Home » The PARIS Forums » PARIS: Main » ADAT cards
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| Re: ADAT cards [message #59209 is a reply to message #59177] |
Mon, 17 October 2005 17:33   |
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GKG5bIpORUe1udKk8jU
F+zzPAJFAbCmNuU6HHOQOlM1HSv7MaxunVIo2PlsInBCkjp+BzW14ijtr66l
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Ujnb+3nnd5kiDPB
Gantt Kushner
Gizmo Recording Company
Silver Spring, MD
www.gizmorecording.com
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| Re: ADAT cards [message #59278 is a reply to message #59267] |
Tue, 18 October 2005 17:57 |
uptown jimmy
Messages: 441
Registered: September 2005
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Senior Member |
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kkpHfwCIO/KSSSijP028qwOAkkkpkP8AWEx5H8UkklMu/wDrCkxJJJSRvHfl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---=_linux4384959d--It's on the EMU site...
http://www.emu.com/support/files/download.asp?centric=746
BTW, that keyboard was in the music store where i took guitar lessons when i
was a kid...(i sooooooo wanted it back then!!)
God bless,
Greg
"Yossi" <yossig@bigpond.net.au> wrote in message news:43845540$1@linux...
>
> recently I was given a keyboard Ensoniq EPS16+
> when powering up it asks to insert the disk.. I do not
> have the os or any disk.. how can I make it work?? is the
> software available on the net ??? thanks"Yossi" <yossig@bigpond.net.au> wrote:
>
> recently I was given a keyboard Ensoniq EPS16+
>when powering up it asks to insert the disk.. I do not
>have the os or any disk.. how can I make it work?? is the
>software available on the net ??? thanks
http://www.carthago-music.de/ensoniq/download.htm"Kim" <hiddensounds@hotmail.com> wrote:
>Is this not the most Australian thing you've ever seen? ;o)
Could easily be Texas, too!
mcYes, but where's the kangaroos?-)
Have two danish grandchilden that's coming back to Denmark from Australia
after being there with their father for 5 weeks. Don't know where yet.
They're 10 and 12 years old. I think I'll send them the picture to hear what
they're saying ;o)
Erling
"Kim" <hiddensounds@hotmail.com> skrev i melding news:43841dca@linux...
>
>
> Is this not the most Australian thing you've ever seen? ;o)FWIW, ALL the Steinberg demos sound like crap. If you want a real
test of how it sounds, take a small 8 track project with you on CD and
load it in.
David.
DC wrote:
snip
> 2. I have sat down with it at trade shows twice and it sounded
> awful both times. Now there are dozens of reasons why this
> may be such as convertors, monitors, etc etc, but Paris always
> sounded great at shows, so it clearly can be done. I do not know
> whether the harshness I heard was the app or something else.
>
>
> BTW, I bet the PT people can show you bit-for-bit cancellation
> tests with PT as well, and thereby "prove" that the mix buss
> sounds perfect.
>
> But we know it doesn't, so the test is not telling us something.
>
> Also, one big plus with Sequoia is Jeff Sheridan who will actually
> take time from a big project to talk tech with you. Priceless.
>
> DC
>Whare's the 'Roo?? ;-)
David.
Kim wrote:
>
> Is this not the most Australian thing you've ever seen? ;o)
>
>
> ------------------------------------------------------------ ------------
>So for those who aren't aware or don't remember I was talking
to a buddy who is building a new studio.He wanted me to start
working out of there and I probably will.Right now I like the
idea of having a place away from the house.Having 4 year old
twins around makes the recording/mixing schedule much less
flexible in the basement at the house.In addition I'll be gaining
access to nice bigger rooms and more gear.
The site for the studio is www.musiccreekstudios.com if anyone
cares to look.You can click on the picture and it will bring up
some more pics;preliminary site right now.
Anyway it is a Neve VR and hes doing the PT thing mixing back
out through the Neve.Right now I'm trying to figure out how/if
I can incorporate PARIS into this scenario.Reading Gene's post
on his new settup I'm wondering if this might work:tracking
through the Neve to PT,then back out to the Neve and analog gear,
then into PARIS.
But then I'm dealing with TDM plugs in PT which maybe defeats
the purpose.I could track to something else I guess besides PT,
but that might complicate matters as he will always do PT.
Whatever I do I like the idea of being away from the house with
bigger rooms(the drums sound really nice in there)and some higher
end gear to learn a little about.I think my C7 will sound nice in
there.Maybe the VR is redundant now a days,but it can't hurt to
get some time in on a board like that I guess.
Any ideas on this whole outboard analog/DAW thing in this
situation greatly appreciated.
TIA,
Pete RuthenburgRoo? Where's Steve Irwin? ;>)
Tony
"EK Sound" <spamnot.info@eksoundNO.com> wrote in message
news:438498cd$1@linux...
> Whare's the 'Roo?? ;-)
>
> David.
>
> Kim wrote:
>
>>
>> Is this not the most Australian thing you've ever seen? ;o)
>>
>>
>> ------------------------------------------------------------ ------------
>>EK Sound <spamnot.info@eksoundNO.com> wrote:
>FWIW, ALL the Steinberg demos sound like crap. If you want a real
>test of how it sounds, take a small 8 track project with you on CD and
>load it in.
>
>David.
Wow! Well I am glad to hear that the product sounds better then
the demos. Just goes to show you once again, as with PT's, you
can sell something to people even if it (apparently) sounds bad
if they like the booth girls! Or if they are told "everyone" is using
this...
What a business we are in huh?
DC
and you have to wonder what were they thinking? Hey let's have
crappy sounding demos, and our pro users will straighten things
out for us... yipesWhat version of PT does he have & which convertors?
Why don't you record to the 2", then bounce to DAW?
Neil
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
> So for those who aren't aware or don't remember I was talking
>to a buddy who is building a new studio.He wanted me to start
>working out of there and I probably will.Right now I like the
>idea of having a place away from the house.Having 4 year old
>twins around makes the recording/mixing schedule much less
>flexible in the basement at the house.In addition I'll be gaining
>access to nice bigger rooms and more gear.
>
> The site for the studio is www.musiccreekstudios.com if anyone
>cares to look.You can click on the picture and it will bring up
>some more pics;preliminary site right now.
>
> Anyway it is a Neve VR and hes doing the PT thing mixing back
>out through the Neve.Right now I'm trying to figure out how/if
>I can incorporate PARIS into this scenario.Reading Gene's post
>on his new settup I'm wondering if this might work:tracking
>through the Neve to PT,then back out to the Neve and analog gear,
>then into PARIS.
> But then I'm dealing with TDM plugs in PT which maybe defeats
>the purpose.I could track to something else I guess besides PT,
>but that might complicate matters as he will always do PT.
>
> Whatever I do I like the idea of being away from the house with
>bigger rooms(the drums sound really nice in there)and some higher
>end gear to learn a little about.I think my C7 will sound nice in
>there.Maybe the VR is redundant now a days,but it can't hurt to
>get some time in on a board like that I guess.
>
> Any ideas on this whole outboard analog/DAW thing in this
>situation greatly appreciated.
>
>TIA,
>Pete RuthenburgIn the A room its a Mix plus system.His reasoning is since hes
|
|
|
|
| Re: ADAT cards [message #59280 is a reply to message #59278] |
Tue, 18 October 2005 18:12 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
>>
>> The site for the studio is www.musiccreekstudios.com if anyone
>>cares to look.You can click on the picture and it will bring up
>>some more pics;preliminary site right now.
>>
>> Anyway it is a Neve VR and hes doing the PT thing mixing back
>>out through the Neve.Right now I'm trying to figure out how/if
>>I can incorporate PARIS into this scenario.Reading Gene's post
>>on his new settup I'm wondering if this might work:tracking
>>through the Neve to PT,then back out to the Neve and analog gear,
>>then into PARIS.
