....$50,000..it's more like
$40,000 but I didn't think it would hurt to have over coverage for growth.
Of course that is when everything was brand new...nowadays it is probably
worth $15,000.
Anyway...who are you guys using for this?
I wonder if ASCAP has something available????
Should I go ahead and insure it as a business...benefits???non-benefits????
Thanks,There used to be a website that had "current" resale value for just about
any pro audio gear...
Anyone know it?www.ebay.com
;o)
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
news:43026d39$1@linux...
> There used to be a website that had "current" resale value for just about
> any pro audio gear...
> Anyone know it?
>
>
>David, any idea of the cost on this unit. I went to the website, but unless
I overlooked it, there was no reference to cost.
Thanks, Tyronehomie can you fix your clock pleeeeze :)
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
news:43026d39$1@linux...
> There used to be a website that had "current" resale value for just about
> any pro audio gear...
> Anyone know it?
>
>
>prepal.com
"justcron" <justcron@hydrorecords.compound> wrote in message
news:43026eb7@linux...
> homie can you fix your clock pleeeeze :)
>
> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
> news:43026d39$1@linux...
>> There used to be a website that had "current" resale value for just about
>> any pro audio gear...
>> Anyone know it?
>>
>>
>>
>
>Pentium processors, probably give more hassal free service than the
equivalent AMD version with Paris.
AMD work but there seems to be more tweeking involved to get a stable
system.
--
Martin Harrington
www.lendanear-sound.com
"TC" <tc@spammetodeathyoubastards.org> wrote in message
news:43023c0d$1@linux...
> Hi Chris,
>
> Thanks for the link. So I assume that I should stay away from
> Pentium processors with Paris then? The reason I was looking
> at that asus one was that my dealer down the street carries it,
> and gave me a good price on a customized system. I'm not going
> to be able to fit that many EDS cards in my tower so I thought I
> may as well go smaller and use the magma.
>
> Cheers,
>
> TC
>
> Chris Ludwig wrote:
>> Hi TC,
>> Not sure what your planning for this but if you having some strange urge
>> to use a small form factor PC with Paris then I would say the Shuttle
>> boxes are a far better option. They actually make a great AMD Nforce 3
>> chipset 939 based system.
>> http://global.shuttle.com/Product/Barebone/SN95G5%20V3.asp
>>
>> Chris
>>
>>
>> TC wrote:
>>
>>>
>>> I am thinking of putting together a new system with a magma chassis for
>>> Paris, and am looking at the following:
>>>
>>> http://usa.asus.com/prog/spec.asp?m=S-presso&langs=09
>>>
>>> Does anyone know if this board would work with Paris?
>>>
>>> All my experience has been with AMD processors and Paris, so this is new
>>> territory.
>>>
>>> Any thoughts are appreciated.
>>>
>>> Cheers,
>>>
>>> TC
>>Really? I thought the opposite was true by what most people use here?
Or am I thinking of more like 3 years ago?
Cheers,
TC
Martin Harrington wrote:
> Pentium processors, probably give more hassal free service than the
> equivalent AMD version with Paris.
> AMD work but there seems to be more tweeking involved to get a stable
> system.brandon, I had this problem as well.
There is aguy who sends me a flyer all the time. he advertises in Mix Mag.
His rates are not too bad, but there is some sort of 1000.00 dollar deductable.
So if one say in channele Great river neve got ripped and that is all, you;d
still be screwed. One good thing is that there is liablitly coverage, so
if someone got hurt in your studio, you'd be covered in case of a law suit.
I miss trust insurance companies so much though., it always seems that when
you need to be covered, they find away around it. I'll get you his name if
I can find the flyer.
Let meknow what you find out too.
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote:
>I am having a hard time with my Insurance Agent getting insurance to cover
>my studio
>equipment. I am not actually running it as a business right now so I wasn't
>going to
>insure it as such...problem is they don't have a policy that will cover
over
>$1000 on
>electronics. I know it sounds outrageous to me too....
>There is also no way to upgrade that policy to cover the dollar value
>...$50,000..it's more like
>$40,000 but I didn't think it would hurt to have over coverage for growth.
>Of course that is when everything was brand new...nowadays it is probably
>worth $15,000.
>
>Anyway...who are you guys using for this?
>
>I wonder if ASCAP has something available????
>
>Should I go ahead and insure it as a business...benefits???non-benefits????
>
>Thanks,
>
>
>almost sure this is it.
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
>DJ,this sounds somewhat familiar to me;)Seems like some of the
>issues I was having awhile back that you helped me on.Just like
>you I wasn't hearing much,but the waveforms looked a little
>crazy;don't think I was getting too many errors though.
>
> Try pulling down the global submix faders like someone said.That
>helped my situation.
>
>Pete
>
>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>I've been playing around with a couple of these songs I'm mixing. 10 tracks
>>on one submix. I'm applying compression in SX, then lightpiping to Paris,
>>ap[plying reverb and panning and bouncing to disk. I'm mixing hot, the
>>faders are often kissing the 0dBfs limit on the individual Paris channels
>>and the submix fader is redlined almost constantly. The Global fader is
>at
>>0dBfs and I've got NoLimit set with a threshold of -2 , limiting at -0.9.
>>
>>This mix sounds very big and I hear no distortion at all. It's really
>>reminiscent of analog tape, no harshness/brittle sound. It may be a bit
>much
>>for a Bluegrass mix but it held together well and there is plenty of
>>separation.
>>
>>When I open it in Wavelab, it's obvious where the NoLimit was doing it's
>>thing. Certain peaks were squared off a bit.........nothing resembling
a
>>square wave situation, just a number of spots where it is visually apparent.
>>
>>When I run an analysis of the mix file in Wavelab, I'm getting huge amounts
>>of errors, like 1000 errors in the first 6 seconds.
>>
>>I wonder what's up. If NoLimit is doing something to this file which would
>>preclude it being dupliccated in reproduction plant, then I'm going to
have
>>to be much more careful. I'm also wondeering if lightpiping this many tracks
>>from SX to Paris with a dither lgo applied to each track to avoid
>>quantization errors is perhaps causing errors somehow. I have listened
very
>>closely and I hear absolutely no audible problems, other than the sort
of
>>smooth glue that is the *secret sauce* that mixing hot on this system can
>>impart to the tracks.
>>
>>
>What I am looking for is to tame the low end on both guitar and bass.
Compared to my fave ref CD's the nass and kick have way way too much low
end on my BM-15s. (this is fast, 70's influence punk not big rich FLoyd
or whatever)
THis is stuff I am remixing for someone, If I had produced it, choice would
have been made earlier that would not require this. That said, it does seem
that straight digital recirding (no tape) seems to leave unwanted lows sometimes.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>The hipass has a slope so unless you set it with the bottom of the slope
>around 90Hz, you are going to have some residual audible LF. What you will
>hear will depend on how good your LF hearing is, but teeney computer
>speakers might start fartin' at you if inaudible LF energy within their
>frequency range capabilities is too high. Sounds like what you need is
a
>graphic EQ. If you're trying to mix to suit the masses of teeny speaker
>users, the Waves MaXXBass is a cool tool to get this stuff under control
>(though personally, I think it's cooler to watch tiny bits of smoking
>speaker cone go flying out of the grilles of laptops. ;o)
>
>"Cujo" <chris@nospamapplemanstudio.com> wrote in message
>news:4301eec7$1@linux...
>>
>>
>>
>> Anone else notice that the graphical interface if the EQ is somewhat
>misleading.
>>
>> For instance the highpass seems to leave a bunch of low stuff int
>here..but
>> the graphic looks like it is cutting everything.
>>
>> Are there any more "accurate" eq's out there..Say I want to cut evrything
>> under 90hz..it it could make a hard cut there with out a slope?
>>
>>
>
>I've never found prepal to be very current. eBay has sorta become the defacto
price guide these days. Some pawnshops are even using average eBay sales
prices instead of the old "bluebook" system.
MC
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote:
>prepal.com
>
>
>
>"justcron" <justcron@hydrorecords.compound> wrote in message
>news:43026eb7@linux...
>> homie can you fix your clock pleeeeze :)
>>
>> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
>> news:43026d39$1@linux...
>>>
There used to be a website that had "current" resale value for just about
>>> any pro audio gear...
>>> Anyone know it?
>>>
>>>
>>>
>>
>>
>
>That's a disturbing image!
Damn that Mutt Lange! Damn him to hell!
John <no@no.com> wrote:
>While Zep 1 has great depth, it does not have any of the imaging found
>on The Woman In Me.
>
>Cujo wrote:
>> I may sound like a luddite(iI am occused of this often by friends) here,
>> but old Glynn Johns for instance had a left right and center pan control,
>> sounds like Ememrick did too. annd some tape delays, springs and plates.
>> Ok, they probably had some real chambers. I still think Zep 1 and Who's
Next
>> sound amazing. and have "depth"
>> Of course the general public probably thinks they sound old..so what the
>> hell do I know?
>>
>>
>> "Neil" <OIUOIU@OIU.com> wrote:
>>
>>>I don't believe that getting this analytical about something
>>>will necessarly make it sound better. Why do you feel you have
>>>to create a specific space (unless you're trying to match it to
>>>an existing specific space like in Foley work, ADR, replacment
>>>tracks for a live multitrack performance, etc).
>>>
>>>How about this... Imagine what kind of space you'd like to hear
>>>that particular song in, pick one that's close to that in one of
>>>your verb units, then tweak as necessary to your heart's
>>>content - and that's the key, use your heart (emotional
>>>response), not your brain.
>>>
>>>Neil
>>>
>>>
>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>
>>>>I'm needing to get pretty anal retentive with this stuff these days.
I'm
>>>
>>>in
>>>
>>>>a very small market and I am starting to carve out a niche for myself.
>>
>> The
>>
>>>>engineers in the other studios around here have many more years behind
>>
>> the
>>
>>>>board than I do (average of around 30 years of full-time *earning a living
>>>>at it* kind of experience so I'm a comparative newbie)
>>>>
>>>>I've learned a few things over the years of turd polishing and doing
small
>>>>demo projects and I'm starting to actually get some small labels sniffing
>>>>around my door so I must be doing something right in spite of myself
and
>>>
>>>the
>>>
>>>>rather limited and haphazard education and experience I've managed to
>>>>accumulate.
>>>>
>>>>I'm really feelin' the need to get my head around the finer points of
this
>>>>craft if I'm going to make a go of this. A huge part of this is soundstaging
>>>>and needing to spend the time to do much more than just pan a reverb
send
>>>>here and there to create a semblance of realism. To that end I've been
>>
>> doing
>>
>>>>a bit of research and I'm beginning some more in depth experimentation
>>
>> with
>>
>>>>this. I just want to make sure that my methodology is somewhat sound
and
>>>>that I'm not tilting at windmills here. I've got a full plate so though
>>>
>>>I'd
>>>
>>>>like to be able to spend the next 6 months floundering around learning
>
|
|
|
|
| Re: Anyone feel like we might have made some progress with the political thread? [message #55823 is a reply to message #55799] |
Fri, 15 July 2005 02:21 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
ft to around
>>>>10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
>>>>original signal. This woulld theoretically give me a basic two dimensional
>>>>(L/R) location of the musician in an ambient space, right?
>>>>
>>>>Also, do you pan the reverb send to mirror the return? I'm just not getting
>>>>this for some reason. Seems that panning the send does nothing. Maybe
I'm
>>>>just too overwhelmed at the moment to notice.
>>>>
>>>>2. In order to get the front/back positioning of the musician relative
>>
>> to
>>
>>>>the other band members and the front/back of the room, using predealy
would
>>>>provide some dimensional space........right? what I'm not clear about
is
>>>>whether the predelay should be set for positioning the performers relative
>>>>to the fall of the space that is farthest from them or from the wall
that
>>>
>>>is
>>>
>>>>behind them. I know that since they are broadcasting into the room, that
>>>
>>>the
>>>
>>>>front makes sense, but music travels all directions and it seems it would
>>>>make smoe sense to at least take the back wall into consideration.
>>>>
>>>>Also, I'm thinking that using actual short (2-3 ms delays) between the
>>>>instruments/performers themselves would help to create some sense of
>>>>relative front-to-back relational spatiality.
>>>>
>>>>I'm working mostly with acoustic musicians, some drums, but very little
>>>
>>>in
>>>
>>>>the way of special FX like phaser/chorus/synth stuff,..........just trying
>>>>to create a realistic optimal and dimensionally realistic space for the
>>>>performance.
>>>>
>>>>How big a soundstage is generally used for commercial studio projects?
>>
>> I
>>
>>>>know it's all relative, but if there is some sxort of *go-by* here that
>>>
>>>is
>>>
>>>>an accepted standard, I'd like to know.
>>>>
>>>>Thanks for indulging my ignorance and enlightening me..Also, I've got
an
>>>
>>>MP3
>>>
>>>>of a mix that I did last night that I'd like to get some of your opinions
>>>>on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
>>>>the soundstage I
|
|
|
|
| Re: Anyone feel like we might have made some progress with the politicalthread? [message #55825 is a reply to message #55823] |
Fri, 15 July 2005 00:19 |
John [1]
Messages: 2229
Registered: September 2005
|
Senior Member |
|
|
ht digital recirding (no tape) seems to leave unwanted lows sometimes.
Why don't you just use a sharp Q curve at 20HZ on the Bass?
Drop it down like -18 db, then widen it out a little bit until
it starts to sound "not quite full enough", then back off a
hair; then bring it up from -18 to let's say -12 or so... see
if that gives you some of the subharmonics without bringing in
more murk. Try that approach & you'll likely find something that
works. As for guitar, you can drop everything below 40hz
without any problem, even if it's numetal tuned down a step -
for the stuff you described, you could probably even go to 60
or 80hz & be fine.
NeilDon't really know, except to say that most of my mates that use Paris, )or
other audio programs), had stability problems when setting the system up.
I, and other P4 users had zero setup problems, and still dont.
--
Martin Harrington
www.lendanear-sound.com
"TC" <tc@spammetodeathyoubastards.org> wrote in message
news:430274ea$1@linux...
> Really? I thought the opposite was true by what most people use here?
> Or am I thinking of more like 3 years ago?
>
> Cheers,
>
> TC
>
>
> Martin Harrington wrote:
>> Pentium processors, probably give more hassal free service than the
>> equivalent AMD version with Paris.
>> AMD work but there seems to be more tweeking involved to get a stable
>> system.thats great, but your system clock is still a day ahead
"Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
news:430271bf@linux...
