Home » The PARIS Forums » PARIS: Main » Rod or Dimitrios Multi Mec ideas needed.
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| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87856 is a reply to message #87823] |
Tue, 10 July 2007 06:51   |
Dimitrios
Messages: 1056
Registered: August 2005
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Senior Member |
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---=_linux46c51171--It's not an instructional DVD, it's more of a tips and tricks DVD.
"M. O'Reilly" <PARIS@moreilly.com> wrote:
>Hey everybody - does anyone have a copy of the Paris Instructional DVD I
>can buy or borrow?
>
>Thanks,
>MattWhat about a jogging wheel?
Erling
On Thu, 16 Aug 2007 11:31:49 -0700, "Doug Wellington"
<doug@parisfaqs.com> wrote:
>> Agreeing with everything everyone's said to this point in the
>> thread... besides, if you can come up with a touch-sensitive
>> system that can also replace some legacy (console-oriented)
>> systems that are no longer supported you can make a few million
>> dollars. So go for it... If you're gonna do it, you may as well
>> do it to a financially viable level of implementation if you
>> have the capability & coding chops to do so.
>
>OK, I must not realize the true magnitude of this, so help me out...
>
>So far, I've got a system laid out with 17 faders with several rows of
>encoders and mute and solo buttons per fader, plus a separate panel of
>control buttons and knobs and a four line display. (It can be put on either
>side of the faders depending upon whether you want to work left handed or
>right. What more should I include? And what kind of layout do guys you
>prefer? Put a different way, what control buttons do you always reach for?
>They should be in convenient locations, right? And what devices would you
>want to control with something like this?
>
>Doug
>
>http://www.parisfaqs.com
>Even better - I've got the basics down, I'm looking for some of the more
intermediate->advanced stuff that isn't obvious.
I think I remember reading in an earlier post that it's no longer
available for purchase, or I'd simply buy it. If tha
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| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87857 is a reply to message #87842] |
Tue, 10 July 2007 07:03 |
Rod Lincoln
Messages: 883
Registered: September 2005
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Senior Member |
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t's incorrect, I
need to know where to go to get it.
Thanks!
Matt
James McCloskey wrote:
> It's not an instructional DVD, it's more of a tips and tricks DVD.
>
> "M. O'Reilly" <PARIS@moreilly.com> wrote:
>> Hey everybody - does anyone have a copy of the Paris Instructional DVD I
>
>> can buy or borrow?
>>
>> Thanks,
>> Matt
>After watching the dvd in detail I put all the tips into the paris treepad
here:
www.kfocus.com/parisHA! I knew you couldn't resist that.
Rod
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>news:46c307d1$1@linux...
>>
>> I must have one.
>> rod
>
>
>.....or what?
>
>Erling wrote:
> What about a jogging wheel?
Yes, that is included... I'm even thinking of including a bank of pads
something like this:
http://monome.org/
Interesting project that, but I wish the pads were velocity sensitive, and
the kit is a little pricey for what it is...
Doug
http://www.parisfaqs.comJust got back in from vacation and found this.
My new CR will hae both PTHD and Paris, and a controller
that would do both would be amazing...
"Doug Wellington" <doug@parisfaqs.com> wrote:
>Erling wrote:
>> What about a jogging wheel?
>
>Yes, that is included... I'm even thinking of including a bank of pads
>something like this:
>
>http://monome.org/
>
>Interesting project that, but I wish the pads were velocity sensitive, and
>the kit is a little pricey for what it is...
>
>Doug
>
>http://www.parisfaqs.com
>
>This is a multi-part message in MIME format.
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Doug,
I'm sticking with Paris so that is crucial to me although Cubase is
also part of my setup. The motorized faders would be really great
along with transport controls. Anything else is gravy.
My setup would almost require it to fit into the C-16 shape
or something quite similar.
This is too good!
Tom
"John Macy" <spamlessjohn@johnmacy.com> wrote in message =
news:46c5cd13$1@linux...
Just got back in from vacation and found this.
My new CR will hae both PTHD and Paris, and a controller
that would do both would be amazing...
"Doug Wellington" <doug@parisfaqs.com> wrote:
>Erling wrote:
>> What about a jogging wheel?
>
>Yes, that is included... I'm even thinking of including a bank of =
pads
>something like this:
>
>http://monome.org/
>
>Interesting project that, but I wish the pads were velocity =
sensitive, and
>the kit is a little pricey for what it is...
>
>Doug
>
>http://www.parisfaqs.com=20
>
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Doug,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I'm sticking with Paris so that is =
crucial to me=20
although Cubase is</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>also part of my setup. The =
motorized faders=20
would be really great</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>along with transport controls. =
Anything else=20
is gravy.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>My setup would almost require it to fit =
into the=20
C-16 shape</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>or something quite =
similar.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>This is too good!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></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>"John Macy" <<A=20
=
href=3D"mailto:spamlessjohn@johnmacy.com">spamlessjohn@johnmacy.com</A>&g=
t;=20
wrote in message <A=20
=
href=3D"news:46c5cd13$1@linux">news:46c5cd13$1@linux</A>...</DIV><BR>Just=
got=20
back in from vacation and found this.<BR><BR>My new CR will hae both =
PTHD and=20
Paris, and a controller<BR>that would do both would be=20
amazing...<BR><BR><BR><BR><BR>"Doug Wellington" <<A=20
href=3D"mailto:doug@parisfaqs.com">doug@parisfaqs.com</A>>=20
wrote:<BR>>Erling wrote:<BR>>> What about a jogging=20
wheel?<BR>><BR>>Yes, that is included... I'm even thinking =
of=20
including a bank of pads<BR><BR>>something like=20
this:<BR>><BR>>http://monome.org/<BR>><BR>>Interesting =
project=20
that, but I wish the pads were velocity sensitive, and<BR><BR>>the =
kit is a=20
little pricey for what it=20
is...<BR>><BR>>Doug<BR>><BR>>http://www.parisfaqs.com=20
<BR>><BR>><BR></BLOCKQUOTE>
<DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
and=20
you?<BR><A=20
href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
..html</A> </FONT></DIV></BODY ></HTML>
------=_NextPart_000_00AF_01C7E0D1.5B26BAC0--What he said- except I'm logic and Paris. For me - really just Paris
fader, pan, mute/solo and transport would be great. Tascam's 2440 (?) looked
ideal. If a control surface can't do it all - plugins, EQ, bussing etc, I'd
rather break it down to groups of tasks. ie, if it can't do all the plugin
parameter control, I'd rather not use it for any part of that...
Ted
"John Macy" <spamlessjohn@johnmacy.com> wrote:
>
>Just got back in from vacation and found this.
>
>My new CR will hae both PTHD and Paris, and a controller
>that would do both would be amazing...
>
>
>
>
>"Doug Wellington" <doug@parisfaqs.com> wrote:
>>Erling wrote:
>>> What about a jogging wheel?
>>
>>Yes, that is included... I'm even thinking of including a bank of pads
>
>>something like this:
>>
>>http://monome.org/
>>
>>Interesting project that, but I wish the pads were velocity sensitive,
and
>
>>the kit is a little pricey for what it is...
>>
>>Doug
>>
>>http://www.parisfaqs.com
>>
>>
>Lol!! Dedric , just reading your first 2 lines, I knew you were reaching for
the Euphonix MC5 :)
"Dedric Terry" <dterry@keyofd.net> wrote:
>Doug,
>
>Just go for the whole ball of wax and add a small ASCII keyboard, Kensington
>Pro trackball,
>and a couple banks of assignable keys, a la X-Keys, with a preset mode to
>load setups for different DAWs.... :-)
>
>For me in particular, having assignable keys (not just function keys) is
>extrememly
>benificial for editing/composing, though probably not top priority for a
>mixing controller.
>I know a lot of other users would be happy to buy a controller that exceeded
>a Mackie controller
>and took a bit from the Euphonix MC
>(http://www.euphonix.com/post/products/mc/mc.htm), and sold
>for under $5k or so.
>
>The MC runs about $18k I believe, but has a dedicated protocol (Eucon) for
>Nuendo, ProTools, etc.
>Using USB midi would be fine, though if you want to go high end, ethernet
is
>worth a look.
>
>Understanding that the above is probably a little unrealistic, to your list
>I would add a jog/shuttle wheel
>and assignable keys if possible. I assume you are aiming for a generic
midi
>DAW controller rather than proprietary
>to one DAW.
>
>Regards,
>Dedric
>
>"Doug Wellington" <doug@parisfaqs.com> wrote in message
>news:46c49a0c$1@linux...
>>> Agreeing with everything everyone's said to this point in the
>>> thread... besides, if you can come up with a touch-sensitive
>>> system that can also replace some legacy (console-oriented)
>>> systems that are no longer supported you can make a few million
>>> dollars. So go for it... If you're gonna do it, you may as well
>>> do it to a financially viable level of implementation if you
>>> have the capability & coding chops to do so.
>>
>> OK, I must not realize the true magnitude of this, so help me out...
>>
>> So far, I've got a system laid out with 17 faders with several rows of
>> encoders and mute and solo buttons per fader, plus a separate panel of
>> control buttons and knobs and a four line display. (It can be put on
>> either side of the faders depending upon whether you want to work left
>> handed or right. What more should I include? And what kind of layout
do
>> guys you prefer? Put a different way, what control buttons do you always
>> reach for? They should be in convenient locations, right? And what
>> devices would you want to control with something like this?
>>
>> Doug
>>
>> http://www.parisfaqs.com
>>
>:-))
"LaMont" <jjdpro@ameritech.net> wrote in message news:46c62092$1@linux...
>
> Lol!! Dedric , just reading your first 2 lines, I knew you were reaching
> for
> the Euphonix MC5 :)
>
> "Dedric Terry" <dterry@keyofd.net> wrote:
>>Doug,
>>
>>Just go for the whole ball of wax and add a small ASCII keyboard,
>>Kensington
>
>>Pro trackball,
>>and a couple banks of assignable keys, a la X-Keys, with a preset mode to
>
>>load setups for different DAWs.... :-)
>>
>>For me in particular, having assignable keys (not just function keys) is
>
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| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87859 is a reply to message #87856] |
Tue, 10 July 2007 07:59 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
o:1@linux..." target="_blank">1@linux...
>>>> Agreeing with everything everyone's said to this point in the
>>>> thread... besides, if you can come up with a touch-sensitive
>>>> system that can also replace some legacy (console-oriented)
>>>> systems that are no longer supported you can make a few million
>>>> dollars. So go for it... If you're gonna do it, you may as well
>>>> do it to a financially viable level of implementation if you
>>>> have the capability & coding chops to do so.
>>>
>>> OK, I must not realize the true magnitude of this, so help me out...
>>>
>>> So far, I've got a system laid out with 17 faders with several rows of
>
>>> encoders and mute and solo buttons per fader, plus a separate panel of
>
>>> control buttons and knobs and a four line display. (It can be put on
>
>>> either side of the faders depending upon whether you want to work left
>
>>> handed or right. What more should I include? And what kind of layout
> do
>>> guys you prefer? Put a different way, what control buttons do you
>>> always
>
>>> reach for? They should be in convenient locations, right? And what
>>> devices would you want to control with something like this?
>>>
>>> Doug
>>>
>>> http://www.parisfaqs.com
>>>
>>
>Doug,
A controller like you are envisioning (only larger) was marketed by Tascam a
while back.
http://www.musiciansfriend.com/product/Tascam-US2400-24-CH-U SB-DAW-Controller?sku=706947
One of the main reasons it didn't fly was because it didn't have a backlit
LCD with a "per channel" readout like the Mackie Control so that you could
call up the various parameters on each track.
http://www.musiciansfriend.com/product/Mackie-Control-Univer sal?sku=634265
If it would have had that capability, they would have sold thousands of
them.
Just didn't want you go to all this effort to reinvent the same (flawed)
wheel.
Deej
"Doug Wellington" <doug@parisfaqs.com> wrote in message
news:46c4ec66$1@linux...
> So, you guys don't like the Mackie Control? I haven't used one, so I
> don't know anything about them. $1200 seems pretty cheap. Heck, just the
> faders I'm trying to use are $40 each - and that's in quantities over
> 100..! And I'm using 17 of them...
>
> As for connections, USB and 10/100 ethernet are already included on the
> development board I'm using. :) I'm adding the EDS serial comms and MIDI
> to it. And while my primary intent was to make a motorfader control for
> PARIS, I don't want to be limited to any particular software package. I
> forgot to mention that I do have a jog wheel, and that all buttons are
> assignable - I've got enough eprom to probably store 100 different
> setups...
>
> Doug
>
> http://www.parisfaqs.com
>> One of the main reasons it didn't fly was because it didn't have a backlit
> LCD with a "per channel" readout like the Mackie Control so that you could
> call up the various parameters on each track.
Thanks for pointing that out. I'm on a business trip next week, and I think
I've got my evenings free. I'll try to make a mock-up of my design to show
you what I'm working on...
Doug
http://www.parisfaqs.comI'll be at a training class in Sarasota next week. If any of you PARIS
users are near there, do you want to get together?
Doug
http://www.parisfaqs.comI'm very interested in this. It would be fantastic if this could somehow
simultaneously access Cubase and the Creamware mixer to integrate the two.
I'd probably sell my Houston controller and all my RME cards if I could
integrate Cubase and the Pulsar DSP mixer with a motorized fader controller.
I don't have any creamware cads left, but Aaron, Thad and Dedric do (I'm
sure they love it when I volunteer them to be guinea pigs ;o) It would be a
tall order, but you'd have the entire Pulsar user base as customers (and me)
in about 1 second flat.
;o)
"Doug Wellington" <doug@parisfaqs.com> wrote in message
news:46c656d7@linux...
>> One of the main reasons it didn't fly was because it didn't have a
>> backlit LCD with a "per channel" readout like the Mackie
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| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87865 is a reply to message #87859] |
Tue, 10 July 2007 09:21 |
Tom Bruhl
Messages: 1368
Registered: June 2007
|
Senior Member |
|
|
br />
>> http://www.parisfaqs.com
>>=20
>=20
>
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<DIV><FONT face=3DArial size=3D2>I'm in. The next 2 months are gonna be =
jammed, but=20
I will help where I can. A fader pack that can Paris one minute, Sonar =
the next=20
then ProTools and also handle the creamware mixer? Yah buddy, I'm=20
interested!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>One thing I'd like to see is of course =
the usual=20
play/record/ff/rew stuff, but also a talkback mic/pre onboard. Something =
cheap with a limit/compress circuit is just fine. I would not use =
it in my=20
current setup but how many fader control packs have that <EM>one simple=20
thing</EM> that studios would probably go nuts for.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>BTW Doug.. are we looking at =
proprietary drivers or=20
is this a OS-X/winxp plug'n'play thing? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Latency? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Would it have a submix mode to address, =
well..=20
submixes? </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Foot control inputs for punch =
in/out?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>AA</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>"DJ" <animix _ at _ animas _ dot _ =
net> wrote=20
in message </FONT><A href=3D"news:46c66516@linux"><FONT face=3DArial=20
size=3D2>news:46c66516@linux</FONT></A><FONT face=3DArial=20
size=3D2>...</FONT></DIV><FONT face=3DArial size=3D2>> I'm very =
interested in this.=20
It would be fantastic if this could somehow <BR>> simultaneously =
access=20
Cubase and the Creamware mixer to integrate the two. <BR>> I'd =
probably sell=20
my Houston controller and all my RME cards if I could <BR>> integrate =
Cubase=20
and the Pulsar DSP mixer with a motorized fader controller. <BR>> I =
don't=20
have any creamware cads left, but Aaron, Thad and Dedric do (I'm =
<BR>> sure=20
they love it when I volunteer them to be guinea pigs ;o) It would be a =
<BR>>=20
tall order, but you'd have the entire Pulsar user base as customers (and =
me)=20
<BR>> in about 1 second flat.<BR>> <BR>> ;o)<BR>> <BR>> =
<BR>>=20
"Doug Wellington" <</FONT><A href=3D"mailto:doug@parisfaqs.com"><FONT =
face=3DArial size=3D2>doug@parisfaqs.com</FONT></A><FONT face=3DArial =
size=3D2>>=20
wrote in message <BR>> </FONT><A href=3D"news:46c656d7@linux"><FONT =
face=3DArial=20
size=3D2>news:46c656d7@linux</FONT></A><FONT face=3DArial =
size=3D2>...<BR>>>>=20
One of the main reasons it didn't fly was because it didn't have a=20
<BR>>>> backlit LCD with a "per channel" readout like the =
Mackie=20
Control so that <BR>>>> you could call up the various =
parameters on=20
each track.<BR>>><BR>>> Thanks for pointing that out. =
I'm on a=20
business trip next week, and I <BR>>> think I've got my evenings=20
free. I'll try to make a mock-up of my design <BR>>> to show =
you=20
what I'm working on...<BR>>><BR>>> =
Doug<BR>>><BR>>>=20
</FONT><A href=3D"http://www.parisfaqs.com"><FONT face=3DArial=20
size=3D2>http://www.parisfaqs.com</FONT></A><BR><FONT face=3DArial =
size=3D2>>>=20
<BR>> <BR>></FONT></BODY></HTML>
------=_NextPart_000_00A2_01C7E142.6E77BAE0--Eeyyoo. Don't insult Queen.
S
"Neil" <IOIU@OIU.om> wrote in message news:46c6678d$1@linux...
>
> Just what you've been waiting for, a Freddie Mercury clone...
>
> http://www.vh1.com/search/search.jhtml?searchterm=mika&x =19&y=10
>
> Scroll down about halfway & watch/listen to the video.
>
> Neili was going through some old archives here at the studio when i came
across a tune he did here in between sessions putting down some fiddle
lines for some bands on a compilation album...this man is AMAZING. if
you've never heard him...
http://www.youtube.com/watch?v=NHC_Qyov2XcCool, thanks for that. Not quite the same as popping a DVD in while I'm
doing chores, but a good reference nonetheless. ;-P
Thanks!
Matt
John wrote:
> After watching the dvd in detail I put all the tips into the paris treepad
> here:
>
> www.kfocus.com/parisHmmmm... price ain't too bad - wonder how it sounds?
http://www.sweetwater.com/store/detail/Sumo"James McCloskey" <excelsm@hotmail.com> wrote:
>
>Any thoughts?
> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
Twenty-nine bucks? Geez, for that price it'd be worth building a
whole console's worth of 'em lol
:)Matt, shoot me an email.
Rob
mani1147@hotmail.com
"M. O'Reilly" <PARIS@moreilly.com> wrote in message news:46c6c904$1@linux...
> Cool, thanks for that. Not quite the same as popping a DVD in while I'm
> doing chores, but a good reference nonetheless. ;-P
>
> Thanks!
> Matt
>
> John wrote:
>> After watching the dvd in detail I put all the tips into the paris
>> treepad
>> here:
>>
>> www.kfocus.com/parisHey Neil, I thought you did'nt belive in analog summing..
Fact: In a summing shoot out..The Mack Onxy mixer beat out a lot of 5k summing
boxes..
"Neil" <OIUOIU@OI.com> wrote:
>
>Hmmmm... price ain't too bad - wonder how it sounds?
>
>http://www.sweetwater.com/store/detail/Sumo
>
>http://www.youtube.com/watch?v=cBLJpyvitF4
my best friend (since 1966) has a brother-in-law who's unstoppable.
-steveI never said I didn't believe in it. Where are you getting that
from?
IIRC, I said that I felt that the difference was perceiveable,
but not enough to warrant the extra hassle of routing &
rerouting everything, in my case.
And, FYI, there's almost no way in hell that I would use
boutique & high-end front-end stuff & then finish it off with a
Mackie mixer.
"LaMOnt" <jjdpro@ameritech.net> wrote:
>
>Hey Neil, I thought you did'nt belive in analog summing..
>
>Fact: In a summing shoot out..The Mack Onxy mixer beat out a lot of 5k summing
>boxes..
>
>"Neil" <OIUOIU@OI.com> wrote:
>>
>>Hmmmm... price ain't too bad - wonder how it sounds?
>>
>>http://www.sweetwater.com/store/detail/Sumo
>>
>>
>Aaron Allen wrote:
> A fader pack that can Paris one minute, Sonar the next then ProTools and
> also handle the creamware mixer? Yah buddy, I'm interested!
OK, I need to find out more about Creamware then - is the Pulsar
discontinued or something? Is "Scope" the same thing? Maybe I'll have to
call my controller "Listerine"... ;-)
> One thing I'd like to see is of course the usual play/record/ff/rew stuff,
> but
> also a talkback mic/pre onboard.
Nice idea... Up until now, I haven't included any audio in the design...
> BTW Doug.. are we looking at proprietary drivers or is this a OS-X/winxp
> plug'n'play thing?
Well, the initial design didn't have any drivers per se - it was to be
purely a C-16 replacement. Adding the MIDI interface wasn't a huge deal - I
just use a look up table and send a MIDI message. USB and ethernet
protocols are things I still have to look into...
> Latency?
I haven't done any tests yet, but I query each button many times per second
for status...
> Would it have a submix mode to address, well.. submixes?
Yes, there's a submix button, the same as on the C-16...
> Foot control inputs for punch in/out?
Well, that brings me back to the beginning of this little exercise. :-) I
bought a Looperlative LP1 [http://www.looperlative.com] and wasn't happy
with any currently available foot controllers. I bought an old Digitech
PMC-10 and it's alright, but it still didn't have all the features I wanted.
I ended up designing a foot controller with 24 buttons (!) on it - two rows
of nine, one for selecting channels (1-8 and all) - a second row for the
usual record, play, overdub, reverse, etc, and the other buttons for bank
selection, programming, etc. I had so much fun with the design that I
decided to make a desktop controller, and here we are...
:-)
Doug
http://www.parisfaqs.comWow. That made me cry. Some people have amazing courage. Thanks.
S
"steve the artguy" <artguy@somethingorother.net> wrote in message
news:46c735a9$1@linux...
>
> http://www.youtube.com/watch?v=cBLJpyvitF4
>
> my best friend (since 1966) has a brother-in-law who's unstoppable.
>
> -steveTrue story. A friend of mine (Justin Yooung ) just completed his first smooth
jazz CD, that was mixed ny 4 time grammy winner Paul Brown (LA).. Justine
stated that Paul uses PT HD then out into(Stems) a Mackie 8 buss mixer..
If you are or not familar with Paul's (Brown) work, just listen to the who's
who is that genre (Norman Brown, Boney James, ) and many many others..Top
notch..
Boutique is only Boutique because it's the buzz phrase of the day. Over priced
old gear and newer versions of an old piece of gear is all that it is..
In the end , the ears have it.. I can truly state that any when it comes
to summing, almost all analog mixers will sound better than ITB.. And , a
Mackie can get the job done.. Just like my Soundcraft Ghost get's it done
for me..
"Neil" <OIUOIU@OUI.com> wrote:
>
>I never said I didn't believe in it. Where are you getting that
>from?
>
>IIRC, I said that I felt that the difference was perceiveable,
>but not enough to warrant the extra hassle of routing &
>rerouting everything, in my case.
>
>And, FYI, there's almost no way in hell that I would use
>boutique & high-end front-end stuff & then finish it off with a
>Mackie mixer.
>
>
>
>
>"LaMOnt" <jjdpro@ameritech.net> wrote:
>>
>>Hey Neil, I thought you did'nt belive in analog summing..
>>
>>Fact: In a summing shoot out..The Mack Onxy mixer beat out a lot of 5k
summing
>>boxes..
>>
>>"Neil" <OIUOIU@OI.com> wrote:
>>>
>>>Hmmmm... price ain't too bad - wonder how it sounds?
>>>
>>>http://www.sweetwater.com/store/detail/Sumo
>>>
>>>
>>
>I picked one up last week (29.00) bucks.. I like it, but I don;t lijke the
limiter kicking in..Best to leave the limiter off..Having said that, this
pre coupled with a decent compresor is very nice ...
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>Any thoughts?
>
>http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>
>
> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>WOW!!!.One of my best friends has had an Ercoupe since the '70's. I've flown
it nuumerous times. They are cool planes. I love the mods on this one. What
an inspiring story.
;O)
"steve the artguy" <artguy@somethingorother.net> wrote in message
news:46c735a9$1@linux...
>
> http://www.youtube.com/watch?v=cBLJpyvitF4
>
> my best friend (since 1966) has a brother-in-law who's unstoppable.
>
> -steveYeah, that jog wheel is givin me a boner !?!?!?!\
WMW
"Paul Artola" <artola@comcast.net> wrote in message
news:6k2ac314e6c3oabrh4bb154s7fghedf7cq@4ax.com...
> Doug -
>
> This is all very exciting, what you are working on here. I know you
> have gotten good suggestions from the others. Any way to include this
> in the design:
>
> http://raildriver.com/assets/images/shipdriver/sd.large.main .jpg
>
> I think I really need that in my next control surface, or I am gonna
> die!
>
> - Paul Artola
> Ellicott City, Maryland
>
> On Thu, 16 Aug 2007 11:31:49 -0700, "Doug Wellington"
> <doug@parisfaqs.com> wrote:
>
>>> Agreeing with everything everyone's said to this point in the
>>> thread... besides, if you can come up with a touch-sensitive
>>> system that can also replace some legacy (console-oriented)
>>> systems that are no longer supported you can make a few million
>>> dollars. So go for it... If you're gonna do it, you may as well
>>> do it to a financially viable level of implementation if you
>>> have the capability & coding chops to do so.
>>
>>OK, I must not realize the true magnitude of this, so help me out...
>>
>>So far, I've got a system laid out with 17 faders with several rows of
>>encoders and mute and solo buttons per fader, plus a separate panel of
>>control buttons and knobs and a four line display. (It can be put on
>>either
>>side of the faders depending upon whether you want to work left handed or
>>right. What more should I include? And what kind of layout do guys you
>>prefer? Put a different way, what control buttons do you always reach
>>for?
>>They should be in convenient locations, right? And what devices would you
>>want to control with something like this?
>>
>>Doug
>>
>>Report message to a moderator
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87870 is a reply to message #87865] |
Tue, 10 July 2007 10:11 |
DJ
Messages: 1124
Registered: July 2005
|
Senior Member |
|
|
at will not diminish
the copyright owner’s ability to make money from the work are considered
fair use. As a result, permission from the copyright owner for those uses
is unnecessary. However, if there is doubt about whether a use is fair, err
on the side of caution and get permission or speak with an attorney.“Generally speaking, uses for non-commercial purposes that will not diminish
the copyright owner’s ability to make money from the work are considered
fair use.”
This is the sticky point. Because You Tube videos are now seen by millions,
copyright owners are arguing lost value. Even charitable non-profits (501c3)
need to pay royalties for TV and Radio use.Hi,
Would you know which 8 buss mackie mixer he uses ?
I always liked the sound of my 1202 Mackie mixer !!
Regards,
Dimitrios
"LaMont" <jjdpro@gmail.com> wrote:
>
>True story. A friend of mine (Justin Yooung ) just completed his first smooth
>jazz CD, that was mixed ny 4 time grammy winner Paul Brown (LA).. Justine
>stated that Paul uses PT HD then out into(Stems) a Mackie 8 buss mixer..
>
>If you are or not familar with Paul's (Brown) work, just listen to the who's
>who is that genre (Norman Brown, Boney James, ) and many many others..Top
>notch..
>
>Boutique is only Boutique because it's the buzz phrase of the day. Over
priced
>old gear and newer versions of an old piece of gear is all that it is..
>
>In the end , the ears have it.. I can truly state that any when it comes
>to summing, almost all analog mixers will sound better than ITB.. And ,
a
>Mackie can get the job done.. Just like my Soundcraft Ghost get's it done
>for me..
>
>
>
>"Neil" <OIUOIU@OUI.com> wrote:
>>
>>I never said I didn't believe in it. Where are you getting that
>>from?
>>
>>IIRC, I said that I felt that the difference was perceiveable,
>>but not enough to warrant the extra hassle of routing &
>>rerouting everything, in my case.
>>
>>And, FYI, there's almost no way in hell that I would use
>>boutique & high-end front-end stuff & then finish it off with a
>>Mackie mixer.
>>
>>
>>
>>
>>"LaMOnt" <jjdpro@ameritech.net> wrote:
>>>
>>>Hey Neil, I thought you did'nt belive in analog summing..
>>>
>>>Fact: In a summing shoot out..The Mack Onxy mixer beat out a lot of 5k
>summing
>>>boxes..
>>>
>>>"Neil" <OIUOIU@OI.com> wrote:
>>>>
>>>>Hmmmm... price ain't too bad - wonder how it sounds?
>>>>
>>>>http://www.sweetwater.com/store/detail/Sumo
>>>>
>>>>
>>>
>>
>"Doug Wellington" <doug@parisfaqs.com> wrote in message
news:46c76d68@linux...
> Aaron Allen wrote:
>> A fader pack that can Paris one minute, Sonar the next then ProTools and
>> also handle the creamware mixer? Yah buddy, I'm interested!
>
> OK, I need to find out more about Creamware then - is the Pulsar
> discontinued or something? Is "Scope" the same thing? Maybe I'll have to
> call my controller "Listerine"... ;-)
Pulsar/Scope/Creamware. Same folks far as I can tell.
>
>> One thing I'd like to see is of course the usual play/record/ff/rew
>> stuff, but
>> also a talkback mic/pre onboard.
>
> Nice idea... Up until now, I haven't included any audio in the design...
Shoot, a 741 with a CLM6000 strapped across it for limiting would get it
for most folks I think.
>
>> BTW Doug.. are we looking at proprietary drivers or is this a OS-X/winxp
>> plug'n'play thing?
>
> Well, the initial design didn't have any drivers per se - it was to be
> purely a C-16 replacement. Adding the MIDI interface wasn't a huge deal -
> I just use a look up table and send a MIDI message. USB and ethernet
> protocols are things I still have to look into...
So, it plugs into the EDS CAT5 type slot, or USB or ? On this I am a
little unclear.
>
>> Latency?
>
> I haven't done any tests yet, but I query each button many times per
> second for status...
Does this equate to CPU overhead of any mention?
>
>> Would it have a submix mode to address, well.. submixes?
>
> Yes, there's a submix button, the same as on the C-16...
You rock.
>
>> Foot control inputs for punch in/out?
>
> Well, that brings me back to the beginning of this little exercise. :-)
> I bought a Looperlative LP1 [http://www.looperlative.com] and wasn't happy
> with any currently available foot controllers. I bought an old Digitech
> PMC-10 and it's alright, but it still didn't have all the features I
> wanted. I ended up designing a foot controller with 24 buttons (!) on it -
> two rows of nine, one for selecting channels (1-8 and all) - a second row
> for the usual record, play, overdub, reverse, etc, and the other buttons
> for bank selection, programming, etc. I had so much fun with the design
> that I decided to make a desktop controller, and here we are...
>
Correction. You totally rock.This is the "real deal" when it comes to a limiting circuit that actually
"works" the way it should. It's an amazing box. I've got one here, but I'm
selling it to a local friend of mine to pay for Crashbasket's knee surgery.
http://www.aybg12.dsl.pipex.com/products.htm
The ompressor is more transparent and HIFI tan the RNC and it's almost
impossible to get the expander to chatter.
Deej
"LaMont" <jjdpro@gmail.com> wrote in message news:46c78144$1@linux...
>
> I picked one up last week (29.00) bucks.. I like it, but I don;t lijke the
> limiter kicking in..Best to leave the limiter off..Having said that, this
> pre coupled with a decent compresor is very nice ...
>
> "James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>Any thoughts?
>>
>>http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>>
>>
>> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>>
>"DJ" <animix _ at _ animas _ dot _ net> wrote:
>This is the "real deal" when it comes to a limiting circuit that actually
>"works" the way it should. It's an amazing box. I've got one here, but I'm
>selling it to a local friend of mine to pay for Crashbasket's knee surgery.
>
>http://www.aybg12.dsl.pipex.com/products.htm
>
>The ompressor is more transparent and HIFI tan the RNC and it's almost
>impossible to get the expander to chatter.
>
>Deej
What do they cost new?
>
>"LaMont" <jjdpro@gmail.com> wrote in message news:46c78144$1@linux...
>>
>> I picked one up last week (29.00) bucks.. I like it, but I don;t lijke
the
>> limiter kicking in..Best to leave the limiter off..Having said that, this
>> pre coupled with a decent compresor is very nice ...
>>
>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>Any thoughts?
>>>
>>>http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>>>
>>>
>>> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>>>
>>
>
>"LaMont" <jjdpro@gmail.com> wrote:
>Boutique is only Boutique because it's the buzz phrase of the
>day. Over priced old gear and newer versions of an old piece
>of gear is all that it is.
I guess I can both agree with you & disagree with you on this
point, depending on which piece of gear is the subject of
conversation at the moment - I have a few pieces of high-end
or "boutique" equipment that I think are worth every penny
I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
while there are others that are great, but you have to
wonder "do they REALLY need to charge that much for that?"
I think vintage gear is in another category... that's driven
strictly by availability, as, if you're looking to buy a 1073,
for example, there are only so many for sale at any given time.
Try making an offer of a grand to anyone selling one of those &
see if anyone takes you up on it. Unlikely; therefore the market
demand is what drives those prices.
>In the end , the ears have it.. I can truly state that any
>when it comes to summing, almost all analog mixers will sound
>better than ITB.. And , a Mackie can get the job done.. Just
>like my Soundcraft Ghost get's it done for me..
See, but that's your opinion... just because you make a
statement like: "I can truly state" or "end of story" (as you
did in another recent thread) doesn't mean it's the end of the
story for everyone, it just means it's the end of the story for
you. I've done enough summing experiments (not too long ago &
posted several results & examples here, in fact, as I'm sure
you recall) to where I'm convinced that a.) you can indeed hear
a difference, b.) the difference is not super-significant, and,
c.) There are tradeoffs.
NeilHe's using 24 channel 8 buss..
It's strange how many hit records were mixed on a mackie..I too have 1202
but now use a 1604 @ home to track and monitor with.
"Dimitrios" <musurgio@otenet.gr> wrote:
>
>Hi,
>Would you know which 8 buss mackie mixer he uses ?
>I always liked the sound of my 1202 Mackie mixer !!
>Regards,
>Dimitrios
>
>"LaMont" <jjdpro@gmail.com> wrote:
>>
>>True story. A friend of mine (Justin Yooung ) just completed his first
smooth
>>jazz CD, that was mixed ny 4 time grammy winner Paul Brown (LA).. Justine
>>stated that Paul uses PT HD then out into(Stems) a Mackie 8 buss mixer..
>>
>>If you are or not familar with Paul's (Brown) work, just listen to the
who's
>>who is that genre (Norman Brown, Boney James, ) and many many others..Top
>>notch..
>>
>>Boutique is only Boutique because it's the buzz phrase of the day. Over
>priced
>>old gear and newer versions of an old piece of gear is all that it is..
>>
>>In the end , the ears have it.. I can truly state that any when it comes
>>to summing, almost all analog mixers will sound better than ITB.. And ,
>a
>>Mackie can get the job done.. Just like my Soundcraft Ghost get's it done
>>for me..
>>
>>
>>
>>"Neil" <OIUOIU@OUI.com> wrote:
>>>
>>>I never said I didn't believe in it. Where are you getting that
>>>from?
>>>
>>>IIRC, I said that I felt that the difference was perceiveable,
>>>but not enough to warrant the extra hassle of routing &
>>>rerouting everything, in my case.
>>>
>>>And, FYI, there's almost no way in hell that I would use
>>>boutique & high-end front-end stuff & then finish it off with a
>>>Mackie mixer.
>>>
>>>
>>>
>>>
>>>"LaMOnt" <jjdpro@ameritech.net> wrote:
>>>>
>>>>Hey Neil, I thought you did'nt belive in analog summing..