>> But then I'm dealing with TDM plugs in PT which maybe defeats
>>the purpose.I could track to something else I guess besides PT,
>>but that might complicate matters as he will always do PT.
>>
>> Whatever I do I like the idea of being away from the house with
>>bigger rooms(the drums sound really nice in there)and some higher
>>end gear to learn a little about.I think my C7 will sound nice in
>>there.Maybe the VR is redundant now a days,but it can't hurt to
>>get some time in on a board like that I guess.
>>
>> Any ideas on this whole outboard analog/DAW thing in this
>>situation greatly appreciated.
>>
>>TIA,
>>Pete Ruthenburg
>I'd say just to output from the Pro Tools system D/A converters directly
into the inputs of the VR and mix from there to tape or something like a
Masterlink. I guess you could go into Paris, but that would be an extra A/D
and, IMHO, what's the point? A Neve VR has it's own mix bus and it should be
about as good as Paris' mix bus (man are we spoiled, or what?)
"Neil" <OIUOIU@OIU.com> wrote in message news:4384beaf$1@linux...
>
> What version of PT does he have & which convertors?
>
> Why don't you record to the 2", then bounce to DAW?
>
> Neil
>
>
> "Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
> >
> > So for those who aren't aware or don't remember I was talking
> >to a buddy who is building a new studio.He wanted me to start
> >working out of there and I probably will.Right now I like the
> >idea of having a place away from the house.Having 4 year old
> >twins around makes the recording/mixing schedule much less
> >flexible in the basement at the house.In addition I'll be gaining
> >access to nice bigger rooms and more gear.
> >
> > The site for the studio is www.musiccreekstudios.com if anyone
> >cares to look.You can click on the picture and it will bring up
> >some more pics;preliminary site right now.
> >
> > Anyway it is a Neve VR and hes doing the PT thing mixing back
> >out through the Neve.Right now I'm trying to figure out how/if
> >I can incorporate PARIS into this scenario.Reading Gene's post
> >on his new settup I'm wondering if this might work:tracking
> >through the Neve to PT,then back out to the Neve and analog gear,
> >then into PARIS.
> > But then I'm dealing with TDM plugs in PT which maybe defeats
> >the purpose.I could track to something else I guess besides PT,
> >but that might complicate matters as he will always do PT.
> >
> > Whatever I do I like the idea of being away from the house with
> >bigger rooms(the drums sound really nice in there)and some higher
> >end gear to learn a little about.I think my C7 will sound nice in
> >there.Maybe the VR is redundant now a days,but it can't hurt to
> >get some time in on a board like that I guess.
> >
> > Any ideas on this whole outboard analog/DAW thing in this
> >situation greatly appreciated.
> >
> >TIA,
> >Pete Ruthenburg
>Deej,yeah I was wondering if it would beneficial or not to go
back into PARIS or if thats just redundant.
You want me to forgo our beloved PARIS on my projects!Shame;)
I was thinking you might tell me track to PT,back to Neve for analog processing,then
to Nuendo for UAD ADC,then to PARIS for
summing out to a 1/2" machine all with Myteks;or something more
complicated:)
By the way was it you who bought those Myteks fs recently?
Pete
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I'd say just to output from the Pro Tools system D/A converters directly
>into the inputs of the VR and mix from there to tape or something like a
>Masterlink. I guess you could go into Paris, but that would be an extra
A/D
>and, IMHO, what's the point? A Neve VR has it's own mix bus and it should
be
>about as good as Paris' mix bus (man are we spoiled, or what?)
>
>"Neil" <OIUOIU@OIU.com> wrote in message news:4384beaf$1@linux...
>>
>> What version of PT does he have & which convertors?
>>
>> Why don't you record to the 2", then bounce to DAW?
>>
>> Neil
>>
>>
>> "Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>> >
>> > So for those who aren't aware or don't remember I was talking
>> >to a buddy who is building a new studio.He wanted me to start
>> >working out of there and I probably will.Right now I like the
>> >idea of having a place away from the house.Having 4 year old
>> >twins around makes the recording/mixing schedule much less
>> >flexible in the basement at the house.In addition I'll be gaining
>> >access to nice bigger rooms and more gear.
>> >
>> > The site for the studio is www.musiccreekstudios.com if anyone
>> >cares to look.You can click on the picture and it will bring up
>> >some more pics;preliminary site right now.
>> >
>> > Anyway it is a Neve VR and hes doing the PT thing mixing back
>> >out through the Neve.Right now I'm trying to figure out how/if
>> >I can incorporate PARIS into this scenario.Reading Gene's post
>> >on his new settup I'm wondering if this might work:tracking
>> >through the Neve to PT,then back out to the Neve and analog gear,
>> >then into PARIS.
>> > But then I'm dealing with TDM plugs in PT which maybe defeats
>> >the purpose.I could track to something else I guess besides PT,
>> >but that might complicate matters as he will always do PT.
>> >
>> > Whatever I do I like the idea of being away from the house with
>> >bigger rooms(the drums sound really nice in there)and some higher
>> >end gear to learn a little about.I think my C7 will sound nice in
>> >there.Maybe the VR is redundant now a days,but it can't hurt to
>> >get some time in on a board like that I guess.
>> >
>> > Any ideas on this whole outboard analog/DAW thing in this
>> >situation greatly appreciated.
>> >
>> >TIA,
>> >Pete Ruthenburg
>>
>
>Tony,
I have converted those .wma files to MP3's and e-mailed them to you. the
..wma files were DRM encoded. I don't have a clue how that happened-it
certainly wasn't intentional on my part. I think my WMP did it somehow
without my catching it. Anyway, being the lazy ass slacker that I am, I
decided to figure out a way to defeat DRM so I wouldn't have to get up, walk
into the other room, boot my DAW, convert the bounces to MP3, then burn them
to a CD. It's pretty easy really.....at least I think I have succeeded. It
just requires the sacrifice of one CD. All you need to do is to burn these
copy protected files to an Audio CD (I used Nero), then rip the CD and save
the files as MP3's. That's what I did with the files I sent you. I don't
notice any audible degradation. Let me know if the DRM copy protection shows
up on your end. It doesn't show up here on the MP3's so don't think it will
be an issue with the files I sent you.
Cheers,
Deej
"Tony Benson" <tony@standinghampton.com> wrote in message
news:BFA962B2.2872%tony@standinghampton.com...
> Darn, and here I thought we were going to get to see some movies of real
> barefoot bluegrass pickin' hippies! ;>)
>
> I don't know why I always assume video when I see .wma. Anyway, I'll be
glad
> to swap them out when the new mp3's arrive.
>
> Thanks,
>
> Tony
>
> On 11/22/05 9:32 PM, in article 4383e371@linux, "DJ"
> <animix_spam-this-ahole_@animas.net> wrote:
>
> > Hi Tony,
> >
> > I've got the original Paris boundces of these on a hard drive. I'll look
> > around and find them, convert the to MP3 and you can substituet them for
> > these ((((&^(*&^ .wma files. I'm not even sure how these got .wma'ed.
It's a
> > PITA, that's for sure.
> >
> > DJ
> >
> > "Tony" <tony@standinghampton.com> wrote in message
> > news:BFA92310.472EC%tony@standinghampton.com...
> >> Deej sent me some more files from "The Barefoot Hippies" sessions.
