> ;o) > >I would give them ti
"_blank">1@linux... > > I've heard the same thing since Apple aquired Emagic. Since that purchase, > Digidesign has instructed all of their Plugin Partners to had all of their > Plugins PC compatible asap. it's been 3 years since the Emagic purchase, > and it seems that all of Digi's plugin partners have all of thier plugins > PC ready. > > Note: Avid's largest stockholders Microsoft. They Microsoft have invested > alot of money in AVID/Digidesign to have it's current markey position. So > all in all, each side have "drawn' their swords. > I agree Motu is in a crazy spot. Thank God, they got into the hardware > business > which has carried them. > > My advice,is to stay tuned. this is sure to get pretty interesting. What > surprised me is with the Yamaha/Steinberg deal. I and a lot of other > Steinberg > users where hoping for some cool integrated products or more affordale > controller > for SX/Nuendo. Oh well.. > LaMont > > "Chris Latham" <latham_c@bellsouth.net> wrote: >>I heard a rumor from an old engineer buddy of mine the other da
y, and I >>don't recall having seen anything about it here. He was telling me that >>word is Digidesign is considering stopping writing Protools software for > Mac >>because of their recent acquisition of Logic. He said he spoke with a >>local >>Digidesign rep who said they could neither deny or confirm that rumor. >> >>Last week I put in for a HD rig in my annual budget requests. Maybe I >>should research some other options. >> >>Speaking of options, I've been getting some recent emails about Soundscape >>packages, and remembering that they offered incentives to Paris users >>after >>the discontinuation, I was wondering did anyone here make that jump and >>how's it working out? >> >>Thanks, >>Chris >> >> >Check the Radial DIs for direct recording. I compared one recently to my Countryman, and the Radial is slightly better for bass. "John" <no@no.com> wrote in message news:43d4fa65$1@linux... > thanks, i can get the bass sounding good once it's recorded but without a > good sound to start i can't get the feel right so i'll have to get this > box fixed. tech21 is at namm so i'll wait till they get back on the 25th. > Thanks, > John > > Edna wrote: >> If you're just using it for recording, you might try the free plugin >> "Baxxpander" - it did wonders for a thin thumpy bass track I had on one >> tune. >> Edna >> "John" <no@no.com> wrote in message news:43d420ae@linux... >> >>>Can anyone recommend a killer preamp for bass guitar. I want something >>>cheap that sounds fantastic. Shouldn't be a problem right? Ideally it >>>would do Chris Squire distorte
:43d7c4c1@linux... >> There is a substantial price difference. >> The 5As are $999.00 Vs 6As $1699.00 CA. >> Are the 5As plenty loud Neil? >> >> >> >> >> "Neil" <IUOI@OIU.com> wrote in message news:43d784ff$1@linux... >> > >> > I'll second Lamont's opinion on the Dynaudios... I have a pair >> > of the BM5A's and I think they're great. >> > >> > Neil >> > >> > >> > "Rob Arsenault" <info@studiomanitou.com> wrote: >> > >Thanks for the heads up on Dyns LaMont, I had heard about em but never >> > >looked deeper. After a little googlin, I found that thes
ly ribbon I >have here is a NADY RSM2 at the moment. Not the most stellar example of a >ribbon mic, but great on fiddles and guitar cabs (my primary use for it) >I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the SE >Gemini through this preamp. > >http://www.heathersullivan.com/ > >She's used to working in the big studios on the big toys in LA and NYC. She >was completely floored by the Gemini (I didn't tell her how much it cost >;o). I had to be really careful with it on this preamp due to the >sensitivity and low level detail of the mic and the incredibly fast rise >time of the ADL 600, but the result was wonderful. This is a big, heavy >tube preamp with 600V rails and vents all over it and cooling fins on the >back panel. This preamp seemed to increase the audible frequency range of >the mic. There were comparisons made tonight by folks at the session who >have some pretty extensive experience with the AKG C12 and the ELAM 251. >I've got very little experience with these old mics so I wouldn't know. What >I do know is that depending on how the preamp was gainstaged and the >impedance was set, the timbre of the signal through the mic could change >pretty noticably and I didn't dial in anything that sounded bad to my ears. >. > >I can't wait to try this preamp on some other mics. I've got a fairly decent >rack of high end pre's here and I thought I was set for life as far as >pr
couple of things there, but no luck. I apologize if I missed the = > >answer. > > > > > > I'm using win 98 SE for PARIS [dual boot machine]. None of my VST = > >.dll files > > appear in the designated VST folder. So, is this a Win 98 issue? > > > > I have a project coming up soon, where I know Drumagog will really = > >help. > > Thanks in advance for any help. > > > > > > > > >charset=3Diso-8859-1"> > > > > > > > > > > Spin Auidio VST-DX Wrapper..Putt .dll = > >in=20 > >win/sys32/ensoniq/plugins > > >style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > "Tom Bruhl" <<A=20 > > href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = > >in message=20 > > news:43d59779@linux... > > Paul, > > Wrap that bad boy. > > Tom > > <BLOCKQUOTE=20 > > style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > "Paul" <<A=20 > > = > >href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = > >wrote in=20 > > message <A=20 > > = > >href=3D"news:43d57a48$1@linux">news:43d57a48$1@linux... Just= > >=20 > > purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 audio=20 > > apps. But... can't seem to get Paris to see it. I searched the = > >forum, and=20 > > tried a couple of things there, but no luck. I apologize if I = > >missed the=20 > > answer. I'm using win 98 SE for PARIS [dual boot = > >machine]. None=20 > > of my VST .dll files appear in the designated VST folder. = > >So, is=20 > > this a Win 98 issue? I have a project coming up soon, where I > = > >know=20 > > Drumagog will really help. Thanks in advance for any=20 > >help. > > > > >....and I heard that Mickey Mouse an Steve Jobs have been "married". So what will Disney and Steve Jobs do for the animation future?... Erling "James McCloskey" <excelsm@hotmail.com> skrev i melding news:43d84ea4$1@linux... > > Apple is more focused on consumer/mass market products these days. I > think > Apple and Digi will keep working together, it's just another product, of > corse any thing can happen. > > Here's a hypothetical scenario. Digi dumps Apple, Apple gets dead > serious. > Apple gets the best software engineers they can buy, and gets Logic really > rockin. Apple buys Apogee, JL Cooper, Creamware and UA! ( I know I just > made some of you queasy. Sorry! LOL) They start building tightly > integrated > DAW systems and AV systems with Logic/SoundTrack/FCP, and they release it > for Mac and PC! If the systems were affordable, do you think that Apple > would start to eat digi's lunch? > > James > > > "LaMont" <jjdpro@ameritech.net> wrote: >> >>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >> >>Okay, so what does this product mean? >>1)Is this a Direct shot over Digidesign's bow? >> >>2) Does this mean Apple and Apogee are going to go head up with the Big > kohuna >>AKA Digidesign?? >> >>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's > cpu(s) >>handle the recording and plugins? >> >>4)* With all the "whining" I have been doing about the lack of nay DAW >>manfacturer >>"Willing to " to head to toe with Digi. Could this be the Part Native >>solution/DSP >>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >>about??? >> >>If so, then, I stand corrected..AND, Once again, proves that the real >>forward >>thinkers in the DAW world are right here in our little forum..You guys >>Rock!!!.. >>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >> >>Interesting developments..Wow... >You should used the amplifier volume to blow their ears and heart to hell. It's the only thing that's doing that kind of people happy;-) Erling "TCB" <nobody@ishere.com> skrev i melding news:43d7f726$1@linux... > > I once did a post-production project (I don't master, I'm too deaf for > that, > I just do post-pro so people can get CDs to duplication houses) in which > I got every single last bit of volume I could possibly get for a loud, > punky > rock band. They wanted more. I said I couldn't do it without making it > sound > like hell. They insisted. I agreed to do the work if and only if a) my > name > would be nowhere on the CD and b) they would never tell anyone I had done > such horrible things. > > TCB > > "Don Nafe" <dnafe@magma.ca> wrote: >>Well as long as you guys are in sync, sonically speaking, then forge >>ahead! >> >>It's when the client, who has no fucking clue as to what they are doing > >>insists their $0.02 are absolutely right and as the hired help you are >>obligated to acquiesce...while quietly (but quickly) removing your name > from >>every aspect of this abomination. ARGH! >> >>Don >> >> >>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message >>news:43d7c3c6$1@linux... >>> The further along this mix gets, the more the client is saying things > like >>> "ya' know", this is sounding so good to me that I think I'm going to get >>> *this or that* song to *so-and-so*. All of these so-and-so's are DJ's > he >>> knows on indy stations/ NPR affiliates.......and one of them is program >>> director on a major commercial station. He's got a lot of connections > and >>> family clout. I don't know if he has *that* much clout >>> or if any of this will happen but if it does, my name is going to be all >>> over this thing...recording, mixing and mastering engineer plus >>> executive >>> co-producer...so I'm sweatin a little here. >>> >>> ;o} >>> >>> "Don Nafe" <dnafe@magma.ca> wrote in message news:43d7c0aa$1@linux... >>>> > The verdict, IMO, is to save yourself lots of wailing, gnashing of >>> teeth, >>>> > rending of garments and tearing of hair and make sure your client has > a >>>> > mastering budget. >>>> > >>>> > ;o) >>>> > >>>> >>>> So true...I hate quasi-mastering >>>> >>>> >>> >>> >> >> >....and the Behringers. Plenty of new mixer stuff too to fire up;-)... Erling "LaMont" <jjdpro@ameritech.net> skrev i melding news:43d86fa4$1@linux... > > My sources told me last year that the phonics mixer line will rule!! they > stated that they sound great(Think Mackie Onyx). these Chinese companies > are infact the OEMs for many of the American products, like Makie, Alesis. > very good Pres, FX..And FIREWIRE!!!At a crazy price-point.. > I'm sold.. > > > "James McCloskey" <excelsm@hotmail.com> wrote: >> >>One more! >> >> http://210.243.85.5/partner/modules/product_explor/products_ detail.php?product_id=141# >> >>Any thoughts on Phonic mixers? >> >>James >> >>"James McCloskey" <excelsm@hotmail.com> wrote: >>> >>>In case anybody missed this. >>> >>>Mackie >>> >>> http://namm.harmony-central.com/WNAMM06/Content/Mackie/PR/Sa tellite-System.html >>> >>>PreSonus >>> >>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FireStudio.html >>> >>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ DigiMax-FS.html >>> >>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FaderPort.html >>> >>>James >>> >>> >>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>> >>>>More stuff! >>>> >>>>I wonder if this would work with Paris XP in real time??? >>>> http://namm.harmony-central.com/WNAMM06/Content/MuseResearch /PR/UniWire.html >>>> >>>>Yamaha USB mixing studio >>>> http://namm.harmony-central.com/WNAMM06/Content/Yamaha/PR/MW 10-MW12.html >>>> >>>>Violet Audio ADP61" 24bit 192kHz Studio AV Preamp Decoder >>>> http://namm.harmony-central.com/WNAMM06/Content/VioletAudio/ PR/ADP61.html >>>> >>>>Talk back, headphone >>>> http://namm.harmony-central.com/WNAMM06/Content/CME/PR/Matri x-Series-Mixers.html >>>> >>>>Roland VP-550 Vocal Designer Keyboard >>>> http://namm.harmony-central.com/WNAMM06/Content/Roland/PR/VP -550.html >>>> >>>>BOSS Announces RC-50 Loop Station >>>> http://namm.harmony-central.com/WNAMM06/Content/Boss/PR/RC-5 0.html >>>> >>>>Akai Professional Debuts New MPC2500 Music Production Center >>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/MPC2 500.html >>>> >>>>Akai Professional Debuts EWI4000S MIDI Wind Controller >>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/EWI4 000S.html >>>> >>>>Open Labs Unveils MiKo, The First Professional, Portable Media >>>>Workcenter >>>> http://namm.harmony-central.com/WNAMM06/Content/OpenLabs/PR/ MiKo.html >>>> >>>>I had to laugh when I saw the Presonus FireBox sticking out of the front >>>>of the Miko, it look shotty! If it works well, that's all that >>>>matters. >>>> It cost 2K. >>>> >>>>James >>>> >>>> >>>> >>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>> >>>>>Some interesting hardware products were announced today at NAMM. >>>>> >>>>>Saffire Pro 26i/o >>>>> http://namm.harmony-central.com/WNAMM06/Content/Focusrite/PR /Saffire-Pro-26i-o.html >>>>> >>>>>http://mackie.com/comingsoon06.html >>>>> >>>>>U-Control, phono amp, and USB mixers >>>>>http://behringer.com/ >>>>> >>>>>Alesis IO 14 & 26 >>>>> >>>>>alesis.com >>>>> >>>>>Tascam Guitar AMP, also Tascam GVI >>>>> >>>>>http://tascam.com/Products/ga100cd.html >>>>> >>>>> >>>>>I hope we can get some good show reports from Dave and others! >>>>> >>>>>James >>>> >>> >> >....we don't wanna have hair in the mastering soup, so it's interesting. Have you tested Voxengo Elephant2? I tested it against the limiter plugins I have(not the UAD1) and I was really surprised with the 8 different limiting modes it have for different types of music. I have allways had problems to limit long soft tones enough to get a punchy mix but with some tweakings in the EL-3 mode, I really got the gain boost transparent, smooth and fat with all the details intact. There was only one thing that was missing. It was thining out the sound a little bit, as all limiters seems to do, so I used a VST eq. before the limiter and boosted 60 to 300 hrtz a little bit up. And then my old ears get my soul happy:-) Erling "DJ" <animix_spam-this-ahole_@animas.net> skrev i melding news:43d7b88b@linux... > > The verdict, IMO, is to save yourself lots of wailing, gnashing of teeth, > rending of garments and tearing of hair and make sure your client has a > mastering budget. > > ;o) > >Anyone using the lynx Aurora 16 or Aurora 8 with PARIS via the ADAT lightpipe module? Anyone using them at all? Sorry for the recent lurking, BTW. Since I haven't been here in a bit, I should wish everyone a Happy New Year, Merry Christmas, Happy Hannukah... bc"LaMont" <jjdpro@ameritech.net> wrote in message news:43d8711c$1@linux... > > Oh Boy.. Have a look.. > http://www.sonicstate.com/news/shownews.cfm?newsid=2647 > > This looks and sound great!! Here's a freebie in the SSL style plugin if you're interested...just register and add to your cart. I haven't tried it yet so I can't comment on the quality but what the heck it's free http://www.solid-state-logic.com/resources/lmc1plugin.html DonHow about this ampeg box? http://www.zzounds.com/item--AMPSVTDI Bill Lorentzen wrote: > Check the Radial DIs for direct recording. I compared one recently to my > Countryman, and the Radial is slightly better for bass. > > "John" <no@no.com> wrote in message news:43d4fa65$1@linux... > >>thanks, i can get the bass sounding good once it's recorded but without a >>good sound to start i can't get the feel right so i'll have to get this >>box fixed. tech21 is at namm so i'll wait till they get back on the 25th. >>Thanks, >>John >> >>Edna wrote: >> >>>If you're just using it for recording, you might try the free plugin >>>"Baxxpander" - it did wonders for a thin thumpy bass track I had on one >>>tune. >>>Edna >>>"John" <no@no.com> wrote in message news:43d420ae@linux... >>> >>> >>>>Can anyone recommend a killer preamp for bass guitar. I want something >>>>cheap that sounds fantastic. Shouldn't be a problem right? Ideally it >>>>would do Chris Squire distorted, drop octave stuff but hey, I'll be >>>>thrilled just to get a good bass sound. >>>> >>>>I currently have a sans amp for bass but I think it sounds like crap, no >>>>round bottom, weak output, what could be worse? My hero Scott Ambush >>>>plays an Eden Navigator preamp, fed into a QSC 3500 power amp, driving >>>>an Eden 4x10 cabinet but I won't be able to afford that any time soon. >>>> >>>>Anything cheap and good? >>>> >>>>John >>> >>> >James, Great Points!! All around. That's why I still use Paris to this day. Take care.. "James McCloskey" <excelsm@hotmail.com> wrote: > >"LaMont" <jjdpro@ameritech.net> wrote: >> >>Hi James(hey Was'nt there a Hi-end store names Hy-James? :) >> >>Seriously, your speculation could be accurate. Although, Digi won't be left >>for dead. They are proving that they can hang with the so-called low-end >>with their recent update for LE 7 Mpowered. Now you can record up to 48 >tracks >>mono or 48 tracks stereo.!! Plus, they threw in all of HD toyz like: Full >>beat detective, translator..high-end Rtas plugins..(FOr a 500-$1,000 bucks) >>upgrade .. >> >>But, Gene is correct in that the new apogee cards are just low latency mixers. >>What do I gain? I guess, if I'm using Logic, I gain a better mixer??? >> >>The jury is stillout for me on this one. As stated by Gene, Motu is already >>doing this kind of thing, and they are doing it well.. >>Take care >> >> >> > >Hey LaMont! I don't think it would be a good idea for Apple or Digi to pick >a fight with each other, that's why I don't think they actually will. You >never know though. > >I'm going to get a little deep on you here with my opinion on the subject >of new gear. You might find what I have to say a bit funny being that I >have sold you gear as a Pro audio dealer in the past; ) > >I wouldn't concern yourself too much, more and better is always coming. >I say use what you've got now and make money with it. There is just too >much stuff out there, and manufactures are always going to sell you the next >wiz-bang shiny box, it's never ending. Your ideal DAW that's in your head >will probably never exist, and if it did, the manufacture would want an arm, >ah leg and a left nut for it. > >Get what works for you and let the rest of the world and their hype go-by! > Remember it all ends up 16bit 44.1 or MP3s! Now we're going to 32, 48, >or 64bit files!!!??? I know the arguments, but is it really necessary? >I'm saying, striving for perfection is Ok as long as it makes sense. You've >got to weigh out things like cost and necessity. Some audio gear has gone >up in price and some has gone down in price, but one thing is for sure, >what an audio engineer can make in this town has definitely gone down. > >Think about it, the manufacturers tell you when it's time to upgrade, and >they will always change the channel on us. We end up like a dog chasing >it's tail. Good quality tools are important, but gear is not always the >answer. Your chops as an engineer, producer, musician are more important. > If the gear is getting in the way of creativity, flow, and production, then >you need new gear. Remember, it's all psychological, it's about ego, we >all want to be James Bond. > >Sit back and wait, Music Messa will be Steinberg time, and others. There >is also AES and NAB this spring, so hang on, it's going to get interesting >this year. You already know everything I've been saying, I just thought >I would remind you; ) > > >Anyways, Hy-James was the high end Audio dealer at one time here in Detroit. > The owner was Henry Root. His main business was selling tape, but companies >like Producers tape were hurting him along with mail order catalogs. He >could sell only so many Studer machines in this town at that time. So he >got out of the business. He ended up working at Rocktron for a while, he >was in charge of the X project digital mixer. Too bad for them, that the >Yamaha 02r hit the market before the X-Project did. That mixer was ahead >of it's time in ways with joy stix and surround sound mixing. It had CircleSound, >Rocktrons dolby encoder, decoder, around 1994-95. Last time I saw Henry >was a NAMM show about five years ago. > >James > > >> >>"James McCloskey" <excelsm@hotmail.com> wrote: >>> >>> Apple is more focused on consumer/mass market products these days. I >think >>>Apple and Digi will keep working together, it's just another product, of >>>corse any thing can happen. >>> >>>Here's a hypothetical scenario. Digi dumps Apple, Apple gets dead serious. >>> Apple gets the best software engineers they can buy, and gets Logic really >>>rockin. Apple buys Apogee, JL Cooper, Creamware and UA! ( I know I just >>>made some of you queasy. Sorry! LOL) They start building tightly integrated >>>DAW systems and AV systems with Logic/SoundTrack/FCP, and they release >it >>>for Mac and PC! If the systems were affordable, do you think that Apple >>>would start to eat digi's lunch? >>> >>>James >>> >>> >>>"LaMont" <jjdpro@ameritech.net> wrote: >>>> >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>> >>>>Okay, so what does this product mean? >>>>1)Is this a Direct shot over Digidesign's bow? >>>> >>>>2) Does this mean Apple and Apogee are going to go head up with the Big >>>kohuna >>>>AKA Digidesign?? >>>> >>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>>cpu(s) >>>>handle the recording and plugins? >>>> >>>>4)* With all the "whining" I have been doing about the lack of nay DAW >>manfacturer >>>>"Willing to " to head to toe with Digi. Could this be the Part Native >solution/DSP >>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >>about??? >>>> >>>>If so, then, I stand corrected..AND, Once again, proves that the real >forward >>>>thinkers in the DAW world are right here in our little forum..You guys >>Rock!!!.. >>>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>>> >>>>Interesting developments..Wow... >>> >> >do any of you get the www.record-producer.com stuff? over the last couple of week the guy there has been doing, what I consider, a phoney shoot out of preamps and mic's. he puts up blind files of a shure sm58 in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain. the conclusion? you can't tell the good from the bad so don't bother spending the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071 I could wrong, but this site is full of bad info DJ wrote: >I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. I >used it on a vocal session tonight. This thing reminds me of my first time >behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and >torquey.....absolutely massive amounts of gain available. It was sort of a >glued to the seat (or the clip LED) experience to get this thing under >control for the initial level check. I couldn't believe how sensitive and >powerful this pre was. Once I rethought my gain staging, it was very smooth, >big and open. I can see how this could take ribbon mics into whole new >realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very easy >to stand 10 feet away from the mic in the room with the mic settings at >12:00 and have an extremely hot signal when speaking at normal levels. A >closer look revealed that 12:00 settings, though only half the available >gain, are really sending some signal out of this thing. The only ribbon I >have here is a NADY RSM2 at the moment. Not the most stellar example of a >ribbon mic, but great on fiddles and guitar cabs (my primary use for it) >I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the SE >Gemini through this preamp. > >http://www.heathersullivan.com/ > >She's used to working in the big studios on the big toys in LA and NYC. She >was completely floored by the Gemini (I didn't tell her how much it cost >;o). I had to be really careful with it on this preamp due to the >sensitivity and low level detail of the mic and the incredibly fast rise >time of the ADL 600, but the result was wonderful. This is a big, heavy >tube preamp with 600V rails and vents all over it and cooling fins on the >back panel. This preamp seemed to increase the audible frequency range of >the mic. There were comparisons made tonight by folks at the session who >have some pretty extensive experience with the AKG C12 and the ELAM 251. >I've got very little experience with these old mics so I wouldn't know. What >I do know is that depending on how the preamp was gainstaged and the >impedance was set, the timbre of the signal through the mic could change >pretty noticably and I didn't dial in anything that sounded bad to my ears. >. > >I can't wait to try this preamp on some other mics. I've got a fairly decent >rack of high end pre's here and I thought I was set for life as far as >preamps go. Now I'm not so sure. > >Deej > > > >I was just smiling up to my ears when reading this. It really tell us some "bad info" that we don't "wish" to hear. I remember our basplayer in the early sixties. He had build a Heatkit amplifier-set(I believe it was only 10 watts) that he used on all concerts we had for three years, to feed two twelve inches SEAS speakers. It costed him nearly nothing and sounded really wonderful with his Fender Jazzbas. When playing places with over thousand on the dancing floor, no one had problems to hear him. All the speaker stuff we used in the sixties and seventies was homemade, for the most with English and Danish speakers that we get imported, just to save big money. Erling "jef knight" <thestudio@allknightmusic.com> skrev i melding news:43d8ea43@linux... > do any of you get the www.record-producer.com stuff? over the last couple > of week the guy there has been doing, what I consider, a phoney shoot out > of preamps and mic's. he puts up blind files of a shure sm58 in a $5 home > made pre agains a U-87 in UA-LA610 and behringer ultragain. the > conclusion? you can't tell the good from the bad so don't bother spending > the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071 > > I could wrong, but this site is full of bad info > > DJ wrote: > >>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. >>I >>used it on a vocal session tonight. This thing reminds me of my first time >>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and >>torquey.....absolutely massive amounts of gain available. It was sort of a >>glued to the seat (or the clip LED) experience to get this thing under >>control for the initial level check. I couldn't believe how sensitive and >>powerful this pre was. Once I rethought my gain staging, it was very >>smooth, >>big and open. I can see how this could take ribbon mics into whole new >>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very >>easy >>to stand 10 feet away from the mic in the room with the mic settings at >>12:00 and have an extremely hot signal when speaking at normal levels. A >>closer look revealed that 12:00 settings, though only half the available >>gain, are really sending some signal out of this thing. The only ribbon I >>have here is a NADY RSM2 at the moment. Not the most stellar example of a >>ribbon mic, but great on fiddles and guitar cabs (my primary use for it) >>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the >>SE >>Gemini through this preamp. >> >>http://www.heathersullivan.com/ >> >>She's used to working in the big studios on the big toys in LA and NYC. >>She >>was completely floored by the Gemini (I didn't tell her how much it cost >>;o). I had to be really careful with it on this preamp due to the >>sensitivity and low level detail of the mic and the incredibly fast rise >>time of the ADL 600, but the result was wonderful. This is a big, heavy >>tube preamp with 600V rails and vents all over it and cooling fins on the >>back panel. This preamp seemed to increase the audible frequency range of >>the mic. There were comparisons made tonight by folks at the session who >>have some pretty extensive experience with the AKG C12 and the ELAM 251. >>I've got very little experience with these old mics so I wouldn't know. >>What >>I do know is that depending on how the preamp was gainstaged and the >>impedance was set, the timbre of the signal through the mic could change >>pretty noticably and I didn't dial in anything that sounded bad to my >>ears. >>. >> >>I can't wait to try this preamp on some other mics. I've got a fairly >>decent >>rack of high end pre's here and I thought I was set for life as far as >>preamps go. Now I'm not so sure. >> >>Deej >> >> >>I just got off the phone with Rim. Durmagog can now trigger BFD samples. I'm DL'ing the 4.3 update right now. We're snowed in today so it will be a good day for noodling around with this. If it works as advertized, I'm going to be a very happy man. Deej "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43d88c8c@linux... > Paul, > > I've been waiting for Drumagog BFD. Does the midi function in Durmagog Pro > allow the triggering of BFD samples? > > Deej > > "Paul" <paulbeach@adelphia.net> wrote in message news:43d7c6ca$1@linux... > > > > Thanks! > > > > "tonehouse" <zmcleod@comcast.net> wrote: > > > > > > > > >Spin Auidio VST-DX Wrapper..Putt .dll in win/sys32/ensoniq/plugins > > > "Tom Bruhl" <arpegio@comcast.net> wrote in message = > > >news:43d59779@linux... > > > Paul, > > > Wrap that bad boy. > > > Tom > > > "Paul" <paulbeach@adelphia.net> wrote in message = > > >news:43d57a48$1@linux... > > > > > > Just purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 = > > >audio apps. > > > But... can't seem to get Paris to see it. I searched the forum, and > > = > > >tried > > > a couple of things there, but no luck. I apologize if I missed the = > > >answer. > > > > > > > > > I'm using win 98 SE for PARIS [dual boot machine]. None of my VST = > > >.dll files > > > appear in the designated VST folder. So, is this a Win 98 issue? > > > > > > I have a project coming up soon, where I know Drumagog will really = > > >help. > > > Thanks in advance for any help. > > > > > > > > > > > > > >charset=3Diso-8859-1"> > > > > > > > > > > > > > > > Spin Auidio VST-DX Wrapper..Putt .dll = > > >in=20 > > >win/sys32/ensoniq/plugins > > > > >style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > "Tom Bruhl" <<A=20 > > > href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = > > >in message=20 > > > news:43d59779@linux... > > > Paul, > > > Wrap that bad boy. > > > Tom > > > <BLOCKQUOTE=20 > > > style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > "Paul" <<A=20 > > > = > > >href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = > > >wrote in=20 > > > message <A=20 > > > = > > > >href=3D"news:43d57a48$1@linux">news:43d57a48$1@linux... Just= > > >=20 > > > purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 audio=20 > > > apps. But... can't seem to get Paris to see it. I searched the = > > >forum, and=20 > > > tried a couple of things there, but no luck. I apologize if I = > > >missed the=20 > > > answer. I'm using win 98 SE for PARIS [dual boot = > > >machine]. None=20 > > > of my VST .dll files appear in the designated VST folder. = > > >So, is=20 > > > this a Win 98 issue? I have a project coming up soon, where I > > = > > >know=20 > > > Drumagog will really help. Thanks in advance for any=20 > > >help. > > > > > > > > > >Hey, Tom. I'm just glad I could help. With all the huge brains that hang out here I learn a lot more than I know. I'm glad it's working out for you. Tony "Tom Bruhl" <arpegio@comcast.net> wrote in message news:43d88938@linux... Tony Chris & Gene, Tony, my client is using your technique from now on in DP. Thanks for the heads up there. Wavelab was able to batch process all the files into 16 bit PAFs. That was good except some were stereo (I told him mono) which Paris didn't recognize. I ended up running those through Stripwav and those worked fine too. I wonder if I even needed to use Wavelab for this? It took a little longer than Stripwav. All in all everything is rosy again over here thanks to you guys. I hope I can pay you all back some day. Tom "Tony Benson" <tony@standinghampton.com> wrote in message news:43d7c922@linux... Before exporting my DP files I use the "freeze" function. It works basically like the render function in PARIS, except it actually renders all VST inserts also. That way, all my DP files start at zero and are contiguous from beginning to end. No timing problems that way. Make sure your friend has auto latency compensation turned on in DP also. After the files are "frozen", he can select them in the soundbites browser and select "export as", etc.,etc. When you bring the files into PARIS, make sure you use the time lock tool or pull all the files to the very beginning of the time line. Should work fine. Tony "Tom Bruhl" <arpegio@comcast.net> wrote in message news:43d71045@linux... Tony, Your technique worked great combined with Gene's Wavelab batch processing idea. We are still sussing out the Toast issues to know just why it created such a problem. Now we are having timing issues. My client suggests that he thinks merging files in DP is the only way to get timing correct. Does that sound right? Tom "Tony Benson" <tony@standinghampton.com> wrote in message news:43d659aa$1@linux... Tom, Have your friend try to burn a disc directly from the finder. On Panther, all he needs to do is insert a recordable cd into the internal drive. The cd will come up on his desktop. Drag the files to the cd icon (it might take a while for the files to copy over to the disc image). When done, double click the cd icon and click "Burn" on the upper right of the cd window. Maybe Toast is doing something screwy? I quit using it because of some troubles, but that was a few years ago. Will the files from the disc he burned import back into DP? I mean are the burned files valid on his Mac? If so, and you can't get this fixed, mail me the disc and I'll see if I can batch convert them for you. Let me know if I can help. Tony "Tom Bruhl" <arpegio@comcast.net> wrote in message news:43d59b80$1@linux... After every disk (we've burned over ten now) none of them sounded audio or showed an overview. I'm still trying everything in my power but I think the clients software is what's holding us back. He's using Panther/newest DP and newest Toast programs on a G4 laptop. Can someone sus out my Wavelab problem? I have an original 3.01 disk with a 3.03 patch disk too. Neither will allow it to start up in XP. Is this version just too old? When starting Wavelab it gets into the program then stops instantly with: "This application has failed to start because HypGui.dll was not found. Reinstalling the application may fix this problem." Needless to say it didn't. What is the solution? I haven't been frustrated in a long time. This is taking the cake. TIA, TomThere is much less difference between the sound of preamps than there is the sound of microphones. On the 3D audio shootout, some of the less expensive preamps stood up well against the more expensive variety. the differences really come to light when pairing them with different mics or DI sources and different situations involving source proximity. If a preamp doesn't have headroom issues or noise issues, then, to me, preamps are a bit like EQ's.and learning which preamps will work best with which mic on a given source is the secret to getting your money's worth if you're spending big money. What's different about this preamp, to my ears, is it's smoothness and high gain caabilities. It's also got a line in/out so that it can be strapped across a mix bus. I'm going to experiment with it in this way inserted pre-NoLimit. Sould be inteesting. "jef knight" <thestudio@allknightmusic.com> wrote in message news:43d8ea43@linux... > do any of you get the www.record-producer.com stuff? over the last > couple of week the guy there has been doing, what I consider, a phoney > shoot out of preamps and mic's. he puts up blind files of a shure sm58 > in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain. > the conclusion? you can't tell the good from the bad so don't bother > spending the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071 > > I could wrong, but this site is full of bad info > > DJ wrote: > > >I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. I > >used it on a vocal session tonight. This thing reminds me of my first time > >behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and > >torquey.....absolutely massive amounts of gain available. It was sort of a > >glued to the seat (or the clip LED) experience to get this thing under > >control for the initial level check. I couldn't believe how sensitive and > >powerful this pre was. Once I rethought my gain staging, it was very smooth, > >big and open. I can see how this could take ribbon mics into whole new > >realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very easy > >to stand 10 feet away from the mic in the room with the mic settings at > >12:00 and have an extremely hot signal when speaking at normal levels. A > >closer look revealed that 12:00 settings, though only half the available > >gain, are really sending some signal out of this thing. The only ribbon I > >have here is a NADY RSM2 at the moment. Not the most stellar example of a > >ribbon mic, but great on fiddles and guitar cabs (my primary use for it) > >I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the SE > >Gemini through this preamp. > > > >http://www.heathersullivan.com/ > > > >She's used to working in the big studios on the big toys in LA and NYC. She > >was completely floored by the Gemini (I didn't tell her how much it cost > >;o). I had to be really careful with it on this preamp due to the > >sensitivity and low level detail of the mic and the incredibly fast rise > >time of the ADL 600, but the result was wonderful. This is a big, heavy > >tube preamp with 600V rails and vents all over it and cooling fins on the > >back panel. This preamp seemed to increase the audible frequency range of > >the mic. There were comparisons made tonight by folks at the session who > >have some pretty extensive experience with the AKG C12 and the ELAM 251. > >I've got very little experience with these old mics so I wouldn't know. What > >I do know is that depending on how the preamp was gainstaged and the > >impedance was set, the timbre of the signal through the mic could change > >pretty noticably and I didn't dial in anything that sounded bad to my ears. > >. > > > >I can't wait to try this preamp on some other mics. I've got a fairly decent > >rack of high end pre's here and I thought I was set for life as far as > >preamps go. Now I'm not so sure. > > > >Deej > > > > > > > >This is a multi-part message in MIME format. ------=_NextPart_000_012C_01C62279.5CF2C8C0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Deej, You weren't already? Tom "DJ" <animix_spam-this-ahole_@animas.net> wrote in message = news:43d90351@linux... I just got off the phone with Rim. Durmagog can now trigger BFD = samples. I'm DL'ing the 4.3 update right now. We're snowed in today so it will be a good day for noodling around = with this. If it works as advertized, I'm going to be a very happy man. Deej "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43d88c8c@linux... > Paul, > > I've been waiting for Drumagog BFD. Does the midi function in = Durmagog Pro > allow the triggering of BFD samples? > > Deej > > "Paul" <paulbeach@adelphia.net> wrote in message = news:43d7c6ca$1@linux... > > > > Thanks! > > > > "tonehouse" <zmcleod@comcast.net> wrote: > > > > > > > > >Spin Auidio VST-DX Wrapper..Putt .dll in = win/sys32/ensoniq/plugins > > > "Tom Bruhl" <arpegio@comcast.net> wrote in message =3D > > >news:43d59779@linux... > > > Paul, > > > Wrap that bad boy. > > > Tom > > > "Paul" <paulbeach@adelphia.net> wrote in message =3D > > >news:43d57a48$1@linux... > > > > > > Just purchased Drumagog [4.03] at NAMM. Runs fine in my WIN = 2000 =3D > > >audio apps. > > > But... can't seem to get Paris to see it. I searched the = forum, and > > =3D > > >tried > > > a couple of things there, but no luck. I apologize if I = missed the =3D > > >answer. > > > > > > > > > I'm using win 98 SE for PARIS [dual boot machine]. None of my = VST =3D > > >.dll files > > > appear in the designated VST folder. So, is this a Win 98 = issue? > > > > > > I have a project coming up soon, where I know Drumagog will = really =3D > > >help. > > > Thanks in advance for any help. > > > > > > > > > > > > > >charset=3D3Diso-8859-1"> > > > > > > > > > > > > > > > Spin Auidio VST-DX = Wrapper..Putt .dll =3D > > >in=3D20 > > >win/sys32/ensoniq/plugins > > > > >style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: = 5px; =3D > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > "Tom Bruhl" <<A=3D20 > > > href=3D3D"mailto:arpegio@comcast.net">arpegio@comcast.net> = wrote =3D > > >in message=3D20 > > > news:43d59779@linux... > > > Paul, > > > Wrap that bad = boy. > > > Tom > > > <BLOCKQUOTE=3D20 > > > style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: = 5px; =3D > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > "Paul" <<A=3D20 > > > =3D > > = >href=3D3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = =3D > > >wrote in=3D20 > > > message <A=3D20 > > > =3D > > > = >href=3D3D"news:43d57a48$1@linux">news:43d57a48$1@linux... J= ust=3D > > >=3D20 > > > purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 audio=3D20 > > > apps. But... can't seem to get Paris to see it. I searched = the =3D > > >forum, and=3D20 > > > tried a couple of things there, but no luck. I apologize = if I =3D > > >missed the=3D20 > > > answer. I'm using win 98 SE for PARIS [dual boot = =3D > > >machine]. None=3D20 > > > of my VST .dll files appear in the designated VST folder. = =3D > > >So, is=3D20 > > > this a Win 98 issue? I have a project coming up soon, = where I > > =3D > > >know=3D20 > > > Drumagog will really help. Thanks in advance for any=3D20 > > >help. > > > > > > > > > > ------=_NextPart_000_012C_01C62279.5CF2C8C0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Deej, You weren't already? Tom <BLOCKQUOTE=20 style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> "DJ" <<A=20 = href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole= _@animas.net>=20 wrote in message <A=20 href=3D"news:43d90351@linux">news:43d90351@linux... I just = got off the=20 phone with Rim. Durmagog can now trigger BFD samples. I'm DL'ing = the 4.3=20 update right now. We're snowed in today so it will be a good = day for=20 noodling around with this. If it works as advertized, I'm going to = be a=20 very happy man. Deej "DJ" <<A=20 = href=3D"mailto:animix_spam-this-ahole_@animas.net">animix_spam-this-ahole= _@animas.net>=20 wrote in message <A=20 href=3D"news:43d88c8c@linux">news:43d88c8c@linux... >=20 Paul, > > I've been waiting for Drumagog BFD. Does the = midi=20 function in Durmagog Pro > allow the triggering of BFD=20 samples? > > Deej > > "Paul" <<A=20 href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = wrote in=20 message news:43d7c6ca$1@linux... >=20 > > > Thanks! > > > > "tonehouse" <zmcleod@comcast.net> = wrote: >=20 > > > > > > > >Spin Auidio VST-DX = Wrapper..Putt=20 .dll in win/sys32/ensoniq/plugins > > > "Tom Bruhl" = <<A=20 href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = in message=20 =3D > > >news:43d59779@linux... > > > =20 Paul, > > > Wrap that bad boy. > > = > =20 Tom > > > "Paul" <<A=20 href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = wrote in=20 message =3D > > >news:43d57a48$1@linux... > > = > >=20 > > Just purchased Drumagog [4.03] at NAMM. = Runs fine=20 in my WIN 2000 =3D > > >audio apps. > >=20 > But... can't seem to get Paris to see it. I = searched=20 the forum, and > > =3D > > >tried > >=20 > a couple of things there, but no luck. I = apologize if I=20 missed the =3D > > >answer. > > > > = >=20 > > > > I'm using win 98 SE for PARIS = [dual=20 boot machine]. None of my VST =3D > > >.dll = files > >=20 > appear in the designated VST folder. So, is = this a Win=20 98 issue? > > > > > > I have = a=20 project coming up soon, where I know Drumagog will = really =3D > >=20 >help. > > > Thanks in advance for = any=20 help. > > > > > > > >=20 > > > ><META=20 http-equiv=3D3DContent-Type content=3D3D"text/html; =3D > >=20 >charset=3D3Diso-8859-1"> > > > > >=20 > > > > > = >=20 > > > = > <FONT=20 face=3D3DArial size=3D3D2>Spin Auidio VST-DX Wrapper..Putt = ..dll =3D >=20 > >in=3D20 > >=20 >win/sys32/ensoniq/plugins&l t;/DIV> > >=20 > > = >style=3D3D"PADDING-RIGHT: 0px;=20 PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D > > >BORDER-LEFT: = #000000=20 2px solid; MARGIN-RIGHT: 0px"> > > > = "Tom=20 Bruhl" <<A=3D20 > > > href=3D3D"<A=20 = href=3D'mailto:arpegio@comcast.net">arpegio@comcast.net</A'>mailto:arpegi= o@comcast.net">arpegio@comcast.net>=20 wrote =3D > > >in message=3D20 > > > = <A=20 href=3D3D"<A=20 = href=3D'news:43d59779@linux">news:43d59779@linux...