Home » The PARIS Forums » PARIS: Main » OT: When it rains...
| OT: When it rains... [message #66126] |
Tue, 04 April 2006 17:46  |
Neil
Messages: 1645
Registered: April 2006
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Senior Member |
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always* worked for me. I would try deleting the =
8,8=20
<BR>line... I don't recall the default installation having this =
<BR>line in=20
it. I believe this is something that Edmund and BT <BR>had =
worked out=20
when he was having troubles with a certain <BR>set-up... I have never =
messed=20
with it myself, and have the <BR>identical system you have working =
flawlessly=20
with external <BR>clock.<BR><BR>David.<BR><BR>Tom Bruhl =
wrote:<BR><BR>>=20
David,<BR>> 5 cards and they are attached to A and E. I =
thought you=20
said to<BR>> connect from Mec to Mec in this setup. It seems =
like it=20
is<BR>> defeating the purpose of an outboard WC with this =
wiring.<BR>>=20
If it's the best (only) way it will work then that's what I'll =
do.<BR>> I=20
was going to delete EDSTransfer=3D8,8. Maybe not then =
huh?<BR>> I will=20
use the EXE file to start this time. Is this only to set it =
up?<BR>>=20
I will need to use my default project (projects) in the =
future.<BR>> =20
<BR>> I'll check the config settings and tell you what I've =
got. It=20
has<BR>> been a little sluggish but stable at upwards of 35 tracks=20
most<BR>> of the time with lots of plugs. Never a problem =
printing=20
basics<BR>> which is usually 18 tracks or so.<BR>> Tom<BR>>=20
<BR>></BLOCKQUOTE></BODY></HTML>
------=_NextPart_000_001A_01C66CC0.C96F6800--I'm staying with Paris. Live CD almost mixed!
DCI'm definately stickin'. I've been thinking lately about stocking in
another MEC and maybe an old skool mobo or two.
MR
"Gantt Kushner" <ganttmann@comcast.net> wrote in message
news:4455655b$1@linux...
>
> I haven't been around much lately, and I just took a look at the "For
Sale"
> site. Wow! So much Paris stuff for sale! It made me wonder... Who (or
> is it "whom"?), besides me, is still using Paris as their main system?
I'm
> getting pretty frustrated about not being able to use most of the new
plugins.
> I have to dive into PT (LE) or Digital Performer to do some of the more
> modern tricks, and then import files back to Paris. But it still sounds
> SOOOO good to me. I have a client who moved here from New Orleans after
> Katrina. He had done a bunch of recording in a studio there (he is pretty
> much a techno-phobe, so he doesn't know what format) and he says the
quality
> of the ruff mixes from my little Paris studio kills the stuff he did down
> there. He says he's just gonna have to record it all again here.
>
> Anyway... If I knew what I could get that'd sound as good (and that I
could
> afford!) I'd switch, but for now, I'm still a Paris dude.
>
> Peace ('cause we still need it!),
>
> Gantt
>
>Wow.
MR
"DJ" <animix_spam-this-ahole_@animas.net> wrote in message
news:4455889f$1@linux...
> >The more I use the system the more I'm amazed at how good it really
sounds<
>
> I feel the same way after having used Paris and SX side by side for over
two
> years now. Paris is just so much easier to track with, to quickly nail the
> sound I'm looking for and is so forgiving when mixing. I use RME and Mytek
> converters from time to time, but to tell the truth, I *choose* to use the
> Paris converters more often than not these days. With an external clock,
> they sound just as good to my ears.
>
> Deej
>
> "Rich Lamanna" <richard.lamanna@verizon.net> wrote in message
> news:4455858a@linux...
> > Not me Gantt. I just finished mixing a track of a live recording that
just
> > sounds so extraordinary, I'd have to be led away from Paris at gunpoint.
> The
> > more I use the system the more I'm amazed at how good it really sounds.
I
> > see no need to move anywhere, period. Familiarity breeds contempt, but
not
> > so for me and Paris.
> >
> > Rich
> >
> > "Gantt Kushner" <ganttmann@comcast.net> wrote in message
> > news:4455655b$1@linux...
> > >
> > > I haven't been around much lately, and I just took a look at the "For
> > Sale"
> > > site. Wow! So much Paris stuff for sale! It made me wonder... Who
(or
> > > is it "whom"?), besides me, is still using Paris as their main system?
> > I'm
> > > getting pretty frustrated about not being able to use most of the new
> > plugins.
> > > I have to dive into PT (LE) or Digital Performer to do some of the
more
> > > moder
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| Re: When it rains... [message #66127 is a reply to message #66126] |
Tue, 04 April 2006 19:54  |
Rich Lamanna
Messages: 316
Registered: February 2006
|
Senior Member |
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n tricks, and then import files back to Paris. But it still
sounds
> > > SOOOO good to me. I have a client who moved here from New Orleans
after
> > > Katrina. He had done a bunch of recording in a studio there (he is
> pretty
> > > much a techno-phobe, so he doesn't know what format) and he says the
> > quality
> > > of the ruff mixes from my little Paris studio kills the stuff he did
> down
> > > there. He says he's just gonna have to record it all again here.
> > >
> > > Anyway... If I knew what I could get that'd sound as good (and that I
> > could
> > > afford!) I'd switch, but for now, I'm still a Paris dude.
> > >
> > > Peace ('cause we still need it!),
> > >
> > > Gantt
> > >
> > >
> >
> >
>
>This is a multi-part message in MIME format.
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that was my conclusion also, after running it on my amd64/3200 unit.
....already runnin' two comps...more is *definately* not better....lol
Rich Lamanna wrote:
> Yeah Jeff and Tom, you definitely need a separate, dedicated computer
> to run Giga properly in my experience.
>
> Rich
>
> "jef knight" <thestudio@allknightmusic.com
> <mailto:thestudio@allknightmusic.com>> wrote in message
> news:4454ee9a$1@linux...
> ya, me too. Don seem to think it's viable. My take on Giga is that
> it take soooo much horsepower to run it that it requires it's own
> comp.
> jef
>
> Tom Bruhl wrote:
>
>> Jef,
>> I am in the same boat as you. After looking them all over
>> Kontakt 2 looks/sounds like the best aside from Giga. I'm not
>> convinced it's not a buggy piece though. I'd like to hear
>> from someone here who has experience with it.
>> Tom
>>
>>
>>
>> "jef knight" <thestudio@allknightmusic.com
>> <mailto:thestudio@allknightmusic.com>> wrote in message
>> news:44523838$1@linux...
>> Hey Dudes and Dudettes...
>>
>> I've got a project coming up that will neccessarily include
>> orchestra
>> and some other fiddly-bits that my synths won't do
>> convincingly. So,
>> I've gotta get a soft sampler.
>> Having looked at a few of the sample libraries like vienna
>> and kirk
>> hunter, it seems to me that NI Kontakt 2 is the way to go.
>> Now, as some
>> of you may have guessed, I a big steinberg
>> fan...cubase/nuendo/wavelab/etc.. but having dld'd
>> an..ahem..."working
>> demo"....cough, cough.. of Halion, I wasn't as impressed with
>> it as I
>> thought I'd be. Wasn't happy with the interface and it seemed
>> to be
>> pretty pretty demanding. I already *have* those guys in the
>> studio, I
>> don't need my tools to all passive-aggressive too....lol
>>
>> Before I shell out any actual dough for this cookie, what's
>> you take on
>> the whole thing and, more importantly, on Kontact/Halion
>> pro's'n con's.
>>
>> cheers
>>
>> jef
>>
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that was my conclusion also, after running it on my amd64/3200 unit.
....already runnin' two comps...more is *definately* not better....lol<br>
<br>
Rich Lamanna wrote:
<blockquote cite="mid4455430d@linux" type="cite">
<meta http-equiv="Content-Type" content="text/html;charset=ISO-8859-1">
<meta content="MSHTML 6.00.2800.1543" name="GENERATOR">
<div><font size="2">Yeah Jeff and Tom, you definitely need a
separate, dedicated computer to run Giga properly in my experience.</font></div>
<div> </div>
<div><font size="2">Rich</font><br>
</div>
<blockquote
style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;"
dir="ltr">
<div>"jef knight" <<a href="mailto:thestudio@allknightmusic.com">thestudio@allknightmusic.com</a>>
wrote in message <a href="news:4454ee9a$1@linux">news:4454ee9a$1@linux</a>...</div>
ya, me too. Don seem to think it's viable. My take on Giga is that it
take soooo much horsepower to run it that it requires it's own comp.<br>
jef<br>
<br>
Tom Bruhl wrote:
<blockquote cite="mid4452607e@linux" type="cite">
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<style></style>
<div><font face="Aria
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| Re: When it rains... [message #66129 is a reply to message #66126] |
Tue, 04 April 2006 17:56 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
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" target="_blank">1@linux">news:44523838$1@linux</a>...</div>
Hey Dudes and Dudettes...<br>
<br>
I've got a project coming up that will neccessarily include orchestra <br>
and some other fiddly-bits that my synths won't do convincingly. So, <br>
I've gotta get a soft sampler.<br>
Having looked at a few of the sample libraries like vienna and kirk <br>
hunter, it seems to me that NI Kontakt 2 is the way to go. Now, as some
<br>
of you may have guessed, I a big steinberg <br>
fan...cubase/nuendo/wavelab/etc.. but having dld'd an..ahem..."working <br>
demo"....cough, cough.. of Halion, I wasn't as impressed with it as I <br>
thought I'd be. Wasn't happy with the interface and it seemed to be <br>
pretty pretty demanding. I already *have* those guys in the studio, I <br>
don't need my tools to all passive-aggressive too....lol<br>
<br>
Before I shell out any actual dough for this cookie, what's you take on
<br>
the whole thing and, more importantly, on Kontact/Halion pro's'n con's.<br>
<br>
cheers<br>
<br>
jef</blockquote>
</blockquote>
</blockquote>
</blockquote>
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thanks Tom. the Maz seems pretty cool for the $, but I'm leaning towards
the east/west quantum leap orchestra stuff and I believe it native to
kontakt...looks like I'm gonna that route 'n see where it takes me...