>>>>
>>>>Fact: In a summing shoot out..The Mack Onxy mixer beat out a lot of 5k
>>summing
>>>>boxes..
>>>>
>>>>"Neil" <OIUOIU@OI.com> wrote:
>>>>>
>>>>>Hmmmm... price ain't too bad - wonder how it sounds?
>>>>>
>>>>>http://www.sweetwater.com/store/detail/Sumo
>>>>>
>>>>>
>>>>
>>>
>>
>On Thu, 16 Aug 2007 22:41:54 -0400, Paul Artola <artola@comcast.net>
wrote:
>Doug -
>
>This is all very exciting, what you are working on here. I know you
>have gotten good suggestions from the others. Any way to include this
>in the design:
>
> http://raildriver.com/assets/images/shipdriver/sd.large.main .jpg
>
>I think I really need that in my next control surface, or I am gonna
>die!
>
While I don't need the Shipdriver thingie, I could certainly use their
Raildriver version for controlling MS Train Sim when I'm not mixing.
Or I'm gonna die.
pabNeil,
I'm still "really" happy with the Neve 5042 tape emulator thingie. I mean,
REALLY" happy. It's not a summing device, but it definitely adds depth and
width to the stereo image.....very noticable but it's best (IMO) to "mix to
it", not strap it on later after the mix is pretty well set. It's amazing to
switch it in and out of the mix and hear the difference (that you don't
really notice until it's gone).
;o)
"Neil" <IOOIU@OIU.com> wrote in message news:46c87fa2$1@linux...
>
> "LaMont" <jjdpro@gmail.com> wrote:
>>Boutique is only Boutique because it's the buzz phrase of the
>>day. Over priced old gear and newer versions of an old piece
>>of gear is all that it is.
>
> I guess I can both agree with you & disagree with you on this
> point, depending on which piece of gear is the subject of
> conversation at the moment - I have a few pieces of high-end
> or "boutique" equipment that I think are worth every penny
> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
> while there are others that are great, but you have to
> wonder "do they REALLY need to charge that much for that?"
> I think vintage gear is in another category... that's driven
> strictly by availability, as, if you're looking to buy a 1073,
> for example, there are only so many for sale at any given time.
> Try making an offer of a grand to anyone selling one of those &
> see if anyone takes you up on it. Unlikely; therefore the market
> demand is what drives those prices.
>
>>In the end , the ears have it.. I can truly state that any
>>when it comes to summing, almost all analog mixers will sound
>>better than ITB.. And , a Mackie can get the job done.. Just
>>like my Soundcraft Ghost get's it done for me..
>
> See, but that's your opinion... just because you make a
> statement like: "I can truly state" or "end of story" (as you
> did in another recent thread) doesn't mean it's the end of the
> story for everyone, it just means it's the end of the story for
> you. I've done enough summing experiments (not too long ago &
> posted several results & examples here, in fact, as I'm sure
> you recall) to where I'm convinced that a.) you can indeed hear
> a difference, b.) the difference is not super-significant, and,
> c.) There are tradeoffs.
>
> NeilI totally agree with you.
"Neil" <IOOIU@OIU.com> wrote:
>
>"LaMont" <jjdpro@gmail.com> wrote:
>>Boutique is only Boutique because it's the buzz phrase of the
>>day. Over priced old gear and newer versions of an old piece
>>of gear is all that it is.
>
>I guess I can both agree with you & disagree with you on this
>point, depending on which piece of gear is the subject of
>conversation at the moment - I have a few pieces of high-end
>or "boutique" equipment that I think are worth every penny
>I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>while there are others that are great, but you have to
>wonder "do they REALLY need to charge that much for that?"
>I think vintage gear is in another category... that's driven
>strictly by availability, as, if you're looking to buy a 1073,
>for example, there are only so many for sale at any given time.
>Try making an offer of a grand to anyone selling one of those &
>see if anyone takes you up on it. Unlikely; therefore the market
>demand is what drives those prices.
>
>>In the end , the ears have it.. I can truly state that any
>>when it comes to summing, almost all analog mixers will sound
>>better than ITB.. And , a Mackie can get the job done.. Just
>>like my Soundcraft Ghost get's it done for me..
>
>See, but that's your opinion... just because you make a
>statement like: "I can truly state" or "end of story" (as you
>did in another recent thread) doesn't mean it's the end of the
>story for everyone, it just means it's the end of the story for
>you. I've done enough summing experiments (not too long ago &
>posted several results & examples here, in fact, as I'm sure
>you recall) to where I'm convinced that a.) you can indeed hear
>a difference, b.) the difference is not super-significant, and,
>c.) There are tradeoffs.
>
>NeilOnly $699.00
;o)
"James McCloskey" <excelsm@hotmail.com> wrote in message
news:46c87d80$1@linux...
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>This is the "real deal" when it comes to a limiting circuit that actually
>
>>"works" the way it should. It's an amazing box. I've got one here, but I'm
>
>>selling it to a local friend of mine to pay for Crashbasket's knee
>>surgery.
>>
>>http://www.aybg12.dsl.pipex.com/products.htm
>>
>>The ompressor is more transparent and HIFI tan the RNC and it's almost
>>impossible to get the expander to chatter.
>>
>>Deej
>
> What do they cost new?
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87871 is a reply to message #87870] |
Tue, 10 July 2007 10:39 |
Rich[3]
Messages: 132
Registered: January 2006
|
Senior Member |
|
|
>
>
>>
>>"LaMont" <jjdpro@gmail.com> wrote in message news:46c78144$1@linux...
>>>
>>> I picked one up last week (29.00) bucks.. I like it, but I don;t lijke
> the
>>> limiter kicking in..Best to leave the limiter off..Having said that,
>>> this
>>> pre coupled with a decent compresor is very nice ...
>>>
>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>
>>>>Any thoughts?
>>>>
>>>>http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>>>>
>>>>
>>>> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>>>>
>>>
>>
>>
>I thought I saw a post a while back about using the Paris Hardware with other
DAWs, but I searched and couldn't find anything.
Is this possible?
Are there any instructions on how to do this?
Thanks,
MikeNeil & Lamont: did either of you take the ProTools challenge and test
whether you could hear the difference between in the box Waves SSL plugs
and summing vs. SSL channels and summing? It may surprise you.
So put your money where your mouth is, so to speak, and take the test.
Then post your scores. I double dare you.
Neil wrote:
> "LaMont" <jjdpro@gmail.com> wrote:
>> Boutique is only Boutique because it's the buzz phrase of the
>> day. Over priced old gear and newer versions of an old piece
>> of gear is all that it is.
>
> I guess I can both agree with you & disagree with you on this
> point, depending on which piece of gear is the subject of
> conversation at the moment - I have a few pieces of high-end
> or "boutique" equipment that I think are worth every penny
> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
> while there are others that are great, but you have to
> wonder "do they REALLY need to charge that much for that?"
> I think vintage gear is in another category... that's driven
> strictly by availability, as, if you're looking to buy a 1073,
> for example, there are only so many for sale at any given time.
> Try making an offer of a grand to anyone selling one of those &
> see if anyone takes you up on it. Unlikely; therefore the market
> demand is what drives those prices.
>
>> In the end , the ears have it.. I can truly state that any
>> when it comes to summing, almost all analog mixers will sound
>> better than ITB.. And , a Mackie can get the job done.. Just
>> like my Soundcraft Ghost get's it done for me..
>
> See, but that's your opinion... just because you make a
> statement like: "I can truly state" or "end of story" (as you
> did in another recent thread) doesn't mean it's the end of the
> story for everyone, it just means it's the end of the story for
> you. I've done enough summing experiments (not too long ago &
> posted several results & examples here, in fact, as I'm sure
> you recall) to where I'm convinced that a.) you can indeed hear
> a difference, b.) the difference is not super-significant, and,
> c.) There are tradeoffs.
>
> NeilRemember, the ITB mix was altered to make it *sound like*
the SSL sum mix... so it is NOT a realistic comparison.
David.
Bill L wrote:
> Neil & Lamont: did either of you take the ProTools challenge and test
> whether you could hear the difference between in the box Waves SSL plugs
> and summing vs. SSL channels and summing? It may surprise you.
>
> So put your money where your mouth is, so to speak, and take the test.
> Then post your scores. I double dare you.
>
> Neil wrote:
>
>> "LaMont" <jjdpro@gmail.com> wrote:
>>
>>> Boutique is only Boutique because it's the buzz phrase of the
>>> day. Over priced old gear and newer versions of an old piece
>>> of gear is all that it is.
>>
>>
>> I guess I can both agree with you & disagree with you on this
>> point, depending on which piece of gear is the subject of
>> conversation at the moment - I have a few pieces of high-end
>> or "boutique" equipment that I think are worth every penny
>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>> while there are others that are great, but you have to
>> wonder "do they REALLY need to charge that much for that?"
>> I think vintage gear is in another category... that's driven
>> strictly by availability, as, if you're looking to buy a 1073,
>> for example, there are only so many for sale at any given time.
>> Try making an offer of a grand to anyone selling one of those &
>> see if anyone takes you up on it. Unlikely; therefore the market
>> demand is what drives those prices.
>>
>>> In the end , the ears have it.. I can truly state that any
>>> when it comes to summing, almost all analog mixers will sound
>>> better than ITB.. And , a Mackie can get the job done.. Just
>>> like my Soundcraft Ghost get's it done for me..
>>
>>
>> See, but that's your opinion... just because you make a
>> statement like: "I can truly state" or "end of story" (as you
>> did in another recent thread) doesn't mean it's the end of the
>> story for everyone, it just means it's the end of the story for
>> you. I've done enough summing experiments (not too long ago &
>> posted several results & examples here, in fact, as I'm sure
>> you recall) to where I'm convinced that a.) you can indeed hear
>> a difference, b.) the difference is not super-significant, and,
>> c.) There are tradeoffs.
>>
>> Neil"Mike" <mikep@hometownrecords.com> wrote in message news:46c88c2a$1@linux...
>
> I thought I saw a post a while back about using the Paris Hardware with
> other
> DAWs, but I searched and couldn't find anything.
There was an ASIO driver once upon a time. Never did work well beyond a
stereo pair of I/O and latency was high in Wavelab
>
> Is this possible?
Not really, for any kind os serious use.
>
> Are there any instructions on how to do this?
>
> Thanks,
> Mike
My instructions would be to forget about the idea altogether and buy a Lynx
or RME card if you want to use a different audio app. It will save you time
and grief.
;o)..........so the secret to getting an ITB mix to sound like an SSL is to buy
an SSL, mix with it, then import the mix into PT and use plugins to
duplicate the sound of the SSL mix..
This sounds exactly like something I would dream up.
;o)
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
news:46c88e3c$1@linux...
> Remember, the ITB mix was altered to make it *sound like* the SSL sum
> mix... so it is NOT a realistic comparison.
>
> David.
>
> Bill L wrote:
>> Neil & Lamont: did either of you take the ProTools challenge and test
>> whether you could hear the difference between in the box Waves SSL plugs
>> and summing vs. SSL channels and summing? It may surprise you.
>>
>> So put your money where your mouth is, so to speak, and take the test.
>> Then post your scores. I double dare you.
>>
>> Neil wrote:
>>
>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>
>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>> day. Over priced old gear and newer versions of an old piece
>>>> of gear is all that it is.
>>>
>>>
>>> I guess I can both agree with you & disagree with you on this
>>> point, depending on which piece of gear is the subject of
>>> conversation at the moment - I have a few pieces of high-end
>>> or "boutique" equipment that I think are worth every penny
>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>> while there are others that are great, but you have to
>>> wonder "do they REALLY need to charge that much for that?"
>>> I think vintage gear is in another category... that's driven
>>> strictly by availability, as, if you're looking to buy a 1073,
>>> for example, there are only so many for sale at any given time.
>>> Try making an offer of a grand to anyone selling one of those &
>>> see if anyone takes you up on it. Unlikely; therefore the market
>>> demand is what drives those prices.
>>>
>>>> In the end , the ears have it.. I can truly state that any
>>>> when it comes to summing, almost all analog mixers will sound
>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>> like my Soundcraft Ghost get's it done for me..
>>>
>>>
>>> See, but that's your opinion... just because you make a
>>> statement like: "I can truly state" or "end of story" (as you
>>> did in another recent thread) doesn't mean it's the end of the
>>> story for everyone, it just means it's the end of the story for
>>> you. I've done enough summing experiments (not too long ago &
>>> posted several results & examples here, in fact, as I'm sure
>>> you recall) to where I'm convinced that a.) you can indeed hear
>>> a difference, b.) the difference is not super-significant, and,
>>> c.) There are tradeoffs.
>>>
>>> NeilThe only way to truly test summing would be to send the PT
stems to a *second* PT system for summing there, then a
second pass summed through the analog mixer. You would of
course have to record the resulting sums onto the same unit
(Masterlink, Tascam'1000 etc.) for a fair comparison. But
this STILL wouldn't take into account the convertors, clock,
etc etc etc.
David.
DJ wrote:
> .........so the secret to getting an ITB mix to sound like an SSL is to buy
> an SSL, mix with it, then import the mix into PT and use plugins to
> duplicate the sound of the SSL mix..
>
> This sounds exactly like something I would dream up.
>
> ;o)
>
>
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
> news:46c88e3c$1@linux...
>
>>Remember, the ITB mix was altered to make it *sound like* the SSL sum
>>mix... so it is NOT a realistic comparison.
>>
>>David.
>>
>>Bill L wrote:
>>
>>>Neil & Lamont: did either of you take the ProTools challenge and test
>>>whether you could hear the difference between in the box Waves SSL plugs
>>>and summing vs. SSL channels and summing? It may surprise you.
>>>
>>>So put your money where your mouth is, so to speak, and take the test.
>>>Then post your scores. I double dare you.
>>>
>>>Neil wrote:
>>>
>>>
>>>>"LaMont" <jjdpro@gmail.com> wrote:
>>>>
>>>>
>>>>>Boutique is only Boutique because it's the buzz phrase of the
>>>>>day. Over priced old gear and newer versions of an old piece
>>>>>of gear is all that it is.
>>>>
>>>>
>>>>I guess I can both agree with you & disagree with you on this
>>>>point, depending on which piece of gear is the subject of
>>>>conversation at the moment - I have a few pieces of high-end
>>>>or "boutique" equipment that I think are worth every penny
>>>>I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>while there are others that are great, but you have to
>>>>wonder "do they REALLY need to charge that much for that?"
>>>>I think vintage gear is in another category... that's driven
>>>>strictly by availability, as, if you're looking to buy a 1073,
>>>>for example, there are only so many for sale at any given time.
>>>>Try making an offer of a grand to anyone selling one of those &
>>>>see if anyone takes you up on it. Unlikely; therefore the market
>>>>demand is what drives those prices.
>>>>
>>>>
>>>>>In the end , the ears have it.. I can truly state that any
>>>>>when it comes to summing, almost all analog mixers will sound
>>>>>better than ITB.. And , a Mackie can get the job done.. Just
>>>>>like my Soundcraft Ghost get's it done for me..
>>>>
>>>>
>>>>See, but that's your opinion... just because you make a
>>>>statement like: "I can truly state" or "end of story" (as you
>>>>did in another recent thread) doesn't mean it's the end of the
>>>>story for everyone, it just means it's the end of the story for
>>>>you. I've done enough summing experiments (not too long ago &
>>>>posted several results & examples here, in fact, as I'm sure
>>>>you recall) to where I'm convinced that a.) you can indeed hear
>>>>a difference, b.) the difference is not super-significant, and,
>>>>c.) There are tradeoffs.
>>>>
>>>>Neil
>
>
>My dad had an Ercoupe for a while and they are fun to fly. With no
rudder pedals and a stable wing design, what a great choice for your
friend's brother-in-law!
Thanks for the link.
Cheers,
-Jamie
www.JamieKrutz.com
DJ wrote:
> WOW!!!.One of my best friends has had an Ercoupe since the '70's. I've flown
> it nuumerous times. They are cool planes. I love the mods on this one. What
> an inspiring story.
>
> ;O)
>
>
> "steve the artguy" <artguy@somethingorother.net> wrote in message
> news:46c735a9$1@linux...
>> http://www.youtube.com/watch?v=cBLJpyvitF4
>>
>> my best friend (since 1966) has a brother-in-law who's unstoppable.
>>
>> -steve
>
>Exactly. In the ITB version you don't have to go out into the
analog domain, therefore it's not an apples-to-apples
comparison.
Neil
"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote:
>The only way to truly test summing would be to send the PT
>stems to a *second* PT system for summing there, then a
>second pass summed through the analog mixer. You would of
>course have to record the resulting sums onto the same unit
>(Masterlink, Tascam'1000 etc.) for a fair comparison. But
>this STILL wouldn't take into account the convertors, clock,
>etc etc etc.
>
>David.
>
>DJ wrote:
>
>> .........so the secret to getting an ITB mix to sound like an SSL is to
buy
>> an SSL, mix with it, then import the mix into PT and use plugins to
>> duplicate the sound of the SSL mix..
>>
>> This sounds exactly like something I would dream up.
>>
>> ;o)
>>
>>
>> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message
>> news:46c88e3c$1@linux...
>>
>>>Remember, the ITB mix was altered to make it *sound like* the SSL sum
>>>mix... so it is NOT a realistic comparison.
>>>
>>>David.
>>>
>>>Bill L wrote:
>>>
>>>>Neil & Lamont: did either of you take the ProTools challenge and test
>>>>whether you could hear the difference between in the box Waves SSL plugs
>>>>and summing vs. SSL channels and summing? It may surprise you.
>>>>
>>>>So put your money where your mouth is, so to speak, and take the test.
>>>>Then post your scores. I double dare you.
>>>>
>>>>Neil wrote:
>>>>
>>>>
>>>>>"LaMont" <jjdpro@gmail.com> wrote:
>>>>>
>>>>>
>>>>>>Boutique is only Boutique because it's the buzz phrase of the
>>>>>>day. Over priced old gear and newer versions of an old piece
>>>>>>of gear is all that it is.
>>>>>
>>>>>
>>>>>I guess I can both agree with you & disagree with you on this
>>>>>point, depending on which piece of gear is the subject of
>>>>>conversation at the moment - I have a few pieces of high-end
>>>>>or "boutique" equipment that I think are worth every penny
>>>>>I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>while there are others that are great, but you have to
>>>>>wonder "do they REALLY need to charge that much for that?"
>>>>>I think vintage gear is in another category... that's driven
>>>>>strictly by availability, as, if you're looking to buy a 1073,
>>>>>for example, there are only so many for sale at any given time.
>>>>>Try making an offer of a grand to anyone selling one of those &
>>>>>see if anyone takes you up on it. Unlikely; therefore the market
>>>>>demand is what drives those prices.
>>>>>
>>>>>
>>>>>>In the end , the ears have it.. I can truly state that any
>>>>>>when it comes to summing, almost all analog mixers will sound
>>>>>>better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>like my Soundcraft Ghost get's it done for me..
>>>>>
>>>>>
>>>>>See, but that's your opinion... just because you make a
>>>>>statement like: "I can truly state" or "end of story" (as you
>>>>>did in another recent thread) doesn't mean it's the end of the
>>>>>story for everyone, it just means it's the end of the story for
>>>>>you. I've done enough summing experiments (not too long ago &
>>>>>posted several results &
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87877 is a reply to message #87871] |
Tue, 10 July 2007 12:40 |
Tom Bruhl
Messages: 1368
Registered: June 2007
|
Senior Member |
|
|
you up on it. Unlikely; therefore the market
>> demand is what drives those prices.
>>
>>> In the end , the ears have it.. I can truly state that any
>>> when it comes to summing, almost all analog mixers will sound
>>> better than ITB.. And , a Mackie can get the job done.. Just
>>> like my Soundcraft Ghost get's it done for me..
>>
>> See, but that's your opinion... just because you make a
>> statement like: "I can truly state" or "end of story" (as you
>> did in another recent thread) doesn't mean it's the end of the
>> story for everyone, it just means it's the end of the story for
>> you. I've done enough summing experiments (not too long ago &
>> posted several results & examples here, in fact, as I'm sure
>> you recall) to where I'm convinced that a.) you can indeed hear
>> a difference, b.) the difference is not super-significant, and,
>> c.) There are tradeoffs.
>>
>> NeilFor me the most important difference between mixing analog and digital
is the EQ and maybe the biggest part of that is simply the response of
the knobs and how they alter the sound when I turn them. I don't get
that same feeling with most digital EQs.
Take the test. You will be surprised. I triple dare you.
lamont wrote:
> Bill, I work @ our church studio wich has a SSL 4000 G series(E series) eqs
> harwired to a PT HD3 using Lucid genX clock.. To the point...There is a noticble
> difference bte ITB and thru the SSL. We had a great laugh because all of
> the producers who work there all have PT HdS in there perwonal studios with
> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
> I will say his..inserting the waves SSL comp on the master buss really does
> what the real ssl buss comp does..and that is .it glues the entire mix..
>
>
> Bill L <bill@billlorentzen.com> wrote:
>> Neil & Lamont: did either of you take the ProTools challenge and test
>> whether you could hear the difference between in the box Waves SSL plugs
>
>> and summing vs. SSL channels and summing? It may surprise you.
>>
>> So put your money where your mouth is, so to speak, and take the test.
>> Then post your scores. I double dare you.
>>
>> Neil wrote:
>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>> day. Over priced old gear and newer versions of an old piece
>>>> of gear is all that it is.
>>> I guess I can both agree with you & disagree with you on this
>>> point, depending on which piece of gear is the subject of
>>> conversation at the moment - I have a few pieces of high-end
>>> or "boutique" equipment that I think are worth every penny
>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>> while there are others that are great, but you have to
>>> wonder "do they REALLY need to charge that much for that?"
>>> I think vintage gear is in another category... that's driven
>>> strictly by availability, as, if you're looking to buy a 1073,
>>> for example, there are only so many for sale at any given time.
>>> Try making an offer of a grand to anyone selling one of those &
>>> see if anyone takes you up on it. Unlikely; therefore the market
>>> demand is what drives those prices.
>>>
>>>> In the end , the ears have it.. I can truly state that any
>>>> when it comes to summing, almost all analog mixers will sound
>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>> like my Soundcraft Ghost get's it done for me..
>>> See, but that's your opinion... just because you make a
>>> statement like: "I can truly state" or "end of story" (as you
>>> did in another recent thread) doesn't mean it's the end of the
>>> story for everyone, it just means it's the end of the story for
>>> you. I've done enough summing experiments (not too long ago &
>>> posted several results & examples here, in fact, as I'm sure
>>> you recall) to where I'm convinced that a.) you can indeed hear
>>> a difference, b.) the difference is not super-significant, and,
>>> c.) There are tradeoffs.
>>>
>>> Neil
>"Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
> For me the most important difference between mixing analog and digital is
> the EQ and maybe the biggest part of that is simply the response of the
> knobs and how they alter the sound when I turn them. I don't get that same
> feeling with most digital EQs.
>
> Take the test. You will be surprised. I triple dare you.
>
Bill,
I agree with you about analog EQ adding something special. The UAD-1 Neve
1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm just
wondering what the point is of taking this test if the ITB mix is being
modelled on a mix that was already done on an outboard console. Having said
that, when I mix, I usually import a stereo master track of a song that is
similar in genre and instrumentation to the one I am mixing and use that as
a "go by", soloing an muting it as I go along, which is what this comparison
is basically doing as I understand it. From that standpoint, you could
definitely learn how to "closely emulate" a mix done on a console, but
without that point of reference, it might be a lot harder to dial in that
kind of similarity.
DeejThe difference (real life) is that the mix thru the SSL board becomes wider.
However, I would say that clocking plays a big role int he sound department.
Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid made
the mix tighter, more focused.
So, along with OTB, clocking plays a part..
Bill L <bill@billlorentzen.com> wrote:
>For me the most important difference between mixing analog and digital
>is the EQ and maybe the biggest part of that is simply the response of
>the knobs and how they alter the sound when I turn them. I don't get
>that same feeling with most digital EQs.
>
>Take the test. You will be surprised. I triple dare you.
>
>lamont wrote:
>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
eqs
>> harwired to a PT HD3 using Lucid genX clock.. To the point...There is
a noticble
>> difference bte ITB and thru the SSL. We had a great laugh because all
of
>> the producers who work there all have PT HdS in there perwonal studios
with
>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>> I will say his..inserting the waves SSL comp on the master buss really
does
>> what the real ssl buss comp does..and that is .it glues the entire mix..
>>
>>
>> Bill L <bill@billlorentzen.com> wrote:
>>> Neil & Lamont: did either of you take the ProTools challenge and test
>>> whether you could hear the difference between in the box Waves SSL plugs
>>
>>> and summing vs. SSL channels and summing? It may surprise you.
>>>
>>> So put your money where your mouth is, so to speak, and take the test.
>>> Then post your scores. I double dare you.
>>>
>>> Neil wrote:
>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>> day. Over priced old gear and newer versions of an old piece
>>>>> of gear is all that it is.
>>>> I guess I can both agree with you & disagree with you on this
>>>> point, depending on which piece of gear is the subject of
>>>> conversation at the moment - I have a few pieces of high-end
>>>> or "boutique" equipment that I think are worth every penny
>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>> while there are others that are great, but you have to
>>>> wonder "do they REALLY need to charge that much for that?"
>>>> I think vintage gear is in another category... that's driven
>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>> for example, there are only so many for sale at any given time.
>>>> Try making an offer of a grand to anyone selling one of those &
>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>> demand is what drives those prices.
>>>>
>>>>> In the end , the ears have it.. I can truly state that any
>>>>> when it comes to summing, almost all analog mixers will sound
>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>> like my Soundcraft Ghost get's it done for me..
>>>> See, but that's your opinion... just because you make a
>>>> statement like: "I can truly state" or "end of story" (as you
>>>> did in another recent thread) doesn't mean it's the end of the
>>>> story for everyone, it just means it's the end of the story for
>>>> you. I've done enough summing experiments (not too long ago &
>>>> posted several results & examples here, in fact, as I'm sure
>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>> a difference, b.) the difference is not super-significant, and,
>>>> c.) There are tradeoffs.
>>>>
>>>> Neil
>>The picture in this article is of the mamma bear and her cub that are
raiding the dumpsters around here. I've gotten pretty familiar with the
bears that are coming on to our property and I'm 99.9 % sure they are the
same bears, plus the caption says this photo was taken in Hermosa and that's
the suburb of Durango where we live. The female that hangs out here has the
same cinnamon coloring on the back and neck with the black face and legs. We
had a very late snowstorm last spring and that apparently put a big dent in
their natural food supply.
http://www.durangoherald.com/asp-bin...ws070819_1.htm
We have three big apple trees in the front yard and theses two bears and
another "huge" male are snarfing the apples that are ripening and dropping
off the trees. They totally destroyed our neighbors plum tree across the
street the other night and are also partying at another neighbors' apple
orchard on the property two doors down. A few yards from our apple trees is
a big willow tree that is in a parking area that is illuminated by a
flourescent floodlamp. Last week they would eat until they got their fill ,
then the female would stand under the willow tree while the baby bear ran up
and down the tree playing all night long. Crash and Muffin were not pleased
about this at all.Looks like all is good.
thanks for your prayers/positive vibes/support, etc.
;o)I can't seem to remember,is Nforce chipset good for audio? I'm looking at
getting a MSI P6N SLi FI with a Quad core. I can get a system locally with
2 gigs of ram and a 250 hardrive,DVD-RW for $999.
respect
Nappy
PS I'm doing great! I should be able to start working out soon. I see the
doctors
tomorrow.Thats great news! I'm up and running as well.
And thanks for your prayers,positive vibes as well.
thanks again.
respect
Nappy
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Looks like all is good.
>
>thanks for your prayers/positive vibes/support, etc.
>
>;o)
>
>My girlfriend, her daughter and I were out cycling in the
mountains the other week along some nice paved pathways...
http://tprc.alberta.ca/parks/kananaskis/facilities_kc_villag e.asp
Young Erica (7) was in front, and I was about 8' behind her.
My girlfriend was about 35' behind us. We passed a tree at
the side of the path and startled a LARGE adult bear that
was foraging wild strawberries at the base of the tree...
about 4' away. The bear sat up and jumped back a bit, then
went back to foraging. A few seconds later I hear "Holy
*hit!!"... :-) bear startled again! it took off this
time... I have to give Erica credit.. she kept peddling even
though her legs were shaking like crazy! We'll probably
wait till all the berries are gone before we go again...
David.
DJ wrote:
> The picture in this article is of the mamma bear and her cub that are
> raiding the dumpsters around here. I've gotten pretty familiar with the
> bears that are coming on to our property and I'm 99.9 % sure they are the
> same bears, plus the caption says this photo was taken in Hermosa and that's
> the suburb of Durango where we live. The female that hangs out here has the
> same cinnamon coloring on the back and neck with the black face and legs. We
> had a very late snowstorm last spring and that apparently put a big dent in
> their natural food supply.
>
> http://www.durangoherald.com/asp-bin...ws070819_1.htm
>
>
> We have three big apple trees in the front yard and theses two bears and
> another "huge" male are snarfing the apples that are ripening and dropping
> off the trees. They totally destroyed our neighbors plum tree across the
> street the other night and are also partying at another neighbors' apple
> orchard on the property two doors down. A few yards from our apple trees is
> a big willow tree that is in a parking area that is illuminated by a
> flourescent floodlamp. Last week they would eat until they got their fill ,
> then the female would stand under the willow tree while the baby bear ran up
> and down the tree playing all night long. Crash and Muffin were not pleased
> about this at all.
>
>Hey Nappy.. Nforce is a very good choice for audio (Nforce 3,4)
"Nappy" <mgrant62@googlemail.com> wrote:
>
>I can't seem to remember,is Nforce chipset good for audio? I'm looking at
>getting a MSI P6N SLi FI with a Quad core. I can get a system locally with
>2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>
>respect
>Nappy
>PS I'm doing great! I should be able to start working out soon. I see the
>doctors
>tomorrow.Awesome news all around!
Cheers,
-Jamie
www.JamieKrutz.com
Nappy wrote:
> Thats great news! I'm up and running as well.
> And thanks for your prayers,positive vibes as well.
> thanks again.
>
> respect
> Nappy
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>> Looks like all is good.
>>
>> thanks for your prayers/positive vibes/support, etc.
>>
>> ;o)
>>
>>
>Hey DJ,
that method can be dangerous, due to the fact that the 2 track reference
mix is finished Master with added eq and compression, stereo width enhancements.
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>
>"Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
>> For me the most important difference between mixing analog and digital
is
>> the EQ and maybe the biggest part of that is simply the response of the
>> knobs and how they alter the sound when I turn them. I don't get that
same
>> feeling with most digital EQs.
>>
>> Take the test. You will be surprised. I triple dare you.
>>
>Bill,
>
>I agree with you about analog EQ adding something special. The UAD-1 Neve
>1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm just
>wondering what the point is of taking this test if the ITB mix is being
>modelled on a mix that was already done on an outboard console. Having said
>that, when I mix, I usually import a stereo master track of a song that
is
>similar in genre and instrumentation to the one I am mixing and use that
as
>a "go by", soloing an muting it as I go along, which is what this comparison
>is basically doing as I understand it. From that standpoint, you could
>definitely learn how to "closely emulate" a mix done on a console, but
>without that point of reference, it might be a lot harder to dial in that
>kind of similarity.
>
>Deej
>
>Thanks Lamont,
This board has a NForce 650i chipset,do you know anything about this chipset?
http://www.msicomputer.com/product/p_spec.asp?model=P6N_SLI- FI&class=mb
respect
Nappy
"LaMont" <jjdpro@ameritech.net> wrote:
>
>Hey Nappy.. Nforce is a very good choice for audio (Nforce 3,4)
>
>
>"Nappy" <mgrant62@googlemail.com> wrote:
>>
>>I can't seem to remember,is Nforce chipset good for audio? I'm looking
at
>>getting a MSI P6N SLi FI with a Quad core. I can get a system locally with
>>2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>>
>>respect
>>Nappy
>>PS I'm doing great! I should be able to start working out soon. I see the
>>doctors
>>tomorrow.
>The 650 Chipset is fast. Good choice..Although I tend to go with Gigabyte
boards, but the MSI boards are cool..
"Nappy" <mgrant62@googlemail.com> wrote:
>
>Thanks Lamont,
>This board has a NForce 650i chipset,do you know anything about this chipset?
> http://www.msicomputer.com/product/p_spec.asp?model=P6N_SLI- FI&class=mb
>
>respect
>Nappy
>
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>Hey Nappy.. Nforce is a very good choice for audio (Nforce 3,4)
>>
>>
>>"Nappy" <mgrant62@googlemail.com> wrote:
>>>
>>>I can't seem to remember,is Nforce chipset good for audio? I'm looking
>at
>>>getting a MSI P6N SLi FI with a Quad core. I can get a system locally
with
>>>2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>>>
>>>respect
>>>Nappy
>>>PS I'm doing great! I should be able to start working out soon. I see
the
>>>doctors
>>>tomorrow.
>>
>Cool.. :)
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Looks like all is good.
>
>thanks for your prayers/positive vibes/support, etc.
>
>;o)
>
>Thanks LaMont,
You have been a big help.
respect
Nappy
"LaMont" <jjdpro@gmail.com> wrote:
>
>The 650 Chipset is fast. Good choice..Although I tend to go with Gigabyte
>boards, but the MSI boards are cool..
>
>"Nappy" <mgrant62@googlemail.com> wrote:
>>
>>Thanks Lamont,
>>This board has a NForce 650i chipset,do you know anything about this chipset?
>> http://www.msicomputer.com/product/p_spec.asp?model=P6N_SLI- FI&class=mb
>>
>>respect
>>Nappy
>>
>>
>>"LaMont" <jjdpro@ameritech.net> wrote:
>>>
>>>Hey Nappy.. Nforce is a very good choice for audio (Nforce 3,4)
>>>
>>>
>>>"Nappy" <mgrant62@googlemail.com> wrote:
>>>>
>>>>I can't seem to remember,is Nforce chipset good for audio? I'm looking
>>at
>>>>getting a MSI P6N SLi FI with a Quad core. I can get a system locally
>with
>>>>2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>>>>
>>>>respect
>>>>Nappy
>>>>PS I'm doing great! I should be able to start working out soon. I see
>the
>>>>doctors
>>>>tomorrow.
>>>
>>
>These guys did our "Wayward" CD, booklet printing and all and it came out
beautifully. Very nice to work with. They're having short run specials
right now according to their website. http://www.nwmedia.com/
S
"John" <no@no.com> wrote in message news:46c82e30$1@linux...
>
> Where do you guys like to go for CD duplication of small runs like 100 to
> 500 ?
>
> Thanks,
> JohnYay for Nappy and Crash! The force is strong in the Paris newsgroup. :)
Hey . . . Nappy and Crash . . . can we make that into a buddy detective
movie or something?
S
"DJ" <animix _ at _ animas _ dot _ net> wrote in message
news:46c91090@linux...
> Looks like all is good.
>
> thanks for your prayers/positive vibes/support, etc.
>
> ;o)
>
>Aaron Allen wrote:
> So, it plugs into the EDS CAT5 type slot, or USB or ? On this I am a
> little unclear.
I have been working on two connections - 1) EDS cat5, and 2) Standard
MIDI. The chip development board I'm using for programming has USB and
10/100 ethernet built in, so I will look into how to use them once I
have the EDS and MIDI sorted...
> Does this equate to CPU overhead of any mention?
Not the host CPU, but it does take a certain amount of the
microprocessor inside the controller itself... :-)
Doug
http://www.parisfaqs.comUnderstood. Seems like I am doing tall the tracking, mixing and mastering
here anyway. No one I work with has the budget for a mqastering engineer so
I just master as I mix. I know this is audio blasphemy, but I spit in the
face of audio blaqsphemy and go there anyway.