</DIV'>news:43d597= 79@linux">news:43d59779@linux... >=20 > > Paul,</DIV&amp ;gt; > > > =20 Wrap that bad=20 boy. > > > = <FONT=20 face=3D3DArial size=3D3D2>Tom</DIV&g t; > > = > =20 <BLOCKQUOTE=3D20 > > > style=3D3D"PADDING-RIGHT: = 0px;=20 PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D > > >BORDER-LEFT: = #000000=20 2px solid; MARGIN-RIGHT: 0px"> > > > =20 "Paul" <<A=3D20 > > > = =3D >=20 > >href=3D3D"<A=20 = href=3D'mailto:paulbeach@adelphia.net">paulbeach@adelphia.net</A'>mailto:= paulbeach@adelphia.net">paulbeach@adelphia.net>=20 =3D > > >wrote in=3D20 > > > = message=20 <A=3D20 > > > =3D >=20 > > >href=3D3D"<A=20 = href=3D'news:43d57a48$1@linux">news:43d57a48$1@linux... Just= '>news:43d57a48$1@linux">news:43d57a48$1@linux...</DIV&gt= ; Just=3D >=20 > >=3D20 > > > purchased Drumagog = [4.03] at=20 NAMM. Runs fine in my WIN 2000 audio=3D20 > > = > =20 apps. But... can't seem to get Paris to see it. I searched = the=20 =3D > > >forum, and=3D20 > > = > =20 tried a couple of things there, but no luck. I apologize if I = =3D > > >missed the=3D20 > > = > =20 answer. <BR&gt ;I'm using win 98 SE for PARIS = [dual boot=20 =3D > > >machine]. None=3D20 > > = > of my=20 VST .dll files appear in the designated VST folder. = =3D > >=20 >So, is=3D20 > > > this a Win 98=20 issue? I have a project coming up soon, = where I >=20 > =3D > > >know=3D20 > > = > Drumagog=20 will really help. Thanks in advance for any=3D20 > > = = >help. </BLOCKQUOTE& amp;gt; = >=20 > > > > > >=20 > > > ------=_NextPart_000_012C_01C62279.5CF2C8C0--Now we're going to 32, 48, or 64bit files!!!??? I know the arguments, but is it really necessary? I'm saying, striving for perfection is Ok as long as it makes sense. You've got to weigh out things like cost and necessity. I'm mixing a project right now2 with 15 external processors (AD/DA's) in the mix. Sounds great. A couple of the processors are older (one has 20 bit converters, the other 18 bit). the mix is being streamed from a 32 bit floating point system through 20 bit Paris ligitpipe. Is it state of the art digital resolution??......not in a million years. Does it sound good???......yep! It sounds just like I want it to sound. Wayyyyyyy too much hype these days. I have quit sweating this stuff ;o) "LaMont" <jjdpro@ameritech.net> wrote in message news:43d8e915$1@linux... > > James, > Great Points!! All around. That's why I still use Paris to this day. > Take care.. > > "James McCloskey" <excelsm@hotmail.com> wrote: > > > >"LaMont" <jjdpro@ameritech.net> wrote: > >> > >>Hi James(hey Was'nt there a Hi-end store names Hy-James? :) > >> > >>Seriously, your speculation could be accurate. Although, Digi won't be > left > >>for dead. They are proving that they can hang with the so-called low-end > >>with their recent update for LE 7 Mpowered. Now you can record up to 48 > >tracks > >>mono or 48 tracks stereo.!! Plus, they threw in all of HD toyz like: Full > >>beat detective, translator..high-end Rtas plugins..(FOr a 500-$1,000 bucks) > >>upgrade .. > >> > >>But, Gene is correct in that the new apogee cards are just low latency > mixers. > >>What do I gain? I guess, if I'm using Logic, I gain a better mixer??? > >> > >>The jury is stillout for me on this one. As stated by Gene, Motu is already > >>doing this kind of thing, and they are doing it well.. > >>Take care > >> > >> > >> > > > >Hey LaMont! I don't think it would be a good idea for Apple or Digi to > pick > >a fight with each other, that's why I don't think they actually will. You > >never know though. > > > >I'm going to get a little deep on you here with my opinion on the subject > >of new gear. You might find what I have to say a bit funny being that I > >have sold you gear as a Pro audio dealer in the past; ) > > > >I wouldn't concern yourself too much, more and better is always coming. > > >I say use what you've got now and make money with it. There is just too > >much stuff out there, and manufactures are always going to sell you the > next > >wiz-bang shiny box, it's never ending. Your ideal DAW that's in your head > >will probably never exist, and if it did, the manufacture would want an > arm, > >ah leg and a left nut for it. > > > >Get what works for you and let the rest of the world and their hype go-by! > > Remember it all ends up 16bit 44.1 or MP3s! Now we're going to 32, 48, > >or 64bit files!!!??? I know the arguments, but is it really necessary? > > >I'm saying, striving for perfection is Ok as long as it makes sense. You've > >got to weigh out things like cost and necessity. Some audio gear has gone > >up in price and some has gone down in price, but one thing is for sure, > >what an audio engineer can make in this town has definitely gone down. > > > > >Think about it, the manufacturers tell you when it's time to upgrade, and > >they will always change the channel on us. We end up like a dog chasing > >it's tail. Good quality tools are important, but gear is not always the > >answer. Your chops as an engineer, producer, musician are more important. > > If the gear is getting in the way of creativity, flow, and production, > then > >you need new gear. Remember, it's all psychological, it's about ego, we > >all want to be James Bond. > > > >Sit back and wait, Music Messa will be Steinberg time, and others. There > >is also AES and NAB this spring, so hang on, it's going to get interesting > >this year. You already know everything I've been saying, I just thought > >I would remind you; ) > > > > > >Anyways, Hy-James was the high end Audio dealer at one time here in Detroit. > > The owner was Henry Root. His main business was selling tape, but companies > >like Producers tape were hurting him along with mail order catalogs. He > >could sell only so many Studer machines in this town at that time. So he > >got out of the business. He ended up working at Rocktron for a while, he > >was in charge of the X project digital mixer. Too bad for them, that the > >Yamaha 02r hit the market before the X-Project did. That mixer was ahead > >of it's time in ways with joy stix and surround sound mixing. It had CircleSound, > >Rocktrons dolby encoder, decoder, around 1994-95. Last time I saw Henry > >was a NAMM show about five years ago. > > > >James > > > > > >> > >>"James McCloskey" <excelsm@hotmail.com> wrote: > >>> > >>> Apple is more focused on consumer/mass market products these days. I > >think > >>>Apple and Digi will keep working together, it's just another product, > of > >>>corse any thing can happen. > >>> > >>>Here's a hypothetical scenario. Digi dumps Apple, Apple gets dead serious. > >>> Apple gets the best software engineers they can buy, and gets Logic really > >>>rockin. Apple buys Apogee, JL Cooper, Creamware and UA! ( I know I just > >>>made some of you queasy. Sorry! LOL) They start building tightly integrated > >>>DAW systems and AV systems with Logic/SoundTrack/FCP, and they release > >it > >>>for Mac and PC! If the systems were affordable, do you think that Apple > >>>would start to eat digi's lunch? > >>> > >>>James > >>> > >>> > >>>"LaMont" <jjdpro@ameritech.net> wrote: > >>>> > >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 > >>>> > >>>>Okay, so what does this product mean? > >>>>1)Is this a Direct shot over Digidesign's bow? > >>>> > >>>>2) Does this mean Apple and Apogee are going to go head up with the Big > >>>kohuna > >>>>AKA Digidesign?? > >>>> > >>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's > >>>cpu(s) > >>>>handle the recording and plugins? > >>>> > >>>>4)* With all the "whining" I have been doing about the lack of nay DAW > >>manfacturer > >>>>"Willing to " to head to toe with Digi. Could this be the Part Native > >solution/DSP > >>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking > >>about??? > >>>> > >>>>If so, then, I stand corrected..AND, Once again, proves that the real > >forward > >>>>thinkers in the DAW world are right here in our little forum..You guys > >>Rock!!!.. > >>>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) > >>>> > >>>>Interesting developments..Wow... > >>> > >> > > >Keep us informed Deej. Inquiring minds want to know don "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43d90351@linux... >I just got off the phone with Rim. Durmagog can now trigger BFD samples. >I'm > DL'ing the 4.3 update right now. > > We're snowed in today so it will be a good day for noodling around with > this. If it works as advertized, I'm going to be a very happy man. > > Deej > > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message > news:43d88c8c@linux... >> Paul, >> >> I've been waiting for Drumagog BFD. Does the midi function in Durmagog >> Pro >> allow the triggering of BFD samples? >> >> Deej >> >> "Paul" <paulbeach@adelphia.net> wrote in message news:43d7c6ca$1@linux... >> > >> > Thanks! >> > >> > "tonehouse" <zmcleod@comcast.net> wrote: >> > > >> > > >> > >Spin Auidio VST-DX Wrapper..Putt .dll in win/sys32/ensoniq/plugins >> > > "Tom Bruhl" <arpegio@comcast.net> wrote in message = >> > >news:43d59779@linux... >> > > Paul, >> > > Wrap that bad boy. >> > > Tom >> > > "Paul" <paulbeach@adelphia.net> wrote in message = >> > >news:43d57a48$1@linux... >> > > >> > > Just purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 = >> > >audio apps. >> > > But... can't seem to get Paris to see it. I searched the forum, >> > > and >> > = >> > >tried >> > > a couple of things there, but no luck. I apologize if I missed the > = >> > >answer. >> > > >> > > >> > > I'm using win 98 SE for PARIS [dual boot machine]. None of my VST > = >> > >.dll files >> > > appear in the designated VST folder. So, is this a Win 98 issue? >> > > >> > > I have a project coming up soon, where I know Drumagog will really > = >> > >help. >> > > Thanks in advance for any help. >> > > >> > > >> > > >> > > > > >charset=3Diso-8859-1"> >> > > >> > > >> > > >> > > >> > > Spin Auidio VST-DX Wrapper..Putt .dll > = >> > >in=20 >> > >win/sys32/ensoniq/plugins >> > > > > >style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = >> > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> >> > > "Tom Bruhl" <<A=20 >> > > href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = >> > >in message=20 >> > > news:43d59779@linux... >> > > Paul, >> > > Wrap that bad boy. >> > > Tom >> > > <BLOCKQUOTE=20 >> > > style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = >> > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> >> > > "Paul" <<A=20 >> > > = >> > >href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = >> > >wrote in=20 >> > > message <A=20 >> > > = >> > >> >>href=3D"news:43d57a48$1@linux">news:43d57a48$1@linux... Just= >> > >=20 >> > > purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 > audio=20 >> > > apps. But... can't seem to get Paris to see it. I searched the >> > > = >> > >forum, and=20 >> > > tried a couple of things there, but no luck. I apologize if I = >> > >missed the=20 >> > > answer. I'm using win 98 SE for PARIS [dual boot = >> > >machine]. None=20 >> > > of my VST .dll files appear in the designated VST folder. = >> > >So, is=20 >> > > this a Win 98 issue? I have a project coming up soon, where > I >> > = >> > >know=20 >> > > Drumagog will really help. Thanks in advance for any=20 >> > >help. >> > > >> > > >> > >> >> > >Audio files, not so much, but with processing there are potential (and often debated) gains from greater bit depths. I read another review of Sonar 5 that stated users are reporting better handling of higher track counts (yes, you may be right Lamont). That could be the same "report" being quoted by different reviewers, but with VST 2.4 going to 64-bit, and, as I am guessing, if Nuendo (and other native DAWs) goes full 64-bit this spring, we may start to find out how much of a benefit there is. I don't have any plans to start recording to 64-bit files, but I wouldn't mind being able to send a 32-bit float file to mastering instead of 24. What will benefit? - clarity for widely dynamic recordings - classical, maybe jazz or acoustic where you are capturing a stellar space with some of the best converters and mics on the market. Other than that, you just have extra bits. When we are all recording to 128-bit at 1Mhz sampling rates some day we may either look back and say "wow, 16/44.1k sucked", or "man this new gear was a big waste of time..." ;-) Regards, Dedric On 1/26/06 10:56 AM, in article 43d9111d$1@linux, "DJ" <animix_spam-this-ahole_@animas.net> wrote: > Now we're going to 32, 48, > or 64bit files!!!??? I know the arguments, but is it really necessary? > I'm saying, striving for perfection is Ok as long as it makes sense. You've > got to weigh out things like cost and necessity. > > I'm mixing a project right now2 with 15 external processors (AD/DA's) in the > mix. Sounds great. A couple of the processors are older (one has 20 bit > converters, the other 18 bit). the mix is being streamed from a 32 bit > floating point system through 20 bit Paris ligitpipe. Is it state of the art > digital resolution??......not in a million years. Does it sound > good???......yep! It sounds just like I want it to sound. > > Wayyyyyyy too much hype these days. I have quit sweating this stuff > > ;o) > > "LaMont" <jjdpro@ameritech.net> wrote in message news:43d8e915$1@linux... >> >> James, >> Great Points!! All around. That's why I still use Paris to this day. >> Take care.. >> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>>Haven't used the MIDI triiger functions, yet. I have been able to trigger other ACID loop samples, however. Drums from the Big Room is nice, as well as the Mick Fleetwood collection. I was working on a mix that has, of course, already been delivered to the client, wishing I had owned Drumagog at that time. Oh well, at least the clint was happy. Mu initial impression is that Drumagog rocks! After I realized the reason I couldn't find the .dll files in WIN 98 was that they were "hidden", all was cool. The Spin Audio wrapper seems to work well. Thanks to all for your help. I mostly lurk here, and have picked up an immense amount of valuable information over the last few years. I'm off for 2 weeks vacation on Saturday. Definitely need a break. Some time in the Caribbean is just what the doctor ordered. Then back to the grind. All the best, Paulinstalled 10.4.3 (new install with zeroing out the drive as usual). twice after leaving the puter idling with logic 7.1.1 up for less than 1 hour the gray screen (with the in 7 languages appeared with the message of you must do a hard restart) has appeared. then a complete power down (computer just shut off in the midst of running on a loop); calendar (set itself to 4/15/1968) needed to be reset on reboot. nothing else shut down so it wasn't a power issue from outside the mac. ideas?tom...dude...happy is relative...and if there are no relatives around then of course happiness ensues. On Thu, 26 Jan 2006 13:06:47 -0500, "Tom Bruhl" <arpegio@comcast.net> wrote: >Deej, >You weren't already? >Tom > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43d90351@linux... > I just got off the phone with Rim. Durmagog can now trigger BFD samples. I'm > DL'ing the 4.3 update right now. > > We're snowed in today so it will be a good day for noodling around with > this. If it works as advertized, I'm going to be a very happy man. > > Deej > > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote in message > news:43d88c8c@linux... > > Paul, > > > > I've been waiting for Drumagog BFD. Does the midi function in Durmagog Pro > > allow the triggering of BFD samples? > > > > Deej > > > > "Paul" <paulbeach@adelphia.net> wrote in message news:43d7c6ca$1@linux... > > > > > > Thanks! > > > > > > "tonehouse" <zmcleod@comcast.net> wrote: > > > > > > > > > > > >Spin Auidio VST-DX Wrapper..Putt .dll in win/sys32/ensoniq/plugins > > > > "Tom Bruhl" <arpegio@comcast.net> wrote in message = > > > >news:43d59779@linux... > > > > Paul, > > > > Wrap that bad boy. > > > > Tom > > > > "Paul" <paulbeach@adelphia.net> wrote in message = > > > >news:43d57a48$1@linux... > > > > > > > > Just purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 = > > > >audio apps. > > > > But... can't seem to get Paris to see it. I searched the forum, and > > > = > > > >tried > > > > a couple of things there, but no luck. I apologize if I missed the > = > > > >answer. > > > > > > > > > > > > I'm using win 98 SE for PARIS [dual boot machine]. None of my VST > = > > > >.dll files > > > > appear in the designated VST folder. So, is this a Win 98 issue? > > > > > > > > I have a project coming up soon, where I know Drumagog will really > = > > > >help. > > > > Thanks in advance for any help. > > > > > > > > > > > > > > > > > > >charset=3Diso-8859-1"> > > > > > > > > > > > > > > > > > > > > Spin Auidio VST-DX Wrapper..Putt .dll > = > > > >in=20 > > > >win/sys32/ensoniq/plugins > > > > > > >style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > > "Tom Bruhl" <<A=20 > > > > href=3D"mailto:arpegio@comcast.net">arpegio@comcast.net> wrote = > > > >in message=20 > > > > news:43d59779@linux... > > > > Paul, > > > > Wrap that bad boy. > > > > Tom > > > > <BLOCKQUOTE=20 > > > > style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = > > > >BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> > > > > "Paul" <<A=20 > > > > = > > > >href=3D"mailto:paulbeach@adelphia.net">paulbeach@adelphia.net> = > > > >wrote in=20 > > > > message <A=20 > > > > = > > > > > > >href=3D"news:43d57a48$1@linux">news:43d57a48$1@linux... Just= > > > >=20 > > > > purchased Drumagog [4.03] at NAMM. Runs fine in my WIN 2000 > audio=20 > > > > apps. But... can't seem to get Paris to see it. I searched the = > > > >forum, and=20 > > > > tried a couple of things there, but no luck. I apologize if I = > > > >missed the=20 > > > > answer. I'm using win 98 SE for PARIS [dual boot = > > > >machine]. None=20 > > > > of my VST .dll files appear in the designated VST folder. = > > > >So, is=20 > > > > this a Win 98 issue? I have a project coming up soon, where > I > > > = > > > >know=20 > > > > Drumagog will really help. Thanks in advance for any=20 > > > >help. > > > > > > > > > > > > > > >plus....he says things like "strewth"......whatever that means. ;o) "jef knight" <thestudio@allknightmusic.com> wrote in message news:43d639ff$1@linux... > You rock dude! > j > > Tom Bruhl wrote: > > > Big Time! > > > > Kim is it. > > Tom > > > > > > "Rod Lincoln" <rlincoln@nospam.kc.rr.com > > <mailto:rlincoln@nospam.kc.rr.com>> wrote in message > > news:43d58bb5$1@linux... > > > > Yeah, no kidd'n. Thanks dude > > "Rob Arsenault" <mani2@nbnet.nb.ca <mailto:mani2@nbnet.nb.ca>> wrote: > > >Here...Here... I'll second that.!! > > > > > >Rob_A > > > > > >"Mike R." <emarenot@yahoo.com <mailto:emarenot@yahoo.com>> wrote > > in message news:43d55d4f@linux... > > >> Hey Kim, > > >> I've been getting some help here lately. This wouldn't have > > happened > > >without > > >> your installation and upkeep of the servers. You've been a > > most cool > > >> successor to Mr. Chuck.. > > >> Thanks for your time and effort. > > >> MR > > >> > > >> > > > > > > > >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >plus....he says things like "strewth"......whatever that means. It's a bit like "Stone the crows!" ;o) Cheers, Kim.Turn off all energy saver stuff. Go to system preferences, energy saver, unlock it if necessary, set sleep options to Never. Then lock it be fore closing the window. I hope this helps! James rick <parnell68@hotmail.com> wrote: >installed 10.4.3 (new install with zeroing out the drive as usual). >twice after leaving the puter idling with logic 7.1.1 up for less than >1 hour the gray screen (with the in 7 languages appeared with the >message of you must do a hard restart) has appeared. then a complete >power down (computer just shut off in the midst of running on a loop); >calendar (set itself to 4/15/1968) needed to be reset on reboot. >nothing else shut down so it wasn't a power issue from outside the >mac. ideas?This is a multi-part message in MIME format. ------=_NextPart_000_005C_01C62290.5BBE21E0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Original question with solutions below: Q: Can someone sus out my Wavelab problem? I have an original 3.01 disk with a 3.03 patch disk too. Neither will allow it to start up in XP. Is this version just too old? When starting Wavelab it gets into the program then stops instantly with: "This application has failed to start because HypGui.dll was not found. Reinstalling the application may fix this problem." Needless to say it didn't. What is the solution? Answer from Chris Ludwig: HI Tom, Do you have any third party VST plug ins? If so move the VST plug ins directory. Usually it will be C:/Program=20 Files/Steinberg/VStplugins. Drag the whole directory to you desktop and=20 see if it starts. Chris Answer from Steinberg: Hi Tom,=20 Looks like you will need to upgrade to WaveLab 6. It has just been = announced and will be shipping in the middle of next month. The upgrade = will cost $299.99, and will also requre the purchase of a $30 Steinberg = Key if you don't already have one from a different Steinberg product Regards, The Steinberg Users.com team www.steinbergupgrades.com Chris solved the problem in twelve hours and it probably took him one = minute. I waited three days for Steinberg's solution which is not = acceptable. I'm not sure why I ever ask tech support for anything these days. = Thanks again Chris for knowing it all. We all should give you our = business! = = chris@adkproaudio.com Tom ------=_NextPart_000_005C_01C62290.5BBE21E0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Original question with solutions=20 below: Q: Can someone sus out my Wavelab = problem? I=20 have an original 3.01 disk with a 3.03 patch = disk=20 too. Neither will allow it to start up in XP. = Is this=20 version just too old? When starting Wavelab it gets into the = program then=20 stops instantly with: "This application has = failed to=20 start because HypGui.dll was not found. = Reinstalling the=20 application may fix this problem." Needless = to say it=20 didn't. What is the solution? Answer from Chris Ludwig: HI Tom, Do you have any third party VST plug ins? If so move = the VST=20 plug ins directory. Usually it will be C:/Program=20 Files/Steinberg/VStplugins. Drag the whole directory to you desktop = and=20 see if it starts. Chris Answer from Steinberg: Hi Tom, Looks like you will need to upgrade to = WaveLab=20 6. It has just been announced and will be shipping in the middle = of next=20 month. The upgrade will cost $299.99, and will also requre = the=20 purchase of a $30 Steinberg Key if you don't already have one from a = different=20 Steinberg product Regards, The Steinberg Users.com = team <A=20 href=3D"http://www.steinbergupgrades.com">www.steinbergupgrades.com</= FONT> Chris solved the problem in twelve = hours and it=20 probably took him one minute. I waited three days for Steinberg's = solution=20 which is not acceptable. I'm not sure why I ever ask tech = support for=20 anything these days. Thanks again Chris for knowing it = all. We all=20 should give you our business! &nbs= p; &nbs p; &nbs p= ; &nbsp ; &nbsp ;= &= nbsp; & nbsp; & n= bsp; &n bsp; &n b= sp; &nb sp; &nb s= p; &nbs p; &nbs p= ; &nbsp ; &nbsp ;= &= nbsp; & nbsp; & n= bsp;=20 chris@adkproaudio.com</D= IV> Tom ------=_NextPart_000_005C_01C62290.5BBE21E0--Well, their check didn't bounce so I couldn't complain too much. I'm not patient enough to teach people lessons in audio, if you want it that bad just don't tell anyone I did it. TCB "erlilo" <erlilo@online.no> wrote: >You should used the amplifier volume to blow their ears and heart to hell. >It's the only thing that's doing that kind of people happy;-) > >Erling > >"TCB" <nobody@ishere.com> skrev i melding news:43d7f726$1@linux... >> >> I once did a post-production project (I don't master, I'm too deaf for >> that, >> I just do post-pro so people can get CDs to duplication houses) in which >> I got every single last bit of volume I could possibly get for a loud, >> punky >> rock band. They wanted more. I said I couldn't do it without making it >> sound >> like hell. They insisted. I agreed to do the work if and only if a) my >> name >> would be nowhere on the CD and b) they would never tell anyone I had done >> such horrible things. >> >> TCB >> >> "Don Nafe" <dnafe@magma.ca> wrote: >>>Well as long as you guys are in sync, sonically speaking, then forge >>>ahead! >>> >>>It's when the client, who has no fucking clue as to what they are doing >> >>>insists their $0.02 are absolutely right and as the hired help you are >>>obligated to acquiesce...while quietly (but quickly) removing your name >> from >>>every aspect of this abomination. ARGH! >>> >>>Don >>> >>> >>>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message >>>news:43d7c3c6$1@linux... >>>> The further along this mix gets, the more the client is saying things >> like >>>> "ya' know", this is sounding so good to me that I think I'm going to get >>>> *this or that* song to *so-and-so*. All of these so-and-so's are DJ's >> he >>>> knows on indy stations/ NPR affiliates.......and one of them is program >>>> director on a major commercial station. He's got a lot of connections >> and >>>> family clout. I don't know if he has *that* much clout >>>> or if any of this will happen but if it does, my name is going to be all >>>> over this thing...recording, mixing and mastering engineer plus >>>> executive >>>> co-producer...so I'm sweatin a little here. >>>> >>>> ;o} >>>> >>>> "Don Nafe" <dnafe@magma.ca> wrote in message news:43d7c0aa$1@linux... >>>>> > The verdict, IMO, is to save yourself lots of wailing, gnashing of >>>> teeth, >>>>> > rending of garments and tearing of hair and make sure your client has >> a >>>>> > mastering budget. >>>>> > >>>>> > ;o) >>>>> > >>>>> >>>>> So true...I hate quasi-mastering >>>>> >>>>> >>>> >>>> >>> >>> >> > >It could also be a bad battery??? Just thinking out loud. James "James McCloskey" <excelsm@hotmail.com> wrote: > >Turn off all energy saver stuff. Go to system preferences, energy saver, >unlock it if necessary, set sleep options to Never. Then lock it be fore >closing the window. > >I hope this helps! > >James > >rick <parnell68@hotmail.com> wrote: >>installed 10.4.3 (new install with zeroing out the drive as usual). >>twice after leaving the puter idling with logic 7.1.1 up for less than >>1 hour the gray screen (with the in 7 languages appeared with the >>message of you must do a hard restart) has appeared. then a complete >>power down (computer just shut off in the midst of running on a loop); >>calendar (set itself to 4/15/1968) needed to be reset on reboot. >>nothing else shut down so it wasn't a power issue from outside the >>mac. ideas? >"Tom Bruhl" <arpegio@comcast.net> wrote: >Looks like you will need to upgrade to WaveLab 6. LOL! How typical. Nice work Chris. Cheers, Kim.I agree with that. around the same period my bass player had one of those and it was pretty incredible. erlilo wrote: >I was just smiling up to my ears when reading this. It really tell us some >"bad info" that we don't "wish" to hear. I remember our basplayer in the >early sixties. He had build a Heatkit amplifier-set(I believe it was only 10 >watts) that he used on all concerts we had for three years, to feed two >twelve inches SEAS speakers. It costed him nearly nothing and sounded really >wonderful with his Fender Jazzbas. When playing places with over thousand on >the dancing floor, no one had problems to hear him. All the speaker stuff we >used in the sixties and seventies was homemade, for the most with English >and Danish speakers that we get imported, just to save big money. > >Erling > > >"jef knight" <thestudio@allknightmusic.com> skrev i melding >news:43d8ea43@linux... > > >>do any of you get the www.record-producer.com stuff? over the last couple >>of week the guy there has been doing, what I consider, a phoney shoot out >>of preamps and mic's. he puts up blind files of a shure sm58 in a $5 home >>made pre agains a U-87 in UA-LA610 and behringer ultragain. the >>conclusion? you can't tell the good from the bad so don't bother spending >>the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071 >> >>I could wrong, but this site is full of bad info >> >>DJ wrote: >> >> >> >>>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. >>>I >>>used it on a vocal session tonight. This thing reminds me of my first time >>>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and >>>torquey.....absolutely massive amounts of gain available. It was sort of a >>>glued to the seat (or the clip LED) experience to get this thing under >>>control for the initial level check. I couldn't believe how sensitive and >>>powerful this pre was. Once I rethought my gain staging, it was very >>>smooth, >>>big and open. I can see how this could take ribbon mics into whole new >>>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very >>>easy >>>to stand 10 feet away from the mic in the room with the mic settings at >>>12:00 and have an extremely hot signal when speaking at normal levels. A >>>closer look revealed that 12:00 settings, though only half the available >>>gain, are really sending some signal out of this thing. The only ribbon I >>>have here is a NADY RSM2 at the moment. Not the most stellar example of a >>>ribbon mic, but great on fiddles and guitar cabs (my primary use for it) >>>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the >>>SE >>>Gemini through this preamp. >>> >>>http://www.heathersullivan.com/ >>> >>>She's used to working in the big studios on the big toys in LA and NYC. >>>She >>>was completely floored by the Gemini (I didn't tell her how much it cost >>>;o). I had to be really careful with it on this preamp due to the >>>sensitivity and low level detail of the mic and the incredibly fast rise >>>time of the ADL 600, but the result was wonderful. This is a big, heavy >>>tube preamp with 600V rails and vents all over it and cooling fins on the >>>back panel. This preamp seemed to increase the audible frequency range of >>>the mic. There were comparisons made tonight by folks at the session who >>>have some pretty extensive experience with the AKG C12 and the ELAM 251. >>>I've got very little experience with these old mics so I wouldn't know. >>>What >>>I do know is that depending on how the preamp was gainstaged and the >>>impedance was set, the timbre of the signal through the mic could change >>>pretty noticably and I didn't dial in anything that sounded bad to my >>>ears. >>>. >>> >>>I can't wait to try this preamp on some other mics. I've got a fairly >>>decent >>>rack of high end pre's here and I thought I was set for life as far as >>>preamps go. Now I'm not so sure. >>> >>>Deej >>> >>> >>> >>> >>> > > > >Stone the crows????......I like the sound of it...good expletive without being personally offensive. We don't have a lot of those over here. In fact, I can't think of even one at the moment. ;o) "Kim" <hiddensounds@hotmail.com> wrote in message news:43d93639$1@linux... > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >plus....he says things like "strewth"......whatever that means. > > It's a bit like "Stone the crows!" ;o) > > Cheers, > Kim.That's how I hear it too. I've got everything from crap to gold but it really comes down to the right tools for the job. I'm often suprised when the really good gear makes something sound crappy. DJ wrote: >There is much less difference between the sound of preamps than there is the >sound of microphones. On the 3D audio shootout, some of the less expensive >preamps stood up well against the more expensive variety. the differences >really come to light when pairing them with different mics or DI sources and >different situations involving source proximity. If a preamp doesn't have >headroom issues or noise issues, then, to me, preamps are a bit like >EQ's.and learning which preamps will work best with which mic on a given >source is the secret to getting your money's worth if you're spending big >money. > >What's different about this preamp, to my ears, is it's smoothness and high >gain caabilities. It's also got a line in/out so that it can be strapped >across a mix bus. I'm going to experiment with it in this way inserted >pre-NoLimit. > >Sould be inteesting. > >"jef knight" <thestudio@allknightmusic.com> wrote in message >news:43d8ea43@linux... > > >>do any of you get the www.record-producer.com stuff? over the last >>couple of week the guy there has been doing, what I consider, a phoney >>shoot out of preamps and mic's. he puts up blind files of a shure sm58 >>in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain. >>the conclusion? you can't tell the good from the bad so don't bother >>spending the money. sheesh. >> >> >http://www.record-producer.com/learn.cfm?a=3071 > > >>I could wrong, but this site is full of bad info >> >>DJ wrote: >> >> >> >>>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps >>> >>> >here. I > > >>>used it on a vocal session tonight. This thing reminds me of my first >>> >>> >time > > >>>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and >>>torquey.....absolutely massive amounts of gain available. It was sort of >>> >>> >a > > >>>glued to the seat (or the clip LED) experience to get this thing under >>>control for the initial level check. I couldn't believe how sensitive and >>>powerful this pre was. Once I rethought my gain staging, it was very >>> >>> >smooth, > > >>>big and open. I can see how this could take ribbon mics into whole new >>>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very >>> >>> >easy > > >>>to stand 10 feet away from the mic in the room with the mic settings at >>>12:00 and have an extremely hot signal when speaking at normal levels. A >>>closer look revealed that 12:00 settings, though only half the available >>>gain, are really sending some signal out of this thing. The only ribbon >>> >>> >I > > >>>have here is a NADY RSM2 at the moment. Not the most stellar example of a >>>ribbon mic, but great on fiddles and guitar cabs (my primary use for it) >>>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the >>> >>> >SE > > >>>Gemini through this preamp. >>> >>>http://www.heathersullivan.com/ >>> >>>She's used to working in the big studios on the big toys in LA and NYC. >>> >>> >She > > >>>was completely floored by the Gemini (I didn't tell her how much it cost >>>;o). I had to be really careful with it on this preamp due to the >>>sensitivity and low level detail of the mic and the incredibly fast rise >>>time of the ADL 600, but the result was wonderful. This is a big, heavy >>>tube preamp with 600V rails and vents all over it and cooling fins on >>> >>> >the > > >>>back panel. This preamp seemed to increase the audible frequency range of >>>the mic. There were comparisons made tonight by folks at the session who >>>have some pretty extensive experience with the AKG C12 and the ELAM 251. >>>I've got very little experience with these old mics so I wouldn't know. >>> >>> >What > > >>>I do know is that depending on how the preamp was gainstaged and the >>>impedance was set, the timbre of the signal through the mic could change >>>pretty noticably and I didn't dial in anything that sounded bad to my >>> >>> >ears. > > >>>. >>> >>>I can't wait to try this preamp on some other mics. I've got a fairly >>> >>> >decent > > >>>rack of high end pre's here and I thought I was set for life as far as >>>preamps go. Now I'm not so sure. >>> >>>Deej >>> >>> >>> >>> >>> >>> > > > >....or the other classic... "Blimey teddy!!". ;o) Mind you you don't get much of blimey teddy these days, or stone the crows, or, in fact, strewth all that often. Strewth would be the most used. Personally I like to make as much use as I can of Aussie slang. ;o) Hence my standard response to "How ya goin'?" which is "Yeh, not too shabby mate...". ;o) Cheers, Kim. "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Stone the crows????......I like the sound of it...good expletive without >being personally offensive. We don't have a lot of those over here. In fact, >I can't think of even one at the moment. > >;o) > > >"Kim" <hiddensounds@hotmail.com> wrote in message news:43d93639$1@linux... >> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> >plus....he says things like "strewth"......whatever that means. >> >> It's a bit like "Stone the crows!" ;o) >> >> Cheers, >> Kim. > >Man I wish we could track using plugs on the inserts in Paris. I was watching the Charles Dye "Mix It Like a Pro" DVD samples and one his lessons deals with "tracking" with tracking plugins or better analog channel plugs. He stated that if you track with a analog tracking plugin and then have that same plugin on the mix bus, this will give you the same kind of harmonic distortion we like with mixing and tracking on a analog console. So, with these new Waves(SSL G/E series) channel strips & Mix buss Conmpressor(Which I'm very familiar with) using the Charles Dye example (above) would yeild some amazing results not only in Paris, but any DAW(Logic, SX/Nuendo,DP, PT, Sonar,and Samplitude.) Note: A friend of in myarea uses Samplitude 8.X and I have to say, that Samplitude has to be one thee best sounding DAW's I've rean across. Blew me away!! Lamont "LaMont" <jjdpro@ameritech.net> wrote: > >Oh Boy.. Have a look.. http://www.sonicstate.com/news/shownews.cfm?newsid=2647 > >This looks and sound great!!I've been using two Phonic 2500Max power amps for mains at Live gigs and they have been rock solid... They were recomended by someone I know who also uses Phonic's grear and really liked the quality. I would think their Mixers would be of good quality also. It seems everyone is adding firewire and including Cubase (or some other app) , Mackie and Alesis did too... so mixers are going dual purpose. "erlilo" <erlilo@online.no> wrote: >...and the Behringers. Plenty of new mixer stuff too to fire up;-)... > >Erling > >"LaMont" <jjdpro@ameritech.net> skrev i melding news:43d86fa4$1@linux... >> >> My sources told me last year that the phonics mixer line will rule!! they >> stated that they sound great(Think Mackie Onyx). these Chinese companies >> are infact the OEMs for many of the American products, like Makie, Alesis. >> very good Pres, FX..And FIREWIRE!!!At a crazy price-point.. >> I'm sold.. >> >> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>> >>>One more! >>> >>> http://210.243.85.5/partner/modules/product_explor/products_ detail.php?product_id=141# >>> >>>Any thoughts on Phonic mixers? >>> >>>James >>> >>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>> >>>>In case anybody missed this. >>>> >>>>Mackie >>>> >>>> http://namm.harmony-central.com/WNAMM06/Content/Mackie/PR/Sa tellite-System.html >>>> >>>>PreSonus >>>> >>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FireStudio.html >>>> >>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ DigiMax-FS.html >>>> >>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FaderPort.html >>>> >>>>James >>>> >>>> >>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>> >>>>>More stuff! >>>>> >>>>>I wonder if this would work with Paris XP in real time??? >>>>> http://namm.harmony-central.com/WNAMM06/Content/MuseResearch /PR/UniWire.html >>>>> >>>>>Yamaha USB mixing studio >>>>> http://namm.harmony-central.com/WNAMM06/Content/Yamaha/PR/MW 10-MW12.html >>>>> >>>>>Violet Audio ADP61" 24bit 192kHz Studio AV Preamp Decoder >>>>> http://namm.harmony-central.com/WNAMM06/Content/VioletAudio/ PR/ADP61.html >>>>> >>>>>Talk back, headphone >>>>> http://namm.harmony-central.com/WNAMM06/Content/CME/PR/Matri x-Series-Mixers.html >>>>> >>>>>Roland VP-550 Vocal Designer Keyboard >>>>> http://namm.harmony-central.com/WNAMM06/Content/Roland/PR/VP -550.html >>>>> >>>>>BOSS Announces RC-50 Loop Station >>>>> http://namm.harmony-central.com/WNAMM06/Content/Boss/PR/RC-5 0.html >>>>> >>>>>Akai Professional Debuts New MPC2500 Music Production Center >>>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/MPC2 500.html >>>>> >>>>>Akai Professional Debuts EWI4000S MIDI Wind Controller >>>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/EWI4 000S.html >>>>> >>>>>Open Labs Unveils MiKo, The First Professional, Portable Media >>>>>Workcenter >>>>> http://namm.harmony-central.com/WNAMM06/Content/OpenLabs/PR/ MiKo.html >>>>> >>>>>I had to laugh when I saw the Presonus FireBox sticking out of the front >>>>>of the Miko, it look shotty! If it works well, that's all that >>>>>matters. >>>>> It cost 2K. >>>>> >>>>>James >>>>> >>>>> >>>>> >>>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>>> >>>>>>Some interesting hardware products were announced today at NAMM. >>>>>> >>>>>>Saffire Pro 26i/o >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Focusrite/PR /Saffire-Pro-26i-o.html >>>>>> >>>>>>http://mackie.com/comingsoon06.html >>>>>> >>>>>>U-Control, phono amp, and USB mixers >>>>>>http://behringer.com/ >>>>>> >>>>>>Alesis IO 14 & 26 >>>>>> >>>>>>alesis.com >>>>>> >>>>>>Tascam Guitar AMP, also Tascam GVI >>>>>> >>>>>>http://tascam.com/Products/ga100cd.html >>>>>> >>>>>> >>>>>>I hope we can get some good show reports from Dave and others! >>>>>> >>>>>>James >>>>> >>>> >>> >> > >I've been meaning to write about this for a few days but have spent literally every minute of the past few days either at work, playing shows, or blind drunk. So . . . To me this really product is not much news, and if it were any other two companies it wouldn't even be news at all. As I said before, DSP systems are there for people who are willing to pay the big bucks to track with almost no latency. Native systems are for everyone else. This is just a PCI-E native system. That matters to Apple because the reports are that their next series of desktops won't have anything but PCI-E slots. As far as the "grand strategy" stuff, and