They're
> >> up on www.mercysakes.com under the Doug Joyce folder. I'm having
problems
> >> opening the .wma files, but maybe it's just couse I'm on these pesky
Macs
> >> here at home. I get a message saying the file was ripped from a
> > copyrighted
> >> source and I need to authorize it to be played on my machine.? If I hit
> > the
> >> "authorize" button, I get an error page. I've got the latest version of
> >> Windows Media Player for the Mac installed, but they always lag a bit
> > behind
> >> the Windows versions as far as compatibility and operation. Can anyone
say
> >> Microsoft sabotage? Just kidding, I'm probably doing something wrong.
> >> Anyway, enjoy the files.
> >>
> >> Tony
> >>
> >
> >
>Is there an 8 meter long "salty" in there? I wouldn't get too close until I
threw a chicken carcass or something in the water to see if it gets devoured
by some kind of prehistoric looking saurian.
;o).
"Kim" <hiddensounds@hotmail.com> wrote in message news:43841dca@linux...
>
>
> Is this not the most Australian thing you've ever seen? ;o)Hmmmmm........cool idea Gene. Of course, since I'm outputting 48 tracks to
Paris, track by track, rather than using stems, I'm gonna have to get a
*lot* more converters now.
;o)
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:438487bf$1@linux...
>
> "Dimitrios" <musurgio@otenet.gr> wrote:
> >
> >Dear Gene,
> >After a quick read I ahve some questions if you don't mind.
> >You record in DP using your Myteks at 96khz, right ?
> >Then you say you are submixing inside Paris... how do you do it when DP
> works
> >at 96 and Paris at 44.1 ?
> >I missed something here...
> >Next you are saying you though 20bit adat had some drawbacks , now it
doesn't
> >have ?
> >Can you please explain how Paris adat now sounds ok with no hearable
degradation
> >?
> >Regards,
> >Dimitrios
>
>
> Sorry I wasn't clearer.
> In this setup I am using analog inputs to Paris as if I was using it as a
> live console from live audio.
> Paris is set to 44.1. Clocked from the Mytek A/D converter.
> Performer is set to 96K and clocked from my Mytek D/A converter. (This
generation
> of the Mytek is two separate boxes each with its own clock.).
>
> http://www.mytekdigital.com/products/8x96.htm
>
> Analog out of DP to analog in of Paris.
> Insert hardware when needed between DP and Paris while still analog.
> NO ADAT optical is used in this setup at all, so no deterioration from the
> 20bit transfers. (Actually I do use ADAT for interfacing to additional
computers
> but not for the main transfers.)
>
> I was originally resistant to going this route because of my desire to
avoid
> A/D conversions, but as I pointed out in my last post, I am not really
doing
> any additional conversions.
>
> --------------------------------------
>
> "You record in DP using your Myteks at 96khz, right ?"
>
> Yes and it sounds great.
>
> Gene
>In the puddle wrestling a Croc' :-p
David.
Tony Benson wrote:
> Roo? Where's Steve Irwin? ;>)
>
> Tony
>
>
> "EK Sound" <spamnot.info@eksoundNO.com> wrote in message
> news:438498cd$1@linux...
>
>>Whare's the 'Roo?? ;-)
>>
>>David.
>>
>>Kim wrote:
>>
>>
>>>Is this not the most Australian thing you've ever seen? ;o)
>>>
>>>
>>> ------------------------------------------------------------ ------------
>>>
>
>
>I would track through the VR to PT Mix plus, then move the session to
the B room where you could feed stems from PTHD to Paris for summing.
You could also use Paris stand alone in the B room for your own stuff.
David.
Pete Ruthenburg wrote:
> In the A room its a Mix plus system.His reasoning is since hes
> not using the PT mixbuss its cool.He is going to go over to HD
> sometime though;I think he has to really.
>
> Hes building a smaller B room and Hd will probably go in there
> first.Hes using the Apogee converters right now.
>
> As soon as the 2" is up I was thinking of tracking to that
> then transferring so that is definitely an option.Having never
> dealt with tape it was just something else for me to grasp so I
> was leaning towards tracking to DAW at first.
>
> Thanks for the questions Neil;keeps me thinking.
>
> Pete
>
>
> "Neil" <OIUOIU@OIU.com> wrote:
>
>>What version of PT does he have & which convertors?
>>
>>Why don't you record to the 2", then bounce to DAW?
>>
>>Neil
>>
>>
>>"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>>
>>> So for those who aren't aware or don't remember I was talking
>>>to a buddy who is building a new studio.He wanted me to start
>>>working out of there and I probably will.Right now I like the
>>>idea of having a place away from the house.Having 4 year old
>>>twins around makes the recording/mixing schedule much less
>>>flexible in the basement at the house.In addition I'll be gaining
>>>access to nice bigger rooms and more gear.
>>>
>>>The site for the studio is www.musiccreekstudios.com if anyone
>>>cares to look.You can click on the picture and it will bring up
>>>some more pics;preliminary site right now.
>>>
>>> Anyway it is a Neve VR and hes doing the PT thing mixing back
>>>out through the Neve.Right now I'm trying to figure out how/if
>>>I can incorporate PARIS into this scenario.Reading Gene's post
>>>on his new settup I'm wondering if this might work:tracking
>>>through the Neve to PT,then back out to the Neve and analog gear,
>>>then into PARIS.
>>> But then I'm dealing with TDM plugs in PT which maybe defeats
>>>the purpose.I could track to something else I guess besides PT,
>>>but that might complicate matters as he will always do PT.
>>>
>>> Whatever I do I like the idea of being away from the house with
>>>bigger rooms(the drums sound really nice in there)and some higher
>>>end gear to learn a little about.I think my C7 will sound nice in
>>>there.Maybe the VR is redundant now a days,but it can't hurt to
>>>get some time in on a board like that I guess.
>>>
>>> Any ideas on this whole outboard analog/DAW thing in this
>>>situation greatly appreciated.
>>>
>>>TIA,
>>>Pete Ruthenburg
>>
>"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Hmmmmm........cool idea Gene. Of course, since I'm outputting 48 tracks
to
>Paris, track by track, rather than using stems, I'm gonna have to get a
>*lot* more converters now.
>
>;o)
>
That’s why I am going to try to hybridize it. The Mytek converters are very
expensive for 48X48! Ouch.
I’m hopping for 24 analog and 24 D/D via ADAT. This will require a parallel
source DAW or a real-time 96K>44.1 multi channel samplerate converter with
ADAT output.
I think I may be able to force my Klotz converter to do the conversion to
DASH and then use some of my old Yamaha gear to switch to ADAT. If it works,
I am putting myself in for the wacky setup award. When the Klotz was built
the high end was 48K, but it is rated to 100K with an external clock if my
memory is correct. Trouble is I don’t have a manual and Klotz in Germany
has not helped, and programming it is a pain with the mini DIP switches.
Time will tell.Of course using the disk as indicated by the other guys will allow the keyboard
to boot up, but it still wont have any actual sounds in it. You'll either
have to sample some sounds yourself, or aquire some disks with sounds on
them to use with it.
Cheers,
Kim.
"Yossi" <yossig@bigpond.net.au> wrote:
>
> recently I was given a keyboard Ensoniq EPS16+
>when powering up it asks to insert the disk.. I do not
>have the os or any disk.. how can I make it work?? is the
>software available on the net ??? thanks>I'm hopping for 24 analog and 24 D/D via ADAT. This will require a
>parallel
source DAW or a real-time 96K>44.1 multi channel samplerate converter with
ADAT output.
I think I may be able to force my Klotz converter to do the conversion to
DASH and then use some of my old Yamaha gear to switch to ADAT. If it works,
I am putting myself in for the wacky setup award. When the Klotz was built
the high end was 48K, but it is rated to 100K with an external clock if my
>memory is correct.
The sheer audacious geekery of this is giving me goosebumps. I am green with
envy.