> prepal.com
>
>
>
> "justcron" <justcron@hydrorecords.compound> wrote in message
> news:43026eb7@linux...
>> homie can you fix your clock pleeeeze :)
>>
>> "Brandon" <brandon_goodwin@REMOVETHISsbcglobal.net> wrote in message
>> news:43026d39$1@linux...
>>> There used to be a website that had "current" resale value for just
>>> about any pro audio gear...
>>> Anyone know it?
>>>
>>>
>>>
>>
>>
>
>yep ebay is IT.
its cool as heck that prepal.com is an analogx project tho
"mike claytor" <claytor@nospam.com> wrote in message
news:43027ae8$1@linux...
>
> I've never found prepal to be very current. eBay has sorta become the
> defacto
&g
|
|
|
|
|
|
| Re: Bomb attacks in London England [message #55827 is a reply to message #55821] |
Fri, 15 July 2005 04:30 |
justcron
Messages: 330
Registered: May 2006
|
Senior Member |
|
|
>
"Neil" <IOUOIU@OIU.com> wrote:
>
>"cujo" <chris@applemanstudio.com> wrote:
>>
>>What I am looking for is to tame the low end on both guitar and bass.
>>Compared to my fave ref CD's the nass and kick have way way too much low
>>end on my BM-15s. (this is fast, 70's influence punk not big rich FLoyd
>>or whatever)
>>THis is stuff I am remixing for someone, If I had produced it, choice would
>>have been made earlier that would not require this. That said, it does
seem
>>that straight digital recirding (no tape) seems to leave unwanted lows
sometimes.
>
>Why don't you just use a sharp Q curve at 20HZ on the Bass?
>Drop it down like -18 db, then widen it out a little bit until
>it starts to sound "not quite full enough", then back off a
>hair; then bring it up from -18 to let's say -12 or so... see
>if that gives you some of the subharmonics without bringing in
>more murk. Try that approach & you'll likely find something that
>works. As for guitar, you can drop everything below 40hz
>without any problem, even if it's numetal tuned down a step -
>for the stuff you described, you could
|
|
|
|
| Re: Bomb attacks in London England [message #55830 is a reply to message #55820] |
Fri, 15 July 2005 07:15 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
number of instruments you can hear clearly (typically
6 to 8) all at once, most with their own stereo images and unique
contrasting textures. Get some smoke from justcron and the cd will come
alive. hehe
John
mike claytor wrote:
> That's a disturbing image!
>
> Damn that Mutt Lange! Damn him to hell!
>
>
> John <no@no.com> wrote:
>
>>While Zep 1 has great depth, it does not have any of the imaging found
>>on The Woman In Me.
>>
>>Cujo wrote:
>>
>>>I may sound like a luddite(iI am occused of this often by friends) here,
>>>but old Glynn Johns for instance had a left right and center pan control,
>>>sounds like Ememrick did too. annd some tape delays, springs and plates.
>>>Ok, they probably had some real chambers. I still think Zep 1 and Who's
>
> Next
>
>>>sound amazing. and have "depth"
>>>Of course the general public probably thinks they sound old..so what the
>>>hell do I know?
>>>
>>>
>>>"Neil" <OIUOIU@OIU.com> wrote:
>>>
>>>
>>>>I don't believe that getting this analytical about something
>>>>will necessarly make it sound better. Why do you feel you have
>>>>to create a specific space (unless you're trying to match it to
>>>>an existing specific space like in Foley work, ADR, replacment
>>>>tracks for a live multitrack performance, etc).
>>>>
>>>>How about this... Imagine what kind of space you'd like to hear
>>>>that particular song in, pick one that's close to that in one of
>>>>your verb units, then tweak as necessary to your heart's
>>>>content - and that's the key, use your heart (emotional
>>>>response), not your brain.
>>>>
>>>>Neil
>>>>
>>>>
>>>>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>>>
>>>>
>>>>>I'm needing to get pretty anal retentive with this stuff these days.
>
> I'm
>
>>>>in
>>>>
>>>>
>>>>>a very small market and I am starting to carve out a niche for myself.
>>>
>>>The
>>>
>>>
>>>>>engineers in the other studios around here have many more years behind
>>>
>>>the
>>>
>>>
>>>>>board than I do (average of around 30 years of full-time *earning a living
>>>>>at it* kind of experience so I'm a comparative newbie)
>>>>>
>>>>>I've learned a few things over the years of turd polishing and doing
>
> small
>
>>>>>demo projects and I'm starting to actually get some small labels sniffing
>>>>>around my door so I must be doing something right in spite of myself
>
> and
>
>>>>the
>>>>
>>>>
>>>>>rather limited and haphazard education and experience I've managed to
>>>>>accumulate.
>>>>>
>>>>>I'm really feelin' the need to get my head around the finer points of
>
> this
>
>>>>>craft if I'm going to make a go of this. A huge part of this is soundstaging
>>>>>and needing to spend the time to do much more than just pan a reverb
>
> send
>
>>>>>here and there to create a semblance of realism. To that end I've been
>>>
>>>doing
>>>
>>>
>>>>>a bit of research and I'm beginning some more in depth experimentation
>>>
>>>with
>>>
>>>
>>>>>this. I just want to make sure that my methodology is somewhat sound
>
> and
>
>>>>>that I'm not tilting at windmills here. I've got a full plate so though
>>>>
>>>>I'd
>>>>
>>>>
>>>>>like to be able to spend the next 6 months floundering around learning
>>>
>>>by
>>>
>>>
>>>>>making mistakes (my normal MO), but I don't seem to have that luxury
>
> right
>
>>>>>now.
>>>>>
>>>>>I figure that if I've got a group of musicians on a stage 50' wide, then
>>>>>each panning increment in the 100-100 L/R spread equals 0.25' so for
>
> every
>
>>>>>4 increments, I'm moving the performer to the left or right by 1'. For
>>>>>example, if I wanted to position the band members within a space 30'
>
> across,
>
>>>>>then from the center, to place the guitarist 15' to stage left, I would
>>>>
>>>>pan
>>>>
>>>>
>>>>>him left to 60.
>>>>>
>>>>>This would theoretically put him 10' from the closest wall and 35' from
>>>>
>>>>the
>>>>
>>>>
>>>>>farthest wall.
>>>>>
>>>>>Now a few questions about early reflections and predelay and soundstaging
>>>>
>>>>in
>>>>
>>>>
>>>>>general, as follows:
>>>>>
>>>>>1. If I'm using a stereo reverb, since the performer is stage left at
>>>
>>>pan
>>>
>>>
>>>>>position 60, I would pan the reverb return to stage right 60 and set
>
> the
>
>>>>>ER's for the right side to around 35ms and the ER's to the left to around
>>>>>10ms with the levels about 2/3 to 3/4 (or less) of the strength of the
>>>>>original signal. This woulld theoretically give me a basic two dimensional
>>>>>(L/R) location of the musician in an ambient space, right?
>>>>>
>>>>>Also, do you pan the reverb send to mirror the return? I'm just not getting
>>>>>this for some reason. Seems that panning the send does nothing. Maybe
>
> I'm
>
>>>>>just too overwhelmed at the moment to notice.
>>>>>
>>>>>2. In order to get the front/back positioning of the musician relative
>>>
>>>to
>>>
>>>
>>>>>the other band members and the front/back of the room, using predealy
>
> would
>
>>>>>provide some dimensional space........right? what I'm not clear about
>
> is
>
>>>>>whether the predelay should be set for positioning the performers relative
>>>>>to the fall of the space that is farthest from them or from the wall
>
> that
>
>>>>is
>>>>
>>>>
>>>>>behind them. I know that since they are broadcasting into the room, that
>>>>
>>>>the
>>>>
>>>>
>>>>>front makes sense, but music travels all directions and it seems it would
>>>>>make smoe sense to at least take the back wall into consideration.
>>>>>
>>>>>Also, I'm thinking that using actual short (2-3 ms delays) between the
>>>>>instruments/performers themselves would help to create some sense of
>>>>>relative front-to-back relational spatiality.
>>>>>
>>>>>I'm working mostly with acoustic musicians, some drums, but very little
>>>>
>>>>in
>>>>
>>>>
>>>>>the way of special FX like phaser/chorus/synth stuff,..........just trying
>>>>>to create a realistic optimal and dimensionally realistic space for the
>>>>>performance.
>>>>>
>>>>>How big a soundstage is generally used for commercial studio projects?
>>>
>>>I
>>>
>>>
>>>>>know it's all relative, but if there is some sxort of *go-by* here that
>>>>
>>>>is
>>>>
>>>>
>>>>>an accepted standard, I'd like to know.
>>>>>
>>>>>Thanks for indulging my ignorance and enlightening me..Also, I've got
>
> an
>
>>>>MP3
>>>>
>>>>
>>>>>of a mix that I did last night that I'd like to get some of your opinions
>>>>>on. It's a very talented bluegrass band-5 pieces. It's about 2.5 MB and
>>>>>the soundstage I created for it is small.......around 30' wide. I was
>
> trying
>
>>>>>to get an intimate, realistic feeling to this as it was tracked live
>
> in
>
>>>>my
>>>>
>>>>
>>>>>studio with 10 open mics.
>>>>>
>>>>>I'd be glad to e-mail it to those here who would be willing to critique
>>>>
>>>>it.
>>>>
>>>>
>>>>>TIA for the enlightenment.
>>>>>
>>>>>;o)
>>>>>
>>>>>Deej
>>>>>
>>>>>Deej
>>>>>
>>>>>
>>>>
>it's mid 90's every day here and i'm jealous of you ! I'll be back in
Oregon one day :-)
DJ wrote:
> Summer is over here. It's been raining every day for about 10 days and fall
> is in the air big time. It was actually a bit nippy today until late
> afternoon and right now it's probably close to 40 degrees F.
>
> I'm getting ready to turn on the friggin heater.......in August. Seems like
> a strange thing to do but if I don't Crashbasket and Juliet will jump up on
> the bed and lay down on top of me while I'm asleep so they can get warm
> while I die of suffocation.
>
> ;oP
>
>It's been pretty much 90's and high humidity here in NC. Send some of that
cold thisaway would ya? About 20 degrees worth would be just about right.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Summer is over here. It's been raining every day for about 10 days and fall
>is in the air big time. It was actually a bit nippy today until late
>afternoon and right now it's probably close to 40 degrees F.
>
>I'm getting ready to turn on the friggin heater.......in August. Seems like
>a strange thing to do but if I don't Crashbasket and Juliet will jump up
on
>the bed and lay down on top of me while I'm asleep so they can get warm
>while I die of suffocation.
>
>;oP
>
>HI,
The single processor Nforce 4 chipset will not work well at all with
audio. It has major PCI/PCI-E conflicts. The SLI option will be a waste
of money also. Go for a Nforce3 based motherboard.
Chris
Spappy wrote:
> Anyone see anything here that would be a problem for Paris 3.0?
>
> Either:
> Athlon 64 3500+ 2.2 GHz 512KB cache
> or
> Athlon 64 4000+ 2.4 GHz 1MB cache
>
> Asus A8N-SLI mobo w/ 800+ MHz FSB
> 1 GB RAM 400 MHz
> GeForce 256MB dual head vid card
> (2) 200 GB Maxtor 7200 RPM ATA-133 hd
> Plextor SATA DVD-RW
> MS Win XP Pro
> 450watt power supply
> dual 17" Flat panels
>
> Spappy
>
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762What a screwed up summer this year... here we have had record rainfall
and widespread flooding. On the plus side, the crops are good for the
farmers, but the surplus will bring the price down and they will start
grumbling again... ;-)
David.
DJ wrote:
> Summer is over here. It's been raining every day for about 10 days and fall
> is in the air big time. It was actually a bit nippy today until late
> afternoon and right now it's probably close to 40 degrees F.
>
> I'm getting ready to turn on the friggin heater.......in August. Seems like
> a strange thing to do but if I don't Crashbasket and Juliet will jump up on
> the bed and lay down on top of me while I'm asleep so they can get warm
> while I die of suffocation.
>
> ;oP
>
>http://www.sweetwater.com/store/detail/MaxxBCL/
David.
Tyrone Corbett wrote:
> David, any idea of the cost on this unit. I went to the website, but unless
> I overlooked it, there was no reference to cost.
>
> Thanks, TyroneThis is a multi-part message in MIME format.
------=_NextPart_000_0053_01C5A31E.7D5FBDA0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
If you haven't seen it, it is very cool now.
Finally got Drumagog 4.02 cooking and it is as good as it ever was.
Better graphics although settings are a little too small for=20
my taste. Cool new features like a graphic of a stick
hitting a drum in time with the trigger instead of a meter.
Rim says it is low on the CPU priority chain so not to worry.
I'm still figuring out a few things but it looks much better than
2.0 which I was using. Seems to trigger more easily and allows for
less latency-greater CPU load settings.
Great plugin in general.
Tom
------=_NextPart_000_0053_01C5A31E.7D5FBDA0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>If you haven't seen it, it is very cool =
now.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Finally got Drumagog =
4.02 cooking and it=20
is as good as it ever was.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Better graphics although settings are a =
little too=20
small for </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>my taste. Cool new features =
like a=20
graphic of a stick</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>hitting a drum in time with the trigger =
instead of=20
a meter.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Rim says it is low on the CPU priority =
chain so not=20
to worry.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm still figuring out a few =
things but it=20
looks much better than</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>2.0 which I was using. Seems to =
trigger more=20
easily and allows for</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>less latency-greater CPU load=20
settings.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Great plugin in general.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV></BODY></HTML>
------=_NextPart_000_0053_01C5A31E.7D5FBDA0--Hi TC,
The Pentium version of the Shuttle box work great you should only use a
865 chip set. If you are using Paris it will give you the most
compatibility. Here is the model I'd suggest.
http://global.shuttle.com/Product/Barebone/SB61G2%20V4.asp
Chris
TC wrote:
> Hi Chris,
>
> Thanks for the link. So I assume that I should stay away from
> Pentium processors with Paris then? The reason I was looking
> at that asus one was that my dealer down the street carries it,
> and gave me a good price on a customized system. I'm not going
> to be able to fit that many EDS cards in my tower so I thought I
> may as well go smaller and use the magma.
>
> Cheers,
>
> TC
>
> Chris Ludwig wrote:
>
>> Hi TC,
>> Not sure what your planning for this but if you having some strange
>> urge to use a small form factor PC with Paris then I would say the
>> Shuttle boxes are a far better option. They actually make a great AMD
>> Nforce 3 chipset 939 based system.