if Apple is threatening Digi or whatever. Think for a minute about how much money Apple makes from people who make music on Macs. Then think about how much money they make from people who buy iPods and download from iTunes. Then think about the fact that Jobs is on the board at Disney and the new iPods do video. Do you think Apple *as a company* is fundamentally concerned with pro audio users? Would they like to make money there? Sure. But would they trade 10% more of the pro audio market for 10% of the MP3 player market? I wouldn't think so. Thus, to me this is a very nice, and probably very expensive, native system. Not fundamentally different than a very nice RME system on either platform. TCB "LaMont" <jjdpro@ameritech.net> wrote: > >http://www.sonicstate.com/news/shownews.cfm?newsid=2657 > >Okay, so what does this product mean? >1)Is this a Direct shot over Digidesign's bow? > >2) Does this mean Apple and Apogee are going to go head up with the Big kohuna >AKA Digidesign?? > >3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's cpu(s) >handle the recording and plugins? > >4)* With all the "whining" I have been doing about the lack of nay DAW manfacturer >"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP >that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking about??? > >If so, then, I stand corrected..AND, Once again, proves that the real forward >thinkers in the DAW world are right here in our little forum..You guys Rock!!!.. >Thanks for letting me have my "State of The DAW" tantrum of sorts...:) > >Interesting developments..Wow...Hi Tom, The HypGui.dll file is part of the UAD plug ins. MOre than likely if you put all the plug ins but those back in the directory Wavelab will work. Wavelab 3 will also freak out with VSTi also. You might try making a new VST folder and copying the plug ins that work into that and point Wavelab to that one. I'm not sure what version of the driver you are using but I know some older version had trouble with Wavelab in general. FYI the HypGUI.dll is by Hyperactive Audio Systems Inc. which is one of the main UAD guys companies. PS: The upgrade to Wavelab 6 will be a very good one by the way...:) Chris Tom Bruhl wrote: > Original question with solutions below: > > Q: Can someone sus out my Wavelab problem? I have an > original 3.01 disk with a 3.03 patch disk too. Neither > will allow it to start up in XP. Is this version just too old? > When starting Wavelab it gets into the program then stops > instantly with: "This application has failed to start because > HypGui.dll was not found. Reinstalling the application may > fix this problem." Needless to say it didn't. > > What is the solution? > > Answer from Chris Ludwig: > > HI Tom, > Do you have any third party VST plug ins? > If so move the VST plug ins directory. Usually it will be C:/Program > Files/Steinberg/VStplugins. Drag the whole directory to you desktop and > see if it starts. > Chris > > > Answer from Steinberg: > > Hi Tom, > > Looks like you will need to upgrade to WaveLab 6. It has just been > announced and will be shipping in the middle of next month. The upgrade > will cost $299.99, and will also requre the purchase of a $30 Steinberg > Key if you don't already have one from a different Steinberg product > > Regards, > The Steinberg Users.com team > www.steinbergupgrades.com <http://www.steinbergupgrades.com> > > > > > > Chris solved the problem in twelve hours and it probably took him one > minute. I waited three days for Steinberg's solution which is not > acceptable. > I'm not sure why I ever ask tech support for anything these days. > Thanks again Chris for knowing it all. We all should give you our business! > > chris@adkproaudio.com <mailto:chris@adkproaudio.com> > Tom -- Chris Ludwig ADK chrisl@adkproaudio.com <mailto:chrisl@adkproaudio.com> www.adkproaudio.com <http://www.adkproaudio.com/> (859) 635-5762That for your input Thad..That clear a lot questions I had.. I just could not figure out the product's mission. No on-board DSP, just a router and Mixer.. LaMOnt "TCB" <nobody@ishere.com> wrote: > >I've been meaning to write about this for a few days but have spent literally >every minute of the past few days either at work, playing shows, or blind >drunk. So . . . > >To me this really product is not much news, and if it were any other two >companies it wouldn't even be news at all. As I said before, DSP systems >are there for people who are willing to pay the big bucks to track with almost >no latency. Native systems are for everyone else. This is just a PCI-E native >system. That matters to Apple because the reports are that their next series >of desktops won't have anything but PCI-E slots. > >As far as the "grand strategy" stuff, and if Apple is threatening Digi or >whatever. Think for a minute about how much money Apple makes from people >who make music on Macs. Then think about how much money they make from people >who buy iPods and download from iTunes. Then think about the fact that Jobs >is on the board at Disney and the new iPods do video. Do you think Apple >*as a company* is fundamentally concerned with pro audio users? Would they >like to make money there? Sure. But would they trade 10% more of the pro >audio market for 10% of the MP3 player market? I wouldn't think so. > >Thus, to me this is a very nice, and probably very expensive, native system. >Not fundamentally different than a very nice RME system on either platform. > > >TCB > > >"LaMont" <jjdpro@ameritech.net> wrote: >> >>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >> >>Okay, so what does this product mean? >>1)Is this a Direct shot over Digidesign's bow? >> >>2) Does this mean Apple and Apogee are going to go head up with the Big >kohuna >>AKA Digidesign?? >> >>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >cpu(s) >>handle the recording and plugins? >> >>4)* With all the "whining" I have been doing about the lack of nay DAW manfacturer >>"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP >>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking about??? >> >>If so, then, I stand corrected..AND, Once again, proves that the real forward >>thinkers in the DAW world are right here in our little forum..You guys Rock!!!.. >>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >> >>Interesting developments..Wow... >Basically a Mac specific (and OSX optimized) low latency host card for Apogee convertersas I see it. "LaMont" <jjdpro@ameritech.net> wrote in message news:43d9ab94$1@linux... > > That for your input Thad..That clear a lot questions I had.. I just could > not figure out the product's mission. No on-board DSP, just a router and > Mixer.. > LaMOnt > > "TCB" <nobody@ishere.com> wrote: > > > >I've been meaning to write about this for a few days but have spent literally > >every minute of the past few days either at work, playing shows, or blind > >drunk. So . . . > > > >To me this really product is not much news, and if it were any other two > >companies it wouldn't even be news at all. As I said before, DSP systems > >are there for people who are willing to pay the big bucks to track with > almost > >no latency. Native systems are for everyone else. This is just a PCI-E native > >system. That matters to Apple because the reports are that their next series > >of desktops won't have anything but PCI-E slots. > > > >As far as the "grand strategy" stuff, and if Apple is threatening Digi or > >whatever. Think for a minute about how much money Apple makes from people > >who make music on Macs. Then think about how much money they make from people > >who buy iPods and download from iTunes. Then think about the fact that Jobs > >is on the board at Disney and the new iPods do video. Do you think Apple > >*as a company* is fundamentally concerned with pro audio users? Would they > >like to make money there? Sure. But would they trade 10% more of the pro > >audio market for 10% of the MP3 player market? I wouldn't think so. > > > >Thus, to me this is a very nice, and probably very expensive, native system. > >Not fundamentally different than a very nice RME system on either platform. > > > > > >TCB > > > > > >"LaMont" <jjdpro@ameritech.net> wrote: > >> > >>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 > >> > >>Okay, so what does this product mean? > >>1)Is this a Direct shot over Digidesign's bow? > >> > >>2) Does this mean Apple and Apogee are going to go head up with the Big > >kohuna > >>AKA Digidesign?? > >> > >>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's > >cpu(s) > >>handle the recording and plugins? > >> > >>4)* With all the "whining" I have been doing about the lack of nay DAW > manfacturer > >>"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP > >>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking > about??? > >> > >>If so, then, I stand corrected..AND, Once again, proves that the real forward > >>thinkers in the DAW world are right here in our little forum..You guys > Rock!!!.. > >>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) > >> > >>Interesting developments..Wow... > > >"LaMont" <jjdpro@ameritech.net> wrote: > >That for your input Thad..That clear a lot questions I had.. I just could >not figure out the product's mission. No on-board DSP, just a router and >Mixer.. >LaMOnt Apple usually gives third parties their space and support to develop products. Maybe they figure that their are plenty of options out there already. There's T.C. electronic, CreamWare, UA, lexicon, Receptor,and another DSP box I can't think of the name of. You ask what it means, it means, a DSP mixer router will free up lots of CPU horsepower for lots of plugins. My guess is Apple is planning a quad dual core machine, that's 8 processors! Think July 2006-2007. Of corse, I'm speculating. James > >"TCB" <nobody@ishere.com> wrote: >> >>I've been meaning to write about this for a few days but have spent literally >>every minute of the past few days either at work, playing shows, or blind >>drunk. So . . . >> >>To me this really product is not much news, and if it were any other two >>companies it wouldn't even be news at all. As I said before, DSP systems >>are there for people who are willing to pay the big bucks to track with >almost >>no latency. Native systems are for everyone else. This is just a PCI-E native >>system. That matters to Apple because the reports are that their next series >>of desktops won't have anything but PCI-E slots. >> >>As far as the "grand strategy" stuff, and if Apple is threatening Digi or >>whatever. Think for a minute about how much money Apple makes from people >>who make music on Macs. Then think about how much money they make from people >>who buy iPods and download from iTunes. Then think about the fact that Jobs >>is on the board at Disney and the new iPods do video. Do you think Apple >>*as a company* is fundamentally concerned with pro audio users? Would they >>like to make money there? Sure. But would they trade 10% more of the pro >>audio market for 10% of the MP3 player market? I wouldn't think so. >> >>Thus, to me this is a very nice, and probably very expensive, native system. >>Not fundamentally different than a very nice RME system on either platform. >> >> >>TCB >> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>> >>>Okay, so what does this product mean? >>>1)Is this a Direct shot over Digidesign's bow? >>> >>>2) Does this mean Apple and Apogee are going to go head up with the Big >>kohuna >>>AKA Digidesign?? >>> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>cpu(s) >>>handle the recording and plugins? >>> >>>4)* With all the "whining" I have been doing about the lack of nay DAW >manfacturer >>>"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >about??? >>> >>>If so, then, I stand corrected..AND, Once again, proves that the real forward >>>thinkers in the DAW world are right here in our little forum..You guys >Rock!!!.. >>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>> >>>Interesting developments..Wow... >> >"TCB" <nobody@ishere.com> wrote: > >I've been meaning to write about this for a few days but have spent literally >every minute of the past few days either at work, playing shows, or blind >drunk. So . . . > >To me this really product is not much news, and if it were any other two >companies it wouldn't even be news at all. As I said before, DSP systems >are there for people who are willing to pay the big bucks to track with almost >no latency. Native systems are for everyone else. This is just a PCI-E native >system. That matters to Apple because the reports are that their next series >of desktops won't have anything but PCI-E slots. I think it's news in the audio world any time Apogee comes out with a new product. Apogee is significant, their converters are a professional industry standard. Converters are subjective. > >As far as the "grand strategy" stuff, and if Apple is threatening Digi or >whatever. Think for a minute about how much money Apple makes from people >who make music on Macs. Then think about how much money they make from people >who buy iPods and download from iTunes. Then think about the fact that Jobs >is on the board at Disney and the new iPods do video. Do you think Apple >*as a company* is fundamentally concerned with pro audio users? Would they >like to make money there? Sure. But would they trade 10% more of the pro >audio market for 10% of the MP3 player market? I wouldn't think so. > >Thus, to me this is a very nice, and probably very expensive, native system. >Not fundamentally different than a very nice RME system on either platform. > > >TCB I don't think it's that cut and dry. I don't think it's this part of Apple's business vs. another part of their business. I think Apple is serious about pro Audio. The apogee thing is an example of it, and I think there will be more to come. I don't think Apple will fire Digi, I think it would take Digi firing Apple to really get stuff started. Just my .02 James > > >"LaMont" <jjdpro@ameritech.net> wrote: >> >>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >> >>Okay, so what does this product mean? >>1)Is this a Direct shot over Digidesign's bow? >> >>2) Does this mean Apple and Apogee are going to go head up with the Big >kohuna >>AKA Digidesign?? >> >>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >cpu(s) >>handle the recording and plugins? >> >>4)* With all the "whining" I have been doing about the lack of nay DAW manfacturer >>"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP >>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking about??? >> >>If so, then, I stand corrected..AND, Once again, proves that the real forward >>thinkers in the DAW world are right here in our little forum..You guys Rock!!!.. >>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >> >>Interesting developments..Wow... >Plenty of new "Chinese" mixers and other stuff out there that's using Firewire or USB2. Also condenser microphones are popping up with USB. It's seems to be really new times for the recording computerpeople. Erling "rich" <studiodog_99@yahoo.com> skrev i melding news:43d94c11$1@linux... > > I've been using two Phonic 2500Max power amps for mains at Live gigs and > they > have been rock solid... They were recomended by someone I know who also > uses > Phonic's grear and really liked the quality. I would think their Mixers > would be of good quality also. It seems everyone is adding firewire and > including Cubase (or some other app) , Mackie and Alesis did too... so > mixers > are going dual purpose. > > "erlilo" <erlilo@online.no> wrote: >>...and the Behringers. Plenty of new mixer stuff too to fire up;-)... >> >>Erling >> >>"LaMont" <jjdpro@ameritech.net> skrev i melding news:43d86fa4$1@linux... >>> >>> My sources told me last year that the phonics mixer line will rule!! >>> they >>> stated that they sound great(Think Mackie Onyx). these Chinese companies >>> are infact the OEMs for many of the American products, like Makie, >>> Alesis. >>> very good Pres, FX..And FIREWIRE!!!At a crazy price-point.. >>> I'm sold.. >>> >>> >>> "James McCloskey" <excelsm@hotmail.com> wrote: >>>> >>>>One more! >>>> >>>> http://210.243.85.5/partner/modules/product_explor/products_ detail.php?product_id=141# >>>> >>>>Any thoughts on Phonic mixers? >>>> >>>>James >>>> >>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>> >>>>>In case anybody missed this. >>>>> >>>>>Mackie >>>>> >>>>> http://namm.harmony-central.com/WNAMM06/Content/Mackie/PR/Sa tellite-System.html >>>>> >>>>>PreSonus >>>>> >>>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FireStudio.html >>>>> >>>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ DigiMax-FS.html >>>>> >>>>> http://namm.harmony-central.com/WNAMM06/Content/PreSonus/PR/ FaderPort.html >>>>> >>>>>James >>>>> >>>>> >>>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>>> >>>>>>More stuff! >>>>>> >>>>>>I wonder if this would work with Paris XP in real time??? >>>>>> http://namm.harmony-central.com/WNAMM06/Content/MuseResearch /PR/UniWire.html >>>>>> >>>>>>Yamaha USB mixing studio >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Yamaha/PR/MW 10-MW12.html >>>>>> >>>>>>Violet Audio ADP61" 24bit 192kHz Studio AV Preamp Decoder >>>>>> http://namm.harmony-central.com/WNAMM06/Content/VioletAudio/ PR/ADP61.html >>>>>> >>>>>>Talk back, headphone >>>>>> http://namm.harmony-central.com/WNAMM06/Content/CME/PR/Matri x-Series-Mixers.html >>>>>> >>>>>>Roland VP-550 Vocal Designer Keyboard >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Roland/PR/VP -550.html >>>>>> >>>>>>BOSS Announces RC-50 Loop Station >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Boss/PR/RC-5 0.html >>>>>> >>>>>>Akai Professional Debuts New MPC2500 Music Production Center >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/MPC2 500.html >>>>>> >>>>>>Akai Professional Debuts EWI4000S MIDI Wind Controller >>>>>> http://namm.harmony-central.com/WNAMM06/Content/Akai/PR/EWI4 000S.html >>>>>> >>>>>>Open Labs Unveils MiKo, The First Professional, Portable Media >>>>>>Workcenter >>>>>> http://namm.harmony-central.com/WNAMM06/Content/OpenLabs/PR/ MiKo.html >>>>>> >>>>>>I had to laugh when I saw the Presonus FireBox sticking out of the >>>>>>front >>>>>>of the Miko, it look shotty! If it works well, that's all that >>>>>>matters. >>>>>> It cost 2K. >>>>>> >>>>>>James >>>>>> >>>>>> >>>>>> >>>>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>>>>> >>>>>>>Some interesting hardware products were announced today at NAMM. >>>>>>> >>>>>>>Saffire Pro 26i/o >>>>>>> http://namm.harmony-central.com/WNAMM06/Content/Focusrite/PR /Saffire-Pro-26i-o.html >>>>>>> >>>>>>>http://mackie.com/comingsoon06.html >>>>>>> >>>>>>>U-Control, phono amp, and USB mixers >>>>>>>http://behringer.com/ >>>>>>> >>>>>>>Alesis IO 14 & 26 >>>>>>> >>>>>>>alesis.com >>>>>>> >>>>>>>Tascam Guitar AMP, also Tascam GVI >>>>>>> >>>>>>>http://tascam.com/Products/ga100cd.html >>>>>>> >>>>>>> >>>>>>>I hope we can get some good show reports from Dave and others! >>>>>>> >>>>>>>James >>>>>> >>>>> >>>> >>> >> >> >all the power saver settings were already set to never and locked. thanks On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> wrote: > >Turn off all energy saver stuff. Go to system preferences, energy saver, >unlock it if necessary, set sleep options to Never. Then lock it be fore >closing the window. > >I hope this helps! > >James > >rick <parnell68@hotmail.com> wrote: >>installed 10.4.3 (new install with zeroing out the drive as usual). >>twice after leaving the puter idling with logic 7.1.1 up for less than >>1 hour the gray screen (with the in 7 languages appeared with the >>message of you must do a hard restart) has appeared. then a complete >>power down (computer just shut off in the midst of running on a loop); >>calendar (set itself to 4/15/1968) needed to be reset on reboot. >>nothing else shut down so it wasn't a power issue from outside the >>mac. ideas?Rick, Was this a one time occurrence or do kernel panics (grey screen) happen with any specific application open, or at random? Do you still have the original RAM or have you added any? We've been having random kernel panics and lockups on our dual G4 for over a year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice (the second time crashes had tanked the system drive, so that's been replaced); tried different RAM; removed peripheral devices, etc. We don't have energy saver running here either. The only new advice I've gotten from Apple's forum is to replace the PRAM battery. Seems like a long shot as I'm guessing we have a bad logic board, but at $700 I'm not wanting to replace that just to find out. 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be okay there. Regards, Dedric On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, "rick" <parnell68@hotmail.com> wrote: > all the power saver settings were already set to never and locked. > > thanks > > On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> > wrote: > >> >> Turn off all energy saver stuff. Go to system preferences, energy saver, >> unlock it if necessary, set sleep options to Never. Then lock it be fore >> closing the window. >> >> I hope this helps! >> >> James >> >> rick <parnell68@hotmail.com> wrote: >>> installed 10.4.3 (new install with zeroing out the drive as usual). >>> twice after leaving the puter idling with logic 7.1.1 up for less than >>> 1 hour the gray screen (with the in 7 languages appeared with the >>> message of you must do a hard restart) has appeared. then a complete >>> power down (computer just shut off in the midst of running on a loop); >>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>> nothing else shut down so it wasn't a power issue from outside the >>> mac. ideas? >I too am constantly amazed at how braindead steinberg (canada) support is. they've never been one iota of help on the dozen or so issues I've had. Tom Bruhl wrote: > Original question with solutions below: > > Q: Can someone sus out my Wavelab problem? I have an > original 3.01 disk with a 3.03 patch disk too. Neither > will allow it to start up in XP. Is this version just too old? > When starting Wavelab it gets into the program then stops > instantly with: "This application has failed to start because > HypGui.dll was not found. Reinstalling the application may > fix this problem." Needless to say it didn't. > > What is the solution? > > Answer from Chris Ludwig: > > HI Tom, > Do you have any third party VST plug ins? > If so move the VST plug ins directory. Usually it will be C:/Program > Files/Steinberg/VStplugins. Drag the whole directory to you desktop and > see if it starts. > Chris > > > Answer from Steinberg: > > Hi Tom, > > Looks like you will need to upgrade to WaveLab 6. It has just been > announced and will be shipping in the middle of next month. The > upgrade will cost $299.99, and will also requre the purchase of a $30 > Steinberg Key if you don't already have one from a different Steinberg > product > > Regards, > The Steinberg Users.com team > www.steinbergupgrades.com <http://www.steinbergupgrades.com> > > > > > > Chris solved the problem in twelve hours and it probably took him one > minute. I waited three days for Steinberg's solution which is not > acceptable. > I'm not sure why I ever ask tech support for anything these days. > Thanks again Chris for knowing it all. We all should give you our > business! > > chris@adkproaudio.com <mailto:chris@adkproaudio.com> > Tomi think so too chris. 5 is very nice, but the enhancements in 6 look very promising Chris Ludwig wrote: > Hi Tom, > The HypGui.dll file is part of the UAD plug ins. MOre than likely if > you put all the plug ins but those back in the directory Wavelab will > work. > Wavelab 3 will also freak out with VSTi also. You might try making a > new VST folder and copying the plug ins that work into that and point > Wavelab to that one. I'm not sure what version of the driver you are > using but I know some older version had trouble with Wavelab in general. > > FYI the HypGUI.dll is by Hyperactive Audio Systems Inc. which is one > of the main UAD guys companies. > > PS: The upgrade to Wavelab 6 will be a very good one by the way...:) > > > > Chris > > > Tom Bruhl wrote: > >> Original question with solutions below: >> >> Q: Can someone sus out my Wavelab problem? I have an >> original 3.01 disk with a 3.03 patch disk too. Neither >> will allow it to start up in XP. Is this version just too old? >> When starting Wavelab it gets into the program then stops >> instantly with: "This application has failed to start because >> HypGui.dll was not found. Reinstalling the application may >> fix this problem." Needless to say it didn't. >> >> What is the solution? >> >> Answer from Chris Ludwig: >> >> HI Tom, >> Do you have any third party VST plug ins? >> If so move the VST plug ins directory. Usually it will be C:/Program >> Files/Steinberg/VStplugins. Drag the whole directory to you desktop and >> see if it starts. >> Chris >> >> >> Answer from Steinberg: >> >> Hi Tom, >> >> Looks like you will need to upgrade to WaveLab 6. It has just been >> announced and will be shipping in the middle of next month. The >> upgrade will cost $299.99, and will also requre the purchase of a >> $30 Steinberg Key if you don't already have one from a different >> Steinberg product >> >> Regards, >> The Steinberg Users.com team >> www.steinbergupgrades.com <http://www.steinbergupgrades.com> >> >> >> >> >> >> Chris solved the problem in twelve hours and it probably took him one >> minute. I waited three days for Steinberg's solution which is not >> acceptable. >> I'm not sure why I ever ask tech support for anything these days. >> Thanks again Chris for knowing it all. We all should give you our >> business! >> >> chris@adkproaudio.com <mailto:chris@adkproaudio.com> >> Tom > >"James McCloskey" <excelsm@hotmail.com> wrote: > >"TCB" <nobody@ishere.com> wrote: >> >>I've been meaning to write about this for a few days but have spent literally >>every minute of the past few days either at work, playing shows, or blind >>drunk. So . . . >> >>To me this really product is not much news, and if it were any other two >>companies it wouldn't even be news at all. As I said before, DSP systems >>are there for people who are willing to pay the big bucks to track with >almost >>no latency. Native systems are for everyone else. This is just a PCI-E native >>system. That matters to Apple because the reports are that their next series >>of desktops won't have anything but PCI-E slots. > >I think it's news in the audio world any time Apogee comes out with a new >product. Apogee is significant, their converters are a professional industry >standard. Converters are subjective. Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had announced a deal nobody would be all that thrilled. Becuase it's Apple and Apogee somehow it's a bigger news story. Which is fine, bully for them, I was just pointing out that this "story" has longer legs because of the two companies involved. >> >>As far as the "grand strategy" stuff, and if Apple is threatening Digi or >>whatever. Think for a minute about how much money Apple makes from people >>who make music on Macs. Then think about how much money they make from people >>who buy iPods and download from iTunes. Then think about the fact that Jobs >>is on the board at Disney and the new iPods do video. Do you think Apple >>*as a company* is fundamentally concerned with pro audio users? Would they >>like to make money there? Sure. But would they trade 10% more of the pro >>audio market for 10% of the MP3 player market? I wouldn't think so. >> >>Thus, to me this is a very nice, and probably very expensive, native system. >>Not fundamentally different than a very nice RME system on either platform. >> >> >>TCB > >I don't think it's that cut and dry. I don't think it's this part of Apple's >business vs. another part of their business. I think Apple is serious about >pro Audio. The apogee thing is an example of it, and I think there will >be more to come. I don't think Apple will fire Digi, I think it would take >Digi firing Apple to really get stuff started. > >Just my .02 > >James I certainly don't think Apple WANTS people to quit using them for audio, and I don't expect Digi will move anywhere. However, LaMont was asking a question about "what does this mean for the DAW world" and that necessarily involves other companies. What I find most interesting is not the Apple vs. PC vs. Digi vs. Native or whatever else, but why everyone hates Digi so much. To be perfectly honest I think a healthy amount of that is jealousy. No matter what most of us say, given the choice between a massively tricked out PT rig with lots of I/O and DSP f/x and the bestest bestest native system out there (or even the best PARIS system out there), nearly all of us would have a sudden change of faith and take the Digi hardware. Even I would and I'm much more of a synth/sample guy than a rock'n'roll guy. So that's reason #1. I think reason #2 is there is a perception that Digi uses its place as a "niche monopolist" to abuse their customers, price gouge, and generally behave badly. In its time PARIS was a fantastic competitor to PT because it was cheaper, looked better, and sounded better. It didn't become a truly viable competitor to PT for a bunch of reasons that have been hashed out here ad infinitum, but include the cratering of Ensoniq, the later cratering of E-mu, the fact that St. Croix was a 24 carat arrogant ass at times, increased usability of cheaper native systems, and so on. But what I think people like LaMont are looking for is not Digi getting knocked off the throne or Apple owning the DAW market, but for Digi to have at least one competitor with deep pockets and quality products to at least make Digi behave better. Here's the thing--I don't think that competitor is going to come along. It would be too hard a market to break (PARIS being an example where a similar product superior in many ways never really made a dent) and most people with the money to own big PT rigs don't really want to change all that much even if they do whine about Digi sometimes. So, I think the long term threat to Digi is the simple erosion of their customter base by faster, cheaper, and better native systems. But for the sake of LaMont (and others) I hope I'm wrong and someone is tinkering away right now on a really super DSP system that will sell for $2k and really do something special. TCB > >> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>> >>>Okay, so what does this product mean? >>>1)Is this a Direct shot over Digidesign's bow? >>> >>>2) Does this mean Apple and Apogee are going to go head up with the Big >>kohuna >>>AKA Digidesign?? >>> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>cpu(s) >>>handle the recording and plugins? >>> >>>4)* With all the "whining" I have been doing about the lack of nay DAW >manfacturer >>>"Willing to " to head to toe with Digi. Could this be the Part Native solution/DSP >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >about??? >>> >>>If so, then, I stand corrected..AND, Once again, proves that the real forward >>>thinkers in the DAW world are right here in our little forum..You guys >Rock!!!.. >>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>> >>>Interesting developments..Wow... >> >Thad (My Man) have a beer on me. You spoke my heart to the tee!! Thanks for that great summation.. LAD "TCB" <nobody@ishere.com> wrote: > >"James McCloskey" <excelsm@hotmail.com> wrote: >> >>"TCB" <nobody@ishere.com> wrote: >>> >>>I've been meaning to write about this for a few days but have spent literally >>>every minute of the past few days either at work, playing shows, or blind >>>drunk. So . . . >>> >>>To me this really product is not much news, and if it were any other two >>>companies it wouldn't even be news at all. As I said before, DSP systems >>>are there for people who are willing to pay the big bucks to track with >>almost >>>no latency. Native systems are for everyone else. This is just a PCI-E >native >>>system. That matters to Apple because the reports are that their next series >>>of desktops won't have anything but PCI-E slots. >> >>I think it's news in the audio world any time Apogee comes out with a new >>product. Apogee is significant, their converters are a professional industry >>standard. Converters are subjective. > >Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had >announced a deal nobody would be all that thrilled. Becuase it's Apple and >Apogee somehow it's a bigger news story. Which is fine, bully for them, I >was just pointing out that this "story" has longer legs because of the two >companies involved. > >>> >>>As far as the "grand strategy" stuff, and if Apple is threatening Digi >or >>>whatever. Think for a minute about how much money Apple makes from people >>>who make music on Macs. Then think about how much money they make from >people >>>who buy iPods and download from iTunes. Then think about the fact that >Jobs >>>is on the board at Disney and the new iPods do video. Do you think Apple >>>*as a company* is fundamentally concerned with pro audio users? Would they >>>like to make money there? Sure. But would they trade 10% more of the pro >>>audio market for 10% of the MP3 player market? I wouldn't think so. >>> >>>Thus, to me this is a very nice, and probably very expensive, native system. >>>Not fundamentally different than a very nice RME system on either platform. >>> >>> >>>TCB >> >>I don't think it's that cut and dry. I don't think it's this part of Apple's >>business vs. another part of their business. I think Apple is serious about >>pro Audio. The apogee thing is an example of it, and I think there will >>be more to come. I don't think Apple will fire Digi, I think it would take >>Digi firing Apple to really get stuff started. >> >>Just my .02 >> >>James > >I certainly don't think Apple WANTS people to quit using them for audio, >and I don't expect Digi will move anywhere. However, LaMont was asking a >question about "what does this mean for the DAW world" and that necessarily >involves other companies. > >What I find most interesting is not the Apple vs. PC vs. Digi vs. Native >or whatever else, but why everyone hates Digi so much. To be perfectly honest >I think a healthy amount of that is jealousy. No matter what most of us say, >given the choice between a massively tricked out PT rig with lots of I/O >and DSP f/x and the bestest bestest native system out there (or even the >best PARIS system out there), nearly all of us would have a sudden change >of faith and take the Digi hardware. Even I would and I'm much more of a >synth/sample guy than a rock'n'roll guy. So that's reason #1. I think reason >#2 is there is a perception that Digi uses its place as a "niche monopolist" >to abuse their customers, price gouge, and generally behave badly. In its >time PARIS was a fantastic competitor to PT because it was cheaper, looked >better, and sounded better. It didn't become a truly viable competitor to >PT for a bunch of reasons that have been hashed out here ad infinitum, but >include the cratering of Ensoniq, the later cratering of E-mu, the fact that >St. Croix was a 24 carat arrogant ass at times, increased usability of cheaper >native systems, and so on. > >But what I think people like LaMont are looking for is not Digi getting knocked >off the throne or Apple owning the DAW market, but for Digi to have at least >one competitor with deep pockets and quality products to at least make Digi >behave better. Here's the thing--I don't think that competitor is going to >come along. It would be too hard a market to break (PARIS being an example >where a similar product superior in many ways never really made a dent) and >most people with the money to own big PT rigs don't really want to change >all that much even if they do whine about Digi sometimes. So, I think the >long term threat to Digi is the simple erosion of their customter base by >faster, cheaper, and better native systems. But for the sake of LaMont (and >others) I hope I'm wrong and someone is tinkering away right now on a really >super DSP system that will sell for $2k and really do something special. > > >TCB > >> >>> >>> >>>"LaMont" <jjdpro@ameritech.net> wrote: >>>> >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>> >>>>Okay, so what does this product mean? >>>>1)Is this a Direct shot over Digidesign's bow? >>>> >>>>2) Does this mean Apple and Apogee are going to go head up with the Big >>>kohuna >>>>AKA Digidesign?? >>>> >>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>>cpu(s) >>>>handle the recording and plugins? >>>> >>>>4)* With all the "whining" I have been doing about the lack of nay DAW >>manfacturer >>>>"Willing to " to head to toe with Digi. Could this be the Part Native >solution/DSP >>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >>about??? >>>> >>>>If so, then, I stand corrected..AND, Once again, proves that the real >forward >>>>thinkers in the DAW world are right here in our little forum..You guys >>Rock!!!.. >>>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>>> >>>>Interesting developments..Wow... >>> >> >Ive been recording direct bass tracks with a UA 610 for a couple years on numerous sessions. Ive A to B it with a bunch of mic pre's even a 1272 and the UA does a great job. I was compressing with a Tube Tech and that was the wip but dumped it because thats all I used it for. You should be able to find a used 610 for around $800.00 "Bill Lorentzen" <bill@lorentzen.ws> wrote: >Check the Radial DIs for direct recording. I compared one recently to my >Countryman, and the Radial is slightly better for bass. > >"John" <no@no.com> wrote in message news:43d4fa65$1@linux... >> thanks, i can get the bass sounding good once it's recorded but without a >> good sound to start i can't get the feel right so i'll have to get this >> box fixed. tech21 is at namm so i'll wait till they get back on the 25th. >> Thanks, >> John >> >> Edna wrote: >>> If you're just using it for recording, you might try the free plugin >>> "Baxxpander" - it did wonders for a thin thumpy bass track I had on one >>> tune. >>> Edna >>> "John" <no@no.com> wrote in message news:43d420ae@linux... >>> >>>>Can anyone recommend a killer preamp for bass guitar. I want something >>>>cheap that sounds fantastic. Shouldn't be a problem right? Ideally it >>>>would do Chris Squire distorted, drop octave stuff but hey, I'll be >>>>thrilled just to get a good bass sound. >>>> >>>>I currently have a sans amp for bass but I think it sounds like crap, no >>>>round bottom, weak output, what could be worse? My hero Scott Ambush >>>>plays an Eden Navigator preamp, fed into a QSC 3500 power amp, driving >>>>an Eden 4x10 cabinet but I won't be able to afford that any time soon. >>>> >>>>Anything cheap and good? >>>> >>>>John >>> >>> >I'm considering the upgrade if it has better click and pop removal than WL5 and if it still has .paf support. I don't see anything about Paris audio support in any of the info. What does this spectrum editor llow you do do as far as removing sample rate errors, digital hash etc? I've been thinking about renting a Cedar Audio system or a Weiss DNA1 or for removing hash & trash on a project I've got here for mastering. Deej .. "EK Sound" <spamnot.info@eksoundNO.com> wrote in message news:43d5228e$1@linux... > I sat through the demo on this... the spectrum editor is just nuts! > You can do some seriously crazy editing on this. > > David. > > Chris Ludwig wrote: > > http://www.steinberg.de/ProductPage_sb_wl6_eu.html > > > > Sweet! > >The spectrum editing mode is amazing. You can apply any of Wavelab's available processes to a very narrow frequency range. Simply draw a box around the area and range you want to process. This will be indispensable for surgical editing of P pops, Esses, and problem frequency build-up as you are only editing the frequencies you select. The upgrade is worth it for this feature alone. David. DJ wrote: > I'm considering the upgrade if it has better click and pop removal than WL5 > and if it still has .paf support. I don't see anything about Paris audio > support in any of the info. What does this spectrum editor llow you do do as > far as removing sample rate errors, digital hash etc? > > I've been thinking about renting a Cedar Audio system or a Weiss DNA1 or for > removing hash & trash on a project I've got here for mastering. > > Deej > . > > > > "EK Sound" <spamnot.info@eksoundNO.com> wrote in message > news:43d5228e$1@linux... > >>I sat through the demo on this... the spectrum editor is just nuts! >>You can do some seriously crazy editing on this. >> >>David. >> >>Chris Ludwig wrote: >> >>>http://www.steinberg.de/ProductPage_sb_wl6_eu.html >>> >>>Sweet! >>> > > >WOW!!!...........OK.....so I identify the frequency of a click or pop, then filter it out (or phase invert, etc....whatever) and apply this filter/phase flip to that same frequency over the entire file? with the improved resolution of the waveform editor, this might ctually be an effective way of eliminating sample rate errors and clipping errors a bit more efficiently. I just got off the phone with Steiny sales. The upgrade price from WLv5 to WLv6 is $199.00 US. If it does what I'm hoping, the update would pay for itself in about 30 minutes. ;o) "EK Sound" <spamnot.info@eksoundNO.com> wrote in message news:43da5d80@linux... > The spectrum editing mode is amazing. You can apply any of Wavelab's > available processes to a very narrow frequency range. Simply draw a > box around the area and range you want to process. This will be > indispensable for surgical editing of P pops, Esses, and problem > frequency build-up as you are only editing the frequencies you select. > > The upgrade is worth it for this feature alone. > > David. > > DJ wrote: > > I'm considering the upgrade if it has better click and pop removal than WL5 > > and if it still has .paf support. I don't see anything about Paris audio > > support in any of the info. What does this spectrum editor llow you do do as > > far as removing sample rate errors, digital hash etc? > > > > I've been thinking about renting a Cedar Audio system or a Weiss DNA1 or for > > removing hash & trash on a project I've got here for mastering. > > > > Deej > > . > > > > > > > > "EK Sound" <spamnot.info@eksoundNO.com> wrote in message > > news:43d5228e$1@linux... > > > >>I sat through the demo on this... the spectrum editor is just nuts! > >>You can do some seriously crazy editing on this. > >> > >>David. > >> > >>Chris Ludwig wrote: > >> > >>>http://www.steinberg.de/ProductPage_sb_wl6_eu.html > >>> > >>>Sweet! > >>> > > > > > >Hey there, everyone. It's been a few years since I've been here. I just tried to fire up the ol' PARIS and am having trouble initializing the hardware. When PARIS loads and it says "initializing hardware resources" the clip lights on the Audio Inputs light up on the MEC, but then it reverts to the blinking INTERNAL clock light. The C-16 does nothing. Any ideas? J.R. Taylor Austin, TXreseat the EDS card, remove, clean and reseat the daughterboard, reseat ribbon connectors, remove scherzo drivers and reinstall, turn off all unused ports in bios(usb, serial, parallel), remove all other cards till you get it. remove/reinstall paris that's all i can think