(huff huff, grunt grunt)
;o)
"LaMont" <jjdpro@ameritech.net> wrote in message news:46c91c42$1@linux...
>
> Hey DJ,
> that method can be dangerous, due to the fact that the 2 track reference
> mix is finished Master with added eq and compression, stereo width
> enhancements.
>
>
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>
>>"Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
>>> For me the most important difference between mixing analog and digital
> is
>>> the EQ and maybe the biggest part of that is simply the response of the
>
>>> knobs and how they alter the sound when I turn them. I don't get that
> same
>>> feeling with most digital EQs.
>>>
>>> Take the test. You will be surprised. I triple dare you.
>>>
>>Bill,
>>
>>I agree with you about analog EQ adding something special. The UAD-1 Neve
>
>>1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm
>>just
>
>>wondering what the point is of taking this test if the ITB mix is being
>
>>modelled on a mix that was already done on an outboard console. Having
>>said
>
>>that, when I mix, I usually import a stereo master track of a song that
> is
>>similar in genre and instrumentation to the one I am mixing and use that
> as
>>a "go by", soloing an muting it as I go along, which is what this
>>comparison
>
>>is basically doing as I understand it. From that standpoint, you could
>>definitely learn how to "closely emulate" a mix done on a console, but
>>without that point of reference, it might be a lot harder to dial in that
>
>>kind of similarity.
>>
>>Deej
>>
>>
>LoL! :)
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Understood. Seems like I am doing tall the tracking, mixing and mastering
>here anyway. No one I work with has the budget for a mqastering engineer
so
>I just master as I mix. I know this is audio blasphemy, but I spit in the
>face of audio blaqsphemy and go there anyway.
>
>(huff huff, grunt grunt)
>
>;o)
>
>"LaMont" <jjdpro@ameritech.net> wrote in message news:46c91c42$1@linux...
>>
>> Hey DJ,
>> that method can be dangerous, due to the fact that the 2 track reference
>> mix is finished Master with added eq and compression, stereo width
>> enhancements.
>>
>>
>>
>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>>
>>>"Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
>>>> For me the most important difference between mixing analog and digital
>> is
>>>> the EQ and maybe the biggest part of that is simply the response of
the
>>
>>>> knobs and how they alter the sound when I turn them. I don't get that
>> same
>>>> feeling with most digital EQs.
>>>>
>>>> Take the test. You will be surprised. I triple dare you.
>>>>
>>>Bill,
>>>
>>>I agree with you about analog EQ adding something special. The UAD-1 Neve
>>
>>>1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm
>>>just
>>
>>>wondering what the point is of taking this test if the ITB mix is being
>>
>>>modelled on a mix that was already done on an outboard console. Having
>>>said
>>
>>>that, when I mix, I usually import a stereo master track of a song that
>> is
>>>similar in genre and instrumentation to the one I am mixing and use that
>> as
>>>a "go by", soloing an muting it as I go along, which is what this
>>>comparison
>>
>>>is basically doing as I understand it. From that standpoint, you could
>>>definitely learn how to "closely emulate" a mix done on a console, but
>>>without that point of reference, it might be a lot harder to dial in that
>>
>>>kind of similarity.
>>>
>>>Deej
>>>
>>>
>>
>
>Hi all,
I just finished mixing a 12 song CD for my band leader. It's covers and
used for promo.
The mix is thick and warm and open (depending on the tune) at mid or higher
playback levels on many systems. The band digs it but at low volumes the
mix loses it's presence.
I'd like some feedback on how to compress and limit the final stereo mix
within Paris using the global EDS stereo compressor and NoLimit. I put a
minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on the
global inserts final mix (bounce to disc) just to catch spikes and bring all
levels to -1.0 db initially.
All mix's are balanced for the CD. I just need to know how to compress or
limit to get the mix's presence popping out at a lower home/car stereo
volume.
Do I squash it with NoLimit or are there general settings for a stereo EDS
compressor that I can start with, ie, attack, release, ratio? Do I run the
threshold for a constant compression or just on kick or vocal or horn hits?
I do realize I will sacrifice some tonality but since it sounds so good open
I think I can find a mid point between the open mix and a radio ready
heavily compressed sound that will have presence at any volume. Any takers?
BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock in
and terminated (75ohm) on the MEC clock out. This did not terminate
correctly accordingly to the tell-tell lites on the BB panel, but I ran
Paris this way for a week and thought I heard a difference. When I removed
the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
put the termination on the "T", the BB panel lites then showed proper
termination. Believe it or not . . . I heard the difference this time.
Very stable sound. Tight and clear and open. This is definitely the Paris
sound we all appreciate.
Thanks,
Wayne Carson
Paris since '97AAAAAAsome - I'm really happy for you - I know how it feels to have an ailing
pet (not one that size though - don't know how you ever kept him still) -
they are family!
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Looks like all is good.
>
>thanks for your prayers/positive vibes/support, etc.
>
>;o)
>
>For what it's worth I usally use Ozone on the two track or a TC finalizer
on the mix (shoe string mastering of sorts) - I think DJ was just posting
about mastering his stuff so he should chime in as he has much more experence...
also you should only need to keep it down .3 DB on the master for a just
in case ...
"Wayne Carson" <carson_wayne@msn.com> wrote:
>Hi all,
>
>I just finished mixing a 12 song CD for my band leader. It's covers and
>used for promo.
>
>The mix is thick and warm and open (depending on the tune) at mid or higher
>playback levels on many systems. The band digs it but at low volumes the
>mix loses it's presence.
>
>I'd like some feedback on how to compress and limit the final stereo mix
>within Paris using the global EDS stereo compressor and NoLimit. I put
a
>minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on
the
>global inserts final mix (bounce to disc) just to catch spikes and bring
all
>levels to -1.0 db initially.
>
>All mix's are balanced for the CD. I just need to know how to compress
or
>limit to get the mix's presence popping out at a lower home/car stereo
>volume.
>
>Do I squash it with NoLimit or are there general settings for a stereo EDS
>compressor that I can start with, ie, attack, release, ratio? Do I run
the
>threshold for a constant compression or just on kick or vocal or horn hits?
>I do realize I will sacrifice some tonality but since it sounds so good
open
>I think I can find a mid point between the open mix and a radio ready
>heavily compressed sound that will have presence at any volume. Any takers?
>
>BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock
in
>and terminated (75ohm) on the MEC clock out. This did not terminate
>correctly accordingly to the tell-tell lites on the BB panel, but I ran
>Paris this way for a week and thought I heard a difference. When I removed
>the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
>put the termination on the "T", the BB panel lites then showed proper
>termination. Believe it or not . . . I heard the difference this time.
>Very stable sound. Tight and clear and open. This is definitely the Paris
>sound we all appreciate.
>
>Thanks,
>Wayne Carson
>Paris since '97
>
>I believe there may be problems with UAD1 on that chipset, but if you
don't use it, no problem.
Nappy wrote:
> Thanks LaMont,
> You have been a big help.
>
> respect
> Nappy
>
> "LaMont" <jjdpro@gmail.com> wrote:
>> The 650 Chipset is fast. Good choice..Although I tend to go with Gigabyte
>> boards, but the MSI boards are cool..
>>
>> "Nappy" <mgrant62@googlemail.com> wrote:
>>> Thanks Lamont,
>>> This board has a NForce 650i chipset,do you know anything about this chipset?
>>> http://www.msicomputer.com/product/p_spec.asp?model=P6N_SLI- FI&class=mb
>>>
>>> respect
>>> Nappy
>>>
>>>
>>> "LaMont" <jjdpro@ameritech.net> wrote:
>>>> Hey Nappy.. Nforce is a very good choice for audio (Nforce 3,4)
>>>>
>>>>
>>>> "Nappy" <mgrant62@googlemail.com> wrote:
>>>>> I can't seem to remember,is Nforce chipset good for audio? I'm looking
>>> at
>>>>> getting a MSI P6N SLi FI with a Quad core. I can get a system locally
>> with
>>>>> 2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>>>>>
>>>>> respect
>>>>> Nappy
>>>>> PS I'm doing great! I should be able to start working out soon. I see
>> the
>>>>> doctors
>>>>> tomorrow.
>DJ, I think it makes total sense to model it after a board mix because
if successful, it proves that you can get indistinguishable results. I
don't follow the logic of those who say it's invalid for that reason. If
you can get the result, then there is no reason to insist on an analog
board, except for preference or convenience or client necessity, etc
DJ wrote:
> "Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
>> For me the most important difference between mixing analog and digital is
>> the EQ and maybe the biggest part of that is simply the response of the
>> knobs and how they alter the sound when I turn them. I don't get that same
>> feeling with most digital EQs.
>>
>> Take the test. You will be surprised. I triple dare you.
>>
> Bill,
>
> I agree with you about analog EQ adding something special. The UAD-1 Neve
> 1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm just
> wondering what the point is of taking this test if the ITB mix is being
> modelled on a mix that was already done on an outboard console. Having said
> that, when I mix, I usually import a stereo master track of a song that is
> similar in genre and instrumentation to the one I am mixing and use that as
> a "go by", soloing an muting it as I go along, which is what this comparison
> is basically doing as I understand it. From that standpoint, you could
> definitely learn how to "closely emulate" a mix done on a console, but
> without that point of reference, it might be a lot harder to dial in that
> kind of similarity.
>
> Deej
>
>"Wider" is the only difference I could hear in the identified mixes on
the website, but once I had to guess, I could not hear it more than 57%
of the time. I don't know enough about psychoacoustics or audio design
to understand what makes something sound wider, but you would think it
could also be emulated digitally.
LaMont wrote:
> The difference (real life) is that the mix thru the SSL board becomes wider.
> However, I would say that clocking plays a big role int he sound department.
>
>
> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid made
> the mix tighter, more focused.
>
> So, along with OTB, clocking plays a part..
>
> Bill L <bill@billlorentzen.com> wrote:
>> For me the most important difference between mixing analog and digital
>> is the EQ and maybe the biggest part of that is simply the response of
>> the knobs and how they alter the sound when I turn them. I don't get
>> that same feeling with most digital EQs.
>>
>> Take the test. You will be surprised. I triple dare you.
>>
>> lamont wrote:
>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
> eqs
>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There is
> a noticble
>>> difference bte ITB and thru the SSL. We had a great laugh because all
> of
>>> the producers who work there all have PT HdS in there perwonal studios
> with
>>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>>> I will say his..inserting the waves SSL comp on the master buss really
> does
>>> what the real ssl buss comp does..and that is .it glues the entire mix..
>>>
>>>
>>> Bill L <bill@billlorentzen.com> wrote:
>>>> Neil & Lamont: did either of you take the ProTools challenge and test
>
>>>> whether you could hear the difference between in the box Waves SSL plugs
>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>
>>>> So put your money where your mouth is, so to speak, and take the test.
>
>>>> Then post your scores. I double dare you.
>>>>
>>>> Neil wrote:
>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>> of gear is all that it is.
>>>>> I guess I can both agree with you & disagree with you on this
>>>>> point, depending on which piece of gear is the subject of
>>>>> conversation at the moment - I have a few pieces of high-end
>>>>> or "boutique" equipment that I think are worth every penny
>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>> while there are others that are great, but you have to
>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>> I think vintage gear is in another category... that's driven
>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>> for example, there are only so many for sale at any given time.
>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>> demand is what drives those prices.
>>>>>
>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>> See, but that's your opinion... just because you make a
>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>> story for everyone, it just means it's the end of the story for
>>>>> you. I've done enough summing experiments (not too long ago &
>>>>> posted several results & examples here, in fact, as I'm sure
>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>> a difference, b.) the difference is not super-significant, and,
>>>>> c.) There are tradeoffs.
>>>>>
>>>>> Neil
>It could also be a difference in the panning law between the SSL and
Protools.
David.
Bill L wrote:
> "Wider" is the only difference I could hear in the identified mixes on
> the website, but once I had to guess, I could not hear it more than 57%
> of the time. I don't know enough about psychoacoustics or audio design
> to understand what makes something sound wider, but you would think it
> could also be emulated digitally.
>
> LaMont wrote:
>
>> The difference (real life) is that the mix thru the SSL board becomes
>> wider.
>> However, I would say that clocking plays a big role int he sound
>> department.
>>
>>
>> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid
>> made
>> the mix tighter, more focused.
>> So, along with OTB, clocking plays a part..
>>
>> Bill L <bill@billlorentzen.com> wrote:
>>
>>> For me the most important difference between mixing analog and
>>> digital is the EQ and maybe the biggest part of that is simply the
>>> response of the knobs and how they alter the sound when I turn them.
>>> I don't get that same feeling with most digital EQs.
>>>
>>> Take the test. You will be surprised. I triple dare you.
>>>
>>> lamont wrote:
>>>
>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
>>
>> eqs
>>
>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There is
>>
>> a noticble
>>
>>>> difference bte ITB and thru the SSL. We had a great laugh because all
>>
>> of
>>
>>>> the producers who work there all have PT HdS in there perwonal studios
>>
>> with
>>
>>>> apgee AD16X and they take numbers to bring in there mixes to SSL
>>>> room...But
>>>> I will say his..inserting the waves SSL comp on the master buss really
>>
>> does
>>
>>>> what the real ssl buss comp does..and that is .it glues the entire
>>>> mix..
>>>>
>>>>
>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>
>>>>> Neil & Lamont: did either of you take the ProTools challenge and test
>>
>>
>>>>> whether you could hear the difference between in the box Waves SSL
>>>>> plugs
>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>
>>>>> So put your money where your mouth is, so to speak, and take the test.
>>
>>
>>>>> Then post your scores. I double dare you.
>>>>>
>>>>> Neil wrote:
>>>>>
>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>
>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>> of gear is all that it is.
>>>>>>
>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>> point, depending on which piece of gear is the subject of
>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>> while there are others that are great, but you have to
>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>> I think vintage gear is in another category... that's driven
>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>> for example, there are only so many for sale at any given time.
>>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>> demand is what drives those prices.
>>>>>>
>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>>
>>>>>> See, but that's your opinion... just because you make a
>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>> story for everyone, it just means it's the end of the story for
>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>> c.) There are tradeoffs.
>>>>>>
>>>>>> Neil
>>
>>Deej....I'm with you on this...not that I want to be, but everything I mix
here, just like you, is for people who don't have the budjet for mixing AND
mastering, so I do the same thing.
Rod
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Understood. Seems like I am doing tall the tracking, mixing and mastering
>here anyway. No one I work with has the budget for a mqastering engineer
so
>I just master as I mix. I know this is audio blasphemy, but I spit in the
>face of audio blaqsphemy and go there anyway.
>
>(huff huff, grunt grunt)
>
>;o)
>
>"LaMont" <jjdpro@ameritech.net> wrote in message news:46c91c42$1@linux...
>>
>> Hey DJ,
>> that method can be dangerous, due to the fact that the 2 track reference
>> mix is finished Master with added eq and compression, stereo width
>> enhancements.
>>
>>
>>
>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>>
>>>"Bill L" <bill@billlorentzen.com> wrote in message news:46c8fc69@linux...
>>>> For me the most important difference between mixing analog and digital
>> is
>>>> the EQ and maybe the biggest part of that is simply the response of
the
>>
>>>> knobs and how they alter the sound when I turn them. I don't get that
>> same
>>>> feeling with most digital EQs.
>>>>
>>>> Take the test. You will be surprised. I triple dare you.
>>>>
>>>Bill,
>>>
>>>I agree with you about analog EQ adding something special. The UAD-1 Neve
>>
>>>1073, 1081 and the Helios EQ's really can provide that extra mojo. I'm
>>>just
>>
>>>wondering what the point is of taking this test if the ITB mix is being
>>
>>>modelled on a mix that was already done on an outboard console. Having
>>>said
>>
>>>that, when I mix, I usually import a stereo master track of a song that
>> is
>>>similar in genre and instrumentation to the one I am mixing and use that
>> as
>>>a "go by", soloing an muting it as I go along, which is what this
>>>comparison
>>
>>>is basically doing as I understand it. From that standpoint, you could
>>>definitely learn how to "closely emulate" a mix done on a console, but
>>>without that point of reference, it might be a lot harder to dial in that
>>
>>>kind of similarity.
>>>
>>>Deej
>>>
>>>
>>
>
>Is it a newsgroup or is it a Prayer Group?
Either way - It works! Give Crash a hug for us...
Gantt
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Looks like all is good.
>
>thanks for your prayers/positive vibes/support, etc.
>
>;o)
>
>There is a tutorial of sorts available somewhere within this forum that was
provided by Sakis involving doing frequency splits to use the Paris
compressors in multiband mode.
DC....you still got this lying around somewhere??
Deej
"Wayne Carson" <carson_wayne@msn.com> wrote in message
news:46c9ebf6@linux...
> Hi all,
>
> I just finished mixing a 12 song CD for my band leader. It's covers and
> used for promo.
>
> The mix is thick and warm and open (depending on the tune) at mid or
> higher playback levels on many systems. The band digs it but at low
> volumes the mix loses it's presence.
>
> I'd like some feedback on how to compress and limit the final stereo mix
> within Paris using the global EDS stereo compressor and NoLimit. I put a
> minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on
> the global inserts final mix (bounce to disc) just to catch spikes and
> bring all levels to -1.0 db initially.
>
> All mix's are balanced for the CD. I just need to know how to compress or
> limit to get the mix's presence popping out at a lower home/car stereo
> volume.
>
> Do I squash it with NoLimit or are there general settings for a stereo EDS
> compressor that I can start with, ie, attack, release, ratio? Do I run
> the threshold for a constant compression or just on kick or vocal or horn
> hits? I do realize I will sacrifice some tonality but since it sounds so
> good open I think I can find a mid point between the open mix and a radio
> ready heavily compressed sound that will have presence at any volume. Any
> takers?
>
> BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock in
> and terminated (75ohm) on the MEC clock out. This did not terminate
> correctly accordingly to the tell-tell lites on the BB panel, but I ran
> Paris this way for a week and thought I heard a difference. When I
> removed the MEC clock out termination and placed a BNC-"T" on the MEC
> clock in and put the termination on the "T", the BB panel lites then
> showed proper termination. Believe it or not . . . I heard the difference
> this time. Very stable sound. Tight and clear and open. This is
> definitely the Paris sound we all appreciate.
>
> Thanks,
> Wayne Carson
> Paris since '97
>
>Check with Chris Ludwig before you take the plunge. NForce4 chipsets had
some issues with UAD-1 DSP cards and maybe other hardware.
Deej
"Nappy" <mgrant62@googlemail.com> wrote in message news:46c918e6$1@linux...
>
> I can't seem to remember,is Nforce chipset good for audio? I'm looking at
> getting a MSI P6N SLi FI with a Quad core. I can get a system locally with
> 2 gigs of ram and a 250 hardrive,DVD-RW for $999.
>
> respect
> Nappy
> PS I'm doing great! I should be able to start working out soon. I see the
> doctors
> tomorrow.It's allways a good idea to also testlisten to as low as possible
volume when mixing, just to hear that everything is OK there too. For
the most I'm using different kind of headphones too, to sort out that
things work OK with different kind of volumes. It's also normal that
energy is missing in low volumes.
I remember old stereoamplifiers often had an on/of knob called
"Loudness", to get more energy in both low and high end when
listening at low volumes, just to take care of that problem. You can
look here to get some more info: http://en.wikipedia.org/wiki/Loudness
Erling
On Mon, 20 Aug 2007 12:22:20 -0700, "Wayne Carson"
<carson_wayne@msn.com> wrote:
>Hi all,
>
>I just finished mixing a 12 song CD for my band leader. It's covers and
>used for promo.
>
>The mix is thick and warm and open (depending on the tune) at mid or higher
>playback levels on many systems. The band digs it but at low volumes the
>mix loses it's presence.
>
>I'd like some feedback on how to compress and limit the final stereo mix
>within Paris using the global EDS stereo compressor and NoLimit. I put a
>minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on the
>global inserts final mix (bounce to disc) just to catch spikes and bring all
>levels to -1.0 db initially.
>
>All mix's are balanced for the CD. I just need to know how to compress or
>limit to get the mix's presence popping out at a lower home/car stereo
>volume.
>
>Do I squash it with NoLimit or are there general settings for a stereo EDS
>compressor that I can start with, ie, attack, release, ratio? Do I run the
>threshold for a constant compression or just on kick or vocal or horn hits?
>I do realize I will sacrifice some tonality but since it sounds so good open
>I think I can find a mid point between the open mix and a radio ready
>heavily compressed sound that will have presence at any volume. Any takers?
>
>BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock in
>and terminated (75ohm) on the MEC clock out. This did not terminate
>correctly accordingly to the tell-tell lites on the BB panel, but I ran
>Paris this way for a week and thought I heard a difference. When I removed
>the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
>put the termination on the "T", the BB panel lites then showed proper
>termination. Believe it or not . . . I heard the difference this time.
>Very stable sound. Tight and clear and open. This is definitely the Paris
>sound we all appreciate.
>
>Thanks,
>Wayne Carson
>Paris since '97
>"erlilo" <erlilo@online.no> wrote in message
news:avskc3t8pd8rv1ftu3g24stsllcbr52req@4ax.com...
> It's allways a good idea to also testlisten to as low as possible
> volume when mixing, just to hear that everything is OK there too. For
> the most I'm using different kind of headphones too, to sort out that
> things work OK with different kind of volumes. It's also normal that
> energy is missing in low volumes.
> I remember old stereoamplifiers often had an on/of knob called
> "Loudness", to get more energy in both low and high end when
> listening at low volumes, just to take care of that problem. You can
> look here to get some more info: http://en.wikipedia.org/wiki/Loudness
>
>
> Erling
>
The final test of a mix for me is to play it in my truck while driving down
the highway at a fairly high speed. If it survives the road noise after all
of the other types of reference I put it through (2 difference monitors, ADS
1530 speakers, jam box, funky consumer stereo and car stereo whle driving),
I feel pretty good about giving up on it.
;o)None sounded wider here through my system, and I can pick that out pretty
quickly. I picked the right ones about half the time, but the only
difference that stood out to me that made me think I had pinned each one
down was dynamics/compression in the bass (the instrument, not the frequency
range). Some loops sounded tighter as a result of seemingly a little
tighter compression on the bass itself, but when I took the test, the actual
answers rejected such a pattern, so I chalked it up to simple compression
variations. That can make a mix sound wider (bass fills more of the center
and "back" of the field, lessening the perceived relative volume of highs,
which are what create or enhance the perception of width).
I agree with Bill - emulating the SSL mix after the fact with the PT mix is
perfectly valid - that's exactly how I would do it and have offered to do
this with various engineers in the past (I talked with Mixerman about doing
this a couple of years ago). In my opinion, it actually proves that a DAW
may well be sonically more flexible than a board (an unpopular position I've
maintained for a long time).
BTW - I downloaded the mixes, stripped the audio out of the QT movies and
played them back in Nuendo. I had the QT movies on the timeline though for
the label references.
Dedric
On 8/20/07 5:12 PM, in article 46ca21ad@linux, "Bill L"
<bill@billlorentzen.com> wrote:
> "Wider" is the only difference I could hear in the identified mixes on
> the website, but once I had to guess, I could not hear it more than 57%
> of the time. I don't know enough about psychoacoustics or audio design
> to understand what makes something sound wider, but you would think it
> could also be emulated digitally.
>
> LaMont wrote:
>> The difference (real life) is that the mix thru the SSL board becomes wider.
>> However, I would say that clocking plays a big role int he sound department.Wayne,
Using the NoLimit to "squash" the mix is not a good idea, if you like the
dynamics.
A better idea would be to use a stereo compressor first to get a little louder
avaerage volume then add the limiter to control the transients.
To do this:
First find the dynamic range of the mix by looking at your master meters.
The point where the levels sit consistantly is the average volume, the point
at which the song peaks is obviously the peak volume. The difference between
the two is the dynamic range of the mix.
EX: if the average is -15dB and the peak is at -1dB then you have 14dB of
dynamic range.
Second, set the compressors threshold just over the average volume, let's
say for our example -14dB.
Then set a low ratio, usually I'll start around 1.5:1.
The set a medium attack, around 40-50ms.
I like to start with a release of about 100-150ms.
Look at your meters to see how much gain reduction is occurring and add that
same amount of gain to get back the volume.
Obviously this will not work for every mix, so listen and make adjustments
as you see fit.
If you want the squeeze it a bit more, quicken the attack and raise the ratio.
Or, if this is too much compression, raise the threshold or slow the attack,
or both.
After the compressor, use the NoLimit to control the peaks and to get the
overall volume you desire. I like to get about 3dB from the NoLimit.
Good Luck.
"Wayne Carson" <carson_wayne@msn.com> wrote:
>Hi all,
>
>I just finished mixing a 12 song CD for my band leader. It's covers and
>used for promo.
>
>The mix is thick and warm and open (depending on the tune) at mid or higher
>playback levels on many systems. The band digs it but at low volumes the
>mix loses it's presence.
>
>I'd like some feedback on how to compress and limit the final stereo mix
>within Paris using the global EDS stereo compressor and NoLimit. I put
a
>minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on
the
>global inserts final mix (bounce to disc) just to catch spikes and bring
all
>levels to -1.0 db initially.
>
>All mix's are balanced for the CD. I just need to know how to compress
or
>limit to get the mix's presence popping out at a lower home/car stereo
>volume.
>
>Do I squash it with NoLimit or are there general settings for a stereo EDS
>compressor that I can start with, ie, attack, release, ratio? Do I run
the
>threshold for a constant compression or just on kick or vocal or horn hits?
>I do realize I will sacrifice some tonality but since it sounds so good
open
>I think I can find a mid point between the open mix and a radio ready
>heavily compressed sound that will have presence at any volume. Any takers?
>
>BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock
in
>and terminated (75ohm) on the MEC clock out. This did not terminate
>correctly accordingly to the tell-tell lites on the BB panel, but I ran
>Paris this way for a week and thought I heard a difference. When I removed
>the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
>put the termination on the "T", the BB panel lites then showed proper
>termination. Believe it or not . . . I heard the difference this time.
>Very stable sound. Tight and clear and open. This is definitely the Paris
>sound we all appreciate.
>
>Thanks,
>Wayne Carson
>Paris since '97
>
>Wow, it's just over a month away. Just curious if anyone here is
planning to attend. I am thinking of making a day trip on Friday the
5th, and would like to do the Paris dinner thing again. Who's up for
that?
- Paul Artola
Ellicott City, MarylandI've been thinking about going, but haven't decided yet, though obviously
time is short to book flights, hotel, etc.
"Paul Artola" <artola@comcast.net> wrote in message
news:3qtlc3lifg6qc3oobvbn322is3p0mgrero@4ax.com...
> Wow, it's just over a month away. Just curious if anyone here is
> planning to attend. I am thinking of making a day trip on Friday the
> 5th, and would like to do the Paris dinner thing again. Who's up for
> that?
>
> - Paul Artola
> Ellicott City, Maryland
>Dimitrios -
I sent you a couple of emails but I haven't gotten any confirmation that you
received them. I have a client in Bulgaria who could use your help with
converting some old PARIS projects. Please contact me by email.
Thanks,
David LeonardThanks guys. I'll give it just a bit more of compression and NoLimit call
it done.
Wayne
"Wayne Carson" <
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87878 is a reply to message #87865] |
Tue, 10 July 2007 12:57 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
target="_blank">carson_wayne@msn.com> wrote in message
news:46c9ebf6@linux...
> Hi all,
>
> I just finished mixing a 12 song CD for my band leader. It's covers and
> used for promo.
>
> The mix is thick and warm and open (depending on the tune) at mid or
> higher playback levels on many systems. The band digs it but at low
> volumes the mix loses it's presence.
>
> I'd like some feedback on how to compress and limit the final stereo mix
> within Paris using the global EDS stereo compressor and NoLimit. I put a
> minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on
> the global inserts final mix (bounce to disc) just to catch spikes and
> bring all levels to -1.0 db initially.
>
> All mix's are balanced for the CD. I just need to know how to compress or
> limit to get the mix's presence popping out at a lower home/car stereo
> volume.
>
> Do I squash it with NoLimit or are there general settings for a stereo EDS
> compressor that I can start with, ie, attack, release, ratio? Do I run
> the threshold for a constant compression or just on kick or vocal or horn
> hits? I do realize I will sacrifice some tonality but since it sounds so
> good open I think I can find a mid point between the open mix and a radio
> ready heavily compressed sound that will have presence at any volume. Any
> takers?
>
> BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock in
> and terminated (75ohm) on the MEC clock out. This did not terminate
> correctly accordingly to the tell-tell lites on the BB panel, but I ran
> Paris this way for a week and thought I heard a difference. When I
> removed the MEC clock out termination and placed a BNC-"T" on the MEC
> clock in and put the termination on the "T", the BB panel lites then
> showed proper termination. Believe it or not . . . I heard the difference
> this time. Very stable sound. Tight and clear and open. This is
> definitely the Paris sound we all appreciate.
>
> Thanks,
> Wayne Carson
> Paris since '97
>
>In other words you could pick it out 7% more often than a coin flip. Doesn't
sound like much of a difference to me.
TCB
Bill L <bill@billlorentzen.com> wrote:
>"Wider" is the only difference I could hear in the identified mixes on
>the website, but once I had to guess, I could not hear it more than 57%
>of the time. I don't know enough about psychoacoustics or audio design
>to understand what makes something sound wider, but you would think it
>could also be emulated digitally.
>
>LaMont wrote:
>> The difference (real life) is that the mix thru the SSL board becomes
wider.
>> However, I would say that clocking plays a big role int he sound department.
>>
>>
>> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid
made
>> the mix tighter, more focused.
>>
>> So, along with OTB, clocking plays a part..
>>
>> Bill L <bill@billlorentzen.com> wrote:
>>> For me the most important difference between mixing analog and digital
>>> is the EQ and maybe the biggest part of that is simply the response of
>>> the knobs and how they alter the sound when I turn them. I don't get
>>> that same feeling with most digital EQs.
>>>
>>> Take the test. You will be surprised. I triple dare you.
>>>
>>> lamont wrote:
>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
>> eqs
>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There is
>> a noticble
>>>> difference bte ITB and thru the SSL. We had a great laugh because all
>> of
>>>> the producers who work there all have PT HdS in there perwonal studios
>> with
>>>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>>>> I will say his..inserting the waves SSL comp on the master buss really
>> does
>>>> what the real ssl buss comp does..and that is .it glues the entire mix..
>>>>
>>>>
>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>> Neil & Lamont: did either of you take the ProTools challenge and test
>>
>>>>> whether you could hear the difference between in the box Waves SSL
plugs
>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>
>>>>> So put your money where your mouth is, so to speak, and take the test.
>>
>>>>> Then post your scores. I double dare you.
>>>>>
>>>>> Neil wrote:
>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>> of gear is all that it is.
>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>> point, depending on which piece of gear is the subject of
>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>> while there are others that are great, but you have to
>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>> I think vintage gear is in another category... that's driven
>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>> for example, there are only so many for sale at any given time.
>>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>> demand is what drives those prices.
>>>>>>
>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>> See, but that's your opinion... just because you make a
>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>> story for everyone, it just means it's the end of the story for
>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>> c.) There are tradeoffs.
>>>>>>
>>>>>> Neil
>>I'll train in for dinner at least.
TCB
Paul Artola <artola@comcast.net> wrote:
>Wow, it's just over a month away. Just curious if anyone here is
>planning to attend. I am thinking of making a day trip on Friday the
>5th, and would like to do the Paris dinner thing again. Who's up for
>that?
>
>- Paul Artola
> Ellicott City, Maryland
>Hi Paul,
I'll be there Friday to Sunday. I don't have all my appointments settled
so as long as I know at least a couple weeks ahead of time I can do
dinner no problem.
Chris
Paul Artola wrote:
> Wow, it's just over a month away. Just curious if anyone here is
> planning to attend. I am thinking of making a day trip on Friday the
> 5th, and would like to do the Paris dinner thing again. Who's up for
> that?
>
> - Paul Artola
> Ellicott City, Maryland
>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comI'm going to AES..
Paul Artola <artola@comcast.net> wrote:
>Wow, it's just over a month away. Just curious if anyone here is
>planning to attend. I am thinking of making a day trip on Friday the
>5th, and would like to do the Paris dinner thing again. Who's up for
>that?
>
>- Paul Artola
> Ellicott City, Maryland
>I hope to attend this year . I would be sure to hook up with other paris friends
if I go. count me in !!I'm in, please provide the details...
Tyrone CorbettOK, so I need a couple of firewire cards for audio machines.
Which ones are inexpensive and have the TI chips?
Thanks.
pabHi,
I did it right away but have not informed you !!
Sorry...
Dimitrios
david@revealaudio.com wrote:
>Dimitrios -
>
>I sent you a couple of emails but I haven't gotten any confirmation that
you
>received them. I have a client in Bulgaria who could use your help with
>converting some old PARIS projects. Please contact me by email.
>
>Thanks,
>
>David LeonardThat's what i thought. According to them that is the norm. Try it and
see how you do.
TCB wrote:
> In other words you could pick it out 7% more often than a coin flip. Doesn't
> sound like much of a difference to me.
>
> TCB
>
> Bill L <bill@billlorentzen.com> wrote:
>> "Wider" is the only difference I could hear in the identified mixes on
>> the website, but once I had to guess, I could not hear it more than 57%
>
>> of the time. I don't know enough about psychoacoustics or audio design
>> to understand what makes something sound wider, but you would think it
>> could also be emulated digitally.
>>
>> LaMont wrote:
>>> The difference (real life) is that the mix thru the SSL board becomes
> wider.
>>> However, I would say that clocking plays a big role int he sound department.
>>>
>>>
>>> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid
> made
>>> the mix tighter, more focused.
>>>
>>> So, along with OTB, clocking plays a part..
>>>
>>> Bill L <bill@billlorentzen.com> wrote:
>>>> For me the most important difference between mixing analog and digital
>
>>>> is the EQ and maybe the biggest part of that is simply the response of
>
>>>> the knobs and how they alter the sound when I turn them. I don't get
>
>>>> that same feeling with most digital EQs.
>>>>
>>>> Take the test. You will be surprised. I triple dare you.
>>>>
>>>> lamont wrote:
>>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
>>> eqs
>>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There is
>>> a noticble
>>>>> difference bte ITB and thru the SSL. We had a great laugh because all
>>> of
>>>>> the producers who work there all have PT HdS in there perwonal studios
>>> with
>>>>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>>>>> I will say his..inserting the waves SSL comp on the master buss really
>>> does
>>>>> what the real ssl buss comp does..and that is .it glues the entire mix..
>>>>>
>>>>>
>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>> Neil & Lamont: did either of you take the ProTools challenge and test
>>>>>> whether you could hear the difference between in the box Waves SSL
> plugs
>>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>>
>>>>>> So put your money where your mouth is, so to speak, and take the test.
>>>>>> Then post your scores. I double dare you.
>>>>>>
>>>>>> Neil wrote:
>>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>>> of gear is all that it is.
>>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>>> point, depending on which piece of gear is the subject of
>>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>>> while there are others that are great, but you have to
>>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>>> I think vintage gear is in another category... that's driven
>>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>>> for example, there are only so many for sale at any given time.
>>>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>>> demand is what drives those prices.
>>>>>>>
>>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>>> See, but that's your opinion... just because you make a
>>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>>> story for everyone, it just means it's the end of the story for
>>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>>> c.) There are tradeoffs.
>>>>>>>
>>>>>>> Neil
>You know, I really think this test is flawed. Both versions sound superb.
I also agree
with Bill's view that their rationale for modelling the SSL mix with PT &
plugs is
valid in a real world scenario.
The problem with the test is that it involves continuos and repeated A/B
audio comparisons.
Try taking the test this way instead:
Listen to the reference tracks.
Just listen to 2 edits, (someone else will have to trigger them
so you won't know which they are) then stop.