>> http://global.shuttle.com/Product/Barebone/SN95G5%20V3.asp
>>
>> Chris
>>
>>
>> TC wrote:
>>
>>>
>>> I am thinking of putting together a new system with a magma chassis
>>> for Paris, and am looking at the following:
>>>
>>> http://usa.asus.com/prog/spec.asp?m=S-presso&langs=09
>>>
>>> Does anyone know if this board would work with Paris?
>>>
>>> All my experience has been with AMD processors and Paris, so this is
>>> new territory.
>>>
>>> Any thoughts are appreciated.
>>>
>>> Cheers,
>>>
>>> TC
>>
>>
>>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comHi Martin,
Intel and AMD both perform perfect. It is the motherboard and chip set
makers who tend to screw things up. Currently Intel and AMD are both
having growing pains with the new dual-core technology. It is mostly the
motherboard manufacturers doing stupid stuff to cut costs on the boards.
Martin Harrington wrote:
> Pentium processors, probably give more hassal free service than the
> equivalent AMD version with Paris.
> AMD work but there seems to be more tweeking involved to get a stable
> system.
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.com"Tom Bruhl" <arpegio@comcast.net> wrote:
If you haven't seen it, it is very cool now.
Finally got Drumagog 4.02 cooking and it is as good as it ever was.
Does this come with its own set of replacement drum sounds, or do you use
it with sample libraries? Also, what is your Paris setup? Win98, XP? Mac?
ThanksHas anyone here tried the new Wizoo reverb? I'm on a Mac, so GigaPulse is
out for me. I know Altiverb is supposed to be great, but it's just a little
pricey for me right now. I think the Wizoo verb is about half the cost.
Anybody?
Thanks,
Tony
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:43017d6c$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>I'm needing to get pretty anal retentive with this stuff these days...
>>Deej
>>
>
> Well.
> I have worked with many producers and mix engineers over the years that do
> sweat the details, including sound stage.
> M/S.
> Binaural.
> X/Y.
> These exist because people consider the stereo imaging and sound stage
> important.
> Obviously this is not the most critical issue in typical, modern, radio
> driven
> productions, but that does not equate to being meaningless.
> I love recording in true stereo (primarily M/S) whenever it seems
> appropriate.
>
> Trying to control the sound stage "after the fact" is a completely
> different
> animal but again, the details do add up.
> I have been playing around a little with GigaPulse, the convolution reverb
> that comes with Giga3, and now available separately. With multiple
> instances,
> you can create a very controlled and convincing 3D soundstages that you
> actually
> can adjust during mixdown. This reminds me a little of using the Calrec
> Soundfield
> (the ultimate mic for post recording control of sound stage.)
>
> The new generation of hardware and software phase correction systems also
> opens up new possibilities. As an example: If you record a small acoustic
> ensemble with M/S, you should be able to add spot mics and "correct" the
> phase relationship after the fact. I have not had a chance to try this
> yet,
> but I hope to soon.
> (PhaseTone from Tritone is out now and free.)
> http://www.tritonedigital.com/products.htm
> Gene
>This is a multi-part message in MIME format.
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Gary,
I'm on XP Pro, only a couple of samples come with it
but the upgrade allows access to purchasing more
samples from Wavemachines (Drumagog) website.
I have my own sample library derived from many sources
and converted to .wavs. =20
Drumagog allows multi samples for triggering which adds
realism to the sounds. In other words you can use any
and all of 20 samples as one snare sound and Drumagog
will use velocity or even random to choose them for individual
strikes. I need to get some multi samples for that too.
http://www.drumagog.com/info.htm
Check it out if you haven't already.
Tom
"Gary Flanigan" <gary_flanigan@ce9.uscourts.gov> wrote in message =
news:43035e1f$1@linux...
"Tom Bruhl" <arpegio@comcast.net> wrote:
If you haven't seen it, it is very cool now.
Finally got Drumagog 4.02 cooking and it is as good as it ever was.
Does this come with its own set of replacement drum sounds, or do you =
use
it with sample libraries? Also, what is your Paris setup? Win98, XP? =
Mac?
Thanks
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<DIV><FONT face=3DArial size=3D2>Gary,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm on XP Pro, only a couple of samples =
come with=20
it</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>but the upgrade allows access to =
purchasing=20
more</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>samples from Wavemachines (Drumagog)=20
website.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I have my own sample library derived =
from many=20
sources</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>and converted to .wavs. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Drumagog allows multi samples for =
triggering which=20
adds</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>realism to the sounds. In other =
words you can=20
use any</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>and all of 20 samples as one snare =
sound
|
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| Re: Bomb attacks in London England [message #55836 is a reply to message #55830] |
Fri, 15 July 2005 08:54 |
Deej [3]
Messages: 181
Registered: June 2005
|
Senior Member |
|
|
l that, are
>>really
>>overkill for many, who like me, probably just want to turn audio in to wav
>>files and worry about effects and mixing later on a computer DAW.
>>
>>I figure I need a minimum of 8 tracks, probably preferably more like 16,
>>but cost is a factor...
>
>
> Couple of used ADAT's ganged together? Akai DR-16?
>
> NeilSave As:
Project_a.ppj. wait 5 minutes
Project_b.ppj wait 5 minutes
Project_c.ppj wait 5 minutes
..........
I'd be amazed if there wasn't either an autosave or someone hasn't written
and app to do it for ya for Cubase. If not, get yourself a hot/macro set up.
AA
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:43040e9f@linux...
> Looks like I've got one of those *sweatin the details* producers on my
> hands. I'm going to have to get my head around a lot more stuff than I
> thought. He's bringing three more projects over here PDQ and we've been
> sitting around talking about all sorts of extremely anal ear candy kinda
> stuff that he expects to be able to do. It's do'able, it's just a lot to
> learn. He's worked a lot in Nashville with some major heavy hitters so
> I'll
> get an education. Glad he's a nice guy. I'll probably be learning a lot
> from
> him.
>
> Working on two DAWs simultaneously is getting faster every day. There's a
> lot to learn, but the available options for doing different things is mind
> boggling. I've given myself a pretty major crash course in Cubase SX, at
> least in regard to the things I need to do with it for mixing.
>
> I also found out a few quirks of the Houston control
> surface...........like
> when you hit the write automation button, *everything* gets automated if
> you're not careful, including the mutes and EQ, so if you're writing
> automation and doing some EQ'ing on the fly and muting/unmuting tracks as
> you go, you're writing all of this to the project and it will be read
> during
> playback along with the4 fader moves. I just had to fix three songs
> (basically a remix) because all this squirrelly **** crap was going on and
> I
> couldn't figure it out until I opened up all of the automation windows and
> saw this major mess happening.
>
> Lots ot learn.
>
> ;o)
>
>
> "gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
> news:43017d6c$1@linux...
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >I'm needing to get pretty anal retentive with this stuff these days...
>> >Deej
>> >
>>
>> Well.
>> I have worked with many producers and mix engineers over the years that
>> do
>> sweat the details, including sound stage.
>> M/S.
>> Binaural.
>> X/Y.
>> These exist because people consider the stereo imaging and sound stage
> important.
>> Obviously this is not the most critical issue in typical, modern, radio
> driven
>> productions, but that does not equate to being meaningless.
>> I love recording in true stereo (primarily M/S) whenever it seems
> appropriate.
>>
>> Trying to control the sound stage "after the fact" is a completely
> different
>> animal but again, the details do add up.
>> I have been playing around a little with GigaPulse, the convolution
>> reverb
>> that comes with Giga3, and now available separately. With multiple
> instances,
>> you can create a very controlled and convincing 3D soundstages that you
> actually
>> can adjust during mixdown. This reminds me a little of using the Calrec
> Soundfield
>> (the ultimate mic for post recording control of sound stage.)
>>
>> The new generation of hardware and software phase correction systems also
>> opens up new possibilities. As an example: If you record a small acoustic
>> ensemble with M/S, you should be able to add spot mics and "correct" the
>> phase relationship after the fact. I have not had a chance to try this
> yet,
>> but I hope to soon.
>> (PhaseTone from Tritone is out now and free.)
>> http://www.tritonedigital.com/products.htm
>> Gene
>>
>
>...... so I threw it out on one of my servers for everyone to dig.
http://smirk.bjenterprise.com/PianoBalls.wmv
Enjoy,
AA"Aaron Allen" <nospam@not_here.dude> wrote:
>Yes, it is going to be a mess my friend. You might want to seriously look
at
>carrying a rack mounted monitor mixer...
Thanks for the input.
If I'm following your idea correctly I'm not sure how it will work.
The thing with my planned setup is that it revolves around two Akai MB76
programmable mix bays. Basically these are simple mixers with 7 ins and 6
outs (or do I have it backwards?) and basically you can feed any input, in
any amount, to any output bus, and have 32 patches preconfigured to do this
in different ways. Your idea of the monitor mixer works well for most keyboard
or multi-instrument players, but I'm trying to take live re-patching of effects
loops to an extreme. A regular mixer is a static thing. I want to be able
to switch any instrument into any effects loop in a split second with just
my foot. I can't see how I can do that without these Akai units (or something
similar) and struggling to work out how I could hook in a monitor mixer while
still using them effectively... and even if I could do that, I'm struggling
even more to work out how to do it while feeding recording devices.
I'm pretty happy with my planned system as far as what I will feed to a PA
goes, other than I'd like more busses for more stereo sounds, but I'll just
need more Akai mix bays for that.
I could be missing something, but I'm thinking due to the complex plans I
have for live patching of things, that a monitor mixer wont be of much use.
Am I missing something, or had I just not properly explained what I'm trying
to do... ...not that I've explained it properly still... ;o)
Cheers,
Kim."Neil" <OIUIOU@OIU.com> wrote:
>Couple of used ADAT's ganged together? Akai DR-16?
Mmm... both nice ideas. I hadn't thought of ADATS. Would work magically
if I had a Paris ADAT card to transfer with, but I might be happy to justify
that. I'll keep that idea in mind.
The DR-16 looks like a really nice box. I saw one went recently over here
for around $1100 which isn't bad for a box that does 16 tracks of 24 bits.
Was hoping to be more skimpy than that but it's a nice looking box to be
aware of in any case. Any idea of what would be involved in getting sounds
off the box and on to Paris?
Thanks for the input.
Cheers,
Kim."Aaron Allen" <nospam@not_here.dude> wrote:
>I've been wanting to do this a while now, I just have too many other fires
I
>gotta get put out. However, my model includes the adat HD recorder.
Just looked them up. Does look beautiful I have to say. A bit more than I
was hoping to pay really though, but for 24 tracks of audio in a single 2RU
rack with decent convertors, that is a good deal.
It goes on my wish list, but unfortunately I don't think it will come to
be in the near future...
Cheers,
Kim.thanks aaron for putting my balls into a lesser place: pride has
replaced with disappointment.
;o(
On Thu, 18 Aug 2005 03:13:12 -0500, "Aaron Allen"
<nospam@not_here.dude> wrote:
>..... so I threw it out on one of my servers for everyone to dig.
>
>http://smirk.bjenterprise.com/PianoBalls.wmv
>
>Enjoy,
>AA
>
>16 of those recordable greeting cards.
On 18 Aug 2005 11:30:46 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>I'm thinking of picking up a Roland VS-880EX or something.
>
>Surely by now though somebody has a simpler box. I mean lets face it, all
>the average user needs is a little box with a HDD and some A/D convertors...
> and something that allows to two to talk. Those roland boxes with built
>in mixers and the like, while they're great if you want all that, are really
>overkill for many, who like me, probably just want to turn audio in to wav
>files and worry about effects and mixing later on a computer DAW.
>
>I figure I need a minimum of 8 tracks, probably preferably more like 16,
>but cost is a factor...
>
>Cheers,
>Kim.have you tried new ram ?
Paul Braun wrote:
> The motherboard in my non-paris Athlon 2400xp box is starting to flake
> out - it will freeze up solid for no damn reason, even if it's just
> sitting there with nothing running. The price was right when I got it
> about a year and a half ago, but it's time to replace
>
> So, it's time to shop for a new board. This machine won't see Paris,
> but it may see Adobe Premiere and the odd Windows editing app.
>
> Any suggestions? Looking for good balance between killer performance
> and damn cheap.
>
> pab
>
> "Enjoy every sandwich." -- Warren Zevon
>
> "Here at Microsoft, Quality is job, oh, I dunno, maybe 7 or 8?"http://www.whirlwindusa.com/split.html
PaulN wrote:
> If you have a pretty decent FOH console you should be able to take the
> channel direct outs (already preamped) straight into Paris or recorder. I
> use Paris to record at our church occasionally and I set it up next to the
> mixer and take the direct outs off the mixer.
> Works great.
>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:4303ceeb$1@linux...
>
>>
>>What's the best way to split audio so I can run it to some kind of
>>recording
>>device and to a PA at the same time?
>>
>>I guess potentially I could just use DI boxes with an in and an out, and
>>feed balanced signals to the recorder...?
>>
>>What's the best way to look at doing this? Feeding the channels from a
>>desk
>>insert isn't likely to be an option as most of these channels will be
>>mixed
>>prior to getting to the main desk.
>>
>>And what's an excellent, top quality, 16 track portable digital recorder
>>for under $100? ;oP
>>
>>Cheers,
>>Kim.
>
>
>http://www.line6.com/toneport/ ???
Kim wrote:
> I'm thinking of picking up a Roland VS-880EX or something.
>
> Surely by now though somebody has a simpler box. I mean lets face it, all
> the average user needs is a little box with a HDD and some A/D convertors...
> and something that allows to two to talk. Those roland boxes with built
> in mixers and the like, while they're great if you want all that, are really
> overkill for many, who like me, probably just want to turn audio in to wav
> files and worry about effects and mixing later on a computer DAW.
>
> I figure I need a minimum of 8 tracks, probably preferably more like 16,
> but cost is a factor...
>
> Cheers,
> Kim.I wonder how much latency he is working with?? Talented sod....
"rick" <parnell68@hotmail.com> wrote in message
news:4nk8g11pgmtho8irhrptr72cceqvue4ack@4ax.com...
> thanks aaron for putting my balls into a lesser place: pride has
> replaced with disappointment.
>
> ;o(
>
> On Thu, 18 Aug 2005 03:13:12 -0500, "Aaron Allen"
> <nospam@not_here.dude> wrote:
>
>>..... so I threw it out on one of my servers for everyone to dig.