;o)
"Gene Lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:4384dee8$1@linux...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >Hmmmmm........cool idea Gene. Of course, since I'm outputting 48 tracks
> to
> >Paris, track by track, rather than using stems, I'm gonna have to get a
> >*lot* more converters now.
> >
> >;o)
> >
>
> That's why I am going to try to hybridize it. The Mytek converters are
very
> expensive for 48X48! Ouch.
> I'm hopping for 24
|
|
|
|
| Re: ADAT cards [message #59289 is a reply to message #59280] |
Wed, 19 October 2005 08:40 |
uptown jimmy
Messages: 441
Registered: September 2005
|
Senior Member |
|
|
louie.com" target="_blank">dc@spamunclelouie.com> wrote in message news:4382b100$1@linux...
>
> I saw this system up close for the first time at the AES seminar on
> Saturday. I may have found my next DAW if Paris ever becomes
> unusable for me.
>
> Very impressive.
>
> Seen it? Opinions?
>
> http://www.sequoiadigital.com"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
>Deej,yeah I was wondering if it would beneficial or not to go
>back into PARIS or if thats just redundant.
If I had that setup I would track to 2", and probably bounce to
Paris to mix, or perhaps to PT, depending on what kind of
plugins I needed, but in that case I would mix/sum through the
Neve. I've used one of those before, and they really don't suck.
I would definitely NOT mix in PT Mix Plus... HD yes, Mix
systems, no way - not if I had better options available (which
you do).
Neil"Bill Lorentzen" <bill@lorentzen.ws> wrote:
>
>Go ahead ask me what you want to know...
Will it accurately predict winning Powerball numbers?
:)Howdy.
I dont see the point in returning sound to paris. Summing on a good quality
console is the best way for sure.
"Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote:
>
> So for those who aren't aware or don't remember I was talking
>to a buddy who is building a new studio.He wanted me to start
>working out of there and I probably will.Right now I like the
>idea of having a place away from the house.Having 4 year old
>twins around makes the recording/mixing schedule much less
>flexible in the basement at the house.In addition I'll be gaining
>access to nice bigger rooms and more gear.
>
> The site for the studio is www.musiccreekstudios.com if anyone
>cares to look.You can click on the picture and it will bring up
>some more pics;preliminary site right now.
>
> Anyway it is a Neve VR and hes doing the PT thing mixing back
>out through the Neve.Right now I'm trying to figure out how/if
>I can incorporate PARIS into this scenario.Reading Gene's post
>on his new settup I'm wondering if this might work:tracking
>through the Neve to PT,then back out to the Neve and analog gear,
>then into PARIS.
> But then I'm dealing with TDM plugs in PT which maybe defeats
>the purpose.I could track to something else I guess besides PT,
>but that might complicate matters as he will always do PT.
>
> Whatever I do I like the idea of being away from the house with
>bigger rooms(the drums sound really nice in there)and some higher
>end gear to learn a little about.I think my C7 will sound nice in
>there.Maybe the VR is redundant now a days,but it can't hurt to
>get some time in on a board like that I guess.
>
> Any ideas on this whole outboard analog/DAW thing in this
>situation greatly appreciated.
>
>TIA,
>Pete RuthenburgOn 11/23/05 1:24 AM, in article 43841924$1@linux, "DC" <dc@spamsony.org>
wrote:
>
> DTerry <dterry@no_spamkeyofd.net> wrote:
>
>> For studios, music and post, don't rule out Nuendo which just added some
> of
>> the best studio/control room monitoring features I've seen in a DAW (3.2)
> -
>
>
> I have 2 issues with Nuendo.
>
> 1. Unless things have gotten a lot better recently, tech support is
> terrible...
I haven't needed support for Nuendo/SX yet, so I can't comment there. The
forum is knowledgeable enough usually that I don't see needing direct
support.
Support was poor with Logic also (at least my attempts to contact email
support never got answered) - non-existent basically. I have a feeling this
is a limitation with smaller (smaller than Digi) companies overseas. US
support is limited. Then again, I never had much luck with MOTU, but
supposedly they are better now (no more part time Berkley students I
guess...)
>
> 2. I have sat down with it at trade shows twice and it sounded
> awful both times. Now there are dozens of reasons why this
> may be such as convertors, monitors, etc etc, but Paris always
> sounded great at shows, so it clearly can be done. I do not know
> whether the harshness I heard was the app or something else.
There is no reason why Nuendo itself would sound bad anymore than
Samplitude, DP, Logic, Sonar or SawStudio, or Paris for that matter. I
would never use a tradeshow to judge audio quality of anything. For sure,
there is no telling who setup the rig and what gear they used - hardly a
sound engineering reason to write it off. As Bill replied - the demos
aren't great - kind of like one of the Paris demos I heard - and Logic,
etc.... For some reason some of these demos think dropping in some mp3
loops constitutes a demo of a professional recording app.
I've produced rap, rock, pop, dance, acoustic, orchestral, etc - Nuendo
sounds great. Also I think some people pop up built in EQs, comps, reverbs,
etc, run a mix, and assume that's the sound of the DAW. Makes me wonder
where these people learned engineering... Like all things, even mediocre
gear/plugins can work in the right situation (see last comment below).
>
> BTW, I bet the PT people can show you bit-for-bit cancellation
> tests with PT as well, and thereby "prove" that the mix buss
> sounds perfect.
>
> But we know it doesn't, so the test is not telling us something.
Bit for bit cancellation with what? Another PT rig? For sure. With
Samplitude or Nuendo? No way if you use audio files with more than 16 bits
of dynamic range. I know other users that have tested Samplitude and Nuendo
and gotten the same cancellation results. FWIW, Lynn Fuston has a DAWSUM
sampler testing this very thing for anyone interested.
This is a long debated issue that so far, as a Nuendo user, and former Paris
user, I can't find a reason why Samplitude would sound any better - either
technical or audible, and I've tested both ways. I think the truth of the
matter is sound is 50% perception. Some think one DAW will sound better,
and it does. Put a Samplitude/Sequoia wrapper on Cubase SX and I bet 8 out
of 10 listeners will think it sounds better. Some users claimed v2 sounded
better than 1, but they were the same audio engine - just a different look.
What many people never take into account with testing is trying to run
regular mixes, substituting in different EQs, etc. Sorry, won't work. To
be valid, all gain changes have to be identical, or set to 0 if they can't
be set identically. Pan law has to be the same and not just in setting, but
in performance (verified before testing). Then you have to use audio files
that exercise the full bit depth of the app (24 fixed or 32-bit float files
preferably). With a large set of audio files, this is a valid DAW
comparison approach. If that cancels even to -100dB, you would be hard
pressed to say one sounds different than the other.
When I have time, I will run an even larger test (to address those that
claim one DAW handles 40+ tracks better than another).
>
> Also, one big plus with Sequoia is Jeff Sheridan who will actually
> take time from a big project to talk tech with you. Priceless.
Cool - Elliot Scheiner has a guest Q/A section on the Nuendo forum. He uses
the Nuendo EQ from time to time. Most of use dismissed it as typical built
in crap. He likes it (for slight cuts). I think it's okay for that
purpose, but not critical EQ. It is a step up from built in EQs of DAWs in
days past (but not as good as Paris').
Regards,
Dedric
>
> DC
>DTerry <dterry@no_spamkeyofd.net> wrote:
>I haven't needed support for Nuendo/SX yet, so I can't comment there. The
>forum is knowledgeable enough usually that I don't see needing direct
>support.
These forums are absolutely priceless. I did try to contact
Steinberg once. Hopeless.
Digi is quite responsive, and they write good manuals. Perhaps
this is another reason for their success. I have built 2 PT's rooms
now and Digi was great. One of the issues involved was really
hard to sort out and through talking to us they actually found a
bug in the app.
Too bad the product is so mediocre...