Wait a few hours, (or a day) and do it again. Repeat as many times as needed
to equal the total number of edits as the loop or continous track versions
on
the Digi site (as many as 12 separate edits)
Then see what you score.
I scored 7 out of 12 on the Smooth Jazz loop when trying to do it all at
once,
and 11 out 12 when breaking it up.
Last month, we tried 2 different mics on a female singer. We tracked the
entire
song 3 times on one mic, then switched to the other. All 3 of us heard the
difference
immediately, and agreed on which one we wanted to use. The next day, I was
replaying it for all of us, and switched back and forth throughout the tune.
By the
end of the song (4 minutes plus) even I had trouble telling which one was
which, and I was looking at the screen.
Yet, when we came back on subsequent days, and listened with a "cleansed
pallette"
all of easily identified which mic was which.
I have been invloved in similar tests with pianos. Comparing Steinway, Yamaha,
Baldwin & Bosendorfer recorded at the same studio, with the same signal path.
Repeated back and forth comparisons, even between just 2 of them, let alone
all 4, made it harder and harder to distinguish between them. Listening to
them
with "fresh ears" made it relatively easy.
Ted
Bill L <Report message to a moderator
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87880 is a reply to message #87878] |
Tue, 10 July 2007 14:47 |
Tom Bruhl
Messages: 1368
Registered: June 2007
|
Senior Member |
|
|
lllorentzen.com" target="_blank">bill@billlorentzen.com> wrote:
>>>>> For me the most important difference between mixing analog and digital
>>
>>>>> is the EQ and maybe the biggest part of that is simply the response
of
>>
>>>>> the knobs and how they alter the sound when I turn them. I don't get
>>
>>>>> that same feeling with most digital EQs.
>>>>>
>>>>> Take the test. You will be surprised. I triple dare you.
>>>>>
>>>>> lamont wrote:
>>>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
>>>> eqs
>>>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There
is
>>>> a noticble
>>>>>> difference bte ITB and thru the SSL. We had a great laugh because
all
>>>> of
>>>>>> the producers who work there all have PT HdS in there perwonal studios
>>>> with
>>>>>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>>>>>> I will say his..inserting the waves SSL comp on the master buss really
>>>> does
>>>>>> what the real ssl buss comp does..and that is .it glues the entire
mix..
>>>>>>
>>>>>>
>>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>>> Neil & Lamont: did either of you take the ProTools challenge and
test
>>>>>>> whether you could hear the difference between in the box Waves SSL
>> plugs
>>>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>>>
>>>>>>> So put your money where your mouth is, so to speak, and take the
test.
>>>>>>> Then post your scores. I double dare you.
>>>>>>>
>>>>>>> Neil wrote:
>>>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>>>> of gear is all that it is.
>>>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>>>> point, depending on which piece of gear is the subject of
>>>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>>>> while there are others that are great, but you have to
>>>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>>>> I think vintage gear is in another category... that's driven
>>>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>>>> for example, there are only so many for sale at any given time.
>>>>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>>>> demand is what drives those prices.
>>>>>>>>
>>>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>>>> See, but that's your opinion... just because you make a
>>>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>>>> story for everyone, it just means it's the end of the story for
>>>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>>>> c.) There are tradeoffs.
>>>>>>>>
>>>>>>>> Neil
>>Guys,
Desperate help needed. Here's the issue:
I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
I'm outputting through echo mia in cubase.
When I press a note, either on the keyboard, or with the mouse on the onscreen
giga keyboard the note sounds, but then cuts off before the sustain.
It doesn't matter which sample library I use, the latency setting, midi or
non midi. It always cuts off the note after about 1 second.
This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
All I want to do is lay down some 2 track piano, and I can't get it to work.
HELP
Thanks
ChuckHi Chuck,
Is it doing this in stand alone mode too?
Is it the most current build of Giga?
Try while in stand alone mode to disable the Mia's MIDI ports.
Also in Cubase while not having Giga running disable the Mia's MIdi
outputs so that only Gigaports are being used.
See if that helps.
You are launching Cubase first when using Giga in rewire mode correct?
Chris
chuck duffy wrote:
> Guys,
>
> Desperate help needed. Here's the issue:
>
> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
> I'm outputting through echo mia in cubase.
>
> When I press a note, either on the keyboard, or with the mouse on the onscreen
> giga keyboard the note sounds, but then cuts off before the sustain.
>
> It doesn't matter which sample library I use, the latency setting, midi or
> non midi. It always cuts off the note after about 1 second.
>
> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>
>
> All I want to do is lay down some 2 track piano, and I can't get it to work.
>
> HELP
>
> Thanks
> Chuck
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comHI Paul,
ADS technologies make a PCI one that works well and is cheap.
Siig make 400 and 800 models in both PCI and PCI-e that work well.
One thing to avoid even if TI is combo cards that have both 400/800 or
400 USB etc. They can be trouble.
Chris
Paul Braun wrote:
> OK, so I need a couple of firewire cards for audio machines.
>
> Which ones are inexpensive and have the TI chips?
>
> Thanks.
>
> pab
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comHi Chris,
It doesn't do it in standalone mode.
It's the most current build of giga
I'm launching cubase first
I will try the other suggestions later
Thanks for your help
Chris Ludwig <chrisl@adkproaudio.com> wrote:
>Hi Chuck,
>Is it doing this in stand alone mode too?
>Is it the most current build of Giga?
>Try while in stand alone mode to disable the Mia's MIDI ports.
>Also in Cubase while not having Giga running disable the Mia's MIdi
>outputs so that only Gigaports are being used.
>See if that helps.
>You are launching Cubase first when using Giga in rewire mode correct?
>
>
>
>Chris
>
>chuck duffy wrote:
>> Guys,
>>
>> Desperate help needed. Here's the issue:
>>
>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>> I'm outputting through echo mia in cubase.
>>
>> When I press a note, either on the keyboard, or with the mouse on the
onscreen
>> giga keyboard the note sounds, but then cuts off before the sustain.
>>
>> It doesn't matter which sample library I use, the latency setting, midi
or
>> non midi. It always cuts off the note after about 1 second.
>>
>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>>
>>
>> All I want to do is lay down some 2 track piano, and I can't get it to
work.
>>
>> HELP
>>
>> Thanks
>> Chuck
>
>--
>Chris Ludwig
>
>ADK Pro Audio
>(859) 635-5762
>www.adkproaudio.com
>chrisl@adkproaudio.comHi Chuck,
Ok Good Luck.
BTW I fucking HATE that program!!!.
:)
Chris
chuck duffy wrote:
> Hi Chris,
>
> It doesn't do it in standalone mode.
> It's the most current build of giga
> I'm launching cubase first
> I will try the other suggestions later
>
> Thanks for your help
>
> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>> Hi Chuck,
>> Is it doing this in stand alone mode too?
>> Is it the most current build of Giga?
>> Try while in stand alone mode to disable the Mia's MIDI ports.
>> Also in Cubase while not having Giga running disable the Mia's MIdi
>> outputs so that only Gigaports are being used.
>> See if that helps.
>> You are launching Cubase first when using Giga in rewire mode correct?
>>
>>
>>
>> Chris
>>
>> chuck duffy wrote:
>>> Guys,
>>>
>>> Desperate help needed. Here's the issue:
>>>
>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>> I'm outputting through echo mia in cubase.
>>>
>>> When I press a note, either on the keyboard, or with the mouse on the
> onscreen
>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>
>>> It doesn't matter which sample library I use, the latency setting, midi
> or
>>> non midi. It always cuts off the note after about 1 second.
>>>
>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>>>
>>>
>>> All I want to do is lay down some 2 track piano, and I can't get it to
> work.
>>> HELP
>>>
>>> Thanks
>>> Chuck
>> --
>> Chris Ludwig
>>
>> ADK Pro Audio
>> (859) 635-5762
>> www.adkproaudio.com
>> chrisl@adkproaudio.com
>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comI'm sitting here listening to Larry Willis play my piano. Gary Bartz is playing
alto sax.
http://en.wikipedia.org/wiki/Larry_Willis
http://www.garybartz.com/
A couple of great local guys - James King on bass (it's his session) and
Nassar Abaday on drums. This is one of those times that I love doing this
for a living. Whew!
GanttI've been sitting here reading Gary's discography while I listen to him play.
WHEW!
"Gantt Kushner" <ganttmann@comcast.net> wrote:
>
>I'm sitting here listening to Larry Willis play my piano. Gary Bartz is
playing
>alto sax.
>
>http://en.wikipedia.org/wiki/Larry_Willis
>http://www.garybartz.com/
>
>A couple of great local guys - James King on bass (it's his session) and
>Nassar Abaday on drums. This is one of those times that I love doing this
>for a living. Whew!
>
>GanttI'm open to suggestions... I need decent piano sounds. That's it.
Chuck
Chris Ludwig <chrisl@adkproaudio.com> wrote:
>Hi Chuck,
> Ok Good Luck.
>BTW I fucking HATE that program!!!.
>:)
>
>Chris
>
>
>chuck duffy wrote:
>> Hi Chris,
>>
>> It doesn't do it in standalone mode.
>> It's the most current build of giga
>> I'm launching cubase first
>> I will try the other suggestions later
>>
>> Thanks for your help
>>
>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>> Hi Chuck,
>>> Is it doing this in stand alone mode too?
>>> Is it the most current build of Giga?
>>> Try while in stand alone mode to disable the Mia's MIDI ports.
>>> Also in Cubase while not having Giga running disable the Mia's MIdi
>>> outputs so that only Gigaports are being used.
>>> See if that helps.
>>> You are launching Cubase first when using Giga in rewire mode correct?
>>>
>>>
>>>
>>> Chris
>>>
>>> chuck duffy wrote:
>>>> Guys,
>>>>
>>>> Desperate help needed. Here's the issue:
>>>>
>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>>> I'm outputting through echo mia in cubase.
>>>>
>>>> When I press a note, either on the keyboard, or with the mouse on the
>> onscreen
>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>>
>>>> It doesn't matter which sample library I use, the latency setting, midi
>> or
>>>> non midi. It always cuts off the note after about 1 second.
>>>>
>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
fine.
>>>>
>>>>
>>>> All I want to do is lay down some 2 track piano, and I can't get it
to
>> work.
>>>> HELP
>>>>
>>>> Thanks
>>>> Chuck
>>> --
>>> Chris Ludwig
>>>
>>> ADK Pro Audio
>>> (859) 635-5762
>>> www.adkproaudio.com
>>> chrisl@adkproaudio.com
>>
>
>--
>Chris Ludwig
>
>ADK Pro Audio
>(859) 635-5762
>www.adkproaudio.com
>chrisl@adkproaudio.comSo quit teasing and post a link!
Gantt Kushner wrote:
> I'm sitting here listening to Larry Willis play my piano. Gary Bartz is playing
> alto sax.
>
> http://en.wikipedia.org/wiki/Larry_Willis
> http://www.garybartz.com/
>
> A couple of great local guys - James King on bass (it's his session) and
> Nassar Abaday on drums. This is one of those times that I love doing this
> for a living. Whew!
>
> GanttYour idea is interesting. I'll try that some time. I have found that
comparisons require listening to a short (2-4 seconds) section of the
tune and AB it blind. I am sure I would have scored much higher in that
mode. BUT even in the mode they used, it convinced me that the
difference is not so great.
Ted Gerber wrote:
> You know, I really think this test is flawed. Both versions sound superb.
> I also agree
> with Bill's view that their rationale for modelling the SSL mix with PT &
> plugs is
> valid in a real world scenario.
>
> The problem with the test is that it involves continuos and repeated A/B
> audio comparisons.
>
> Try taking the test this way instead:
> Listen to the reference tracks.
> Just listen to 2 edits, (someone else will have to trigger them
> so you won't know which they are) then stop.
> Wait a few hours, (or a day) and do it again. Repeat as many times as needed
> to equal the total number of edits as the loop or continous track versions
> on
> the Digi site (as many as 12 separate edits)
> Then see what you score.
>
> I scored 7 out of 12 on the Smooth Jazz loop when trying to do it all at
> once,
> and 11 out 12 when breaking it up.
>
> Last month, we tried 2 different mics on a female singer. We tracked the
> entire
> song 3 times on one mic, then switched to the other. All 3 of us heard the
> difference
> immediately, and agreed on which one we wanted to use. The next day, I was
> replaying it for all of us, and switched back and forth throughout the tune.
> By the
> end of the song (4 minutes plus) even I had trouble telling which one was
> which, and I was looking at the screen.
>
> Yet, when we came back on subsequent days, and listened with a "cleansed
> pallette"
> all of easily identified which mic was which.
>
> I have been invloved in similar tests with pianos. Comparing Steinway, Yamaha,
>
> Baldwin & Bosendorfer recorded at the same studio, with the same signal path.
> Repeated back and forth comparisons, even between just 2 of them, let alone
> all 4, made it harder and harder to distinguish between them. Listening to
> them
> with "fresh ears" made it relatively easy.
>
> Ted
>
> Bill L <bill@billlorentzen.com> wrote:
>> That's what i thought. According to them that is the norm. Try it and
>> see how you do.
>>
>> TCB wrote:
>>> In other words you could pick it out 7% more often than a coin flip. Doesn't
>>> sound like much of a difference to me.
>>>
>>> TCB
>>>
>>> Bill L <bill@billlorentzen.com> wrote:
>>>> "Wider" is the only difference I could hear in the identified mixes on
>
>>>> the website, but once I had to guess, I could not hear it more than 57%
>>>> of the time. I don't know enough about psychoacoustics or audio design
>
>>>> to understand what makes something sound wider, but you would think it
>
>>>> could also be emulated digitally.
>>>>
>>>> LaMont wrote:
>>>>> The difference (real life) is that the mix thru the SSL board becomes
>>> wider.
>>>>> However, I would say that clocking plays a big role int he sound department.
>>>>>
>>>>>
>>>>> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid
>>> made
>>>>> the mix tighter, more focused.
>>>>>
>>>>> So, along with OTB, clocking plays a part..
>>>>>
>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>> For me the most important difference between mixing analog and digital
>>>>>> is the EQ and maybe the biggest part of that is simply the response
> of
>>>>>> the knobs and how they alter the sound when I turn them. I don't get
>>>>>> that same feeling with most digital EQs.
>>>>>>
>>>>>> Take the test. You will be surprised. I triple dare you.
>>>>>>
>>>>>> lamont wrote:
>>>>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E series)
>>>>> eqs
>>>>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There
> is
>>>>> a noticble
>>>>>>> difference bte ITB and thru the SSL. We had a great laugh because
> all
>>>>> of
>>>>>>> the producers who work there all have PT HdS in there perwonal studios
>>>>> with
>>>>>>> apgee AD16X and they take numbers to bring in there mixes to SSL room...But
>>>>>>> I will say his..inserting the waves SSL comp on the master buss really
>>>>> does
>>>>>>> what the real ssl buss comp does..and that is .it glues the entire
> mix..
>>>>>>>
>>>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>>>> Neil & Lamont: did either of you take the ProTools challenge and
> test
>>>>>>>> whether you could hear the difference between in the box Waves SSL
>>> plugs
>>>>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>>>>
>>>>>>>> So put your money where your mouth is, so to speak, and take the
> test.
>>>>>>>> Then post your scores. I double dare you.
>>>>>>>>
>>>>>>>> Neil wrote:
>>>>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>>>>> of gear is all that it is.
>>>>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>>>>> point, depending on which piece of gear is the subject of
>>>>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>>>>> while there are others that are great, but you have to
>>>>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>>>>> I think vintage gear is in another category... that's driven
>>>>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>>>>> for example, there are only so many for sale at any given time.
>>>>>>>>> Try making an offer of a grand to anyone selling one of those &
>>>>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>>>>> demand is what drives those prices.
>>>>>>>>>
>>>>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>>>>> See, but that's your opinion... just because you make a
>>>>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>>>>> story for everyone, it just means it's the end of the story for
>>>>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>>>>> c.) There are tradeoffs.
>>>>>>>>>
>>>>>>>>> Neil
>It's be fun if I could give you a live feed. The phone calls are half the
fun. Larry Willis was talking to Hugh Masekela on his cell phone when he
first got here.
Bill L <bill@billlorentzen.com> wrote:
>So quit teasing and post a link!
>
>Gantt Kushner wrote:
>> I'm sitting here listening to Larry Willis play my piano. Gary Bartz is
playing
>> alto sax.
>>
>> http://en.wikipedia.org/wiki/Larry_Willis
>> http://www.garybartz.com/
>>
>> A couple of great local guys - James King on bass (it's his session) and
>> Nassar Abaday on drums. This is one of those times that I love doing
this
>> for a living. Whew!
>>
>> GanttHI Chuck,
O course this will be open for debate but these are the ones I've heard
that were descent.
Steinberg Grand 2
Ivory
NI Akoustic Piano
There are others but haven't heard them.
Ivory and Akoustic Piano are the most varied but Ivory is very system
intensive. All of them run as either DXi or VSTi so they are far more
integrated into Sonar , Cubase etc.
Not sure if the MIA is fully multi-client audio and Midi but you might
try setting up Giga as a stand alone with Sonar as the default sequencer
for Giga and se if it works.
Chris
chuck duffy wrote:
> I'm open to suggestions... I need decent piano sounds. That's it.
>
> Chuck
>
> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>> Hi Chuck,
>> Ok Good Luck.
>> BTW I fucking HATE that program!!!.
>> :)
>>
>> Chris
>>
>>
>> chuck duffy wrote:
>>> Hi Chris,
>>>
>>> It doesn't do it in standalone mode.
>>> It's the most current build of giga
>>> I'm launching cubase first
>>> I will try the other suggestions later
>>>
>>> Thanks for your help
>>>
>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>> Hi Chuck,
>>>> Is it doing this in stand alone mode too?
>>>> Is it the most current build of Giga?
>>>> Try while in stand alone mode to disable the Mia's MIDI ports.
>>>> Also in Cubase while not having Giga running disable the Mia's MIdi
>>>> outputs so that only Gigaports are being used.
>>>> See if that helps.
>>>> You are launching Cubase first when using Giga in rewire mode correct?
>>>>
>>>>
>>>>
>>>> Chris
>>>>
>>>> chuck duffy wrote:
>>>>> Guys,
>>>>>
>>>>> Desperate help needed. Here's the issue:
>>>>>
>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>>>> I'm outputting through echo mia in cubase.
>>>>>
>>>>> When I press a note, either on the keyboard, or with the mouse on the
>>> onscreen
>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>
>>>>> It doesn't matter which sample library I use, the latency setting, midi
>>> or
>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>
>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
> fine.
>>>>>
>>>>>
>>>>> All I want to do is lay down some 2 track piano, and I can't get it
> to
>>> work.
>>>>> HELP
>>>>>
>>>>> Thanks
>>>>> Chuck
>>>> --
>>>> Chris Ludwig
>>>>
>>>> ADK Pro Audio
>>>> (859) 635-5762
>>>> www.adkproaudio.com
>>>> chrisl@adkproaudio.com
>> --
>> Chris Ludwig
>>
>> ADK Pro Audio
>> (859) 635-5762
>> www.adkproaudio.com
>> chrisl@adkproaudio.com
>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comFair enough
Bill L <bill@billlorentzen.com> wrote:
>Your idea is interesting. I'll try that some time. I have found that
>comparisons require listening to a short (2-4 seconds) section of the
>tune and AB it blind. I am sure I would have scored much higher in that
>mode. BUT even in the mode they used, it convinced me that the
>difference is not so great.
>
>Ted Gerber wrote:
>> You know, I really think this test is flawed. Both versions sound superb.
>> I also agree
>> with Bill's view that their rationale for modelling the SSL mix with PT
&
>> plugs is
>> valid in a real world scenario.
>>
>> The problem with the test is that it involves continuos and repeated A/B
>> audio comparisons.
>>
>> Try taking the test this way instead:
>> Listen to the reference tracks.
>> Just listen to 2 edits, (someone else will have to trigger them
>> so you won't know which they are) then stop.
>> Wait a few hours, (or a day) and do it again. Repeat as many times as
needed
>> to equal the total number of edits as the loop or continous track versions
>> on
>> the Digi site (as many as 12 separate edits)
>> Then see what you score.
>>
>> I scored 7 out of 12 on the Smooth Jazz loop when trying to do it all
at
>> once,
>> and 11 out 12 when breaking it up.
>>
>> Last month, we tried 2 different mics on a female singer. We tracked the
>> entire
>> song 3 times on one mic, then switched to the other. All 3 of us heard
the
>> difference
>> immediately, and agreed on which one we wanted to use. The next day, I
was
>> replaying it for all of us, and switched back and forth throughout the
tune.
>> By the
>> end of the song (4 minutes plus) even I had trouble telling which one
was
>> which, and I was looking at the screen.
>>
>> Yet, when we came back on subsequent days, and listened with a "cleansed
>> pallette"
>> all of easily identified which mic was which.
>>
>> I have been invloved in similar tests with pianos. Comparing Steinway,
Yamaha,
>>
>> Baldwin & Bosendorfer recorded at the same studio, with the same signal
path.
>> Repeated back and forth comparisons, even between just 2 of them, let
alone
>> all 4, made it harder and harder to distinguish between them. Listening
to
>> them
>> with "fresh ears" made it relatively easy.
>>
>> Ted
>>
>> Bill L <bill@billlorentzen.com> wrote:
>>> That's what i thought. According to them that is the norm. Try it and
>>> see how you do.
>>>
>>> TCB wrote:
>>>> In other words you could pick it out 7% more often than a coin flip.
Doesn't
>>>> sound like much of a difference to me.
>>>>
>>>> TCB
>>>>
>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>> "Wider" is the only difference I could hear in the identified mixes
on
>>
>>>>> the website, but once I had to guess, I could not hear it more than
57%
>>>>> of the time. I don't know enough about psychoacoustics or audio design
>>
>>>>> to understand what makes something sound wider, but you would think
it
>>
>>>>> could also be emulated digitally.
>>>>>
>>>>> LaMont wrote:
>>>>>> The difference (real life) is that the mix thru the SSL board becomes
>>>> wider.
>>>>>> However, I would say that clocking plays a big role int he sound department.
>>>>>>
>>>>>>
>>>>>> Again, we choose Lucid over Digis Clock and Apogee Big Ben. The Licid
>>>> made
>>>>>> the mix tighter, more focused.
>>>>>>
>>>>>> So, along with OTB, clocking plays a part..
>>>>>>
>>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>>> For me the most important difference between mixing analog and digital
>>>>>>> is the EQ and maybe the biggest part of that is simply the response
>> of
>>>>>>> the knobs and how they alter the sound when I turn them. I don't
get
>>>>>>> that same feeling with most digital EQs.
>>>>>>>
>>>>>>> Take the test. You will be surprised. I triple dare you.
>>>>>>>
>>>>>>> lamont wrote:
>>>>>>>> Bill, I work @ our church studio wich has a SSL 4000 G series(E
series)
>>>>>> eqs
>>>>>>>> harwired to a PT HD3 using Lucid genX clock.. To the point...There
>> is
>>>>>> a noticble
>>>>>>>> difference bte ITB and thru the SSL. We had a great laugh because
>> all
>>>>>> of
>>>>>>>> the producers who work there all have PT HdS in there perwonal studios
>>>>>> with
>>>>>>>> apgee AD16X and they take numbers to bring in there mixes to SSL
room...But
>>>>>>>> I will say his..inserting the waves SSL comp on the master buss
really
>>>>>> does
>>>>>>>> what the real ssl buss comp does..and that is .it glues the entire
>> mix..
>>>>>>>>
>>>>>>>> Bill L <bill@billlorentzen.com> wrote:
>>>>>>>>> Neil & Lamont: did either of you take the ProTools challenge and
>> test
>>>>>>>>> whether you could hear the difference between in the box Waves
SSL
>>>> plugs
>>>>>>>>> and summing vs. SSL channels and summing? It may surprise you.
>>>>>>>>>
>>>>>>>>> So put your money where your mouth is, so to speak, and take the
>> test.
>>>>>>>>> Then post your scores. I double dare you.
>>>>>>>>>
>>>>>>>>> Neil wrote:
>>>>>>>>>> "LaMont" <jjdpro@gmail.com> wrote:
>>>>>>>>>>> Boutique is only Boutique because it's the buzz phrase of the
>>>>>>>>>>> day. Over priced old gear and newer versions of an old piece
>>>>>>>>>>> of gear is all that it is.
>>>>>>>>>> I guess I can both agree with you & disagree with you on this
>>>>>>>>>> point, depending on which piece of gear is the subject of
>>>>>>>>>> conversation at the moment - I have a few pieces of high-end
>>>>>>>>>> or "boutique" equipment that I think are worth every penny
>>>>>>>>>> I paid for them (Chandler TG-2, Soundelux E251-C come to mind)
>>>>>>>>>> while there are others that are great, but you have to
>>>>>>>>>> wonder "do they REALLY need to charge that much for that?"
>>>>>>>>>> I think vintage gear is in another category... that's driven
>>>>>>>>>> strictly by availability, as, if you're looking to buy a 1073,
>>>>>>>>>> for example, there are only so many for sale at any given time.
>>>>>>>>>> Try making an offer of a grand to anyone selling one of those
&
>>>>>>>>>> see if anyone takes you up on it. Unlikely; therefore the market
>>>>>>>>>> demand is what drives those prices.
>>>>>>>>>>
>>>>>>>>>>> In the end , the ears have it.. I can truly state that any
>>>>>>>>>>> when it comes to summing, almost all analog mixers will sound
>>>>>>>>>>> better than ITB.. And , a Mackie can get the job done.. Just
>>>>>>>>>>> like my Soundcraft Ghost get's it done for me..
>>>>>>>>>> See, but that's your opinion... just because you make a
>>>>>>>>>> statement like: "I can truly state" or "end of story" (as you
>>>>>>>>>> did in another recent thread) doesn't mean it's the end of the
>>>>>>>>>> story for everyone, it just means it's the end of the story for
>>>>>>>>>> you. I've done enough summing experiments (not too long ago &
>>>>>>>>>> posted several results & examples here, in fact, as I'm sure
>>>>>>>>>> you recall) to where I'm convinced that a.) you can indeed hear
>>>>>>>>>> a difference, b.) the difference is not super-significant, and,
>>>>>>>>>> c.) There are tradeoffs.
>>>>>>>>>>
>>>>>>>>>> Neil
>>On Wed, 22 Aug 2007 14:37:29 -0400, Chris Ludwig
<chrisl@adkproaudio.com> wrote:
>HI Paul,
>
>ADS technologies make a PCI one that works well and is cheap.
>Siig make 400 and 800 models in both PCI and PCI-e that work well.
>One thing to avoid even if TI is combo cards that have both 400/800 or
>400 USB etc. They can be trouble.
>
Thanks, Chris.Something liiiiike.. this:?
http://www.newegg.com/Product/Product.aspx?Item=N82E16800998 056
Currently looking myself, and the VIA ain't cuttin it.
AA
"Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
news:46cc8438$1@linux...
> HI Paul,
>
> ADS technologies make a PCI one that works well and is cheap.
> Siig make 400 and 800 models in both PCI and PCI-e that work well.
> One thing to avoid even if TI is combo cards that have both 400/800 or 400
> USB etc. They can be trouble.
>
> Chris
>
>
> Paul Braun wrote:
>> OK, so I need a couple of firewire cards for audio machines.
>>
>> Which ones are inexpensive and have the TI chips?
>>
>> Thanks.
>>
>> pab
>
> --
> Chris Ludwig
>
> ADK Pro Audio
> (859) 635-5762
> www.adkproaudio.com
> chrisl@adkproaudio.comHI Aaron,
Any of these models will work.
http://www.siig.com/ViewProduct.aspx?pn=NN-400012-S8
http://www.siig.com/ViewProduct.aspx?pn=NN-440012-S8
http://www.siig.com/ViewProduct.aspx?pn=NN-830012-S2
http://www.siig.com/ViewProduct.aspx?pn=NN-E20012-S2
Chris
Aaron Allen wrote:
> Something liiiiike.. this:?
>
> http://www.newegg.com/Product/Product.aspx?Item=N82E16800998 056
>
> Currently looking myself, and the VIA ain't cuttin it.
>
> AA
>
>
> "Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
> news:46cc8438$1@linux...
>
>> HI Paul,
>>
>> ADS technologies make a PCI one that works well and is cheap.
>> Siig make 400 and 800 models in both PCI and PCI-e that work well.
>> One thing to avoid even if TI is combo cards that have both 400/800 or 400
>> USB etc. They can be trouble.
>>
>> Chris
>>
>>
>> Paul Braun wrote:
>>
>>> OK, so I need a couple of firewire cards for audio machines.
>>>
>>> Which ones are inexpensive and have the TI chips?
>>>
>>> Thanks.
>>>
>>> pab
>>>
>> --
>> Chris Ludwig
>>
>> ADK Pro Audio
>> (859) 635-5762
>> www.adkproaudio.com
>> chrisl@adkproaudio.com
>>
>
>
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762Hey everyone,
Right now I'm considering the M-Audio Axiom 49. Does anyone have some
experience with the keyboard controllers in this ($120-300) range? I'll
be using it for VSTi in the studio. The trigger pads are a nice touch
on the Axiom.
I don't really want to spend a lot of money on it -- if I did, I'd get
an analog synth or the new Rhodes when they come out. :)
Thanks for your thoughts,
GrahamG -
A quick scan for "midi controller" on ebay shows several 49 and 61 key
models under $100. I have an Evolution 49 key controller here and I
like it alot. Not my main controller, but it sits nicely in the corner
and gets pulled out and hooked up when I need a quick keyboard fix on
my everyday pc.
- Paul Artola
Ellicott City, Maryland
On Thu, 23 Aug 2007 09:21:08 -0600, Graham Duncan
<graham@grahamduncan.com> wrote:
>Hey everyone,
>
>Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>experience with the keyboard controllers in this ($120-300) range? I'll
>be using it for VSTi in the studio. The trigger pads are a nice touch
>on the Axiom.
>
>I don't really want to spend a lot of money on it -- if I did, I'd get
>an analog synth or the new Rhodes when they come out. :)
>
>Thanks for your thoughts,
>
>GrahamI have an older evo 49 key I like, and I like the CME I just picked up from
Musician's Friend as well, though it backordered and took a while to get
here. Neither of them is spongy/cheap feeling, but they are synth action,
NOT piano. As a drummer/programmer, I prefer this. I put hands on some of
the cheaper yahama & korg keys and the M Audio stuff and they all felt
spongy to me.
YMMV.
AA
"Paul Artola" <artola@comcast.net> wrote in message
news:f5erc3tro0lu09l167q71tdotf6h2n1hdh@4ax.com...
>G -
>
> A quick scan for "midi controller" on ebay shows several 49 and 61 key
> models under $100. I have an Evolution 49 key controller here and I
> like it alot. Not my main controller, but it sits nicely in the corner
> and gets pulled out and hooked up when I need a quick keyboard fix on
> my everyday pc.
>
> - Paul Artola
> Ellicott City, Maryland
>
> On Thu, 23 Aug 2007 09:21:08 -0600, Graham Duncan
> <graham@grahamduncan.com> wrote:
>
>>Hey everyone,
>>
>>Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>>experience with the keyboard controllers in this ($120-300) range? I'll
>>be using it for VSTi in the studio. The trigger pads are a nice touch
>>on the Axiom.
>>
>>I don't really want to spend a lot of money on it -- if I did, I'd get
>>an analog synth or the new Rhodes when they come out. :)
>>
>>Thanks for your thoughts,
>>
>>Graham
>Hi Graham,
The older Evolutions and the newer CME and Fatar controller aren't bad.
The CME and fatar are hard to get. I love the Novation ones but I
believe they are out of the price range you want.
Chris
Graham Duncan wrote:
> Hey everyone,
>
> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
> experience with the keyboard controllers in this ($120-300) range? I'll
> be using it for VSTi in the studio. The trigger pads are a nice touch
> on the Axiom.
>
> I don't really want to spend a lot of money on it -- if I did, I'd get
> an analog synth or the new Rhodes when they come out. :)
>
> Thanks for your thoughts,
>
> Graham
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comI'll keep a look out I guess...
There is a $180 Novation ReMOTE 49 LE -- I wonder if it's up to the
quality of their nicer models?
Thanks everyone,
Graham
Chris Ludwig wrote:
> Hi Graham,
> The older Evolutions and the newer CME and Fatar controller aren't bad.
> The CME and fatar are hard to get. I love the Novation ones but I
> believe they are out of the price range you want.
>
> Chris
>
>
> Graham Duncan wrote:
>> Hey everyone,
>>
>> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>> experience with the keyboard controllers in this ($120-300) range?
>> I'll be using it for VSTi in the studio. The trigger pads are a nice
>> touch on the Axiom.
>>
>> I don't really want to spend a lot of money on it -- if I did, I'd get
>> an analog synth or the new Rhodes when they come out. :)
>>
>> Thanks for your thoughts,
>>
>> Graham
>I've been curious about them. How good is the mic pre?
DJ wrote:
> Only $699.00
>
> ;o)
>
> "James McCloskey" <excelsm@hotmail.com> wrote in message
> news:46c87d80$1@linux...
>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>> This is the "real deal" when it comes to a limiting circuit that actually
>>> "works" the way it should. It's an amazing box. I've got one here, but I'm
>>> selling it to a local friend of mine to pay for Crashbasket's knee
>>> surgery.
>>>
>>> http://www.aybg12.dsl.pipex.com/products.htm
>>>
>>> The ompressor is more transparent and HIFI tan the RNC and it's almost
>>> impossible to get the expander to chatter.
>>>
>>> Deej
>> What do they cost new?
>>
>>> "LaMont" <jjdpro@gmail.com> wrote in message news:46c78144$1@linux...
>>>> I picked one up last week (29.00) bucks.. I like it, but I don;t lijke
>> the
>>>> limiter kicking in..Best to leave the limiter off..Having said that,
>>>> this
>>>> pre coupled with a decent compresor is very nice ...
>>>>
>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>> Any thoughts?
>>>>>
>>>>> http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>>>>>
>>>>>
>>>>> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>>>>>
>>>
>
>http://www.siig.com/ViewProduct.aspx?pn=NN-400012-S8
Guys, skip on the SIIG from Newegg:
We regret to inform you that your recent Newegg.com Sales Order has been
cancelled due to insufficient inventory.
It was discovered that the quantities for one or more items reserved to
fulfill this order were either found to be damaged, misplaced, or only
partially available.
If your payment has already been processed, you will be refunded the full
amount of this order in approximately 2 to 3 business days.
We apologize for any inconvenience this may have caused, and thank you for
your patience and understanding.
AA
"Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
news:46cd20d7@linux...
> HI Aaron,
> Any of these models will work.
>
> http://www.siig.com/ViewProduct.aspx?pn=NN-400012-S8
> http://www.siig.com/ViewProduct.aspx?pn=NN-440012-S8
> http://www.siig.com/ViewProduct.aspx?pn=NN-830012-S2
> http://www.siig.com/ViewProduct.aspx?pn=NN-E20012-S2
>
> Chris
>
>
> Aaron Allen wrote:
>> Something liiiiike.. this:?
>>
>> http://www.newegg.com/Product/Product.aspx?Item=N82E16800998 056
>>
>> Currently looking myself, and the VIA ain't cuttin it.
>>
>> AA
>>
>>
>> "Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
>> news:46cc8438$1@linux...
>>
>>> HI Paul,
>>>
>>> ADS technologies make a PCI one that works well and is cheap.
>>> Siig make 400 and 800 models in both PCI and PCI-e that work well.
>>> One thing to avoid even if TI is combo cards that have both 400/800 or
>>> 400 USB etc. They can be trouble.
>>>
>>> Chris
>>>
>>>
>>> Paul Braun wrote:
>>>
>>>> OK, so I need a couple of firewire cards for audio machines.