>>
>>http://smirk.bjenterprise.com/PianoBalls.wmv
>>
>>Enjoy,
>>AA
>>
>>
>>
> Kim wrote:
> > I'm thinking of picking up a Roland VS-880EX or something.
> > I need a minimum of 8 tracks, probably preferably more like 16,
> > but cost is a factor...
> >
> > Cheers,
> > Kim.
Kim, there's a little guy my friend has been using that he's very happy with; this is the FirePod
from PreSonus.
http://www.presonus.com/firepod.html
Kinda neat, and I can vouch for the fact that it sounds pretty nice. Not spectacular, but very nice.
It has built-in pre's and converters, and apparently they're working on a way to daisy chain them to
get 16 or more tracks at a time.
bcJohn <no@no.com> wrote:
>have you tried new ram ?
>
>
No. It's possible, I guess. This ram is only 2 years old and was minty-fresh
when I bought it, but maybe I'll try pulling one stick at a time and see
if that helps.
pabKim -
I recommend the Fostex VF-16(0). I have had one since they first came
out, and find it very useful for location recording. I am not up on
all the latest disk recorders, but at the time, I compared the Fostex
with all its competition, and it seemed to be the only unit that
allowed me to record many tracks, then extract them WITHOUT rendering
as a collection of WAV files. I use an external Zip drive, but you can
also hook up a CDR to dump data.
Most of the other units expected you to mix and master completely
within the unit then render a stereo pair as output. Otherwise, you
would have to send all your tracks in pairs to your PC and worry about
sync issues afterwards.
The VF16 I have allows me to record up to 24 tracks, in 8-track
submixes. The first 8 tracks are addressable via the I/O. The next 8
are via ADAT connection (giving you up to 16 simultaneous), and the
last 8 are a "parking lot" to store tracks. I found it easy to record
the first 8, then send them to the parking lot, then record the second
8, sending them to the ADAT channels, then record the last 8. In the
end, I have 24 tracks to transfer to the PC for mixing and whatnot.
I think these can be found on ebay pretty cheap.
- Paul Artola
Ellicott City, Maryland
>> "Kim" <hiddensounds@hotmail.com> wrote:
>>>
>>>
>>>I'm thinking of picking up a Roland VS-880EX or something.
>>>
>>>Surely by now though somebody has a simpler box. I mean lets face it, all
>>>the average user needs is a little box with a HDD and some A/D
>>>convertors...
>>> and something that allows to two to talk. Those roland boxes with built
>>>in mixers and the like, while they're great if you want all that, are
>>>really
>>>overkill for many, who like me, probably just want to turn audio in to wav
>>>files and worry about effects and mixing later on a computer DAW.
>>>
>>>I figure I need a minimum of 8 tracks, probably preferably more like 16,
>>>but cost is a factor...Some nice meters in this one and an intro price of $49.
http://www.elementalaudio.com/products/inspectorxl/index.htm l
Looks like a good deal.
Petehmm... let's do this - I may not be getting exactly where you are going with
the effects portion, but I believe anything should be possible given what we
have available to us these days.
Draw up a flow chart?
AA
"Kim" <hiddensounds@hotmail.com> wrote in message news:43044b94$1@linux...
>
> "Aaron Allen" <nospam@not_here.dude> wrote:
>>Yes, it is going to be a mess my friend. You might want to seriously look
> at
>>carrying a rack mounted monitor mixer...
>
> Thanks for the input.
>
> If I'm following your idea correctly I'm not sure how it will work.
>
> The thing with my planned setup is that it revolves around two Akai MB76
> programmable mix bays. Basically these are simple mixers with 7 ins and 6
> outs (or do I have it backwards?) and basically you can feed any input, in
> any amount, to any output bus, and have 32 patches preconfigured to do
> this
> in different ways. Your idea of the monitor mixer works well for most
> keyboard
> or multi-instrument players, but I'm trying to take live re-patching of
> effects
> loops to an extreme. A regular mixer is a static thing. I want to be able
> to switch any instrument into any effects loop in a split second with just
> my foot. I can't see how I can do that without these Akai units (or
> something
> similar) and struggling to work out how I could hook in a monitor mixer
> while
> still using them effectively... and even if I could do that, I'm
> struggling
> even more to work out how to do it while feeding recording devices.
>
> I'm pretty happy with my planned system as far as what I will feed to a PA
> goes, other than I'd like more busses for more stereo sounds, but I'll
> just
> need more Akai mix bays for that.
>
> I could be missing something, but I'm thinking due to the complex plans I
> have for live patching of things, that a monitor mixer wont be of much
> use.
>
> Am I missing something, or had I just not properly explained what I'm
> trying
> to do... ...not that I've explained it properly still... ;o)
>
> Cheers,
> Kim.Deej will have to have one of these, or he'll..........
AA
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote in message
news:4304b227$1@linux...
>
> Some nice meters in this one and an intro price of $49.
>
> http://www.elementalaudio.com/products/inspectorxl/index.htm l
>
> Looks like a good deal.
> PeteEK Sound <spamnot.info@eksoundNO.com> wrote:
>http://www.sweetwater.com/store/detail/MaxxBCL/
>
>David.
>
Thanksyeah, but what happens as aging makes things...smaller? do you go for
less keys or...i'm getting depressed...sigh...
On Thu, 18 Aug 2005 21:31:44 +1000, "Russ" <riverbed@iprimus.com.au>
wrote:
>I wonder how much latency he is working with?? Talented sod....
>"rick" <parnell68@hotmail.com> wrote in message
>news:4nk8g11pgmtho8irhrptr72cceqvue4ack@4ax.com...
>> thanks aaron for putting my balls into a lesser place: pride has
>> replaced with disappointment.
>>
>> ;o(
>>
>> On Thu, 18 Aug 2005 03:13:12 -0500, "Aaron Allen"
>> <nospam@not_here.dude> wrote:
>>
>>>..... so I threw it out on one of my servers for everyone to dig.
>>>
>>>http://smirk.bjenterprise.com/PianoBalls.wmv
>>>
>>>Enjoy,
>>>AA
>>>
>>>
>>
>I'm a total Paris hobbyist so I haven't dug into the depths that most of you
have.
I'm trying to get a handle on a few recording techniques and would like
people's opinions. What I am trying to decide is how much outboard gear and
what kind of plugins people like. I've got a decent microphone (AT4060) and
a couple of good preamps (Peavey VMP-2, Great River). I'd like some feedback
on recording the basic instruments and where people feel the software
doesn't do the trick.
Vocals - Are people content with Paris software and no external software or
hardware.
Acoustic Guitar - Are people content with Paris software and no external
software or hardware.
Bass - Does anyone record direct in with good results. If so how.
Electric Guitar - Does anyone record direct in with good results. If so how.
Drums - Do the Paris compressors do the trick.
I know this is wildly general and very hard to answer, but I'm trying to
draw the line as to where people feel the Paris falls greatly short and
where it is splitting hairs. Also, I'm guessing some of you have gotten
incredible results recording one or more of these instruments and it would
be nice to know what processors are involved.
Thanks as always. This group rocks.
BarrySecrets of the Morgue: Baghdad's Body Count
By Robert Fisk
The Independent UK
Wednesday 17 August 2005
Bodies of 1,100 civilians brought to mortuary in July. Pre-invasion, July
figure was typically less than 200. Last Sunday alone, the mortuary received
36 bodies. Up to 20 per cent of the bodies are never identified. Many of
the dead have been tortured or disfigured.
The Baghdad morgue is a fearful place of heat and stench and mourning,
the cries of relatives echoing down the narrow, foetid laneway behind the
pale-yellow brick medical centre where the authorities keep their computerized
records. So many corpses are being brought to the mortuary that human remains
are stacked on top of each other. Unidentified bodies must be buried within
days for lack of space - but the municipality is so overwhelmed by the number
of killings that it can no longer provide the vehicles and personnel to take
the remains to cemeteries.
July was the bloodiest month in Baghdad's modern history - in all, 1,100
bodies were brought to the city's mortuary; executed for the most part, eviscerated,
stabbed, bludgeoned, tortured to death. The figure is secret.
We are not supposed to know that the Iraqi capital's death toll last
month was only 700 short of the total American fatalities in Iraq since April
of 2003. Of the dead, 963 were men - many with their hands bound, their eyes
taped and bullets in their heads - and 137 women. The statistics are as shameful
as they are horrifying. For these are the men and women we supposedly came
to "liberate" - and about whose fate we do not care.
The figures for this month cannot, of course, yet be calculated. But
last Sunday, the mortuary received the bodies of 36 men and women, all killed
by violence. By 8am on Monday, nine more human remains had been received.
By midday, the figure had reached 25.
"I consider this a quiet day," one of the mortuary officials said to
me as we stood close to the dead. So in just 36 hours - from dawn on Sunday
to midday on Monday, 62 Baghdad civilians had been killed. No Western official,
no Iraqi government minister, no civil servant, no press release from the
authorities, no newspaper, mentioned this terrible statistic. The dead of
Iraq - as they have from the beginning of our illegal invasion - were simply
written out of the script. Officially they do not exist.
Thus there has been no disclosure of the fact that in July 2003 - three
months after the invasion - 700 corpses were brought to the mortuary in Baghdad.
In July of 2004, this rose to around 800. The mortuary records the violent
death toll for June of this year as 879 - 764 of them male, 115 female. Of
the men, 480 had been killed by firearms, along with 25 of the women. By
comparison, equivalent figures for July 1997, 1998 and 1999 were all below
200.
Between 10 and 20 per cent of all bodies are never identified - the medical
authorities have had to bury 500 of them since January of this year, unidentified
and unclaimed. In many cases, the remains have been shattered by explosions
- possibly by suicide bombers - or by deliberate disfigurement by their killers.
Mortuary officials have been appalled at the sadism visited on the victims.
"We have many who have obviously been tortured - mostly men," one said. "They
have terrible burn marks on hands and feet and other parts of their bodies.
Many have their hands fastened behind their backs with handcuffs and their
eyes have been bound with Sellotape. Then they have been shot in the head
- in the back of the head, the face, the eyes. These are executions."
While Saddam's regime visited death by official execution upon its opponents,
the scale of anarchy now existing in Baghdad, Mosul, Basra and other cities
is unprecedented. "The July figures are the largest ever recorded in the
history of the Baghdad Medical Institute," a senior member of the management
told The Independent.
It is clear that death squads are roaming the streets of a city which
is supposed to be under the control of the US military and the American-supported,
elected government of Ibrahim al-Jaafari. Never in recent history has such
anarchy been let loose on the civilians of this city - yet the Western and
Iraqi authorities show no interest in disclosing the details. The writing
of the new constitution - or the failure to complete it - now occupies the
time of Western diplomats and journalists. The dead, it seems, do not count.
But they should. Most are between 15 and 44 - the youth of Iraq - and,
if extrapolated across the country, Baghdad's 1,100 dead of last month must
bring Iraq's minimum monthly casualty toll in July alone to 3,000 - perhaps
4,000. Over a year, this must reach a minimum of 36,000, a figure which puts
the supposedly controversial statistic of 100,000 dead since the invasion
into a much more realistic perspective.
There is no way of distinguishing the reasons for these thousands of
violent deaths. Some men and women were shot at US checkpoints, others murdered,
no doubt, by insurgents or thieves. A few listed as killed by "blunt instruments"
might have been the dead of traffic accidents. Some of the women were probably
the victims of "honour" killings - because male relatives suspected them
of having illicit relations with the wrong man. Still others may have been
murdered as collaborators. Doctors have been told that bodies brought to
the mortuary by US forces should not be given post-mortem examinations (on
the odd ground that the Americans will have already performed this function).
So many civilians are dying that the morgue has had to rely on volunteers
from the holy city of Najaf to transport unidentified Shia Muslim dead to
the central city's large graveyard for burial, their plots donated by religious
institutions. "In some of the bodies, we find American bullets," a mortuary
attendant told me. "But these could be American bullets fired by Iraqis.
We don't know who's killing who - it's not our job to find out, but civilians
are killing each other.
"We had a body here the other day and the relatives said he had been
murdered because he had been a Baathist in the old regime. Then they said
that his brother had been killed three or four weeks back because he was
a member of the religious Shia Dawa party which was the enemy of Saddam.
But this is the real story - the killing of the people. I don't want to die
under a new constitution. I want security."
One of the problems in cataloguing the daily death toll is that the official
radio often declines to report explosions. On Monday, the thump of a bomb
in the Karada district was never officially explained. Only yesterday was
it discovered that a suicide bomber had walked into a popular café, the Emir,
and blown himself up, killing two policemen. Another explosion, officially
said to be caused by a mortar, turned out to be a mine set off beneath a
pile of watermelons as a US patrol was passing. A civilian died.
Again, there was no official account of these deaths. They were not recorded
by the government nor by the occupying armies nor, of course, by the Western
press. Like the bodies in the Baghdad city mortuar
|
|
|
|
| Re: Bomb attacks in London England [message #55840 is a reply to message #55830] |
Fri, 15 July 2005 11:12 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
ful in my bluegrass recording sessions
> >
> > ;oP
> >
> >LOL...
"EK Sound" <spamnot.info@eksoundNO.com> wrote in message
news:4304f6b4@linux...
> One word.... ICK!
>
> David.Man.....I KNOW we don't need any Behringer reviews around here.....
Jimmy
"EK Sound" <spamnot.info@eksoundNO.com> wrote in message
news:4304f6b4@linux...
> One word.... ICK!
>
> David.EK Sound <spamnot.info@eksoundNO.com> wrote:
>One word.... ICK!
>
>David.
Two words: Fire Extinguisher
LOLHi all,
Well, I just had to shut down a session because, frankly, I'm stumped. Everything was going
quite smoothly, and then POW! PARIS locked up and wouldn't respond. This happened just after hitting
STOP after a vocal take. What was funny about this was that the MEC's obviously lost sync, and just
sat there blinking as if I'd just turned the computer on, in their idling state. This happened
immediately upon PARIS locking up.
After restarting, I tried to start PARIS, and saw the MEC's being to go through their
initialization (on-screen the PARIS startup window said "Beginning Hardware Initialization" or a
reasonable facsimile thereof). They appeared to get sync (yellow lights turning solid), then dropped
out and went back to their idling behavior ( yellow clock lights blinking).
I then tried restarting, only to have the same thing happen again.