jef
TCB wrote:
>I think Kontakt is great software, lots of options for making your own sounds
>or importing other libraries. Lots of 'experimental' sounding filters and
>f/x as well and good external f/x integration. Also, very good sounds ship
>with it. I'm not sure if it's public knowledge but the sample library is
>mostly done by some crazy Germans whose company name rhymes with Bellow Fools.
>I have HALion as well and don't use it much.
>
>Two other options to consider. First, VSampler from MAZ sound
>
>http://www.maz-sound.com/index.php?show=product&id=2
>
>Is a _great_ soft sampler. For under $200 it will do 99% of what most samplists
>need and it has _super_ VST effect integration. So if you don't like the
>delay in the sampler, stuck your favorite VST delay on it. And how about
>a UAD stereo Fairchild where higher velocity lowers the threshold of the
>compressor? Squeezes a little more on the loud sections and lets the softer
>stuff chime through. Very nice.
>
>Also, for string sounds, while I'm not a huge fan of HALion the HALion strings
>module is pretty good and dead easy to program.
>
>TCB
>
>jef knight <thestudio@allknightmusic.com> wrote:
>
>
>>Hey Dudes and Dudettes...
>>
>>I've got a project coming up that will neccessarily include orchestra
>>and some other fiddly-bits that my synths won't do convincingly. So,
>>I've gotta get a soft sampler.
>>Having looked at a few of the sample libraries like vienna and kirk
>>hunter, it seems to me that NI Kontakt 2 is the way to go. Now, as some
>>
>>
>
>
>
>>of you may have guessed, I a big steinberg
>>fan...cubase/nuendo/wavelab/etc.. but having dld'd an..ahem..."working
>>demo"....cough, cough.. of Halion, I wasn't as impressed with it as I
>>thought I'd be. Wasn't happy with the interface and it seemed to be
>>pretty pretty demanding. I already *have* those guys in the studio, I
>>don't need my tools to all passive-aggressive too....lol
>>
>>Before I shell out any actual dough for this cookie, what's you take on
>>
>>
>
>
>
>>the whole thing and, more importantly, on Kontact/Halion pro's'n con's.
>>
>>cheers
>>
>>jef
>>
>>
>
>
>
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thanks Tom. the Maz seems pretty cool for the $, but I'm leaning
towards the east/west quantum leap orchestra stuff and I believe it
native to kontakt...looks like I'm gonna that route 'n see where it
takes me...<br>
jef<br>
<br>
TCB wrote:
<blockquote cite="mid44550cf5$1@linux" type="cite">
<pre wrap="">I think Kontakt is great software, lots of options for making your own sounds
or importing other libraries. Lots of 'experimental' sounding filters and
f/x as well and good external f/x integration. Also, very good sounds ship
with it. I'm not sure if it's public knowledge but the sample library is
mostly done by some crazy Germans whose company name rhymes with Bellow Fools.
I have HALion as well and don't use it much.
Two other options to consider. First, VSampler from MAZ sound
<a class="moz-txt-link-freetext" href="http://www.maz-sound.com/index.php?show=product&id=2">http://www.maz-sound.com/index.php?show=product&id=2</a>
Is a _great_ soft sampler. For under $200 it will do 99% of what most samplists
need and it has _super_ VST effect integration. So if you don't like the
delay in the sampler, stuck your favorite VST delay on it. And how about
a UAD stereo Fairchild where higher velocity lowers the threshold of the
compressor? Squeez
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| Re: When it rains... [message #66133 is a reply to message #66127] |
Tue, 04 April 2006 18:17 |
Don Nafe
Messages: 1206
Registered: July 2005
|
Senior Member |
|
|
those guys in the studio, I
>>don't need my tools to all passive-aggressive too....lol
>>
>>Before I shell out any actual dough for this cookie, what's you take on
>>the whole thing and, more importantly, on Kontact/Halion pro's'n con's.
>>
>>cheers
>>
>>jef
>>
>>
>
>
>
>
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hey deej..<br>
I listened to some garritan samples and they seem to be still have that
you-can-tell-it's-artificial aspect to them. i'm leaning towards the
quantum leap stuff. i was considering the vienna library but their
website was somewhat sub-helpful...but that just could have been
me/that last corona/time of day.....lol<br>
<br>
DJ wrote:
<blockquote cite="mid445589a1$1@linux" type="cite">
<pre wrap="">I've got the Garritan Personal Orchestra here. It uses the NI Kompact
interface. It's easy to use and can be pretty convincing if someone other
than me is using it.
;o)
"jef knight" <a class="moz-txt-link-rfc2396E" href="mailto:thestudio@allknightmusic.com"><thestudio@allknightmusic.com></a> wrote in message
<a class="moz-txt-link-freetext" href="news:44523838$1@linux">news:44523838$1@linux</a>...
</pre>
<blockquote type="cite">
<pre wrap="">Hey Dudes and Dudettes...
I've got a project coming up that will neccessarily include orchestra
and some other fiddly-bits that my synths won't do convincingly. So,
I've gotta get a soft sampler.
Having looked at a few of the sample libraries like vienna and kirk
hunter, it seems to me that NI Kontakt 2 is the way to go. Now, as some
of you may have guessed, I a big steinberg
fan...cubase/nuendo/wavelab/etc.. but having dld'd an..ahem..."working
demo"....cough, cough.. of Halion, I wasn't as impressed with it as I
thought I'd be. Wasn't happy with the interface and it seemed to be
pretty pretty demanding. I already *have* those guys in the studio, I
don't need my tools to all passive-aggressive too....lol
Before I shell out any actual dough for this cookie, what's you take on
the whole thing and, more importantly, on Kontact/Halion pro's'n con's.
cheers
jef
</pre>
</blockquote>
<pre wrap=""><!---->
</pre>
</blockquote>
</body>
</html>
--------------000900050806080703050207--We are having all kinds of problems getting Paris 3.0 to work with XP Pro.
Originally we started using a Abit An8 with an nForce 4 chipset, AMD Athlon
64 X2 3800+, 2 GB ram, several hard drives and XP Pro. We use 1 Mec and 2
EDS 1000 cards, also a Matrox P650 dualhead pci-e video card. We followed
the installations tips for XP beta drivers, but no luck. Thinking maybe
Paris didn't like the new chipset, we switched m/b to a Asus A8V-E with a
Via chipset, still no go. Why is it, some people seem to get it working
with no troubles, and others can't seem to ever get it working? Also, what
should be seen in XP's device manager? The only things we see are a Ensoniq
MIDI driver. Is this indicative of a conflict? The error message we get is
Error 1/1: Can't initialize engine. They work just fine on the older pc
with Windows 98se. Need help guys.Thanks Rod, I'm dusting off the brain and found some old
support notes about this.
Much appreciated!
"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote:
>
>No, if the unitor 8 can read smpte(I think it can)and change it to midi
time
>code, just set Paris to read midi time code. This is assumeing you have
the
>unitor 8 hooked up in such a way that you can get midi to your computer.
>I use an old Opcode 2 port SE that does just that. Works like a charm.
>Rod
>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote:
>>
>>I guess I'll need to invest in an ADAT card for paris to keep it in the
>loop
>>as well?
>>
>>Tyrone
>>
>>"Tyrone Corbett" <tyronecorbett@comcast.net> wrote:
>>>
>>>I have been living with Logic 4.7 as it was PC based. Along with 4.7,
I
>>am
>>>using an Emagic Unitor 8 as the midi interface. I am now interested in
>upgrading
>>>my sequencer rig. I understand that Logic 7.1/7.2 provide a feature to
>lock
>>>to video within the app. My questions are:
>>>
>>>1. Should I go with a Mac G5 (if so, know of any great deals out there?)