of. J.R. Taylor wrote: > Hey there, everyone. It's been a few years since I've been here. I just > tried to fire up the ol' PARIS and am having trouble initializing the > hardware. When PARIS loads and it says "initializing hardware resources" > the clip lights on the Audio Inputs light up on the MEC, but then it reverts > to the blinking INTERNAL clock light. The C-16 does nothing. Any ideas? > > J.R. Taylor > Austin, TX > >"TCB" <nobody@ishere.com> wrote: > >"James McCloskey" <excelsm@hotmail.com> wrote: >> >>"TCB" <nobody@ishere.com> wrote: >>> >>>I've been meaning to write about this for a few days but have spent literally >>>every minute of the past few days either at work, playing shows, or blind >>>drunk. So . . . >>> >>>To me this really product is not much news, and if it were any other two >>>companies it wouldn't even be news at all. As I said before, DSP systems >>>are there for people who are willing to pay the big bucks to track with >>almost >>>no latency. Native systems are for everyone else. This is just a PCI-E >native >>>system. That matters to Apple because the reports are that their next series >>>of desktops won't have anything but PCI-E slots. >> >>I think it's news in the audio world any time Apogee comes out with a new >>product. Apogee is significant, their converters are a professional industry >>standard. Converters are subjective. > >Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had >announced a deal nobody would be all that thrilled. Becuase it's Apple and >Apogee somehow it's a bigger news story. Which is fine, bully for them, I >was just pointing out that this "story" has longer legs because of the two >companies involved. > >>> >>>As far as the "grand strategy" stuff, and if Apple is threatening Digi >or >>>whatever. Think for a minute about how much money Apple makes from people >>>who make music on Macs. Then think about how much money they make from >people >>>who buy iPods and download from iTunes. Then think about the fact that >Jobs >>>is on the board at Disney and the new iPods do video. Do you think Apple >>>*as a company* is fundamentally concerned with pro audio users? Would they >>>like to make money there? Sure. But would they trade 10% more of the pro >>>audio market for 10% of the MP3 player market? I wouldn't think so. >>> >>>Thus, to me this is a very nice, and probably very expensive, native system. >>>Not fundamentally different than a very nice RME system on either platform. >>> >>> >>>TCB >> >>I don't think it's that cut and dry. I don't think it's this part of Apple's >>business vs. another part of their business. I think Apple is serious about >>pro Audio. The apogee thing is an example of it, and I think there will >>be more to come. I don't think Apple will fire Digi, I think it would take >>Digi firing Apple to really get stuff started. >> >>Just my .02 >> >>James > >I certainly don't think Apple WANTS people to quit using them for audio, >and I don't expect Digi will move anywhere. However, LaMont was asking a >question about "what does this mean for the DAW world" and that necessarily >involves other companies. > >What I find most interesting is not the Apple vs. PC vs. Digi vs. Native >or whatever else, but why everyone hates Digi so much. To be perfectly honest >I think a healthy amount of that is jealousy. No matter what most of us say, >given the choice between a massively tricked out PT rig with lots of I/O >and DSP f/x and the bestest bestest native system out there (or even the >best PARIS system out there), nearly all of us would have a sudden change >of faith and take the Digi hardware. Even I would and I'm much more of a >synth/sample guy than a rock'n'roll guy. So that's reason #1. I think reason >#2 is there is a perception that Digi uses its place as a "niche monopolist" >to abuse their customers, price gouge, and generally behave badly. In its >time PARIS was a fantastic competitor to PT because it was cheaper, looked >better, and sounded better. It didn't become a truly viable competitor to >PT for a bunch of reasons that have been hashed out here ad infinitum, but >include the cratering of Ensoniq, the later cratering of E-mu, the fact that >St. Croix was a 24 carat arrogant ass at times, increased usability of cheaper >native systems, and so on. > >But what I think people like LaMont are looking for is not Digi getting knocked >off the throne or Apple owning the DAW market, but for Digi to have at least >one competitor with deep pockets and quality products to at least make Digi >behave better. Here's the thing--I don't think that competitor is going to >come along. It would be too hard a market to break (PARIS being an example >where a similar product superior in many ways never really made a dent) and >most people with the money to own big PT rigs don't really want to change >all that much even if they do whine about Digi sometimes. So, I think the >long term threat to Digi is the simple erosion of their customter base by >faster, cheaper, and better native systems. But for the sake of LaMont (and >others) I hope I'm wrong and someone is tinkering away right now on a really >super DSP system that will sell for $2k and really do something special. > > >TCB > I totally agree with you! I think that is part of the reason some people don't like Apple, it's the high prices and thus perceived arrogance. In the past I've always looked at Apple Hardware kind of like aircraft parts. If you compared aircraft parts to auto parts, the aircraft parts cost a lot more because they make a lot less of them and they use more expensive materials. There kind of like custom made parts. If you take the G5 case as an example, the case is made out of aluminum. All the bends and all the little holes cost time and more money to manufacture. It's hard to find a flaw on those cases, and you'll never find a burr. There not cheap to manufacture, and the quality is high, it's part of their wow factor. PowerBooks were made of of titanium, not everybody needs or wants that. I guess it's different ways of looking at things. I'd sure like to see cheaper Macs. Yes I would take a free fully loaded PT HD 192 system, but one factor is because they are now on par with Paris sound wise. James P.S. I'd also like to see a reasonably priced integrated super DAW! >> >>> >>> >>>"LaMont" <jjdpro@ameritech.net> wrote: >>>> >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>> >>>>Okay, so what does this product mean? >>>>1)Is this a Direct shot over Digidesign's bow? >>>> >>>>2) Does this mean Apple and Apogee are going to go head up with the Big >>>kohuna >>>>AKA Digidesign?? >>>> >>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>>cpu(s) >>>>handle the recording and plugins? >>>> >>>>4)* With all the "whining" I have been doing about the lack of nay DAW >>manfacturer >>>>"Willing to " to head to toe with Digi. Could this be the Part Native >solution/DSP >>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >>about??? >>>> >>>>If so, then, I stand corrected..AND, Once again, proves that the real >forward >>>>thinkers in the DAW world are right here in our little forum..You guys >>Rock!!!.. >>>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>>> >>>>Interesting developments..Wow... >>> >> >Thanks for your suggestions, John. I tried all of that except for messing with the bios. I'm actually not sure how to access the bios on this machine (Compaq Presario). I tried DEL, F1 and F2 (ones that work on other MOBOs). It seems strange that I don't get an error message in PARIS. Also, when I quit PARIS, the Input Clip LEDs light up again. Isn't there a PARIS log file that might help diagnose the problem? I remember seeing that before (back in the day), but I cannot locate it now. Where might I find it? J.R. On 2006-01-27 13:16:27 -0600, John <no@no.com> said: > reseat the EDS card, remove, clean and reseat the daughterboard, reseat > ribbon connectors, remove scherzo drivers and reinstall, turn off all > unused ports in bios(usb, serial, parallel), remove all other cards > till you get it. remove/reinstall paris > > that's all i can think of. > > J.R. Taylor wrote: >> Hey there, everyone. It's been a few years since I've been here. I just >> tried to fire up the ol' PARIS and am having trouble initializing the >> hardware. When PARIS loads and it says "initializing hardware resources" >> the clip lights on the Audio Inputs light up on the MEC, but then it reverts >> to the blinking INTERNAL clock light. The C-16 does nothing. Any ideas? >> >> J.R. Taylor >> Austin, TXHi Guys, I have a fairly new Seagate 120G drive that I used on one small project and I tried mounting it on an older Win98 computer, only to find out it was NTFS. In the past I've always formatted my record drives to FAT32, just just to be consistant with my projects prior to running Paris on XP. Back in the day I used to format new drives in DOS using the format Z/64 command to create specific sector sizes. Now that disk formatting has become so simplified, its easy to not know how the drives are formatted. The Seagate software does not even offer the option to reformat this drive as FAT32 (only FAT16 or NTFS). It does offer byte sizes from 512 to 4K for NTFS. What really offers the best performance for Paris these days? RZ> > Note: A friend of in myarea uses Samplitude 8.X and I have to say, that > Samplitude > has to be one thee best sounding DAW's I've rean across. Blew me away!! > Lamont > You got that right. Although I have owned and used Cubase since 1988, and despite wanting all the nice things that the Yamaha purchase of Steiny will probably yield, once I tried Sam there was no going back. Damn. I hope it really catches on in the US. Bill > > "LaMont" <jjdpro@ameritech.net> wrote: >> >>Oh Boy.. Have a look.. >>http://www.sonicstate.com/news/shownews.cfm?newsid=2647 >> >>This looks and sound great!! >Hi Rick, I think I recall having this problem before on one of my Macs. I believe that the solution was a PRAM reset. As I recall, the previous power saver settings were "remembered" by the PRAM and the new settings did not take effect. Cmd-Option-P-R (Yes, you must hold them all down together) after a restart will clear the PRAM. You MUST hold all four keys down simultaneously and wait for the "chime". I'd recommend holding down until you hear three or four chimes before releasing the keys and allowing your machine to boot. Hope this helps! Mark rick <parnell68@hotmail.com> wrote: >all the power saver settings were already set to never and locked. > >thanks > >On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >wrote: > >> >>Turn off all energy saver stuff. Go to system preferences, energy saver, >>unlock it if necessary, set sleep options to Never. Then lock it be fore >>closing the window. >> >>I hope this helps! >> >>James >> >>rick <parnell68@hotmail.com> wrote: >>>installed 10.4.3 (new install with zeroing out the drive as usual). >>>twice after leaving the puter idling with logic 7.1.1 up for less than >>>1 hour the gray screen (with the in 7 languages appeared with the >>>message of you must do a hard restart) has appeared. then a complete >>>power down (computer just shut off in the midst of running on a loop); >>>calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>nothing else shut down so it wasn't a power issue from outside the >>>mac. ideas? >FYI, I put together a Mac 24 track recording rig last summer which included and Apogee AD16X. Apogee advised that they were unable to perfect the Firewire drivers they had promised for the AD16X and the maximum throughput could only be achieved reliably with lightpipe into an RME ADAT interface on the Mac. They just want to be able sell their card instead of having to refer people to RME. Bill "James McCloskey" <excelsm@hotmail.com> wrote in message news:43da7493$1@linux... > > "TCB" <nobody@ishere.com> wrote: >> >>"James McCloskey" <excelsm@hotmail.com> wrote: >>> >>>"TCB" <nobody@ishere.com> wrote: >>>> >>>>I've been meaning to write about this for a few days but have spent >>>>literally >>>>every minute of the past few days either at work, playing shows, or >>>>blind >>>>drunk. So . . . >>>> >>>>To me this really product is not much news, and if it were any other two >>>>companies it wouldn't even be news at all. As I said before, DSP systems >>>>are there for people who are willing to pay the big bucks to track with >>>almost >>>>no latency. Native systems are for everyone else. This is just a PCI-E >>native >>>>system. That matters to Apple because the reports are that their next > series >>>>of desktops won't have anything but PCI-E slots. >>> >>>I think it's news in the audio world any time Apogee comes out with a new >>>product. Apogee is significant, their converters are a professional >>>industry >>>standard. Converters are subjective. >> >>Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had >>announced a deal nobody would be all that thrilled. Becuase it's Apple and >>Apogee somehow it's a bigger news story. Which is fine, bully for them, > I >>was just pointing out that this "story" has longer legs because of the two >>companies involved. >> >>>> >>>>As far as the "grand strategy" stuff, and if Apple is threatening Digi >>or >>>>whatever. Think for a minute about how much money Apple makes from >>>>people >>>>who make music on Macs. Then think about how much money they make from >>people >>>>who buy iPods and download from iTunes. Then think about the fact that >>Jobs >>>>is on the board at Disney and the new iPods do video. Do you think Apple >>>>*as a company* is fundamentally concerned with pro audio users? Would > they >>>>like to make money there? Sure. But would they trade 10% more of the pro >>>>audio market for 10% of the MP3 player market? I wouldn't think so. >>>> >>>>Thus, to me this is a very nice, and probably very expensive, native >>>>system. >>>>Not fundamentally different than a very nice RME system on either >>>>platform. >>>> >>>> >>>>TCB >>> >>>I don't think it's that cut and dry. I don't think it's this part of >>>Apple's >>>business vs. another part of their business. I think Apple is serious > about >>>pro Audio. The apogee thing is an example of it, and I think there will >>>be more to come. I don't think Apple will fire Digi, I think it would > take >>>Digi firing Apple to really get stuff started. >>> >>>Just my .02 >>> >>>James >> >>I certainly don't think Apple WANTS people to quit using them for audio, >>and I don't expect Digi will move anywhere. However, LaMont was asking a >>question about "what does this mean for the DAW world" and that >>necessarily >>involves other companies. >> >>What I find most interesting is not the Apple vs. PC vs. Digi vs. Native >>or whatever else, but why everyone hates Digi so much. To be perfectly >>honest >>I think a healthy amount of that is jealousy. No matter what most of us > say, >>given the choice between a massively tricked out PT rig with lots of I/O >>and DSP f/x and the bestest bestest native system out there (or even the >>best PARIS system out there), nearly all of us would have a sudden change >>of faith and take the Digi hardware. Even I would and I'm much more of a >>synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>reason >>#2 is there is a perception that Digi uses its place as a "niche >>monopolist" >>to abuse their customers, price gouge, and generally behave badly. In its >>time PARIS was a fantastic competitor to PT because it was cheaper, looked >>better, and sounded better. It didn't become a truly viable competitor to >>PT for a bunch of reasons that have been hashed out here ad infinitum, but >>include the cratering of Ensoniq, the later cratering of E-mu, the fact > that >>St. Croix was a 24 carat arrogant ass at times, increased usability of >>cheaper >>native systems, and so on. >> >>But what I think people like LaMont are looking for is not Digi getting > knocked >>off the throne or Apple owning the DAW market, but for Digi to have at >>least >>one competitor with deep pockets and quality products to at least make >>Digi >>behave better. Here's the thing--I don't think that competitor is going > to >>come along. It would be too hard a market to break (PARIS being an example >>where a similar product superior in many ways never really made a dent) > and >>most people with the money to own big PT rigs don't really want to change >>all that much even if they do whine about Digi sometimes. So, I think the >>long term threat to Digi is the simple erosion of their customter base by >>faster, cheaper, and better native systems. But for the sake of LaMont >>(and >>others) I hope I'm wrong and someone is tinkering away right now on a >>really >>super DSP system that will sell for $2k and really do something special. >> >> >>TCB >> > > I totally agree with you! I think that is part of the reason some people > don't like Apple, it's the high prices and thus perceived arrogance. > > In the past I've always looked at Apple Hardware kind of like aircraft > parts. > If you compared aircraft parts to auto parts, the aircraft parts cost a > lot more because they make a lot less of them and they use more expensive > materials. There kind of like custom made parts. If you take the G5 case > as an example, the case is made out of aluminum. All the bends and all > the > little holes cost time and more money to manufacture. It's hard to find > a flaw on those cases, and you'll never find a burr. There not cheap to > manufacture, and the quality is high, it's part of their wow factor. > PowerBooks > were made of of titanium, not everybody needs or wants that. I guess it's > different ways of looking at things. I'd sure like to see cheaper Macs. > > Yes I would take a free fully loaded PT HD 192 system, but one factor is > because they are now on par with Paris sound wise. > > James > > P.S. I'd also like to see a reasonably priced integrated super DAW! > > >>> >>>> >>>> >>>>"LaMont" <jjdpro@ameritech.net> wrote: >>>>> >>>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>>> >>>>>Okay, so what does this product mean? >>>>>1)Is this a Direct shot over Digidesign's bow? >>>>> >>>>>2) Does this mean Apple and Apogee are going to go head up with the Big >>>>kohuna >>>>>AKA Digidesign?? >>>>> >>>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >>>>cpu(s) >>>>>handle the recording and plugins? >>>>> >>>>>4)* With all the "whining" I have been doing about the lack of nay DAW >>>manfacturer >>>>>"Willing to " to head to toe with Digi. Could this be the Part Native >>solution/DSP >>>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >>>about??? >>>>> >>>>>If so, then, I stand corrected..AND, Once again, proves that the real >>forward >>>>>thinkers in the DAW world are right here in our little forum..You guys >>>Rock!!!.. >>>>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >>>>> >>>>>Interesting developments..Wow... >>>> >>> >>32k clusters. ntfs is considered marginaly better on many web sites. you can use partition magic (and there's a free one out there too) to do either fat32 or ntfs with 32k clusters. 32k will make your drive effectively smaller so some recommend making 20gb of 32k for your song and the other 100 for move the song over to when done. that way you get the speed of a big cluster for the 20gb and the efficiency of say 4k clusters on the 100gb part. RZ wrote: > Hi Guys, > > I have a fairly new Seagate 120G drive that I used on one small project and > I tried mounting it on an older Win98 computer, only to find out it was > NTFS. In the past I've always formatted my record drives to FAT32, just > just to be consistant with my projects prior to running Paris on XP. Back > in the day I used to format new drives in DOS using the format Z/64 command > to create specific sector sizes. Now that disk formatting has become so > simplified, its easy to not know how the drives are formatted. The Seagate > software does not even offer the option to reformat this drive as FAT32 > (only FAT16 or NTFS). It does offer byte sizes from 512 to 4K for NTFS. > What really offers the best performance for Paris these days? > > RZ > >How to report errors to ID: ================================= 1) Generate application messages with this occurring and send me the app messages file? The procedure for this is below: Win9x: - Right click on PARIS app icon to get menu, - Click with left button on open, but don't let go, - Hold down control and alt, - Let go (launch), - When you see the window at the bottom of the screen you can let go of alt/control. After you produce the problem quit PARIS. You will see a file named "AppMessages.txt" in the PARIS application folder. - Send support@intdevices.com the AppMessages.txt file content with DETAILED description of system and problem. ============================================================ one step further, if youve got a client in a few hours, then you might find it useful to at least have a bare bones paris running. think of it as "safe mode" - you should 1. deactivate the VST plugins (just drag the content of your VST plugin folder into a subfolder called "were closed today" or something ;) 2. deactivate the direct x plugins. in the paris.cfg file, theres a line saying: DisableDirectX=0 change that to 1. or vice versa, if its 1, change it to 0, not sure which one was which. 3. fwiw, just in case, you can even disable the paris fx, which should disable the EDS daughterboard. thats just a guess but still worth trying IMHO. heres a quote from an edmund post how to do it (i hope quoting edmund when its about stuff like that is ok :): ----------------------- Put the following line: TestFXEnabled=0 ============================================================ Assertion Error Assertion failed File Cache.c:439offset>=0&&offset<p->count This usually happens after something bad happens (like disk I/O error, corrupted file, etc). It shouldn't, and there are other error codes meant to intercept these situations, but when really bad things happen sometimes you will see assertion failures. They are controlled exits in catastrophic sitations. Now that I have scared the begeezes out of you: - Do a scan disk of all volumes with surface scan, - Increase the disk cache by a meg or two, - Let me know if this happens again. ============================================================ Error Initializing Paris Engine: Error Code 7/7 error 7/7 means that paris can't see the EDS card (1) The EDS Card is lose -or- (2) IRQ resource conflict The MEC will flash until Paris has booted up, so that is normal. You're turning on the MEC first right and giving it 5 seconds before turning on the PC. ============================================================ Error in initializing Paris Engine.Error Code 1/1 Error in initializing Paris Engine.Error Code 40/28 ================================= ERROR: error code 1007/3ef. because you forgot to install media player which is a requirement for using Paris 1.81b ============================================================ ====== Corrupted Default Project 'unhandled exception: c0000005 at address: 00481382' 'Paris has caused an error in Paris.exe' 1. Delete or move the offending default project file out of the Paris directory. 2. Deinstall Paris. 3. Go to the windows system folder and a. delete the directory that says Ensoniq if present b. delete the file Paris_StudioControlLibrary.dll if present c. Reinstall Paris 4. Start with one card. 5. If necessary, go to plain vanilla sytem, meaning ALL cards removed except for video and 1-EDS. Once that is working, start adding others one at a time until all is working. I am not suspecting your card swapping for the moment because it sounds like the hardware initialized, but then could not open the default_project.ppj. This makes me think it was a corrupted ppj file, or other corrupted Paris components. Hence the above advice. Some things to make note of: 1. Did Paris work initially with your new advancesys scsi card or did it stop working immediately after you installed the new card? 2. If you remove the advancesys and put everything else back where it was before, does it all work fine? (you may need to force a PnP update via your bios) ======================================================== > 1. Ive been getting errors that say something along the lines of "Ran > out of memory for disk transfers." This seems to happen after intense > recording and punching-ins in freeform mode. It happens about once every > 4 to 6 hour sessions and I generally save my project after getting this > error and re-start my computer. Though not reeealy annoying, is there > any way of eliminating this problem? I'm running PARIS at about 55 meg > of RAM (on a Mac). What you need to do is increase the disk cache size under Preferences. Try increasing this number by 1-2 MB at a time until the errors go away. ======================================================== ERROR: EDS Cards are not connected properly You may experience playback problems You just need to criss cross the two 16 pin cables and connect the 10 pin straight across. That message definitely means the cables are wrong. ======================================================== ERROR: Error code on new EDS install- Error 61/-3D ======================================================== error in playback 1879048195/70000003" Do you have a stereo plugin strapped accross 2 tracks of unequal lengths? Joe, Sure enough, you were right. I checked a few edits, and there was one fade that was off by just a touch. I fixed this, and I'm back in business. Thanks for the suggestion. This is a new one on me. Usually if there is an unequal fade problem with a stereo plug-in, the error shows up only when the now line is approaching that point. On this one, however, I could put the cursor 6 minutes before that edit, or 6 minutes after it where there were no audio files playing, and it would still happen. ======================================================== Started to get error code: error in queing project. Error code 1879048233/70000029 every time I try to record. Does anyone know what this means? I did a search and found others who had the problem, but no answers as to why. Try resetting the record path to a new empty folder. Or if you are on the Mac and running anything before OS 9 you may have run out of open files (MacOS limit). If this is the case try clearing unused files from the audio window. === Streaming Errors: I've done some more experimenting. I lowered the vcache min and max to 8192, and the streaming errors returned. I set the values to 32768, and voila -- no more streaming errors. J.R. Taylor wrote: > Thanks for your suggestions, John. I tried all of that except for > messing with the bios. I'm actually not sure how to access the bios on > this machine (Compaq Presario). I tried DEL, F1 and F2 (ones that work > on other MOBOs). It seems strange that I don't get an error message in > PARIS. Also, when I quit PARIS, the Input Clip LEDs light up again. > Isn't there a PARIS log file that might help diagnose the problem? I > remember seeing that before (back in the day), but I cannot locate it > now. Where might I find it? > > J.R. > > > On 2006-01-27 13:16:27 -0600, John <no@no.com> said: > >> reseat the EDS card, remove, clean and reseat the daughterboard, >> reseat ribbon connectors, remove scherzo drivers and reinstall, turn >> off all unused ports in bios(usb, serial, parallel), remove all other >> cards till you get it. remove/reinstall paris >> >> that's all i can think of. >> >> J.R. Taylor wrote: >> >>> Hey there, everyone. It's been a few years since I've been here. I >>> just >>> tried to fire up the ol' PARIS and am having trouble initializing the >>> hardware. When PARIS loads and it says "initializing hardware >>> resources" >>> the clip lights on the Audio Inputs light up on the MEC, but then it >>> reverts >>> to the blinking INTERNAL clock light. The C-16 does nothing. Any >>> ideas? >>> >>> J.R. Taylor >>> Austin, TX > > >Wow! Thanks! That should keep me busy. Thankfully, there is no urgency to fix this. I have been using Digital Performer since '02. I'd like to get PARIS going again to bring back some of my personal stuff that I never had time to move over... Anyway, I'll post any updates here. Thanks again! J.R.Amen. Well said. I agree. The threat to digi is in the world of faster, cheaper native machines. I really thought that the current generation of machines would be "the one." But my vote is one, or possibly two more generations. What continues to amaze me is how freakin' relavent Paris still is. Latency? What's latency? MR "TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... > > "James McCloskey" <excelsm@hotmail.com> wrote: > > > >"TCB" <nobody@ishere.com> wrote: > >> > >>I've been meaning to write about this for a few days but have spent literally > >>every minute of the past few days either at work, playing shows, or blind > >>drunk. So . . . > >> > >>To me this really product is not much news, and if it were any other two > >>companies it wouldn't even be news at all. As I said before, DSP systems > >>are there for people who are willing to pay the big bucks to track with > >almost > >>no latency. Native systems are for everyone else. This is just a PCI-E > native > >>system. That matters to Apple because the reports are that their next series > >>of desktops won't have anything but PCI-E slots. > > > >I think it's news in the audio world any time Apogee comes out with a new > >product. Apogee is significant, their converters are a professional industry > >standard. Converters are subjective. > > Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had > announced a deal nobody would be all that thrilled. Becuase it's Apple and > Apogee somehow it's a bigger news story. Which is fine, bully for them, I > was just pointing out that this "story" has longer legs because of the two > companies involved. > > >> > >>As far as the "grand strategy" stuff, and if Apple is threatening Digi > or > >>whatever. Think for a minute about how much money Apple makes from people > >>who make music on Macs. Then think about how much money they make from > people > >>who buy iPods and download from iTunes. Then think about the fact that > Jobs > >>is on the board at Disney and the new iPods do video. Do you think Apple > >>*as a company* is fundamentally concerned with pro audio users? Would they > >>like to make money there? Sure. But would they trade 10% more of the pro > >>audio market for 10% of the MP3 player market? I wouldn't think so. > >> > >>Thus, to me this is a very nice, and probably very expensive, native system. > >>Not fundamentally different than a very nice RME system on either platform. > >> > >> > >>TCB > > > >I don't think it's that cut and dry. I don't think it's this part of Apple's > >business vs. another part of their business. I think Apple is serious about > >pro Audio. The apogee thing is an example of it, and I think there will > >be more to come. I don't think Apple will fire Digi, I think it would take > >Digi firing Apple to really get stuff started. > > > >Just my .02 > > > >James > > I certainly don't think Apple WANTS people to quit using them for audio, > and I don't expect Digi will move anywhere. However, LaMont was asking a > question about "what does this mean for the DAW world" and that necessarily > involves other companies. > > What I find most interesting is not the Apple vs. PC vs. Digi vs. Native > or whatever else, but why everyone hates Digi so much. To be perfectly honest > I think a healthy amount of that is jealousy. No matter what most of us say, > given the choice between a massively tricked out PT rig with lots of I/O > and DSP f/x and the bestest bestest native system out there (or even the > best PARIS system out there), nearly all of us would have a sudden change > of faith and take the Digi hardware. Even I would and I'm much more of a > synth/sample guy than a rock'n'roll guy. So that's reason #1. I think reason > #2 is there is a perception that Digi uses its place as a "niche monopolist" > to abuse their customers, price gouge, and generally behave badly. In its > time PARIS was a fantastic competitor to PT because it was cheaper, looked > better, and sounded better. It didn't become a truly viable competitor to > PT for a bunch of reasons that have been hashed out here ad infinitum, but > include the cratering of Ensoniq, the later cratering of E-mu, the fact that > St. Croix was a 24 carat arrogant ass at times, increased usability of cheaper > native systems, and so on. > > But what I think people like LaMont are looking for is not Digi getting knocked > off the throne or Apple owning the DAW market, but for Digi to have at least > one competitor with deep pockets and quality products to at least make Digi > behave better. Here's the thing--I don't think that competitor is going to > come along. It would be too hard a market to break (PARIS being an example > where a similar product superior in many ways never really made a dent) and > most people with the money to own big PT rigs don't really want to change > all that much even if they do whine about Digi sometimes. So, I think the > long term threat to Digi is the simple erosion of their customter base by > faster, cheaper, and better native systems. But for the sake of LaMont (and > others) I hope I'm wrong and someone is tinkering away right now on a really > super DSP system that will sell for $2k and really do something special. > > > TCB > > > > >> > >> > >>"LaMont" <jjdpro@ameritech.net> wrote: > >>> > >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 > >>> > >>>Okay, so what does this product mean? > >>>1)Is this a Direct shot over Digidesign's bow? > >>> > >>>2) Does this mean Apple and Apogee are going to go head up with the Big > >>kohuna > >>>AKA Digidesign?? > >>> > >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's > >>cpu(s) > >>>handle the recording and plugins? > >>> > >>>4)* With all the "whining" I have been doing about the lack of nay DAW > >manfacturer > >>>"Willing to " to head to toe with Digi. Could this be the Part Native > solution/DSP > >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking > >about??? > >>> > >>>If so, then, I stand corrected..AND, Once again, proves that the real > forward > >>>thinkers in the DAW world are right here in our little forum..You guys > >Rock!!!.. > >>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) > >>> > >>>Interesting developments..Wow... > >> > > >"Mike R." <emarenot@yahoo.com> wrote: >Amen. >Well said. >I agree. The threat to digi is in the world of faster, cheaper native >machines. I really thought that the current generation of machines would be >"the one." But my vote is one, or possibly two more generations. What >continues to amaze me is how freakin' relavent Paris still is. Latency? >What's latency? >MR 9 years later!!! >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >> >> "James McCloskey" <excelsm@hotmail.com> wrote: >> > >> >"TCB" <nobody@ishere.com> wrote: >> >> >> >>I've been meaning to write about this for a few days but have spent >literally >> >>every minute of the past few days either at work, playing shows, or >blind >> >>drunk. So . . . >> >> >> >>To me this really product is not much news, and if it were any other two >> >>companies it wouldn't even be news at all. As I said before, DSP systems >> >>are there for people who are willing to pay the big bucks to track with >> >almost >> >>no latency. Native systems are for everyone else. This is just a PCI-E >> native >> >>system. That matters to Apple because the reports are that their next >series >> >>of desktops won't have anything but PCI-E slots. >> > >> >I think it's news in the audio world any time Apogee comes out with a new >> >product. Apogee is significant, their converters are a professional >industry >> >standard. Converters are subjective. >> >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard had >> announced a deal nobody would be all that thrilled. Becuase it's Apple and >> Apogee somehow it's a bigger news story. Which is fine, bully for them, I >> was just pointing out that this "story" has longer legs because of the two >> companies involved. >> >> >> >> >>As far as the "grand strategy" stuff, and if Apple is threatening Digi >> or >> >>whatever. Think for a minute about how much money Apple makes from >people >> >>who make music on Macs. Then think about how much money they make from >> people >> >>who buy iPods and download from iTunes. Then think about the fact that >> Jobs >> >>is on the board at Disney and the new iPods do video. Do you think Apple >> >>*as a company* is fundamentally concerned with pro audio users? Would >they >> >>like to make money there? Sure. But would they trade 10% more of the pro >> >>audio market for 10% of the MP3 player market? I wouldn't think so. >> >> >> >>Thus, to me this is a very nice, and probably very expensive, native >system. >> >>Not fundamentally different than a very nice RME system on either >platform. >> >> >> >> >> >>TCB >> > >> >I don't think it's that cut and dry. I don't think it's this part of >Apple's >> >business vs. another part of their business. I think Apple is serious >about >> >pro Audio. The apogee thing is an example of it, and I think there will >> >be more to come. I don't think Apple will fire Digi, I think it would >take >> >Digi firing Apple to really get stuff started. >> > >> >Just my .02 >> > >> >James >> >> I certainly don't think Apple WANTS people to quit using them for audio, >> and I don't expect Digi will move anywhere. However, LaMont was asking a >> question about "what does this mean for the DAW world" and that >necessarily >> involves other companies. >> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. Native >> or whatever else, but why everyone hates Digi so much. To be perfectly >honest >> I think a healthy amount of that is jealousy. No matter what most of us >say, >> given the choice between a massively tricked out PT rig with lots of I/O >> and DSP f/x and the bestest bestest native system out there (or even the >> best PARIS system out there), nearly all of us would have a sudden change >> of faith and take the Digi hardware. Even I would and I'm much more of a >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >reason >> #2 is there is a perception that Digi uses its place as a "niche >monopolist" >> to abuse their customers, price gouge, and generally behave badly. In its >> time PARIS was a fantastic competitor to PT because it was cheaper, looked >> better, and sounded better. It didn't become a truly viable competitor to >> PT for a bunch of reasons that have been hashed out here ad infinitum, but >> include the cratering of Ensoniq, the later cratering of E-mu, the fact >that >> St. Croix was a 24 carat arrogant ass at times, increased usability of >cheaper >> native systems, and so on. >> >> But what I think people like LaMont are looking for is not Digi getting >knocked >> off the throne or Apple owning the DAW market, but for Digi to have at >least >> one competitor with deep pockets and quality products to at least make >Digi >> behave better. Here's the thing--I don't think that competitor is going to >> come along. It would be too hard a market to break (PARIS being an example >> where a similar product superior in many ways never really made a dent) >and >> most people with the money to own big PT rigs don't really want to change >> all that much even if they do whine about Digi sometimes. So, I think the >> long term threat to Digi is the simple erosion of their customter base by >> faster, cheaper, and better native systems. But for the sake of LaMont >(and >> others) I hope I'm wrong and someone is tinkering away right now on a >really >> super DSP system that will sell for $2k and really do something special. >> >> >> TCB >> >> > >> >> >> >> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >> >>> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >> >>> >> >>>Okay, so what does this product mean? >> >>>1)Is this a Direct shot over Digidesign's bow? >> >>> >> >>>2) Does this mean Apple and Apogee are going to go head up with the Big >> >>kohuna >> >>>AKA Digidesign?? >> >>> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's >> >>cpu(s) >> >>>handle the recording and plugins? >> >>> >> >>>4)* With all the "whining" I have been doing about the lack of nay DAW >> >manfacturer >> >>>"Willing to " to head to toe with Digi. Could this be the Part Native >> solution/DSP >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking >> >about??? >> >>> >> >>>If so, then, I stand corrected..AND, Once again, proves that the real >> forward >> >>>thinkers in the DAW world are right here in our little forum..You guys >> >Rock!!!.. >> >>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) >> >>> >> >>>Interesting developments..Wow... >> >> >> > >> > >OK, so what's so good about it? Serisouly, what are the sound qualities that you like Sam for? Neil "Bill Lorentzen" <bill@lorentzen.ws> wrote: > >> >> Note: A friend of in myarea uses Samplitude 8.X and I have to say, that >> Samplitude >> has to be one thee best sounding DAW's I've rean across. Blew me away!! >> Lamont >> >You got that right. Although I have owned and used Cubase since 1988, and >despite wanting all the nice things that the Yamaha purchase of Steiny will >probably yield, once I tried Sam there was no going back. Damn. > >I hope it really catches on in the US. > >Bill > >> >> "LaMont" <jjdpro@ameritech.net> wrote: >>> >>>Oh Boy.. Have a look.. >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2647 >>> >>>This looks and sound great!! >> > >Yep. I totally agree. I built this dual core machine in hopes that it would have enough horsepower to run at 64k buffers under heavy plugin loads with large track counts. Not a chance in hell. It's remarkably fast and powerful so it's capable of what I want at higher buffer settings so for mixing with PDC using UAD-1 cards in SX so in that respect, it's filling my needs.......but it's a wuss compared to Paris in the DAW torture scenario of a dub session where it's necessary to work quickly and there are already lots of tracks playing back and lots being added/punched. Paris still rules in this respect. Deej "James McCloskey" <excelsm@hotmail.com> wrote in message news:43daedeb$1@linux... > > "Mike R." <emarenot@yahoo.com> wrote: > >Amen. > >Well said. > >I agree. The threat to digi is in the world of faster, cheaper native > >machines. I really thought that the current generation of machines would > be > >"the one." But my vote is one, or possibly two more generations. What > >continues to amaze me is how freakin' relavent Paris still is. Latency? > >What's latency? > >MR > > 9 years later!!! > > > >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... > >> > >> "James McCloskey" <excelsm@hotmail.com> wrote: > >> > > >> >"TCB" <nobody@ishere.com> wrote: > >> >> > >> >>I've been meaning to write about this for a few days but have spent > >literally > >> >>every minute of the past few days either at work, playing shows, or > >blind > >> >>drunk. So . . . > >> >> > >> >>To me this really product is not much news, and if it were any other > two > >> >>companies it wouldn't even be news at all. As I said before, DSP systems > >> >>are there for