1. Unplugged and reinserted all SCSI cables going from the EDS cards to
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| Re: Anyone feel like we might have made some progress with the political thread? [message #55842 is a reply to message #55826] |
Fri, 15 July 2005 11:16 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
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e above starting with #3 occurred with the Aardvark master clock turned off.
> 8. Also tried booting up from a different hard drive and starting PARIS from there, with a
> completely different .cfg file, different PARIS on a different hard drive, different Default Project
> file, everything. This worked fine last time I used it, but no dice.
>
>
> So, what the hell? I got nothing here. I feel like I've tried everything.
>
>
> My setup was as follows:
>
> PowerMac 933, upgraded to 1.467 GHz (have been using this with no problem for a year). UAD-1 card
> installed, with:
>
> 3 EDS, 3 MEC
>
> MEC 1: 2 input cards, 2 output cards
> MEC 2: 2 ADAT cards, 2 output cards
> MEC 3: no cards
>
> Aardvark TimeSync II word clock generator.
> Lucid word clock distribution box.
> ZAOLLA word clock cables, all the same length, all coming from the Lucid.
>
>
>
> Like I said, I got nothin'. Any ideas? I need to get this project mixed and sent out for a
> film; it's only a few tracks and wouldn't take long if only I could actually get PARIS to start up
> and open the project.
>
> Crapulence.
>
>
>
> bc
> bcIn article <43053184$1@linux>, "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote:
> Try removing and reinstalling the Paris software. Make sure
> to purge all Paris items and extensions, and cold boot after
> removal and installation.
>
> David.
>
OK, sure-- why not? Thing is, I just did this a few weeks ago, with a clean hard drive,
zeroed out and ready to rock, and even a new, super-stripped-down (and I mean
ultra-mega-super-stripped-down) OS 9.2.2 installation.
So, this is a fresh installation, more or less. Though, of course, you never know. We had
storms the other day and my computer shut down during a power outage rather suddenly. And this is
obviously worth a try.
Thanks for the quick reply. I really hadn't thought of that-- you get a little frustrated,
and it's just that much harder to think clearly.
Oh, well-- we got the tracking done we needed; just a matter of editing and mixing if I can
get PARIS up and runnning...
I should really get a backup power supply...
bcIn article <43053184$1@linux>, "Dave(EK Sound)" <audioguy_nospam_@shaw.ca> wrote:
> Try removing and reinstalling the Paris software. Make sure
> to purge all Paris items and extensions, and cold boot after
> removal and installation.
>
> David.
>
Well, it was worth a try, but still no dice.
Thanks, though!
bcDo the software reinstall that Dave recommends. Almost the exact same thing
happened to me a couple of weeks ago. For some reason, when I added a device
to a second computer that was sharing the same clock with Paris, Paris would
lose sync and fil to boot. A Paris OS uninstall/reinstall solved the
problem.
Deej
"Brian Carter" <bricrter@skedaddlemindspring.com> wrote in message
news:bricrter-A2C593.20154318082005@adsl-23-222.swiftdsl.com.au...
> In article <43053184$1@linux>, "Dave(EK Sound)" <audioguy_nospam_@shaw.ca>
wrote:
>
> > Try removing and reinstalling the Paris sof
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| Re: Bomb attacks in London England [message #55897 is a reply to message #55836] |
Fri, 15 July 2005 15:53 |
erlilo
Messages: 405
Registered: June 2005
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Senior Member |
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---=_linux43058709--Just get a nice reverb and compressor like the Waves ones and start
tracking!
John
Sanbar wrote:
> I'm a total Paris hobbyist so I haven't dug into the depths that most of you
> have.
>
> I'm trying to get a handle on a few recording techniques and would like
> people's opinions. What I am trying to decide is how much outboard gear and
> what kind of plugins people like. I've got a decent microphone (AT4060) and
> a couple of good preamps (Peavey VMP-2, Great River). I'd like some feedback
> on recording the basic instruments and where people feel the software
> doesn't do the trick.
>
> Vocals - Are people content with Paris software and no external software or
> hardware.
>
> Acoustic Guitar - Are people content with Paris software and no external
> software or hardware.
>
> Bass - Does anyone record direct in with good results. If so how.
>
> Electric Guitar - Does anyone record direct in with good results. If so how.
>
> Drums - Do the Paris compressors do the trick.
>
> I know this is wildly general and very hard to answer, but I'm trying to
> draw the line as to where people feel the Paris falls greatly short and
> where it is splitting hairs. Also, I'm guessing some of you have gotten
> incredible results recording one or more of these instruments and it would
> be nice to know what processors are involved.
>
> Thanks as always. This group rocks.
>
> Barry
>
>Regarding Bass, get a direct box like the Behringer Vamp for bass or a
Sans amp. Bass going direct in is instrument level and won't work well
at all.
Sanbar wrote:
> I'm a total Paris hobbyist so I haven't dug into the depths that most of you
> have.
>
> I'm trying to get a handle on a few recording techniques and would like
> people's opinions. What I am trying to decide is how much outboard gear and
> what kind of plugins people like. I've got a decent microphone (AT4060) and
> a couple of good preamps (Peavey VMP-2, Great River). I'd like some feedback
> on recording the basic instruments and where people feel the software
> doesn't do the trick.
>
> Vocals - Are people content with Paris software and no external software or
> hardware.
>
> Acoustic Guitar - Are people content with Paris software and no external
> software or hardware.
>
> Bass - Does anyone record direct in with good results. If so how.
>
> Electric Guitar - Does anyone record direct in with good results. If so how.
>
> Drums - Do the Paris compressors do the trick.
>
> I know this is wildly general and very hard to answer, but I'm trying to
> draw the line as to where people feel the Paris falls greatly short and
> where it is splitting hairs. Also, I'm guessing some of you have gotten
> incredible results recording one or more of these instruments and it would
> be nice to know what processors are involved.
>
> Thanks as always. This group rocks.
>
> Barry
>
>looks trollish
whatever wrote:
> Secrets of the Morgue: Baghdad's Body Count
> By Robert Fisk
> The Independent UK
>
> Wednesday 17 August 2005
>
> Bodies of 1,100 civilians brought to mortuary in July. Pre-invasion, July
> figure was typically less than 200. Last Sunday alone, the mortuary received
> 36 bodies. Up to 20 per cent of the bodies are never identified. Many of
> the dead have been tortured or disfigured.
> The Baghdad morgue is a fearful place of heat and stench and mourning,
> the cries of relatives echoing down the narrow, foetid laneway behind the
> pale-yellow brick medical centre where the authorities keep their computerized
> records. So many corpses are being brought to the mortuary that human remains
> are stacked on top of each other. Unidentified bodies must be buried within
> days for lack of space - but the municipality is so overwhelmed by the number
> of killings that it can no longer provide the vehicles and personnel to take
> the remains to cemeteries.
>
> July was the bloodiest month in Baghda
|
|
|
|
| Re: Bomb attacks in London England [message #55899 is a reply to message #55840] |
Fri, 15 July 2005 16:35 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
Straw, supported an estimate
> from Iraq's ministry of health that 3,853 civilians were killed and 15,517
> injured between April and October. This gives an annual death rate of 7,700,
> a third of the IBC estimate.
>
>Paris is an OS ? hehe
DJ wrote:
> Do the software reinstall that Dave recommends. Almost the exact same thing
> happened to me a couple of weeks ago. For some reason, when I added a device
> to a second computer that was sharing the same clock with Paris, Paris would
> lose sync and fil to boot. A Paris OS uninstall/reinstall solved the
> problem.
>
> Deej
>
> "Brian Carter" <bricrter@skedaddlemindspring.com> wrote in message
> news:bricrter-A2C593.20154318082005@adsl-23-222.swiftdsl.com.au...
>
>>In article <43053184$1@linux>, "Dave(EK Sound)" <audioguy_nospam_@shaw.ca>
>
> wrote:
>
>>>Try removing and reinstalling the Paris software. Make sure
>>>to purge all Paris items and extensions, and cold boot after
>>>removal and installation.
>>>
>>>David.
>>>
>>
>> OK, sure-- why not? Thing is, I just did this a few weeks ago, with
>
> a clean hard drive,
>
>>zeroed out and ready to rock, and even a new, super-stripped-down (and I
>
> mean
>
>>ultra-mega-super-stripped-down) OS 9.2.2 installation.
>>
>> So, this is a fresh installation, more or less. Though, of course,
>
> you never know. We had
>
>>storms the other day and my computer shut down during a power outage
>
> rather suddenly. And this is
>
>>obviously worth a try.
>>
>> Thanks for the quick reply. I really hadn't thought of that-- you
>
> get a little frustrated,
>
>>and it's just that much harder to think clearly.
>>
>> Oh, well-- we got the tracking done we needed; just a matter of
>
> editing and mixing if I can
>
>>get PARIS up and runnning...
&
|
|
|
|
| Re: Bomb attacks in London England [message #55903 is a reply to message #55899] |
Fri, 15 July 2005 16:46 |
DC
Messages: 722
Registered: July 2005
|
Senior Member |
|
|
> db
>
> "db" <daniel_burneNOSPAM@yahoo.com> wrote:
>
>>Hi all,
>>
>>As promised I've put together a PPJ of collected Paris FX presets - unfortuantely
>>I can't attach it as it's too large (c.1.7Meg) - I'll happily e-mail it
>
> though
>
>>if you drop me an e-mail. I'll also send a copy to Mike Audet as he's got
>>some webspace for this purpose.
>>
>>Most of these have been compiled from other users or the newsgroup or the
>>FX preset updates. There are settings for the Comp, NoLimit, Plate and Room
>>Reverbs, Chorus, and Tap Delay.
>>
>>If anyone has any to add, let us all know. You might also want to contact
>>Mike Audet (mike@mikeFSPAM!audet.com) and myself, as Mike has some webspace
>>(www.mikeaudet.com/paris) set up for Paris FX Presets.
>>
>>Enjoy.
>>
>>Dan B / db
>
>no worries, i'll wait till Mike has them up
dan b wrote:
> P.S.S. (!)
> - Just to reiterate, I don't think there's anything/much new here, but it
> should be a useful compilation.
> - The actual file size is nearer 2.4 meg.
> - John- I'm not having any joy replying to your e-mail address.
> - Mike Audet is posting it up on his webspace fairly soon.
>
> Best wishes,
>
> db
>
> "db" <daniel_burneNOSPAM@yahoo.com> wrote:
>
>>
>>p.s.
>>Note that: The TubeWarmer comp preset is just the active gain element. The
>>PCM 60 reverb preset requires the BarbQ or FreakQ plug-in as well (search
>>the newsgroup). The UAD 1172LN vocal preset requires about 14db of gain
>
> reduction.
>
>>
>>Cheers,
>>
>>db
>>
>>"db" <daniel_burneNOSPAM@yahoo.com> wrote:
>>
>>>Hi all,
>>>
>>>As promised I've put together a PPJ of collected Paris FX presets - unfortuantely
>>>I can't attach it as it's too large (c.1.7Meg) - I'll happily e-mail it
>>
>>though
>>
>>>if you drop me an e-mail. I'll also send a copy to Mike Audet as he's got
>>>some webspace for this purpose.
>>>
>>>Most of these have been compiled from other users or the newsgroup or the
>>>FX preset updates. There are settings for the Comp, NoLimit, Plate and
>
> Room
>
>>>Reverbs, Chorus, and Tap Delay.
>>>
>>>If anyone has any to add, let us all know. You might also want to contact
>>>Mike Audet (
|
|
|
|
| Re: Bomb attacks in London England [message #55908 is a reply to message #55897] |
Fri, 15 July 2005 17:27 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
om
"Jeff hoover" <jkhoover@excite.com> wrote in message =
news:43064284@linux...
Brandon,
On the inserts for your first submix (usually Submix A)there should be =
a=20
left and right i/o. Route those from and to your interface (442,MEC,=20
etc.) and that will function as your external effects loop. Not in=20
front of my system at present, but I believe the L & R only exist on =
the=20
inserts of the first submix .
JH
brandon wrote:
> Forgive my ignorance, but I have never attempted this.
> I see on the Inserts on the Global Master there is an EXTERNAL
> option. Yet when I look in the Patch Bay I see no L&R on the INSERT
> BLOCK.
> How is a loop formed with an external FX on the Global Master?
>=20
>=20
>=20
> Thanks
------=_NextPart_000_00C5_01C5A4DF.83EBFB30
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>JH,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>They exist on others but don't do squat =
as far as I=20
can tell.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Wouldn't have been great to =
insert effects=20
across the submixes</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>this way?!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Jeff hoover" <<A=20
href=3D"mailto:jkhoover@excite.com">jkhoover@excite.com</A>> wrote =
in message=20
<A=20
=
href=3D"news:43064284@linux">news:43064284@linux</A>...</DIV>Brandon,<BR>=
<BR>On=20
the inserts for your first submix (usually Submix A)there should be a =
<BR>left=20
and right i/o. Route those from and to your interface (442,MEC,=20
<BR>etc.) and that will function as your external effects loop. =
Not in=20
<BR>front of my system at present, but I believe the L & R only =
exist on=20
the <BR>inserts of the first submix .<BR><BR>JH<BR><BR>brandon =
wrote:<BR>>=20
Forgive my ignorance, but I have never attempted this.<BR>> I see =
on the=20
Inserts on the Global Master there is an EXTERNAL<BR>> option. Yet =
when I=20
look in the Patch Bay I see no L&R on the INSERT<BR>> =
BLOCK.<BR>>=20
How is a loop formed with an external FX on the Global Master?<BR>> =
<BR>> <BR>> <BR>> Thanks</BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_00C5_01C5A4DF.83EBFB30--This is a multi-part message in MIME format.
------=_NextPart_000_0016_01C5A4DD.00B92AF0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Thanks I can't believe I missed that..
"Tom Bruhl" <arpegio@comcast.net> wrote in message =
news:43064899@linux...
JH,
They exist on others but don't do squat as far as I can tell.
Wouldn't have been great to insert effects across the submixes
this way?!!!
Tom
"Jeff hoover" <jkhoover@excite.com> wrote in message =
news:43064284@linux...
Brandon,
On the inserts for your first submix (usually Submix A)there should =
be a=20
left and right i/o. Route those from and to your interface =
(442,MEC,=20
etc.) and that will function as your external effects loop. Not in=20
front of my system at present, but I believe the L & R only exist on =
the=20
inserts of the first submix .
JH
brandon wrote:
> Forgive my ignorance, but I have never attempted this.