>>>2. Are there any PC apps. that can handle this as well?
>>>
>>>I am searching the web as I'm posting this.
>>>
>>>Thanks?
>>>
>>>Tyrone Corbett
>>>
>>>
>>
>Mike, I found some old notes about this, but would you be so kind as to draw
me a picture :-) I'm a little slow these days.
Tyrone
"Mike R." <emarenot@yahoo.com> wrote:
>Yup, the Unitor can read smpte and convert it to MTC. I've been sending
>BT's smpte stripe to it for years and locking Logic on a Mac for years this
>way.
>MR
>
>"Rod Lincoln" <rlincoln@nospam.kc.rr.com> wrote in message
>news:4452d656$1@linux...
>>
>> No, if the unitor 8 can read smpte(I think it can)and change it to midi
>time
>> code, just set Paris to read midi time code. This is assumeing you have
>the
>> unitor 8 hooked up in such a way that you can get midi to your computer.
>> I use an old Opcode 2 port SE that does just that. Works like a charm.
>> Rod
>> "Tyrone Corbett" <tyronecorbett@comcast.net> wrote:
>> >
>> >I guess I'll need to invest in an ADAT card for paris to keep it in the
>> loop
>> >as well?
>> >
>> >Tyrone
>> >
>> >"Tyrone Corbett" <tyronecorbett@comcast.net> wrote:
>> >>
>> >>I have been living with Logic 4.7 as it was PC based. Along with 4.7,
I
>> >am
>> >>using an Emagic Unitor 8 as the midi interface. I am now interested
in
>> upgrading
>> >>my sequencer rig. I understand that Logi
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| Re: When it rains... [message #66136 is a reply to message #66127] |
Tue, 04 April 2006 20:28 |
Edna Sloan
Messages: 304
Registered: October 2005
|
Senior Member |
|
|
omcast.net" target="_blank">tyronecorbett@comcast.net> wrote:
>> >>
>> >>I have been living with Logic 4.7 as it was PC based. Along with 4.7,
I
>> >am
>> >>using an Emagic Unitor 8 as the midi interface. I am now interested
in
>> upgrading
>> >>my sequencer rig. I understand that Logic 7.1/7.2 provide a feature
to
>> lock
>> >>to video within the app. My questions are:
>> >>
>> >>1. Should I go with a Mac G5 (if so, know of any great deals out there?)
>> >>2. Are there any PC apps. that can handle this as well?
>> >>
>> >>I am searching the web as I'm posting this.
>> >>
>> >>Thanks?
>> >>
>> >>Tyrone Corbett
>> >>
>> >>
>> >
>>
>
>No, in my situation (writer) my small studio is based on a single PARIS Pro
with 8in/8out...and I have a 4 track 1/2" machine that can provide some analog
utility.
-Mike.Jamie, I'm strongly considering moving up to Logic 7.1 or 7.2 as I have invested
in the EXS Sampler, EVP 88, ES1 Synth, as well as the Unitor and would like
this transition to be as seemless as possible. My only preoccupation is going
to a G5 as it is so very costly...know of any good deals?
Thanks!
Jamie K <Meta@Dimensional.com> wrote:
>
>Yes, Logic 7 does this using quicktime video playback. Works great.
>Logic still has a few bugs that keep me from giving it a wholehearted
>recommendation, but if you know the workarounds it does a lot.
>
>Digital Performer also does this and DP seems to be fairly popular with
>film composers. Look at both and choose the one that works best for you
>(or get 'em both if you like).
>
>The Mac dual G5s work great with either program. I use a dual 2.5GHZ and
>it rocks. The Intel Macs may be out later this summer...just a heads up.
>Whenever that happens the G5 macs might drop in price.
>
>Cheers,
> -Jamie
> http://www.JamieKrutz.com
>
>
>Tyrone Corbett wrote:
>> I have been living with Logic 4.7 as it was PC based. Along with 4.7,
I am
>> using an Emagic Unitor 8 as the midi interface. I am now interested in
upgrading
>> my sequencer rig. I understand that Logic 7.1/7.2 provide a feature to
lock
>> to video within the app. My questions are:
>>
>> 1. Should I go with a Mac G5 (if so, know of any great deals out there?)
>> 2. Are there any PC apps. that can handle this as well?
>>
>> I am searching the web as I'm posting this.
>>
>> Thanks?
>>
>> Tyrone Corbett
>>
>>I'm here for the long haul as well!
TyroneThere are some plugs and such that I would like to use which only run under
XP. How stable is it compared to W98SE? Also, what if any functionality
doesn't work under XP? I seem to recall problems with the ADAT cards.
ThanksSo, you're saying if you are running just a one MEC system, a work clock makes
a significant difference in the sound of the converters?
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>>The more I use the system the more I'm amazed at how good it really sounds<
>
>I feel the same way after having used Paris and SX side by side for over
two
>years now. Paris is just so much easier to track with, to quickly nail the
>sound I'm looking for and is so forgiving when mixing. I use RME and Mytek
>converters from time to time, but to tell the truth, I *choose* to use the
>Paris converters more often than not these days. With an external clock,
>they sound just as good to my ears.
>
>Deej
>
>"Rich Lamanna" <richard.lamanna@verizon.net> wrote in message
>news:4455858a@linux...
>> Not me Gantt. I just finished mixing a track of a live recording that
just
>> sounds so extraordinary, I'd have to be led away from Paris at gunpoint.
>The
>> more I use the system the more I'm amazed at how good it really sounds.
I
>> see no need to move anywhere, period. Familiarity breeds contempt, but
not
>> so for me and Paris.
>>
>> Rich
>>
>> "Gantt Kushner" <ganttmann@comcast.net> wrote in message
>> news:4455655b$1@linux...
>> >
>> > I haven't been around much lately, and I just took a look at the "For
>> Sale"
>> > site. Wow! So much Paris stuff for sale! It made me wonder... Who
(or
>> > is it "whom"?), besides me, is still using Paris as their main system?
>> I'm
>> > getting pretty frustrated about not being able to use most of the new
>> plugins.
>> > I have to dive into PT (LE) or Digital Performer to do some of the
more
>> > modern tricks, and then import files back to Paris. But it still sounds
>> > SOOOO good to me. I have a client who moved here from New Orleans after
>> > Katrina. He had done a bunch of recording in a studio there (he is
>pretty
>> > much a techno-phobe, so he doesn't know what format) and he says the
>> quality
>> > of the ruff mixes from my little Paris studio kills the stuff he did
>down
>> > there. He says he's just gonna have to record it all again here.
>> >
>> > Anyway... If I knew what I could get that'd sound as good (and that
I
>> could
>> > afford!) I'd switch, but for now, I'm still a Paris dude.
>> >
>> > Peace ('cause we still need it!),
>> >
>> > Gantt
>> >
>> >
>>
>>
>
>I'm interested in the possiblity of using this with a
Great River EQ.
ThanksFor me, XP is much more stable. Other have had varying degrees of success.
Adats won't sync in XP. The adat card WILL sync to other devices requiring
adat 9 pin sync, just not adats. Most people, including me, have only been
able to get 1 adat card per mec to initialize under XP.
Rod
"Gary Flanigan" <gary_flanigan@ce9.uscourts.gov> wrote:
>
>There are some plugs and such that I would like to use which only run under
>XP. How stable is it compared to W98SE? Also, what if any functionality
>doesn't work under XP? I seem to recall problems with the ADAT cards.
>
>ThanksSame here - added a spare Mec and eds card just in case... system is stable,
sounds good and is easy to work with (less some of the latest features -
can we say mi mi midi - but hey that's what a second system is for)... Current
bang for the buck is unbelivable.
"uptown jimmy" <johnson314@bellsouth.net> wrote:
>I'm here for a loooooooooong time to come.
>
>Got no reason to change, every reason to stay. Everyone else is chasing
>ghosts, IMO.
>
>I'm sorta stocked-up on parts, will probably add to the cache as things
get
>even cheaper.
>
>Jimmy
>
>"Gantt Kushner" <Report message to a moderator
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| Re: OT: When it rains... [message #66138 is a reply to message #66126] |
Tue, 04 April 2006 21:14 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
(or
>> is it "whom"?), besides me, is still using Paris as their main system?
>I'm
>> getting pretty frustrated about not being able to use most of the new
>plugins.
>> I have to dive into PT (LE) or Digital Performer to do some of the more
>> modern tricks, and then import files back to Paris. But it still sounds
>> SOOOO good to me. I have a client who moved here from New Orleans after
>> Katrina. He had done a bunch of recording in a studio there (he is pretty
>> much a techno-phobe, so he doesn't know what format) and he says the
>quality
>> of the ruff mixes from my little Paris studio kills the stuff he did down
>> there. He says he's just gonna have to record it all again here.
>>
>> Anyway... If I knew what I could get that'd sound as good (and that I
>could
>> afford!) I'd switch, but for now, I'm still a Paris dude.