>Support was poor with Logic also (at least my attempts to contact email
>support never got answered) - non-existent basically. I have a feeling
this
>is a limitation with smaller (smaller than Digi) companies overseas. US
>support is limited. Then again, I never had much luck with MOTU, but
>supposedly they are better now (no more part time Berkley students I
>guess...)
I did call MOTU about (a DP question) 2 years ago, and it was better
than dealing with Steinberg, but nowhere as good as Digi.
>There is no reason why Nuendo itself would sound bad anymore than
>Samplitude, DP, Logic, Sonar or SawStudio, or Paris for that matter. I
>would never use a tradeshow to judge audio quality of anything.
Well, I don't know about that. Somehow both Paris and Sonic
Solutions had terrific sounding demos at more than one big trade
show.
It's not that hard.
When a company settles for sounding like garbage at a trade show,
there is something wrong with those who run that company.
I first heard Matchless amps, the new Telefunken mics, Fearn
preamps, Soundelux mics, and about 50 other things at big trade
shows, and all of them sounded great both there and in daily use.
>For sure,
>there is no telling who setup the rig and what gear they used - hardly a
>sound engineering reason to write it off.
As a client, you have to conclude that someone blew it. Either
the trade show people, or those who created the product. How
do you know? Well, when a pro like yourself tells me it sounds
great, that carries a lot of weight, but the company could have
done as well as others have done and they didn't.
>Also I think some people pop up built in EQs, comps, reverbs,
>etc, run a mix, and assume that's the sound of the DAW. Makes me wonder
>where these people learned engineering... Like all things, even mediocre
>gear/plugins can work in the right situation.
Absolutely.
>Bit for bit cancellation with what? Another PT rig? For sure. With
>Samplitude or Nuendo? No way if you use audio files with more than 16 bits
>of dynamic range. I know other users that have tested Samplitude and Nuendo
>and gotten the same cancellation results. FWIW, Lynn Fuston has a DAWSUM
>sampler testing this very thing for anyone interested.
And all this testing is worthwhile, yet not definitive. Time after time
in the last 50 years in audio, somone has come up with a "definitive"
test for something and discarded the audible evidence right in front
of them. Later, someone a bit smarter figures out how to test for
what they heard and says "oh yeah, here's what you heard".
It's like the folks who say there is no difference in CD recording
media or writing speeds. I heard SSC say on this very forum that
media didn't matter, but you shouldn't write audio CD's at 44X.
Well, why not? they checksum perfectly! But they sound like crap.
So, while we need (desperately) objective standards and
measurements in audio, I have to say that someone who convinces
themselves they did not hear something that they know they did
hear, is almost as silly as someone who believes in every single
goofy myth on Harmony Central.
Hearing things that we cannot measure is how both audio and the
science of measurement progress.
>This is a long debated issue that so far, as a Nuendo user, and former Paris
>user, I can't find a reason why Samplitude would sound any better - either
>technical or audible, and I've tested both ways.
I don't know that Sequoia sounds any better or different than
Nuendo. Haven't spent time with it. I like Sequoia because the
editing just rocks, and you can master in the same app as you
track and mix. Also, it's reputation in classical recording is sterling
and there is no harder test than that.
>I think the truth of the
>matter is sound is 50% perception. Some think one DAW will sound better,
>and it does. Put a Samplitude/Sequoia wrapper on Cubase SX and I bet 8
out
>of 10 listeners will think it sounds better. Some users claimed v2 sounded
>better than 1, but they were the same audio engine - just a different look.
Like Paris Pro huh?
You are right of course, but like the doctor who listens to an ache
that everyone else has dismissed, and looks closer only to discover
a new disease and save a life, we grow when we hear something
that should not be there, or miss something that should.
There will come a point when DAW manufacturers stop making silly
errors like the PT mix buss, and then things will sound mostly the
same, but hey, look at the hardware vs. plugin debate! Hardware
versions of the same product often sound better.
There is plenty of room for progress in digital audio.
take care
DC"Bill Lorentzen" <bill@lorentzen.ws> wrote:
>Go ahead ask me what you want to know...
I heard it likes the Mackie control well.
Hey, what did you spend on the computer? RAM? What sort of
Mobo etc?
I like Sequoia almost enough to not buy a Mac...
Dang!
DCWe are going to a cool restaurant in Palm Springs ("bom bings" to
my 4-year old) so we don't have to do any dishes. yes!
For those of you from other than the US, come visit and try one
of these amazing T-day dinners.
May you have a wonderful Thanksgiving!
DCYou will lose audio quality though in the second conversion to MP3...
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>Tony,
>
>I have converted those .wma files to MP3's and e-mailed them to you. the
>.wma files were DRM encoded. I don't have a clue how that happened-it
>certainly wasn't intentional on my part. I think my WMP did it somehow
>without my catching it. Anyway, being the lazy ass slacker that I am,
I
>decided to figure out a way to defeat DRM so I wouldn't have to get up,
walk
>into the other room, boot my DAW, convert the bounces to MP3, then burn
them
>to a CD. It's pretty easy really.....at least I think I have succeeded.
It
>just requires the sacrifice of one CD. All you need to do is to burn these
>copy protected files to an Audio CD (I used Nero), then rip the CD and save
>the files as MP3's. That's what I did with the files I sent you. I don't
>notice any audible degradation. Let me know if the DRM copy protection shows
>up on your end. It doesn't show up here on the MP3's so don't think it will
>be an issue with the files I sent you.
>
>Cheers,
>
>Deej
>
>
>"Tony Benson" <tony@standinghampton.com> wrote in message
>news:BFA962B2.2872%tony@standinghampton.com...
>> Darn, and here I thought we were going to get to see some movies of real
>> barefoot bluegrass pickin' hippies! ;>)
>>
>> I don't know why I always assume video when I see .wma. Anyway, I'll be
>glad
>> to swap them out when the new mp3's arrive.
>>
>> Thanks,
>>
>> Tony
>>
>> On 11/22/05 9:32 PM, in article 4383e371@linux, "DJ"
>> <animix_spam-this-ahole_@animas.net> wrote:
>>
>> > Hi Tony,
>> >
>> > I've got the original Paris boundces of these on a hard drive. I'll
look
>> > around and find them, convert the to MP3 and you can substituet them
for
>> > these ((((&^(*&^ .wma files. I'm not even sure how these got .wma'ed.
>It's a
>> > PITA, that's for sure.
>> >
>> > DJ
>> >
>> > "Tony" <tony@standinghampton.com> wrote in message
>> > news:BFA92310.472EC%tony@standinghampton.com...
>> >> Deej sent me some more files from "The Barefoot Hippies" sessions.
>They're
>> >> up on www.mercysakes.com under the Doug Joyce folder. I'm having
>problems
>> >> opening the .wma files, but maybe it's just couse I'm on these pesky
>Macs
>> >> here at home. I get a message saying the file was ripped from a
>> > copyrighted
>> >> source and I need to authorize it to be played on my machine.? If I
hit
>> > the
>> >> "authorize" button, I get an error page. I've got the latest version
of
>> >> Windows Media Player for the Mac installed, but they always lag a bit
>> > behind
>> >> the Windows versions as far as compatibility and operation. Can anyone
>say
>> >> Microsoft sabotage? Just kidding, I'm probably doing something wrong.
>> >> Anyway, enjoy the files.
>> >>
>> >> Tony
>> >>
>> >
>> >
>>
>
>have a happy and safe t-day
On 24 Nov 2005 18:59:07 +1000, "DC" <dc@spamyermama.com> wrote:
>
>We are going to a cool restaurant in Palm Springs ("bom bings" to
>my 4-year old) so we don't have to do any dishes. yes!