>>>>
>>>> Which ones are inexpensive and have the TI chips?
>>>>
>>>> Thanks.
>>>>
>>>> pab
>>>>
>>> --
>>> Chris Ludwig
>>>
>>> ADK Pro Audio
>>> (859) 635-5762
>>> www.adkproaudio.com
>>> chrisl@adkproaudio.com
>>
>>
>>
>
> --
> Chris Ludwig
> ADK
> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
> www.adkproaudio.com <http://www.adkproaudio.com/>
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87882 is a reply to message #87880] |
Tue, 10 July 2007 15:44 |
Rod Lincoln
Messages: 883
Registered: September 2005
|
Senior Member |
|
|
>> I'm open to suggestions... I need decent piano sounds. That's it.
>>
>> Chuck
>>
>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>> Hi Chuck,
>>> Ok Good Luck.
>>> BTW I fucking HATE that program!!!.
>>> :)
>>>
>>> Chris
>>>
>>>
>>> chuck duffy wrote:
>>>> Hi Chris,
>>>>
>>>> It doesn't do it in standalone mode.
>>>> It's the most current build of giga
>>>> I'm launching cubase first
>>>> I will try the other suggestions later
>>>>
>>>> Thanks for your help
>>>>
>>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>>> Hi Chuck,
>>>>> Is it doing this in stand alone mode too?
>>>>> Is it the most current build of Giga?
>>>>> Try while in stand alone mode to disable the Mia's MIDI ports.
>>>>> Also in Cubase while not having Giga running disable the Mia's MIdi
>>>>> outputs so that only Gigaports are being used.
>>>>> See if that helps.
>>>>> You are launching Cubase first when using Giga in rewire mode correct?
>>>>>
>>>>>
>>>>>
>>>>> Chris
>>>>>
>>>>> chuck duffy wrote:
>>>>>> Guys,
>>>>>>
>>>>>> Desperate help needed. Here's the issue:
>>>>>>
>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>>>>> I'm outputting through echo mia in cubase.
>>>>>>
>>>>>> When I press a note, either on the keyboard, or with the mouse on
the
>>>> onscreen
>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>
>>>>>> It doesn't matter which sample library I use, the latency setting,
midi
>>>> or
>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>
>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
>> fine.
>>>>>>
>>>>>>
>>>>>> All I want to do is lay down some 2 track piano, and I can't get it
>> to
>>>> work.
>>>>>> HELP
>>>>>>
>>>>>> Thanks
>>>>>> Chuck
>>>>> --
>>>>> Chris Ludwig
>>>>>
>>>>> ADK Pro Audio
>>>>> (859) 635-5762
>>>>> www.adkproaudio.com
>>>>> chrisl@adkproaudio.com
>>> --
>>> Chris Ludwig
>>>
>>> ADK Pro Audio
>>> (859) 635-5762
>>> www.adkproaudio.com
>>> chrisl@adkproaudio.com
>>
>
>--
>Chris Ludwig
>
>ADK Pro Audio
>(859) 635-5762
>www.adkproaudio.com
>chrisl@adkproaudio.comWow, the Novation ReMOTE SL looks amazing! Mostly for the possibilities
of regular VST control while mixing... quite the deal.
Graham
Chris Ludwig wrote:
> Hi Graham,
> The older Evolutions and the newer CME and Fatar controller aren't bad.
> The CME and fatar are hard to get. I love the Novation ones but I
> believe they are out of the price range you want.
>
> Chris
>
>
> Graham Duncan wrote:
>> Hey everyone,
>>
>> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>> experience with the keyboard controllers in this ($120-300) range?
>> I'll be using it for VSTi in the studio. The trigger pads are a nice
>> touch on the Axiom.
>>
>> I don't really want to spend a lot of money on it -- if I did, I'd get
>> an analog synth or the new Rhodes when they come out. :)
>>
>> Thanks for your thoughts,
>>
>> Graham
>wait......
http://gprime.net/flash.php/drummachineHi Guys,
Thanks for the input. I ended up getting some kind of virtual asio driver
for giga from a place called FXMAX i think.
The other thing I ended up doing was switching audio priority to HIGH in
cubase.
Now it's working fantastic, and I'm able to set the MIA latency to 64 samples,
and EVERYTHING works!
My 7 year old son helped me pull the preamps and mics out of the closet and
wire them up last night. We also hooked up the headphone amp, and found a
couple sets of cans and got them working.
We installed groove agent and B4, and they both work great too.
We did some testing and I had absolutely no problem, or latency playing giga,
groove agent, B4 with a couple live mics going.
It was great having an assistant. He helped me get all the level checks
and set up a default cubase template exactly how I want it. Next step is
to haul out the ampeg and les and get that setup.
Since I stopped using paris, the entire recording exercise has been nothing
but utter frustration for me, to the point where I haven't recorded in years.
Last night I was suspicious that it was all really working, so I powered
off and rebooted, starting up from scratch about 10 times. It's all cool.
Thanks
Chuck
"LaMont" <jjdpro@ameritech.net> wrote:
>
>You are right Chris.. The Grand, Ivory & NI Piano are great.
>
>Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>HI Chuck,
>>O course this will be open for debate but these are the ones I've heard
>
>>that were descent.
>>Steinberg Grand 2
>>Ivory
>>NI Akoustic Piano
>>
>>There are others but haven't heard them.
>>
>>Ivory and Akoustic Piano are the most varied but Ivory is very system
>>intensive. All of them run as either DXi or VSTi so they are far more
>>integrated into Sonar , Cubase etc.
>>
>>
>>Not sure if the MIA is fully multi-client audio and Midi but you might
>>try setting up Giga as a stand alone with Sonar as the default sequencer
>
>>for Giga and se if it works.
>>
>>
>>Chris
>>
>>chuck duffy wrote:
>>> I'm open to suggestions... I need decent piano sounds. That's it.
>>>
>>> Chuck
>>>
>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>> Hi Chuck,
>>>> Ok Good Luck.
>>>> BTW I fucking HATE that program!!!.
>>>> :)
>>>>
>>>> Chris
>>>>
>>>>
>>>> chuck duffy wrote:
>>>>> Hi Chris,
>>>>>
>>>>> It doesn't do it in standalone mode.
>>>>> It's the most current build of giga
>>>>> I'm launching cubase first
>>>>> I will try the other suggestions later
>>>>>
>>>>> Thanks for your help
>>>>>
>>>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>>>> Hi Chuck,
>>>>>> Is it doing this in stand alone mode too?
>>>>>> Is it the most current build of Giga?
>>>>>> Try while in stand alone mode to disable the Mia's MIDI ports.
>>>>>> Also in Cubase while not having Giga running disable the Mia's MIdi
>
>>>>>> outputs so that only Gigaports are being used.
>>>>>> See if that helps.
>>>>>> You are launching Cubase first when using Giga in rewire mode correct?
>>>>>>
>>>>>>
>>>>>>
>>>>>> Chris
>>>>>>
>>>>>> chuck duffy wrote:
>>>>>>> Guys,
>>>>>>>
>>>>>>> Desperate help needed. Here's the issue:
>>>>>>>
>>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF
involved).
>>>>>>> I'm outputting through echo mia in cubase.
>>>>>>>
>>>>>>> When I press a note, either on the keyboard, or with the mouse on
>the
>>>>> onscreen
>>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>
>>>>>>> It doesn't matter which sample library I use, the latency setting,
>midi
>>>>> or
>>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>>
>>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
>>> fine.
>>>>>>>
>>>>>>>
>>>>>>> All I want to do is lay down some 2 track piano, and I can't get
it
>>> to
>>>>> work.
>>>>>>> HELP
>>>>>>>
>>>>>>> Thanks
>>>>>>> Chuck
>>>>>> --
>>>>>> Chris Ludwig
>>>>>>
>>>>>> ADK Pro Audio
>>>>>> (859) 635-5762
>>>>>> www.adkproaudio.com
>>>>>> chrisl@adkproaudio.com
>>>> --
>>>> Chris Ludwig
>>>>
>>>> ADK Pro Audio
>>>> (859) 635-5762
>>>> www.adkproaudio.com
>>>> chrisl@adkproaudio.com
>>>
>>
>>--
>>Chris Ludwig
>>
>>ADK Pro Audio
>>(859) 635-5762
>>www.adkproaudio.com
>>chrisl@adkproaudio.com
>Hear, Hear!!!
El Miguel (con orejas grandes)
"Jamie K" <Meta@Dimensional.com> wrote in message news:46c91c2c@linux...
>
> Awesome news all around!
>
> Cheers,
> -Jamie
> www.JamieKrutz.com
>
>
> Nappy wrote:
>> Thats great news! I'm up and running as well.
>> And thanks for your prayers,positive vibes as well.
>> thanks again.
>>
>> respect
>> Nappy
>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>> Looks like all is good.
>>>
>>> thanks for your prayers/positive vibes/support, etc.
>>>
>>> ;o)
>>>
>>>
>>"Graham Duncan" <graham@grahamduncan.com> wrote in message
news:46cd9a72@linux...
> Hey everyone,
>
> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
> experience with the keyboard controllers in this ($120-300) range? I'll
> be using it for VSTi in the studio. The trigger pads are a nice touch on
> the Axiom.
>
> I don't really want to spend a lot of money on it -- if I did, I'd get an
> analog synth or the new Rhodes when they come out. :)
>
> Thanks for your thoughts,
>
> Graham
http://www.m-audio.com/products/en_us/KeystationPro88-main.h tmlIf memory serves, you must use an electric oven as when gas burns it
releases H2O, which is not good for the tape.
Kim W wrote:
> I had this problem and baked the tapes myself. It's not that scary!
> I used a large cardboard box, (with an improvised small diameter
> platform to allow circulation), an electric fan heater with 3 speeds, (placed
> otside the box, you can adjust the temperature
> by placement), and a laboratory thermometer suspended through the cardboard
> box, affixed with blu-tac so the mercury is near the reel).
> Worked like a charm.
> Don't try to play the tape prior to baking. (contrary to what is
> said in one of the articles below.
>
> http://www.tangible-technology.com/tape/baking1.html
> http://www.josephson.com/bake_tape.html
>
> Kim
>
>
> "Michael Yanoska" <yanoska@cox.net> wrote:
>> I have several master analog tapes from 1975 - 1985 that need to be "baked"
>> before playing and transferring to Paris. Does anyone know a studio in
> Orange
>> County, CA or LA that provides that service? Thanks, Mike.
>John,you really need to lighten up a little.
--
Martin Harrington
Lend An Ear Sound
101 Eton Rd
Lindfield 2070
02 9413 8666
"John" <no@no.com> wrote in message news:46c82cc7$1@linux...
>
> Great story, now not to be a bummer but what about all that copyrighted
> music
> in the video? Surely that isn't legal.No, haven't tried on amd, but it should fly right?
The other anomoly is that on Nuendo, the CPUmeter in the transport
controller moves as if a click, and wiyh the monitors upfull, you can
atually hear a click.'What's going on with that?
--
Martin Harrington
Lend An Ear Sound
101 Eton Rd
Lindfield 2070
02 9413 8666
"Aaron Allen" <know-spam@not_here.dude> wrote in message
news:46be5b20$1@linux...
>I wonder if this has anything to do with the mystery instructions on the
>core/core 2 intel CPUs... hmm...... have you run that MS/Intel patch?
> Also curious, have you popped open Task Manager in Windows and looked at
> what was going on?
> IRQ sharing?
>
> Could just be lousy coding on PT's part. Have you tried it on an AMD setup
> per chance?
> 256 vid ram oughta be way more than enough.
>
> AA
>
>
> "Martin Harrington" <lendan@bigpond.net.au> wrote in message
> news:46bd48ff$1@linux...
>> N-Vidia GForce 8500 GT with 256 mg ram
>> Martin Harrington
>> www.lendanear-sound.com
>> 0414 913 247
>>
>> "Aaron Allen" <know-spam@not_here.dude> wrote in message
>> news:46bd15ea@linux...
>>> doh.. I mean what's the RAM on the video card.
>>> Sorry, long day.
>>>
>>> AA
>>>
>>>
>>> "Aaron Allen" <know-spam@not_here.dude> wrote in message
>>> news:46bd1511$1@linux...
>>>> Video related? I have to ask, what's the video card in question?
>>>> AA
>>>>
>>>>
>>>> "Martin Harrington" <lendan@bigpond.net.au> wrote in message
>>>> news:46bcff81$1@linux...
>>>>>A question about PT, (off topic I know), but I have (sometimes use), PT
>>>>>M powered.
>>>>> I always thought my comp felt sluggish, or at least the screed redraws
>>>>> looked sluggish, and that was on an Intel Core2 Duo 6600 with 2 gig of
>>>>> ram..shouldn't be the case right?
>>>>> Everything else seemed quite snappy...put not PT.
>>>>> Well.... now I just built a Quad Core (Intel Q6600) with 4 gb ram and
>>>>> an N-Videia 8500 card, (that was on the comp previously), and PT feels
>>>>> just the same....
>>>>> Is it PT?
>>>>> The meters seem really sluggish although I can get really low latency
>>>>> whist recording with no problems. the graphics are just crappy.
>>>>> Any ideas guys?
>>>>>
>>>>> Martin Harrington
>>>>> www.lendanear-sound.com
>>>>> 0414 913 247
>>>>>
>>>>>
>>>>
>>>>
>>>
>>>
>>
>> --
>>
>
>Well, it just so happened that I am learning about copyrighting and licensing
of covers songs so it was more a question to try to learn more than to throw
stones. Sorry for being the bummer.
JohnI got lucky enough to have a 6 piece reggae band record all day yesterday
and I have to say the sound and workflow in cubase was more than I could
have imagined. It was fantastic. The band is blown away with the sound
and possibilities. We are going to do vocal overdubs next week but I have
to say the sound was even better than Paris ever was. 32 bit mixing is
so sweet and forgiving and these digimax fs with rme 9652 are so fine.
I had only one glitch where I deleted an entire song because of my poor understanding
of how templates work but we did 11 songs and these are great friends so
I'm not in the doghouse.
Other than my own errors, I didn't have a single hiccup with cubase 4 the
whole time at 3ms latency. Rock on !Yeah, I'm not really a fan of giga, or halion. Unfortunately they are the
only samplers I own right now.
Cash wise I'm not really in a position to switch, but when I am I will try
kontact.
Thanks guys.
Chuck
Dedric Terry <dterry@keyofd.net> wrote:
>I think about 10 out of every 10 Giga users I know say the same thing about
>Giga - get Kontakt (or at least something besides Giga).
>
>I don't use Giga, but will second Lamont's suggestion for Kontakt 2 -
>excellent sampler, and it does load Giga files as easily as native Kontakt
>files.
>
>Dedric
>
>On 8/23/07 9:56 PM, in article 46ce56d3$1@linux, "LaMont"
><jjdpro@ameritech.ne> wrote:
>
>>
>> Chuck,
>> As a Life flong Giga user, I can honestly state,that your best bet is
to
>> Get NI Kontakt 2.x..
>>
>> Kontakt can play back your Giga programs, AND even convert them (super
easily)
>> inside of it's app.!!
>>
>> As well as, you can use Kontkt as a regular VSTi inside of Cubase instead
>> of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>> apps..Surprisely (Rewire) implemented very well in Pro Tools (M-Powered,LE,
>> HD).. Who knew!!
>>
>> I even purchased he new Giga VSTi (GVI) and it's just a little better
than
>> Giga 3.. Native Instruments have really done a bang up job with Kontakt
>> 2.x..Smooth..
>> AND it can stream from disk..
>>
>> "chuck duffy" <c@c.com> wrote:
>>>
>>> Guys,
>>>
>>> Desperate help needed. Here's the issue:
>>>
>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>> I'm outputting through echo mia in cubase.
>>>
>>> When I press a note, either on the keyboard, or with the mouse on the
>>> onscreen
>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>
>>> It doesn't matter which sample library I use, the latency setting, midi
>> or
>>> non midi. It always cuts off the note after about 1 second.
>>>
>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>>>
>>>
>>> All I want to do is lay down some 2 track piano, and I can't get it to
work.
>>>
>>> HELP
>>>
>>> Thanks
>>> Chuck
>>
>DJ, that keyboard is a mess :-) Have you played one? Mush mush mush city.
In fact, every single "pro" controller I tried was just a big ball of compromises.
I ended up buying an 88 key yamaha consumer digtal piano on closeout for
$500, complete with stand and keyboard. The action blows away my yamaha
acoustic upright.
For the non piano stuff (B4) I have been happy with my little edirol board.
I went through three cheap midimans that malfunctioned in various bizzare
ways.
Chuck
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>
>"Graham Duncan" <graham@grahamduncan.com> wrote in message
>news:46cd9a72@linux...
>> Hey everyone,
>>
>> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>> experience with the keyboard controllers in this ($120-300) range? I'll
>> be using it for VSTi in the studio. The trigger pads are a nice touch
on
>> the Axiom.
>>
>> I don't really want to spend a lot of money on it -- if I did, I'd get
an
>> analog synth or the new Rhodes when they come out. :)
>>
>> Thanks for your thoughts,
>>
>> Graham
>
> http://www.m-audio.com/products/en_us/KeystationPro88-main.h tml
>
>Sounds like a very good alternative Chuck - which model did you get?
The only 88 key keyboards I like are the Yamaha CP300, CP33 and S90ES (the
CPs are fantastic stage pianos - great action), and sometimes, the Kurzweil
controllers, though the action is a bit shallow. Other Yamaha digital
pianos also have a great feel (those are just my favorites). Nothing from
Roland, Korg, M-Audio, CME, Fatar feels as playable to me.
Regards,
Dedric
"chuck duffy" <c@c.com> wrote in message news:46d1b998$1@linux...
>
> DJ, that keyboard is a mess :-) Have you played one? Mush mush mush city.
> In fact, every single "pro" controller I tried was just a big ball of
> compromises.
> I ended up buying an 88 key yamaha consumer digtal piano on closeout for
> $500, complete with stand and keyboard. The action blows away my yamaha
> acoustic upright.
>
> For the non piano stuff (B4) I have been happy with my little edirol
> board.
> I went through three cheap midimans that malfunctioned in various bizzare
> ways.
>
> Chuck
>
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>
>>"Graham Duncan" <graham@grahamduncan.com> wrote in message
>>news:46cd9a72@linux...
>>> Hey everyone,
>>>
>>> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>
>>> experience with the keyboard controllers in this ($120-300) range? I'll
>
>>> be using it for VSTi in the studio. The trigger pads are a nice touch
> on
>>> the Axiom.
>>>
>>> I don't really want to spend a lot of money on it -- if I did, I'd get
> an
>>> analog synth or the new Rhodes when they come out. :)
>>>
>>> Thanks for your thoughts,
>>>
>>> Graham
>>
>> http://www.m-audio.com/products/en_us/KeystationPro88-main.h tml
>>
>>
>"John" <no@no.com> wrote:
>
>I had only one glitch where I deleted an entire song because of my poor
understanding
>of how templates work but we did 11 songs and these are great friends so
>I'm not in the doghouse.
Lemme guess... you saved an already-recorded song as a
template, then you deleted the tracks, and so when you went
back to open up the song that you had originally saved as a
template, the tracks weren't there anymore?
If so, don't feel too bad - I did the same thing early on.
Found out real quick that you make templates first, THEN record
something into them lol
Neilthat's exactly what I did. For something SO critical a DANGER DANGER message
would have been nice !Where's your auto backups?
John wrote:
> that's exactly what I did. For something SO critical a DANGER DANGER message
> would have been nice !140 degrees F is the recommended temp... a 100W bulb will
give you that (and more) in a foil lined box. set the reel
on a coffee can mid way in the box and you're good to go.
You could even use a small fan to circulate the air (best).
Leave it in there for 6 to 8 hours for a full 10" reel.
David.
Bill L wrote:
> If memory serves, you must use an electric oven as when gas burns it
> releases H2O, which is not good for the tape.
>
> Kim W wrote:
>
>> I had this problem and baked the tapes myself. It's not that scary!
>> I used a large cardboard box, (with an improvised small diameter
>> platform to allow circulation), an electric fan heater with 3 speeds,
>> (placed
>> otside the box, you can adjust the temperature
>> by placement), and a laboratory thermometer suspended through the
>> cardboard
>> box, affixed with blu-tac so the mercury is near the reel).
>> Worked like a charm.
>> Don't try to play the tape prior to baking. (contrary to what is
>> said in one of the articles below.
>>
>> http://www.tangible-technology.com/tape/baking1.html
>> http://www.josephson.com/bake_tape.html
>>
>> Kim
>>
>>
>> "Michael Yanoska" <yanoska@cox.net> wrote:
>>
>>> I have several master analog tapes from 1975 - 1985 that need to be
>>> "baked"
>>> before playing and transferring to Paris. Does anyone know a studio in
>>
>> Orange
>>
>>> County, CA or LA that provides that service? Thanks, Mike.
>>
>>I usually make templates as normal songs... open, save to
"new folder", work. repeat.
David.
John wrote:
> that's exactly what I did. For something SO critical a DANGER DANGER message
> would have been nice !Cool.. Thanks for heads up on he asio driver..
"chuck duffy" <c@C.COM> wrote:
>
>Hi Guys,
>
>Thanks for the input. I ended up getting some kind of virtual asio driver
>for giga from a place called FXMAX i think.
>
>The other thing I ended up doing was switching audio priority to HIGH in
>cubase.
>
>Now it's working fantastic, and I'm able to set the MIA latency to 64 samples,
>and EVERYTHING works!
>
>My 7 year old son helped me pull the preamps and mics out of the closet
and
>wire them up last night. We also hooked up the headphone amp, and found
a
>couple sets of cans and got them working.
>
>We installed groove agent and B4, and they both work great too.
>
>We did some testing and I had absolutely no problem, or latency playing
giga,
>groove agent, B4 with a couple live mics going.
>
>It was great having an assistant. He helped me get all the level checks
>and set up a default cubase template exactly how I want it. Next step is
>to haul out the ampeg and les and get that setup.
>
>Since I stopped using paris, the entire recording exercise has been nothing
>but utter frustration for me, to the point where I haven't recorded in years.
>Last night I was suspicious that it was all really working, so I powered
>off and rebooted, starting up from scratch about 10 times. It's all cool.
>
>Thanks
>
>Chuck
>
>
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>You are right Chris.. The Grand, Ivory & NI Piano are great.
>>
>>Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>HI Chuck,
>>>O course this will be open for debate but these are the ones I've heard
>>
>>>that were descent.
>>>Steinberg Grand 2
>>>Ivory
>>>NI Akoustic Piano
>>>
>>>There are others but haven't heard them.
>>>
>>>Ivory and Akoustic Piano are the most varied but Ivory is very system
>>>intensive. All of them run as either DXi or VSTi so they are far more
>>>integrated into Sonar , Cubase etc.
>>>
>>>
>>>Not sure if the MIA is fully multi-client audio and Midi but you might
>
>>>try setting up Giga as a stand alone with Sonar as the default sequencer
>>
>>>for Giga and se if it works.
>>>
>>>
>>>Chris
>>>
>>>chuck duffy wrote:
>>>> I'm open to suggestions... I need decent piano sounds. That's it.
>>>>
>>>> Chuck
>>>>
>>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>>> Hi Chuck,
>>>>> Ok Good Luck.
>>>>> BTW I fucking HATE that program!!!.
>>>>> :)
>>>>>
>>>>> Chris
>>>>>
>>>>>
>>>>> chuck duffy wrote:
>>>>>> Hi Chris,
>>>>>>
>>>>>> It doesn't do it in standalone mode.
>>>>>> It's the most current build of giga
>>>>>> I'm launching cubase first
>>>>>> I will try the other suggestions later
>>>>>>
>>>>>> Thanks for your help
>>>>>>
>>>>>> Chris Ludwig <chrisl@adkproaudio.com> wrote:
>>>>>>> Hi Chuck,
>>>>>>> Is it doing this in stand alone mode too?
>>>>>>> Is it the most current build of Giga?
>>>>>>> Try while in stand alone mode to disable the Mia's MIDI ports.
>>>>>>> Also in Cubase while not having Giga running disable the Mia's MIdi
>>
>>>>>>> outputs so that only Gigaports are being used.
>>>>>>> See if that helps.
>>>>>>> You are launching Cubase first when using Giga in rewire mode correct?
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> Chris
>>>>>>>
>>>>>>> chuck duffy wrote:
>>>>>>>> Guys,
>>>>>>>>
>>>>>>>> Desperate help needed. Here's the issue:
>>>>>>>>
>>>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF
>involved).
>>>>>>>> I'm outputting through echo mia in cubase.
>>>>>>>>
>>>>>>>> When I press a note, either on the keyboard, or with the mouse on
>>the
>>>>>> onscreen
>>>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>>
>>>>>>>> It doesn't matter which sample library I use, the latency setting,
>>midi
>>>>>> or
>>>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>>>
>>>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
>>>> fine.
>>>>>>>>
>>>>>>>>
>>>>>>>> All I want to do is lay down some 2 track piano, and I can't get
>it
>>>> to
>>>>>> work.
>>>>>>>> HELP
>>>>>>>>
>>>>>>>> Thanks
>>>>>>>> Chuck
>>>>>>> --
>>>>>>> Chris Ludwig
>>>>>>>
>>>>>>> ADK Pro Audio
>>>>>>> (859) 635-5762
>>>>>>> www.adkproaudio.com
>>>>>>> chrisl@adkproaudio.com
>>>>> --
>>>>> Chris Ludwig
>>>>>
>>>>> ADK Pro Audio
>>>>> (859) 635-5762
>>>>> www.adkproaudio.com
>>>>> chrisl@adkproaudio.com
>>>>
>>>
>>>--
>>>Chris Ludwig
>>>
>>>ADK Pro Audio
>>>(859) 635-5762
>>>www.adkproaudio.com
>>>chrisl@adkproaudio.com
>>
>All works perfectly now The meters bounce to their hearts content, the now
line moves with gay abandon, and the time display doesn't miss a beat.
Thanks Chris and the rest of you Parasites.
I still dislike the program though.
--
Martin Harrington
Lend An Ear Sound
02 9413 8666
0414 913 247I think I heard something about cubase doing backups but that they can crash
you during a session. Are you for real? Describe...
Bill L <bill@billlorentzen.com> wrote:
>Where's your auto backups?
>
>John wrote:
>> that's exactly what I did. For something SO critical a DANGER DANGER
message
>> would have been nice !I was playing around with a Yammy S08 the other day & to me
(not being a Piano player, so maybe I'm not the most qualified
to say) that felt VERY much like a real piano. Had some really
good Piano & Organ sounds in it, too, i thought.
Neil
"Dedric Terry" <dterry@keyofd.net> wrote:
>Sounds like a very good alternative Chuck - which model did you get?
>
>The only 88 key keyboards I like are the Yamaha CP300, CP33 and S90ES (the
>CPs are fantastic stage pianos - great action), and sometimes, the Kurzweil
>controllers, though the action is a bit shallow. Other Yamaha digital
>pianos also have a great feel (those are just my favorites). Nothing from
>Roland, Korg, M-Audio, CME, Fatar feels as playable to me.
>
>Regards,
>Dedric
>
>"chuck duffy" <c@c.com> wrote in message news:46d1b998$1@linux...
>>
>> DJ, that keyboard is a mess :-) Have you played one? Mush mush mush city.
>> In fact, every single "pro" controller I tried was just a big ball of
>> compromises.
>> I ended up buying an 88 key yamaha consumer digtal piano on closeout for
>> $500, complete with stand and keyboard. The action blows away my yamaha
>> acoustic upright.
>>
>> For the non piano stuff (B4) I have been happy with my little edirol
>> board.
>> I went through three cheap midimans that malfunctioned in various bizzare
>> ways.
>>
>> Chuck
>>
>>
>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>>
>>>"Graham Duncan" <graham@grahamduncan.com> wrote in message
>>>news:46cd9a72@linux...
>>>> Hey everyone,
>>>>
>>>> Right now I'm considering the M-Audio Axiom 49. Does anyone have some
>>
>>>> experience with the keyboard controllers in this ($120-300) range?
I'll
>>
>>>> be using it for VSTi in the studio. The trigger pads are a nice touch
>> on
>>>> the Axiom.
>>>>
>>>> I don't really want to spend a lot of money on it -- if I did, I'd get
>> an
>>>> analog synth or the new Rhodes when they come out. :)
>>>>
>>>> Thanks for your thoughts,
>>>>
>>>> Graham
>>>
>>> http://www.m-audio.com/products/en_us/KeystationPro88-main.h tml
>>>
>>>
>>
>Neil - your really into Cubase - is there a good book you would recomend for
reference etc.
I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
but have not been confortable enough with the app to use it over Paris...
"Neil" <OIOIU@OIU.com> wrote:
>
>"John" <no@no.com> wrote:
>
>>
>>I had only one glitch where I deleted an entire song because of my poor
>understanding
>>of how templates work but we did 11 songs and these are great friends so
>>I'm not in the doghouse.
>
>Lemme guess... you saved an already-recorded song as a
>template, then you deleted the tracks, and so when you went
>back to open up the song that you had originally saved as a
>template, the tracks weren't there anymore?
>If so, don't feel too bad - I did the same thing early on.
>Found out real quick that you make templates first, THEN record
>something into them lol
>
>NeilI put all my cubase notes here:
www.kfocus.com/cubase
look under cubase/topics for lots of info
Also if you have any questions just ask the Cubase forum or here too. This
Cubase thing has me very happy fwiw.
JohnI think I remember someone here writing a book about SX. Who was that again?
TCB
"Rich " <studiodog_99@xxxyahoo.com> wrote:
>
>Neil - your really into Cubase - is there a good book you would recomend
for
>reference etc.
>I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
>but have not been confortable enough with the app to use it over Paris...
>
>
>"Neil" <OIOIU@OIU.com> wrote:
>>
>>"John" <no@no.com> wrote:
>>
>>>
>>>I had only one glitch where I deleted an entire song because of my poor
>>understanding
>>>of how templates work but we did 11 songs and these are great friends
so
>>>I'm not in the doghouse.
>>
>>Lemme guess... you saved an already-recorded song as a
>>template, then you deleted the tracks, and so when you went
>>back to open up the song that you had originally saved as a
>>template, the tracks weren't there anymore?
>>If so, don't feel too bad - I did the same thing early on.
>>Found out real quick that you make templates first, THEN record
>>something into them lol
>>
>>Neil
>Hi,
Did that certain somebody do an updated one for version 4?
;)
Chris
TCB wrote:
> I think I remember someone here writing a book about SX. Who was that again?
>
> TCB
>
> "Rich " <studiodog_99@xxxyahoo.com> wrote:
>> Neil - your really into Cubase - is there a good book you would recomend
> for
>> reference etc.
>> I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
>> but have not been confortable enough with the app to use it over Paris...
>>
>>
>> "Neil" <OIOIU@OIU.com> wrote:
>>> "John" <no@no.com> wrote:
>>>
>>>> I had only one glitch where I deleted an entire song because of my poor
>>> understanding
>>>> of how templates work but we did 11 songs and these are great friends
> so
>>>> I'm not in the doghouse.
>>> Lemme guess... you saved an already-recorded song as a
>>> template, then you deleted the tracks, and so when you went
>>> back to open up the song that you had originally saved as a
>>> template, the tracks weren't there anymore?
>>> If so, don't feel too bad - I did the same thing early on.
>>> Found out real quick that you make templates first, THEN record
>>> something into them lol
>>>
>>> Neil
>
--
Chris Ludwig
ADK Pro Audio
(859) 635-5762
www.adkproaudio.com
chrisl@adkproaudio.comThis is a multi-part message in MIME format.
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charset="iso-8859-1"
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Thanks for that one Thad.
And a good read was had by all.
Cubase SX2 by Thad Brown
Peachpit Press
Rich,
Thad's book is a great way to introduce yourself into working
situations with Cubase SX 2. It is a great addition to the SX manual.
I use it and SX 2 still. You can setup autosave in preferences as I =
recall. =20
It won't protect you if you delete though...
Tom
"TCB" <nobody@ishere.com> wrote in message news:46d30f49$1@linux...
I think I remember someone here writing a book about SX. Who was that =
again?
TCB
"Rich " <studiodog_99@xxxyahoo.com> wrote:
>
>Neil - your really into Cubase - is there a good book you would =
recomend
for
>reference etc. =20
>I'm still using Paris but have a RME 9636 Card that I use with Cubase =
SX3
>but have not been confortable enough with the app to use it over =
Paris...
>
>
>"Neil" <OIOIU@OIU.com> wrote:
>>
>>"John" <no@no.com> wrote:
>>=20
>>>
>>>I had only one glitch where I deleted an entire song because of my =
poor
>>understanding
>>>of how templates work but we did 11 songs and these are great =
friends
so
>>>I'm not in the doghouse.
>>
>>Lemme guess... you saved an already-recorded song as a
>>template, then you deleted the tracks, and so when you went
>>back to open up the song that you had originally saved as a
>>template, the tracks weren't there anymore?
>>If so, don't feel too bad - I did the same thing early on.
>>Found out real quick that you make templates first, THEN record
>>something into them lol
>>
>>Neil
>
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Thanks for that one Thad.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>And a good read was had by =
all.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Cubase SX2 by Thad Brown</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Peachpit Press</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Rich,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thad's book is a great way to introduce =
yourself=20
into working</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>situations with Cubase SX 2. It =
is a great=20
addition to the SX manual.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I use it and SX 2 still. You=20
can </FONT><FONT face=3DArial size=3D2>setup autosave </FONT><FONT =
face=3DArial=20
size=3D2>in preferences as I recall. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>It won't protect you </FONT><FONT =
face=3DArial=20
size=3D2>if you delete though...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"TCB" <<A =
href=3D"mailto:nobody@ishere.com">nobody@ishere.com</A>>=20
wrote in message <A=20
href=3D"news:46d30f49$1@linux">news:46d30f49$1@linux</A>...</DIV><BR>I =
think I=20
remember someone here writing a book about SX. Who was that=20
again?<BR><BR>TCB<BR><BR>"Rich " <<A=20
=
href=3D"mailto:studiodog_99@xxxyahoo.com">studiodog_99@xxxyahoo.com</A>&g=
t;=20
wrote:<BR>><BR>>Neil - your really into Cubase - is there a good =
book=20
you would recomend<BR>for<BR>>reference etc. <BR>>I'm =
still using=20
Paris but have a RME 9636 Card that I use with Cubase SX3<BR>>but =
have not=20
been confortable enough with the app to use it over=20
Paris...<BR>><BR>><BR>>"Neil" <<A=20
href=3D"mailto:OIOIU@OIU.com">OIOIU@OIU.com</A>>=20
wrote:<BR>>><BR>>>"John" <<A=20
href=3D"mailto:no@no.com">no@no.com</A>> wrote:<BR>>>=20
<BR>>>><BR>>>>I had only one glitch where I deleted =
an=20
entire song because of my =
poor<BR>>>understanding<BR>>>>of how=20
templates work but we did 11 songs and these are great=20
friends<BR>so<BR>>>>I'm not in the=20
doghouse.<BR>>><BR>>>Lemme guess... you saved an =
already-recorded=20
song as a<BR>>>template, then you deleted the tracks, and so =
when you=20
went<BR>>>back to open up the song that you had originally saved =
as=20
a<BR>>>template, the tracks weren't there anymore?<BR>>>If =
so,=20
don't feel too bad - I did the same thing early on.<BR>>>Found =
out real=20
quick that you make templates first, THEN record<BR>>>something =
into=20
them =
lol<BR>>><BR&
|
|
|
|
| Re: Rod or Dimitrios Multi Mec ideas needed. [message #87890 is a reply to message #87882] |
Tue, 10 July 2007 16:15 |
Tom Bruhl
Messages: 1368
Registered: June 2007
|
Senior Member |
|
|
good.