people who are willing to pay the big bucks to track with > >> >almost > >> >>no latency. Native systems are for everyone else. This is just a PCI-E > >> native > >> >>system. That matters to Apple because the reports are that their next > >series > >> >>of desktops won't have anything but PCI-E slots. > >> > > >> >I think it's news in the audio world any time Apogee comes out with a > new > >> >product. Apogee is significant, their converters are a professional > >industry > >> >standard. Converters are subjective. > >> > >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard > had > >> announced a deal nobody would be all that thrilled. Becuase it's Apple > and > >> Apogee somehow it's a bigger news story. Which is fine, bully for them, > I > >> was just pointing out that this "story" has longer legs because of the > two > >> companies involved. > >> > >> >> > >> >>As far as the "grand strategy" stuff, and if Apple is threatening Digi > >> or > >> >>whatever. Think for a minute about how much money Apple makes from > >people > >> >>who make music on Macs. Then think about how much money they make from > >> people > >> >>who buy iPods and download from iTunes. Then think about the fact that > >> Jobs > >> >>is on the board at Disney and the new iPods do video. Do you think Apple > >> >>*as a company* is fundamentally concerned with pro audio users? Would > >they > >> >>like to make money there? Sure. But would they trade 10% more of the > pro > >> >>audio market for 10% of the MP3 player market? I wouldn't think so. > >> >> > >> >>Thus, to me this is a very nice, and probably very expensive, native > >system. > >> >>Not fundamentally different than a very nice RME system on either > >platform. > >> >> > >> >> > >> >>TCB > >> > > >> >I don't think it's that cut and dry. I don't think it's this part of > >Apple's > >> >business vs. another part of their business. I think Apple is serious > >about > >> >pro Audio. The apogee thing is an example of it, and I think there will > >> >be more to come. I don't think Apple will fire Digi, I think it would > >take > >> >Digi firing Apple to really get stuff started. > >> > > >> >Just my .02 > >> > > >> >James > >> > >> I certainly don't think Apple WANTS people to quit using them for audio, > >> and I don't expect Digi will move anywhere. However, LaMont was asking > a > >> question about "what does this mean for the DAW world" and that > >necessarily > >> involves other companies. > >> > >> What I find most interesting is not the Apple vs. PC vs. Digi vs. Native > >> or whatever else, but why everyone hates Digi so much. To be perfectly > >honest > >> I think a healthy amount of that is jealousy. No matter what most of us > >say, > >> given the choice between a massively tricked out PT rig with lots of I/O > >> and DSP f/x and the bestest bestest native system out there (or even the > >> best PARIS system out there), nearly all of us would have a sudden change > >> of faith and take the Digi hardware. Even I would and I'm much more of > a > >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think > >reason > >> #2 is there is a perception that Digi uses its place as a "niche > >monopolist" > >> to abuse their customers, price gouge, and generally behave badly. In > its > >> time PARIS was a fantastic competitor to PT because it was cheaper, looked > >> better, and sounded better. It didn't become a truly viable competitor > to > >> PT for a bunch of reasons that have been hashed out here ad infinitum, > but > >> include the cratering of Ensoniq, the later cratering of E-mu, the fact > >that > >> St. Croix was a 24 carat arrogant ass at times, increased usability of > >cheaper > >> native systems, and so on. > >> > >> But what I think people like LaMont are looking for is not Digi getting > >knocked > >> off the throne or Apple owning the DAW market, but for Digi to have at > >least > >> one competitor with deep pockets and quality products to at least make > >Digi > >> behave better. Here's the thing--I don't think that competitor is going > to > >> come along. It would be too hard a market to break (PARIS being an example > >> where a similar product superior in many ways never really made a dent) > >and > >> most people with the money to own big PT rigs don't really want to change > >> all that much even if they do whine about Digi sometimes. So, I think > the > >> long term threat to Digi is the simple erosion of their customter base > by > >> faster, cheaper, and better native systems. But for the sake of LaMont > >(and > >> others) I hope I'm wrong and someone is tinkering away right now on a > >really > >> super DSP system that will sell for $2k and really do something special. > >> > >> > >> TCB > >> > >> > > >> >> > >> >> > >> >>"LaMont" <jjdpro@ameritech.net> wrote: > >> >>> > >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 > >> >>> > >> >>>Okay, so what does this product mean? > >> >>>1)Is this a Direct shot over Digidesign's bow? > >> >>> > >> >>>2) Does this mean Apple and Apogee are going to go head up with the > Big > >> >>kohuna > >> >>>AKA Digidesign?? > >> >>> > >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the Mac's > >> >>cpu(s) > >> >>>handle the recording and plugins? > >> >>> > >> >>>4)* With all the "whining" I have been doing about the lack of nay > DAW > >> >manfacturer > >> >>>"Willing to " to head to toe with Digi. Could this be the Part Native > >> solution/DSP > >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been talking > >> >about??? > >> >>> > >> >>>If so, then, I stand corrected..AND, Once again, proves that the real > >> forward > >> >>>thinkers in the DAW world are right here in our little forum..You guys > >> >Rock!!!.. > >> >>>Thanks for letting me have my "State of The DAW" tantrum of sorts...:) > >> >>> > >> >>>Interesting developments..Wow... > >> >> > >> > > >> > > > > >J.R., Didn't we meet back around 1999 over at my place on Westlake Drive? I think I remember you from somewhere. Regards Deej <J.R. Taylor> wrote in message news:43dacec6@linux... > Wow! Thanks! That should keep me busy. Thankfully, there is no > urgency to fix this. I have been using Digital Performer since '02. > I'd like to get PARIS going again to bring back some of my personal > stuff that I never had time to move over... Anyway, I'll post any > updates here. Thanks again! > > J.R. >There are several: 1. I did a comparison of the same 16 tracks mixed dry with only panning and level adjustments between Cubase SX, Sam 7 and my Tascam DM24 mixer, and the Sam mix was obviously above the Cubase mix in clarity and definition. Both mixes were better than the DM24. Frankly I was surprised at the difference, but it was a convincing demonstration. 2. The onboard EQs (2 kinds), compressors (2 kinds), multiband compressor, program limiter, transient compressor, pitch/time correction, and convolution reverb are as good as plugins one could spend thousands on. 3. Though it does not make it sound better, the object editor is a huge convenience, which basically allows one to take any piece of an audio track and EQ, effect, pitch correct, etc. it discretely and non-destructively without affecting the rest of the track. Once you start using this feature you really appreciate its power. 4. It also burns CDs and does anything else an editor does, so I never use an editor any more. I have some minor gripes with it, and its MIDI is well short of other programs (though it does everything I need, and has greatly improved in Sam 8) and there are certain features I appreciated from other programs I would like to see included or beter implimented in Sam, but in the final balance I have chosen Sam over all others because my work "sounds better". Each to his own. Bill "Neil" <OIUOIU@OIU.com> wrote in message news:43daf2ed$1@linux... > > OK, so what's so good about it? Serisouly, what are the sound > qualities that you like Sam for? > > Neil > > > "Bill Lorentzen" <bill@lorentzen.ws> wrote: >> >>> >>> Note: A friend of in myarea uses Samplitude 8.X and I have to say, that > >>> Samplitude >>> has to be one thee best sounding DAW's I've rean across. Blew me away!! >>> Lamont >>> >>You got that right. Although I have owned and used Cubase since 1988, and > >>despite wanting all the nice things that the Yamaha purchase of Steiny >>will > >>probably yield, once I tried Sam there was no going back. Damn. >> >>I hope it really catches on in the US. >> >>Bill >> >>> >>> "LaMont" <jjdpro@ameritech.net> wrote: >>>> >>>>Oh Boy.. Have a look.. >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2647 >>>> >>>>This looks and sound great!! >>> >> >> >Hi Doug! Yeah, we met at Musicmakers, when the Ensoniq (or was it Emu?) rep was there. Never made it out to your place before you moved, though. It's nice to see familiar names here on the old newsgroup, even after 4 years. It's quite nostalgic, really. :) J.R. On 2006-01-28 01:16:06 -0600, "DJ" <animix_spam-this-ahole_@animas.net> said: > J.R., > > Didn't we meet back around 1999 over at my place on Westlake Drive? I think > I remember you from somewhere. > > Regards > > Deej > > <J.R. Taylor> wrote in message news:43dacec6@linux... >> Wow! Thanks! That should keep me busy. Thankfully, there is no >> urgency to fix this. I have been using Digital Performer since '02. >> I'd like to get PARIS going again to bring back some of my personal >> stuff that I never had time to move over... Anyway, I'll post any >> updates here. Thanks again! >> >> J.R.Direct monitor is your friend here... if you have enough buses available, use Paris as a monitor mixer and place SX in direct monitor mode. This will allow you to record to SX and monitor/effect in real time using Paris. We do this here using the DM2K, but there is no reason it wouldn't work well with Paris. Once you have certain tracks comitted (you don't intend to record to them again, or at least not right now), you can assign them to a main stereo out to free up buses. Simply leave the SX channel faders at unity, and mix in Paris. Once you aren't recording on a track, you can also apply insert plugs or FX in SX. David. DJ wrote: > Yep. I totally agree. I built this dual core machine in hopes that it would > have enough horsepower to run at 64k buffers under heavy plugin loads with > large track counts. Not a chance in hell. It's remarkably fast and powerful > so it's capable of what I want at higher buffer settings so for mixing with > PDC using UAD-1 cards in SX so in that respect, it's filling my > needs.......but it's a wuss compared to Paris in the DAW torture scenario of > a dub session where it's necessary to work quickly and there are already > lots of tracks playing back and lots being added/punched. Paris still rules > in this respect. > > Deej > > > "James McCloskey" <excelsm@hotmail.com> wrote in message > news:43daedeb$1@linux... > >>"Mike R." <emarenot@yahoo.com> wrote: >> >>>Amen. >>>Well said. >>>I agree. The threat to digi is in the world of faster, cheaper native >>>machines. I really thought that the current generation of machines would >> >>be >> >>>"the one." But my vote is one, or possibly two more generations. What >>>continues to amaze me is how freakin' relavent Paris still is. Latency? >>>What's latency? >>>MR >> >>9 years later!!! >> >> >> >>>"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>> >>>>"James McCloskey" <excelsm@hotmail.com> wrote: >>>> >>>>>"TCB" <nobody@ishere.com> wrote: >>>>> >>>>>>I've been meaning to write about this for a few days but have spent >>> >>>literally >>> >>>>>>every minute of the past few days either at work, playing shows, or >>> >>>blind >>> >>>>>>drunk. So . . . >>>>>> >>>>>>To me this really product is not much news, and if it were any other >> >>two >> >>>>>>companies it wouldn't even be news at all. As I said before, DSP > > systems > >>>>>>are there for people who are willing to pay the big bucks to track > > with > >>>>>almost >>>>> >>>>>>no latency. Native systems are for everyone else. This is just a > > PCI-E > >>>>native >>>> >>>>>>system. That matters to Apple because the reports are that their next >>> >>>series >>> >>>>>>of desktops won't have anything but PCI-E slots. >>>>> >>>>>I think it's news in the audio world any time Apogee comes out with a >> >>new >> >>>>>product. Apogee is significant, their converters are a professional >>> >>>industry >>> >>>>>standard. Converters are subjective. >>>> >>>>Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >> >>had >> >>>>announced a deal nobody would be all that thrilled. Becuase it's Apple >> >>and >> >>>>Apogee somehow it's a bigger news story. Which is fine, bully for them, >> >>I >> >>>>was just pointing out that this "story" has longer legs because of the >> >>two >> >>>>companies involved. >>>> >>>> >>>>>>As far as the "grand strategy" stuff, and if Apple is threatening > > Digi > >>>>or >>>> >>>>>>whatever. Think for a minute about how much money Apple makes from >>> >>>people >>> >>>>>>who make music on Macs. Then think about how much money they make > > from > >>>>people >>>> >>>>>>who buy iPods and download from iTunes. Then think about the fact > > that > >>>>Jobs >>>> >>>>>>is on the board at Disney and the new iPods do video. Do you think > > Apple > >>>>>>*as a company* is fundamentally concerned with pro audio users? Would >>> >>>they >>> >>>>>>like to make money there? Sure. But would they trade 10% more of the >> >>pro >> >>>>>>audio market for 10% of the MP3 player market? I wouldn't think so. >>>>>> >>>>>>Thus, to me this is a very nice, and probably very expensive, native >>> >>>system. >>> >>>>>>Not fundamentally different than a very nice RME system on either >>> >>>platform. >>> >>>>>> >>>>>>TCB >>>>> >>>>>I don't think it's that cut and dry. I don't think it's this part of >>> >>>Apple's >>> >>>>>business vs. another part of their business. I think Apple is serious >>> >>>about >>> >>>>>pro Audio. The apogee thing is an example of it, and I think there > > will > >>>>>be more to come. I don't think Apple will fire Digi, I think it would >>> >>>take >>> >>>>>Digi firing Apple to really get stuff started. >>>>> >>>>>Just my .02 >>>>> >>>>>James >>>> >>>>I certainly don't think Apple WANTS people to quit using them for > > audio, > >>>>and I don't expect Digi will move anywhere. However, LaMont was asking >> >>a >> >>>>question about "what does this mean for the DAW world" and that >>> >>>necessarily >>> >>>>involves other companies. >>>> >>>>What I find most interesting is not the Apple vs. PC vs. Digi vs. > > Native > >>>>or whatever else, but why everyone hates Digi so much. To be perfectly >>> >>>honest >>> >>>>I think a healthy amount of that is jealousy. No matter what most of us >>> >>>say, >>> >>>>given the choice between a massively tricked out PT rig with lots of > > I/O > >>>>and DSP f/x and the bestest bestest native system out there (or even > > the > >>>>best PARIS system out there), nearly all of us would have a sudden > > change > >>>>of faith and take the Digi hardware. Even I would and I'm much more of >> >>a >> >>>>synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>> >>>reason >>> >>>>#2 is there is a perception that Digi uses its place as a "niche >>> >>>monopolist" >>> >>>>to abuse their customers, price gouge, and generally behave badly. In >> >>its >> >>>>time PARIS was a fantastic competitor to PT because it was cheaper, > > looked > >>>>better, and sounded better. It didn't become a truly viable competitor >> >>to >> >>>>PT for a bunch of reasons that have been hashed out here ad infinitum, >> >>but >> >>>>include the cratering of Ensoniq, the later cratering of E-mu, the fact >>> >>>that >>> >>>>St. Croix was a 24 carat arrogant ass at times, increased usability of >>> >>>cheaper >>> >>>>native systems, and so on. >>>> >>>>But what I think people like LaMont are looking for is not Digi getting >>> >>>knocked >>> >>>>off the throne or Apple owning the DAW market, but for Digi to have at >>> >>>least >>> >>>>one competitor with deep pockets and quality products to at least make >>> >>>Digi >>> >>>>behave better. Here's the thing--I don't think that competitor is going >> >>to >> >>>>come along. It would be too hard a market to break (PARIS being an > > example > >>>>where a similar product superior in many ways never really made a dent) >>> >>>and >>> >>>>most people with the money to own big PT rigs don't really want to > > change > >>>>all that much even if they do whine about Digi sometimes. So, I think >> >>the >> >>>>long term threat to Digi is the simple erosion of their customter base >> >>by >> >>>>faster, cheaper, and better native systems. But for the sake of LaMont >>> >>>(and >>> >>>>others) I hope I'm wrong and someone is tinkering away right now on a >>> >>>really >>> >>>>super DSP system that will sell for $2k and really do something > > special. > >>>> >>>>TCB >>>> >>>> >>>>>> >>>>>>"LaMont" <jjdpro@ameritech.net> wrote: >>>>>> >>>>>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>>>>> >>>>>>>Okay, so what does this product mean? >>>>>>>1)Is this a Direct shot over Digidesign's bow? >>>>>>> >>>>>>>2) Does this mean Apple and Apogee are going to go head up with the >> >>Big >> >>>>>>kohuna >>>>>> >>>>>>>AKA Digidesign?? >>>>>>> >>>>>>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the > > Mac's > >>>>>>cpu(s) >>>>>> >>>>>>>handle the recording and plugins? >>>>>>> >>>>>>>4)* With all the "whining" I have been doing about the lack of nay >> >>DAW >> >>>>>manfacturer >>>>> >>>>>>>"Willing to " to head to toe with Digi. Could this be the Part > > Native > >>>>solution/DSP >>>> >>>>>>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been > > talking > >>>>>about??? >>>>> >>>>>>>If so, then, I stand corrected..AND, Once again, proves that the > > real > >>>>forward >>>> >>>>>>>thinkers in the DAW world are right here in our little forum..You > > guys > >>>>>Rock!!!.. >>>>> >>>>>>>Thanks for letting me have my "State of The DAW" tantrum of > > sorts...:) > >>>>>>>Interesting developments..Wow... >>>>>> >>> > >It doesnt offer FAT32 probably because of the drive size limitation, 32GB I believe. E "RZ" <pearlmusic@sbcglobal.net> wrote in message news:43da9b2a$1@linux... > Hi Guys, > > I have a fairly new Seagate 120G drive that I used on one small project and > I tried mounting it on an older Win98 computer, only to find out it was > NTFS. In the past I've always formatted my record drives to FAT32, just > just to be consistant with my projects prior to running Paris on XP. Back > in the day I used to format new drives in DOS using the format Z/64 command > to create specific sector sizes. Now that disk formatting has become so > simplified, its easy to not know how the drives are formatted. The Seagate > software does not even offer the option to reformat this drive as FAT32 > (only FAT16 or NTFS). It does offer byte sizes from 512 to 4K for NTFS. > What really offers the best performance for Paris these days? > > RZ > >I was looking for a post a while back that a number of people mentioned a certain drive that I think had the Oxford 911 thingy in it.There was also a link to a seller,but I can't seem to find it.If anyone knows what I'm talking about could you post it. Any other drives thatare performing well? I'm hearing Seagate might not be the way to go right now. TIA, PeteJohn, any particular IRs you referring to? Waves? I'm not enthralled with Paris verbs either. Edna "John" <no@no.com> wrote in message news:43d7ce1d$1@linux... > well for starters the verbs are lousy compared to IR stuff > > EK Sound wrote: > > Which effects are you having a hard time with? > > > > David. > > > > John wrote: > > > >> even after a lot of tweaking i'm not that impressed seriously > >> > >> DJ wrote: > >> > >>> If you're talking about the presets, yeah, I would agree. > >>> > >>> "John" <no@no.com> wrote in message news:43d7c4c0$2@linux... > >>> > >>>> oh god, eds efx.. yuck > >>>> > >>>> DJ wrote: > >>>>HI All Well after a year and a half I finally got my second rig up and running and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. I have SPDIF / ADAT and Light pipe all wired up and have audio playback from both CEP and Wavelab happening in Paris....now it's time to attemp syncing the second rig to Paris and then eventually Paris to the second rig. So the big question is where do I start. DOnDJ, That's my point I this endless love affair with native DAW's. I plan to use the natives as a compositional tool,maybe even to track now & then, but I'm sold out on DSP based DAWs be-it Paris or PTHD..I'm not about to keep going thru the motions of the constant PC/Mac upgrade paths..Nope..I'm done.. I started this thread to open he question about the lack of a PT HD competior, but it seems that most are satified with their native based DAW...I'm not.Some manufacture will give me and others the goods...And, yes, I'll hold mt breath :) Lamont "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Yep. I totally agree. I built this dual core machine in hopes that it would >have enough horsepower to run at 64k buffers under heavy plugin loads with >large track counts. Not a chance in hell. It's remarkably fast and powerful >so it's capable of what I want at higher buffer settings so for mixing with >PDC using UAD-1 cards in SX so in that respect, it's filling my >needs.......but it's a wuss compared to Paris in the DAW torture scenario of >a dub session where it's necessary to work quickly and there are already >lots of tracks playing back and lots being added/punched. Paris still rules >in this respect. > >Deej > > >"James McCloskey" <excelsm@hotmail.com> wrote in message >news:43daedeb$1@linux... >> >> "Mike R." <emarenot@yahoo.com> wrote: >> >Amen. >> >Well said. >> >I agree. The threat to digi is in the world of faster, cheaper native >> >machines. I really thought that the current generation of machines would >> be >> >"the one." But my vote is one, or possibly two more generations. What >> >continues to amaze me is how freakin' relavent Paris still is. Latency? >> >What's latency? >> >MR >> >> 9 years later!!! >> >> >> >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >> >> >> >> "James McCloskey" <excelsm@hotmail.com> wrote: >> >> > >> >> >"TCB" <nobody@ishere.com> wrote: >> >> >> >> >> >>I've been meaning to write about this for a few days but have spent >> >literally >> >> >>every minute of the past few days either at work, playing shows, or >> >blind >> >> >>drunk. So . . . >> >> >> >> >> >>To me this really product is not much news, and if it were any other >> two >> >> >>companies it wouldn't even be news at all. As I said before, DSP >systems >> >> >>are there for people who are willing to pay the big bucks to track >with >> >> >almost >> >> >>no latency. Native systems are for everyone else. This is just a >PCI-E >> >> native >> >> >>system. That matters to Apple because the reports are that their next >> >series >> >> >>of desktops won't have anything but PCI-E slots. >> >> > >> >> >I think it's news in the audio world any time Apogee comes out with a >> new >> >> >product. Apogee is significant, their converters are a professional >> >industry >> >> >standard. Converters are subjective. >> >> >> >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >> had >> >> announced a deal nobody would be all that thrilled. Becuase it's Apple >> and >> >> Apogee somehow it's a bigger news story. Which is fine, bully for them, >> I >> >> was just pointing out that this "story" has longer legs because of the >> two >> >> companies involved. >> >> >> >> >> >> >> >>As far as the "grand strategy" stuff, and if Apple is threatening >Digi >> >> or >> >> >>whatever. Think for a minute about how much money Apple makes from >> >people >> >> >>who make music on Macs. Then think about how much money they make >from >> >> people >> >> >>who buy iPods and download from iTunes. Then think about the fact >that >> >> Jobs >> >> >>is on the board at Disney and the new iPods do video. Do you think >Apple >> >> >>*as a company* is fundamentally concerned with pro audio users? Would >> >they >> >> >>like to make money there? Sure. But would they trade 10% more of the >> pro >> >> >>audio market for 10% of the MP3 player market? I wouldn't think so. >> >> >> >> >> >>Thus, to me this is a very nice, and probably very expensive, native >> >system. >> >> >>Not fundamentally different than a very nice RME system on either >> >platform. >> >> >> >> >> >> >> >> >>TCB >> >> > >> >> >I don't think it's that cut and dry. I don't think it's this part of >> >Apple's >> >> >business vs. another part of their business. I think Apple is serious >> >about >> >> >pro Audio. The apogee thing is an example of it, and I think there >will >> >> >be more to come. I don't think Apple will fire Digi, I think it would >> >take >> >> >Digi firing Apple to really get stuff started. >> >> > >> >> >Just my .02 >> >> > >> >> >James >> >> >> >> I certainly don't think Apple WANTS people to quit using them for >audio, >> >> and I don't expect Digi will move anywhere. However, LaMont was asking >> a >> >> question about "what does this mean for the DAW world" and that >> >necessarily >> >> involves other companies. >> >> >> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. >Native >> >> or whatever else, but why everyone hates Digi so much. To be perfectly >> >honest >> >> I think a healthy amount of that is jealousy. No matter what most of us >> >say, >> >> given the choice between a massively tricked out PT rig with lots of >I/O >> >> and DSP f/x and the bestest bestest native system out there (or even >the >> >> best PARIS system out there), nearly all of us would have a sudden >change >> >> of faith and take the Digi hardware. Even I would and I'm much more of >> a >> >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >> >reason >> >> #2 is there is a perception that Digi uses its place as a "niche >> >monopolist" >> >> to abuse their customers, price gouge, and generally behave badly. In >> its >> >> time PARIS was a fantastic competitor to PT because it was cheaper, >looked >> >> better, and sounded better. It didn't become a truly viable competitor >> to >> >> PT for a bunch of reasons that have been hashed out here ad infinitum, >> but >> >> include the cratering of Ensoniq, the later cratering of E-mu, the fact >> >that >> >> St. Croix was a 24 carat arrogant ass at times, increased usability of >> >cheaper >> >> native systems, and so on. >> >> >> >> But what I think people like LaMont are looking for is not Digi getting >> >knocked >> >> off the throne or Apple owning the DAW market, but for Digi to have at >> >least >> >> one competitor with deep pockets and quality products to at least make >> >Digi >> >> behave better. Here's the thing--I don't think that competitor is going >> to >> >> come along. It would be too hard a market to break (PARIS being an >example >> >> where a similar product superior in many ways never really made a dent) >> >and >> >> most people with the money to own big PT rigs don't really want to >change >> >> all that much even if they do whine about Digi sometimes. So, I think >> the >> >> long term threat to Digi is the simple erosion of their customter base >> by >> >> faster, cheaper, and better native systems. But for the sake of LaMont >> >(and >> >> others) I hope I'm wrong and someone is tinkering away right now on a >> >really >> >> super DSP system that will sell for $2k and really do something >special. >> >> >> >> >> >> TCB >> >> >> >> > >> >> >> >> >> >> >> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >> >> >>> >> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >> >> >>> >> >> >>>Okay, so what does this product mean? >> >> >>>1)Is this a Direct shot over Digidesign's bow? >> >> >>> >> >> >>>2) Does this mean Apple and Apogee are going to go head up with the >> Big >> >> >>kohuna >> >> >>>AKA Digidesign?? >> >> >>> >> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the >Mac's >> >> >>cpu(s) >> >> >>>handle the recording and plugins? >> >> >>> >> >> >>>4)* With all the "whining" I have been doing about the lack of nay >> DAW >> >> >manfacturer >> >> >>>"Willing to " to head to toe with Digi. Could this be the Part >Native >> >> solution/DSP >> >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >talking >> >> >about??? >> >> >>> >> >> >>>If so, then, I stand corrected..AND, Once again, proves that the >real >> >> forward >> >> >>>thinkers in the DAW world are right here in our little forum..You >guys >> >> >Rock!!!.. >> >> >>>Thanks for letting me have my "State of The DAW" tantrum of >sorts...:) >> >> >>> >> >> >>>Interesting developments..Wow... >> >> >> >> >> > >> >> >> > >> > >> > >Deej, your post reminded me of something I recently read on another forum: that the latest OSX update did something to allow Logic to run with a lower buffer than it used to require. So I just tried it on a song I'm mixing. So far so good. Set the buffer to 64k and the system seems to be running smoothly with Logic's CPU meter at less than 10%. Nice. So I tried a 32k buffer. Almost no increase in the CPU meter and it still plays back great. Lessee, there's 15 audio tracks, 1 MIDI track, 1 audio instrument track, and 21 plugins (eqs, compressors, reverb). Not my most complex mix but still impressive. I'll have to try this on more complex mixes and during tracking, it looks there's plenty of CPU available for a lot more tracks/plugins even with a 32k buffer. This is with a dual 2.5GHZ G5, 2.5Gb RAM, OSX 10.4.4, Logic 7.1.1. Has anyone else noticed a buffer improvement with the latest Logic and OSX on other Macs? Cheers, -Jamie http://www.JamieKrutz.com EK Sound wrote: > Direct monitor is your friend here... if you have enough buses > available, use Paris as a monitor mixer and place SX in direct monitor > mode. This will allow you to record to SX and monitor/effect in real > time using Paris. We do this here using the DM2K, but there is no > reason it wouldn't work well with Paris. Once you have certain tracks > comitted (you don't intend to record to them again, or at least not > right now), you can assign them to a main stereo out to free up buses. > Simply leave the SX channel faders at unity, and mix in Paris. Once > you aren't recording on a track, you can also apply insert plugs or FX > in SX. > > David. > > DJ wrote: >> Yep. I totally agree. I built this dual core machine in hopes that it >> would >> have enough horsepower to run at 64k buffers under heavy plugin loads >> with >> large track counts. Not a chance in hell. It's remarkably fast and >> powerful >> so it's capable of what I want at higher buffer settings so for mixing >> with >> PDC using UAD-1 cards in SX so in that respect, it's filling my >> needs.......but it's a wuss compared to Paris in the DAW torture >> scenario of >> a dub session where it's necessary to work quickly and there are already >> lots of tracks playing back and lots being added/punched. Paris still >> rules >> in this respect. >> >> Deej >> >> >> "James McCloskey" <excelsm@hotmail.com> wrote in message >> news:43daedeb$1@linux... >> >>> "Mike R." <emarenot@yahoo.com> wrote: >>> >>>> Amen. >>>> Well said. >>>> I agree. The threat to digi is in the world of faster, cheaper native >>>> machines. I really thought that the current generation of machines >>>> would >>> >>> be >>> >>>> "the one." But my vote is one, or possibly two more generations. What >>>> continues to amaze me is how freakin' relavent Paris still is. >>>> Latency? >>>> What's latency? >>>> MR >>> >>> 9 years later!!! >>> >>> >>> >>>> "TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>>> >>>>> "James McCloskey" <excelsm@hotmail.com> wrote: >>>>> >>>>>> "TCB" <nobody@ishere.com> wrote: >>>>>> >>>>>>> I've been meaning to write about this for a few days but have spent >>>> >>>> literally >>>> >>>>>>> every minute of the past few days either at work, playing shows, or >>>> >>>> blind >>>> >>>>>>> drunk. So . . . >>>>>>> >>>>>>> To me this really product is not much news, and if it were any other >>> >>> two >>> >>>>>>> companies it wouldn't even be news at all. As I said before, DSP >> >> systems >> >>>>>>> are there for people who are willing to pay the big bucks to track >> >> with >> >>>>>> almost >>>>>> >>>>>>> no latency. Native systems are for everyone else. This is just a >> >> PCI-E >> >>>>> native >>>>> >>>>>>> system. That matters to Apple because the reports are that their >>>>>>> next >>>> >>>> series >>>> >>>>>>> of desktops won't have anything but PCI-E slots. >>>>>> >>>>>> I think it's news in the audio world any time Apogee comes out with a >>> >>> new >>> >>>>>> product. Apogee is significant, their converters are a professional >>>> >>>> industry >>>> >>>>>> standard. Converters are subjective. >>>>> >>>>> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >>> >>> had >>> >>>>> announced a deal nobody would be all that thrilled. Becuase it's Apple >>> >>> and >>> >>>>> Apogee somehow it's a bigger news story. Which is fine, bully for >>>>> them, >>> >>> I >>> >>>>> was just pointing out that this "story" has longer legs because of the >>> >>> two >>> >>>>> companies involved. >>>>> >>>>> >>>>>>> As far as the "grand strategy" stuff, and if Apple is threatening >> >> Digi >> >>>>> or >>>>> >>>>>>> whatever. Think for a minute about how much money Apple makes from >>>> >>>> people >>>> >>>>>>> who make music on Macs. Then think about how much money they make >> >> from >> >>>>> people >>>>> >>>>>>> who buy iPods and download from iTunes. Then think about the fact >> >> that >> >>>>> Jobs >>>>> >>>>>>> is on the board at Disney and the new iPods do video. Do you think >> >> Apple >> >>>>>>> *as a company* is fundamentally concerned with pro audio users? >>>>>>> Would >>>> >>>> they >>>> >>>>>>> like to make money there? Sure. But would they trade 10% more of the >>> >>> pro >>> >>>>>>> audio market for 10% of the MP3 player market? I wouldn't think so. >>>>>>> >>>>>>> Thus, to me this is a very nice, and probably very expensive, native >>>> >>>> system. >>>> >>>>>>> Not fundamentally different than a very nice RME system on either >>>> >>>> platform. >>>> >>>>>>> >>>>>>> TCB >>>>>> >>>>>> I don't think it's that cut and dry. I don't think it's this part of >>>> >>>> Apple's >>>> >>>>>> business vs. another part of their business. I think Apple is >>>>>> serious >>>> >>>> about >>>> >>>>>> pro Audio. The apogee thing is an example of it, and I think there >> >> will >> >>>>>> be more to come. I don't think Apple will fire Digi, I think it >>>>>> would >>>> >>>> take >>>> >>>>>> Digi firing Apple to really get stuff started. >>>>>> >>>>>> Just my .02 >>>>>> >>>>>> James >>>>> >>>>> I certainly don't think Apple WANTS people to quit using them for >> >> audio, >> >>>>> and I don't expect Digi will move anywhere. However, LaMont was asking >>> >>> a >>> >>>>> question about "what does this mean for the DAW world" and that >>>> >>>> necessarily >>>> >>>>> involves other companies. >>>>> >>>>> What I find most interesting is not the Apple vs. PC vs. Digi vs. >> >> Native >> >>>>> or whatever else, but why everyone hates Digi so much. To be perfectly >>>> >>>> honest >>>> >>>>> I think a healthy amount of that is jealousy. No matter what most >>>>> of us >>>> >>>> say, >>>> >>>>> given the choice between a massively tricked out PT rig with lots of >> >> I/O >> >>>>> and DSP f/x and the bestest bestest native system out there (or even >> >> the >> >>>>> best PARIS system out there), nearly all of us would have a sudden >> >> change >> >>>>> of faith and take the Digi hardware. Even I would and I'm much more of >>> >>> a >>> >>>>> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>>> >>>> reason >>>> >>>>> #2 is there is a perception that Digi uses its place as a "niche >>>> >>>> monopolist" >>>> >>>>> to abuse their customers, price gouge, and generally behave badly. In >>> >>> its >>> >>>>> time PARIS was a fantastic competitor to PT because it was cheaper, >> >> looked >> >>>>> better, and sounded better. It didn't become a truly viable competitor >>> >>> to >>> >>>>> PT for a bunch of reasons that have been hashed out here ad infinitum, >>> >>> but >>> >>>>> include the cratering of Ensoniq, the later cratering of E-mu, the >>>>> fact >>>> >>>> that >>>> >>>>> St. Croix was a 24 carat arrogant ass at times, increased usability of >>>> >>>> cheaper >>>> >>>>> native systems, and so on. >>>>> >>>>> But what I think people like LaMont are looking for is not Digi >>>>> getting >>>> >>>> knocked >>>> >>>>> off the throne or Apple owning the DAW market, but for Digi to have at >>>> >>>> least >>>> >>>>> one competitor with deep pockets and quality products to at least make >>>> >>>> Digi >>>> >>>>> behave better. Here's the thing--I don't think that competitor is >>>>> going >>> >>> to >>> >>>>> come along. It would be too hard a market to break (PARIS being an >> >> example >> >>>>> where a similar product superior in many ways never really made a >>>>> dent) >>>> >>>> and >>>> >>>>> most people with the money to own big PT rigs don't really want to >> >> change >> >>>>> all that much even if they do whine about Digi sometimes. So, I think >>> >>> the >>> >>>>> long term threat to Digi is the simple erosion of their customter base >>> >>> by >>> >>>>> faster, cheaper, and better native systems. But for the sake of LaMont >>>> >>>> (and >>>> >>>>> others) I hope I'm wrong and someone is tinkering away right now on a >>>> >>>> really >>>> >>>>> super DSP system that will sell for $2k and really do something >> >> special. >> >>>>> >>>>> TCB >>>>> >>>>> >>>>>>> >>>>>>> "LaMont" <jjdpro@ameritech.net> wrote: >>>>>>> >>>>>>>> http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>>>>>> >>>>>>>> Okay, so what does this product mean? >>>>>>>> 1)Is this a Direct shot over Digidesign's bow? >>>>>>>> >>>>>>>> 2) Does this mean Apple and Apogee are going to go head up with the >>> >>> Big >>> >>>>>>> kohuna >>>>>>> >>>>>>>> AKA Digidesign?? >>>>>>>> >>>>>>>> 3)This Product: Is it just a dedicated DSP Mixer,thus letting the >> >> Mac's >> >>>>>>> cpu(s) >>>>>>> >>>>>>>> handle the recording and plugins? >>>>>>>> >>>>>>>> 4)* With all the "whining" I have been doing about the lack of nay >>> >>> DAW >>> >>>>>> manfacturer >>>>>> >>>>>>>> "Willing to " to head to toe with Digi. Could this be the Part >> >> Native >> >>>>> solution/DSP >>>>> >>>>>>>> that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >> >> talking >> >>>>>> about??? >>>>>> >>>>>>>> If so, then, I stand corrected..AND, Once again, proves that the >> >> real >> >>>>> forward >>>>> >>>>>>>> thinkers in the DAW world are right here in our little forum..You >> >> guys >> >>>>>> Rock!!!.. >>>>>> >>>>>>>> Thanks for letting me have my "State of The DAW" tantrum of >> >> sorts...:) >> >>>>>>>> Interesting developments..Wow... >>>>>>> >>>> >> >>Lamont, Just use a mixer. That becomes your stable routing tool. I have a Tascam DM24. It routes all my audio, has a decent TC reverb, 16 decent inputs, tons of I/O, and i never concern myself about latency whatsoever. In fact my computer is about 3 years ald and works fine with lots of tracks, because i don't have to push it at all. If I want to track VSTis, I use a second machine set really fast, for monitoring the synth. Then on playback I monitor the same VSTi on the main machine. Bill "LaMont" <jjdpro@ameritech.net> wrote in message news:43dbb16d$1@linux... > > DJ, > That's my point I this endless love affair with native DAW's. I plan to > use > the natives as a compositional tool,maybe even to track now & then, but > I'm > sold out on DSP based DAWs be-it Paris or PTHD..I'm not about to keep > going > thru the motions of the constant PC/Mac upgrade paths..Nope..I'm done.. > > I started this thread to open he question about the lack of a PT HD > competior, > but it seems that most are satified with their native based DAW...I'm > not.Some > manufacture will give me and others the goods...And, yes, I'll hold mt > breath > :) > Lamont > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: >>Yep. I totally agree. I built this dual core machine in hopes that it >>would >>have enough horsepower to run at 64k buffers under heavy plugin loads with >>large track counts. Not a chance in hell. It's remarkably fast and >>powerful >>so it's capable of what I want at higher buffer settings so for mixing >>with >>PDC using UAD-1 cards in SX so in that respect, it's filling my >>needs.......but it's a wuss compared to Paris in the DAW torture scenario > of >>a dub session where it's necessary to work quickly and there are already >>lots of tracks playing back and lots being added/punched. Paris still >>rules >>in this respect. >> >>Deej >> >> >>"James McCloskey" <excelsm@hotmail.com> wrote in message >>news:43daedeb$1@linux... >>> >>> "Mike R." <emarenot@yahoo.com> wrote: >>> >Amen. >>> >Well said. >>> >I agree. The threat to digi is in the world of faster, cheaper native >>> >machines. I really thought that the current generation of machines >>> >would >>> be >>> >"the one." But my vote is one, or possibly two more generations. What >>> >continues to amaze me is how freakin' relavent Paris still is. >>> >Latency? >>> >What's latency? >>> >MR >>> >>> 9 years later!!! >>> >>> >>> >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>> >> >>> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>> >> > >>> >> >"TCB" <nobody@ishere.com> wrote: >>> >> >> >>> >> >>I've been meaning to write about this for a few days but have spent >>> >literally >>> >> >>every minute of the past few days either at work, playing shows, > or >>> >blind >>> >> >>drunk. So . . . >>> >> >> >>> >> >>To me this really product is not much news, and if it were any >>> >> >>other >>> two >>> >> >>companies it wouldn't even be news at all. As I said before, DSP >>systems >>> >> >>are there for people who are willing to pay the big bucks to track >>with >>> >> >almost >>> >> >>no latency. Native systems are for everyone else. This is just a >>PCI-E >>> >> native >>> >> >>system. That matters to Apple because the reports are that their > next >>> >series >>> >> >>of desktops won't have anything but PCI-E slots. >>> >> > >>> >> >I think it's news in the audio world any time Apogee comes out with > a >>> new >>> >> >product. Apogee is significant, their converters are a professional >>> >industry >>> >> >standard. Converters are subjective. >>> >> >>> >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >>> had >>> >> announced a deal nobody would be all that thrilled. Becuase it's >>> >> Apple >>> and >>> >> Apogee somehow it's a bigger news story. Which is fine, bully for >>> >> them, >>> I >>> >> was just pointing out that this "story" has longer legs because of > the >>> two >>> >> companies involved. >>> >> >>> >> >> >>> >> >>As far as the "grand strategy" stuff, and if Apple is threatening >>Digi >>> >> or >>> >> >>whatever. Think for a minute about how much money Apple makes from >>> >people >>> >> >>who make music on Macs. Then think about how much money they make >>from >>> >> people >>> >> >>who buy iPods and download from iTunes. Then think about the fact >>that >>> >> Jobs >>> >> >>is on the board at Disney and the new iPods do video. Do you think >>Apple >>> >> >>*as a company* is fundamentally concerned with pro audio users? >>> >> >>Would >>> >they >>> >> >>like