>>
>> Peace ('cause we still need it!),
>>
>> Gantt
>>
>>
>
>Hey Gary,
I just brought up a XP box with PARIS 3.0 a couple of weeks ago. My primary
system is on a Mac G4/867 with two EDS cards but I too wanted to be able
to use some Windows VST plugs.
So, I purchased a second PARIS system and have been flying files from the
Mac to the PC over Ethernet, processing the PAFs on the PC, and flying 'em
back to the Mac. Not the most seamless integration in the world but still
very usable.
Have a good one!
Mark
"Gary Flanigan" <gary_flanigan@ce9.uscourts.gov> wrote:
>
>There are some plugs and such that I would like to use which only run under
>XP. How stable is it compared to W98SE? Also, what if any functionality
>doesn't work under XP? I seem to recall problems with the ADAT cards.
>
>ThanksHi all,
Hey, I am finding this out the hard way. My mix of the live project is
coming along nicely, except for all the acoustic anomalies I am
discovering.
This is un-freaking believeable, but the analyzer proved it.
What I found is that putting speakers on top of typical audio
furniture causes *huge* frequency-response problems. No matter
how you do it.
All these sort of things:
http://www.omnirax.com
http://www.argosyconsole.com/
http://custom-consoles.com/recording_studio_furniture.php
Every one of them, cause huge increases in the low mids by acting
as an extension of the front baffle of the speaker. Speaker
freq. response is measured in anechoic chambers, so speakers are
designed to be flat in that environment. When you put them on
the top of a table or console, or even nearby to a table or console,
you get a significant boost in low-mids (typically, but it depends on
the size of the new baffle surface). In my case it results in an 8db
boost at 100hz. !!!!
DAMN! How am I supposed to mix like this? So, I am off to find
a very small desk that will just fit 2 C-16's with the computer KB
underneath, and the speakers are going back on the heavy stands.
Why doesn't anyone offer studio furniture that deals with this?
More to come as I dig into this problem...
DCAre you de-coupling your monitors from the furniture?
David.
DC wrote:
> Hi all,
>
> Hey, I am finding this out the hard way. My mix of the live project is
> coming along nicely, except for all the acoustic anomalies I am
> discovering.
>
> This is un-freaking believeable, but the analyzer proved it.
> What I found is that putting speakers on top of typical audio
> furniture causes *huge* frequency-response problems. No matter
> how you do it.
>
> All these sort of things:
>
> http://www.omnirax.com
>
> http://www.argosyconsole.com/
>
> http://custom-consoles.com/recording_studio_furniture.php
>
> Every one of them, cause huge increases in the low mids by acting
> as an extension of the front baffle of the speaker. Speaker
> freq. response is measured in anechoic chambers, so speakers are
> designed to be flat in that environment. When you put them on
> the top of a table or console, or even nearby to a table or console,
> you get a significant boost in low-mids (typically, but it depends on
> the size of the new baffle surface). In my case it results in an 8db
> boost at 100hz. !!!!
>
> DAMN! How am I supposed to mix like this? So, I am off to find
> a very small desk that will just fit 2 C-16's with the computer KB
> underneath, and the speakers are going back on the heavy stands.
>
> Why doesn't anyone offer studio furniture that deals with this?
>
> More to come as I dig into this problem...
>
> DC
>
>
>EK Sound <askme@nospam.com> wrote:
>Are you de-coupling your monitors from the furniture?
>
>David.
Oh yeah. The monitors are on foam Auralex Mo-Pad) mounts which
sit on a concrete block which sits on rubber feet. !
This is not a coupling issue, nor a resonance one. It is the result
of returning the lower mid frequencies to you, in essence amplifying
them, by adding to the baffle size with a flat table top.
BTW, I had my kid pick the speaker up an inch or so and hold it in
space. Made no difference. I may write an article on this, because
I suspect it affects most of us.
thanks,
DCIt's probably near field early reflections from the desk surface.
This has always been an issue with meter bridge mounted monitors. In
the past, I used to sit the nearfields on stands behind the console at
a height that would prevent any direct reflection from the desk
surface... maybe try something like that...
David.
DC wrote:
> EK Sound <askme@nospam.com> wrote:
>
>>Are you de-coupling your monitors from the furniture?
>>
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| Re: OT: When it rains... [message #66139 is a reply to message #66138] |
Tue, 04 April 2006 21:44 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
;
>>David.
>
>
> Oh yeah. The monitors are on foam Auralex Mo-Pad) mounts which
> sit on a concrete block which sits on rubber feet. !
>
> This is not a coupling issue, nor a resonance one. It is the result
> of returning the lower mid frequencies to you, in essence amplifying
> them, by adding to the baffle size with a flat table top.
>
> BTW, I had my kid pick the speaker up an inch or so and hold it in
> space. Made no difference. I may write an article on this, because
> I suspect it affects most of us.
>
> thanks,
>
> DC
>Hello
What would You guys recommend? Buying the Waves Mastering + analyzer or Peak
XT with the included Mastering suite? Any experience?
Thanks
CJGEK Sound <askme@nospam.com> wrote:
>It's probably near field early reflections from the desk surface.
>This has always been an issue with meter bridge mounted monitors. In
>the past, I used to sit the nearfields on stands behind the console at
>a height that would prevent any direct reflection from the desk
>surface... maybe try something like that...
>
>David.
A friend who designs monitors calls it the "baffle step effect" which
is another way of saying that the reflections are so early that they
essentially become a part of the front baffle of the speaker.
I used to have the speakers higher and behind the desk and they
sounded really awful there precisely because of refections and
loading of the area behind the desk.
The only real solution is to get rid of the desk. I am going to try
this tomorrow and see if it fixes things. I bet it will.
more to follow
DCeverything around it affects the sound in some way... you can use eq to
flatten it out or you just learn what its doing and compensate your mixes
accordingly.
an 8db boost at 100 isn't such a bad thing :)
"DC" <DC@spammersinhell.org> wrote in message news:445687f5@linux...
>
> Hi all,
>
> Hey, I am finding this out the hard way. My mix of the live project is
> coming along nicely, except for all the acoustic anomalies I am
> discovering.
>
> This is un-freaking believeable, but the analyzer proved it.
> What I found is that putting speakers on top of typical audio
> furniture causes *huge* frequency-response problems. No matter
> how you do it.
>
> All these sort of things:
>
> http://www.omnirax.com
>
> http://www.argosyconsole.com/
>
> http://custom-consoles.com/recording_studio_furniture.php
>
> Every one of them, cause huge increases in the low mids by acting
> as an extension of the front baffle of the speaker. Speaker
> freq. response is measured in anechoic chambers, so speakers are
> designed to be flat in that environment. When you put them on
> the top of a table or console, or even nearby to a table or console,
> you get a significant boost in low-mids (typically, but it depends on
> the size of the new baffle surface). In my case it results in an 8db
> boost at 100hz. !!!!
>
> DAMN! How am I supposed to mix like this? So, I am off to find
> a very small desk that will just fit 2 C-16's with the computer KB
> underneath, and the speakers are going back on the heavy stands.
>
> Why doesn't anyone offer studio furniture that deals with this?
>
> More to come as I dig into this problem...
>
> DC
>
>
>Yes. 10% better, more or less.
Jimmy
"Paul" <pn@nospam.com> wrote in message news:4456460f$1@linux...
>
> So, you're saying if you are running just a one MEC system, a work clock
makes
> a significant difference in the sound of the converters?"justcron" <paris@hydrorecords.com> wrote:
>everything around it affects the sound in some way... you can use eq to
>flatten it out or you just learn what its doing and compensate your mixes
>accordingly.
>
>an 8db boost at 100 isn't such a bad thing :)
Actually it is, because it will make all your mixes weak in that area.
We often assume that a big, huge sounding speaker with lots of
sizzle and boom will produce mixes that sound just like that, but it
won't. In reality, it lies to us because of it's non-linear response.
It tells us something sounds big that really is pretty weak. Then
we take the mix somewhere else, or even in the car, and it is wimpy.
If you want an 8db boost at 100, you need a speaker that does not
already have one so you can add it yourself in the music, not the
playback gear.
Also, "learning the room/monitors" etc only works if you will settle
for just "OK" sound. If you want to just nail it, you need to really
hear it. My project has drums, percussion, 4 voices, 3 guitars,
keys and bass. And they all want to hear themselves... So I simply
must be able to hear or the mix will be crap.
DCI know what you're saying, but if you listen to music you 'know' in a
certain environment, you will be able to tell yourself what to do... even if
you build a 100% flat environment to work in, you can still have the same
issues thinking your stuff sounds good here so it will sound good there. I
can go to any environment I know and know ahead of time how its going to
sound in that environment. I'd take 5 imperfect mixing environments over a
flat lab anyday.
"DC" <dc@spamthemoon.com> wrote in message news:4456a9c1$1@linux...
>
> "justcron" <paris@hydrorecords.com> wrote:
>>everything around it affects the sound in some way... you can use eq to
>
>>flatten it out or you just learn what its doing and compensate your mixes
>
>>accordingly.