"TCB" <nobody@ishere.com> wrote:
>
>I think I remember someone here writing a book about SX. Who was that again?
>
>TCB
>
>"Rich " <studiodog_99@xxxyahoo.com> wrote:
>>
>>Neil - your really into Cubase - is there a good book you would recomend
>for
>>reference etc.
>>I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
>>but have not been confortable enough with the app to use it over Paris...
>>
>>
>>"Neil" <OIOIU@OIU.com> wrote:
>>>
>>>"John" <no@no.com> wrote:
>>>
>>>>
>>>>I had only one glitch where I deleted an entire song because of my poor
>>>understanding
>>>>of how templates work but we did 11 songs and these are great friends
>so
>>>>I'm not in the doghouse.
>>>
>>>Lemme guess... you saved an already-recorded song as a
>>>template, then you deleted the tracks, and so when you went
>>>back to open up the song that you had originally saved as a
>>>template, the tracks weren't there anymore?
>>>If so, don't feel too bad - I did the same thing early on.
>>>Found out real quick that you make templates first, THEN record
>>>something into them lol
>>>
>>>Neil
>>
>"Very" good.
"Bill L" <bill@billlorentzen.com> wrote in message news:46ce1fbb@linux...
> I've been curious about them. How good is the mic pre?
>
> DJ wrote:
>> Only $699.00
>>
>> ;o)
>>
>> "James McCloskey" <excelsm@hotmail.com> wrote in message
>> news:46c87d80$1@linux...
>>> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>>> This is the "real deal" when it comes to a limiting circuit that
>>>> actually
>>>> "works" the way it should. It's an amazing box. I've got one here, but
>>>> I'm
>>>> selling it to a local friend of mine to pay for Crashbasket's knee
>>>> surgery.
>>>>
>>>> http://www.aybg12.dsl.pipex.com/products.htm
>>>>
>>>> The ompressor is more transparent and HIFI tan the RNC and it's almost
>>>> impossible to get the expander to chatter.
>>>>
>>>> Deej
>>> What do they cost new?
>>>
>>>> "LaMont" <jjdpro@gmail.com> wrote in message news:46c78144$1@linux...
>>>>> I picked one up last week (29.00) bucks.. I like it, but I don;t lijke
>>> the
>>>>> limiter kicking in..Best to leave the limiter off..Having said that,
>>>>> this
>>>>> pre coupled with a decent compresor is very nice ...
>>>>>
>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>> Any thoughts?
>>>>>>
>>>>>> http://www.prodigy-pro.com/forum/viewtopic.php?t=20427
>>>>>>
>>>>>>
>>>>>> http://www.musiciansfriend.com/product/ART-Tube-MP-Studio-Mi c-Preamp?sku=180581&src=3NL7H2
>>>>>>
>>>>
>>yeah. version 1 was all 2 buggy. probably due to the fact that NI had not
figured out disk streaming..
"TCB" <nobody@ishere.com> wrote:
>
>Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>midnight, and v. 2 was solid as a rock. I have NI Komplete on both my laptop
>and desktop music computers. Kontakt is the main sampler I use.
>
>TCB
>
>"LaMont" <jjdpro@ameritech.ne> wrote:
>>
>>Chuck,
>>As a Life flong Giga user, I can honestly state,that your best bet is to
>>Get NI Kontakt 2.x..
>>
>>Kontakt can play back your Giga programs, AND even convert them (super
easily)
>>inside of it's app.!!
>>
>>As well as, you can use Kontkt as a regular VSTi inside of Cubase instead
>>of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>apps..Surprisely (Rewire) implemented very well in Pro Tools (M-Powered,LE,
>>HD).. Who knew!!
>>
>>I even purchased he new Giga VSTi (GVI) and it's just a little better than
>>Giga 3.. Native Instruments have really done a bang up job with Kontakt
>2.x..Smooth..
>>AND it can stream from disk..
>>
>>"chuck duffy" <c@c.com> wrote:
>>>
>>>Guys,
>>>
>>>Desperate help needed. Here's the issue:
>>>
>>>I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>> I'm outputting through echo mia in cubase.
>>>
>>>When I press a note, either on the keyboard, or with the mouse on the
onscreen
>>>giga keyboard the note sounds, but then cuts off before the sustain.
>>>
>>>It doesn't matter which sample library I use, the latency setting, midi
>>or
>>>non midi. It always cuts off the note after about 1 second.
>>>
>>>This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>>>
>>>
>>>All I want to do is lay down some 2 track piano, and I can't get it to
>work.
>>>
>>>HELP
>>>
>>>Thanks
>>>Chuck
>>
>Here's a book that's really a helping hand for me:
CUBASE 4 TIPS AND TRICKS by Keith Gemmel.
Have allready helped old me plenty of times:-)
Erling
On 28 Aug 2007 02:17:38 +1000, "Rich " <studiodog_99@xxxyahoo.com>
wrote:
>
>Neil - your really into Cubase - is there a good book you would recomend for
>reference etc.
>I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
>but have not been confortable enough with the app to use it over Paris...
>
>
>"Neil" <OIOIU@OIU.com> wrote:
>>
>>"John" <no@no.com> wrote:
>>
>>>
>>>I had only one glitch where I deleted an entire song because of my poor
>>understanding
>>>of how templates work but we did 11 songs and these are great friends so
>>>I'm not in the doghouse.
>>
>>Lemme guess... you saved an already-recorded song as a
>>template, then you deleted the tracks, and so when you went
>>back to open up the song that you had originally saved as a
>>template, the tracks weren't there anymore?
>>If so, don't feel too bad - I did the same thing early on.
>>Found out real quick that you make templates first, THEN record
>>something into them lol
>>
>>NeilYou can get the book from here: pc-publishing.com
On Tue, 28 Aug 2007 07:50:15 +0200, erlilo <erlilo@online.no> wrote:
>Here's a book that's really a helping hand for me:
>CUBASE 4 TIPS AND TRICKS by Keith Gemmel.
>Have allready helped old me plenty of times:-)
>
>Erling
>
>On 28 Aug 2007 02:17:38 +1000, "Rich " <studiodog_99@xxxyahoo.com>
>wrote:
>
>>
>>Neil - your really into Cubase - is there a good book you would recomend for
>>reference etc.
>>I'm still using Paris but have a RME 9636 Card that I use with Cubase SX3
>>but have not been confortable enough with the app to use it over Paris...
>>
>>
>>"Neil" <OIOIU@OIU.com> wrote:
>>>
>>>"John" <no@no.com> wrote:
>>>
>>>>
>>>>I had only one glitch where I deleted an entire song because of my poor
>>>understanding
>>>>of how templates work but we did 11 songs and these are great friends so
>>>>I'm not in the doghouse.
>>>
>>>Lemme guess... you saved an already-recorded song as a
>>>template, then you deleted the tracks, and so when you went
>>>back to open up the song that you had originally saved as a
>>>template, the tracks weren't there anymore?
>>>If so, don't feel too bad - I did the same thing early on.
>>>Found out real quick that you make templates first, THEN record
>>>something into them lol
>>>
>>>NeilThank you !! Great reference
"John" <no@no.com> wrote:
>
>I put all my cubase notes here:
>
>www.kfocus.com/cubase
>
>look under cubase/topics for lots of info
>
>Also if you have any questions just ask the Cubase forum or here too.
This
>Cubase thing has me very happy fwiw.
>
>John
>Thank you - I'll pick this book up!!
"Tom Bruhl" <arpegio@comcast.net> wrote:
>
>
>Thanks for that one Thad.
>
>And a good read was had by all.
>Cubase SX2 by Thad Brown
>Peachpit Press
>
>Rich,
>Thad's book is a great way to introduce yourself into working
>situations with Cubase SX 2. It is a great addition to the SX manual.
>I use it and SX 2 still. You can setup autosave in preferences as I =
>recall. =20
>It won't protect you if you delete though...
>Tom
>
> "TCB" <nobody@ishere.com> wrote in message news:46d30f49$1@linux...
>
> I think I remember someone here writing a book about SX. Who was that
=
>again?
>
> TCB
>
> "Rich " <studiodog_99@xxxyahoo.com> wrote:
> >
> >Neil - your really into Cubase - is there a good book you would =
>recomend
> for
> >reference etc. =20
> >I'm still using Paris but have a RME 9636 Card that I use with Cubase
=
>SX3
> >but have not been confortable enough with the app to use it over =
>Paris...
> >
> >
> >"Neil" <OIOIU@OIU.com> wrote:
> >>
> >>"John" <no@no.com> wrote:
> >>=20
> >>>
> >>>I had only one glitch where I deleted an entire song because of my
=
>poor
> >>understanding
> >>>of how templates work but we did 11 songs and these are great =
>friends
> so
> >>>I'm not in the doghouse.
> >>
> >>Lemme guess... you saved an already-recorded song as a
> >>template, then you deleted the tracks, and so when you went
> >>back to open up the song that you had originally saved as a
> >>template, the tracks weren't there anymore?
> >>If so, don't feel too bad - I did the same thing early on.
> >>Found out real quick that you make templates first, THEN record
> >>something into them lol
> >>
> >>Neil
> >
>
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
><HTML><HEAD>
><META http-equiv=3DContent-Type content=3D"text/html; =
>charset=3Diso-8859-1">
><META content=3D"MSHTML 6.00.2800.1400" name=3DGENERATOR>
><STYLE></STYLE>
></HEAD>
><BODY bgColor=3D#ffffff>
><DIV><FONT face=3DArial size=3D2>Thanks for that one Thad.</FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><DIV><FONT face=3DArial size=3D2>And a good read was had by =
>all.</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Cubase SX2 by Thad Brown</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Peachpit Press</FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><DIV><FONT face=3DArial size=3D2>Rich,</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Thad's book is a great way to introduce
=
>yourself=20
>into working</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>situations with Cubase SX 2. It =
>is a great=20
>addition to the SX manual.</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>I use it and SX 2 still. You=20
>can </FONT><FONT face=3DArial size=3D2>setup autosave </FONT><FONT =
>face=3DArial=20
>size=3D2>in preferences as I recall. </FONT></DIV>
><DIV><FONT face=3DArial size=3D2>It won't protect you </FONT><FONT =
>face=3DArial=20
>size=3D2>if you delete though...</FONT></DIV>
><DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
><DIV><FONT face=3DArial size=3D2></FONT> </DIV>
><BLOCKQUOTE=20
>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"TCB" <<A =
>href=3D"mailto:nobody@ishere.com">nobody@ishere.com</A>>=20
> wrote in message <A=20
> href=3D"news:46d30f49$1@linux">news:46d30f49$1@linux</A>...</DIV><BR>I
=
>think I=20
> remember someone here writing a book about SX. Who was that=20
> again?<BR><BR>TCB<BR><BR>"Rich " <<A=20
> =
>href=3D"mailto:studiodog_99@xxxyahoo.com">studiodog_99@xxxyahoo.com</A>&g=
>t;=20
> wrote:<BR>><BR>>Neil - your really into Cubase - is there a good =
>book=20
> you would recomend<BR>for<BR>>reference etc. <BR>>I'm =
>still using=20
> Paris but have a RME 9636 Card that I use with Cubase SX3<BR>>but =
>have not=20
> been confortable enough with the app to use it over=20
> Paris...<BR>><BR>><BR>>"Neil" <<A=20
> href=3D"mailto:OIOIU@OIU.com">OIOIU@OIU.com</A>>=20
> wrote:<BR>>><BR>>>"John" <<A=20
> href=3D"mailto:no@no.com">no@no.com</A>> wrote:<BR>>>=20
> <BR>>>><BR>>>>I had only one glitch where I deleted =
>an=20
> entire song because of my =
>poor<BR>>>understanding<BR>>>>of how=20
> templates work but we did 11 songs and these are great=20
> friends<BR>so<BR>>>>I'm not in the=20
> doghouse.<BR>>><BR>>>Lemme guess... you saved an =
>already-recorded=20
> song as a<BR>>>template, then you deleted the tracks, and so =
>when you=20
> went<BR>>>back to open up the song that you had originally saved =
>as=20
> a<BR>>>template, the tracks weren't there anymore?<BR>>>If =
>so,=20
> don't feel too bad - I did the same thing early on.<BR>>>Found =
>out real=20
> quick that you make templates first, THEN record<BR>>>something =
>into=20
> them =
>lol<BR>>><BR>>>Neil<BR>><BR></BLOCKQUOTE>
><DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
>and=20
>you?<BR><A=20
>href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
>.html</A> </FONT></DIV></BODY></HTML>
>
>Thank you - I'll pick this one up too!!
erlilo <erlilo@online.no> wrote:
>You can get the book from here: pc-publishing.com
>
>
>On Tue, 28 Aug 2007 07:50:15 +0200, erlilo <erlilo@online.no> wrote:
>
>>Here's a book that's really a helping hand for me:
>>CUBASE 4 TIPS AND TRICKS by Keith Gemmel.
>>Have allready helped old me plenty of times:-)
>>
>>Erling
>>
>>On 28 Aug 2007 02:17:38 +1000, "Rich " <studiodog_99@xxxyahoo.com>
>>wrote:
>>
>>>
>>>Neil - your really into Cubase - is there a good book you would recomend
for
>>>reference etc.
>>>I'm still using Paris but have a RME 9636 Card that I use with Cubase
SX3
>>>but have not been confortable enough with the app to use it over Paris...
>>>
>>>
>>>"Neil" <OIOIU@OIU.com> wrote:
>>>>
>>>>"John" <no@no.com> wrote:
>>>>
>>>>>
>>>>>I had only one glitch where I deleted an entire song because of my poor
>>>>understanding
>>>>>of how templates work but we did 11 songs and these are great friends
so
>>>>>I'm not in the doghouse.
>>>>
>>>>Lemme guess... you saved an already-recorded song as a
>>>>template, then you deleted the tracks, and so when you went
>>>>back to open up the song that you had originally saved as a
>>>>template, the tracks weren't there anymore?
>>>>If so, don't feel too bad - I did the same thing early on.
>>>>Found out real quick that you make templates first, THEN record
>>>>something into them lol
>>>>
>>>>NeilPrinceton?!? That's a golf club in New Jersey, Chuck. And I agree, I don't
write English too good, I write it just good enough ;-)
TCB
"chuck duffy" <c@c.com> wrote:
>
>Yeah but that dude went to princeton or somethin and didn't write englighs
>too good.
>
>"TCB" <nobody@ishere.com> wrote:
>>
>>I think I remember someone here writing a book about SX. Who was that again?
>>
>>TCB
>>
>>"Rich " <studiodog_99@xxxyahoo.com> wrote:
>>>
>>>Neil - your really into Cubase - is there a good book you would recomend
>>for
>>>reference etc.
>>>I'm still using Paris but have a RME 9636 Card that I use with Cubase
SX3
>>>but have not been confortable enough with the app to use it over Paris...
>>>
>>>
>>>"Neil" <OIOIU@OIU.com> wrote:
>>>>
>>>>"John" <no@no.com> wrote:
>>>>
>>>>>
>>>>>I had only one glitch where I deleted an entire song because of my poor
>>>>understanding
>>>>>of how templates work but we did 11 songs and these are great friends
>>so
>>>>>I'm not in the doghouse.
>>>>
>>>>Lemme guess... you saved an already-recorded song as a
>>>>template, then you deleted the tracks, and so when you went
>>>>back to open up the song that you had originally saved as a
>>>>template, the tracks weren't there anymore?
>>>>If so, don't feel too bad - I did the same thing early on.
>>>>Found out real quick that you make templates first, THEN record
>>>>something into them lol
>>>>
>>>>Neil
>>>
>>
>IIRC, and I'm pretty sure I do, Kontakt was one of those NI things that they
basically bought in one piece from an outsider. Like they did with Absynth.
I know where a whole lot of the Kontakt sample library comes from and it
ain't Berlin. Anyway, after they bought the sampler, with their money off
the table they (quite sensibly) wanted to ship something to start getting
a return on the investment. So the first version was pretty ugly, and it
took some time for them to get things straightened out in the code.
In contrast, the things that originate in house, the stuff that guys like
Michael Kurz are doing from scratch, that stuff seems to ship ready for prime
time.
TCB
"lamont" <jjdpro@music.com> wrote:
>
>yeah. version 1 was all 2 buggy. probably due to the fact that NI had not
>figured out disk streaming..
>
>
>"TCB" <nobody@ishere.com> wrote:
>>
>>Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>>midnight, and v. 2 was solid as a rock. I have NI Komplete on both my laptop
>>and desktop music computers. Kontakt is the main sampler I use.
>>
>>TCB
>>
>>"LaMont" <jjdpro@ameritech.ne> wrote:
>>>
>>>Chuck,
>>>As a Life flong Giga user, I can honestly state,that your best bet is
to
>>>Get NI Kontakt 2.x..
>>>
>>>Kontakt can play back your Giga programs, AND even convert them (super
>easily)
>>>inside of it's app.!!
>>>
>>>As well as, you can use Kontkt as a regular VSTi inside of Cubase instead
>>>of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>>apps..Surprisely (Rewire) implemented very well in Pro Tools (M-Powered,LE,
>>>HD).. Who knew!!
>>>
>>>I even purchased he new Giga VSTi (GVI) and it's just a little better
than
>>>Giga 3.. Native Instruments have really done a bang up job with Kontakt
>>2.x..Smooth..
>>>AND it can stream from disk..
>>>
>>>"chuck duffy" <c@c.com> wrote:
>>>>
>>>>Guys,
>>>>
>>>>Desperate help needed. Here's the issue:
>>>>
>>>>I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>>> I'm outputting through echo mia in cubase.
>>>>
>>>>When I press a note, either on the keyboard, or with the mouse on the
>onscreen
>>>>giga keyboard the note sounds, but then cuts off before the sustain.
>>>>
>>>>It doesn't matter which sample library I use, the latency setting, midi
>>>or
>>>>non midi. It always cuts off the note after about 1 second.
>>>>
>>>>This is on an HP Athlon 64 with 3GB of RAM, and it all used to work fine.
>>>>
>>>>
>>>>All I want to do is lay down some 2 track piano, and I can't get it to
>>work.
>>>>
>>>>HELP
>>>>
>>>>Thanks
>>>>Chuck
>>>
>>
>I'd say its closer to Fine Young Cannibals.... and far away from Queen.
Heck closer to Abba with those disco bass lines.
"Neil" <IOIU@OIU.om> wrote in message news:46c6678d$1@linux...
>
> Just what you've been waiting for, a Freddie Mercury clone...
>
> http://www.vh1.com/search/search.jhtml?searchterm=mika&x =19&y=10
>
> Scroll down about halfway & watch/listen to the video.
>
> Neilhttp://www.youtube.com/watch?v=lj3iNxZ8Dwwthad are u refering to eastwest proving the bulk of kontacts lib?
"TCB" <nobody@ishere.com> wrote:
>
>IIRC, and I'm pretty sure I do, Kontakt was one of those NI things that
they
>basically bought in one piece from an outsider. Like they did with Absynth.
>I know where a whole lot of the Kontakt sample library comes from and it
>ain't Berlin. Anyway, after they bought the sampler, with their money off
>the table they (quite sensibly) wanted to ship something to start getting
>a return on the investment. So the first version was pretty ugly, and it
>took some time for them to get things straightened out in the code.
>
>In contrast, the things that originate in house, the stuff that guys like
>Michael Kurz are doing from scratch, that stuff seems to ship ready for
prime
>time.
>
>TCB
>
>"lamont" <jjdpro@music.com> wrote:
>>
>>yeah. version 1 was all 2 buggy. probably due to the fact that NI had not
>>figured out disk streaming..
>>
>>
>>"TCB" <nobody@ishere.com> wrote:
>>>
>>>Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>>>midnight, and v. 2 was solid as a rock. I have NI Komplete on both my
laptop
>>>and desktop music computers. Kontakt is the main sampler I use.
>>>
>>>TCB
>>>
>>>"LaMont" <jjdpro@ameritech.ne> wrote:
>>>>
>>>>Chuck,
>>>>As a Life flong Giga user, I can honestly state,that your best bet is
>to
>>>>Get NI Kontakt 2.x..
>>>>
>>>>Kontakt can play back your Giga programs, AND even convert them (super
>>easily)
>>>>inside of it's app.!!
>>>>
>>>>As well as, you can use Kontkt as a regular VSTi inside of Cubase instead
>>>>of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>>>apps..Surprisely (Rewire) implemented very well in Pro Tools (M-Powered,LE,
>>>>HD).. Who knew!!
>>>>
>>>>I even purchased he new Giga VSTi (GVI) and it's just a little better
>than
>>>>Giga 3.. Native Instruments have really done a bang up job with Kontakt
>>>2.x..Smooth..
>>>>AND it can stream from disk..
>>>>
>>>>"chuck duffy" <c@c.com> wrote:
>>>>>
>>>>>Guys,
>>>>>
>>>>>Desperate help needed. Here's the issue:
>>>>>
>>>>>I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF involved).
>>>>> I'm outputting through echo mia in cubase.
>>>>>
>>>>>When I press a note, either on the keyboard, or with the mouse on the
>>onscreen
>>>>>giga keyboard the note sounds, but then cuts off before the sustain.
>
>>>>>
>>>>>It doesn't matter which sample library I use, the latency setting, midi
>>>>or
>>>>>non midi. It always cuts off the note after about 1 second.
>>>>>
>>>>>This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
fine.
>>>>>
>>>>>
>>>>>All I want to do is lay down some 2 track piano, and I can't get it
to
>>>work.
>>>>>
>>>>>HELP
>>>>>
>>>>>Thanks
>>>>>Chuck
>>>>
>>>
>>
>LOL - just watched that 30 seconds ago from a link on the UAD forum.
"Like, such as...."
On 8/28/07 8:55 PM, in article 46d4e1a8@linux, "DJ" <animix _ at _ animas _
dot _ net> wrote:
> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>
>I thought it was Yellowtools that provided the original Kontakt lib. Some
VSL is in the K2 lib, but just samplings of the full lib.
Dedric
On 8/28/07 9:26 PM, in article 46d4e752$1@linux, "lamont" <jjdpro@gmail.com>
wrote:
>
> thad are u refering to eastwest proving the bulk of kontacts lib?
>
>
> "TCB" <nobody@ishere.com> wrote:
>>
>> IIRC, and I'm pretty sure I do, Kontakt was one of those NI things that
> they
>> basically bought in one piece from an outsider. Like they did with Absynth.
>> I know where a whole lot of the Kontakt sample library comes from and it
>> ain't Berlin. Anyway, after they bought the sampler, with their money off
>> the table they (quite sensibly) wanted to ship something to start getting
>> a return on the investment. So the first version was pretty ugly, and it
>> took some time for them to get things straightened out in the code.
>>
>> In contrast, the things that originate in house, the stuff that guys like
>> Michael Kurz are doing from scratch, that stuff seems to ship ready for
> prime
>> time.
>>
>> TCB
>>
>> "lamont" <jjdpro@music.com> wrote:
>>>
>>> yeah. version 1 was all 2 buggy. probably due to the fact that NI had not
>>> figured out disk streaming..
>>>
>>>
>>> "TCB" <nobody@ishere.com> wrote:
>>>>
>>>> Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>>>> midnight, and v. 2 was solid as a rock. I have NI Komplete on both my
> laptop
>>>> and desktop music computers. Kontakt is the main sampler I use.
>>>>
>>>> TCB
>>>>
>>>> "LaMont" <jjdpro@ameritech.ne> wrote:
>>>>>
>>>>> Chuck,
>>>>> As a Life flong Giga user, I can honestly state,that your best bet is
>> to
>>>>> Get NI Kontakt 2.x..
>>>>>
>>>>> Kontakt can play back your Giga programs, AND even convert them (super
>>> easily)
>>>>> inside of it's app.!!
>>>>>
>>>>> As well as, you can use Kontkt as a regular VSTi inside of Cubase instead
>>>>> of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>>>> apps..Surprisely (Rewire) implemented very well in Pro Tools
>>>>> (M-Powered,LE,
>>>>> HD).. Who knew!!
>>>>>
>>>>> I even purchased he new Giga VSTi (GVI) and it's just a little better
>> than
>>>>> Giga 3.. Native Instruments have really done a bang up job with Kontakt
>>>> 2.x..Smooth..
>>>>> AND it can stream from disk..
>>>>>
>>>>> "chuck duffy" <c@c.com> wrote:
>>>>>>
>>>>>> Guys,
>>>>>>
>>>>>> Desperate help needed. Here's the issue:
>>>>>>
>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF
>>>>>> involved).
>>>>>> I'm outputting through echo mia in cubase.
>>>>>>
>>>>>> When I press a note, either on the keyboard, or with the mouse on the
>>> onscreen
>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>
>>>>>>
>>>>>> It doesn't matter which sample library I use, the latency setting, midi
>>>>> or
>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>
>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
> fine.
>>>>>>
>>>>>>
>>>>>> All I want to do is lay down some 2 track piano, and I can't get it
> to
>>>> work.
>>>>>>
>>>>>> HELP
>>>>>>
>>>>>> Thanks
>>>>>> Chuck
>>>>>
>>>>
>>>
>>
>"Dedric Terry" <dterry@keyofd.net> wrote in message
news:C2FA5ADC.C4F0%dterry@keyofd.net...
> LOL - just watched that 30 seconds ago from a link on the UAD forum.
>
> "Like, such as...."
>
> On 8/28/07 8:55 PM, in article 46d4e1a8@linux, "DJ" <animix _ at _ animas
> _
> dot _ net> wrote:
>
>> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>>
The blondest moment in American history..............so far.Saw this a couple of days ago... was still working on a clever byline for
the campaign to "end map deprivation now."
WMW
"DJ" <animix _ at _ animas _ dot _ net> wrote in message
news:46d4e1a8@linux...
> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>The tune "Grace Kelly" sounds spot on.And we have a winner!
Dedric Terry <dterry@keyofd.net> wrote:
>I thought it was Yellowtools that provided the original Kontakt lib. Some
>VSL is in the K2 lib, but just samplings of the full lib.
>
>Dedric
>
>On 8/28/07 9:26 PM, in article 46d4e752$1@linux, "lamont" <jjdpro@gmail.com>
>wrote:
>
>>
>> thad are u refering to eastwest proving the bulk of kontacts lib?
>>
>>
>> "TCB" <nobody@ishere.com> wrote:
>>>
>>> IIRC, and I'm pretty sure I do, Kontakt was one of those NI things that
>> they
>>> basically bought in one piece from an outsider. Like they did with Absynth.
>>> I know where a whole lot of the Kontakt sample library comes from and
it
>>> ain't Berlin. Anyway, after they bought the sampler, with their money
off
>>> the table they (quite sensibly) wanted to ship something to start getting
>>> a return on the investment. So the first version was pretty ugly, and
it
>>> took some time for them to get things straightened out in the code.
>>>
>>> In contrast, the things that originate in house, the stuff that guys
like
>>> Michael Kurz are doing from scratch, that stuff seems to ship ready for
>> prime
>>> time.
>>>
>>> TCB
>>>
>>> "lamont" <jjdpro@music.com> wrote:
>>>>
>>>> yeah. version 1 was all 2 buggy. probably due to the fact that NI had
not
>>>> figured out disk streaming..
>>>>
>>>>
>>>> "TCB" <nobody@ishere.com> wrote:
>>>>>
>>>>> Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>>>>> midnight, and v. 2 was solid as a rock. I have NI Komplete on both
my
>> laptop
>>>>> and desktop music computers. Kontakt is the main sampler I use.
>>>>>
>>>>> TCB
>>>>>
>>>>> "LaMont" <jjdpro@ameritech.ne> wrote:
>>>>>>
>>>>>> Chuck,
>>>>>> As a Life flong Giga user, I can honestly state,that your best bet
is
>>> to
>>>>>> Get NI Kontakt 2.x..
>>>>>>
>>>>>> Kontakt can play back your Giga programs, AND even convert them (super
>>>> easily)
>>>>>> inside of it's app.!!
>>>>>>
>>>>>> As well as, you can use Kontkt as a regular VSTi inside of Cubase
instead
>>>>>> of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>>>>> apps..Surprisely (Rewire) implemented very well in Pro Tools
>>>>>> (M-Powered,LE,
>>>>>> HD).. Who knew!!
>>>>>>
>>>>>> I even purchased he new Giga VSTi (GVI) and it's just a little better
>>> than
>>>>>> Giga 3.. Native Instruments have really done a bang up job with Kontakt
>>>>> 2.x..Smooth..
>>>>>> AND it can stream from disk..
>>>>>>
>>>>>> "chuck duffy" <c@c.com> wrote:
>>>>>>>
>>>>>>> Guys,
>>>>>>>
>>>>>>> Desperate help needed. Here's the issue:
>>>>>>>
>>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF
>>>>>>> involved).
>>>>>>> I'm outputting through echo mia in cubase.
>>>>>>>
>>>>>>> When I press a note, either on the keyboard, or with the mouse on
the
>>>> onscreen
>>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>
>>>>>>>
>>>>>>> It doesn't matter which sample library I use, the latency setting,
midi
>>>>>> or
>>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>>
>>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
>> fine.
>>>>>>>
>>>>>>>
>>>>>>> All I want to do is lay down some 2 track piano, and I can't get
it
>> to
>>>>> work.
>>>>>>>
>>>>>>> HELP
>>>>>>>
>>>>>>> Thanks
>>>>>>> Chuck
>>>>>>
>>>>>
>>>>
>>>
>>
>Ironically, that clip doubled as an interview for George Bush's newest
speech writer. Yes, she got the job!
- Paul Artola
Ellicott City, Maryland
On Tue, 28 Aug 2007 20:55:41 -0600, "DJ" <animix _ at _ animas _ dot _
net> wrote:
>http://www.youtube.com/watch?v=lj3iNxZ8Dww
>What did I win?!? What did I win?!? ;-)
On 8/29/07 7:21 AM, in article 46d572f0$1@linux, "TCB" <nobody@ishere.com>
wrote:
>
> And we have a winner!
>
> Dedric Terry <dterry@keyofd.net> wrote:
>> I thought it was Yellowtools that provided the original Kontakt lib. Some
>> VSL is in the K2 lib, but just samplings of the full lib.
>>
>> Dedric
>>
>> On 8/28/07 9:26 PM, in article 46d4e752$1@linux, "lamont" <jjdpro@gmail.com>
>> wrote:
>>
>>>
>>> thad are u refering to eastwest proving the bulk of kontacts lib?
>>>
>>>
>>> "TCB" <nobody@ishere.com> wrote:
>>>>
>>>> IIRC, and I'm pretty sure I do, Kontakt was one of those NI things that
>>> they
>>>> basically bought in one piece from an outsider. Like they did with Absynth.
>>>> I know where a whole lot of the Kontakt sample library comes from and
> it
>>>> ain't Berlin. Anyway, after they bought the sampler, with their money
> off
>>>> the table they (quite sensibly) wanted to ship something to start getting
>>>> a return on the investment. So the first version was pretty ugly, and
> it
>>>> took some time for them to get things straightened out in the code.
>>>>
>>>> In contrast, the things that originate in house, the stuff that guys
> like
>>>> Michael Kurz are doing from scratch, that stuff seems to ship ready for
>>> prime
>>>> time.
>>>>
>>>> TCB
>>>>
>>>> "lamont" <jjdpro@music.com> wrote:
>>>>>
>>>>> yeah. version 1 was all 2 buggy. probably due to the fact that NI had
> not
>>>>> figured out disk streaming..
>>>>>
>>>>>
>>>>> "TCB" <nobody@ishere.com> wrote:
>>>>>>
>>>>>> Kontakt was classic NI work. Version 1 was buggier than midsummer Memphis
>>>>>> midnight, and v. 2 was solid as a rock. I have NI Komplete on both
> my
>>> laptop
>>>>>> and desktop music computers. Kontakt is the main sampler I use.
>>>>>>
>>>>>> TCB
>>>>>>
>>>>>> "LaMont" <jjdpro@ameritech.ne> wrote:
>>>>>>>
>>>>>>> Chuck,
>>>>>>> As a Life flong Giga user, I can honestly state,that your best bet
> is
>>>> to
>>>>>>> Get NI Kontakt 2.x..
>>>>>>>
>>>>>>> Kontakt can play back your Giga programs, AND even convert them (super
>>>>> easily)
>>>>>>> inside of it's app.!!
>>>>>>>
>>>>>>> As well as, you can use Kontkt as a regular VSTi inside of Cubase
> instead
>>>>>>> of havig to deal with Rewire( Which is just above OK ) in the Steingbege
>>>>>>> apps..Surprisely (Rewire) implemented very well in Pro Tools
>>>>>>> (M-Powered,LE,
>>>>>>> HD).. Who knew!!
>>>>>>>
>>>>>>> I even purchased he new Giga VSTi (GVI) and it's just a little better
>>>> than
>>>>>>> Giga 3.. Native Instruments have really done a bang up job with Kontakt
>>>>>> 2.x..Smooth..
>>>>>>> AND it can stream from disk..
>>>>>>>
>>>>>>> "chuck duffy" <c@c.com> wrote:
>>>>>>>>
>>>>>>>> Guys,
>>>>>>>>
>>>>>>>> Desperate help needed. Here's the issue:
>>>>>>>>
>>>>>>>> I have GigaStudio Solo routed via re-wire to cubase 3.x (no GSIF
>>>>>>>> involved).
>>>>>>>> I'm outputting through echo mia in cubase.
>>>>>>>>
>>>>>>>> When I press a note, either on the keyboard, or with the mouse on
> the
>>>>> onscreen
>>>>>>>> giga keyboard the note sounds, but then cuts off before the sustain.
>>>>
>>>>>>>>
>>>>>>>> It doesn't matter which sample library I use, the latency setting,
> midi
>>>>>>> or
>>>>>>>> non midi. It always cuts off the note after about 1 second.
>>>>>>>>
>>>>>>>> This is on an HP Athlon 64 with 3GB of RAM, and it all used to work
>>> fine.
>>>>>>>>
>>>>>>>>
>>>>>>>> All I want to do is lay down some 2 track piano, and I can't get
> it
>>> to
>>>>>> work.
>>>>>>>>
>>>>>>>> HELP
>>>>>>>>
>>>>>>>> Thanks
>>>>>>>> Chuck
>>>>>>>
>>>>>>
>>>>>
>>>>
>>>
>>
>Yeah, I thought that one got pretty close to being Freddy, including the
campiness. I'm gonna watch this kid 'cause I'm a huge fan of Freddy's
vocals. The upper register this kid has 'is' FM.. scary.
http://www.vh1.com/vspot/player.jhtml?id=1553226&vid=128 065&launchedFrom=/search/search.jhtml
AA
"Chris Latham" <latham_c@bellsouth.net> wrote in message
news:46d55db4@linux...
> The tune "Grace Kelly" sounds spot on.
>Daaaamn, she is hot. ;-)
DJ wrote:
> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>
>Hi all
For whatever reason all my projects are loading up with the monitor output
in the mixer sitting ar +6 as opposed to zero...I don't remember changing
anything so I have no idea why this is happening.
Any thoughts?
thanks
Don"Bill L" <bill@billlorentzen.com> wrote in message news:46d62dd6@linux...
> Daaaamn, she is hot. ;-)
>
> DJ wrote:
>> http://www.youtube.com/watch?v=lj3iNxZ8Dww
.........but unfortunately, nothing more than just an SU-V.Check your monitor knob. You may have accidentally moved it to that
position.
David LThis is a multi-part message in MIME format.
------=_NextPart_000_0090_01C7EAFD.687D0E00
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Ya on one of your C-16s. It will determine the level when Paris starts.
"David L" <david@revealaudio.com> wrote in message =
news:46d6e2db$1@linux...
Check your monitor knob. You may have accidentally moved it to that
position.