> I see on the Inserts on the Global Master there is an EXTERNAL
> option. Yet when I look in the Patch Bay I see no L&R on the =
INSERT
> BLOCK.
> How is a loop formed with an external FX on the Global Master?
>=20
>=20
>=20
> Thanks
------=_NextPart_000_0016_01C5A4DD.00B92AF0
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 6.00.2900.2722" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Thanks I can't believe I missed =
that..</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Tom Bruhl" <<A=20
href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
in message=20
<A href=3D"news:43064899@linux">news:43064899@linux</A>...</DIV>
<DIV><FONT face=3DArial size=3D2>JH,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>They exist on others but don't do =
squat as far as=20
I can tell.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Wouldn't have been great to =
insert effects=20
across the submixes</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>this way?!!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Jeff hoover" <<A=20
href=3D"mailto:jkhoover@excite.com">jkhoover@excite.com</A>> =
wrote in=20
message <A=20
=
href=3D"news:43064284@linux">news:43064284@linux</A>...</DIV>Brandon,<BR>=
<BR>On=20
the inserts for your first submix (usually Submix A)there should be =
a=20
<BR>left and right i/o. Route those from and to your interface =
(442,MEC, <BR>etc.) and that will function as your external effects=20
loop. Not in <BR>front of my system at present, but I believe =
the L=20
& R only exist on the <BR>inserts of the first submix=20
.<BR><BR>JH<BR><BR>brandon wrote:<BR>> Forgive my ignorance, but =
I have=20
never attempted this.<BR>> I see on the Inserts on the Global =
Master=20
there is an EXTERNAL<BR>> option. Yet when I look in the Patch =
Bay I see=20
no L&R on the INSERT<BR>> BLOCK.<BR>> How is a loop formed =
with an=20
external FX on the Global Master?<BR>> <BR>> <BR>> <BR>> =
Thanks</BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_0016_01C5A4DD.00B92AF0--I needed to do some acoustic guitar tracks for a client, and
I'm currently set up for a small choir and didn't feel like
tearing the the setup apart, so I decided to use the mic pre's
in my Mackie 1402 (using the insert outs, of course, so as
to bypass extraneous circuitry). I set my trusty old AKG
451's up in an X-Y configuration and moved my '79 Martin
M-38 around bit using headphones (Fostex T-20's) to find
the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
guitar pick and spent about two hours trying out parts until
I thought I had a couple of good tracks...
And I was amazed at the sound of my guitar! It's a great
sounding box, and the Wegen picks, believe it or not, make
a big difference in the sound, but the surprise was the fact
that I used the Mackie! I have a Presonus M-80, which I
mostly use for drums, a Demeter VTMP-2a, a Sytek and an
RNP. Maybe one of them would have sounded even better,
but for those of you who can't afford "designer" mic pre's
I have to say this: If you put a great sounding instrument
in front of a great sounding mic and plug it into a Mackie
it'll probably sound great.
Just thought I'd put that out there...
GanttAbsolutely. Probably the main feature I would like to see in 4.0 for my
purposes.
;-P
JH
Tom Bruhl wrote:
> JH,
> They exist on others but don't do squat as far as I can tell.
> Wouldn't have been great to insert effects across the submixes
> this way?!!!
> Tom
>
> "Jeff hoover" <jkhoover@excite.com <mailto:jkhoover@excite.com>>
> wrote in message news:43064284@linux...
> Brandon,
>
> On the inserts for your first submix (usually Submix A)there should
> be a
> left and right i/o. Route those from and to your interface (442,MEC,
> etc.) and that will function as your external effects loop. Not in
> front of my system at present, but I believe the L & R only exist on
> the
> inserts of the first submix .
>
> JH
>
> brandon wrote:
> > Forgive my ignorance, but I have never attempted this.
> > I see on the Inserts on the Global Master there is an EXTERNAL
> > option. Yet when I look in the Patch Bay I see no L&R on the INSERT
> > BLOCK.
> > How is a loop formed with an external FX on the Global Master?
> >
> >
> >
> > Thanks> yeah, but what happens as aging makes things...smaller? do you go for
> less keys or...i'm getting depressed...sigh...
All ye Ballie Oxen free
El Miguel
"rick" <parnell68@hotmail.com> wrote in message
news:94m9g1hesnso4httjt6ppmgdbssrcivfkk@4ax.com...
> yeah, but what happens as aging makes things...smaller? do you go for
> less keys or...i'm getting depressed...sigh...
>
> On Thu, 18 Aug 2005 21:31:44 +1000, "Russ" <riverbed@iprimus.com.au>
> wrote:
>
> >I wonder how much latency he is working with?? Talented sod....
> >"rick" <parnell68@hotmail.com> wrote in message
> >news:4nk8g11pgmtho8irhrptr72cceqvue4ack@4ax.com...
> >> thanks aaron for putting my balls into a lesser place: pride has
> >> replaced with disappointment.
> >>
> >> ;o(
> >>
> >> On Thu, 18 Aug 2005 03:13:12 -0500, "Aaron Allen"
> >> <nospam@not_here.dude> wrote:
> >>
> >>>..... so I threw it out on one of my servers for everyone to dig.
> >>>
> >>>http://smirk.bjenterprise.com/PianoBalls.wmv
> >>>
> >>>Enjoy,
> >>>AA
> >>>
> >>>
> >>
> >
>Ummmmm, I mean absolutely no offense, but one's mileage may vary here. We
found the Mackie preamps to be a notch better than bad, and the RNP just a
few notches better.
Just sayin',
Jimmy
"Gantt Kushner" <gizmo@his.com> wrote in message
news:43065B94.5080F000@his.com...
> I needed to do some acoustic guitar tracks for a client, and
> I'm currently set up for a small choir and didn't feel like
> tearing the the setup apart, so I decided to use the mic pre's
> in my Mackie 1402 (using the insert outs, of course, so as
> to bypass extraneous circuitry). I set my trusty old AKG
> 451's up in an X-Y configuration and moved my '79 Martin
> M-38 around bit using headphones (Fostex T-20's) to find
> the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
> guitar pick and spent about two hours trying out parts until
> I thought I had a couple of good tracks...
>
> And I was amazed at the sound of my guitar! It's a great
> sounding box, and the Wegen picks, believe it or not, make
> a big difference in the sound, but the surprise was the fact
> that I used the Mackie! I have a Presonus M-80, which I
> mostly use for drums, a Demeter VTMP-2a, a Sytek and an
> RNP. Maybe one of them would have sounded even better,
> but for those of you who can't afford "designer" mic pre's
> I have to say this: If you put a great sounding instrument
> in front of a great sounding mic and plug it into a Mackie
> it'll probably sound great.
>
> Just thought I'd put that out there...
>
> Gantt
>The mackies serve their purpose... colorless, no real character, certainly
not bad.
"uptown jimmy" <johnson314@bellsouth.net> wrote in message
news:4306705a@linux...
> Ummmmm, I mean absolutely no offense, but one's mileage may vary here. We
> found the Mackie preamps to be a notch better than bad, and the RNP just a
> few notches better.
>
> Just sayin',
> Jimmy
>
>
> "Gantt Kushner" <gizmo@his.com> wrote in message
> news:43065B94.5080F000@his.com...
>> I needed to do some acoustic guitar tracks for a client, and
>> I'm currently set up for a small choir and didn't feel like
>> tearing the the setup apart, so I decided to use the mic pre's
>> in my Mackie 1402 (using the insert outs, of course, so as
>> to bypass extraneous circuitry). I set my trusty old AKG
>> 451's up in an X-Y configuration and moved my '79 Martin
>> M-38 around bit using headphones (Fostex T-20's) to find
>> the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
>> guitar pick and spent about two hours trying out parts until
>> I thought I had a couple of good tracks...
>>
>> And I was amazed at the sound of my guitar! It's a great
>> sounding box, and the Wegen picks, believe it or not, make
>> a big difference in the sound, but the surprise was the fact
>> that I used the Mackie! I have a Presonus M-80, which I
>> mostly use for drums, a Demeter VTMP-2a, a Sytek and an
>> RNP. Maybe one of them would have sounded even better,
>> but for those of you who can't afford "designer" mic pre's
>> I have to say this: If you put a great sounding instrument
>> in front of a great sounding mic and plug it into a Mackie
>> it'll probably sound great.
>>
>> Just thought I'd put that out there...
>>
>> Gantt
>>
>
>"Aaron Allen" <nospam@not_here.dude> wrote:
>..... so I threw it out on one of my servers for everyone to dig.
>
>http://smirk.bjenterprise.com/PianoBalls.wmv
>
>Enjoy,
>AA
>
And now the June Taylor Dancers.....This is a multi-part message in MIME format.
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Bad is a Tascam M320.
"justcron" <justcron@hydrorecords.compound> wrote in message =
news:43067393@linux...
The mackies serve their purpose... colorless, no real character, =
certainly=20
not bad.
"uptown jimmy" <johnson314@bellsouth.net> wrote in message=20
news:4306705a@linux...
> Ummmmm, I mean absolutely no offense, but one's mileage may vary =
here. We
> found the Mackie preamps to be a notch better than bad, and the RNP =
just a
> few notches better.
>
> Just sayin',
> Jimmy
>
>
> "Gantt Kushner" <gizmo@his.com> wrote in message
> news:43065B94.5080F000@his.com...
>> I needed to do some acoustic guitar tracks for a client, and
>> I'm currently set up for a small choir and didn't feel like
>> tearing the the setup apart, so I decided to use the mic pre's
>> in my Mackie 1402 (using the insert outs, of course, so as
>> to bypass extraneous circuitry). I set my trusty old AKG
>> 451's up in an X-Y configuration and moved my '79 Martin
>> M-38 around bit using headphones (Fostex T-20's) to find
>> the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
>> guitar pick and spent about two hours trying out parts until
>> I thought I had a couple of good tracks...
>>
>> And I was amazed at the sound of my guitar! It's a great
>> sounding box, and the Wegen picks, believe it or not, make
>> a big difference in the sound, but the surprise was the fact
>> that I used the Mackie! I have a Presonus M-80, which I
>> mostly use for drums, a Demeter VTMP-2a, a Sytek and an
>> RNP. Maybe one of them would have sounded even better,
>> but for those of you who can't afford "designer" mic pre's
>> I have to say this: If you put a great sounding instrument
>> in front of a great sounding mic and plug it into a Mackie
>> it'll probably sound great.
>>
>> Just thought I'd put that out there...
>>
>> Gantt
>>
>
>=20
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Bad is a Tascam M320.</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"justcron" <<A=20
=
href=3D"mailto:justcron@hydrorecords.compound">justcron@hydrorecords.comp=
ound</A>>=20
wrote in message <A=20
href=3D"news:43067393@linux">news:43067393@linux</A>...</DIV>The =
mackies serve=20
their purpose... colorless, no real character, certainly <BR>not=20
bad.<BR><BR>"uptown jimmy" <<A=20
=
href=3D"mailto:johnson314@bellsouth.net">johnson314@bellsouth.net</A>>=
wrote=20
in message <BR><A=20
href=3D"news:4306705a@linux">news:4306705a@linux</A>...<BR>> =
Ummmmm, I mean=20
absolutely no offense, but one's mileage may vary here. We<BR>> =
found the=20
Mackie preamps to be a notch better than bad, and the RNP just =
a<BR>> few=20
notches better.<BR>><BR>> Just sayin',<BR>>=20
Jimmy<BR>><BR>><BR>> "Gantt Kushner" <<A=20
href=3D"mailto:gizmo@his.com">gizmo@his.com</A>> wrote in =
message<BR>> <A=20
=
href=3D"news:43065B94.5080F000@his.com">news:43065B94.5080F000@his.com</A=
>...<BR>>>=20
I needed to do some acoustic guitar tracks for a client, =
and<BR>>> I'm=20
currently set up for a small choir and didn't feel like<BR>>> =
tearing=20
the the setup apart, so I decided to use the mic pre's<BR>>> in =
my=20
Mackie 1402 (using the insert outs, of course, so as<BR>>> to =
bypass=20
extraneous circuitry). I set my trusty old AKG<BR>>> 451's =
up in=20
an X-Y configuration and moved my '79 Martin<BR>>> M-38 around =
bit using=20
headphones (Fostex T-20's) to find<BR>>> the sweet spot. I =
grabbed=20
my new Wegen ($15.00 apiece!)<BR>>> guitar pick and spent about =
two=20
hours trying out parts until<BR>>> I thought I had a couple of =
good=20
tracks...<BR>>><BR>>> And I was amazed at the sound of my=20
guitar! It's a great<BR>>> sounding box, and the Wegen =
picks,=20
believe it or not, make<BR>>> a big difference in the sound, but =
the=20
surprise was the fact<BR>>> that I used the Mackie! I have =
a=20
Presonus M-80, which I<BR>>> mostly use for drums, a Demeter =
VTMP-2a, a=20
Sytek and an<BR>>> RNP. Maybe one of them would have =
sounded even=20
better,<BR>>> but for those of you who can't afford "designer" =
mic=20
pre's<BR>>> I have to say this: If you put a great =
sounding=20
instrument<BR>>> in front of a great sounding mic and plug it =
into a=20
Mackie<BR>>> it'll probably sound great.<BR>>><BR>>> =
Just=20
thought I'd put that out there...<BR>>><BR>>>=20
Gantt<BR>>><BR>><BR>> <BR><BR></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_005A_01C5A50F.178F58D0--Scaning the manual but not finding anything about it.
ThanksHi,
I'd like to check these out please.
animix@animas.net
Thanx,
Deej
"db" <daniel_burneNOSPAM@yahoo.com> wrote in message
news:4305f81e$1@linux...
>
> Hi all,
>
> As promised I've put together a PPJ of collected Paris FX presets -
unfortuantely
> I can't attach it as it's too large (c.1.7Meg) - I'll happily e-mail it
though
> if you drop me an e-mail. I'll also send a copy to Mike Audet as he's got
> some webspace for this purpose.
>
> Most of these have been compiled from other users or the newsgroup or the
> FX preset updates. There are settings for the Comp, NoLimit, Plate and
Room
> Reverbs, Chorus, and Tap Delay.
>
> If anyone has any to add, let us all know. You might also want to contact
> Mike Audet (mike@mikeFSPAM!audet.com) and myself, as Mike has some
webspace
> (www.mikeaudet.com/paris) set up for Paris FX Presets.
>
> Enjoy.