>>
>>an 8db boost at 100 isn't such a bad thing :)
>
>
> Actually it is, because it will make all your mixes weak in that area.
>
> We often assume that a big, huge sounding speaker with lots of
> sizzle and boom will produce mixes that sound just like that, but it
> won't. In reality, it lies to us because of it's non-linear response.
> It tells us something sounds big that really is pretty weak. Then
> we take the mix somewhere else, or even in the car, and it is wimpy.
>
> If you want an 8db boost at 100, you need a speaker that does not
> already have one so you can add it yourself in the music, not the
> playback gear.
>
> Also, "learning the room/monitors" etc only works if you will settle
> for
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| Re: OT: When it rains... [message #66141 is a reply to message #66140] |
Tue, 04 April 2006 22:09 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
/>
>
> DC
>
>
>Well, it's true, but we have to start somewhere. Everyone, even
the home stereo speaker people, start with a flat response as the
goal. If we listen to the truth, we can color it and tweak it up, and
it will rock on most systems. If the monitors don't tell us the truth,
our work tends to translate to even fewer systems, not more.
BTW, most living rooms are less bollixed up than many
studios acoustically. All this hardware, especially mixers and studio
furniture really make it hard to hear. And we haven't even talked
about bad
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| Re: OT: When it rains... [message #66144 is a reply to message #66126] |
Wed, 05 April 2006 02:34 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
ots of
>> sizzle and boom will produce mixes that sound just like that, but it
>> won't. In reality, it lies to us because of it's non-linear response.
>> It tells us something sounds big that really is pretty weak. Then
>> we take the mix somewhere else, or even in the car, and it is wimpy.
>>
>> If you want an 8db boost at 100, you need a speaker that does not
>> already have one so you can add it yourself in the music, not the
>> playback gear.
>>
>> Also, "learning the room/monitors" etc only works if you will settle
>> for just "OK" sound. If you want to just nail it, you need to really
>> hear it. My project has drums, percussion, 4 voices, 3 guitars,
>> keys and bass. And they all want to hear themselves... So I simply
>> must be able to hear or the mix will be crap.
>>
>> DC
>>
>>
>>
>
>Sticking, not bailing... adding SX system when the funds allow.
MEB
"Gantt Kushner" <ganttmann@comcast.net> wrote:
>
>I haven't been around much lately, and I just took a look at the "For Sale"
>site. Wow! So much Paris stuff for sale! It made me wonder... Who (or
>is it "whom"?), besides me, is still using Paris as their main system?
I'm
>getting pretty frustrated about not being able to use most of the new plugins.
> I have to dive into PT (LE) or Digital Performer to do some of the more
>modern tricks, and then import files back to Paris. But it still sounds
>SOOOO good to me. I have a client who moved here from New Orleans after
>Katrina. He had done a bunch of recording in a studio there (he is pretty
>much a techno-phobe, so he doesn't know what format) and he says the quality
>of the ruff mixes from my little Paris studio kills the stuff he did down
>there. He says he's just gonna have to record it all again here.
>
>Anyway... If I knew what I could get that'd sound as good (and that I could
>afford!) I'd switch, but for now, I'm still a Paris dude.
>
>Peace ('cause we still need it!),
>
>Gantt
>
>I'm hanging on to one small system to archive or update any of my old files
and recordings. I agree that the Paris system sounds great.....better than
Pro Tools. However after trying Nuendo 3 for my most recent projects I was
blown away by the quality and tons of added features Nuendo has to offer.
With no support for Paris, I need to to look forward....just for business
sake. Win 98 is no longer supported,and XP is starting to act up with Paris.
Xp drivers worked great for a while...however...Paris has been locking up
on me quite frequently with service pack 2 and any or all the XP updating
that needs to be done to my computer. With less and less support from the
duddes on this website, I have no choice but to upgrade. It was awesome
while it lasted.
Good luck to you on your future projects. As long as PAris works for you,
keep on rockin'!
"Michael Broyles" <mbroyles@mindspring.com> wrote:
>
>
>Sticking, not bailing... adding SX system when the funds allow.
>
>MEB
>
>"Gantt Kushner" <ganttmann@comcast.net> wrote:
>>
>>I haven't been around much lately, and I just took a look at the "For Sale"
>>site. Wow! So much Paris stuff for sale! It made me wonder... Who (or
>>is it "whom"?), besides me, is still using Paris as their main system?
>I'm
>>getting pretty frustrated about not being able to use most of the new plugins.
>> I have to dive into PT (LE) or Digital Performer to do some of the more
>>modern tricks, and then import files back to Paris. But it still sounds
>>SOOOO good to me. I have a client who moved here from New Orleans after
>>Katrina. He had done a bunch of recording in a studio there (he is pretty
>>much a techno-phobe, so he doesn't know what format) and he says the quality
>>of the ruff mixes from my little Paris studio kills the stuff he did down
>>there. He says he's just gonna have to record it all again here.
>>
>>Anyway... If I knew what I could get that'd sound as good (and that I
could
>>afford!) I'd switch, but for now, I'm still a Paris dude.
>>
>>Peace ('cause we still need it!),
>>
>>Gantt
>>
>>
>We are having all kinds of problems getting Paris 3.0 to work with XP Pro.
Originally we started using a Abit An8 with an nForce 4 chipset, AMD Athlon
64 X2 3800+, 2 GB ram, several hard drives and XP Pro. We use 1 Mec and 2
EDS 1000 cards, also a Matrox P650 dualhead pci-e video card. We followed
the installations tips for XP beta drivers, but no luck. Thinking maybe
Paris didn't like the new chipset, we switched m/b to a Asus A8V-E with a
Via chipset, still no go. Why is it, some people seem to get it working
with no troubles, and others can't seem to ever get it working? Also, what
should be seen in XP's device manager? The only things we see are a Ensoniq
MIDI driver. Is this indicative of a conflict? The error message we get is
Error 1/1: Can't initialize engine. They work just fine on the older pc
with Windows 98se. Unlike in 98se, XP doesn't show any Ensoniq EDS1000
cards in Device Manager, only the Paris Midi Driver. It doesn't even
recognize that a new device is installed, once the EDS cards are put in.
Other cards such as mdoem, network card, etc. are recognized. Need help.Hey Tyrone!
At Apple's stockholder meeting last week, they said that the G5s are sitting
on the shelves. Buyers are not buying them in anticipation of the new Intel
models coming out soon. There will be some price cutting on the G5s, how
much, and when is the question.
You can always buy refurbished models from apple at a discount at the Apple
store on line, and they come with a one year warranty. If you sign u
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| Re: When it rains... [message #66148 is a reply to message #66147] |
Wed, 05 April 2006 05:02 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
al hard drives and XP Pro. We use 1 Mec and 2
> EDS 1000 cards, also a Matrox P650 dualhead pci-e video card. We followed
> the installations tips for XP beta drivers, but no luck. Thinking maybe
> Paris didn't like the new chipset, we switched m/b to a Asus A8V-E with a
> Via chipset, still no go. Why is it, some people seem to get it working
> with no troubles, and others can't seem to ever get it working? Also,
what
> should be seen in XP's device manager? The only things we see are a
Ensoniq
> MIDI driver. Is this indicative of a conflict? The error message we get
is
> Error 1/1: Can't initialize engine. They work just fine on the older pc
> with Windows 98se. Unlike in 98se, XP doesn't show any Ensoniq EDS1000
> cards in Device Manager, only the Paris Midi Driver. It doesn't even
> recognize that a new device is installed, once the EDS cards are put in.
> Other cards such as mdoem, network card, etc. are recognized. Need help.
>
>Today I was tweaking some mixes for a project that I co-produced with the
artist, and he asked about getting a little more "uhmph" out of the kick
drum. So I fiddled around with bringing up my "subkick" track. After we
both shrugged at how subtle that was, I thought - lets see what Kickback
could do with this. WOW! 46 hz with a 0 hold time and it was all the
thunderous kick thud you'd ever want. THANKS CHUCK!You might also just try hanging a bass trap directly above the
listening position (if you've got a flat ceiling), or a couple
feet in front of the listening position (if you've got
a "proper" control room slanted-type ceiling). That'll suck up
several db's worth of reflected freq's in your problem range.
Just a simple homemade absorber should work to test it out...
glue a sheet of OC-703 to a piece of 1/4" MDF, wrap a pretty
color of clot
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| Re: OT: When it rains... [message #66151 is a reply to message #66144] |
Wed, 05 April 2006 06:19 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
e in message =
news:445592a2@linux...
Hi Tom,
Connecting between MEC's doesn't defeat it at all... the=20
conversion *will* be clocked by the external Generator=20
regardless of how it is connected. With fewer than three=20
interfaces, it seems to work better this way.
