Home » The PARIS Forums » PARIS: Main » Oh ................. HELL YES!!!!!!!!!!!!!
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| Re: Oh ................. HELL YES!!!!!!!!!!!!! [message #73431 is a reply to message #73428] |
Sun, 01 October 2006 18:05   |
Don Nafe
Messages: 1206
Registered: July 2005
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Senior Member |
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; hence the need for such a large I/O interface?
>>
>> Don
>>
>> "DJ" <notachance@net.net> wrote in message news:45314e37@linux...
>>> Dave,
>>>
>>> All tracks are being played back through Paris. The point of this is to
>>> have
>>> all tracks crossing the editor timeline simultaneously whether they are
>>> being processed by a plugin, or not. In order to achieve this, each
> track
>>> has to be sent to a Forte bus, processed by the UAD-1 Delaycomp (and
>>> whatever else) then returned to Paris. the "nudge" and then the
>>> Sampleslide
>>> instance in Paris is in order to cover the latency between the two
>>> computers
>>> caused by the 512k buffer settings of the audio interface on the native
>>> platforn. without this, there will be flamming of all tracks (I have
>>> tested
>>> it). Another solution would be to process only certain tracks through
>>> Forte
>>> and leave others to play back in Paris. this is possible to do, but then
>>> you
>>> get into nudging "all" tracks in Paris that are *not* being processed in
>>> Forte by a measured increment which would be the total latency of 5 x
>>> UAD-1
>>> plugins plus the 512K sample buffer. I haven't yet measured it, but I'm
>>> going to do so today. I'm thinking this may be well over the latency
>>> threshold that would allow a visual reference to the Paris timeline
> while
>>> mixing, plus, those tracks that are being processed in Forte would be
>>> nudged
>>> a different number of samples from the ones that weren't. This creates a
>>> nightmare of a messy mix scenario in my mind. If I wanted to work this
>>> way,
>>> I'd just be using the UAD-1 plugs in Paris with
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| Re: Oh ................. HELL YES!!!!!!!!!!!!! [message #73436 is a reply to message #73431] |
Sun, 01 October 2006 19:28 |
animix
Messages: 356
Registered: September 2006
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Senior Member |
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> >>
> >
> >Actually John once you get things setup and create a template in both apps
you're good to go. Deej walked me through his lastest setup (configured to
my modules) and we were pretty well done in 15 minutes with an additional
1/2 hour on my part to make sure all components were playing nicely with
each other.
Funny thing was I was able to use this basic template in two other apps -
Saw studio (demo) and Reaper (demo) with no real problems at all.
Don
"John" <no@no.com> wrote in message news:45321abd@linux...
> wow, what a pain in the ass !
>
> J wrote:
>> That's correct. this is what I'm doing in Cubase SX right now. If I track
>> in
>> Paris (which I love for tracking) then render the files, fly them overmy
>> network, batch convert them to .wav format in Wavelab, then import them
>> into
>> a Cubase project to be processed and then set the SX tracks on mono
>> output
>> busses to stream the tracks back over lightpipe to Paris for further
>> processing, panning and summing, then the system is very stable. It takes
>> 30
>> minutes to an hour per song (24 tracks average) to get this going. It's
>> almost second nature to me now actually, but I'd like to avoid having to
>> jump through the initial hoops of rendering, batch conversion in WL and
>> importing into Cubase. With my Paris tracking template set up with the
>> EDS
>> external inserts and the Sampleslide native insert ready to go and
>> bypassed
>> until mix time, I could just enable the inserts, highlight all Paris
>> tracks
>> and nudge them 10 + 1, click on my mix patchbay setup in Paris, open
>> Forte
>> to the default rack processor template and I'm mixing a 40 track project
>> in
>> 5 minutes with delay compensated UAD-1 plugins and external hardware on
>> inserts and auxes in Paris.
>>
>> Deej
>>
>>
>> "Don Nafe" <dnafe@magma.ca> wrote in message news:453152c8$1@linux...
>>> hence the need for such a large I/O interface?
>>>
>>> Don
>>>
>>> "DJ" <notachance@net.net> wrote in message news:45314e37@linux...
>>>> Dave,
>>>>
>>>> All tracks are being played back through Paris. The point of this is to
>>>> have
>>>> all tracks crossing the editor timeline simultaneously whether they are
>>>> being processed by a plugin, or not. In order to achieve this, each
>> track
>>>> has to be sent to a Forte bus, processed by the UAD-1 Delaycomp (and
>>>> whatever else) then returned to Paris. the "nudge" and then the
>>>> Sampleslide
>>>> instance in Paris is in order to cover the latency between the two
>>>> computers
>>>> caused by the 512k buffer settings of the audio interface on the native
>>>> platforn. without this, there will be flamming of all tracks (I have
>>>> tested
>>>> it). Another solution would be to process only certain tracks through
>>>> Forte
>>>> and leave others to play back in Paris. this is possible to do, but
>>>> then
>>>> you
>>>> get into nudging "all" tracks in Paris that are *not* being processed
>>>> in
>>>> Forte by a measured increment which would be the total latency of 5 x
>>>> UAD-1
>>>> plugins plus the 512K sample buffer. I haven't yet measured it, but I'm
>>>> going to do so today. I'm thinking this may be well over the latency
>>>> threshold that would allow a visual reference to the Paris timeline
>> while
>>>> mixing, plus, those tracks that are being processed in Forte would be
>>>> nudged
>>>> a different number of samples from the ones that weren't. This creates
>>>> a
>>>> nightmare of a messy mix scenario in my mind. If I wanted to work this
>>>> way,
>>>> I'd just be using the UAD-1 plugs in Paris with the FXPansion 3.3
>> wrapper.