>
>For those of you from other than the US, come visit and try one
>of these amazing T-day dinners.
>
>
>May you have a wonderful Thanksgiving!
>
>DCdoesn't look like a koala bear to me at all...put the beer down mate.
On 23 Nov 2005 18:44:10 +1000, "Kim" <hiddensounds@hotmail.com> wrote:
>
>
>Is this not the most Australian thing you've ever seen? ;o)too funny
On 24 Nov 2005 03:15:26 +1000, "gene lennon"
<glennon@NOSPmyrealbox.com> wrote:
>
>AP -
>Under cries of “Bring Democracy to Australia” The US attacked a remote area
>of North Queensland today.
>When asked why the Vice President replied. “We are the underwater country”
>No other country has as many major cities under water as we do, and we wont
>stand by and see any other country try to claim the title.” “In addition”
>he went on, “ We have good indication of MMDs downunder.”
>Editors note: MMD – Marsupials of Mass Destruction.Eat Large, Drink Well and Be Thankful
It's snowing here in Otawa so I'm thinking Christmas not Thanksgiving.
Don
"DC" <dc@spamyermama.com> wrote in message news:438572cb$1@linux...
>
> We are going to a cool restaurant in Palm Springs ("bom bings" to
> my 4-year old) so we don't have to do any dishes. yes!
>
> For those of you from other than the US, come visit and try one
> of these amazing T-day dinners.
>
>
> May you have a wonderful Thanksgiving!
>
> DC
>Ditto on that :)
Up here in New England we just got 3-4 inches so far
Morgan
Don Nafe wrote:
> Eat Large, Drink Well and Be Thankful
>
> It's snowing here in Otawa so I'm thinking Christmas not Thanksgiving.
>
> Don
>
>
> "DC" <dc@spamyermama.com> wrote in message news:438572cb$1@linux...
>
>>We are going to a cool restaurant in Palm Springs ("bom bings" to
>>my 4-year old) so we don't have to do any dishes. yes!
>>
>>For those of you from other than the US, come visit and try one
>>of these amazing T-day dinners.
>>
>>
>>May you have a wonderful Thanksgiving!
>>
>>DC
>>
>
>
>* This just in - Nora Jones is presently
tracking her new project with the SE Gemini !
Greetings,
Tony Benson has been kind enough to offer his web-site
for hosting some cool PARIS and Audio files etc...
As many of you know - I am always looking for cool and Unique
sounding products that are in the Spirit of this PARIS Community.
I believe the SE Mic company has some really Great Mics that deserve
a listen.
http://www.seelectronics.com/whatsnew.html
Tony will post some MP3 and Wav files that were Recorded By
Roger Nichols for NARAS
( National Academy of Recording Arts and Science )
http://www.rogernichols.com/
Here is the Challenge - there are 5 mics in the Shoot out:
TELEFUNKEN U47
SOUNDELUX U95 (AKG C12)
SE GEMINI
SE 5600A
SE ICIS
These are all Tube Mics - The Telefunken and Soundelux
cost Thousands $$$ More !!
Listen to the Samples - then Properly identify the Mics in order.
Anyone that can Properly identify these Mics will Win -
SE Microphone Deluxe Windscreen $ 59 Value
http://www.seelectronics.com/popscreen.html
Planet Waves Mic Cable $69 Value
http://www.planet-waves.com/Pcablesdetails.aspx?ID=2
Files are posted @
www.mercysakes.com
Good Luck !!
Please send your entry to:
Morgan@Eastcoastm
|
|
|
|
| Re: ADAT cards [message #59290 is a reply to message #59289] |
Wed, 19 October 2005 08:52 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
usicmall.com
Any questions - Call or Email me
Morgan
Eastcoast Music Mall
800-901-2001Well said!
"DC" <dc@spamunclelouie.com> wrote:
>
>DTerry <dterry@no_spamkeyofd.net> wrote:
>
>>I haven't needed support for Nuendo/SX yet, so I can't comment there.
The
>>forum is knowledgeable enough usually that I don't see needing direct
>>support.
>
>These forums are absolutely priceless. I did try to contact
>Steinberg once. Hopeless.
>
>Digi is quite responsive, and they write good manuals. Perhaps
>this is another reason for their success. I have built 2 PT's rooms
>now and Digi was great. One of the issues involved was really
>hard to sort out and through talking to us they actually found a
>bug in the app.
>
>Too bad the product is so mediocre...
>
>
>>Support was poor with Logic also (at least my attempts to contact email
>>support never got answered) - non-existent basically. I have a feeling
>this
>>is a limitation with smaller (smaller than Digi) companies overseas. US
>>support is limited. Then again, I never had much luck with MOTU, but
>>supposedly they are better now (no more part time Berkley students I
>>guess...)
>
>
>I did call MOTU about (a DP question) 2 years ago, and it was better
>than dealing with Steinberg, but nowhere as good as Digi.
>
>
>>There is no reason why Nuendo itself would sound bad anymore than
>>Samplitude, DP, Logic, Sonar or SawStudio, or Paris for that matter. I
>>would never use a tradeshow to judge audio quality of anything.
>
>
>Well, I don't know about that. Somehow both Paris and Sonic
>Solutions had terrific sounding demos at more than one big trade
>show.
>
>It's not that hard.
>
>When a company settles for sounding like garbage at a trade show,
>there is something wrong with those who run that company.
>
>I first heard Matchless amps, the new Telefunken mics, Fearn
>preamps, Soundelux mics, and about 50 other things at big trade
>shows, and all of them sounded great both there and in daily use.
>
>
>>For sure,
>>there is no telling who setup the rig and what gear they used - hardly
a
>>sound engineering reason to write it off.
>
>
>As a client, you have to conclude that someone blew it. Either
>the trade show people, or those who created the product. How
>do you know? Well, when a pro like yourself tells me it sounds
>great, that carries a lot of weight, but the company could have
>done as well as others have done and they didn't.
>
>
>>Also I think some people pop up built in EQs, comps, reverbs,
>>etc, run a mix, and assume that's the sound of the DAW. Makes me wonder
>>where these people learned engineering... Like all things, even mediocre
>>gear/plugins can work in the right situation.
>
>
>Absolutely.
>
>
>>Bit for bit cancellation with what? Another PT rig? For sure. With
>>Samplitude or Nuendo? No way if you use audio files with more than 16
bits
>>of dynamic range. I know other users that have tested Samplitude and Nuendo
>>and gotten the same cancellation results. FWIW, Lynn Fuston has a DAWSUM
>>sampler testing this very thing for anyone interested.
>
>And all this testing is worthwhile, yet not definitive. Time after time
>in the last 50 years in audio, somone has come up with a "definitive"
>test for something and discarded the audible evidence right in front
>of them. Later, someone a bit smarter figures out how to test for
>what they heard and says "oh yeah, here's what you heard".
>
>It's like the folks who say there is no difference in CD recording
>media or writing speeds. I heard SSC say on this very forum that
>media didn't matter, but you shouldn't write audio CD's at 44X.
>
>Well, why not? they checksum perfectly! But they sound like crap.
>
>So, while we need (desperately) objective standards and
>measurements in audio, I have to say that someone who convinces
>themselves they did not hear something that they know they did
>hear, is almost as silly as someone who believes in every single
>goofy myth on Harmony Central.
>
>Hearing things that we cannot measure is how both audio and the
>science of measurement progress.
>
>
>>This is a long debated issue that so far, as a Nuendo user, and former
Paris
>>user, I can't find a reason why Samplitude would sound any better - either
>>technical or audible, and I've tested both ways.
>
>I don't know that Sequoia sounds any better or different than
>Nuendo. Haven't spent time with it. I like Sequoia because the
>editing just rocks, and you can master in the same app as you
>track and mix. Also, it's reputation in classical recording is sterling
>and there is no harder test than that.