I never use a default project. I create template projects=20
and open them up once Paris has been launched. This has=20
*always* worked for me. I would try deleting the 8,8=20
line... I don't recall the default installation having this=20
line in it. I believe this is something that Edmund and BT=20
had worked out when he was having troubles with a certain=20
set-up... I have never messed with it myself, and have the=20
identical system you have working flawlessly with external=20
clock.
David.
Tom Bruhl wrote:
> David,
> 5 cards and they are attached to A and E. I thought you said to
> connect from Mec to Mec in this setup. It seems like it is
> defeating the purpose of an outboard WC with this wiring.
> If it's the best (only) way it will work then that's what I'll do.
> I was going to delete EDSTransfer=3D8,8. Maybe not then huh?
> I will use the EXE file to start this time. Is this only to set it =
up?
> I will need to use my default project (projects) in the future.
> =20
> I'll check the config settings and tell you what I've got. It has
> been a little sluggish but stable at upwards of 35 tracks most
> of the time with lots of plugs. Never a problem printing basics
> which is usually 18 tracks or so.
> Tom
>=20
>
------=_NextPart_000_0038_01C66D8C.09423220
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>David,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I am totally functional now using the=20
Lucid.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The clincher must have been the wiring =
in=20
series.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I did have to start at 48k to get all =
my EDS cards=20
functioning</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>though. The B card didn't like =
starting at=20
44.1 and wouldn't</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>give any output until Paris first =
booted at=20
48k. Because of this</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I think I have to use a default project =
to get=20
going. I wouldn't</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>want or even be able to save a new =
Paris.exe=20
right?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>I did lose the EDSTransfer line as well =
as=20
UseHouseSync=3D1.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2>Thanks David and Deej for the tips that =
got me to=20
this point!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>You guys are the greatest.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tic Toc,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></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>"Dave(EK Sound)" <<A=20
=
href=3D"mailto:audioguy_editout_@shaw.ca">audioguy_editout_@shaw.ca</A>&g=
t;=20
wrote in message <A=20
href=3D"news:445592a2@linux">news:445592a2@linux</A>...</DIV>Hi=20
Tom,<BR><BR>Connecting between MEC's doesn't defeat it at all... the=20
<BR>conversion *will* be clocked by the external Generator =
<BR>regardless of=20
how it is connected. With fewer than three <BR>interfaces, it =
seems to=20
work better this way.<BR><BR>I never use a default project. I =
create=20
template projects <BR>and open them up once Paris has been =
launched. =20
This has <BR>*always* worked for me. I would try deleting the =
8,8=20
<BR>line... I don't recall the default installation having this =
<BR>line in=20
it. I believe this is something that Edmund and BT <BR>had =
worked out=20
when he was having troubles with a certain <BR>set-up... I have never =
messed=20
with it myself, and have the <BR>identical system you have working =
flawlessly=20
with external <BR>clock.<BR><BR>David.<BR><BR>Tom Bruhl =
wrote:<BR><BR>>=20
David,<BR>> 5 cards and they are attached to A and E. I =
thought you=20
said to<BR>> connect from Mec to Mec in this setup. It seems =
like it=20
is<BR>> defeating the purpose of an outboard WC with this =
wiring.<BR>>=20
If it's the best (only) way it will work then that's what I'll =
do.<BR>> I=20
was going to delete EDSTransfer=3D8,8. Maybe not then =
huh?<BR>> I will=20
use the EXE file to start this time. Is this only to set it =
up?<BR>>=20
I will need to use my default project (projects) in the =
future.<BR>> =20
<BR>> I'll check the config settings and tell you what I've =
got. It=20
has<BR>> been a little sluggish but stable at upwards of 35 tracks=20
most<BR>> of the time with lots of plugs. Never a problem =
printing=20
basics<BR>> which is usually 18 tracks or so.<BR>> Tom<BR>>=20
<BR>></BLOCKQUOTE></BODY></HTML>
------=_NextPar
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| Re: OT: When it rains... [message #66159 is a reply to message #66151] |
Wed, 05 April 2006 08:35 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
ingly.
>>>>>
>>>>>an 8db boost at 100 isn't such a bad thing :)
>>>>
>>>>
>>>> Actually it is, because it will make all your mixes weak in that area.
>>>>
>>>> We often assume that a big, huge sounding speaker with lots of
>>>> sizzle and boom will produce mixes that sound just like that, but it
>>>> won't. In reality, it lies to us because of it's non-linear response.
>>>> It tells us something sounds big that really is pretty weak. Then
>>>> we take the mix somewhere else, or even in the car, and it is wimpy.
>>>>
>>>> If you want an 8db boost at 100, you need a speaker that does not
>>>> already have one so you can add it yourself in the music, not the
>>>> playback gear.
>>>>
>>>> Also, "learning the room/monitors" etc only works if you will settle
>>>> for just "OK" sound. If you want to just nail it, you need to really
>>>> hear it. My project has drums, percussion, 4 voices, 3 guitars,
>>>> keys and bass. And they all want to hear themselves... So I simply
>>>> must be able to hear or the mix will be crap.
>>>>
>>>> DC
>>>>
>>>>
>>>>
>>>
>>>
>>
>
>
>I choose Polesoft Lockspam to fight spam, and you?
>http://www.polesoft.com/refer.html
>
>Thanks for the tips. I just don't get why Matrox is such a pain. There
appears to be plenty of irq's and they are nice cards. Also, you mention
the pci specs... what pci spec do the EDS 1000 cards have? I believe the
new motherboard standard is v 2.2. Here are the exact steps we used to
install Paris:
1.) Extract Paris XP drivers/ then instal them.
2) Install PaceLoc
3) Install Paris 3.0
4) Install Subsystem.- same directory as Paris
Go to start up Paris and 'can't initialize the engine' error.
"Aaron Allen" <nospam@not_here.dude> wrote in message news:4456d3df@linux...
> Let's start here.
>
> Ok, first thing is that I believe dual core/dual processors are kind of a
no
> no with Paris. Some Intel guys got it going, but I don't recall anyone
> saying that they have AMD systems running dual successfully.
>
> Next..... Matrox has been proving itself less and less of a friend to the
> Paris user. Never never but NEVER use Matrox drivers from their website in
a
> Paris rig. Use WinXP standard built in ones, which might be a real issue
for
> you using a newer PCI-e card. See if Windows can detect and install native
> driver support ON ITS OWN... not the matrox ones. If you already
installed
> those, you're probably hosed on that one. Once Windows gets a driver it
> hangs on until the death (or system drive wipe, whichever comes first) and
> hacking it out of there is a nightmare.
>
> Saying that you are using a newer mobo, it does have the right PCI spec
for
> using Paris EDS cards, yes? Double check that is the case if you're not
100%
> sure.
>
> The EDS driver for WinXP now sits in the system, not the audio portion of
> hardware manager. Midi will still be in it's usual place.
>
> Error 1/1 means it doesn't connect to the hardware/see the hardware when
you
> start the Paris application. I'd follow that road first.
>
> Could be all the above, might be any one of them alone... but, this gives
> you things to try Lou.
> G'luck!
>
> AA
>
>
> "Lou C." <aardvark@comcast.net> wrote in message news:44562bbc@linux...
> > We are having all kinds of problems getting Paris 3.0 to work with XP
Pro.
> > Originally we started using a Abit An8 with an nForce 4 chipset, AMD
> > Athlon
> > 64 X2 3800+, 2 GB ram, several hard drives and XP Pro. We use 1 Mec and
2
> > EDS 1000 cards, also a Matrox P650 dualhead pci-e video card. We
followed
> > the installations tips for XP beta drivers, but no luck. Thinking maybe
> > Paris didn't like the new chipset, we switched m/b to a Asus A8V-E with
a
> > Via chipset, still no go. Why is it, some people seem to get it working
> > with no troubles, and others can't seem to ever get it working? Also,
> > what
> > should be seen in XP's device manager? The only things we see are a
> > Ensoniq
> > MIDI driver. Is this indicative of a conflict? The error message we
get
> > is
> > Error 1/1: Can't initialize engine. They work just fine on the older
pc
> > with Windows 98se. Need help guys.
> >
> >
>
>
> I choose Polesoft Lockspam to fight spam, and you?
> http://www.polesoft.com/refer.html
>
>There are certainly known issues with dual core CPU's, though my understanding
was that the app would load, but crash, and that the issues mostly related
to the C16. They are a known issue however, but there was recent talk of
a workaround, involving a line in Windows which changed the way the second
core responded to interrupts or some such thing.
Cheers,
Kim.
"cr8250" <jwires@sbcglobal.net> wrote:
>Yes. When putting the EDS cards, it doesn't seem like XP is even seeing
>them, as with other devices. I am hearing more about Matrox video cards
not
>being friendly with Paris, which is a shame because they are nice cards.
Is
>anybody running Paris with any of the new motherboard chipsets? How about
>dual core cpu's?
>
>
>"Edna" <edna@texomaonline.com> wrote in message news:4456d573@linux...
>> Did you install the FX Subsystem?