David L
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
------=_NextPart_000_0090_01C7EAFD.687D0E00
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>Ya on one of your C-16s. It will =
determine=20
the level when Paris starts.</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"David L" <<A=20
href=3D"mailto:david@revealaudio.com">david@revealaudio.com</A>> =
wrote in=20
message <A=20
href=3D"news:46d6e2db$1@linux">news:46d6e2db$1@linux</A>...</DIV>Check =
your=20
monitor knob. You may have accidentally moved it to=20
that<BR>position.<BR><BR>David L</BLOCKQUOTE>
<DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
and=20
you?<BR><A=20
href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
..html</A> </FONT></DIV></BODY ></HTML>
------=_NextPart_000_0090_01C7EAFD.687D0E00-- http://www.mosaiccontemporary.com/prodinfo.asp?number=NEWS01
oncology department.http://apnews.excite.com/article/20070830/D8RBELAG2.html http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
This isn't meant to be a political post. Regardless to your politics, people
should hear this tape. Be careful you don't ever bump somebody in a bathroom,
you could get charged with solicitation for sex. It doesn't sound like he
verbally ask for sex. It also sounds like he didn't touch the cop in any
sexual way. This audio is not the whole story, but I personally think it's
a typical over zealous cop that is use to getting his way and had a big fish
this time. The cop is the one that gets aggressive on the tape, I think it's
somewhat intimidating.
Pleading guilty to a lesser charge if your not guilty, was a dumb move.yeppers monitor knob on the C16 was set at 6...duh
Don
"Don Nafe" <dnafe@magma.ca> wrote in message news:46d6b79c$1@linux...
> Hi all
>
> For whatever reason all my projects are loading up with the monitor output
> in the mixer sitting ar +6 as opposed to zero...I don't remember changing
> anything so I have no idea why this is happening.
>
> Any thoughts?
>
> thanks
>
> Don
>On 31 Aug 2007 05:30:20 +1000, "James McCloskey"
<excelsm@hotmail.com> wrote:
>
>http://apnews.excite.com/article/20070830/D8RBELAG2.html
Good.
And this quote: "With this initiative, Sony is debuting an important
option for digital media players as it opens new doors for a rich
digital experience," said Dave Wascha, director of Windows Client
Product Management at Microsoft Corp."
drives me up the effin' wall. If I hear one more guy from Micro$oft
use the phrase "rich media" or "rich experience" or just "rich", I'm
going to fly up to Redmond and start clubbing people.
pabYeah, but you REALLY need to be careful who you bump feet with in
public bathrooms.
It could be George Michael...
DC
"James McCloskey" <excelsm@hotmail.com> wrote:
>
> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>
>This isn't meant to be a political post. Regardless to your politics, people
>should hear this tape. Be careful you don't ever bump somebody in a bathroom,
>you could get charged with solicitation for sex. It doesn't sound like
he
>verbally ask for sex. It also sounds like he didn't touch the cop in any
>sexual way. This audio is not the whole story, but I personally think it's
>a typical over zealous cop that is use to getting his way and had a big
fish
>this time. The cop is the one that gets aggressive on the tape, I think
it's
>somewhat intimidating.
>
>Pleading guilty to a lesser charge if your not guilty, was a dumb move.Pssssst!!!.....hey sailor!!
...........where you been big boy?
;o)
"DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>
> Yeah, but you REALLY need to be careful who you bump feet with in
> public bathrooms.
>
> It could be George Michael...
>
>
> DC
>
>
> "James McCloskey" <excelsm@hotmail.com> wrote:
>>
>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>
>>This isn't meant to be a political post. Regardless to your politics,
>>people
>>should hear this tape. Be careful you don't ever bump somebody in a
>>bathroom,
>>you could get charged with solicitation for sex. It doesn't sound like
> he
>>verbally ask for sex. It also sounds like he didn't touch the cop in any
>>sexual way. This audio is not the whole story, but I personally think it's
>>a typical over zealous cop that is use to getting his way and had a big
> fish
>>this time. The cop is the one that gets aggressive on the tape, I think
> it's
>>somewhat intimidating.
>>
>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>So, is it just me or is there something just a bit odd about a cop trolling
for pickups in bathroom stalls....
Yep, police work, that's what it was, of course, no doubt, yes siree....
I didn't know police officers had business cards that said "Police" on them
(the uniforms and badges can
be so confusing...). Quite clever - they probably got the idea from "Get
Smart"....
;-)
"DJ" <animix _ at _ animas _ dot _ net> wrote in message
news:46d79ac2$1@linux...
> Pssssst!!!.....hey sailor!!
>
> ..........where you been big boy?
>
> ;o)
>
>
> "DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>>
>> Yeah, but you REALLY need to be careful who you bump feet with in
>> public bathrooms.
>>
>> It could be George Michael...
>>
>>
>> DC
>>
>>
>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>>
>>>This isn't meant to be a political post. Regardless to your politics,
>>>people
>>>should hear this tape. Be careful you don't ever bump somebody in a
>>>bathroom,
>>>you could get charged with solicitation for sex. It doesn't sound like
>> he
>>>verbally ask for sex. It also sounds like he didn't touch the cop in any
>>>sexual way. This audio is not the whole story, but I personally think
>>>it's
>>>a typical over zealous cop that is use to getting his way and had a big
>> fish
>>>this time. The cop is the one that gets aggressive on the tape, I think
>> it's
>>>somewhat intimidating.
>>>
>>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>>
>
>I spend time w/cops and security personnel as a job function, and the
funniest things I've seen are pink handcuffs with the female cops (boy,
that'll neuter the steriod/wife beater types quick) and the "Don't Get Out
of Jail Free" personal business cards that look like they came from the
Monopoly game.
That being said, I think probably that particular cop was just being a
difficult little prick from what I heard on the tape.
AA
"Dedric Terry" <dterry@keyofd.net> wrote in message news:46d7b083$1@linux...
> So, is it just me or is there something just a bit odd about a cop
> trolling for pickups in bathroom stalls....
>
> Yep, police work, that's what it was, of course, no doubt, yes siree....
>
> I didn't know police officers had business cards that said "Police" on
> them (the uniforms and badges can
> be so confusing...). Quite clever - they probably got the idea from "Get
> Smart"....
> ;-)
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote in message
> news:46d79ac2$1@linux...
>> Pssssst!!!.....hey sailor!!
>>
>> ..........where you been big boy?
>>
>> ;o)
>>
>>
>> "DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>>>
>>> Yeah, but you REALLY need to be careful who you bump feet with in
>>> public bathrooms.
>>>
>>> It could be George Michael...
>>>
>>>
>>> DC
>>>
>>>
>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>
>>>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>>>
>>>>This isn't meant to be a political post. Regardless to your politics,
>>>>people
>>>>should hear this tape. Be careful you don't ever bump somebody in a
>>>>bathroom,
>>>>you could get charged with solicitation for sex. It doesn't sound like
>>> he
>>>>verbally ask for sex. It also sounds like he didn't touch the cop in
>>>>any
>>>>sexual way. This audio is not the whole story, but I personally think
>>>>it's
>>>>a typical over zealous cop that is use to getting his way and had a big
>>> fish
>>>>this time. The cop is the one that gets aggressive on the tape, I think
>>> it's
>>>>somewhat intimidating.
>>>>
>>>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>>>
>>
>>
>The whole thing sounded pretty "iffy" after hearing the tape, but there is
one thing to consider, the restroom in question was (reportedly) notorious
for guy-on-guy anonymous pickups and was not on Craig's way to/from any of
his connecting flights. He would have had to go out of his way a
considerable distance to end up there "by chance".
Actually I think it was a ploy by the media to have something else to talk
about now that Michael Vick is hosed and Alberto gonzalez has resigned.
;o)
"Aaron Allen" <know-spam@not_here.dude> wrote in message
news:46d7b4ed$1@linux...
>I spend time w/cops and security personnel as a job function, and the
>funniest things I've seen are pink handcuffs with the female cops (boy,
>that'll neuter the steriod/wife beater types quick) and the "Don't Get Out
>of Jail Free" personal business cards that look like they came from the
>Monopoly game.
>
> That being said, I think probably that particular cop was just being a
> difficult little prick from what I heard on the tape.
>
> AA
>
>
> "Dedric Terry" <dterry@keyofd.net> wrote in message
> news:46d7b083$1@linux...
>> So, is it just me or is there something just a bit odd about a cop
>> trolling for pickups in bathroom stalls....
>>
>> Yep, police work, that's what it was, of course, no doubt, yes siree....
>>
>> I didn't know police officers had business cards that said "Police" on
>> them (the uniforms and badges can
>> be so confusing...). Quite clever - they probably got the idea from "Get
>> Smart"....
>> ;-)
>>
>> "DJ" <animix _ at _ animas _ dot _ net> wrote in message
>> news:46d79ac2$1@linux...
>>> Pssssst!!!.....hey sailor!!
>>>
>>> ..........where you been big boy?
>>>
>>> ;o)
>>>
>>>
>>> "DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>>>>
>>>> Yeah, but you REALLY need to be careful who you bump feet with in
>>>> public bathrooms.
>>>>
>>>> It could be George Michael...
>>>>
>>>>
>>>> DC
>>>>
>>>>
>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>
>>>>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>>>>
>>>>>This isn't meant to be a political post. Regardless to your politics,
>>>>>people
>>>>>should hear this tape. Be careful you don't ever bump somebody in a
>>>>>bathroom,
>>>>>you could get charged with solicitation for sex. It doesn't sound like
>>>> he
>>>>>verbally ask for sex. It also sounds like he didn't touch the cop in
>>>>>any
>>>>>sexual way. This audio is not the whole story, but I personally think
>>>>>it's
>>>>>a typical over zealous cop that is use to getting his way and had a big
>>>> fish
>>>>>this time. The cop is the one that gets aggressive on the tape, I think
>>>> it's
>>>>>somewhat intimidating.
>>>>>
>>>>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>>>>
>>>
>>>
>>
>
>so what if he's gay. if it's a "notorious" spot then the odds of no
one who wants to be there is. seems to me there are more important
things to do than sit in a john an wait for someone to pick you up.
On Fri, 31 Aug 2007 00:37:36 -0600, "DJ" <animix _ at _ animas _ dot _
net> wrote:
>
>The whole thing sounded pretty "iffy" after hearing the tape, but there is
>one thing to consider, the restroom in question was (reportedly) notorious
>for guy-on-guy anonymous pickups and was not on Craig's way to/from any of
>his connecting flights. He would have had to go out of his way a
>considerable distance to end up there "by chance".
>
>Actually I think it was a ploy by the media to have something else to talk
>about now that Michael Vick is hosed and Alberto gonzalez has resigned.
>
>;o)
>
>"Aaron Allen" <know-spam@not_here.dude> wrote in message
>news:46d7b4ed$1@linux...
>>I spend time w/cops and security personnel as a job function, and the
>>funniest things I've seen are pink handcuffs with the female cops (boy,
>>that'll neuter the steriod/wife beater types quick) and the "Don't Get Out
>>of Jail Free" personal business cards that look like they came from the
>>Monopoly game.
>>
>> That being said, I think probably that particular cop was just being a
>> difficult little prick from what I heard on the tape.
>>
>> AA
>>
>>
>> "Dedric Terry" <dterry@keyofd.net> wrote in message
>> news:46d7b083$1@linux...
>>> So, is it just me or is there something just a bit odd about a cop
>>> trolling for pickups in bathroom stalls....
>>>
>>> Yep, police work, that's what it was, of course, no doubt, yes siree....
>>>
>>> I didn't know police officers had business cards that said "Police" on
>>> them (the uniforms and badges can
>>> be so confusing...). Quite clever - they probably got the idea from "Get
>>> Smart"....
>>> ;-)
>>>
>>> "DJ" <animix _ at _ animas _ dot _ net> wrote in message
>>> news:46d79ac2$1@linux...
>>>> Pssssst!!!.....hey sailor!!
>>>>
>>>> ..........where you been big boy?
>>>>
>>>> ;o)
>>>>
>>>>
>>>> "DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>>>>>
>>>>> Yeah, but you REALLY need to be careful who you bump feet with in
>>>>> public bathrooms.
>>>>>
>>>>> It could be George Michael...
>>>>>
>>>>>
>>>>> DC
>>>>>
>>>>>
>>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>>
>>>>>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>>>>>
>>>>>>This isn't meant to be a political post. Regardless to your politics,
>>>>>>people
>>>>>>should hear this tape. Be careful you don't ever bump somebody in a
>>>>>>bathroom,
>>>>>>you could get charged with solicitation for sex. It doesn't sound like
>>>>> he
>>>>>>verbally ask for sex. It also sounds like he didn't touch the cop in
>>>>>>any
>>>>>>sexual way. This audio is not the whole story, but I personally think
>>>>>>it's
>>>>>>a typical over zealous cop that is use to getting his way and had a big
>>>>> fish
>>>>>>this time. The cop is the one that gets aggressive on the tape, I think
>>>>> it's
>>>>>>somewhat intimidating.
>>>>>>
>>>>>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>>>>>
>>>>
>>>>
>>>
>>
>>
>luckily i had 4 channels on comcast covering it last night in case i cared.
i didn't and instead watched idiots try to sing lyrics. woot"rick" <parnell68@hotmail.com> wrote in message
news:k1mfd3tr9spipigkspev2ictv7i7e1j9uf@4ax.com...
> so what if he's gay. if it's a "notorious" spot then the odds of no
> one who wants to be there is. seems to me there are more important
> things to do than sit in a john an wait for someone to pick you up.
>
>
Yeah, I figure he was on a fact finding mission to try to discover how many
marriage proposals he could accrue in an airport bathroom within the span of
an hour so he could go back to congress and vote against same sex marriage
with some knowledge of the subject.
;o)Damn, I hope he gets better. He is such an awesome creative artist. One
of the living "greats" of music.
I have had many enjoyable and inspiring moments listening to his music.
steve the artguy wrote:
> http://www.mosaiccontemporary.com/prodinfo.asp?number=NEWS01
>
> oncology department.Wow! Oncology dept. That does not look good. Sorry to hear that. He has
been a major contributor to much music that I have really enjoyed. Lou
"steve the artguy" <artguy@somethingorother.net> wrote:
>
> http://www.mosaiccontemporary.com/prodinfo.asp?number=NEWS01
>
>oncology department.http://www.calvin.edu/~adams/research/microwulf/
TCB"James McCloskey" <excelsm@hotmail.com> wrote:
>
>http://apnews.excite.com/article/20070830/D8RBELAG2.html
Correction on the title. Should be 'Sony realizes customers prefer some degree
of freedom and scupper their silly ATRAC format ten years too late.'
TCBMine's bigger and much uglier.
;o)
"TCB" <nobody@ishere.com> wrote in message news:46d81d46$1@linux...
>
> http://www.calvin.edu/~adams/research/microwulf/
>
> TCB
"John" <no@no.com> wrote in message news:46d80108$1@linux...
>
> luckily i had 4 channels on comcast covering it last night in case i
> cared.
> i didn't and instead watched idiots try to sing lyrics. woot
I'm gonna get some cards made up that say "POLICE" and start slipping them
under the doors of occupied stalls in airport restrooms and then run outside
and take pictures of the stampede with my cell phone camera and post it up
on YouTube.
;oDI have a couple of official police business cards that have never gotten me
out of jail free but sure have shortened some traffic stops.
TCB
"Aaron Allen" <know-spam@not_here.dude> wrote:
>I spend time w/cops and security personnel as a job function, and the
>funniest things I've seen are pink handcuffs with the female cops (boy,
>that'll neuter the steriod/wife beater types quick) and the "Don't Get Out
>of Jail Free" personal business cards that look like they came from the
>Monopoly game.
>
>That being said, I think probably that particular cop was just being a
>difficult little prick from what I heard on the tape.
>
>AA
>
>
>"Dedric Terry" <dterry@keyofd.net> wrote in message news:46d7b083$1@linux...
>> So, is it just me or is there something just a bit odd about a cop
>> trolling for pickups in bathroom stalls....
>>
>> Yep, police work, that's what it was, of course, no doubt, yes siree....
>>
>> I didn't know police officers had business cards that said "Police" on
>> them (the uniforms and badges can
>> be so confusing...). Quite clever - they probably got the idea from "Get
>> Smart"....
>> ;-)
>>
>> "DJ" <animix _ at _ animas _ dot _ net> wrote in message
>> news:46d79ac2$1@linux...
>>> Pssssst!!!.....hey sailor!!
>>>
>>> ..........where you been big boy?
>>>
>>> ;o)
>>>
>>>
>>> "DC" <dc@spammersinthecan.com> wrote in message news:46d7975b$1@linux...
>>>>
>>>> Yeah, but you REALLY need to be careful who you bump feet with in
>>>> public bathrooms.
>>>>
>>>> It could be George Michael...
>>>>
>>>>
>>>> DC
>>>>
>>>>
>>>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>>>
>>>>> http://video.msn.com/v/us/fv/msnbc/fv.htm??f=00&g=63b5e0 68-2cb0-427f-a0dd-14b27890336d&p=source_no_ad_nbc&t= m5&rf=http://www.msnbc.msn.com/id/8004316/&fg=
>>>>>
>>>>>This isn't meant to be a political post. Regardless to your politics,
>>>>>people
>>>>>should hear this tape. Be careful you don't ever bump somebody in
a
>>>>>bathroom,
>>>>>you could get charged with solicitation for sex. It doesn't sound like
>>>> he
>>>>>verbally ask for sex. It also sounds like he didn't touch the cop in
>>>>>any
>>>>>sexual way. This audio is not the whole story, but I personally think
>>>>>it's
>>>>>a typical over zealous cop that is use to getting his way and had a
big
>>>> fish
>>>>>this time. The cop is the one that gets aggressive on the tape, I think
>>>> it's
>>>>>somewhat intimidating.
>>>>>
>>>>>Pleading guilty to a lesser charge if your not guilty, was a dumb move.
>>>>
>>>
>>>
>>
>
>http://www.youtube.com/watch?v=hMnk7lh9M3oWow!
I hope he recovers from this. He will go down as being one of the "Cats"
I just hope its later than sooner. Mercy Mercy Mercy.
respect
Nappy
"Louis Guarino Jr." <kateeba@snet.net> wrote:
>
>Wow! Oncology dept. That does not look good. Sorry to hear that. He
has
>been a major contributor to much music that I have really enjoyed.
Lou
>
>"steve the artguy" <artguy@somethingorother.net> wrote:
>>
>> http://www.mosaiccontemporary.com/prodinfo.asp?number=NEWS01
>>
>>oncology department.
>Mackie Control v. Mackie Control Pro.
Discuss.
TCB"TCB" <nobody@ishere.com> wrote in message news:46d8719b$1@linux...
>
> Mackie Control v. Mackie Control Pro.
>
> Discuss.
>
> TCB
Mackie control = midi interface
Mackie Control Pro = USB
.......OK Chris...what else?"DJ" <animix _ at _ animas _ dot _ net> wrote:
>
>"TCB" <nobody@ishere.com> wrote in message news:46d8719b$1@linux...
>>
>> Mackie Control v. Mackie Control Pro.
>>
>> Discuss.
>>
>> TCB
>
>Mackie control = midi interface
>
>Mackie Control Pro = USB
>
>......OK Chris...what else?
But I think the USB is just a USB MIDI interface. I have six ports open on
my Steinie MIDI interface right now, so that's not a problem. Is the Pro
better resolution? Because they're getting blown out at $700 and I'm a buyer
at that price.
TCBPaul Braun <cygnus_nospam@ctgonline.org> wrote:
>On 31 Aug 2007 05:30:20 +1000, "James McCloskey"
><excelsm@hotmail.com> wrote:
>
>>
>>http://apnews.excite.com/article/20070830/D8RBELAG2.html
>
>Good.
>
>And this quote: "With this initiative, Sony is debuting an important
>option for digital media players as it opens new doors for a rich
>digital experience," said Dave Wascha, director of Windows Client
>Product Management at Microsoft Corp."
>
>drives me up the effin' wall. If I hear one more guy from Micro$oft
>use the phrase "rich media" or "rich experience" or just "rich", I'm
>going to fly up to Redmond and start clubbing people.
>
>pab
Ha! That's rich!Doing installs... Couple of big churches..
Man I worked my butt off. We actually kicked the system
designer off the first project. We walked away from a bid
opportunity because the design was such a POS. (and it
was done by a bigshot colleague of a major speaker manufacturer
who shall remain nameless...)
The super calls me up and asks why we walked away, so I told
him. He asks me to document what is wrong with the design
please. I was dumb enough to do so (this is not considered
good form to criticize colleagues to the client...)
But then he and the client liked what I wrote up so much
that they paid off the designer, sent him
away, and we got to re-design it and do the install!
That was a first...
It came out really well. Tri-amped, 3000
watts ouput, all DSP mangement, delay clusters, nice Allen
& Heath 32 channel etc..
The client loves it. Now I just need to clean up the damn
studio here and put the tools away...
How you all doing?
DC
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Pssssst!!!.....hey sailor!!
>
>..........where you been big boy?
>
>;o)Blown out where at that price :)
AA
"TCB" <nobody@ishere.com> wrote in message news:46d87af1$1@linux...
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>>
>>"TCB" <nobody@ishere.com> wrote in message news:46d8719b$1@linux...
>>>
>>> Mackie Control v. Mackie Control Pro.
>>>
>>> Discuss.
>>>
>>> TCB
>>
>>Mackie control = midi interface
>>
>>Mackie Control Pro = USB
>>
>>......OK Chris...what else?
>
> But I think the USB is just a USB MIDI interface. I have six ports open on
> my Steinie MIDI interface right now, so that's not a problem. Is the Pro
> better resolution? Because they're getting blown out at $700 and I'm a
> buyer
> at that price.
>
> TCBYeah, then some poor tourist sends his kid in there...
I like the old expression "get a motel room"...
DC
rick <parnell68@hotmail.com> wrote:
>so what if he's gay. if it's a "notorious" spot then the odds of no
>one who wants to be there is. seems to me there are more important
>things to do than sit in a john an wait for someone to pick you up.Heard anything about reliability?
When Mackie closed the WA factory and sent manufacture to
China, we had 3 DOA boards in a row, and we dropped them,
when they tried to tell us "you're the only ones reporting any
problems".
Hopefully they have gotten the bugs all sorted.
DC
"TCB" <nobody@ishere.com> wrote:
>
>Mackie Control v. Mackie Control Pro.
>
>Discuss.
>
>TCBNeither one would make a decent boat anchor... not heavy enough...
David.
TCB wrote:
> Mackie Control v. Mackie Control Pro.
>
> Discuss.
>
> TCB"TCB" <nobody@ishere.com> wrote:
>
>http://www.calvin.edu/~adams/research/microwulf/
I think I could proably get by with just one gigaflop, so at
his price-to-performance ratio, I should be able to build one
for about $99.
:DIs youtube ever gonna get where every video doesn't look like a bunch of tiny
dots? I maximize it and it's simply aweful. The video is great though."EK Sound" <askme@nospam.com> wrote in message news:46d88236$1@linux...
> Neither one would make a decent boat anchor... not heavy enough...
>
> David.
>
> TCB wrote:
>> Mackie Control v. Mackie Control Pro. Discuss. TCB
I played around with one of these older ones a while back and thought it was
extremely flimsy compared to my Steinberg Houston controller.I disliked ATRAC the first and all subsequent times I heard it. Illfated
DCC sounded better and I predicted the demise of that utterly illogical
format the day it was described and introduced as the beginning of the end
of cassettes and CDs.... in 1995.
WMW
"TCB" <nobody@ishere.com> wrote in message news:46d81db3$1@linux...
>
> "James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>http://apnews.excite.com/article/20070830/D8RBELAG2.html
>
> Correction on the title. Should be 'Sony realizes customers prefer some
> degree
> of freedom and scupper their silly ATRAC format ten years too late.'
>
> TCBLOL... I thought I was the only guy on the planet that had a DCC deck..
oddly enough, mine still works.
AA
"W. Mark Wilson" <xpam_mark@avidrecording> wrote in message
news:46d8dea0@linux...
>I disliked ATRAC the first and all subsequent times I heard it. Illfated
>DCC sounded better and I predicted the demise of that utterly illogical
>format the day it was described and introduced as the beginning of the end
>of cassettes and CDs.... in 1995.
>
> WMW
>
> "TCB" <nobody@ishere.com> wrote in message news:46d81db3$1@linux...
>>
>> "James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>http://apnews.excite.com/article/20070830/D8RBELAG2.html
>>
>> Correction on the title. Should be 'Sony realizes customers prefer some
>> degree
>> of freedom and scupper their silly ATRAC format ten years too late.'
>>
>> TCB
>
>Hi Thad,
The newer version is a bit more rugged than the old one. Thats and the
better functionality of the extenders are the only real changes. I glad
they ended up having a MIDI connection like the old one. At one point it
was only going to be USB into the computer. That would have been a bad
idea. long USB cabling is hardly ever reliable. There hasn't been any
DAW controller in that price range that have even come close to its
functionality. The Houston was the closest but was proprietary to
Cubase/Nuendo.
Chris
TCB wrote:
> Mackie Control v. Mackie Control Pro.
>
> Discuss.
>
> TCB
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762So Chris,
You would put this new Mackie in the same league with the Houston
controller? If so, that's saying something. The Houston is well built and
really well implemented in Cubase/Nuendo, IMO. I wish they would have
developed an extra fader pack for it though.
Cheers,
Deej
"Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
news:46d8f665$1@linux...
> Hi Thad,
> The newer version is a bit more rugged than the old one. Thats and the
> better functionality of the extenders are the only real changes. I glad
> they ended up having a MIDI connection like the old one. At one point it
> was only going to be USB into the computer. That would have been a bad
> idea. long USB cabling is hardly ever reliable. There hasn't been any DAW
> controller in that price range that have even come close to its
> functionality. The Houston was the closest but was proprietary to
> Cubase/Nuendo.
>
> Chris
>
>
>
> TCB wrote:
>> Mackie Control v. Mackie Control Pro.
>> Discuss.
>> TCB
>>
>
> --
> Chris Ludwig
> ADK
> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
> www.adkproaudio.com <http://www.adkproaudio.com/>
> (859) 635-5762 http://video.yahoo.com/video/play?vid=57e6c48b87eb9c8188cd2c afcd65c25d.1545827&cache=1not everyone who is gay is after children no more than heteros in
bathrooms are.
On 1 Sep 2007 06:41:22 +1000, "DC" <dc@spammersinhell.com> wrote:
>
>Yeah, then some poor tourist sends his kid in there...
>
>I like the old expression "get a motel room"...
>
>DC
>
>rick <parnell68@hotmail.com> wrote:
>>so what if he's gay. if it's a "notorious" spot then the odds of no
>>one who wants to be there is. seems to me there are more important
>>things to do than sit in a john an wait for someone to pick you up.Hi DJ,
Not sure if it would be as good in it's build quality or not haven't
touched a Houston in long time. The Mackie Pro seems to be more well
built than the old one.
The only DAW controller I've seen that is heavy duty that has a allot of
features is the Mixed Logic unit but its the size of a fricking boat.
The ID really cool but way too much money for being just a controller.
Chris
DJ wrote:
> So Chris,
>
> You would put this new Mackie in the same league with the Houston
> controller? If so, that's saying something. The Houston is well built and
> really well implemented in Cubase/Nuendo, IMO. I wish they would have
> developed an extra fader pack for it though.
>
> Cheers,
>
> Deej
>
>
> "Chris Ludwig" <chrisl@adkproaudio.com> wrote in message
> news:46d8f665$1@linux...
>
>> Hi Thad,
>> The newer version is a bit more rugged than the old one. Thats and the
>> better functionality of the extenders are the only real changes. I glad
>> they ended up having a MIDI connection like the old one. At one point it
>> was only going to be USB into the computer. That would have been a bad
>> idea. long USB cabling is hardly ever reliable. There hasn't been any DAW
>> controller in that price range that have even come close to its
>> functionality. The Houston was the closest but was proprietary to
>> Cubase/Nuendo.
>>
>> Chris
>>
>>
>>
>> TCB wrote:
>>
>>> Mackie Control v. Mackie Control Pro.
>>> Discuss.
>>> TCB
>>>
>>>
>> --
>> Chris Ludwig
>> ADK
>> chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
>> www.adkproaudio.com <http://www.adkproaudio.com/>
>> (859) 635-5762
>>
>
>
>
--
Chris Ludwig
ADK
chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com>
www.adkproaudio.com <http://www.adkproaudio.com/>
(859) 635-5762SU-V? I must have missed that term.
DJ wrote:
> "Bill L" <bill@billlorentzen.com> wrote in message news:46d62dd6@linux...
>> Daaaamn, she is hot. ;-)
>>
>> DJ wrote:
>>> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>
> ........but unfortunately, nothing more than just an SU-V.
>
>rick <parnell68@hotmail.com> wrote:
>not everyone who is gay is after children no more than heteros in
>bathrooms are.
Yeah, but every time I send a teenage boy in the girls room, I get busted!
(grin)
Public bathrooms are not for sex. You ought to be able to have a crap
without anyone doing that. Yikes!
We have several gay friends and none of them is interested in kids.
One did make a pass at me once. I smiled and demurred. He's still
a friend.
DCSports Utility Vixen?
lol
Bill L <bill@billlorentzen.com> wrote:
>SU-V? I must have missed that term.
>
>DJ wrote:
>> "Bill L" <bill@billlorentzen.com> wrote in message news:46d62dd6@linux...
>>> Daaaamn, she is hot. ;-)
>>>
>>> DJ wrote:
>>>> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>>
>> ........but unfortunately, nothing more than just an SU-V.
>>
>>......errrr....ummm........the first two initials stand for "support
unit"......I'll not elaborate further.....
;o)
"Neil" <IOUI@OIU.com> wrote in message news:46d9a2eb$1@linux...
>
> Sports Utility Vixen?
>
> lol
>
>
>
> Bill L <bill@billlorentzen.com> wrote:
>>SU-V? I must have missed that term.
>>
>>DJ wrote:
>>> "Bill L" <bill@billlorentzen.com> wrote in message
>>> news:46d62dd6@linux...
>>>> Daaaamn, she is hot. ;-)
>>>>
>>>> DJ wrote:
>>>>> http://www.youtube.com/watch?v=lj3iNxZ8Dww
>>>
>>> ........but unfortunately, nothing more than just an SU-V.
>>>
>>>
>we could kill 2 birds with one stone by serving booze in airport
johns...;o)
On 2 Sep 2007 03:25:57 +1000, "DC" <dc@spammersinhell.com> wrote:
>
>rick <parnell68@hotmail.com> wrote:
>>not everyone who is gay is after children no more than heteros in
>>bathrooms are.
>
>
>Yeah, but every time I send a teenage boy in the girls room, I get busted!
>
>(grin)
>
>Public bathrooms are not for sex. You ought to be able to have a crap
>without anyone doing that. Yikes!
>
>We have several gay friends and none of them is interested in kids.
>One did make a pass at me once. I smiled and demurred. He's still
>a friend.
>
>DCheh heh heh
rick <parnell68@hotmail.com> wrote:
>we could kill 2 birds with one stone by serving booze in airport
>johns...;o)
>
>On 2 Sep 2007 03:25:57 +1000, "DC" <dc@spammersinhell.com> wrote:
>
>>
>>rick <parnell68@hotmail.com> wrote:
>>>not everyone who is gay is after children no more than heteros in
>>>bathrooms are.
>>
>>
>>Yeah, but every time I send a teenage boy in the girls room, I get busted!
>>
>>(grin)
>>
>>Public bathrooms are not for sex. You ought to be able to have a crap
>>without anyone doing that. Yikes!
>>
>>We have several gay friends and none of them is interested in kids.
>>One did make a pass at me once. I smiled and demurred. He's still
>>a friend.
>>
>>DC
>You know the kind I'm talking about - also called zip ties; the
kind that have the serrated surface on one side of the strip
that fits into the little locking head-end. Anyway, the other
night this band I recorded recently invites me to one of their
practice sessions to hear some of their new tunes. Anyway,
they're into about the 3rd or 4th song and the drummer's snare
stops "snaring" - one of the straps that holds the snares had
broken. It also had snapped pretty much right in the center, at
a point that rendered it too short to be able to pull it out &
readjust the length to get both ends of either piece to grab in
the clamp. One of the guitarists yells out "Shoelace!" (which
also works, but you've got to be able to wrap a couple of loops
of it around the clamp for it to be strong enough & not stretch
out or break).
Enter the lowly cable tie - this place still had some
miscellaneous small piles of junk that the prior tenant had
left laying about, and I was actually thinking about seeing if
I could find a piece of heavy-gauge multistrand wire that could
be substituted, and I notice that the first pile I walk over to
had a bunch of snipped-off cable tie ends that were just about
long enough to work - so I grabbed a couple & brought them over
to the drummer & said "These should work, especially if you can
thread two of 'em through there but I don't know if one would be
strong enough." (they were the smaller ones that are perhaps
about 1/8" across). He decided to try one at first, and lo &
behold, even just one of those smaller ties was plenty strong
enough! The snares held through the rest of their practice,
which consisted of another ten or so tunes that night, and the
tie showed no signs of breaking or stretching out.
Later it occurred to me that once I had fixed a drummers kick
drum pedal with one of the even smaller versions of these same
type of cable ties, as well - a screw had snapped at the point
where the tread plate pivots on the heel plate, so one side was
fastened & the other side was kinda flopping around loose.
Unthread the broken-off portion in the heel plate, insert cable
tie, zip up tight & voila'!
Anyone got any other cool improvised fixes they'd like to pass
along?
Neil"rick" <parnell68@hotmail.com> wrote in message
news:1t4ld39dc52dem65012j5pvco8de1es1qi@4ax.com...
> we could kill 2 birds with one stone by serving booze in airport
> johns...;o)
>
I want to get on the ground floor of this franchise. We could also sell coke
(advertize it as "blow ;o)
Let's call it Barsucks.
;oDMaybe we're getting past the post-punk phase... I'm starting to
hear some evidence of melody & musicianship in a few scattered
places.
Go to this link & check out the cut called "Godspeed":
http://www.myspace.com/anberlin
Now THAT's the way rock should be played (and sung), innit?
"Adelaide" is not too bad, either.
NeilNeil,
I really like this stuff as poopsed to a lot of what I hear these days, but
from my (admiteddly) curmudgeonly POV, this stuff sounds dynamically dead in
the water. the drums sound like a throbbing amorphous mass of bubbling mud.
It's so fatiguing after about 20 seconds that I doubt I could endure more
than about 10 minutes of this stuff without slitting my wrists.
Curmudgeon'esque regards,
;o)
Deej
"Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>
> Maybe we're getting past the post-punk phase... I'm starting to
> hear some evidence of melody & musicianship in a few scattered
> places.
>
> Go to this link & check out the cut called "Godspeed":
>
> http://www.myspace.com/anberlin
>
> Now THAT's the way rock should be played (and sung), innit?
>
> "Adelaide" is not too bad, either.
>
> NeilYeah, I dug it. Lots of engerny (sic). Great singer. Heavily over
compressed...
Neil wrote:
> Maybe we're getting past the post-punk phase... I'm starting to
> hear some evidence of melody & musicianship in a few scattered
> places.
>
> Go to this link & check out the cut called "Godspeed":
>
> http://www.myspace.com/anberlin
>
> Now THAT's the way rock should be played (and sung), innit?
>
> "Adelaide" is not too bad, either.
>
> NeilNeil,
I'm not meaning to slag your preference in music here. The stuff that I have
heard you produce sounds much better to my ears than this does Perhaps (if
you produced this) it has to do with the band wanting everything to be
louner than everything else......I dunno,........maybe I'm having a bad day
or something. I'm not anti-rock/prog-rock/metal. I guess I'm just fed up
with the "wall of noise" genre. It would be sooooo nice to be able to listen
to rock with some dynamics.....I mean.......WTF is a volume knob for these
days anyway?