>
>>I think the truth of the
>>matter is sound is 50% perception. Some think one DAW will sound better,
>>and it does. Put a Samplitude/Sequoia wrapper on Cubase SX and I bet 8
>out
>>of 10 listeners will think it sounds better. Some users claimed v2 sounded
>>better than 1, but they were the same audio engine - just a different look.
>
>Like Paris Pro huh?
>
>You are right of course, but like the doctor who listens to an ache
>that everyone else has dismissed, and looks closer only to discover
>a new disease and save a life, we grow when we hear something
>that should not be there, or miss something that should.
>
>There will come a point when DAW manufacturers stop making silly
>errors like the PT mix buss, and then things will sound mostly the
>same, but hey, look at the hardware vs. plugin debate! Hardware
>versions of the same product often sound better.
>
>There is plenty of room for progress in digital audio.
>
>take care
>
>DC
>Lite dusting here in NJ.
Happy Thanksgiving!Perfect Thanksgiving weather in front range Colorado - high 55(f). We're
spending the day with family.
For everyone experiencing wintery weather today, stay safe and warm!
Cheers,
-Jamie
http://www.JamieKrutz.com
Tyrone Corbett wrote:
> Lite dusting here in NJ.
>
> Happy Thanksgiving!It's a beautiful day here on the ranch in southern OK, about 55 and fair
skies. A nice day to charcoal some wild turkey legs!
To all, a great Thanksgiving!
"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
news:4385e7d1$1@linux...
>
> Lite dusting here in NJ.
>
> Happy Thanksgiving!When I wake up on Thanksgiving morning, my head is always filled with
traditional holiday images of family, friends, the bounty of our fair land
and Les Nesmond dropping turkeys from a helicopter.
Sunny and about 40 degrees here on the western slope.
Have a good one.
;o)
"Jamie K" <Meta@Dimensional.com> wrote in message news:4385e94a$1@linux...
>
> Perfect Thanksgiving weather in front range Colorado - high 55(f). We're
> spending the day with family.
>
> For everyone experiencing wintery weather today, stay safe and warm!
>
> Cheers,
> -Jamie
> http://www.JamieKrutz.com
>
>
> Tyrone Corbett wrote:
> > Lite dusting here in NJ.
> >
> > Happy Thanksgiving!On 11/24/05 1:42 AM, in article 43856ec8$1@linux, "DC"
<dc@spamunclelouie.com> wrote:
>
> DTerry <dterry@no_spamkeyofd.net> wrote:
>
>> I haven't needed support for Nuendo/SX yet, so I can't comment there. The
>> forum is knowledgeable enough usually that I don't see needing direct
>> support.
>
> These forums are absolutely priceless. I did try to contact
> Steinberg once. Hopeless.
That's why I don't even try. ;-) I have to say, I also tried contacting
Synthax (RME's US support) and got no response there either. RME's forum
however, was much more useful since Matthias Cartsen himself visits there
most everyday. In some ways it's a falling down of the companies, in
others, it's just simple economics - small software company - no budget for
support personnel. Digi built their company on expensive hardware, upgrade
plans, and pricey support plans, but it worked. .
>
>
>> There is no reason why Nuendo itself would sound bad anymore than
>> Samplitude, DP, Logic, Sonar or SawStudio, or Paris for that matter. I
>> would never use a tradeshow to judge audio quality of anything.
>
>
> Well, I don't know about that. Somehow both Paris and Sonic
> Solutions had terrific sounding demos at more than one big trade
> show.
>
> It's not that hard.
>
> When a company settles for sounding like garbage at a trade show,
> there is something wrong with those who run that company.
>
> I first heard Matchless amps, the new Telefunken mics, Fearn
> preamps, Soundelux mics, and about 50 other things at big trade
> shows, and all of them sounded great both there and in daily use.j
True - of course there is a reason why the demo sounded bad - possibly just
bad material. There was a Paris demo that didn't sound good as well, or at
least didn't impress me. You are right - it isn't that hard. I just don't
understand why mp3 loops are considered satisfactory for demos. I think
some of it has to do with just how large the content would be for a
full-fledged demo to include with the product - should be no big deal for
tradeshows, but instead they end up with the low rent demos that come with
the app instead.
>
>
>> Bit for bit cancellation with what? Another PT rig? For sure. With
>> Samplitude or Nuendo? No way if you use audio files with more than 16 bits
>> of dynamic range. I know other users that have tested Samplitude and Nuendo
>> and gotten the same cancellation results. FWIW, Lynn Fuston has a DAWSUM
>> sampler testing this very thing for anyone interested.
>
> And all this testing is worthwhile, yet not definitive. Time after time
> in the last 50 years in audio, somone has come up with a "definitive"
> test for something and discarded the audible evidence right in front
> of them. Later, someone a bit smarter figures out how to test for
> what they heard and says "oh yeah, here's what you heard".
>
> It's like the folks who say there is no difference in CD recording
> media or writing speeds. I heard SSC say on this very forum that
> media didn't matter, but you shouldn't write audio CD's at 44X.
>
> Well, why not? they checksum perfectly! But they sound like crap.
>
> So, while we need (desperately) objective standards and
> measurements in audio, I have to say that someone who convinces
> themselves they did not hear something that they know they did
> hear, is almost as silly as someone who believes in every single
> goofy myth on Harmony Central.
>
> Hearing things that we cannot measure is how both audio and the
> science of measurement progress.
True. The point was that sometimes we "think" we hear something better,
only to blind A/B it to another source and realize we pick A and B equally.
The same happened with me an Samplitude - I heard the hype, opened the app
and thought that somehow it seemed to sound better on even a single stereo
file. I A/B'd it and realized it was just
psycho-acoustic-hyper-expectationalism (aka PAHE ;-)
>
>
>> This is a long debated issue that so far, as a Nuendo user, and former Paris
>> user, I can't find a reason why Samplitude would sound any better - either
>> technical or audible, and I've tested both ways.
>
> I don't know that Sequoia sounds any better or different than
> Nuendo. Haven't spent time with it. I like Sequoia because the
> editing just rocks, and you can master in the same app as you
> track and mix. Also, it's reputation in classical recording is sterling
> and there is no harder test than that.
If I were recording and editing classical, Sequoia would be at the top of my
list simply for editing. No need for VSTi's in that market, so editing
would be key. There is no doubt Samplitude and Sequoia are stellar apps for
audio (mediocre for midi/production though, and poor for composing, which is
what I do).
>
>> I think the truth of the
>> matter is sound is 50% perception. Some think one DAW will sound better,
>> and it does. Put a Samplitude/Sequoia wrapper on Cubase SX and I bet 8
> out
>> of 10 listeners will think it sounds better. Some users claimed v2 sounded
>> better than 1, but they were the same audio engine - just a different look.
>
> Like Paris Pro huh?
>
> You are right of course, but like the doctor who listens to an ache
> that everyone else has dismissed, and looks closer only to discover
> a new disease and save a life, we grow when we hear something
> that should not be there, or miss something that should.
I once found some audio anomalies in Paris that I have screen shots for.
Another user raised questions about the validity of those results (perhaps
system/power related?), but I my procedure was valid, and tested mulitple
times. They showed odd gain behavior at lower levels that technically would
have been bad news for a newer digital product (unable to pass a single
audio file transparently), but this was after it was on its' way down, and
we all loved the sound, so no one really cared.
>
> There will come a point when DAW manufacturers stop making silly
> errors like the PT mix buss, and then things will sound mostly the
> same, but hey, look at the hardware vs. plugin debate! Hardware
> versions of the same product often sound better.
>
> There is plenty of room for progress in digital audio.