>>
>> "cr8250" <jwires@sbcglobal.net> wrote in message news:4456c7d3$1@linux...
>> > We are having all kinds of problems getting Paris 3.0 to work with XP
>Pro.
>> > Originally we started using a Abit An8 with an nForce 4 chipset, AMD
>> Athlon
>> > 64 X2 3800+, 2 GB ram, several hard drives and XP Pro. We use 1 Mec
and
>2
>> > EDS 1000 cards, also a Matrox P650 dualhead pci-e video card. We
>followed
>> > the installations tips for XP beta drivers, but no luck. Thinking maybe
>> > Paris didn't like the new chipset, we switched m/b to a Asus A8V-E with
>a
>> > Via chipset, still no go. Why is it, some people seem to get it working
>> > with no troubles, and others can't seem to ever get it working? Also,
>> what
>> > should be seen in XP's device manager? The only things we see are a
>> Ensoniq
>> > MIDI driver. Is this indicative of a conflict? The error message we
>get
>&g
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| Re: When it rains... [message #66161 is a reply to message #66148] |
Wed, 05 April 2006 08:41 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
e the exact steps we used to
>install Paris:
>
>1.) Extract Paris XP drivers/ then instal them.
>2) Install PaceLoc
>3) Install Paris 3.0
>4) Install Subsystem.- same directory as Paris
>
>Go to start up Paris and 'can't initialize the engine' error.
>
>
>
>"Aaron Allen" <nospam@not_here.dude> wrote in message news:4456d3df@linux...
>> Let's start here.
>>
>> Ok, first thing is that I believe dual core/dual processors are kind of
a
>no
>> no with Paris. Some Intel guys got it going, but I don't recall anyone
>> saying that they have AMD systems running dual successfully.
>>
>> Next..... Matrox has been proving itself less and less of a friend to
the
>> Paris user. Never never but NEVER use Matrox drivers from their website
in
>a
>> Paris rig. Use WinXP standard built in ones, which might be a real issue
>for
>> you using a newer PCI-e card. See if Windows can detect and install native
>> driver support ON ITS OWN... not the matrox ones. If you already
>installed
>> those, you're probably hosed on that one. Once Windows gets a driver it
>> hangs on until the death (or system drive wipe, whichever comes first)
and
>> hacking it out of there is a nightmare.
>>
>> Saying that you are using a newer mobo, it does have the right PCI spec
>for
>> using Paris EDS cards, yes? Double check that is the case if you're not
>100%
>> sure.
>>
>> The EDS driver for WinXP now sits in the system, not the audio portion
of
>> hardware manager. Midi will still be in it's usual place.
>>
>> Error 1/1 means it doesn't connect to the hardware/see the hardware when
>you
>> start the Paris application. I'd follow that road first.
>>
>> Could be all the above, might be any one of them alone... but, this gives
>> you things to try Lou.
>> G'luck!
>>
>> AA
>>
>>
>> "Lou C." <aardvark@comcast.net> wrote in message news:Report message to a moderator
|
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| Re: When it rains... [message #66164 is a reply to message #66147] |
Wed, 05 April 2006 08:46 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
Today I was tweaking some mixes for a project that I co-produced with the
>artist, and he asked about getting a little more "uhmph" out of the kick
>drum. So I fiddled around with bringing up my "subkick" track. After we
>both shrugged at how subtle that was, I thought - lets see what Kickback
>could do with this. WOW! 46 hz with a 0 hold time and it was all the
>thunderous kick thud you'd ever want. THANKS CHUCK!
>
>Actually, what I was suggesting is not that you have a
weakeness in your acoustic treatment, but that you deliberately
create a "notch" in that frequency range which will minimize
the effects of what the desk is doing (I mean, you gotta have
some kind of workspace, so getting rid of the desk may not be
practical).
In any event, I know what you're experiencing, because a friend
of mine had a very nice stainless steel desk custom-built for
his control room (he's got a loft-style apartment & studio
that's comprised of what used to be several small, old, retail
shops in a building downtown), and when he first was getting
the place up & working, we heard getting MASSIVE bass boost
from that desktop - at the time, the room was completely devoid
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| Re: OT: When it rains... [message #66168 is a reply to message #66126] |
Wed, 05 April 2006 08:58 |
jef knight[1]
Messages: 201
Registered: October 2005
|
Senior Member |
|
|
y career, looking hard at it myself.
>>
>>AA
>>
>>
>>"DC" <dc@spammersinhell.org> wrote in message news:4456b31d$1@linux...
>>>
>>> Well, it's true, but we have to start somewhere. Everyone, even
>>> the home stereo speaker people, start with a flat response as the
>>> goal. If we listen to the truth, we can color it and tweak it up, and
>>> it will rock on most systems. If the monitors don't tell us the truth,
>>> our work tends to translate to even fewer systems, not more.
>>>
>>> BTW, most living rooms are less bollixed up than many
>>> studios acoustically. All this hardware, especially mixers and studio
>>> furniture really make it hard to hear. And we haven't even talked
>>> about bad speaker locations, asymetrical rooms and other such
>>> nonsense.
>>>
>>> I always used my room solely for my own originals and never worried
>>> about how accurate it was. Now I am finding out that, while the
>>> room itself sounds quite good, this desk is a major problem.
>>> Tomorrow I am going to get rid of it, and then put the analyzer back
>>> up and see if we fixed the boost at 100.
>>>
>>> DC
>>>
>>>
>>> "justcron" <paris@hydrorecords.com> wrote:
>>>>I know what you're saying, but if you listen to music you 'know' in a
>>>>certain environment, you will be able to tell yourself what to do...
even
>>> if
>>>>you build a 100% flat environment to work in, you can still have the
same
>>>
>>>>issues thinking your stuff sounds good here so it will sound good there.
>>> I
>>>>can go to any environment I know and know ahead of time how its going
>to
>>>
>>>>sound in that environment. I'd take 5 imperfect mixing environments
over
>>> a
>>>>flat lab anyday.
>>>>
>>>>"DC" <dc@spamthemoon.com> wrote in message news:4456a9c1$1@linux...
>>>>>
>>>>> "justcron" <paris@hydrorecords.com> wrote:
>>>>>>everything around it affects the sound in some way... you can use eq
>to
>>>>>
>>>>>>flatten it out or you just learn what its doing and compensate your
>
>>>>>>mixes
>>>>>
>>>>>>accordingly.
>>>>>>
>>>>>>an 8db boost at 100 isn't such a bad thing :)
>>>>>
>>>>>
>>>>> Actually it is, because it will make all your mixes weak in that area.
>>>>>
>>>>> We often assume that a big, huge sounding speaker with lots of
>>>>> sizzle and boom will produce mixes that sound just like that, but it
>>>>> won't. In reality, it lies to us because of it's non-linear response.
>>>>> It tells us something sounds big that really is pretty weak. Then
>>>>> we take the mix somewhere else, or even in the car, and it is wimpy.
>>>>>
>>>>> If you want an 8db boost at 100, you need a speaker that does not
>>>>> already have one so you can add it yourself in the music, not the
>>>>> playback gear.
>>>>>
>>>>> Also, "learning the room/monitors" etc only works if you will settle
>>>>> for just "OK" sound. If you want to just nail it, you need to really
>>>>> hear it. My project has drums, percussion, 4 voices, 3 guitars,
>>>>> keys and bass. And they all want to hear themselves... So I simply
>>>>> must be able to hear or the mix will be crap.
>>>>>
>>>>> DC
>>>>>
>>>>>
>>>>>
>>>>
>>>>
>>>
>>
>>
>>I choose Polesoft Lockspam to fight spam, and you?
>>http://www.polesoft.com/refer.html
>>
>>
>You're probably not gonna believe me, but speaker loading (corner
loading, extended baffle, speaker boundary, soffit mounting, etc)
is the one acoustic problem that can be corrected with EQ. The
extended baffle should have a shelf-eq type effect (which may
look like a band boost when combined with the speaker's natural
LF rolloff). You should be able to apply a corrective inverse
shelf to compensate.
This, combined with some trapping targeted around 100Hz to damp
any modes that the extra bass might be exciting should go a
long way to remedying the problem.
That said, console design from an acoustic standpoint is one
thing that is often overlooked. I've seen lots of studios that
have phenomenal looking control rooms, well proportioned
acoustically, plenty of trapping/diffusion, and nearfield
perched on a mock meter bridge with the listening position
bathed in console splash. What's the point? To me, a big
advantage to DAWs is that you can make the desk smaller, and acoustically
sweeter....ever consider building trapping into your desk itself???? I have!!
Cheers,
Kris
"DC" <dc@spamthemoon.com> wrote:
>
>Hi Neil!
>
>howwahhya?