>>>> I
>>>> want all lateny to be consistent so that it can be consistently
>>>> compensated
>>>> rather than doing it differently *per track*, otherwise it defeats the
>>>> purpose to my way of thinking.
>>>>
>>>> Yeah....I'm wayyy to picky, I know.
>>>>
>>>
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| Re: Oh ................. HELL YES!!!!!!!!!!!!! [message #73446 is a reply to message #73444] |
Sun, 01 October 2006 20:07 |
animix
Messages: 356
Registered: September 2006
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Senior Member |
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almost certain) is because of the
> sample delay between EDS cards. Signals that are routed between the
> digital
> I/O of the RME cards from ADAT modules on MECs attached to Cards B/C/D are
> almost certainly receiving this sample latency. It's a wonder this even
> works at all. Add to it the fact that the RME cards are all receiving
> their
> clock signal from MEC ADAT modules and the modules are on cards A & B,
> it's
> almost certain that the RME card that is attached to the MEC on Card B is
> receiving a clock signal that is not sample accurate with the signal that
> the other two RME cards are receiving from the ADAT modules on card A.
> Now,
> let's throw into this whole equatiion the fact that I've got three
> outboard
> modules patched into the three S/Pdif I/O of the RME cards and these
> devices
> are receiving their clock signals from the RME cards which are clocked to
> the Paris ADAT sync and the signals that are routed/being processed
> through
> them are routed through auxes on MECs attached to Card C and D (now
> there's
> the sample delay between signals routed through these procesors and the 4
> x
> EDS cards and the three RME cards.) OK...we're not done yet.........let's
> throw into the equation that one of these outboard processors, a Quantec
> Yardstick has AES I/O only and is routed through two format converters.
> Now
> let's move on to the fact that the SPdif I/O of Paris cards A, B, C, a
> Sony
> DPS, V77, a POD XP Pro, two Mytek converters and the ADAT I/O of one of
> the
> HDSP 9652 cards, the Multiface, ADAT #2 of MEC on card C and ADAT #1 of
> Card
> D and the Optical input of my Benchmark DAC-1 are all being interpatched
> through two MAudio Digipatch units which*do not* reclock the signals
> (although the Benchmark DAC-1 does)......and finally, due to the fact that
> these outboard devices are spread out in racks in various parts of
> theroom,
> many of the S/Pdif cables and lightpipe cables which are carrying (likely
> inaccurate) clock signals between these different devices are of varying
> lengths.....some of them over 20' long. It's a miracle that thiseven
> works,
> much works and sounds good to boot. I do hold my breath every time I fire
> it
> up though and I'm getting kinda tired of that.
>
> I've been told that I'm on
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| Re: Oh ................. HELL YES!!!!!!!!!!!!! [message #73471 is a reply to message #73446] |
Mon, 02 October 2006 13:11 |
damien.gelee
Messages: 36
Registered: July 2006
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Member |
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/>
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<DIV><FONT face=3DArial size=3D2>You dither huh? . . .</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV>"Cujo" <<A=20
=
href=3D"mailto:chris@nospamapplemanstudio.com">chris@nospamapplemanstudio=
..com</A>>=20
wrote in message <A=20
=
href=3D"news:4532d7e6$1@linux">news:4532d7e6$1@linux</A>...</DIV><BR><BR>=
<BR>It's=20
really hard to describe, it has to be the room, but somewhere in=20
the<BR>balance of bass and treble it seems that it is pretty dang =
close in my=20
room<BR>to the reference CD's but I get to the car and I have to turn =
the bass=20
down<BR>1 and trebl up 2 clciks to get it where it felt in the house. =
but it=20
isn't<BR>only that, but in my control room, the mises sound clear, 3=20
dimentional and<BR>"airy" but the CD burns sound almost hazy, like the =
presence area has been<BR>compressed and almost glassy in bad way, =
Dirty=20
Glassy, and somehow not as<BR>full range. So, the EQ thing bass =
and=20
treble would be understandable,, but<BR>this mushieness freaks me out, =
I=20
really wonder if it my conversion to 16<BR>bit, or somehting else, =
I'll try=20
the Wavelab dither tomorrow.<BR><BR>my stuff still gets some nice nods =
critically, but it is not how I want it<BR>to sound!<BR><BR><BR>hey is =
anyone=20
running mixes through any mic pres? Anyone here have a=20
1968ME<BR>compressor?<BR><BR><BR><BR><BR><BR><BR><BR >"Don Nafe" <<A =
href=3D"mailto:dnafe@magma.ca">dnafe@magma.ca</A>> wrote:<BR>>My =
first=20
thought was "it's the room"<BR>><BR>>May I ask the room =
dimensions, the=20
approximate location of your speakers<BR>and <BR>>acoustic=20
treatment?<BR>><BR>>DOn<BR>><BR>> <BR>>"Cujo" <<A=20
=
href=3D"mailto:chris@nospamapplemanstudio.com">chris@nospamapplemanstudio=
..com</A>>=20
wrote in message=20
<BR>>news:4532b8eb$1@linux...<BR>>><BR>>><BR>>> =
Ok, It is=20
finally start to get to me.<BR>&a
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