to make money there? Sure. But would they trade 10% more of > the >>> pro >>> >> >>audio market for 10% of the MP3 player market? I wouldn't think so. >>> >> >> >>> >> >>Thus, to me this is a very nice, and probably very expensive, >>> >> >>native >>> >system. >>> >> >>Not fundamentally different than a very nice RME system on either >>> >platform. >>> >> >> >>> >> >> >>> >> >>TCB >>> >> > >>> >> >I don't think it's that cut and dry. I don't think it's this part > of >>> >Apple's >>> >> >business vs. another part of their business. I think Apple is >>> >> >serious >>> >about >>> >> >pro Audio. The apogee thing is an example of it, and I think there >>will >>> >> >be more to come. I don't think Apple will fire Digi, I think it >>> >> >would >>> >take >>> >> >Digi firing Apple to really get stuff started. >>> >> > >>> >> >Just my .02 >>> >> > >>> >> >James >>> >> >>> >> I certainly don't think Apple WANTS people to quit using them for >>audio, >>> >> and I don't expect Digi will move anywhere. However, LaMont was >>> >> asking >>> a >>> >> question about "what does this mean for the DAW world" and that >>> >necessarily >>> >> involves other companies. >>> >> >>> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. >>Native >>> >> or whatever else, but why everyone hates Digi so much. To be >>> >> perfectly >>> >honest >>> >> I think a healthy amount of that is jealousy. No matter what most of > us >>> >say, >>> >> given the choice between a massively tricked out PT rig with lots of >>I/O >>> >> and DSP f/x and the bestest bestest native system out there (or even >>the >>> >> best PARIS system out there), nearly all of us would have a sudden >>change >>> >> of faith and take the Digi hardware. Even I would and I'm much more > of >>> a >>> >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>> >reason >>> >> #2 is there is a perception that Digi uses its place as a "niche >>> >monopolist" >>> >> to abuse their customers, price gouge, and generally behave badly. > In >>> its >>> >> time PARIS was a fantastic competitor to PT because it was cheaper, >>looked >>> >> better, and sounded better. It didn't become a truly viable >>> >> competitor >>> to >>> >> PT for a bunch of reasons that have been hashed out here ad >>> >> infinitum, >>> but >>> >> include the cratering of Ensoniq, the later cratering of E-mu, the > fact >>> >that >>> >> St. Croix was a 24 carat arrogant ass at times, increased usability > of >>> >cheaper >>> >> native systems, and so on. >>> >> >>> >> But what I think people like LaMont are looking for is not Digi >>> >> getting >>> >knocked >>> >> off the throne or Apple owning the DAW market, but for Digi to have > at >>> >least >>> >> one competitor with deep pockets and quality products to at least >>> >> make >>> >Digi >>> >> behave better. Here's the thing--I don't think that competitor is >>> >> going >>> to >>> >> come along. It would be too hard a market to break (PARIS being an >>example >>> >> where a similar product superior in many ways never really made a >>> >> dent) >>> >and >>> >> most people with the money to own big PT rigs don't really want to >>change >>> >> all that much even if they do whine about Digi sometimes. So, I think >>> the >>> >> long term threat to Digi is the simple erosion of their customter >>> >> base >>> by >>> >> faster, cheaper, and better native systems. But for the sake of >>> >> LaMont >>> >(and >>> >> others) I hope I'm wrong and someone is tinkering away right now on > a >>> >really >>> >> super DSP system that will sell for $2k and really do something >>special. >>> >> >>> >> >>> >> TCB >>> >> >>> >> > >>> >> >> >>> >> >> >>> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>> >> >>> >>> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>> >> >>> >>> >> >>>Okay, so what does this product mean? >>> >> >>>1)Is this a Direct shot over Digidesign's bow? >>> >> >>> >>> >> >>>2) Does this mean Apple and Apogee are going to go head up with > the >>> Big >>> >> >>kohuna >>> >> >>>AKA Digidesign?? >>> >> >>> >>> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the >>Mac's >>> >> >>cpu(s) >>> >> >>>handle the recording and plugins? >>> >> >>> >>> >> >>>4)* With all the "whining" I have been doing about the lack of nay >>> DAW >>> >> >manfacturer >>> >> >>>"Willing to " to head to toe with Digi. Could this be the Part >>Native >>> >> solution/DSP >>> >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >>talking >>> >> >about??? >>> >> >>> >>> >> >>>If so, then, I stand corrected..AND, Once again, proves that the >>real >>> >> forward >>> >> >>>thinkers in the DAW world are right here in our little forum..You >>guys >>> >> >Rock!!!.. >>> >> >>>Thanks for letting me have my "State of The DAW" tantrum of >>sorts...:) >>> >> >>> >>> >> >>>Interesting developments..Wow... >>> >> >> >>> >> > >>> >> >>> > >>> > >>> >> >> >you can do fat32 up to like 2 terabytes or something silly, but you need the 'newest' fdisk in win98/me, partition magic or a free partition app. I have a 120gb drive that's fat32 but i used partition magic. There are free apps out there that will do it but I forget their name. Edna wrote: > It doesnt offer FAT32 probably because of the drive size limitation, 32GB I > believe. > E > "RZ" <pearlmusic@sbcglobal.net> wrote in message news:43da9b2a$1@linux... > >>Hi Guys, >> >>I have a fairly new Seagate 120G drive that I used on one small project > > and > >>I tried mounting it on an older Win98 computer, only to find out it was >>NTFS. In the past I've always formatted my record drives to FAT32, just >>just to be consistant with my projects prior to running Paris on XP. Back >>in the day I used to format new drives in DOS using the format Z/64 > > command > >>to create specific sector sizes. Now that disk formatting has become so >>simplified, its easy to not know how the drives are formatted. The > > Seagate > >>software does not even offer the option to reformat this drive as FAT32 >>(only FAT16 or NTFS). It does offer byte sizes from 512 to 4K for NTFS. >>What really offers the best performance for Paris these days? >> >>RZ >> >> > > >no particular IRs, i have a couple hundred. Even with True Verb I get reallly great verb by varying the Short and Long reflections to taste. Edna wrote: > John, any particular IRs you referring to? Waves? I'm not enthralled with > Paris verbs either. > Edna > > "John" <no@no.com> wrote in message news:43d7ce1d$1@linux... > >>well for starters the verbs are lousy compared to IR stuff >> >>EK Sound wrote: >> >>>Which effects are you having a hard time with? >>> >>>David. >>> >>>John wrote: >>> >>> >>>>even after a lot of tweaking i'm not that impressed seriously >>>> >>>>DJ wrote: >>>> >>>> >>>>>If you're talking about the presets, yeah, I would agree. >>>>> >>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... >>>>> >>>>> >>>>>>oh god, eds efx.. yuck >>>>>> >>>>>>DJ wrote: >>>>>> > > >Hey Bill! Did you get the factory mic pre upgrade for the DM-24? FYI, I hear it's about $450.00, and it's supposed to be a great improvement over the original Mic pres. James "Bill Lorentzen" <bill@lorentzen.ws> wrote: >Lamont, > >Just use a mixer. That becomes your stable routing tool. I have a Tascam >DM24. It routes all my audio, has a decent TC reverb, 16 decent inputs, tons >of I/O, and i never concern myself about latency whatsoever. In fact my >computer is about 3 years ald and works fine with lots of tracks, because i >don't have to push it at all. > >If I want to track VSTis, I use a second machine set really fast, for >monitoring the synth. Then on playback I monitor the same VSTi on the main >machine. > >Bill > > >"LaMont" <jjdpro@ameritech.net> wrote in message news:43dbb16d$1@linux... >> >> DJ, >> That's my point I this endless love affair with native DAW's. I plan to >> use >> the natives as a compositional tool,maybe even to track now & then, but >> I'm >> sold out on DSP based DAWs be-it Paris or PTHD..I'm not about to keep >> going >> thru the motions of the constant PC/Mac upgrade paths..Nope..I'm done.. >> >> I started this thread to open he question about the lack of a PT HD >> competior, >> but it seems that most are satified with their native based DAW...I'm >> not.Some >> manufacture will give me and others the goods...And, yes, I'll hold mt >> breath >> :) >> Lamont >> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >>>Yep. I totally agree. I built this dual core machine in hopes that it >>>would >>>have enough horsepower to run at 64k buffers under heavy plugin loads with >>>large track counts. Not a chance in hell. It's remarkably fast and >>>powerful >>>so it's capable of what I want at higher buffer settings so for mixing >>>with >>>PDC using UAD-1 cards in SX so in that respect, it's filling my >>>needs.......but it's a wuss compared to Paris in the DAW torture scenario >> of >>>a dub session where it's necessary to work quickly and there are already >>>lots of tracks playing back and lots being added/punched. Paris still >>>rules >>>in this respect. >>> >>>Deej >>> >>> >>>"James McCloskey" <excelsm@hotmail.com> wrote in message >>>news:43daedeb$1@linux... >>>> >>>> "Mike R." <emarenot@yahoo.com> wrote: >>>> >Amen. >>>> >Well said. >>>> >I agree. The threat to digi is in the world of faster, cheaper native >>>> >machines. I really thought that the current generation of machines >>>> >would >>>> be >>>> >"the one." But my vote is one, or possibly two more generations. What >>>> >continues to amaze me is how freakin' relavent Paris still is. >>>> >Latency? >>>> >What's latency? >>>> >MR >>>> >>>> 9 years later!!! >>>> >>>> >>>> >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>>> >> >>>> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>>> >> > >>>> >> >"TCB" <nobody@ishere.com> wrote: >>>> >> >> >>>> >> >>I've been meaning to write about this for a few days but have spent >>>> >literally >>>> >> >>every minute of the past few days either at work, playing shows, >> or >>>> >blind >>>> >> >>drunk. So . . . >>>> >> >> >>>> >> >>To me this really product is not much news, and if it were any >>>> >> >>other >>>> two >>>> >> >>companies it wouldn't even be news at all. As I said before, DSP >>>systems >>>> >> >>are there for people who are willing to pay the big bucks to track >>>with >>>> >> >almost >>>> >> >>no latency. Native systems are for everyone else. This is just a >>>PCI-E >>>> >> native >>>> >> >>system. That matters to Apple because the reports are that their >> next >>>> >series >>>> >> >>of desktops won't have anything but PCI-E slots. >>>> >> > >>>> >> >I think it's news in the audio world any time Apogee comes out with >> a >>>> new >>>> >> >product. Apogee is significant, their converters are a professional >>>> >industry >>>> >> >standard. Converters are subjective. >>>> >> >>>> >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >>>> had >>>> >> announced a deal nobody would be all that thrilled. Becuase it's >>>> >> Apple >>>> and >>>> >> Apogee somehow it's a bigger news story. Which is fine, bully for >>>> >> them, >>>> I >>>> >> was just pointing out that this "story" has longer legs because of >> the >>>> two >>>> >> companies involved. >>>> >> >>>> >> >> >>>> >> >>As far as the "grand strategy" stuff, and if Apple is threatening >>>Digi >>>> >> or >>>> >> >>whatever. Think for a minute about how much money Apple makes from >>>> >people >>>> >> >>who make music on Macs. Then think about how much money they make >>>from >>>> >> people >>>> >> >>who buy iPods and download from iTunes. Then think about the fact >>>that >>>> >> Jobs >>>> >> >>is on the board at Disney and the new iPods do video. Do you think >>>Apple >>>> >> >>*as a company* is fundamentally concerned with pro audio users? >>>> >> >>Would >>>> >they >>>> >> >>like to make money there? Sure. But would they trade 10% more of >> the >>>> pro >>>> >> >>audio market for 10% of the MP3 player market? I wouldn't think so. >>>> >> >> >>>> >> >>Thus, to me this is a very nice, and probably very expensive, >>>> >> >>native >>>> >system. >>>> >> >>Not fundamentally different than a very nice RME system on either >>>> >platform. >>>> >> >> >>>> >> >> >>>> >> >>TCB >>>> >> > >>>> >> >I don't think it's that cut and dry. I don't think it's this part >> of >>>> >Apple's >>>> >> >business vs. another part of their business. I think Apple is >>>> >> >serious >>>> >about >>>> >> >pro Audio. The apogee thing is an example of it, and I think there >>>will >>>> >> >be more to come. I don't think Apple will fire Digi, I think it >>>> >> >would >>>> >take >>>> >> >Digi firing Apple to really get stuff started. >>>> >> > >>>> >> >Just my .02 >>>> >> > >>>> >> >James >>>> >> >>>> >> I certainly don't think Apple WANTS people to quit using them for >>>audio, >>>> >> and I don't expect Digi will move anywhere. However, LaMont was >>>> >> asking >>>> a >>>> >> question about "what does this mean for the DAW world" and that >>>> >necessarily >>>> >> involves other companies. >>>> >> >>>> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. >>>Native >>>> >> or whatever else, but why everyone hates Digi so much. To be >>>> >> perfectly >>>> >honest >>>> >> I think a healthy amount of that is jealousy. No matter what most of >> us >>>> >say, >>>> >> given the choice between a massively tricked out PT rig with lots of >>>I/O >>>> >> and DSP f/x and the bestest bestest native system out there (or even >>>the >>>> >> best PARIS system out there), nearly all of us would have a sudden >>>change >>>> >> of faith and take the Digi hardware. Even I would and I'm much more >> of >>>> a >>>> >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>>> >reason >>>> >> #2 is there is a perception that Digi uses its place as a "niche >>>> >monopolist" >>>> >> to abuse their customers, price gouge, and generally behave badly. >> In >>>> its >>>> >> time PARIS was a fantastic competitor to PT because it was cheaper, >>>looked >>>> >> better, and sounded better. It didn't become a truly viable >>>> >> competitor >>>> to >>>> >> PT for a bunch of reasons that have been hashed out here ad >>>> >> infinitum, >>>> but >>>> >> include the cratering of Ensoniq, the later cratering of E-mu, the >> fact >>>> >that >>>> >> St. Croix was a 24 carat arrogant ass at times, increased usability >> of >>>> >cheaper >>>> >> native systems, and so on. >>>> >> >>>> >> But what I think people like LaMont are looking for is not Digi >>>> >> getting >>>> >knocked >>>> >> off the throne or Apple owning the DAW market, but for Digi to have >> at >>>> >least >>>> >> one competitor with deep pockets and quality products to at least >>>> >> make >>>> >Digi >>>> >> behave better. Here's the thing--I don't think that competitor is >>>> >> going >>>> to >>>> >> come along. It would be too hard a market to break (PARIS being an >>>example >>>> >> where a similar product superior in many ways never really made a >>>> >> dent) >>>> >and >>>> >> most people with the money to own big PT rigs don't really want to >>>change >>>> >> all that much even if they do whine about Digi sometimes. So, I think >>>> the >>>> >> long term threat to Digi is the simple erosion of their customter >>>> >> base >>>> by >>>> >> faster, cheaper, and better native systems. But for the sake of >>>> >> LaMont >>>> >(and >>>> >> others) I hope I'm wrong and someone is tinkering away right now on >> a >>>> >really >>>> >> super DSP system that will sell for $2k and really do something >>>special. >>>> >> >>>> >> >>>> >> TCB >>>> >> >>>> >> > >>>> >> >> >>>> >> >> >>>> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>>> >> >>> >>>> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>> >> >>> >>>> >> >>>Okay, so what does this product mean? >>>> >> >>>1)Is this a Direct shot over Digidesign's bow? >>>> >> >>> >>>> >> >>>2) Does this mean Apple and Apogee are going to go head up with >> the >>>> Big >>>> >> >>kohuna >>>> >> >>>AKA Digidesign?? >>>> >> >>> >>>> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the >>>Mac's >>>> >> >>cpu(s) >>>> >> >>>handle the recording and plugins? >>>> >> >>> >>>> >> >>>4)* With all the "whining" I have been doing about the lack of nay >>>> DAW >>>> >> >manfacturer >>>> >> >>>"Willing to " to head to toe with Digi. Could this be the Part >>>Native >>>> >> solution/DSP >>>> >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >>>talking >>>> >> >about??? >>>> >> >>> >>>> >> >>>If so, then, I stand corrected..AND, Once again, proves that the >>>real >>>> >> forward >>>> >> >>>thinkers in the DAW world are right here in our little forum..You >>>guys >>>> >> >Rock!!!.. >>>> >> >>>Thanks for letting me have my "State of The DAW" tantrum of >>>sorts...:) >>>> >> >>> >>>> >> >>>Interesting developments..Wow... >>>> >> >> >>>> >> > >>>> >> >>>> > >>>> > >>>> >>> >>> >> > >Most of the external FireWire 400 HD case use the Oxford 911 chip set, but you always want to check to make sure. James "Pete Ruthenburg" <ruthenburg@sbcglobal.net> wrote: > > I was looking for a post a while back that a number of people >mentioned a certain drive that I think had the Oxford 911 thingy >in it.There was also a link to a seller,but I can't seem to find >it.If anyone knows what I'm talking about could you post it. > Any other drives thatare performing well? > I'm hearing Seagate might not be the way to go right now. > >TIA, >PeteNo I did not. I thought it was just because there was a problem with the sensitivity of the pot when you turn them up from the bottom. I did not know it was a better pre altogether. Sounds interesting. Bill "James McCloskey" <excelsm@hotmail.com> wrote in message news:43dbd48b$1@linux... > > Hey Bill! Did you get the factory mic pre upgrade for the DM-24? FYI, I > hear it's about $450.00, and it's supposed to be a great improvement over > the original Mic pres. > > James > > "Bill Lorentzen" <bill@lorentzen.ws> wrote: >>Lamont, >> >>Just use a mixer. That becomes your stable routing tool. I have a Tascam > >>DM24. It routes all my audio, has a decent TC reverb, 16 decent inputs, > tons >>of I/O, and i never concern myself about latency whatsoever. In fact my > >>computer is about 3 years ald and works fine with lots of tracks, because > i >>don't have to push it at all. >> >>If I want to track VSTis, I use a second machine set really fast, for >>monitoring the synth. Then on playback I monitor the same VSTi on the main > >>machine. >> >>Bill >> >> >>"LaMont" <jjdpro@ameritech.net> wrote in message news:43dbb16d$1@linux... >>> >>> DJ, >>> That's my point I this endless love affair with native DAW's. I plan to > >>> use >>> the natives as a compositional tool,maybe even to track now & then, but > >>> I'm >>> sold out on DSP based DAWs be-it Paris or PTHD..I'm not about to keep > >>> going >>> thru the motions of the constant PC/Mac upgrade paths..Nope..I'm done.. >>> >>> I started this thread to open he question about the lack of a PT HD >>> competior, >>> but it seems that most are satified with their native based DAW...I'm > >>> not.Some >>> manufacture will give me and others the goods...And, yes, I'll hold mt > >>> breath >>> :) >>> Lamont >>> >>> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >>>>Yep. I totally agree. I built this dual core machine in hopes that it > >>>>would >>>>have enough horsepower to run at 64k buffers under heavy plugin loads > with >>>>large track counts. Not a chance in hell. It's remarkably fast and >>>>powerful >>>>so it's capable of what I want at higher buffer settings so for mixing > >>>>with >>>>PDC using UAD-1 cards in SX so in that respect, it's filling my >>>>needs.......but it's a wuss compared to Paris in the DAW torture >>>>scenario >>> of >>>>a dub session where it's necessary to work quickly and there are already >>>>lots of tracks playing back and lots being added/punched. Paris still > >>>>rules >>>>in this respect. >>>> >>>>Deej >>>> >>>> >>>>"James McCloskey" <excelsm@hotmail.com> wrote in message >>>>news:43daedeb$1@linux... >>>>> >>>>> "Mike R." <emarenot@yahoo.com> wrote: >>>>> >Amen. >>>>> >Well said. >>>>> >I agree. The threat to digi is in the world of faster, cheaper >>>>> >native >>>>> >machines. I really thought that the current generation of machines > >>>>> >would >>>>> be >>>>> >"the one." But my vote is one, or possibly two more generations. > What >>>>> >continues to amaze me is how freakin' relavent Paris still is. >>>>> >Latency? >>>>> >What's latency? >>>>> >MR >>>>> >>>>> 9 years later!!! >>>>> >>>>> >>>>> >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>>>> >> >>>>> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>>>> >> > >>>>> >> >"TCB" <nobody@ishere.com> wrote: >>>>> >> >> >>>>> >> >>I've been meaning to write about this for a few days but have >>>>> >> >>spent >>>>> >literally >>>>> >> >>every minute of the past few days either at work, playing shows, >>> or >>>>> >blind >>>>> >> >>drunk. So . . . >>>>> >> >> >>>>> >> >>To me this really product is not much news, and if it were any > >>>>> >> >>other >>>>> two >>>>> >> >>companies it wouldn't even be news at all. As I said before, DSP >>>>systems >>>>> >> >>are there for people who are willing to pay the big bucks to >>>>> >> >>track >>>>with >>>>> >> >almost >>>>> >> >>no latency. Native systems are for everyone else. This is just > a >>>>PCI-E >>>>> >> native >>>>> >> >>system. That matters to Apple because the reports are that their >>> next >>>>> >series >>>>> >> >>of desktops won't have anything but PCI-E slots. >>>>> >> > >>>>> >> >I think it's news in the audio world any time Apogee comes out >>>>> >> >with >>> a >>>>> new >>>>> >> >product. Apogee is significant, their converters are a >>>>> >> >professional >>>>> >industry >>>>> >> >standard. Converters are subjective. >>>>> >> >>>>> >> Absolutely, that's what I was saying. If PreSonus and >>>>> >> Hewlett-Packard >>>>> had >>>>> >> announced a deal nobody would be all that thrilled. Becuase it's > >>>>> >> Apple >>>>> and >>>>> >> Apogee somehow it's a bigger news story. Which is fine, bully for > >>>>> >> them, >>>>> I >>>>> >> was just pointing out that this "story" has longer legs because of >>> the >>>>> two >>>>> >> companies involved. >>>>> >> >>>>> >> >> >>>>> >> >>As far as the "grand strategy" stuff, and if Apple is threatening >>>>Digi >>>>> >> or >>>>> >> >>whatever. Think for a minute about how much money Apple makes >>>>> >> >>from >>>>> >people >>>>> >> >>who make music on Macs. Then think about how much money they make >>>>from >>>>> >> people >>>>> >> >>who buy iPods and download from iTunes. Then think about the fact >>>>that >>>>> >> Jobs >>>>> >> >>is on the board at Disney and the new iPods do video. Do you >>>>> >> >>think >>>>Apple >>>>> >> >>*as a company* is fundamentally concerned with pro audio users? > >>>>> >> >>Would >>>>> >they >>>>> >> >>like to make money there? Sure. But would they trade 10% more of >>> the >>>>> pro >>>>> >> >>audio market for 10% of the MP3 player market? I wouldn't think > so. >>>>> >> >> >>>>> >> >>Thus, to me this is a very nice, and probably very expensive, >>>>> >> >>native >>>>> >system. >>>>> >> >>Not fundamentally different than a very nice RME system on either >>>>> >platform. >>>>> >> >> >>>>> >> >> >>>>> >> >>TCB >>>>> >> > >>>>> >> >I don't think it's that cut and dry. I don't think it's this part >>> of >>>>> >Apple's >>>>> >> >business vs. another part of their business. I think Apple is >>>>> >> >serious >>>>> >about >>>>> >> >pro Audio. The apogee thing is an example of it, and I think >>>>> >> >there >>>>will >>>>> >> >be more to come. I don't think Apple will fire Digi, I think it > >>>>> >> >would >>>>> >take >>>>> >> >Digi firing Apple to really get stuff started. >>>>> >> > >>>>> >> >Just my .02 >>>>> >> > >>>>> >> >James >>>>> >> >>>>> >> I certainly don't think Apple WANTS people to quit using them for >>>>audio, >>>>> >> and I don't expect Digi will move anywhere. However, LaMont was >>>>> >> asking >>>>> a >>>>> >> question about "what does this mean for the DAW world" and that >>>>> >necessarily >>>>> >> involves other companies. >>>>> >> >>>>> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. >>>>Native >>>>> >> or whatever else, but why everyone hates Digi so much. To be >>>>> >> perfectly >>>>> >honest >>>>> >> I think a healthy amount of that is jealousy. No matter what most > of >>> us >>>>> >say, >>>>> >> given the choice between a massively tricked out PT rig with lots > of >>>>I/O >>>>> >> and DSP f/x and the bestest bestest native system out there (or >>>>> >> even >>>>the >>>>> >> best PARIS system out there), nearly all of us would have a sudden >>>>change >>>>> >> of faith and take the Digi hardware. Even I would and I'm much more >>> of >>>>> a >>>>> >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I >>>>> >> think >>>>> >reason >>>>> >> #2 is there is a perception that Digi uses its place as a "niche >>>>> >monopolist" >>>>> >> to abuse their customers, price gouge, and generally behave badly. >>> In >>>>> its >>>>> >> time PARIS was a fantastic competitor to PT because it was cheaper, >>>>looked >>>>> >> better, and sounded better. It didn't become a truly viable >>>>> >> competitor >>>>> to >>>>> >> PT for a bunch of reasons that have been hashed out here ad >>>>> >> infinitum, >>>>> but >>>>> >> include the cratering of Ensoniq, the later cratering of E-mu, the >>> fact >>>>> >that >>>>> >> St. Croix was a 24 carat arrogant ass at times, increased usability >>> of >>>>> >cheaper >>>>> >> native systems, and so on. >>>>> >> >>>>> >> But what I think people like LaMont are looking for is not Digi >>>>> >> getting >>>>> >knocked >>>>> >> off the throne or Apple owning the DAW market, but for Digi to have >>> at >>>>> >least >>>>> >> one competitor with deep pockets and quality products to at least > >>>>> >> make >>>>> >Digi >>>>> >> behave better. Here's the thing--I don't think that competitor is > >>>>> >> going >>>>> to >>>>> >> come along. It would be too hard a market to break (PARIS being an >>>>example >>>>> >> where a similar product superior in many ways never really made a > >>>>> >> dent) >>>>> >and >>>>> >> most people with the money to own big PT rigs don't really want to >>>>change >>>>> >> all that much even if they do whine about Digi sometimes. So, I >>>>> >> think >>>>> the >>>>> >> long term threat to Digi is the simple erosion of their customter > >>>>> >> base >>>>> by >>>>> >> faster, cheaper, and better native systems. But for the sake of >>>>> >> LaMont >>>>> >(and >>>>> >> others) I hope I'm wrong and someone is tinkering away right now > on >>> a >>>>> >really >>>>> >> super DSP system that will sell for $2k and really do something >>>>special. >>>>> >> >>>>> >> >>>>> >> TCB >>>>> >> >>>>> >> > >>>>> >> >> >>>>> >> >> >>>>> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>>>> >> >>> >>>>> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>>> >> >>> >>>>> >> >>>Okay, so what does this product mean? >>>>> >> >>>1)Is this a Direct shot over Digidesign's bow? >>>>> >> >>> >>>>> >> >>>2) Does this mean Apple and Apogee are going to go head up with >>> the >>>>> Big >>>>> >> >>kohuna >>>>> >> >>>AKA Digidesign?? >>>>> >> >>> >>>>> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting > the >>>>Mac's >>>>> >> >>cpu(s) >>>>> >> >>>handle the recording and plugins? >>>>> >> >>> >>>>> >> >>>4)* With all the "whining" I have been doing about the lack of > nay >>>>> DAW >>>>> >> >manfacturer >>>>> >> >>>"Willing to " to head to toe with Digi. Could this be the Part >>>>Native >>>>> >> solution/DSP >>>>> >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >>>>talking >>>>> >> >about??? >>>>> >> >>> >>>>> >> >>>If so, then, I stand corrected..AND, Once again, proves that the >>>>real >>>>> >> forward >>>>> >> >>>thinkers in the DAW world are right here in our little >>>>> >> >>>forum..You >>>>guys >>>>> >> >Rock!!!.. >>>>> >> >>>Thanks for letting me have my "State of The DAW" tantrum of >>>>sorts...:) >>>>> >> >>> >>>>> >> >>>Interesting developments..Wow... >>>>> >> >> >>>>> >> > >>>>> >> >>>>> > >>>>> > >>>>> >>>> >>>> >>> >> >>Dedric, no, this has happened before but it has been a while. it actually happened 3 times on the first new install and once3 since...the gray screen and 8 language restart command. the whole power shutdown was new for this work of art. some things i think are logic related cuz it doesn't happen in DP and some things that happen in DP don't happen in logic. i went through the ram replacement thing when i first got this thing. i originally had mushkin in it (highly recommended and it was my ram of choice in my pc's) but the fw800 g4 didn't know what it was so i replaced it. i totally agree with you on the $700.00 for a battery...ain't gonna happen here either. thanks On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> wrote: >Rick, > >Was this a one time occurrence or do kernel panics (grey screen) happen with >any specific application open, or at random? Do you still have the original >RAM or have you added any? > >We've been having random kernel panics and lockups on our dual G4 for over a >year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice >(the second time crashes had tanked the system drive, so that's been >replaced); tried different RAM; removed peripheral devices, etc. We don't >have energy saver running here either. > >The only new advice I've gotten from Apple's forum is to replace the PRAM >battery. Seems like a long shot as I'm guessing we have a bad logic board, >but at $700 I'm not wanting to replace that just to find out. > >10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >okay there. > >Regards, >Dedric > >On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >"rick" <parnell68@hotmail.com> wrote: > >> all the power saver settings were already set to never and locked. >> >> thanks >> >> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >> wrote: >> >>> >>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>> unlock it if necessary, set sleep options to Never. Then lock it be fore >>> closing the window. >>> >>> I hope this helps! >>> >>> James >>> >>> rick <parnell68@hotmail.com> wrote: >>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>> message of you must do a hard restart) has appeared. then a complete >>>> power down (computer just shut off in the midst of running on a loop); >>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>> nothing else shut down so it wasn't a power issue from outside the >>>> mac. ideas? >>i've done both the pram and nvram zap even though the install was only a couple of days old.. i've run onyx (the latest version for 10.4) and disk warrior after every app. addition. i also had to remove another firewire card as anything connected to it would remove the internal fw drives and corrupt the boot drive...according to disk warrior...it said the drive was beyond repair. but once the firewire card was removed dw said my life was charmed. i'm taking the weekend off to install a wood floor at a friends house. thanks On 28 Jan 2006 11:36:05 +1000, "Mark McDermott" <mark@stateofwail.com> wrote: > >Hi Rick, > >I think I recall having this problem before on one of my Macs. > >I believe that the solution was a PRAM reset. As I recall, the previous power >saver settings were "remembered" by the PRAM and the new settings did not >take effect. > >Cmd-Option-P-R (Yes, you must hold them all down together) after a restart >will clear the PRAM. You MUST hold all four keys down simultaneously and >wait for the "chime". I'd recommend holding down until you hear three or >four chimes before releasing the keys and allowing your machine to boot. > >Hope this helps! > >Mark > >rick <parnell68@hotmail.com> wrote: >>all the power saver settings were already set to never and locked. >> >>thanks >> >>On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>wrote: >> >>> >>>Turn off all energy saver stuff. Go to system preferences, energy saver, >>>unlock it if necessary, set sleep options to Never. Then lock it be fore >>>closing the window. >>> >>>I hope this helps! >>> >>>James >>> >>>rick <parnell68@hotmail.com> wrote: >>>>installed 10.4.3 (new install with zeroing out the drive as usual). >>>>twice after leaving the puter idling with logic 7.1.1 up for less than >>>>1 hour the gray screen (with the in 7 languages appeared with the >>>>message of you must do a hard restart) has appeared. then a complete >>>>power down (computer just shut off in the midst of running on a loop); >>>>calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>nothing else shut down so it wasn't a power issue from outside the >>>>mac. ideas? >>Not having much luck...had a partial sync with CEPro but lost it. Help Don "Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... > HI All > > Well after a year and a half I finally got my second rig up and running > and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. > > I have SPDIF / ADAT and Light pipe all wired up and have audio playback > from both CEP and Wavelab happening in Paris....now it's time to attemp > syncing the second rig to Paris and then eventually Paris to the second > rig. > > So the big question is where do I start. > > DOn >Sync? what are you trying to sync? David. Don Nafe wrote: > Not having much luck...had a partial sync with CEPro but lost it. > > Help > > Don > > > "Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... > >>HI All >> >>Well after a year and a half I finally got my second rig up and running >>and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. >> >>I have SPDIF / ADAT and Light pipe all wired up and have audio playback >>from both CEP and Wavelab happening in Paris....now it's time to attemp >>syncing the second rig to Paris and then eventually Paris to the second >>rig. >> >>So the big question is where do I start. >> >>DOn >> > > >Paris and Cool Edit Pro and Wavelab Don "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dbf492@linux... > Sync? what are you trying to sync? > > David. > > Don Nafe wrote: >> Not having much luck...had a partial sync with CEPro but lost it. >> >> Help >> >> Don >> >> >> "Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... >> >>>HI All >>> >>>Well after a year and a half I finally got my second rig up and running >>>and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. >>> >>>I have SPDIF / ADAT and Light pipe all wired up and have audio playback >>>from both CEP and Wavelab happening in Paris....now it's time to attemp >>>syncing the second rig to Paris and then eventually Paris to the second >>>rig. >>> >>>So the big question is where do I start. >>> >>>DOn >>> >> >>Rick, Sounds like what we are seeing. I've posted on the Apple forum, but not much help there yet - mostly people suggesting what I said in my posts I had already done. The picky Ram issue with Macs really irritates me - Mushkin is probably better than what they spec (although one user suggested crucial). Also our combo drive won't burn DVDs - just CDs. Apple says a replacement would have to be a Panasonic. Why Panasonic? What about Plextor, etc? I also found that our Mac couldn't support IDE cables longer than the 6" or so ones that come with it (even high quality 10-12" cables). The only reason for a Mac being so picky about part manufacturers (down to there being only one in some cases) is poor design tolerances, period. They just tried to cut corners and extend the profit margin by not designing a more robust system with more power to the IDE busses, etc. Easier to pack it all in a spiffy looking case if you get it working in one config and don't have to worry about better ground planes, isolation, etc. Then it is all sold as "this is what is guaranteed to work" making customers think they are getting a highly spec'd system. BS. It's nothing but lazy design and lazy support - easier to say "buy one of these" than actually find a problem. Yeah, $700 for a 2+ yr old motherboard that in the PC world would run about $125. I'm considering building my wife (it's her G4) a dual core AMD or Intel and just crossgrading our design software to PC. Probably less expensive than buying a new MacIntel. Regards, Dedric On 1/28/06 2:53 PM, in article hgpnt1d6mc6flt4492eqjg8n6dhi7qpvf8@4ax.com, "rick" <parnell68@hotmail.com> wrote: > Dedric, > > no, this has happened before but it has been a while. it actually > happened 3 times on the first new install and once3 since...the gray > screen and 8 language restart command. the whole power shutdown was > new for this work of art. some things i think are logic related cuz > it doesn't happen in DP and some things that happen in DP don't happen > in logic. > > i went through the ram replacement thing when i first got this thing. > i originally had mushkin in it (highly recommended and it was my ram > of choice in my pc's) but the fw800 g4 didn't know what it was so i > replaced it. > > i totally agree with you on the $700.00 for a battery...ain't gonna > happen here either. > > thanks > > On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> > wrote: > >> Rick, >> >> Was this a one time occurrence or do kernel panics (grey screen) happen with >> any specific application open, or at random? Do you still have the original >> RAM or have you added any? >> >> We've been having random kernel panics and lockups on our dual G4 for over a >> year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice >> (the second time crashes had tanked the system drive, so that's been >> replaced); tried different RAM; removed peripheral devices, etc. We don't >> have energy saver running here either. >> >> The only new advice I've gotten from Apple's forum is to replace the PRAM >> battery. Seems like a long shot as I'm guessing we have a bad logic board, >> but at $700 I'm not wanting to replace that just to find out. >> >> 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >> okay there. >> >> Regards, >> Dedric >> >> On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >> "rick" <parnell68@hotmail.com> wrote: >> >>> all the power saver settings were already set to never and locked. >>> >>> thanks >>> >>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>> wrote: >>> >>>> >>>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>>> unlock it if necessary, set sleep options to Never. Then lock it be fore >>>> closing the window. >>>> >>>> I hope this helps! >>>> >>>> James >>>> >>>> rick <parnell68@hotmail.com> wrote: >>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>> message of you must do a hard restart) has appeared. then a complete >>>>> power down (computer just shut off in the midst of running on a loop); >>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>> nothing else shut down so it wasn't a power issue from outside the >>>>> mac. ideas? >>> >Hey Dave Got CEPro Working...had to enable sample sync and also midi channel 1...this is good, confusing but good Now for some really dumb Q's How do you set up the patchbay to route audio out the ADAT down the lightpipe same question for SPDIF? No rush as I'm still messing with things here... Dr. Don - Digital Dummy "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dbf492@linux... > Sync? what are you trying to sync? > > David. > > Don Nafe wrote: >> Not having much luck...had a partial sync with CEPro but lost it. >> >> Help >> >> Don >> >> >> "Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... >> >>>HI All >>> >>>Well after a year and a half I finally got my second rig up and running >>>and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. >>> >>>I have SPDIF / ADAT and Light pipe all wired up and have audio playback >>>from both CEP and Wavelab happening in Paris....now it's time to attemp >>>syncing the second rig to Paris and then eventually Paris to the second >>>rig. >>> >>>So the big question is where do I start. >>> >>>DOn >>> >> >>So, by "sync", do you mean when you press play on Paris, CEP and WL follow along? Or, are you refering to "clocking" both compters for audio trnasfer without clicks and pops? David. Don Nafe wrote: > Hey Dave > > Got CEPro Working...had to enable sample sync and also midi channel 1...this > is good, confusing but good > > Now for some really dumb Q's > > How do you set up the patchbay to route audio out the ADAT down the > lightpipe > > same question for SPDIF? > > No rush as I'm still messing with things here... > > Dr. Don - Digital Dummy > > > > "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message > news:43dbf492@linux... > >>Sync? what are you trying to sync? >> >>David. >> >>Don Nafe wrote: >> >>>Not having much luck...had a partial sync with CEPro but lost it. >>> >>>Help >>> >>>Don >>> >>> >>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... >>> >>> >>>>HI All >>>> >>>>Well after a year and a half I finally got my second rig up and running >>>>and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 synced. >>>> >>>>I have SPDIF / ADAT and Light pipe all wired up and have audio playback >>> >>>>from both CEP and Wavelab happening in Paris....now it's time to attemp >>> >>>>syncing the second rig to Paris and then eventually Paris to the second >>>>rig. >>>> >>>>So the big question is where do I start. >>>> >>>>DOn >>>> >>> >>> >Right now hit play and both comps lock. - Working Have audio coming into Paris using ADAT module - Working Need to know Patchbay set up in Paris for ADAT and SPDIF use - reading and experimenting Need to know routing in Dakota for the same - reading and experimenting Don "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dc1076$1@linux... > So, by "sync", do you mean when you press play on Paris, CEP and WL follow > along? Or, are you refering to "clocking" both compters for audio trnasfer > without clicks and pops? > > David. > > Don Nafe wrote: > >> Hey Dave >> >> Got CEPro Working...had to enable sample sync and also midi channel >> 1...this is good, confusing but good >> >> Now for some really dumb Q's >> >> How do you set up the patchbay to route audio out the ADAT down the >> lightpipe >> >> same question for SPDIF? >> >> No rush as I'm still messing with things here... >> >> Dr. Don - Digital Dummy >> >> >> >> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message >> news:43dbf492@linux... >> >>>Sync? what are you trying to sync? >>> >>>David. >>> >>>Don Nafe wrote: >>> >>>>Not having much luck...had a partial sync with CEPro but lost it. >>>> >>>>Help >>>> >>>>Don >>>> >>>> >>>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dba9bf@linux... >>>> >>>> >>>>>HI All >>>>> >>>>>Well after a year and a half I finally got my second rig up and running >>>>>and am going to attempt to get Paris and CEPro 1.2 / Wavelab 4.0 >>>>>synced. >>>>> >>>>>I have SPDIF / ADAT and Light pipe all wired up and have audio playback >>>> >>>>>from both CEP and Wavelab happening in Paris....now it's time to attemp >>>> >>>>>syncing the second rig to Paris and then eventually Paris to the second >>>>>rig. >>>>> >>>>>So the big question is where do I start. >>>>> >>>>>DOn >>>>> >>>> >>>> >>Hey Bill, You must be a mind reader :) As it turns out, I've investigating getting 1 or 2 Tascams DM3200 (Cascaded). i came to this decision with realizing that my dream of another cool DSP based DAW was not on the horizon. I've worked with the yammy DM2000 controlling, Logic, Nuendo, DP and PT, so, I know the power of a good Digital Mixer. This just may the way for me. The