>
> Dan B / dbHi all Smtpe Time Code Module users,
So far I never paid attention to the video world,.. sitting&watching onestly
tends to bore me, or maybe makes me feel like wasting the supposedly
precious time of life...(what a philosophist, today!)
seriously, could you equally precious guys tell me about :
1) some random examples of how to make extra money out of a SMPTE module
for MEC (these days); today I've just provided a small service to a man
involved with teatre who came with his vhs tape...(the session ended up with
smashing glasses, as Hollywood's foley's pros...
2) the italian distributor once told me that the Smpte module was sort of a
"black sheep" amongst the Ensoniq production, born out with never fixed
limitations...
Reeegardseww...
On Fri, 19 Aug 2005 17:33:34 -0600, "Miguel Vigil" <nospam@nospam.com>
wrote:
>> yeah, but what happens as aging makes things...smaller? do you go for
>> less keys or...i'm getting depressed...sigh...
>
>
>
>All ye Ballie Oxen free
>
>
>El Miguel
>
>
>
>"rick" <parnell68@hotmail.com> wrote in message
>news:94m9g1hesnso4httjt6ppmgdbssrcivfkk@4ax.com...
>> yeah, but what happens as aging makes things...smaller? do you go for
>> less keys or...i'm getting depressed...sigh...
>>
>> On Thu, 18 Aug 2005 21:31:44 +1000, "Russ" <riverbed@iprimus.com.au>
>> wrote:
>>
>> >I wonder how much latency he is working with?? Talented sod....
>> >"rick" <parnell68@hotmail.com> wrote in message
>> >news:4nk8g11pgmtho8irhrptr72cceqvue4ack@4ax.com...
>> >> thanks aaron for putting my balls into a lesser place: pride has
>> >> replaced with disappointment.
>> >>
>> >> ;o(
>> >>
>> >> On Thu, 18 Aug 2005 03:13:12 -0500, "Aaron Allen"
>> >> <nospam@not_here.dude> wrote:
>> >>
>> >>>..... so I threw it out on one of my servers for everyone to dig.
>> >>>
>> >>>http://smirk.bjenterprise.com/PianoBalls.wmv
>> >>>
>> >>>Enjoy,
>> >>>AA
>> >>>
>> >>>
>> >>
>> >
>>
>working thanks.
On Fri, 19 Aug 2005 14:43:23 -0400, John <no@no.com> wrote:
>try this please
>
>http://people.musc.edu/~bercikj/all_presets.ppjI've posted them at www.mikeaudet.com/paris. If anyone has any other presets
to contribute, just send me an email, and I'll get it done.
All the best,
Mike
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Hi,
>
>I'd like to check these out please.
>
>animix@animas.net
>
>Thanx,
>
>Deej
>
>"db" <daniel_burneNOSPAM@yahoo.com> wrote in message
>news:4305f81e$1@linux...
>>
>> Hi all,
>>
>> As promised I've put together a PPJ of collected Paris FX presets -
>unfortuantely
>> I can't attach it as it's too large (c.1.7Meg) - I'll happily e-mail it
>though
>> if you drop me an e-mail. I'll also send a copy to Mike Audet as he's
got
>> some webspace for this purpose.
>>
>> Most of these have been compiled from other users or the newsgroup or
the
>> FX preset updates. There are settings for the Comp, NoLimit, Plate and
>Room
>> Reverbs, Chorus, and Tap Delay.
>>
>> If anyone has any to add, let us all know. You might also want to contact
>> Mike Audet (mike@mikeFSPAM!audet.com) and myself, as Mike has some
>webspace
>> (www.mikeaudet.com/paris) set up for Paris FX Presets.
>>
>> Enjoy.
>>
>> Dan B / db
>
>My mileage has, indeed, varied. I'd never use the Mackie on piano
for classical or jazz, although for certain pop or rock things it's just
about right.
The reason I posted was because I was pleasamtly surprised...
Gantt
uptown jimmy wrote:
> Ummmmm, I mean absolutely no offense, but one's mileage may vary here. We
> found the Mackie preamps to be a notch better than bad, and the RNP just a
> few notches better.
>
> Just sayin',
> Jimmy
>
> "Gantt Kushner" <gizmo@his.com> wrote in message
> news:43065B94.5080F000@his.com...
> > I needed to do some acoustic guitar tracks for a client, and
> > I'm currently set up for a small choir and didn't feel like
> > tearing the the setup apart, so I decided to use the mic pre's
> > in my Mackie 1402 (using the insert outs, of course, so as
> > to bypass extraneous circuitry). I set my trusty old AKG
> > 451's up in an X-Y configuration and moved my '79 Martin
> > M-38 around bit using headphones (Fostex T-20's) to find
> > the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
> > guitar pick and spent about two hours trying out parts until
> > I thought I had a couple of good tracks...
> >
> > And I was amazed at the sound of my guitar! It's a great
> > sounding box, and the Wegen picks, believe it or not, make
> > a big difference in the sound, but the surprise was the fact
> > that I used the Mackie! I have a Presonus M-80, which I
> > mostly use for drums, a Demeter VTMP-2a, a Sytek and an
> > RNP. Maybe one of them would have sounded even better,
> > but for those of you who can't afford "designer" mic pre's
> > I have to say this: If you put a great sounding instrument
> > in front of a great sounding mic and plug it into a Mackie
> > it'll probably sound great.
> >
> > Just thought I'd put that out there...
> >
> > Gantt
> >I've got a 1402 here........and a GR MP2-MH. Both of them are useful. The
Mackie pre's actually work better with some mics/sources than the
GR.......especially for mics with bright characteristics that I want to tame
without adding the color of a tube preamp. I've got a Rode NTV here that
really gets that Beatle'sy U47 into a V72 kinda' sound from a vocalist when
using it with a Mackie preamp.
Go figure.
Deej
"uptown jimmy" <johnson314@bellsouth.net> wrote in message
news:4306705a@linux...
> Ummmmm, I mean absolutely no offense, but one's mileage may vary here. We
> found the Mackie preamps to be a notch better than bad, and the RNP just a
> few notches better.
>
> Just sayin',
> Jimmy
>
>
> "Gantt Kushner" <gizmo@his.com> wrote in message
> news:43065B94.5080F000@his.com...
> > I needed to do some acoustic guitar tracks for a client, and
> > I'm currently set up for a small choir and didn't feel like
> > tearing the the setup apart, so I decided to use the mic pre's
> > in my Mackie 1402 (using the insert outs, of course, so as
> > to bypass extraneous circuitry). I set my trusty old AKG
> > 451's up in an X-Y configuration and moved my '79 Martin
> > M-38 around bit using headphones (Fostex T-20's) to find
> > the sweet spot. I grabbed my new Wegen ($15.00 apiece!)
> > guitar pick and spent about two hours trying out parts until
> > I thought I had a couple of good tracks...
> >
> > And I was amazed at the sound of my guitar! It's a great
> > sounding box, and the Wegen picks, believe it or not, make
> > a big difference in the sound, but the surprise was the fact
> > that I used the Mackie! I have a Presonus M-80, which I
> > mostly use for drums, a Demeter VTMP-2a, a Sytek and an
> > RNP. Maybe one of them would have sounded even better,
> > but for those of you who can't afford "designer" mic pre's
> > I have to say this: If you put a great sounding instrument
> > in front of a great sounding mic and plug it into a Mackie
> > it'll probably sound great.
> >
> > Just thought I'd put that out there...
> >
> > Gantt
> >
>
>...........another thing I've noticed about the Mackie VLZ Pro preamps is
that they've got much less clean output capabilities at the top of their
range but more input headroom than some other much more expensive preamps so
using them with high output mics gets some very good results.
I've been thinking about getting one of those old TL Audio tube front ends
that they used to make for DAWs and strapping it across the insert outs of
my 1402 to give it a bit of personality. these come up on EBay from time to
time and might dress up a Mackie nicely is that's what's needed. These
devices can also be used as 1:1 balancing transformers for things like
RNC's, etc.
Plus.........they don't make them any more so one of these would feel right
at home here at the studio of the living dead.<
|
|
|
|
|
|
| Re: Bomb attacks in London England [message #55991 is a reply to message #55809] |
Sun, 17 July 2005 17:24 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
; >I also don't think it's really worth a lot of hassle trying to convince
> >others that they should think as I do.
> >
> >However, now I think I've found another piece of the puzzle.
> >
> >http://www.venganza.org/
> >
> >.........and I have been convinced for quite a while that the dwindling
> >number pirates has had a direct bearing on something or another. It's
nice
> >that this has finally been definitively pinned down.
> >
> >It's all starting to make some sense now. Thanks goodness for the
internet.
> >
> >
> >
> >
> >
> >
> >
>I think global greed is killing the pirates. Hard to be a pirate when
you've become socially acceptable - even fashionable. ;-)
Remember the code! Okay, it's more a guideline.
On 8/28/05 8:04 PM, in article 43126c99@linux, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
> Global warming is probably killing the pirates and we need to do something
> about this.
>
> "Kim" <hiddensounds@hotmail.com> wrote in message news:43125a35$1@linux...
>>
>>
>> LOL! Now THAT's funny. The pirates bit is espeically good. :o)
>>
>> Cheers,
>> Kim.
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>> Though I have personally never had a problem with reconciling the theory
>> of
>>> evolution with the idea that there is a creative universal
> force/diety/God,
>>> I also don't think it's really worth a lot of hassle trying to convince
>>> others that they should think as I do.
>>>
>>> However, now I think I've found another piece of the puzzle.
>>>
>>> http://www.venganza.org/
>>>
>>> .........and I have been convinced for quite a while that the dwindling
>>> number pirates has had a direct bearing on something or another. It's
> nice
>>> that this has finally been definitively pinned down.
>>>
>>> It's all starting to make some sense now. Thanks goodness for the
> internet.
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>
>
>I just found out that the first CD project I ever did for a client back in
1998 (Big Thick Wooden Board by Owen Egerton) has actually had one song on
the soundtrack of a movie (a song called Fraternity Life on the movie Going
Greek), another of the songs (which I co-produced and played lead guitar and
bass) is being considered for a VH-1 production and also, the album also got
some play on Dr. Demento a while back.
The reason I say OMG is because ..........errrr.......well......I've done
better work since then, but it wasn't something I'm ashmed of either and
hey, I'm really happy for the artist as this was a comedy album and the
songs really are entertaining. It's one of those things where the songs
themselves certainly overshadowed the skills of the engineer.
It was a fun project and I learned quite a bit while doing it.
;o)Hmmmmm..........dang!!!! you're right!!! the pirates are killing the
pirates!!!!!!!!!!
Arrrrgggghhhhh matey!!!!!
(now where's my rubber parrot?)
"DTerry" <dterry@no_spamkeyofd.net> wrote in message
news:BF37F60F.3EAE%dterry@no_spamkeyofd.net...
> I think global greed is killing the pirates. Hard to be a pirate when
> you've become socially acceptable - even fashionable. ;-)
>
> Remember the code! Okay, it's more a guideline.
>
> On 8/28/05 8:04 PM, in article 43126c99@linux, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> > Global warming is probably killing the pirates and we need to do
something
> > about this.
> >
> > "Kim" <hiddensounds@hotmail.com> wrote in message
news:43125a35$1@linux...
> >>
> >>
> >> LOL! Now THAT's funny. The pirates bit is espeically good. :o)
> >>
> >> Cheers,
> >> Kim.
> >>
> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >>> Though I have personally never had a problem with reconciling the
theory
> >> of
> >>> evolution with the idea that there is a creative universal
> > force/diety/God,
> >>> I also don't think it's really worth a lot of hassle trying to
convince
> >>> others that they should think as I do.
> >>>
> >>> However, now I think I've found another piece of the puzzle.
> >>>
> >>> http://www.venganza.org/
> >>>
> >>> .........and I have been convinced for quite a while that the
dwindling
> >>> number pirates has had a direct bearing on something or another. It's
> > nice
> >>> that this has finally been definitively pinned down.
> >>>
> >>> It's all starting to make some sense now. Thanks goodness for the
> > internet.
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>
> >
> >
>Choice, good on ya. enjoy the glory ;O)
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:43129a8d$1@linux...
>I just found out that the first CD project I ever did for a client back in
> 1998 (Big Thick Wooden Board by Owen Egerton) has actually had one song on
> the soundtrack of a movie (a song called Fraternity Life on the movie
> Going
> Greek), another of the songs (which I co-produced and played lead guitar
> and
> bass) is being considered for a VH-1 production and also, the album also
> got
> some play on Dr. Demento a while back.
>
> The reason I say OMG is because ..........errrr.......well......I've done
> better work since then, but it wasn't something I'm ashmed of either and
> hey, I'm really happy for the artist as this was a comedy album and the
> songs really are entertaining. It's one of those things where the songs
> themselves certainly overshadowed the skills of the engineer.
>
> It was a fun project and I learned quite a bit while doing it.
>
> ;o)
>
>Hehehe.......I actually found a link to some song clips. Lots of the
instrumentation had been composed on a Yamaha keyboard with a mono line out.
I copied it to a couple of tracks and went to work with EQ as much as I knew
how to do back then. We dubbed vocals, some percussion and electric/acoustic
guitars and bass.
http://music.msn.com/album/default.aspx?album=39173714&a ffid=100003&stab=1
I'd have to dig up my notes, but I think anywhere you hear an electric bass
and/or an electric or acoustic guitar on these, it's gonna be me scrambling
around trying to learn how to play the songs since his guitarist
disappeared..
I remember on the bonus track, he got the idea for this just as we were
getting ready to wrap the project so he wrote the lyrics while I wrote the
music, we layed down the tracks and it was done in about 30 minutes. On the
way home before starting the session I had been listening to the radio and a
certain song by Kansas was playing when I was pulling into the garage and
had lodged itself in my brain.
Can you tell which one? Anyway, it was a fun time for a newbie who had nary
a clue what he was doing at the time.
;o)
"Russ" <riverbed@iprimus.com.au> wrote in message news:4312a20e@linux...
> Choice, good on ya. enjoy the glory ;O)
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:43129a8d$1@linux...
> >I just found out that the first CD project I ever did for a client back
in
> > 1998 (Big Thick Wooden Board by Owen Egerton) has actually had one song
on
> > the soundtrack of a movie (a song called Fraternity Life on the movie
> > Going
> > Greek), another of the songs (which I co-produced and played lead guitar
> > and
> > bass) is being considered for a VH-1 production and also, the album also
> > got
> > some play on Dr. Demento a while back.