>
>I have a very nice 10' ceiling with a good slope and Celotex all over
>it. Worse, the bass boost happens long before the sound gets up
>there. You can take the measurement mic and watch the
>phenomenon disappear as you get close to the speaker, and
>reappear right at my listening position. I al
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| Re: When it rains... [message #66173 is a reply to message #66166] |
Wed, 05 April 2006 09:44 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
t;
>>>>>>>an 8db boost at 100 isn't such a bad thing :)
>>>>>>
>>>>>>
>>>>>> Actually it is, because it will make all your mixes weak in that area.
>>>>>>
>>>>>> We often assume that a big, huge sounding speaker with lots of
>>>>>> sizzle and boom will produce mixes that sound just like that, but
it
>>>>>> won't. In reality, it lies to us because of it's non-linear response.
>>>>>> It tells us something sounds big that really is pretty weak. Then
>>>>>> we take the mix somewhere else, or even in the car, and it is wimpy.
>>>>>>
>>>>>> If you want an 8db boost at 100, you need a speaker that does not
>>>>>> already have one so you can add it yourself in the music, not the
>>>>>> playback gear.
>>>>>>
>>>>>> Also, "learning the room/monitors" etc only works if you will settle
>>>>>> for just "OK" sound. If you want to just nail it, you need to really
>>>>>> hear it. My project has drums, percussion, 4 voices, 3 guitars,
>>>>>> keys and bass. And they all want to hear themselves... So I simply
>>>>>> must be able to hear or the mix will be crap.
>>>>>>
>>>>>> DC
>>>>>>
>>>>>>
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>>I choose Polesoft Lockspam to fight spam, and you?
>>>http://www.polesoft.com/refer.html
>>>
>>>
>>
>This is what I have tried with mixed results (no pun intended):
I have a nice sound system in my “TV Room” with Infinity Kappa 9 speakers
and early NAD electronics. Its old but it sounds good and more important,
I know the system well. The room is
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| Re: When it rains... [message #66179 is a reply to message #66166] |
Wed, 05 April 2006 11:07 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
gt;Via chipset, still no go. Why is it, some people seem to get it working
>with no troubles, and others can't seem to ever get it working? Also, what
>should be seen in XP's device manager? The only things we see are a Ensoniq
>MIDI driver. Is this indicative of a conflict? The error message we get
is
>Error 1/1: Can't initialize engine. They work just fine on the older pc
>with Windows 98se. Unlike in 98se, XP doesn't show any Ensoniq EDS1000
>cards in Device Manager, only the Paris Midi Driver. It doesn't even
>recognize that a new device is installed, once the EDS cards are put in.
>Other cards such as mdoem, network card, etc. are recognized. Need help.
>
>Hi Don,
I found myself fighting this from the get-go, so I've always had smaller
console/furniture realestate and used side stands, currently the
ultimate support 42" ers. That fixed alot of that for me. Yet, many of
my fave albums/cd's were done in rooms that had their nfm's on the
bridge of some gigantumongous metal slab console. a dillema? na,...not
when you see the mfm's hiding up there in the wall.....lol
jef
DC wrote:
>Hi all,
>
>Hey, I am finding this out the hard way. My mix of the live project is
>coming along nicely, except for all the acoustic anomalies I am
>discovering.
>
>This is un-freaking believeable, but the analyzer proved it.
>What I found is that putting speakers on top of typical audio
>furniture causes *huge* frequency-response problems. No matter
>how you do it.
>
>All these sort of things:
>
>http://www.omnirax.com
>
>http://www.argosyconsole.com/
>
>http://custom-consoles.com/recording_studio_furniture.php
>
>Every one of them, cause huge increases i
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| Re: When it rains... [message #66180 is a reply to message #66136] |
Wed, 05 April 2006 11:11 |
rick
Messages: 1976
Registered: February 2006
|
Senior Member |
|
|
n the low mids by acting
>as an extension of the front baffle of the speaker. Speaker
>freq. response is measured in anechoic chambers, so speakers are
>designed to be flat in that environment. When you put them on
>the top of a table or console, or even nearby to a table or console,
>you get a significant boost in low-mids (typically, but it depends on
>the size of the new baffle surface). In my case it results in an 8db
>boost at 100hz. !!!!
>
>DAMN! How am I supposed to mix like this? So, I am off to find
>a very small desk that will just fit 2 C-16's with the computer KB
>underneath, and the speakers are going back on the heavy stands.
>
>Why doesn't anyone offer studio furniture that deals with this?
>
>More to come as I dig into this problem...
>
>DC
>
>
>
>
>So your saying that you've got a word clock cable running frum your Lucid
to the 1st Mec, then the 2nd cable running from mec 1 to mec 2? That's really
strange. I guess different MOBO, CPU etc could all play a part. I'm running
all word clock cables from the Lucid to each device (2 mecs, 442, RME card).
never had a hiccup.
Rod
"Tom Bruhl" <arpegio@comcast.net> wrote:
>
>
>And Rod too!!!
>
> "Tom Bruhl" <arpegio@comcast.net> wrote in message =
>news:4456f480@linux...
> David,
> I am totally functional now using the Lucid.
> The clincher must have been the wiring in series.
> I did have to start at 48k to get all my EDS cards functioning
> though. The B card didn't like starting at 44.1 and wouldn't
> give any output until Paris first booted at 48k. Because of this
> I think I have to use a default project to get going. I wouldn't
> want or even be able to save a new Paris.exe right?
>
> I did lose the EDSTransfer line as well as UseHouseSync=3D1.
>
> Thanks David and Deej for the tips that got me to this point!
> You guys are the greatest.
> Tic Toc,
> Tom
>
>
> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message =
>news:445592a2@linux...
> Hi Tom,
>
> Connecting between MEC's doesn't defeat it at all... the=20
> conversion *will* be clocked by the external Generator=20
> regardless of how it is connected. With fewer than three=20
> interfaces, it seems to work better this way.
>
> I never use a default project. I create template projects=20
> and open them up once Paris has been launched. This has=20
> *always* worked for me. I would try deleting the 8,8=20
> line... I don't recall the default installation having this=20
> line in it. I believe this is something that Edmund and BT=20
> had worked out when he was having troubles with a certain=20
> set-up... I have never messed with it myself, and have the=20
> identical system you have working flawlessly with external=20
> clock.
>
> David.
>
> Tom Bruhl wrote:
>
> > David,
> > 5 cards and they are attached to A and E. I thought you said to
> > connect from Mec to Mec in this setup. It seems like it is
> > defeating the purpose of an outboard WC with this wiring.
> > If it's the best (only) way it will work then that's what I'll do.
> > I was going to delete EDSTransfer=3D8,8. Maybe not then huh?
> > I will use the EXE file to start this time. Is this only to set =
>it up?
> > I will need to use my default project (projects) in the future.
> > =20
> > I'll check the config settings and tell you what I've got. It has
> > been a little sluggish but stable at upwards of 35 tracks most
> > of the time with lots of plugs. Never a problem printing basics
> > which is usually 18 tracks or so.
> > Tom
> >=20
> >
>
><!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>And Rod too!!!</FONT></DIV>
><DIV> </DIV>
><BLOCKQUOTE dir=3Dltr=20
>style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
>BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV>"Tom Bruhl" <<A=20
> href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net</A>> wrote =
>in message=20
> <A href=3D"news:4456f480@linux">news:4456f480@linux</A>...</DIV>
> <DIV><FONT face=3DArial size=3D2>David,</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>I am totally functional now using the
=
>
> Lucid.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>The clincher must have been the =
>wiring in=20
> series.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>I did have to start at 48k to get all
=
>my EDS=20
> cards functioning</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>though. The B card didn't like =
>starting at=20
> 44.1 and wouldn't</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>give any output until Paris first =
>booted at=20
> 48k. Because of this</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>I think I have to use a default =
>project to get=20
> going. I wouldn't</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>want or even be able to save a new =
>Paris.exe=20
> right?</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2></FONT> </DIV>
> <DIV><FONT face=3DArial size=3D2>I did lose the EDSTransfer line as =
>well as=20
> UseHouseSync=3D1.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2></FONT> </DIV>
> <DIV><FONT face=3DArial size=3D2>Thanks David and Deej for the tips =
>that got me to=20
> this point!</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>You guys are the =
>greatest.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Tic Toc,</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Tom</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2></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>"Dave(EK Sound)" <<A=20
> =
>href=3D"mailto:audioguy_editout_@shaw.ca">audioguy_editout_@shaw.ca</A>&g=
>t;=20
> wrote in message <A=20
> href=3D"news:445592a2@linux">news:445592a2@linux</A>...</DIV>Hi=20
> Tom,<BR><BR>Connecting between MEC's doesn't defeat it at all... the
=
>
> <BR>conversion *will* be clocked by the external Generator =
><BR>regardless of=20
> how it is connected. With fewer than three <BR>interfaces, it =
>seems to=20
> work better this way.<BR><BR>I never use a default project. I =
>create=20
> template projects <BR>and open them up once Paris has been =
>launched.
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| Re: OT: When it rains... [message #66283 is a reply to message #66278] |
Fri, 07 April 2006 06:59 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
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