"DJ" <animix _ at _ animas _ dot _ net> wrote in message
news:46db2b85@linux...
> Neil,
>
> I really like this stuff as poopsed to a lot of what I hear these days,
> but from my (admiteddly) curmudgeonly POV, this stuff sounds dynamically
> dead in the water. the drums sound like a throbbing amorphous mass of
> bubbling mud. It's so fatiguing after about 20 seconds that I doubt I
> could endure more than about 10 minutes of this stuff without slitting my
> wrists.
>
> Curmudgeon'esque regards,
> ;o)
> Deej
>
> "Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>>
>> Maybe we're getting past the post-punk phase... I'm starting to
>> hear some evidence of melody & musicianship in a few scattered
>> places.
>>
>> Go to this link & check out the cut called "Godspeed":
>>
>> http://www.myspace.com/anberlin
>>
>> Now THAT's the way rock should be played (and sung), innit?
>>
>> "Adelaide" is not too bad, either.
>>
>> Neil
>
>No biggie, Deej - sometimes I think I'm the only 40-plus
person who likes any of this new stuff. Perhaps the
dynamics thing doesn't bother me as much since I was using an
Aphex Studio Dominator on stuff way back in the day, so I can
appreciate judicious use of "dynamics funneling", as it were -
I do think this stuff has a bit more of it than I like,
however.... Ted Jensen mastered it, though, so what do you
expect?
The thing that bothers me about excessive use of it is that you
then start to lose some clarity (and I personally always back
off a bit once I get into that zone - me, I'd rather have
it "competitive & clear" rather than "the loudest thing
anyone's heard to date" lol). I'm sill looking for ways to get
that extra couple of db's though, no doubt - I'm starting to
become convinced that part of it entails going back out into
analog, because I've yet to find a digi-limiter, even the one
in Ozone, that won't start snarling at you with some raspiness
after a certain point. "Godspeed" definitely has some dirt I
don't like, and I've listened to it in the car, as well as on
my home stereo (bought the CD today), and can hear it there on
all systems... it's a great tune, sung & performed & arranged
REALLY well, though, and I would love to have been able to hear
Mike Shipley's mix prior to mastering.
I guess I figure that the "Loudness Genie" ain't ever going
back in the bottle now that he's been let out, so I can either
just listen to my old Steely Dan CD's if I want sonic
perfection, or I can get a dose of good new stuff every now &
then & try to ignore the dirt. Personally, if they've got it
loud AND articulate, it's OK with me.
Neil
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Neil,
>
>I'm not meaning to slag your preference in music here. The stuff that I
have
>heard you produce sounds much better to my ears than this does Perhaps
(if
>you produced this) it has to do with the band wanting everything to be
>louner than everything else......I dunno,........maybe I'm having a bad
day
>or something. I'm not anti-rock/prog-rock/metal. I guess I'm just fed up
>with the "wall of noise" genre. It would be sooooo nice to be able to listen
>to rock with some dynamics.....I mean.......WTF is a volume knob for these
>days anyway?
>
>
>"DJ" <animix _ at _ animas _ dot _ net> wrote in message
>news:46db2b85@linux...
>> Neil,
>>
>> I really like this stuff as poopsed to a lot of what I hear these days,
>> but from my (admiteddly) curmudgeonly POV, this stuff sounds dynamically
>> dead in the water. the drums sound like a throbbing amorphous mass of
>> bubbling mud. It's so fatiguing after about 20 seconds that I doubt I
>> could endure more than about 10 minutes of this stuff without slitting
my
>> wrists.
>>
>> Curmudgeon'esque regards,
>> ;o)
>> Deej
>>
>> "Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>>>
>>> Maybe we're getting past the post-punk phase... I'm starting to
>>> hear some evidence of melody & musicianship in a few scattered
>>> places.
>>>
>>> Go to this link & check out the cut called "Godspeed":
>>>
>>> http://www.myspace.com/anberlin
>>>
>>> Now THAT's the way rock should be played (and sung), innit?
>>>
>>> "Adelaide" is not too bad, either.
>>>
>>> Neil
>>
>>
>
>"DJ" <animix _ at _ animas _ dot _ net> wrote:
>the drums sound like a throbbing amorphous mass of bubbling
mud.
FWIW (after listening to this song for about the 12th time
today lol!) I think the drums pretty much kick ass - the snare
has some real throatiness to it... quite different from a lot
of the "parchment snares" you hear nowadays
ifyaknowwhatimsayin'; the toms are thunderous, and the kick has
some really nice body to it - not just a "click" - the only
thing I don't like about the kick is that it's got a little too
much of something in between 200 & 300, so it's hitting me
right in the throat a bit too much. I think the "amorphous
mass" you refer to is probably the fact that in this genre the
guys NEVER lay off the brass - they use the crash cymbal like
your favorite 70's & 80's drummers would use a hi-hat, so yeah
there's a lotta noise there.
Some other stuff I'm diggin', production-wise:
* The portion of the 1st verse between :16 & :27 has a subtle
little conga-sounding thing going on that plays off the hi-hat.
You never hear this sound again in the song, it's just in that
one section, and that's it.
* The guitar noise in the right channel from about :49 to
about :51 seconds sounds like it's hard-gated using the vocal
whisper thang as a trigger input. Kinda cool.
* In the 2nd verse, from 1:09 to 1:19, the hats play it
straight & just drive it, as opposed to the heavily-accented
stuff that they were doing in the first half of the first
verse, however, in the 2nd half of the 2nd verse, they reverse
it & go for the accents, AND I can SWEAR they're using a delay
on it in a few places... listen closely & you'll hear what I'm
talking about - how it falls off and how in one short section
it seems to pan a little bit.
* The guitar solo that starts at 1:57 is doubled - pretty damn
good work!
:)On Fri, 31 Aug 2007 23:17:40 -0500, "Aaron Allen"
<know-spam@not_here.dude> wrote:
>LOL... I thought I was the only guy on the planet that had a DCC deck..
>oddly enough, mine still works.
>
>AA
Oh yeah? Well, Mr. Smartypants, I'll see your DCC deck and raise you
one Elcaset deck.
So there.
pabNice..
I love to vibe. Like a good throw back sound with(might I add) an real guitar
solo to boot!
Good looking out Neil.
"Neil" <OUOIU@OIU.com> wrote:
>
>Maybe we're getting past the post-punk phase... I'm starting to
>hear some evidence of melody & musicianship in a few scattered
>places.
>
>Go to this link & check out the cut called "Godspeed":
>
>http://www.myspace.com/anberlin
>
>Now THAT's the way rock should be played (and sung), innit?
>
>"Adelaide" is not too bad, either.
>
>NeilOne thing I always liked about Paris was how I could push it and it wouldn't
get small on me and at the same time the mix would gel without sounding
overcompressed.
I "think" I'm getting there now. I had to take a hiatus from mixing for
about three weeks while helping Amy nurse Crash back to some semblance of
health. He reinjured himself pretty bad about a week after we took off his
cast and we were sweating bullets but didn't permanently damage the surgery,
thank goodness, so now he's getting back up to speed and I have some time to
get into the studio again.
I'm getting ready to post a couple of links up in a few minutes. OPne of the
songs you've heard (adnauseum) and the other you may have heard a long time
ago. I never was hapy with a certain CD I mised a couple of years ago
because I was in a ig rush. the first run of CD's is about to sell out and I
get a royalty on the sales so I'm remixing the entire project. Good practice
on the new system.
The processing on the mix us has the following processors (top to bottom).
UAD-1 Precision EQ
Neve Portico 5042
UAD-1 Fairchild
UAD-1 Precision Limiter.
I'm using the UAD-1 Neve 88-RS console strip on every track of these mixes.
This thing is the bees knees IMO.
Stay tuned
;o)ROFL man.. you actually have a working one? I have to admit to googlin' that
term, it was news to me. Looks like another case of Sony being business
market stupid with a superior quality product.
http://en.wikipedia.org/wiki/Elcaset
AA
"Paul Braun" <cygnus_nospam@ctgonline.org> wrote in message
news:3s0nd3he34cdjhqpg59enui36ukm5kii3c@4ax.com...
> On Fri, 31 Aug 2007 23:17:40 -0500, "Aaron Allen"
> <know-spam@not_here.dude> wrote:
>
>>LOL... I thought I was the only guy on the planet that had a DCC deck..
>>oddly enough, mine still works.
>>
>>AA
>
> Oh yeah? Well, Mr. Smartypants, I'll see your DCC deck and raise you
> one Elcaset deck.
>
> So there.
>
> pabOk, It seems that I'm in the minority. I love the mix. I love the tight compression..That's
how it's supposed to sound. That's the sound of a "good Rock " mix today.
Neil, I like your Rock mixes a lot, but you can get that sound you want by
stemming your mix out into a analog mixer. Yes, I kow you wanted to avoid
all of that. But, I've come full circle on this. Liek Rock, Good R & B, Gospel/Hip
Hop has to be warm and Phatt to sound it's best.
For Me: Hard to do (ITB) with Nuendo/SX..Easy to do with Paris..Best with
(any DAW) stemmed out to a Analog Mixer. Let's face face it, for Rock and
R&B, third order distortion (harmonics) are in order. Somehow Paris and Apogee
adds the secord and third order (Harmonics).. Prism, Myteks,RME and the like
don't and that's cool for Post, Film/video work..
But, Rock, R&B and the liek needs to be phatt ..Needs some color, needs some
Distortion..
"Neil" <OIOIU@OIU.com> wrote:
>
>No biggie, Deej - sometimes I think I'm the only 40-plus
>person who likes any of this new stuff. Perhaps the
>dynamics thing doesn't bother me as much since I was using an
>Aphex Studio Dominator on stuff way back in the day, so I can
>appreciate judicious use of "dynamics funneling", as it were -
>I do think this stuff has a bit more of it than I like,
>however.... Ted Jensen mastered it, though, so what do you
>expect?
>The thing that bothers me about excessive use of it is that you
>then start to lose some clarity (and I personally always back
>off a bit once I get into that zone - me, I'd rather have
>it "competitive & clear" rather than "the loudest thing
>anyone's heard to date" lol). I'm sill looking for ways to get
>that extra couple of db's though, no doubt - I'm starting to
>become convinced that part of it entails going back out into
>analog, because I've yet to find a digi-limiter, even the one
>in Ozone, that won't start snarling at you with some raspiness
>after a certain point. "Godspeed" definitely has some dirt I
>don't like, and I've listened to it in the car, as well as on
>my home stereo (bought the CD today), and can hear it there on
>all systems... it's a great tune, sung & performed & arranged
>REALLY well, though, and I would love to have been able to hear
>Mike Shipley's mix prior to mastering.
>
>I guess I figure that the "Loudness Genie" ain't ever going
>back in the bottle now that he's been let out, so I can either
>just listen to my old Steely Dan CD's if I want sonic
>perfection, or I can get a dose of good new stuff every now &
>then & try to ignore the dirt. Personally, if they've got it
>loud AND articulate, it's OK with me.
>
>Neil
>
>
>"DJ" <animix _ at _ animas _ dot _ net> wrote:
>>Neil,
>>
>>I'm not meaning to slag your preference in music here. The stuff that I
>have
>>heard you produce sounds much better to my ears than this does Perhaps
>(if
>>you produced this) it has to do with the band wanting everything to be
>>louner than everything else......I dunno,........maybe I'm having a bad
>day
>>or something. I'm not anti-rock/prog-rock/metal. I guess I'm just fed
up
>
>>with the "wall of noise" genre. It would be sooooo nice to be able to listen
>
>>to rock with some dynamics.....I mean.......WTF is a volume knob for these
>
>>days anyway?
>>
>>
>>"DJ" <animix _ at _ animas _ dot _ net> wrote in message
>>news:46db2b85@linux...
>>> Neil,
>>>
>>> I really like this stuff as poopsed to a lot of what I hear these days,
>
>>> but from my (admiteddly) curmudgeonly POV, this stuff sounds dynamically
>
>>> dead in the water. the drums sound like a throbbing amorphous mass of
>
>>> bubbling mud. It's so fatiguing after about 20 seconds that I doubt I
>
>>> could endure more than about 10 minutes of this stuff without slitting
>my
>>> wrists.
>>>
>>> Curmudgeon'esque regards,
>>> ;o)
>>> Deej
>>>
>>> "Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>>>>
>>>> Maybe we're getting past the post-punk phase... I'm starting to
>>>> hear some evidence of melody & musicianship in a few scattered
>>>> places.
>>>>
>>>> Go to this link & check out the cut called "Godspeed":
>>>>
>>>> http://www.myspace.com/anberlin
>>>>
>>>> Now THAT's the way rock should be played (and sung), innit?
>>>>
>>>> "Adelaide" is not too bad, either.
>>>>
>>>> Neil
>>>
>>>
>>
>>
>Hey DJ. I started to ge that Glue sound when I purchaed the Waves SSL & URS
plugins.
Before that I struggled to get that "glue". But, for starters, all I have
to do is strap the Waves SSL Bus Compressor on the master fader..Boom..Insant
tightness..
Then on the tracks, i either go with the SSL channel or URS channles (API,
LA2a)..
Charles Dyes DVD (Mix it like a Record) talks about how to use analog channel
plugins to to "glue" a mix together. It made a lot a sense.
Still to this day, when I fire up Paris (When I Have a nice $$$) gig)it's
isnstant Magic. Instant smile.. Man what a DAW. I love the power of Nuendo/SX,
even yes Pro Tools, but Paris has that instant radio ready sound as my friends
say.
It's funny, but when we have a really important mix, my partners will say,
hey "Mont" we mix this song on Paris..They can tell the differnce.
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>One thing I always liked about Paris was how I could push it and it wouldn't
>get small on me and at the same time the mix would gel without sounding
>overcompressed.
>
>I "think" I'm getting there now. I had to take a hiatus from mixing for
>about three weeks while helping Amy nurse Crash back to some semblance of
>health. He reinjured himself pretty bad about a week after we took off his
>cast and we were sweating bullets but didn't permanently damage the surgery,
>thank goodness, so now he's getting back up to speed and I have some time
to
>get into the studio again.
>
>I'm getting ready to post a couple of links up in a few minutes. OPne of
the
>songs you've heard (adnauseum) and the other you may have heard a long time
>ago. I never was hapy with a certain CD I mised a couple of years ago
>because I was in a ig rush. the first run of CD's is about to sell out and
I
>get a royalty on the sales so I'm remixing the entire project. Good practice
>on the new system.
>
>The processing on the mix us has the following processors (top to bottom).
>
>UAD-1 Precision EQ
>Neve Portico 5042
>UAD-1 Fairchild
>UAD-1 Precision Limiter.
>
>I'm using the UAD-1 Neve 88-RS console strip on every track of these mixes.
>This thing is the bees knees IMO.
>
>Stay tuned
>
>;o)
>
>
>
>
>DJ - have you tried Nebula 3? It isn't light on cpu, but it's as close to
analog as I've heard in a plugin. The U-140 plate sounds better than UA's,
and imho, the 747 comp sounds better than anything the UAD-1 has as well.
I'm gonna have to go quad core soon. A preamp instance, 3 bands of EQ, comp
and reverb took 30% of my core 2 duo cpu, so you won't get it on every track
like the Neve 88. I don't have the Neve plugins to compare Nebula to, but
fwiw, it's worth a try for only $110 or so (80 euro).
Glad to hear Crash didn't do more damage.
Regards,
Dedric
On 9/2/07 10:02 PM, in article 46db88a8@linux, "DJ" <animix _ at _ animas _
dot _ net> wrote:
> One thing I always liked about Paris was how I could push it and it wouldn't
> get small on me and at the same time the mix would gel without sounding
> overcompressed.
>
> I "think" I'm getting there now. I had to take a hiatus from mixing for
> about three weeks while helping Amy nurse Crash back to some semblance of
> health. He reinjured himself pretty bad about a week after we took off his
> cast and we were sweating bullets but didn't permanently damage the surgery,
> thank goodness, so now he's getting back up to speed and I have some time to
> get into the studio again.
>
> I'm getting ready to post a couple of links up in a few minutes. OPne of the
> songs you've heard (adnauseum) and the other you may have heard a long time
> ago. I never was hapy with a certain CD I mised a couple of years ago
> because I was in a ig rush. the first run of CD's is about to sell out and I
> get a royalty on the sales so I'm remixing the entire project. Good practice
> on the new system.
>
> The processing on the mix us has the following processors (top to bottom).
>
> UAD-1 Precision EQ
> Neve Portico 5042
> UAD-1 Fairchild
> UAD-1 Precision Limiter.
>
> I'm using the UAD-1 Neve 88-RS console strip on every track of these mixes.
> This thing is the bees knees IMO.
>
> Stay tuned
>
> ;o)
>
>
>
>
>Here's the one I was working on a couple of weeks ago. It sounds pretty
different now. My ears are sorta tired and these are starting to sound a bit
dark/muddy to me tonight, but I'm going to check them with fresh ears
tomorrow. the lead vocal is less prominent in these mixes than the artist is
going to want so there will be some more tweaking.
http://www.mediafire.com/?1omz9ytyhwv
..........the "twilight zone" delays and heavy reverb on the intro of the one
below are by request.
http://www.mediafire.com/?ayuzbdm8tmn
enough of this.
I'm fried.
;o)"DJ" <animix _ at _ animas _ dot _ net> wrote in message
news:46db9c5c$1@linux...
> Here's the one I was working on a couple of weeks ago. It sounds pretty
> different now. My ears are sorta tired and these are starting to sound a
> bit dark/muddy to me tonight, but I'm going to check them with fresh ears
> tomorrow. the lead vocal is less prominent in these mixes than the artist
> is going to want so there will be some more tweaking.
>
> http://www.mediafire.com/?1omz9ytyhwv
>
> .........the "twilight zone" delays and heavy reverb on the intro of the
> one below are by request.
>
> http://www.mediafire.com/?ayuzbdm8tmn
>
> enough of this.
>
> I'm fried.
>
> ;o)
>
Yep,
the BG vocals and lead vocal are out of whack on the last one. Getting
stepped on a bit by fiddles, etc. here and there as well........Oh
well........g'nite.....;o)"LaMont" <jjdpro@ameritech.net> wrote:
>
>Ok, It seems that I'm in the minority. I love the mix. I love the tight
compression..That's
>how it's supposed to sound. That's the sound of a "good Rock " mix today.
>
>Neil, I like your Rock mixes a lot, but you can get that sound you want
by
>stemming your mix out into a analog mixer. Yes, I kow you wanted to avoid
>all of that.
Thanks, but I can get a mix like this one simply by slamming
down the limiter threshhold a few more db's in Ozone - actually
I like the mix overall, it's just the dirt on the mids & above
that I don't like - to me it's not a "good" kind of
distortion, it's a raspy kind of distortion, and it has nothing
to do with fatness or width or anything like that - in fact,
IMO it takes away from that. Quite the opposite of what
stemming can add.
>For Me: Hard to do (ITB) with Nuendo/SX..Easy to do with Paris..Best with
>(any DAW) stemmed out to a Analog Mixer. Let's face face it, for Rock and
>R&B, third order distortion (harmonics) are in order. Somehow Paris and
Apogee
>adds the secord and third order (Harmonics).. Prism, Myteks,RME and the
like
>don't and that's cool for Post, Film/video work.
FYI, Prisms are some of the convertors that mastering guys are
using, along with the Lavry Gold's, to slam the shit out of in
order to get that extra couple of db's... I've exchanged a
series of e-mails with one of the tech support guys at Lavry
and he says that the Golds have a certain kind of soft-
saturation circuitry that the Blue series doesn't have, and it
gives them that characteristic. Apparently some of the Prisms
have a similar kinda thing goin' on.
>But, Rock, R&B and the liek needs to be phatt ..Needs some
>color, needs some Distortion.
Color, yes, some even-numbered harmonics, perhaps, but i'm still
opting for that clarity & dimension up top - to me that's what
gives it the sense of space/air/whatever you want to call
it...you start dirtying that up & you lose that. I'll find a
way to get there... maybe next I'll try 2 or 3 compressors in
series, analog ones across the 2-buss; gentle on the first,
then hitting each one after that a little bit harder so that
you're not having to clamp down the dynamics so much in each
stage - maybe that'll get me there with no detectable
distortion or loss of depth/space. I really only need a couple
more db's RMS to be 100% competitive in terms of perceived
volume levels with something like the tune we're talking about,
and that's a fully-mastered cut! If I can do that & still
maintain the sonic integrity of what I'm after, then I think
i'll be able to deliver a product that's going to be damn hard
to find anywhere else.
Neil"DJ" <animix _ at _ animas _ dot _ net> wrote:
>I want to get on the ground floor of this franchise. We could also sell
coke
>(advertize it as "blow ;o)
>
>Let's call it Barsucks.
>
>;oD
Yeah... big discount for congresspeople...
DCSounds good to me. I like it.. Good Job.
P.S.
Les vocal verb in the intro..makes it more intimate. Try a Long ducking delay
"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Here's the one I was working on a couple of weeks ago. It sounds pretty
>different now. My ears are sorta tired and these are starting to sound a
bit
>dark/muddy to me tonight, but I'm going to check them with fresh ears
>tomorrow. the lead vocal is less prominent in these mixes than the artist
is
>going to want so there will be some more tweaking.
>
>http://www.mediafire.com/?1omz9ytyhwv
>
>.........the "twilight zone" delays and heavy reverb on the intro of the
one
>below are by request.
>
>http://www.mediafire.com/?ayuzbdm8tmn
>
>enough of this.
>
>I'm fried.
>
>;o)
>
>I see where you are going,sonically.
Have you seen these two products?
http://www.ursplugins.com
http://www.anamodaudio.com This may add too much color and take away some
top end ..Mybe not..
Neil" <OIUOIU@OIU.com> wrote:
>
>"LaMont" <jjdpro@ameritech.net> wrote:
>>
>>Ok, It seems that I'm in the minority. I love the mix. I love the tight
>compression..That's
>>how it's supposed to sound. That's the sound of a "good Rock " mix today.
>>
>>Neil, I like your Rock mixes a lot, but you can get that sound you want
>by
>>stemming your mix out into a analog mixer. Yes, I kow you wanted to avoid
>>all of that.
>
>Thanks, but I can get a mix like this one simply by slamming
>down the limiter threshhold a few more db's in Ozone - actually
>I like the mix overall, it's just the dirt on the mids & above
>that I don't like - to me it's not a "good" kind of
>distortion, it's a raspy kind of distortion, and it has nothing
>to do with fatness or width or anything like that - in fact,
>IMO it takes away from that. Quite the opposite of what
>stemming can add.
>
>>For Me: Hard to do (ITB) with Nuendo/SX..Easy to do with Paris..Best with
>>(any DAW) stemmed out to a Analog Mixer. Let's face face it, for Rock and
>>R&B, third order distortion (harmonics) are in order. Somehow Paris and
>Apogee
>>adds the secord and third order (Harmonics).. Prism, Myteks,RME and the
>like
>>don't and that's cool for Post, Film/video work.
>
>FYI, Prisms are some of the convertors that mastering guys are
>using, along with the Lavry Gold's, to slam the shit out of in
>order to get that extra couple of db's... I've exchanged a
>series of e-mails with one of the tech support guys at Lavry
>and he says that the Golds have a certain kind of soft-
>saturation circuitry that the Blue series doesn't have, and it
>gives them that characteristic. Apparently some of the Prisms
>have a similar kinda thing goin' on.
>
>>But, Rock, R&B and the liek needs to be phatt ..Needs some
>>color, needs some Distortion.
>
>Color, yes, some even-numbered harmonics, perhaps, but i'm still
>opting for that clarity & dimension up top - to me that's what
>gives it the sense of space/air/whatever you want to call
>it...you start dirtying that up & you lose that. I'll find a
>way to get there... maybe next I'll try 2 or 3 compressors in
>series, analog ones across the 2-buss; gentle on the first,
>then hitting each one after that a little bit harder so that
>you're not having to clamp down the dynamics so much in each
>stage - maybe that'll get me there with no detectable
>distortion or loss of depth/space. I really only need a couple
>more db's RMS to be 100% competitive in terms of perceived
>volume levels with something like the tune we're talking about,
>and that's a fully-mastered cut! If I can do that & still
>maintain the sonic integrity of what I'm after, then I think
>i'll be able to deliver a product that's going to be damn hard
>to find anywhere else.
>
>Neil"That's not music, that's just a lot of noise." - my mom, 1964
OK, I agree, compositionally and musician-ally, all these songs are
interesting. But soundwise, I'm afraid I'm in Deej's curmudgeon club. And
it's not that I don't like intense rock performances, I do. But to me, this
sound is so slick and smooth and lacking dynamics and tonal variety that the
intensity is buried in a relentless buzzy blur. I couldn't listen to a
whole record of this stuff.
I like the sound of guitar amps turned up really loud, and I think when you
distort guitars to the point of a complete buzz, you lose that character.
It just sounds electronic.
But it's all a matter of taste, and I'm sure this is an excellent example of
this particular sonic formula. It's just not a formula that appeals to me.
Variety is the spice of music.
S
Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>
> Maybe we're getting past the post-punk phase... I'm starting to
> hear some evidence of melody & musicianship in a few scattered
> places.
>
> Go to this link & check out the cut called "Godspeed":
>
> http://www.myspace.com/anberlin
>
> Now THAT's the way rock should be played (and sung), innit?
>
> "Adelaide" is not too bad, either.
>
> NeilThe problem with a compressor on the master bus is that it kills the sharp
live transients that give it life. Finis is a great plug in because you can
monitor the Crest Factor (the difference between the peaks and averages)
and you can compress the rhythm section or just the kick, snare and bass
to get the dynamics to a manageable level. A crest factor of 14 is a great
start to finding a mix that is of good dynamic contrast.
If all you do is compress the master bus you can get this but you'll sacrifice
overall life in the mix. Instead, compress the parts that are causing the
problem and just ride the fader on the other parts (like hihat, shakers,
vocals, keyboards). This way you'll have a very tight mix plus a very live
sounding mix (aka Thriller). Just compressing the entire mix may put you
in the proper crest factor (dynamic range) but you can potentially end up
with a lifeless mix. I'm working on a reggae album right now and the raw
recording has a crest of about 24. WAY too dynamic, but using the above
techniques I'm going to reel it in without crushing the whole mix.
JohnHey Deej - I found that this plugin...
http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
Here's the full page with a screenshot & that link...
http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
....can get things nice & "glue-y" if you use it judiciously
(and subtly) on your lo-end stuff like bass, kik, etc., or even
a few choice things that have a decent amount of lo-mid
content. Now, I don't have this newest version, but I would
assume it's not gotten any worse than the probably two versions
prior (which is the one I have, but now i'm gonna try this new
one, too!).
I used it on the DiMakina stuff I played for you guys I guess a
couple of months ago, In that case I used it on the kick, bass,
snare, and one stack o' tracks of rhythm guitar in each tune.
Definitely try subtle settings, and if you want more glue,
don't nessarily turn it up at first, just add it to something
else - 'specially for the genre you're working in, since you
wouldn't want to get too dirty on anything. IOW, use it mainly
for the harmonics, not the drive.
I would start with the Bias in the middle, the Drive at about a
third of the way up, and adjust the Volume/Output for unity
gain at that point so you can click it in & out of bypass to
see if you like it. That'll give you a good starting point,
anyway. Cranking up the Bias carves out a countour in the low-
mids a bit - maybe kind of a little bit like a Pultec-ish
thang, but not exactly - you'll see. This new version has an
EQ, too, which the one I have does not, so that's even cooler!
For example, on the mix for "Faith in Love" that you linked
us to, I would probably try it on bass, kick, snare/sidestick,
and since it's really more of an acoustic guitar-dominant song,
I think I might even try something like create a copy of the
main acoustic guitar track, and set a lo-pass filter around
600hz on one & a hi-pass around the same place on the other,
and use it on the low track. :D
Also, if you have the ride cymbal miced separately, I'd even
try it on that track - it can work real well to soften up highs
without losing presence (like, for example, if you like the
tone of the ride & didn't want to EQ it any differently, but
wanted to soften up some of the "ping" attack -
knowwhatahmean?). Not that I'm saying you should, but that's
about the only thing about this mix that kinda sticks out &
bothers me a little bit. I like the mandolin tone a lot, but if
you wanted to give that a little more body without changing the
overall EQ, that's another thing this plug would be good for.
Try it, you'll like it! It's a great "adhesive additive" lol
Can't remember who pointed me to this plugin the first time,
but I know I was someone on this NG, so props go out to
whomever it was that posted the info at the time!
NeilCrap - pasted the wrong link for the homepage. Here's the
correct one:
http://www.the29a.org/nickcrow/index.html
:)
"Neil" <IUOIU@OIU.com> wrote:
>
>Hey Deej - I found that this plugin...
>
>http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
>
>Here's the full page with a screenshot & that link...
>
>http://www.the29a.org/nickcrow/TubeDriver%20v0.961.zip
>
>
>...can get things nice & "glue-y" if you use it judiciously
>(and subtly) on your lo-end stuff like bass, kik, etc., or even
>a few choice things that have a decent amount of lo-mid
>content. Now, I don't have this newest version, but I would
>assume it's not gotten any worse than the probably two versions
>prior (which is the one I have, but now i'm gonna try this new
>one, too!).
>
>I used it on the DiMakina stuff I played for you guys I guess a
>couple of months ago, In that case I used it on the kick, bass,
>snare, and one stack o' tracks of rhythm guitar in each tune.
>Definitely try subtle settings, and if you want more glue,
>don't nessarily turn it up at first, just add it to something
>else - 'specially for the genre you're working in, since you
>wouldn't want to get too dirty on anything. IOW, use it mainly
>for the harmonics, not the drive.
>
>I would start with the Bias in the middle, the Drive at about a
>third of the way up, and adjust the Volume/Output for unity
>gain at that point so you can click it in & out of bypass to
>see if you like it. That'll give you a good starting point,
>anyway. Cranking up the Bias carves out a countour in the low-
>mids a bit - maybe kind of a little bit like a Pultec-ish
>thang, but not exactly - you'll see. This new version has an
>EQ, too, which the one I have does not, so that's even cooler!
>
>For example, on the mix for "Faith in Love" that you linked
>us to, I would probably try it on bass, kick, snare/sidestick,
>and since it's really more of an acoustic guitar-dominant song,
>I think I might even try something like create a copy of the
>main acoustic guitar track, and set a lo-pass filter around
>600hz on one & a hi-pass around the same place on the other,
>and use it on the low track. :D
>
>Also, if you have the ride cymbal miced separately, I'd even
>try it on that track - it can work real well to soften up highs
>without losing presence (like, for example, if you like the
>tone of the ride & didn't want to EQ it any differently, but
>wanted to soften up some of the "ping" attack -
>knowwhatahmean?). Not that I'm saying you should, but that's
>about the only thing about this mix that kinda sticks out &
>bothers me a little bit. I like the mandolin tone a lot, but if
>you wanted to give that a little more body without changing the
>overall EQ, that's another thing this plug would be good for.
>
>Try it, you'll like it! It's a great "adhesive additive" lol
>
>Can't remember who pointed me to this plugin the first time,
>but I know I was someone on this NG, so props go out to
>whomever it was that posted the info at the time!
>
>NeilHey John,
when I insert the SSL Comp on the master buss, I'm going for that SSL sound
just like on the real SSL Console. The Plugin SSL comp reacts just like the
the real thing. The beuaty of the SSL comp is that is does not suck life
out of a mix , but rather hold a mix together. It does not fix offending
rack levels. You still have to mix, but the SSL Comp keeps a well mixed song
tightly knited together. Thus, getign a more agressive, puchier mix.
Also, the Sonalkis comps have this glueing quality. Overall, the SSL & Faichild
comps were used for making amix soudn like a record. hey are to be used after
you have your mix 90 percent complete..
"John" <no@no.com> wrote:
>
>The problem with a compressor on the master bus is that it kills the sharp
>live transients that give it life. Finis is a great plug in because you
can
>monitor the Crest Factor (the difference between the peaks and averages)
>and you can compress the rhythm section or just the kick, snare and bass
>to get the dynamics to a manageable level. A crest factor of 14 is a great
>start to finding a mix that is of good dynamic contrast.
>
>If all you do is compress the master bus you can get this but you'll sacrifice
>overall life in the mix. Instead, compress the parts that are causing the
>problem and just ride the fader on the other parts (like hihat, shakers,
>vocals, keyboards). This way you'll have a very tight mix plus a very live
>sounding mix (aka Thriller). Just compressing the entire mix may put you
>in the proper crest factor (dynamic range) but you can potentially end up
>with a lifeless mix. I'm working on a reggae album right now and the
raw
>recording has a crest of about 24. WAY too dynamic, but using the above
>techniques I'm going to reel it in without crushing the whole mix.
>
>John"LaMont" <jjdpro@ameritech.net> wrote in message news:46dbc093$1@linux...
>
> Sounds good to me. I like it.. Good Job.
> P.S.
> Les vocal verb in the intro..makes it more intimate. Try a Long ducking
> delay
>
>
Hehe!!!!!......well, I listened to the second song this morning and it
sounded more like one of Neil's rock mixes to my ears
this is Bluegrass!!!.....well.......sorta'.....if you get rid of the
PBass/Ampeg SVT and the drums............... ;o)
Since I'm mastering as I mix here, I gotta' chop a little energy out of it
with the Precision EQ to roll off a little the signal hitting the Neve, then
thicken it back up with the saturation and drive, then change the threshold
settings of that Fairchild and tame it's output into the
Limiter.........sheesh ..........you rock/R&B guys...........what am I gonna
do with you anyway????
;o)OK My son is touring with his band and wants me to email him some of the songs
he has here in PARIS. So I'm thinking I somehow need to get them to Mp3.
Will this work? Bounce to disk as a wav file, use what to convert to Mp3.
Thanks Jim"Sarah" <sarahjane@sarahtonin.com> wrote:
>But soundwise, I'm afraid I'm in Deej's curmudgeon club.
PAH! All you curmudgeons... GET WITH IT!!!
lol
:)"DJ" <animix _ at _ animas _ dot _ net> wrote:
>Hehe!!!!!......well, I listened to the second song this
>morning and it sounded more like one of Neil's rock mixes to
>my ears
Hey, so what am I, the de-facto rock mixer here all of a
sudden!?!?!! It's not as if I'm the only one on this board
working in rock, ya know!
:)"Neil" <OIUOIU@OIU.com> wrote in message news:46dc7161$1@linux...
>
> "DJ" <animix _ at _ animas _ dot _ net> wrote:
>
>>Hehe!!!!!......well, I listened to the second song this
>>morning and it sounded more like one of Neil's rock mixes to
>>my ears
>
> Hey, so what am I, the de-facto rock mixer here all of a
> sudden!?!?!! It's not as if I'm the only one on this board
> working in rock, ya know!
>
> :)
Sorry dood.......somebody's gotta' RAWK, and you're it.
;o)"JIm Drago" <jamesd@prospect.k12.or.us> wrote in message
news:46dc6fec$1@linux...
>
> OK My son is touring with his band and wants me to email him some of the
> songs
> he has here in PARIS. So I'm thinking I somehow need to get them to Mp3.
> Will this work? Bounce to disk as a wav file, use what to convert to Mp3.
> Thanks Jim
Yes.that will work.
;o)Hey Neil
I stumbled on these guys a little while ago. I thought the same thing: "ah,
melody." Definately pop, but its got some 'nards too.
MR
"Neil" <OUOIU@OIU.com> wrote in message news:46db27c1$1@linux...
>
> Maybe we're getting past the post-punk phase... I'm starting to
> hear some evidence of melody & musicianship in a few scattered
> places.
>
> Go to this link & check out the cut called "Godspeed":
>
> http://www.myspace.com/anberlin
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