> >
> > The reason I say OMG is because ..........errrr.......well......I've
done
> > better work since then, but it wasn't something I'm ashmed of either and
> > hey, I'm really happy for the artist as this was a comedy album and the
> > songs really are entertaining. It's one of those things where the songs
> > themselves certainly overshadowed the skills of the engineer.
> >
> > It was a fun project and I learned quite a bit while doing it.
> >
> > ;o)
> >
> >
>
>At $2250-US per channel, I won't be buying anytime soon. Still curious
though how the sys sounds. Guess I'll wait to hear Hyatt's new disc.
Dubya
"rick" <parnell68@hotmail.com> wrote in message
news:vh13h1t326jdlq4m5b234po7l053af2gbs@4ax.com...
> for some reason the moth that flew out of my now empty pocket seemed
> to be laughing at me...oh...i get it.
>
> nice stuff.
>
> On Sat, 27 Aug 2005 19:38:53 -0700, "W. Mark Wilson"
> <wmarkwilson@verizon.net> wrote:
>
>>Stumbled onto it while seeing what my old friend, John Hampton (eng @
>>Ardent, Memphis) was up to these days.
>>
>>www.superaudiocenter.com
>>
>>Dubya
>>
>"ulfiyya" <ulfiyya@yahoo.com> wrote:
>
>Hi,
>Can some one tell me wich Waves version works with Paris 3.0 please?
>I heave a Mac G4 733Mhz.
Hi,
I use Waves 5x under XP and under Me.
Regards,
Dimitrioslet us hope the great noodle will continue to protect you with it's
all mighty sauce.
On 29 Aug 2005 08:57:30 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>This weekend I bought a pair of 250Gig SATA Seagates. I was planning to get
>these anyhow, but on a hunch decided to speed them up to try and isolate
>this fault.
>
>On another hunch, I tried loading an OS on to one of these drives using a
>different XP disk.
>
>So far it seems stable. I've loaded XP, SP1, SP2, MB Drivers, Graphics Drivers,
>and formatted the remaining portions of the drives into nicely neat chunks.
>The machine was on from about midday to 9pm yesterday and not a glitch.
>
>It's early days yet, but I'm growing suspicious that I may have a scratch
>in the wrong place on my XP disk...
>
>Cheers,
>Kim.yet another case of the great noodle doing it's work.
congrats
On Sun, 28 Aug 2005 23:20:10 -0600, "DJ"
<animix_spam-this-ahole_@animas.net> wrote:
>I just found out that the first CD project I ever did for a client back in
>1998 (Big Thick Wooden Board by Owen Egerton) has actually had one song on
>the soundtrack of a movie (a song called Fraternity Life on the movie Going
>Greek), another of the songs (which I co-produced and played lead guitar and
>bass) is being considered for a VH-1 production and also, the album also got
>some play on Dr. Demento a while back.
>
>The reason I say OMG is because ..........errrr.......well......I've done
>better work since then, but it wasn't something I'm ashmed of either and
>hey, I'm really happy for the artist as this was a comedy album and the
>songs really are entertaining. It's one of those things where the songs
>themselves certainly overshadowed the skills of the engineer.
>
>It was a fun project and I learned quite a bit while doing it.
>
>;o)
>that cheap huh...the moth is now poking me while it's laughing.
On Mon, 29 Aug 2005 01:13:07 -0700, "W. Mark Wilson"
<wmarkwilson@verizon.net> wrote:
>At $2250-US per channel, I won't be buying anytime soon. Still curious
>though how the sys sounds. Guess I'll wait to hear Hyatt's new disc.
>
>Dubya
>
>"rick" <parnell68@hotmail.com> wrote in message
|
|
|
|
| Re: Bomb attacks in London England [message #55998 is a reply to message #55821] |
Sun, 17 July 2005 18:42 |
derek
Messages: 61
Registered: July 2005
|
Member |
|
|
ative slot and
put a 4 sample latency there (remember the aux procedure needs 236 samples ,
5ms=240-4=236)
Now all are sample accurate !
Regards,
Dimitrios
"cujo" <chris@applemanstudio.com> wrote in message news:43131153$1@linux...
>
> How could we solve the flanging?
>
> COuld we say, copy all the drum tracks to an adjacent 7 group of tracks,
> slide em ahead, than sample slide back (Like UAD1 Situation) them before
> sending em to the AUX1? Then tuck em under the original drumtracks?
>
> would sample slide be before the Aux send?
>
>
>
> "Dimitrios" <musurgio@otenet.gr> wrote:
> >To group your drumtracks and send them thru stereo compression ,only one
> EDS
> >stereo instance I am sure most of you are already using this but maybe
still
> >some never tried...
> >
> >1.You put stereo compressor EDS on AUX1.
> >2.You put on every drumtrack you wanna compress the aux1 in prefader
status
> >and control with auxe's panpot level the place you wanna put it in the
> >stereo field.
> >3.You push the fader all the way down -90 as to not have flanging on your
> >drumsounds.
> >4. You control indivindual drumlevels from Aux1 level knob and pannong
from
> >panpot knob.
> >
> >5. For you comressor outpout level you have that on Auxe's 1 return knob
> >with panpot again possibilities.
> >6. For EQ you put after the stereo compressor in aux1 the FreakQ which is
> >also stereo to have control over frequencies.
> >
> >7. That makes me happy as opposed to using UAD1
> >
> >Regards,
> >Dimitrios
> >
> >
>I've seen drunken reptiles in the Quarter on sunny days as well. They were
wearing sunglasses, spandex and high heels.
"justcron" <justcron@hydrorecords.compound> wrote in message
news:43132f5f$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:43132d9f@linux...
>
> > They're gonna be wrangling gators and snakes in the French Quarter
> > tomorrow.
>
> gonna be some drunkass reptiles :)
>
>Nice job on getting those numbers!
Seems like the same idea I was saying, you are just using the first set as
the aux..and the copied set as the play back? AM I missing something though?
Could mean the need for another EDS card,.
"Dimitrios" <musurgio@otenet.gr> wrote:
>Ok,
>Here is the other way of doing it .
>You have only to move the original auxed drumtracks.
>First you copy the drumtracks to adjastend tracks.
>Then you aux the non copied with Stereo compressor as I detaled before.
>Then you put faders at minimum -90 position for those drumtracks.
>They now serve only for aux feeding.
>Now you nudge them by 5ms to the left and put sampledelay on Native slot
and
>put a 4 sample latency there (remember the aux procedure needs 236 samples
,
>5ms=240-4=236)
>Now all are sample accurate !
>Regards,
>Dimitrios
>"cujo" <chris@applemanstudio.com> wrote in message news:43131153$1@linux...
>>
>> How could we solve the flanging?
>>
>> COuld we say, copy all the drum tracks to an adjacent 7 group of tracks,
>> slide em ahead, than sample slide back (Like UAD1 Situation) them before
>> sending em to the AUX1? Then tuck em under the original drumtracks?
>>
>> would sample slide be before the Aux send?
>>
>>
>>
>> "Dimitrios" <musurgio@otenet.gr> wrote:
>> >To group your drumtracks and send them thru stereo compression ,only
one
>> EDS
>> >stereo instance I am sure most of you are already using this but maybe
>still
>> >some never tried...
>> >
>> >1.You put stereo compressor EDS on AUX1.
>> >2.You put on every drumtrack you wanna compress the aux1 in prefader
>status
>> >and control with auxe's panpot level the place you wanna put it in the
>> >stereo field.
>> >3.You push the fader all the way down -90 as to not have flanging on
your
>> >drumsounds.
>> >4. You control indivindual drumlevels from Aux1 level knob and pannong
>from
>> >panpot knob.
>> >
>> >5. For you comressor outpout level you have that on Auxe's 1 return knob
>> >with panpot again possibilities.
>> >6. For EQ you put after the stereo compressor in aux1 the FreakQ which
is
>> >also stereo to have control over frequencies.
>> >
>> >7. That makes me happy as opposed to using UAD1
>> >
>> >Regards,
>> >Dimitrios
>> >
>> >
>>
>
>May also be cool to put some bass guitar in there.
"cujo" <chris@applemanstudio.com> wrote:
>
>Nice job on getting those numbers!
>Seems like the same idea I was saying, you are just using the first set
as
>the aux..and the copied set as the play back? AM I missing something though?
>Could mean the need for another EDS card,.
>
>"Dimitrios" <musurgio@otenet.gr> wrote:
>>Ok,
>>Here is the other way of doing it .
>>You have only to move the original auxed drumtracks.
>>First you copy the drumtracks to adjastend tracks.
>>Then you aux the non copied with Stereo compressor as I detaled before.
>>Then you put faders at minimum -90 position for those drumtracks.
>>They now serve only for aux feeding.
>>Now you nudge them by 5ms to the left and put sampledelay on Native slot
>and
>>put a 4 sample latency there (remember the aux procedure needs 236 samples
>,
>>5ms=240-4=236)
>>Now all are sample accurate !
>>Regards,
>>Dimitrios
>>"cujo" <chris@applemanstudio.com> wrote in message news:43131153$1@linux...
>>>
>>> How could we solve the flanging?
>>>
>>> COuld we say, copy all the drum tracks to an adjacent 7 group of tracks,
>>> slide em ahead, than sample slide back (Like UAD1 Situation) them before
>>> sending em to the AUX1? Then tuck em under the original drumtracks?
>>>
>>> would sample slide be before the Aux send?
>>>
>>>
>>>
>>> "Dimitrios" <musurgio@otenet.gr> wrote:
>>> >To group your drumtracks and send them thru stereo compression ,only
>one
>>> EDS
>>> >stereo instance I am sure most of you are already using this but maybe
>>still
>>> >some never tried...
>>> >
>>> >1.You put stereo compressor EDS on AUX1.
>>> >2.You put on every drumtrack you wanna compress the aux1 in prefader
>>status
>>> >and control with auxe's panpot level the place you wanna put it in the
>>> >stereo field.
>>> >3.You push the fader all the way down -90 as to not have flanging on
>your
>>> >drumsounds.
>>> >4. You control indivindual drumlevels from Aux1 level knob and pannong
>>from
>>> >panpot knob.
>>> >
>>> >5. For you comressor outpout level you have that on Auxe's 1 return
knob
>>> >with panpot again possibilities.
>>> >6. For EQ you put after the stereo compressor in aux1 the FreakQ which
>is
>>> >also stereo to have control over frequencies.
>>> >
>>> >7. That makes me happy as opposed to using UAD1
>>> >
>>> >Regards,
>>> >Dimitrios
>>> >
>>> >
>>>
>>
>>
>and you threw em some beads... :)
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:43133168@linux...
> I've seen drunken reptiles in the Quarter on sunny days as well. They were
> wearing sunglasses, spandex and high heels.
>
> "justcron" <justcron@hydrorecords.compound> wrote in message
> news:43132f5f$1@linux...
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
>> news:43132d9f@linux...
>>
>> > They're gonna be wrangling gators and snakes in the French Quarter
>> > tomorrow.
>>
>> gonna be some drunkass reptiles :)
>>
>>
>
>nawwww...wasn't during MardiGras. Just a normal day (normal being a relative
term, of course ;o)
"justcron" <justcron@hydrorecords.compound> wrote in message
news:431334f9@linux...
> and you threw em some beads... :)
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> news:43133168@linux...
> > I've seen drunken reptiles in the Quarter on sunny days as well. They
were
> > wearing sunglasses, spandex and high heels.
> >
> > "justcron" <justcron@hydrorecords.compound> wrote in message
> > news:43132f5f$1@linux...
> >>
> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote in message
> >> news:43132d9f@linux...
> >>
> >> > They're gonna be wrangling gators and snakes in the French Quarter
> >> > tomorrow.
> >>
> >> gonna be some drunkass reptiles :)
> >>
> >>
> >
> >
>
>Yep,
You only will be needing another 6-7 audio tracks best on same EDS card
because we will have another 10-12 samples difference.
The idea is to copy the tracks you need to compress, nudge them 5ms ahead
and the aux them with stereo EDS compressor , put the faders to null, and
slide it with Voxengo sampledelay for 4 samples.
Then you control the compressor output from AUX1 return knob.
The panpot can be controled from aux1 knob dedicated for panning.
Regards,
Dimitrios
"cujo" <chris@applemanstudio.com> wrote in message news:4313339c$1@linux...
>
> May also be cool to put some bass guitar in there.
>
>
> "cujo" <chris@applemanstudio.com> wrote:
> >
> >Nice job on getting those numbers!
> >Seems like the same idea I was saying, you are just using the first set
> as
> >the aux..and the copied set as the play back? AM I missing something
though?
> >Could mean the need for another EDS card,.
> >
> >"Dimitrios" <musurgio@otenet.gr> wrote:
> >>Ok,
> >>Here is the other way of doing it .
> >>You have only to move the original auxed drumtracks.
> >>First you copy the drumtracks to adjastend tracks.
> >>Then you aux the non copied with Stereo compressor as I detaled before.
> >>Then you put faders at minimum -90 position for those drumtracks.
> >>They now serve only for aux feeding.
> >>Now you nudge them by 5ms to the left and put sampledelay on Native slot
> >and
> >>put a 4 sample latency there (remember the aux procedure needs 236
samples
> >,
> >>5ms=240-4=236)
> >>Now all are sample accurate !
> >>Regards,
> >>Dimitrios
> >>"cujo" <chris@applemanstudio.com> wrote in message
news:43131153$1@linux...
> >>>
> >>> How could we solve the flanging?
> >>>
> >>> COuld we say, copy all the drum tracks to an adjacent 7 group of
tracks,
> >>> slide em ahead, than sample slide back (Like UAD1 Situation) them
before
> >>> sending em to the AUX1? Then tuck em under the original drumtracks?
> >>>
> >>> would sample slide be before the Aux send?
> >>>
> >>>
> >>>
> >>> "Dimitrios" <musurgio@otenet.gr> wrote:
> >>> >To group your drumtracks and send them thru stereo compression ,only
> >one
> >>> EDS
> >>> >stereo instance I am sure most of you are already using this but
maybe
> >>still
> >>> >some never tried...
> >>> >
> >>> >1.You put stereo compressor EDS on AUX1.
> >>> >2.You put on every drumtrack you wanna compress the aux1 in prefader
> >>status
> >>> >and control with auxe's panpot level the place you wanna put it in
the
> >>> >stereo field.
> >>> >3.You push the fad
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