Absolutely. I am hoping 64-bit OSs, apps, and mix engines reveal a higher
quality we assumed we were missing, but have yet to compare audibly (and
hopefully some performance boost at the same time - long shot I suppose).
I'm all for improvement and never saying my DAW of choice is the be-all,
end-all. That would be shortsighted. It is in fact all about the music,
not the gear.
Happy Thanksgiving!
Dedric
>
> take care
>
> DC
>Pretty nice day here in Co. Springs - a bit overcast with snow on the way
Sunday. mmmm grilled turkey legs sound good...
Have a Happy Thanksgiving all!
On 11/24/05 9:25 AM, in article 4385ea6c@linux, "Edna"
<edna@texomaonline.com> wrote:
> It's a beautiful day here on the ranch in southern OK, about 55 and fair
> skies. A nice day to charcoal some wild turkey legs!
> To all, a great Thanksgiving!
>
> "Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
> news:4385e7d1$1@linux...
>>
>> Lite dusting here in NJ.
>>
>> Happy Thanksgiving!
>
>Our neighbor has 30 people over an the power just went out. hahaha I'm
convinced the government made the weather beautiful today and gas prices
lower to make us feel good. Suckas.
I see 100 cdrs at office depot for $10 after rebate. mmm
www.blackfridayads.com
check it out.
Happy Turkey all.
DTerry wrote:
> Pretty nice day here in Co. Springs - a bit overcast with snow on the way
> Sunday. mmmm grilled turkey legs sound good...
>
> Have a Happy Thanksgiving all!
>
> On 11/24/05 9:25 AM, in article 4385ea6c@linux, "Edna"
> <edna@texomaonline.com> wrote:
>
>
>>It's a beautiful day here on the ranch in southern OK, about 55 and fair
>>skies. A nice day to charcoal some wild turkey legs!
>>To all, a great Thanksgiving!
>>
>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote in message
>>news:4385e7d1$1@linux...
>>
>>>Lite dusting here in NJ.
>>>
>>>Happy Thanksgiving!
>>
>>
>I think you're right. I just listened with fresh ears. It's barely
noticable, but it's noticable nonetheless. What happens is that Nero
upsamples the .wma with a bunch of empty zeroes to create the audio CD. Then
the encoding feature grabs those and downsamples them again. Sounds like the
codec is throwing out more than just the empty zeroes (sigh).
"Kim" <hiddensounds@hotmail.com> wrote in message news:43857b3f$1@linux...
>
>
> You will lose audio quality though in the second conversion to MP3...
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >Tony,
> >
> >I have converted those .wma files to MP3's and e-mailed them to you. the
> >.wma files were DRM encoded. I don't have a clue how that happened-it
> >certainly wasn't intentional on my part. I think my WMP did it somehow
> >without my catching it. Anyway, being the lazy ass slacker that I am,
> I
> >decided to figure out a way to defeat DRM so I wouldn't have to get up,
> walk
> >into the other room, boot my DAW, convert the bounces to MP3, then burn
> them
> >to a CD. It's pretty easy really.....at least I think I have succeeded.
> It
> >just requires the sacrifice of one CD. All you need to do is to burn
these
> >copy protected files to an Audio CD (I used Nero), then rip the CD and
save
> >the files as MP3's. That's what I did with the files I sent you. I don't
> >notice any audible degradation. Let me know if the DRM copy protection
shows
> >up on your end. It doesn't show up here on the MP3's so don't think it
will
> >be an issue with the files I sent you.
> >
> >Cheers,
> >
> >Deej
> >
> >
> >"Tony Benson" <tony@standinghampton.com> wrote in message
> >news:BFA962B2.2872%tony@standinghampton.com...
> >> Darn, and here I thought we were going to get to see some movies of
real
> >> barefoot bluegrass pickin' hippies! ;>)
> >>
> >> I don't know why I always assume video when I see .wma. Anyway, I'll be
> >glad
> >> to swap them out when the new mp3's arrive.
> >>
> >> Thanks,
> >>
> >> Tony
> >>
> >> On 11/22/05 9:32 PM, in article 4383e371@linux, "DJ"
> >> <animix_spam-this-ahole_@animas.net> wrote:
> >>
> >> > Hi Tony,
> >> >
> >> > I've got the original Paris boundces of these on a hard drive. I'll
> look
> >> > around and find them, convert the to MP3 and you can substituet them
> for
> >> > these ((((&^(*&^ .wma files. I'm not even sure how these got .wma'ed.
> >It's a
> >> > PITA, that's for sure.
> >> >
> >> > DJ
> >> >
> >> > "Tony" <tony@standinghampton.com> wrote in message
> >> > news:BFA92310.472EC%tony@standinghampton.com...
> >> >> Deej sent me some more files from "The Barefoot Hippies" sessions.
> >They're
> >> >> up on www.mercysakes.com under the Doug Joyce folder. I'm having
> >problems
> >> >> opening the .wma files, but maybe it's just couse I'm on these pesky
> >Macs
> >> >> here at home. I get a message saying the file was ripped from a
> >> > copyrighted
> >> >> source and I need to authorize it to be played on my machine.? If I
> hit
> >> > the
> >> >> "authorize" button, I get an error page. I've got the latest version
> of
> >> >> Windows Media Player for the Mac installed, but they always lag a
bit
> >> > behind
> >> >> the Windows versions as far as compatibility and operation. Can
anyone
> >say
> >> >> Microsoft sabotage? Just kidding, I'm probably doing something
wrong.
> >> >> Anyway, enjoy the files.
> >> >>
> >> >> Tony
> >> >>
> >> >
> >> >
> >>
> >
> >
>It's about 18 degrees here in Detroit, we've got about 1 1/2 inches of snow
on the ground, and the sun is shinning. My girlfriend Andrea is cooking
up some turkey, and I'm reloading XP on her system, Oh the joy; ) Hey we're
warm in side and we're together!
Cheers to all!
Happy Thanksgiving!
James
"DC" <dc@spamyermama.com> wrote:
>
>We are going to a cool restaurant in Palm Springs ("bom bings" to
>my 4-year old) so we don't have to do any dishes. yes!
>
>For those of you from other than the US, come visit and try one
>of these amazing T-day dinners.
>
>
>May you have a wonderful Thanksgiving!
>
>DC
>Well kinda. As I understand it there's no zeros. MP3's actually have a full
16 bits of resolution... it's just that some of the bits are actually wrong.
;o)
So what happens is, you had the WMA files (which have some bits wrong) which
is then converted to 16/44.1 CD audio (albeit with some bits wrong). Your
MP3 conversion software then converts the audio (complete with wrong bits)
into MP3, which then creates an MP3, with full 16 bit resolution, but with
some of the bits wrong once again, hence it no longer matches even the output
of the WMA, which was, in itself, wrong...
You'll possibly be lucky to a degree, in that it's quite possible that the
conversions will make similar mistakes to each other, hence your cumulative
error will possibly be less than double the original errors.
Best to start from wavs though.
Cheers,
Kim.
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I think you're right. I just listened with fresh ears. It's barely
>noticable, but it's noticable nonetheless. What happens is that Nero
>upsamples the .wma with a bunch of empty zeroes to create the audio CD.
Then
>the encoding feature grabs those and downsamples them again. Sounds like
the
>codec is throwing out more than just the empty zeroes (sigh).
>
>
>
>"Kim" <hiddensounds@hotmail.com> wrote in message news:43857b3f$1@linux...
>>
>>
>> You will lose audio quality though in the second conversion to MP3...
>>
>> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
>> >Tony,
>> >
>> >I have converted those .wma files to MP3's and e-mailed them to you.
the
>> >.wma files were DRM encoded. I don't have a clue how that ha
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