new MAckie DXB looks like a good contender beit utilizes VST plugs, as well as, UAD card support, but the i/o add on make this board $$$. Oh, how I wish for a product that integrates both the Mixer & the Recorder(Not the Rolands Vs Line) :).. Take care. "Bill Lorentzen" <bill@lorentzen.ws> wrote: >Lamont, > >Just use a mixer. That becomes your stable routing tool. I have a Tascam >DM24. It routes all my audio, has a decent TC reverb, 16 decent inputs, tons >of I/O, and i never concern myself about latency whatsoever. In fact my >computer is about 3 years ald and works fine with lots of tracks, because i >don't have to push it at all. > >If I want to track VSTis, I use a second machine set really fast, for >monitoring the synth. Then on playback I monitor the same VSTi on the main >machine. > >Bill > > >"LaMont" <jjdpro@ameritech.net> wrote in message news:43dbb16d$1@linux... >> >> DJ, >> That's my point I this endless love affair with native DAW's. I plan to >> use >> the natives as a compositional tool,maybe even to track now & then, but >> I'm >> sold out on DSP based DAWs be-it Paris or PTHD..I'm not about to keep >> going >> thru the motions of the constant PC/Mac upgrade paths..Nope..I'm done.. >> >> I started this thread to open he question about the lack of a PT HD >> competior, >> but it seems that most are satified with their native based DAW...I'm >> not.Some >> manufacture will give me and others the goods...And, yes, I'll hold mt >> breath >> :) >> Lamont >> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >>>Yep. I totally agree. I built this dual core machine in hopes that it >>>would >>>have enough horsepower to run at 64k buffers under heavy plugin loads with >>>large track counts. Not a chance in hell. It's remarkably fast and >>>powerful >>>so it's capable of what I want at higher buffer settings so for mixing >>>with >>>PDC using UAD-1 cards in SX so in that respect, it's filling my >>>needs.......but it's a wuss compared to Paris in the DAW torture scenario >> of >>>a dub session where it's necessary to work quickly and there are already >>>lots of tracks playing back and lots being added/punched. Paris still >>>rules >>>in this respect. >>> >>>Deej >>> >>> >>>"James McCloskey" <excelsm@hotmail.com> wrote in message >>>news:43daedeb$1@linux... >>>> >>>> "Mike R." <emarenot@yahoo.com> wrote: >>>> >Amen. >>>> >Well said. >>>> >I agree. The threat to digi is in the world of faster, cheaper native >>>> >machines. I really thought that the current generation of machines >>>> >would >>>> be >>>> >"the one." But my vote is one, or possibly two more generations. What >>>> >continues to amaze me is how freakin' relavent Paris still is. >>>> >Latency? >>>> >What's latency? >>>> >MR >>>> >>>> 9 years later!!! >>>> >>>> >>>> >"TCB" <nobody@ishere.com> wrote in message news:43da2c42$1@linux... >>>> >> >>>> >> "James McCloskey" <excelsm@hotmail.com> wrote: >>>> >> > >>>> >> >"TCB" <nobody@ishere.com> wrote: >>>> >> >> >>>> >> >>I've been meaning to write about this for a few days but have spent >>>> >literally >>>> >> >>every minute of the past few days either at work, playing shows, >> or >>>> >blind >>>> >> >>drunk. So . . . >>>> >> >> >>>> >> >>To me this really product is not much news, and if it were any >>>> >> >>other >>>> two >>>> >> >>companies it wouldn't even be news at all. As I said before, DSP >>>systems >>>> >> >>are there for people who are willing to pay the big bucks to track >>>with >>>> >> >almost >>>> >> >>no latency. Native systems are for everyone else. This is just a >>>PCI-E >>>> >> native >>>> >> >>system. That matters to Apple because the reports are that their >> next >>>> >series >>>> >> >>of desktops won't have anything but PCI-E slots. >>>> >> > >>>> >> >I think it's news in the audio world any time Apogee comes out with >> a >>>> new >>>> >> >product. Apogee is significant, their converters are a professional >>>> >industry >>>> >> >standard. Converters are subjective. >>>> >> >>>> >> Absolutely, that's what I was saying. If PreSonus and Hewlett-Packard >>>> had >>>> >> announced a deal nobody would be all that thrilled. Becuase it's >>>> >> Apple >>>> and >>>> >> Apogee somehow it's a bigger news story. Which is fine, bully for >>>> >> them, >>>> I >>>> >> was just pointing out that this "story" has longer legs because of >> the >>>> two >>>> >> companies involved. >>>> >> >>>> >> >> >>>> >> >>As far as the "grand strategy" stuff, and if Apple is threatening >>>Digi >>>> >> or >>>> >> >>whatever. Think for a minute about how much money Apple makes from >>>> >people >>>> >> >>who make music on Macs. Then think about how much money they make >>>from >>>> >> people >>>> >> >>who buy iPods and download from iTunes. Then think about the fact >>>that >>>> >> Jobs >>>> >> >>is on the board at Disney and the new iPods do video. Do you think >>>Apple >>>> >> >>*as a company* is fundamentally concerned with pro audio users? >>>> >> >>Would >>>> >they >>>> >> >>like to make money there? Sure. But would they trade 10% more of >> the >>>> pro >>>> >> >>audio market for 10% of the MP3 player market? I wouldn't think so. >>>> >> >> >>>> >> >>Thus, to me this is a very nice, and probably very expensive, >>>> >> >>native >>>> >system. >>>> >> >>Not fundamentally different than a very nice RME system on either >>>> >platform. >>>> >> >> >>>> >> >> >>>> >> >>TCB >>>> >> > >>>> >> >I don't think it's that cut and dry. I don't think it's this part >> of >>>> >Apple's >>>> >> >business vs. another part of their business. I think Apple is >>>> >> >serious >>>> >about >>>> >> >pro Audio. The apogee thing is an example of it, and I think there >>>will >>>> >> >be more to come. I don't think Apple will fire Digi, I think it >>>> >> >would >>>> >take >>>> >> >Digi firing Apple to really get stuff started. >>>> >> > >>>> >> >Just my .02 >>>> >> > >>>> >> >James >>>> >> >>>> >> I certainly don't think Apple WANTS people to quit using them for >>>audio, >>>> >> and I don't expect Digi will move anywhere. However, LaMont was >>>> >> asking >>>> a >>>> >> question about "what does this mean for the DAW world" and that >>>> >necessarily >>>> >> involves other companies. >>>> >> >>>> >> What I find most interesting is not the Apple vs. PC vs. Digi vs. >>>Native >>>> >> or whatever else, but why everyone hates Digi so much. To be >>>> >> perfectly >>>> >honest >>>> >> I think a healthy amount of that is jealousy. No matter what most of >> us >>>> >say, >>>> >> given the choice between a massively tricked out PT rig with lots of >>>I/O >>>> >> and DSP f/x and the bestest bestest native system out there (or even >>>the >>>> >> best PARIS system out there), nearly all of us would have a sudden >>>change >>>> >> of faith and take the Digi hardware. Even I would and I'm much more >> of >>>> a >>>> >> synth/sample guy than a rock'n'roll guy. So that's reason #1. I think >>>> >reason >>>> >> #2 is there is a perception that Digi uses its place as a "niche >>>> >monopolist" >>>> >> to abuse their customers, price gouge, and generally behave badly. >> In >>>> its >>>> >> time PARIS was a fantastic competitor to PT because it was cheaper, >>>looked >>>> >> better, and sounded better. It didn't become a truly viable >>>> >> competitor >>>> to >>>> >> PT for a bunch of reasons that have been hashed out here ad >>>> >> infinitum, >>>> but >>>> >> include the cratering of Ensoniq, the later cratering of E-mu, the >> fact >>>> >that >>>> >> St. Croix was a 24 carat arrogant ass at times, increased usability >> of >>>> >cheaper >>>> >> native systems, and so on. >>>> >> >>>> >> But what I think people like LaMont are looking for is not Digi >>>> >> getting >>>> >knocked >>>> >> off the throne or Apple owning the DAW market, but for Digi to have >> at >>>> >least >>>> >> one competitor with deep pockets and quality products to at least >>>> >> make >>>> >Digi >>>> >> behave better. Here's the thing--I don't think that competitor is >>>> >> going >>>> to >>>> >> come along. It would be too hard a market to break (PARIS being an >>>example >>>> >> where a similar product superior in many ways never really made a >>>> >> dent) >>>> >and >>>> >> most people with the money to own big PT rigs don't really want to >>>change >>>> >> all that much even if they do whine about Digi sometimes. So, I think >>>> the >>>> >> long term threat to Digi is the simple erosion of their customter >>>> >> base >>>> by >>>> >> faster, cheaper, and better native systems. But for the sake of >>>> >> LaMont >>>> >(and >>>> >> others) I hope I'm wrong and someone is tinkering away right now on >> a >>>> >really >>>> >> super DSP system that will sell for $2k and really do something >>>special. >>>> >> >>>> >> >>>> >> TCB >>>> >> >>>> >> > >>>> >> >> >>>> >> >> >>>> >> >>"LaMont" <jjdpro@ameritech.net> wrote: >>>> >> >>> >>>> >> >>>http://www.sonicstate.com/news/shownews.cfm?newsid=2657 >>>> >> >>> >>>> >> >>>Okay, so what does this product mean? >>>> >> >>>1)Is this a Direct shot over Digidesign's bow? >>>> >> >>> >>>> >> >>>2) Does this mean Apple and Apogee are going to go head up with >> the >>>> Big >>>> >> >>kohuna >>>> >> >>>AKA Digidesign?? >>>> >> >>> >>>> >> >>>3)This Product: Is it just a dedicated DSP Mixer,thus letting the >>>Mac's >>>> >> >>cpu(s) >>>> >> >>>handle the recording and plugins? >>>> >> >>> >>>> >> >>>4)* With all the "whining" I have been doing about the lack of nay >>>> DAW >>>> >> >manfacturer >>>> >> >>>"Willing to " to head to toe with Digi. Could this be the Part >>>Native >>>> >> solution/DSP >>>> >> >>>that you guys (Thad, Dedric,Jaimie,James,Bill, Neil) have been >>>talking >>>> >> >about??? >>>> >> >>> >>>> >> >>>If so, then, I stand corrected..AND, Once again, proves that the >>>real >>>> >> forward >>>> >> >>>thinkers in the DAW world are right here in our little forum..You >>>guys >>>> >> >Rock!!!.. >>>> >> >>>Thanks for letting me have my "State of The DAW" tantrum of >>>sorts...:) >>>> >> >>> >>>> >> >>>Interesting developments..Wow... >>>> >> >> >>>> >> > >>>> >> >>>> > >>>> > >>>> >>> >>> >> > >hey Neil, It's the sound.. I took a project over to a buddys studio just to master with his Samplitude. The FX's are better than some of the best out there.. the editing is faster(if can believe) than SX..All in all, I can really get a good representation of my mixes in samplitude. I only wish that they wqould upgrade the GUI. They old gray is just not doing this great DAW any justices..LAMont "Neil" <OIUOIU@OIU.com> wrote: > >OK, so what's so good about it? Serisouly, what are the sound >qualities that you like Sam for? > >Neil > > >"Bill Lorentzen" <bill@lorentzen.ws> wrote: >> >>> >>> Note: A friend of in myarea uses Samplitude 8.X and I have to say, that > >>> Samplitude >>> has to be one thee best sounding DAW's I've rean across. Blew me away!! >>> Lamont >>> >>You got that right. Although I have owned and used Cubase since 1988, and > >>despite wanting all the nice things that the Yamaha purchase of Steiny will > >>probably yield, once I tried Sam there was no going back. Damn. >> >>I hope it really catches on in the US. >> >>Bill >> >>> >>> "LaMont" <jjdpro@ameritech.net> wrote: >>>> >>>>Oh Boy.. Have a look.. >>>>http://www.sonicstate.com/news/shownews.cfm?newsid=2647 >>>> >>>>This looks and sound great!! >>> >> >> >I picked up a used Ampeg SVPCL preamp and I am quite happy. It was $499 new and I got it for $350. After an A/B comparison with the Sansamp two things are obvious. My Sansamp Bass DI is uneven. I'm playing a 5 string active circuit Ibanez bass and the notes were different volumes and I thought it was the guitar. Well with the Ampeg the volumes are nicely even and much more controllable because of that. Playing up and down the neck has not hot spots or dead spots 2nd, The bass is lower and rounder on the bottom end. The sans amp does not have a bad sound but when you compare them, there is a clear difference in which one is more musical. The Ampeg sounds like a real bass player and not a mix between a bass player and a keyboard player playing bass lines. Anyways, I'm running through my outboard compresser at about 1.3:1 and it's just the right amount to control the dynamics without squashing it. YAY YAY YAY. Anyone want to buy a Sansamp? It's going on ebay soon along with a flute, and probably a vintage roland digital delay and roland reverb and aphex aural exciter B (i think). I'm having a sale. :-) JohnHey Rick! The battery for that machine should be about $6.00. James rick <parnell68@hotmail.com> wrote: >Dedric, > >no, this has happened before but it has been a while. it actually >happened 3 times on the first new install and once3 since...the gray >screen and 8 language restart command. the whole power shutdown was >new for this work of art. some things i think are logic related cuz >it doesn't happen in DP and some things that happen in DP don't happen >in logic. > >i went through the ram replacement thing when i first got this thing. >i originally had mushkin in it (highly recommended and it was my ram >of choice in my pc's) but the fw800 g4 didn't know what it was so i >replaced it. > >i totally agree with you on the $700.00 for a battery...ain't gonna >happen here either. > >thanks > >On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >wrote: > >>Rick, >> >>Was this a one time occurrence or do kernel panics (grey screen) happen with >>any specific application open, or at random? Do you still have the original >>RAM or have you added any? >> >>We've been having random kernel panics and lockups on our dual G4 for over a >>year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice >>(the second time crashes had tanked the system drive, so that's been >>replaced); tried different RAM; removed peripheral devices, etc. We don't >>have energy saver running here either. >> >>The only new advice I've gotten from Apple's forum is to replace the PRAM >>battery. Seems like a long shot as I'm guessing we have a bad logic board, >>but at $700 I'm not wanting to replace that just to find out. >> >>10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >>okay there. >> >>Regards, >>Dedric >> >>On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>"rick" <parnell68@hotmail.com> wrote: >> >>> all the power saver settings were already set to never and locked. >>> >>> thanks >>> >>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>> wrote: >>> >>>> >>>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>>> unlock it if necessary, set sleep options to Never. Then lock it be fore >>>> closing the window. >>>> >>>> I hope this helps! >>>> >>>> James >>>> >>>> rick <parnell68@hotmail.com> wrote: >>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>> message of you must do a hard restart) has appeared. then a complete >>>>> power down (computer just shut off in the midst of running on a loop); >>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>> nothing else shut down so it wasn't a power issue from outside the >>>>> mac. ideas? >>> >Hey Dedric! I believe on the DVD drive, you need to go with Pioneer. They also used Sony in some of the G5s, but you would have to find out which one they used and go with the exact model. I do not believe they used Panasonic DVDs in the G4 or G5, but anything is possible. I put a Pioneer in my dual mirror G4, it works great! James Dedric Terry <dterry@keyofd.net> wrote: >Rick, > >Sounds like what we are seeing. I've posted on the Apple forum, but not >much help there yet - mostly people suggesting what I said in my posts I had >already done. > >The picky Ram issue with Macs really irritates me - Mushkin is probably >better than what they spec (although one user suggested crucial). Also our >combo drive won't burn DVDs - just CDs. Apple says a replacement would have >to be a Panasonic. Why Panasonic? What about Plextor, etc? I also found >that our Mac couldn't support IDE cables longer than the 6" or so ones that >come with it (even high quality 10-12" cables). The only reason for a Mac >being so picky about part manufacturers (down to there being only one in >some cases) is poor design tolerances, period. They just tried to cut >corners and extend the profit margin by not designing a more robust system >with more power to the IDE busses, etc. Easier to pack it all in a spiffy >looking case if you get it working in one config and don't have to worry >about better ground planes, isolation, etc. Then it is all sold as "this is >what is guaranteed to work" making customers think they are getting a highly >spec'd system. BS. It's nothing but lazy design and lazy support - easier >to say "buy one of these" than actually find a problem. > >Yeah, $700 for a 2+ yr old motherboard that in the PC world would run about >$125. I'm considering building my wife (it's her G4) a dual core AMD or >Intel and just crossgrading our design software to PC. Probably less >expensive than buying a new MacIntel. > >Regards, >Dedric > >On 1/28/06 2:53 PM, in article hgpnt1d6mc6flt4492eqjg8n6dhi7qpvf8@4ax.com, >"rick" <parnell68@hotmail.com> wrote: > >> Dedric, >> >> no, this has happened before but it has been a while. it actually >> happened 3 times on the first new install and once3 since...the gray >> screen and 8 language restart command. the whole power shutdown was >> new for this work of art. some things i think are logic related cuz >> it doesn't happen in DP and some things that happen in DP don't happen >> in logic. >> >> i went through the ram replacement thing when i first got this thing. >> i originally had mushkin in it (highly recommended and it was my ram >> of choice in my pc's) but the fw800 g4 didn't know what it was so i >> replaced it. >> >> i totally agree with you on the $700.00 for a battery...ain't gonna >> happen here either. >> >> thanks >> >> On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >> wrote: >> >>> Rick, >>> >>> Was this a one time occurrence or do kernel panics (grey screen) happen with >>> any specific application open, or at random? Do you still have the original >>> RAM or have you added any? >>> >>> We've been having random kernel panics and lockups on our dual G4 for over a >>> year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice >>> (the second time crashes had tanked the system drive, so that's been >>> replaced); tried different RAM; removed peripheral devices, etc. We don't >>> have energy saver running here either. >>> >>> The only new advice I've gotten from Apple's forum is to replace the PRAM >>> battery. Seems like a long shot as I'm guessing we have a bad logic board, >>> but at $700 I'm not wanting to replace that just to find out. >>> >>> 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >>> okay there. >>> >>> Regards, >>> Dedric >>> >>> On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>> "rick" <parnell68@hotmail.com> wrote: >>> >>>> all the power saver settings were already set to never and locked. >>>> >>>> thanks >>>> >>>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>>> wrote: >>>> >>>>> >>>>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>>>> unlock it if necessary, set sleep options to Never. Then lock it be fore >>>>> closing the window. >>>>> >>>>> I hope this helps! >>>>> >>>>> James >>>>> >>>>> rick <parnell68@hotmail.com> wrote: >>>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>>> message of you must do a hard restart) has appeared. then a complete >>>>>> power down (computer just shut off in the midst of running on a loop); >>>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>>> nothing else shut down so it wasn't a power issue from outside the >>>>>> mac. ideas? >>>> >> >Hey James - it may have been Pioneer. Certainly nothing wrong with them, or Plextor, Sony, Yamaha, HP, LaCie... But oddly enough Macs can sense what brand memory, DVD drive and probably IDE, power and USB cables, even if it isn't the best on the market, and lo and behold that's all they will work with. IMHO, that's really lame. Worse than $399 desktop Dell-don't-try-to-add-a-PCI card lame.... ;-) I'm surprised our Belkin mouse pad works with it. Shocked actually. I feel lucky. Who would have thunk it. Maybe I'll play the lottery this week. Dedric On 1/28/06 8:47 PM, in article 43dc2cd4$1@linux, "James McCloskey" <excelsm@hotmail.com> wrote: > > Hey Dedric! I believe on the DVD drive, you need to go with Pioneer. They > also used Sony in some of the G5s, but you would have to find out which one > they used and go with the exact model. I do not believe they used Panasonic > DVDs in the G4 or G5, but anything is possible. I put a Pioneer in my dual > mirror G4, it works great! > > James > > Dedric Terry <dterry@keyofd.net> wrote: >> Rick, >> >> Sounds like what we are seeing. I've posted on the Apple forum, but not >> much help there yet - mostly people suggesting what I said in my posts I > had >> already done. >> >> The picky Ram issue with Macs really irritates me - Mushkin is probably >> better than what they spec (although one user suggested crucial). Also > our >> combo drive won't burn DVDs - just CDs. Apple says a replacement would > have >> to be a Panasonic. Why Panasonic? What about Plextor, etc? I also found >> that our Mac couldn't support IDE cables longer than the 6" or so ones that >> come with it (even high quality 10-12" cables). The only reason for a Mac >> being so picky about part manufacturers (down to there being only one in >> some cases) is poor design tolerances, period. They just tried to cut >> corners and extend the profit margin by not designing a more robust system >> with more power to the IDE busses, etc. Easier to pack it all in a spiffy >> looking case if you get it working in one config and don't have to worry >> about better ground planes, isolation, etc. Then it is all sold as "this > is >> what is guaranteed to work" making customers think they are getting a highly >> spec'd system. BS. It's nothing but lazy design and lazy support - easier >> to say "buy one of these" than actually find a problem. >> >> Yeah, $700 for a 2+ yr old motherboard that in the PC world would run about >> $125. I'm considering building my wife (it's her G4) a dual core AMD or >> Intel and just crossgrading our design software to PC. Probably less >> expensive than buying a new MacIntel. >> >> Regards, >> Dedric >> >> On 1/28/06 2:53 PM, in article hgpnt1d6mc6flt4492eqjg8n6dhi7qpvf8@4ax.com, >> "rick" <parnell68@hotmail.com> wrote: >> >>> Dedric, >>> >>> no, this has happened before but it has been a while. it actually >>> happened 3 times on the first new install and once3 since...the gray >>> screen and 8 language restart command. the whole power shutdown was >>> new for this work of art. some things i think are logic related cuz >>> it doesn't happen in DP and some things that happen in DP don't happen >>> in logic. >>> >>> i went through the ram replacement thing when i first got this thing. >>> i originally had mushkin in it (highly recommended and it was my ram >>> of choice in my pc's) but the fw800 g4 didn't know what it was so i >>> replaced it. >>> >>> i totally agree with you on the $700.00 for a battery...ain't gonna >>> happen here either. >>> >>> thanks >>> >>> On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >>> wrote: >>> >>>> Rick, >>>> >>>> Was this a one time occurrence or do kernel panics (grey screen) happen > with >>>> any specific application open, or at random? Do you still have the >>>> original >>>> RAM or have you added any? >>>> >>>> We've been having random kernel panics and lockups on our dual G4 for > over a >>>> year (sitting idle, typing email, doesn't matter). Reinstalled the OS > twice >>>> (the second time crashes had tanked the system drive, so that's been >>>> replaced); tried different RAM; removed peripheral devices, etc. We > don't >>>> have energy saver running here either. >>>> >>>> The only new advice I've gotten from Apple's forum is to replace the > PRAM >>>> battery. Seems like a long shot as I'm guessing we have a bad logic > board, >>>> but at $700 I'm not wanting to replace that just to find out. >>>> >>>> 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should > be >>>> okay there. >>>> >>>> Regards, >>>> Dedric >>>> >>>> On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>>> "rick" <parnell68@hotmail.com> wrote: >>>> >>>>> all the power saver settings were already set to never and locked. >>>>> >>>>> thanks >>>>> >>>>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>>>> wrote: >>>>> >>>>>> >>>>>> Turn off all energy saver stuff. Go to system preferences, energy > saver, >>>>>> unlock it if necessary, set sleep options to Never. Then lock it be > fore >>>>>> closing the window. >>>>>> >>>>>> I hope this helps! >>>>>> >>>>>> James >>>>>> >>>>>> rick <parnell68@hotmail.com> wrote: >>>>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>>>> twice after leaving the puter idling with logic 7.1.1 up for less > than >>>>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>>>> message of you must do a hard restart) has appeared. then a complete >>>>>>> power down (computer just shut off in the midst of running on a loop); >>>>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>>>> nothing else shut down so it wasn't a power issue from outside the >>>>>>> mac. ideas? >>>>> >>> >>Yeah! Now I remember. Good to see you coming back around here. Cheers, DJ "J.R." <jr_spamalot@tayloraudio.com> wrote in message news:43db9ca7@linux... > Hi Doug! Yeah, we met at Musicmakers, when the Ensoniq (or was it > Emu?) rep was there. Never made it out to your place before you moved, > though. It's nice to see familiar names here on the old newsgroup, > even after 4 years. It's quite nostalgic, really. :) > > J.R. > > On 2006-01-28 01:16:06 -0600, "DJ" <animix_spam-this-ahole_@animas.net> said: > > > J.R., > > > > Didn't we meet back around 1999 over at my place on Westlake Drive? I think > > I remember you from somewhere. > > > > Regards > > > > Deej > > > > <J.R. Taylor> wrote in message news:43dacec6@linux... > >> Wow! Thanks! That should keep me busy. Thankfully, there is no > >> urgency to fix this. I have been using Digital Performer since '02. > >> I'd like to get PARIS going again to bring back some of my personal > >> stuff that I never had time to move over... Anyway, I'll post any > >> updates here. Thanks again! > >> > >> J.R. > > >Try Ranish Partition manager: http://www.snapfiles.com/get/ranish.html regards, el miguel "John" <no@no.com> wrote in message news:43dbce00@linux... > you can do fat32 up to like 2 terabytes or something silly, but you need > the 'newest' fdisk in win98/me, partition magic or a free partition app. > I have a 120gb drive that's fat32 but i used partition magic. There > are free apps out there that will do it but I forget their name. > > Edna wrote: > > It doesnt offer FAT32 probably because of the drive size limitation, 32GB I > > believe. > > E > > "RZ" <pearlmusic@sbcglobal.net> wrote in message news:43da9b2a$1@linux... > > > >>Hi Guys, > >> > >>I have a fairly new Seagate 120G drive that I used on one small project > > > > and > > > >>I tried mounting it on an older Win98 computer, only to find out it was > >>NTFS. In the past I've always formatted my record drives to FAT32, just > >>just to be consistant with my projects prior to running Paris on XP. Back > >>in the day I used to format new drives in DOS using the format Z/64 > > > > command > > > >>to create specific sector sizes. Now that disk formatting has become so > >>simplified, its easy to not know how the drives are formatted. The > > > > Seagate > > > >>software does not even offer the option to reformat this drive as FAT32 > >>(only FAT16 or NTFS). It does offer byte sizes from 512 to 4K for NTFS. > >>What really offers the best performance for Paris these days? > >> > >>RZ > >> > >> > > > > > >I have some TC Native that are not bad, but still not what I'm hearing on some CDs on vocals. I'll check into the True Verb. Thanks "John" <no@no.com> wrote in message news:43dbce4f@linux... > no particular IRs, i have a couple hundred. Even with True Verb I get > reallly great verb by varying the Short and Long reflections to taste. > > Edna wrote: > > John, any particular IRs you referring to? Waves? I'm not enthralled with > > Paris verbs either. > > Edna > > > > "John" <no@no.com> wrote in message news:43d7ce1d$1@linux... > > > >>well for starters the verbs are lousy compared to IR stuff > >> > >>EK Sound wrote: > >> > >>>Which effects are you having a hard time with? > >>> > >>>David. > >>> > >>>John wrote: > >>> > >>> > >>>>even after a lot of tweaking i'm not that impressed seriously > >>>> > >>>>DJ wrote: > >>>> > >>>> > >>>>>If you're talking about the presets, yeah, I would agree. > >>>>> > >>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... > >>>>> > >>>>> > >>>>>>oh god, eds efx.. yuck > >>>>>> > >>>>>>DJ wrote: > >>>>>> > > > > > >With the trueverb I turn off the direct initially and put it wet 100%, then I adjust the near and far reflections separately until I get just the sound I want, then I drop wet to 0% and turn on the direct signal. I usually bring wet up to only about 5% or so and then I have this sweet clear voice with a nice room around it. The wizoo and lexicon are nice sounding plug verbs too but wizoo only runs in xp and i'm back on win98se. John Edna wrote: > I have some TC Native that are not bad, but still not what I'm hearing on > some CDs on vocals. I'll check into the True Verb. > Thanks > "John" <no@no.com> wrote in message news:43dbce4f@linux... > >>no particular IRs, i have a couple hundred. Even with True Verb I get >>reallly great verb by varying the Short and Long reflections to taste. >> >>Edna wrote: >> >>>John, any particular IRs you referring to? Waves? I'm not enthralled > > with > >>>Paris verbs either. >>>Edna >>> >>>"John" <no@no.com> wrote in message news:43d7ce1d$1@linux... >>> >>> >>>>well for starters the verbs are lousy compared to IR stuff >>>> >>>>EK Sound wrote: >>>> >>>> >>>>>Which effects are you having a hard time with? >>>>> >>>>>David. >>>>> >>>>>John wrote: >>>>> >>>>> >>>>> >>>>>>even after a lot of tweaking i'm not that impressed seriously >>>>>> >>>>>>DJ wrote: >>>>>> >>>>>> >>>>>> >>>>>>>If you're talking about the presets, yeah, I would agree. >>>>>>> >>>>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... >>>>>>> >>>>>>> >>>>>>> >>>>>>>>oh god, eds efx.. yuck >>>>>>>> >>>>>>>>DJ wrote: >>>>>>>> >>> >>> >>> > >Hi All This is all new to me and I need someone to help me get my bearings so If you're still using a Dakota on a second rig could you please contact me so I can ask you a few questions specific to Paris and Dakota Thanks DonI recently had to send an SVT in for repair, now I am back to my Trace Elliot for a while. The SVT is definintley more even, especially in the upper registers. What delay is that? John <no@no.com> wrote: >I picked up a used Ampeg SVPCL preamp and I am quite happy. It was $499 >new and I got it for $350. After an A/B comparison with the Sansamp two >things are obvious. My Sansamp Bass DI is uneven. I'm playing a 5 >string active circuit Ibanez bass and the notes were different volumes >and I thought it was the guitar. Well with the Ampeg the volumes are >nicely even and much more controllable because of that. Playing up and >down the neck has not hot spots or dead spots > >2nd, The bass is lower and rounder on the bottom end. The sans amp does >not have a bad sound but when you compare them, there is a clear >difference in which one is more musical. The Ampeg sounds like a real >bass player and not a mix between a bass player and a keyboard player >playing bass lines. Anyways, I'm running through my outboard compresser >at about 1.3:1 and it's just the right amount to control the dynamics >without squashing it. YAY YAY YAY. > >Anyone want to buy a Sansamp? It's going on ebay soon along with a >flute, and probably a vintage roland digital delay and roland reverb and >aphex aural exciter B (i think). I'm having a sale. :-) > >John1st question How does one route audio out of the ADAT outs and SPDIF outs (in Paris) Don "Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... > Hi All > > This is all new to me and I need someone to help me get my bearings so If > you're still using a Dakota on a second rig could you please contact me so > I can ask you a few questions specific to Paris and Dakota > > Thanks > > Don >Are you trying to route individual tracks, or the whole mix? If it's the whole mix, simply make sure that the adat module is assigned to one of the two output slots in the patchbay, then patch from the mixer LR outs to a pair of channels on the MEC Modules block. Remember, you can't patch across cards. To assign the adat card, double click on the MEC modules block in the patchbay window and drag the adat I/O fromm the list at the right to one of the four "slots" at the left. If the MEC modules block isn't in the patchbay window, drag it from the list top right onto the patch field. David. Don Nafe wrote: > 1st question > > How does one route audio out of the ADAT outs and SPDIF outs (in Paris) > > Don > > > > "Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... > >>Hi All >> >>This is all new to me and I need someone to help me get my bearings so If >>you're still using a Dakota on a second rig could you please contact me so >>I can ask you a few questions specific to Paris and Dakota >> >>Thanks >> >>Don >> > > >It's an SDE 3000 delay and SRV 2000 reverb. I'm not sure if those will be sold yet but they probably will. John cujo wrote: > I recently had to send an SVT in for repair, now I am back to my Trace Elliot > for a while. The SVT is definintley more even, especially in the upper registers. > What delay is that? > > > John <no@no.com> wrote: > >>I picked up a used Ampeg SVPCL preamp and I am quite happy. It was $499 > > >>new and I got it for $350. After an A/B comparison with the Sansamp two > > >>things are obvious. My Sansamp Bass DI is uneven. I'm playing a 5 >>string active circuit Ibanez bass and the notes were different volumes >>and I thought it was the guitar. Well with the Ampeg the volumes are >>nicely even and much more controllable because of that. Playing up and > > >>down the neck has not hot spots or dead spots >> >>2nd, The bass is lower and rounder on the bottom end. The sans amp does > > >>not have a bad sound but when you compare them, there is a clear >>difference in which one is more musical. The Ampeg sounds like a real > > >>bass player and not a mix between a bass player and a keyboard player >>playing bass lines. Anyways, I'm running through my outboard compresser > > >>at about 1.3:1 and it's just the right amount to control the dynamics >>without squashing it. YAY YAY YAY. >> >>Anyone want to buy a Sansamp? It's going on ebay soon along with a >>flute, and probably a vintage roland digital delay and roland reverb and > > >>aphex aural exciter B (i think). I'm having a sale. :-) >> >>JohnThanks for the help. The Paris verbs to me sound a little unclear and megaphonish - cheap. Is the TrueVerb plugin only for the UAD card? Sorry it wasn't a go in xp. I'm preparing to move Paris from my P4 to an Athlon Barton 2500+ system with xppro and sp1. Hopefully, it will run OK or at least as good. My P4 has an Abit board with Intel 875 CSet and nVidia video card which works pretty well as long as you baby it somewhat. I have an inkling that the MoBo/Video has a lot to do with xp and Paris. Edna "John" <no@no.com> wrote in message news:43dcc20f@linux... > With the trueverb I turn off the direct initially and put it wet 100%, > then I adjust the near and far reflections separately until I get just > the sound I want, then I drop wet to 0% and turn on the direct signal. > I usually bring wet up to only about 5% or so and then I have this sweet > clear voice with a nice room around it. The wizoo and lexicon are nice > sounding plug verbs too but wizoo only runs in xp and i'm back on win98se. > John > > Edna wrote: > > I have some TC Native that are not bad, but still not what I'm hearing on > > some CDs on vocals. I'll check into the True Verb. > > Thanks > > "John" <no@no.com> wrote in message news:43dbce4f@linux... > > > >>no particular IRs, i have a couple hundred. Even with True Verb I get > >>reallly great verb by varying the Short and Long reflections to taste. > >> > >>Edna wrote: > >> > >>>John, any particular IRs you referring to? Waves? I'm not enthralled > > > > with > > > >>>Paris verbs either. > >>>Edna > >>> > >>>"John" <no@no.com> wrote in message news:43d7ce1d$1@linux... > >>> > >>> > >>>>well for starters the verbs are lousy compared to IR stuff > >>>> > >>>>EK Sound wrote: > >>>> > >>>> > >>>>>Which effects are you having a hard time with? > >>>>> > >>>>>David. > >>>>> > >>>>>John wrote: > >>>>> > >>>>> > >>>>> > >>>>>>even after a lot of tweaking i'm not that impressed seriously > >>>>>> > >>>>>>DJ wrote: > >>>>>> > >>>>>> > >>>>>> > >>>>>>>If you're talking about the presets, yeah, I would agree. > >>>>>>> > >>>>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... > >>>>>>> > >>>>>>> > >>>>>>> > >>>>>>>>oh god, eds efx.. yuck > >>>>>>>> > >>>>>>>>DJ wrote: > >>>>>>>> > >>> > >>> > >>> > > > >I'm trying to route the individual PAris tracks 1-8 to CEPro... ADAT is in slot 1 input and slot 1 output... MEC module A is in the patchfield as is the Master, Mixer A and Inserts A Supposedly whatever is on tr 1-8 is normaled to ADAT tr 1-8 in that configuration - Correct? as it stands only Paris Tr 1 & 2 are making it over to CEPro If you'd rather do this real time call me 613 725 3327 collect "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dcec1e$1@linux... > Are you trying to route individual tracks, or the whole mix? If it's the > whole mix, simply make sure that the adat module is assigned to one of the > two output slots in the patchbay, then patch from the mixer LR outs to a > pair of channels on the MEC Modules block. Remember, you can't patch > across cards. To assign the adat card, double click on the MEC modules > block in the patchbay window and drag the adat I/O fromm the list at the > right to one of the four "slots" at the left. If the MEC modules block > isn't in the patchbay window, drag it from the list top right onto the > patch field. > > David. > > Don Nafe wrote: >> 1st question >> >> How does one route audio out of the ADAT outs and SPDIF outs (in Paris) >> >> Don >> >> >> >> "Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... >> >>>Hi All >>> >>>This is all new to me and I need someone to help me get my bearings so If >>>you're still using a Dakota on a second rig could you please contact me >>>so I can ask you a few questions specific to Paris and Dakota >>> >>>Thanks >>> >>>Don >>> >> >>Okay, so I took Deej's advice and for syncing purposes replaced my Dakota with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" experiment and picked up Cubase SX3. I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is syncing nicely to PARIS. Right now I'm planning to use the Cubase box as more of a glorified scratchpad , the place I hash out any midi stuff and drum tracks, etc and then finish the whole project in Paris. But maybe (or more likely, certainly) I'm not seeing a better approach. In fact, I'm not certain what I want the process to be or what process takes the most advantage of the Cubase/PARIS hybrid setup. I have 3 EDS cards in my PARIS box (have a 4th if I need). I don't do any major live tracking of drums, etc. Just vocals, guitars, keys, etc. So I thought I'd ask a few questions o those who know: 1)Is anyone else taking this approach? 2)What approaches are you guys taking with your hybrid setups? 3)What is the meaning of existence? (You can skip this one if you want.) As always, thanks for the help! Cheers, Jontrueverb is in waves and works in win98/me/xp. Also check out Lexicon Pantheon Reverb DX and Wizoo verb. Very nice. John Edna wrote: > Thanks for the help. The Paris verbs to me sound a little unclear and > megaphonish - cheap. Is the TrueVerb plugin only for the UAD card? Sorry > it wasn't a go in xp. I'm preparing to move Paris from my P4 to an Athlon > Barton 2500+ system with xppro and sp1. Hopefully, it will run OK or at > least as good. My P4 has an Abit board with Intel 875 CSet and nVidia video > card which works pretty well as long as you baby it somewhat. I have an > inkling that the MoBo/Video has a lot to do with xp and Paris. > Edna > > "John" <no@no.com> wrote in message news:43dcc20f@linux... > >>With the trueverb I turn off the direct initially and put it wet 100%, >>then I adjust the near and far reflections separately until I get just >>the sound I want, then I drop wet to 0% and turn on the direct signal. >>I usually bring wet up to only about 5% or so and then I have this sweet >>clear voice with a nice room around it. The wizoo and lexicon are nice >>sounding plug verbs too but wizoo only runs in xp and i'm back on win98se. >>John >> >>Edna wrote: >> >>>I have some TC Native that are not bad, but still not what I'm hearing > > on > >>>some CDs on vocals. I'll check into the True Verb. >>>Thanks >>>"John" <no@no.com> wrote in message news:43dbce4f@linux... >>> >>> >>>>no particular IRs, i have a couple hundred. Even with True Verb I get >>>>reallly great verb by varying the Short and Long reflections to taste. >>>> >>>>Edna wrote: >>>> >>>> >>>>>John, any particular IRs you referring to? Waves? I'm not enthralled >>> >>>with >>> >>> >>>>>Paris verbs either. >>>>>Edna >>>>> >>>>>"John" <no@no.com> wrote in message news:43d7ce1d$1@linux... >>>>> >>>>> >>>>> >>>>>>well for starters the verbs are lousy compared to IR stuff >>>>>> >>>>>>EK Sound wrote: >>>>>> >>>>>> >>>>>> >>>>>>>Which effects are you having a hard time with? >>>>>>> >>>>>>>David. >>>>>>> >>>>>>>John wrote: >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>>>even after a lot of tweaking i'm not that impressed seriously >>>>>>>> >>>>>>>>DJ wrote: >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>>>If you're talking about the presets, yeah, I would agree. >>>>>>>>> >>>>>>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>>>oh god, eds efx.. yuck >>>>>>>>>> >>>>>>>>>>DJ wrote: >>>>>>>>>> >>>>> >>>>> >>>>> >>> > >Will do. Have you tried the Waves IRX stuff? "John" <no@no.com> wrote in message news:43dd0865@linux... > trueverb is in waves and works in win98/me/xp. Also check out Lexicon > Pantheon Reverb DX and Wizoo verb. Very nice. > John > > Edna wrote: > > Thanks for the help. The Paris verbs to me sound a little unclear and > > megaphonish - cheap. Is the TrueVerb plugin only for the UAD card? Sorry > > it wasn't a go in xp. I'm preparing to move Paris from my P4 to an Athlon > > Barton 2500+ system with xppro and sp1. Hopefully, it will run OK or at > > least as good. My P4 has an Abit board with Intel 875 CSet and nVidia video > > card which works pretty well as long as you baby it somewhat. I have an > > inkling that the MoBo/Video has a lot to do with xp and Paris. > > Edna > > > > "John" <no@no.com> wrote in message news:43dcc20f@linux... > > > >>With the trueverb I turn off the direct initially and put it wet 100%, > >>then I adjust the near and far reflections separately until I get just > >>the sound I want, then I drop wet to 0% and turn on the direct signal. > >>I usually bring wet up to only about 5% or so and then I have this sweet > >>clear voice with a nice room around it. The wizoo and lexicon are nice > >>sounding plug verbs too but wizoo only runs in xp and i'm back on win98se. > >>John > >> > >>Edna wrote: > >> > >>>I have some TC Native that are not bad, but still not what I'm hearing > > > > on > > > >>>some CDs on vocals. I'll check into the True Verb. > >>>Thanks > >>>"John" <no@no.com> wrote in message news:43dbce4f@linux... > >>> > >>> > >>>>no particular IRs, i have a couple hundred. Even with True Verb I get > >>>>reallly great verb by varying the Short and Long reflections to taste. > >>>> > >>>>Edna wrote: > >>>> > >>>> > >>>>>John, any particular IRs you referring to? Waves? I'm not enthralled > >>> > >>>with > >>> > >>> > >>>>>Paris verbs either. > >>>>>Edna > >>>>> > >>>>>"John" <no@no.com> wrote in message news:43d7ce1d$1@linux... > >>>>> > >>>>> > >>>>> > >>>>>>well for starters the verbs are lousy compared to IR stuff > >>>>>> > >>>>>>EK Sound wrote: > >>>>>> > >>>>>> > >>>>>> > >>>>>>>Which effects are you having a hard time with? > >>>>>>> > >>>>>>>David. > >>>>>>> > >>>>>>>John wrote: > >>>>>>> > >>>>>>> > >>>>>>> > >>>>>>> > >>>>>>>>even after a lot of tweaking i'm not that impressed seriously > >>>>>>>> > >>>>>>>>DJ wrote: > >>>>>>>> > >>>>>>>> > >>>>>>>> > >>>>>>>> > >>>>>>>>>If you're talking about the presets, yeah, I would agree. > >>>>>>>>> > >>>>>>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... > >>>>>>>>> > >>>>>>>>> > >>>>>>>>> > >>>>>>>>> > >>>>>>>>>>oh god, eds efx.. yuck > >>>>>>>>>> > >>>>>>>>>>DJ wrote: > >>>>>>>>>> > >>>>> > >>>>> > >>>>> > >>> > > > >I am into building a U47 clone (I am almost 65% thru) using REAL K47 reskinned capsule a UF14 NOS Telefunken (or EF14) applying the same "underheating" secret of the U47 sound plus a Haufe identical electrical characteristics transformer and a almost same but prettier ( I think ) look. I will offer a 15 days trial money refund option if you pay the shipping. I will not get it out before being 100 % satisfied I have achieved the goal. Note that I had a Telefunken U47 for almost 5 years and I know the beast very well. I can also offer another tube with exactly the same sound as UF14/EF14 tubes that are easier enouph to find and will keep your mic for decades. I will include another two NOS tubes of this "replacement" tube. I know though that most of you wanna see this black small baby looking like the original U47 tube so I just note that. Ther will be included a great shockmount similar to "Neumann" quality and a aluminium case. Any real interest ? Regards, Dimitrioswhat approaches???..............humm.......well....here it is in a nutshell.....;oP A typical session is usually tracked and mixed as follows: All tracking is usually done in Paris using a Furman HDS 16 cue system with 3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the performer can dial in exactly the amount of ambience in the cans to achieve a comfortable cuemix. I have a number of tracking templates set up in Paris and Cubase SX to utilize my RME Multiface converters with any of the three Paris submixes via lightpipe. Since two om my MECS have an A8iT and A8oT and the third one only has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x Paris I/O module on them during a tracking session, I can open up the Cubase-to-Paris tracking template on both machines nd then just patch in my preamps to the Multiface I/O and it's routed digitally to the respective channels of the Paris mixer. Once project is tracked, basic editing done using the Paris editor. Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) with starting points at 00:00:00. to a folder in the Paris song project file. Batch converion of the the rendered .paf's to .wavs is done in Wavelab via LAN to DAW running Wavelab and Cubase SX and the converted .wav files are saved to a Cubase SX song project. The .wavs are imported into a Cubase SX project template for the song which has a routing matrix bussing certain tracks to certain busses and then bussing the tracks back to Paris for summing as follows: (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O interfaces which correlate to 16 track submixes. The system here has 3 x 16 track submix units comprising a total of 48 tracks with a total of 72 digital I/O and 32 analog I/O for various routing configurations) Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx DAW using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned to Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each assigned to channels 1-14 outputs. Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum submix is panned to taste, EQ'ed, individual tracks are processed and (usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned to Paris submix 1 through the Cubase SX drum submix group- (stereo audio channel 15 which is using RME ADAT I/O 15 & 16) The original mono drum tracks are also fed to insert FX (UAD-1 compressors, EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix #1 where the panning of the drum tracks in the SX drum submix is mirrored in Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) and Paris aux FX are then applied to the individual drum tracks. Any outboard processing to the individual drum tracks is being done through the RME multiface I/O to retain phase coherence and care must be taken at this point when processing in Paris to use only digital FX externally (1 x sample latency with digital I/O loop in Paris) and care must also be taken with the lookahead when using the Paris onboard DSP compressors to avoid phase issues (flamming). It is possible to achieve a monster drum sound by using both Paris and Cubase SX when processing parallel drum submixes sample accurately on both platforms. Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME 2 ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to RME outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being processed in both platforms. Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels 47 and 48 are set up as a stereo FX bus for all send FX being applied to tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 interfacing with Paris ADAT I/O #15 and 16. The mix template routing between the two work stations is as follows: Paris Submix 1-Drums (usually) Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 Paris Submix #2 Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 Paris Submix #3 Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay for routing to different Paris submixes as needed. POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP 9652's and set up as an external insert effect or send effect as needed in Cubase SX. Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the other RME HDSP 9652's and set up as an insert or send effect as needed. Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the RME Multiface and either set up as external insert effect or send effect as needed. RME Multiface analog I/O are set up as external insert busses for processing tracks with up to 8 x various analog compressors and EQ's with ADC being applied in Cubase SX to keep them phase coherent.. 4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks using the stereo drum bus and center panned stereo and mono reverb to individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX tracks-UA hit a home run with this emulation) along with track EQ and the LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are streamed back into Paris for summing. Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 and 3 are set up to route analog FX processors in Paris from the Lexi PC 90, Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if needed. All panning of tracks and reverbs, delays etc. are done in Paris since all Cubase SX tracks with the exception of the stereo drum mix are mono and being lightpiped directly to Paris rather than being sent to stereo busses in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono tracks in SX cannot be panned) All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid GenX6 module set to distribute word clock (at 10 picoseconds) which is then feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the Lexicon Studio Core 32 outboard reverb. All of the routing scenarios are saved in mix templates on the two audio DAWs and the digital patchbay control panel in the DAW running standalone FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris transport controls both systems, sample accurate, timeline locked. All it really takes is a few mouse clicks and this entire scenario is working......Simple huh? "Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > > Okay, so I took Deej's advice and for syncing purposes replaced my Dakota > with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" experiment > and picked up Cubase SX3. > > I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is > syncing nicely to PARIS. > > Right now I'm planning to use the Cubase box as more of a glorified scratchpad > , the place I hash out any midi stuff and drum tracks, etc and then finish > the whole project in Paris. But maybe (or more likely, certainly) I'm not > seeing a better approach. In fact, I'm not certain what I want the process > to be or what process takes the most advantage of the Cubase/PARIS hybrid > setup. > > I have 3 EDS cards in my PARIS box (have a 4th if I need). > > I don't do any major live tracking of drums, etc. Just vocals, guitars, keys, > etc. > > So I thought I'd ask a few questions o those who know: > > 1)Is anyone else taking this approach? > 2)What approaches are you guys taking with your hybrid setups? > 3)What is the meaning of existence? (You can skip this one if you want.) > > As always, thanks for the help! > Cheers, > Jon > >I love it but it's a CPU killer. The Lexicon is my current fav for simplicity and usefulness. Edna wrote: > Will do. Have you tried the Waves IRX stuff? > > "John" <no@no.com> wrote in message news:43dd0865@linux... > >>trueverb is in waves and works in win98/me/xp. Also check out Lexicon >>Pantheon Reverb DX and Wizoo verb. Very nice. >>John >> >>Edna wrote: >> >>>Thanks for the help. The Paris verbs to me sound a little unclear and >>>megaphonish - cheap. Is the TrueVerb plugin only for the UAD card? > > Sorry > >>>it wasn't a go in xp. I'm preparing to move Paris from my P4 to an > > Athlon > >>>Barton 2500+ system with xppro and sp1. Hopefully, it will run OK or at >>>least as good. My P4 has an Abit board with Intel 875 CSet and nVidia > > video > >>>card which works pretty well as long as you baby it somewhat. I have an >>>inkling that the MoBo/Video has a lot to do with xp and Paris. >>>Edna >>> >>>"John" <no@no.com> wrote in message news:43dcc20f@linux... >>> >>> >>>>With the trueverb I turn off the direct initially and put it wet 100%, >>>>then I adjust the near and far reflections separately until I get just >>>>the sound I want, then I drop wet to 0% and turn on the direct signal. >>>>I usually bring wet up to only about 5% or so and then I have this sweet >>>>clear voice with a nice room around it. The wizoo and lexicon are nice >>>>sounding plug verbs too but wizoo only runs in xp and i'm back on > > win98se. > >>>>John >>>> >>>>Edna wrote: >>>> >>>> >>>>>I have some TC Native that are not bad, but still not what I'm hearing >>> >>>on >>> >>> >>>>>some CDs on vocals. I'll check into the True Verb. >>>>>Thanks >>>>>"John" <no@no.com> wrote in message news:43dbce4f@linux... >>>>> >>>>> >>>>> >>>>>>no particular IRs, i have a couple hundred. Even with True Verb I get >>>>>>reallly great verb by varying the Short and Long reflections to taste. >>>>>> >>>>>>Edna wrote: >>>>>> >>>>>> >>>>>> >>>>>>>John, any particular IRs you referring to? Waves? I'm not > > enthralled > >>>>>with >>>>> >>>>> >>>>> >>>>>>>Paris verbs either. >>>>>>>Edna >>>>>>> >>>>>>>"John" <no@no.com> wrote in message news:43d7ce1d$1@linux... >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>>>well for starters the verbs are lousy compared to IR stuff >>>>>>>> >>>>>>>>EK Sound wrote: >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>>>Which effects are you having a hard time with? >>>>>>>>> >>>>>>>>>David. >>>>>>>>> >>>>>>>>>John wrote: >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>>>even after a lot of tweaking i'm not that impressed seriously >>>>>>>>>> >>>>>>>>>>DJ wrote: >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>> >>>>>>>>>>>If you're talking about the presets, yeah, I would agree. >>>>>>>>>>> >>>>>>>>>>>"John" <no@no.com> wrote in message news:43d7c4c0$2@linux... >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>> >>>>>>>>>>>>oh god, eds efx.. yuck >>>>>>>>>>>> >>>>>>>>>>>>DJ wrote: >>>>>>>>>>>> >>>>>>> >>>>>>> >>>>>>> >>> > >Dimitrios, This sounds like a nice project, but the SE Gemini is so close to the U47 sound and is around $1000.00. Deej "Dimitrios" <musurgio@otenet.gr> wrote in message news:43dd1bc8$1@linux... > > I am into building a U47 clone (I am almost 65% thru) using REAL K47 reskinned > capsule a UF14 NOS Telefunken (or EF14) applying the same "underheating" > secret of the U47 sound plus a Haufe identical electrical characteristics > transformer and a almost same but prettier ( I think ) look. > I will offer a 15 days trial money refund option if you pay the shipping. > I will not get it out before being 100 % satisfied I have achieved the goal. > Note that I had a Telefunken U47 for almost 5 years and I know the beast > very well. > > I can also offer another tube with exactly the same sound as UF14/EF14 tubes > that are easier enouph to find and will keep your mic for decades. > I will include another two NOS tubes of this "replacement" tube. > I know though that most of you wanna see this black small baby looking like > the original U47 tube so I just note that. > Ther will be included a great shockmount similar to "Neumann" quality and > a aluminium case. > > Any real interest ? > Regards, > DimitriosI've been going through some mixes re4placing the kicks with various BFD samples. The original kick tracks were OK, but not really stellar. They were recorded here with a Beta 52 inside the shell and a 57 on the beater. They were also compressed and EQ'ed while tracking. Very tight and focused, but nothing like the BFD samples as far a s fidelity goes. Then I opened up a project where I used the Yamaha subkick in fornt of the kick and a beta 52 inside the shell. WOAH!!!!(says I). This track sounds easily as good as the BFD samples. What a huge difference this makes. Another thing of note concerning the Subkick, I have been using it a bit while tracking electric bass as a close mic on the cone. For a while I was liking it, until I tried to get it to work in a mix. Somewho it just doesn't flatter an amp as I had hoped. An ATM 25 up close with an LDC (I'm liking the RODE NTV these days) off the amp about 8 ft away and 5' off the floor has yielded much better results when the room mic track is phase aligned with the close mic'ed track.http://www.craigslist.org/nby/ele/129402251.html hey, they're free! Just take 'em away! -silly steveIf I was closer, I'd buy these and set them out by the road in front of our house, turn them on and watch the expressions on the fces of the asshole kids who speed by here going 80 when their cars start veering off the road into the bar ditch. ;o) "steve the artguy" <artguy@svnsillyme.net> wrote in message news:43dd3259$1@linux... > > http://www.craigslist.org/nby/ele/129402251.html > > hey, they're free! Just take 'em away! > > > -silly steveYour just sick. 8op rod "DJ" <animix_spam-this-ahole_@animas.net> wrote: >what approaches???..............humm.......well....here it is in a >nutshell.....;oP > >A typical session is usually tracked and mixed as follows: > >All tracking is usually done in Paris using a Furman HDS 16 cue system with >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the >performer can dial in exactly the amount of ambience in the cans to achieve >a comfortable cuemix. > >I have a number of tracking templates set up in Paris and Cubase SX to >utilize my RME Multiface converters with any of the three Paris submixes via >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one only >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x >Paris I/O module on them during a tracking session, I can open up the >Cubase-to-Paris tracking template on both machines nd then just patch in my >preamps to the Multiface I/O and it's routed digitally to the respective >channels of the Paris mixer. > > Once project is tracked, basic editing done using the Paris editor. > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) >with starting points at 00:00:00. to a folder in the Paris song project >file. > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are >saved to a Cubase SX song project. > >The .wavs are imported into a Cubase SX project template for the song which >has a routing matrix bussing certain tracks to certain busses and then >bussing the tracks back to Paris for summing as follows: > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O >interfaces which correlate to 16 track submixes. The system here has 3 x 16 >track submix units comprising a total of 48 tracks with a total of 72 >digital I/O and 32 analog I/O for various routing configurations) > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx DAW >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned to >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >assigned to channels 1-14 outputs. > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum >submix is panned to taste, EQ'ed, individual tracks are processed and >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio >channel 15 which is using RME ADAT I/O 15 & 16) > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix >#1 where the panning of the drum tracks in the SX drum submix is mirrored in >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) >and Paris aux FX are then applied to the individual drum tracks. Any >outboard processing to the individual drum tracks is being done through the >RME multiface I/O to retain phase coherence and care must be taken at this >point when processing in Paris to use only digital FX externally (1 x sample >latency with digital I/O loop in Paris) and care must also be taken with the >lookahead when using the Paris onboard DSP compressors to avoid phase issues >(flamming). > >It is possible to achieve a monster drum sound by using both Paris and >Cubase SX when processing parallel drum submixes sample accurately on both >platforms. > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME 2 >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to RME >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being >processed in both platforms. > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels >47 and 48 are set up as a stereo FX bus for all send FX being applied to >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >interfacing with Paris ADAT I/O #15 and 16. > >The mix template routing between the two work stations is as follows: > >Paris Submix 1-Drums (usually) > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > >Paris Submix #2 > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > >Paris Submix #3 > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay >for routing to different Paris submixes as needed. > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP >9652's and set up as an external insert effect or send effect as needed in >Cubase SX. > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the >other RME HDSP 9652's and set up as an insert or send effect as needed. > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the RME >Multiface and either set up as external insert effect or send effect as >needed. > >RME Multiface analog I/O are set up as external insert busses for processing >tracks with up to 8 x various analog compressors and EQ's with ADC being >applied in Cubase SX to keep them phase coherent.. > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks >using the stereo drum bus and center panned stereo and mono reverb to >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX >tracks-UA hit a home run with this emulation) along with track EQ and the >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are >streamed back into Paris for summing. > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 and >3 are set up to route analog FX processors in Paris from the Lexi PC 90, >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if >needed. > >All panning of tracks and reverbs, delays etc. are done in Paris since all >Cubase SX tracks with the exception of the stereo drum mix are mono and >being lightpiped directly to Paris rather than being sent to stereo busses >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono >tracks in SX cannot be panned) > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid >GenX6 module set to distribute word clock (at 10 picoseconds) which is then >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the >Lexicon Studio Core 32 outboard reverb. > >All of the routing scenarios are saved in mix templates on the two audio >DAWs and the digital patchbay control panel in the DAW running standalone >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris >transport controls both systems, sample accurate, timeline locked. All it >really takes is a few mouse clicks and this entire scenario is >working......Simple huh? > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" >experiment >> and picked up Cubase SX3. >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is >> syncing nicely to PARIS. >> >> Right now I'm planning to use the Cubase box as more of a glorified >scratchpad >> , the place I hash out any midi stuff and drum tracks, etc and then finish >> the whole project in Paris. But maybe (or more likely, certainly) I'm not >> seeing a better approach. In fact, I'm not certain what I want the process >> to be or what process takes the most advantage of the Cubase/PARIS hybrid >> setup. >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, >keys, >> etc. >> >> So I thought I'd ask a few questions o those who know: >> >> 1)Is anyone else taking this approach? >> 2)What approaches are you guys taking with your hybrid setups? >> 3)What is the meaning of existence? (You can skip this one if you want.) >> >> As always, thanks for the help! >> Cheers, >> Jon >> >> > >Yes..........I know. It's not my fault. I learned this stuff right here. Had I never found this place, I might be a normal person, but now it's too late. "Rod Lincoln" <rlincoil@nospam.kc.rr.com> wrote in message news:43dd35a8$1@linux... > > Your just sick. > 8op > rod > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >what approaches???..............humm.......well....here it is in a > >nutshell.....;oP > > > >A typical session is usually tracked and mixed as follows: > > > >All tracking is usually done in Paris using a Furman HDS 16 cue system with > >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > >performer can dial in exactly the amount of ambience in the cans to achieve > >a comfortable cuemix. > > > >I have a number of tracking templates set up in Paris and Cubase SX to > >utilize my RME Multiface converters with any of the three Paris submixes > via > >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one > only > >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 > x > >Paris I/O module on them during a tracking session, I can open up the > >Cubase-to-Paris tracking template on both machines nd then just patch in > my > >preamps to the Multiface I/O and it's routed digitally to the respective > >channels of the Paris mixer. > > > > Once project is tracked, basic editing done using the Paris editor. > > > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) > >with starting points at 00:00:00. to a folder in the Paris song project > >file. > > > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via > >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are > >saved to a Cubase SX song project. > > > >The .wavs are imported into a Cubase SX project template for the song which > >has a routing matrix bussing certain tracks to certain busses and then > >bussing the tracks back to Paris for summing as follows: > > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > >interfaces which correlate to 16 track submixes. The system here has 3 x > 16 > >track submix units comprising a total of 48 tracks with a total of 72 > >digital I/O and 32 analog I/O for various routing configurations) > > > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx > DAW > >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned > to > >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > >assigned to channels 1-14 outputs. > > > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum > >submix is panned to taste, EQ'ed, individual tracks are processed and > >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned > >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > >channel 15 which is using RME ADAT I/O 15 & 16) > > > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, > >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix > >#1 where the panning of the drum tracks in the SX drum submix is mirrored > in > >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) > >and Paris aux FX are then applied to the individual drum tracks. Any > >outboard processing to the individual drum tracks is being done through > the > >RME multiface I/O to retain phase coherence and care must be taken at this > >point when processing in Paris to use only digital FX externally (1 x sample > >latency with digital I/O loop in Paris) and care must also be taken with > the > >lookahead when using the Paris onboard DSP compressors to avoid phase issues > >(flamming). > > > >It is possible to achieve a monster drum sound by using both Paris and > >Cubase SX when processing parallel drum submixes sample accurately on both > >platforms. > > > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME > 2 > >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to > RME > >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > >processed in both platforms. > > > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels > >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O > #2 > >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels > >47 and 48 are set up as a stereo FX bus for all send FX being applied to > >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > >interfacing with Paris ADAT I/O #15 and 16. > > > >The mix template routing between the two work stations is as follows: > > > >Paris Submix 1-Drums (usually) > > > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > > >Paris Submix #2 > > > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > > >Paris Submix #3 > > > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon > >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay > >for routing to different Paris submixes as needed. > > > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > >9652's and set up as an external insert effect or send effect as needed > in > >Cubase SX. > > > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > >other RME HDSP 9652's and set up as an insert or send effect as needed. > > > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the > RME > >Multiface and either set up as external insert effect or send effect as > >needed. > > > >RME Multiface analog I/O are set up as external insert busses for processing > >tracks with up to 8 x various analog compressors and EQ's with ADC being > >applied in Cubase SX to keep them phase coherent.. > > > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > >using the stereo drum bus and center panned stereo and mono reverb to > >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX > >tracks-UA hit a home run with this emulation) along with track EQ and the > >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > >streamed back into Paris for summing. > > > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 > and > >3 are set up to route analog FX processors in Paris from the Lexi PC 90, > >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > >needed. > > > >All panning of tracks and reverbs, delays etc. are done in Paris since all > >Cubase SX tracks with the exception of the stereo drum mix are mono and > >being lightpiped directly to Paris rather than being sent to stereo busses > >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono > >tracks in SX cannot be panned) > > > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > >GenX6 module set to distribute word clock (at 10 picoseconds) which is > then > >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the > >Lexicon Studio Core 32 outboard reverb. > > > >All of the routing scenarios are saved in mix templates on the two audio > >DAWs and the digital patchbay control panel in the DAW running standalone > >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > >transport controls both systems, sample accurate, timeline locked. All > it > >really takes is a few mouse clicks and this entire scenario is > >working......Simple huh? > > > > > > > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > >> > >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota > >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > >experiment > >> and picked up Cubase SX3. > >> > >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase > is > >> syncing nicely to PARIS. > >> > >> Right now I'm planning to use the Cubase box as more of a glorified > >scratchpad > >> , the place I hash out any midi stuff and drum tracks, etc and then finish > >> the whole project in Paris. But maybe (or more likely, certainly) I'm > not > >> seeing a better approach. In fact, I'm not certain what I want the process > >> to be or what process takes the most advantage of the Cubase/PARIS hybrid > >> setup. > >> > >> I have 3 EDS cards in my PARIS box (have a 4th if I need). > >> > >> I don't do any major live tracking of drums, etc. Just vocals, guitars, > >keys, > >> etc. > >> > >> So I thought I'd ask a few questions o those who know: > >> > >> 1)Is anyone else taking this approach? > >> 2)What approaches are you guys taking with your hybrid setups? > >> 3)What is the meaning of existence? (You can skip this one if you want.) > >> > >> As always, thanks for the help! > >> Cheers, > >> Jon > >> > >> > > > > >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >If I was closer, I'd buy these and set them out by the road in front of our >house, turn them on and watch the expressions on the fces of the asshole >kids who speed by here going 80 when their cars start veering off the road >into the bar ditch. > >;o) > Excellent! ;) I'm tempted myself.. I've seen what something much smaller than these will do with just a flashlight battery powering them. . . > > >"steve the artguy" <artguy@svnsillyme.net> wrote in message >news:43dd3259$1@linux... >> >> http://www.craigslist.org/nby/ele/129402251.html >> >> hey, they're free! Just take 'em away! >> >> >> -silly steve > >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >Yes..........I know. It's not my fault. I learned this stuff right here. Had >I never found this place, I might be a normal person, but now it's too late. > HAHAHAHAHAHAHAHA! dream on, crazy man! How about we just ask Amy about this...? -steveThanks Deej - As soon as I get over my Adult Attention Deficit Disorder seizure, I'm going to give it a try. :) Cheers, Jon "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43dd3720@linux... > Yes..........I know. It's not my fault. I learned this stuff right here. > Had > I never found this place, I might be a normal person, but now it's too > late. > > > "Rod Lincoln" <rlincoil@nospam.kc.rr.com> wrote in message > news:43dd35a8$1@linux... >> >> Your just sick. >> 8op >> rod >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> >what approaches???..............humm.......well....here it is in a >> >nutshell.....;oP >> > >> >A typical session is usually tracked and mixed as follows: >> > >> >All tracking is usually done in Paris using a Furman HDS 16 cue system > with >> >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. >> >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the >> >performer can dial in exactly the amount of ambience in the cans to > achieve >> >a comfortable cuemix. >> > >> >I have a number of tracking templates set up in Paris and Cubase SX to >> >utilize my RME Multiface converters with any of the three Paris submixes >> via >> >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one >> only >> >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 >> x >> >Paris I/O module on them during a tracking session, I can open up the >> >Cubase-to-Paris tracking template on both machines nd then just patch in >> my >> >preamps to the Multiface I/O and it's routed digitally to the respective >> >channels of the Paris mixer. >> > >> > Once project is tracked, basic editing done using the Paris editor. >> > >> >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio > Files) >> >with starting points at 00:00:00. to a folder in the Paris song project >> >file. >> > >> >Batch converion of the the rendered .paf's to .wavs is done in Wavelab > via >> >LAN to DAW running Wavelab and Cubase SX and the converted .wav files >> >are >> >saved to a Cubase SX song project. >> > >> >The .wavs are imported into a Cubase SX project template for the song > which >> >has a routing matrix bussing certain tracks to certain busses and then >> >bussing the tracks back to Paris for summing as follows: >> > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O >> >interfaces which correlate to 16 track submixes. The system here has 3 x >> 16 >> >track submix units comprising a total of 48 tracks with a total of 72 >> >digital I/O and 32 analog I/O for various routing configurations) >> > >> >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx >> DAW >> >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 >> >assigned >> to >> >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >> >assigned to channels 1-14 outputs. >> > >> >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated > drum >> >submix is panned to taste, EQ'ed, individual tracks are processed and >> >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then > returned >> >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio >> >channel 15 which is using RME ADAT I/O 15 & 16) >> > >> >The original mono drum tracks are also fed to insert FX (UAD-1 > compressors, >> >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in > submix >> >#1 where the panning of the drum tracks in the SX drum submix is >> >mirrored >> in >> >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital > only) >> >and Paris aux FX are then applied to the individual drum tracks. Any >> >outboard processing to the individual drum tracks is being done through >> the >> >RME multiface I/O to retain phase coherence and care must be taken at > this >> >point when processing in Paris to use only digital FX externally (1 x > sample >> >latency with digital I/O loop in Paris) and care must also be taken with >> the >> >lookahead when using the Paris onboard DSP compressors to avoid phase > issues >> >(flamming). >> > >> >It is possible to achieve a monster drum sound by using both Paris and >> >Cubase SX when processing parallel drum submixes sample accurately on > both >> >platforms. >> > >> >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and > RME >> 2 >> >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to >> RME >> >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being >> >processed in both platforms. >> > >> >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 > channels >> >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O >> #2 >> >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT > channels >> >47 and 48 are set up as a stereo FX bus for all send FX being applied to >> >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >> >interfacing with Paris ADAT I/O #15 and 16. >> > >> >The mix template routing between the two work stations is as follows: >> > >> >Paris Submix 1-Drums (usually) >> > >> >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 >> > >> >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >> >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >> >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >> >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >> >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >> >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >> >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >> >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >> >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >> >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >> >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >> >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >> >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >> >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >> >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 >> >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 >> > >> >Paris Submix #2 >> > >> >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >> >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >> >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >> >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >> >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >> >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >> >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >> >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 >> > >> >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 >> > >> >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >> >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >> >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >> >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >> >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >> >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >> >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >> >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 >> > >> >Paris Submix #3 >> > >> >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >> >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >> >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >> >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >> >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >> >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >> >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >> >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >> >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >> >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >> >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >> >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >> >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >> >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >> >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 >> >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 >> > >> >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, > Lexicon >> >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital > patchbay >> >for routing to different Paris submixes as needed. >> > >> >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP >> >9652's and set up as an external insert effect or send effect as needed >> in >> >Cubase SX. >> > >> >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the >> >other RME HDSP 9652's and set up as an insert or send effect as needed. >> > >> >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the >> RME >> >Multiface and either set up as external insert effect or send effect as >> >needed. >> > >> >RME Multiface analog I/O are set up as external insert busses for > processing >> >tracks with up to 8 x various analog compressors and EQ's with ADC >> >being >> >applied in Cubase SX to keep them phase coherent.. >> > >> >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks >> >using the stereo drum bus and center panned stereo and mono reverb to >> >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX >> >tracks-UA hit a home run with this emulation) along with track EQ and >> >the >> >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are >> >streamed back into Paris for summing. >> > >> >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 >> and >> >3 are set up to route analog FX processors in Paris from the Lexi PC 90, >> >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if >> >needed. >> > >> >All panning of tracks and reverbs, delays etc. are done in Paris since > all >> >Cubase SX tracks with the exception of the stereo drum mix are mono and >> >being lightpiped directly to Paris rather than being sent to stereo > busses >> >in Cubase SX. (without being assigned to a stereo bus in Cubase, the >> >mono >> >tracks in SX cannot be panned) >> > >> >All of this is clocked through a Mytek ADC 24/96 which is feeding a >> >Lucid >> >GenX6 module set to distribute word clock (at 10 picoseconds) which is >> then >> >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and >> >the >> >Lexicon Studio Core 32 outboard reverb. >> > >> >All of the routing scenarios are saved in mix templates on the two audio >> >DAWs and the digital patchbay control panel in the DAW running > standalone >> >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris >> >transport controls both systems, sample accurate, timeline locked. All >> it >> >really takes is a few mouse clicks and this entire scenario is >> >working......Simple huh? >> > >> > >> > >> > >> > >> >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> >> >> Okay, so I took Deej's advice and for syncing purposes replaced my > Dakota >> >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" >> >experiment >> >> and picked up Cubase SX3. >> >> >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase >> is >> >> syncing nicely to PARIS. >> >> >> >> Right now I'm planning to use the Cubase box as more of a glorified >> >scratchpad >> >> , the place I hash out any midi stuff and drum tracks, etc and then > finish >> >> the whole project in Paris. But maybe (or more likely, certainly) I'm >> not >> >> seeing a better approach. In fact, I'm not certain what I want the > process >> >> to be or what process takes the most advantage of the Cubase/PARIS > hybrid >> >> setup. >> >> >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> >> >> I don't do any major live tracking of drums, etc. Just vocals, >> >> guitars, >> >keys, >> >> etc. >> >> >> >> So I thought I'd ask a few questions o those who know: >> >> >> >> 1)Is anyone else taking this approach? >> >> 2)What approaches are you guys taking with your hybrid setups? >> >> 3)What is the meaning of existence? (You can skip this one if you > want.) >> >> >> >> As always, thanks for the help! >> >> Cheers, >> >> Jon >> >> >> >> >> > >> > >> > >hehehe!!!!!!!.............well OK........ya got me there, but I can assure you that I wouldn't hang out here if I didn't feel like I was among like-minded individuals ;o) "steve the artguy" <artguy@svnsillyme.net> wrote in message news:43dd3eb4$1@linux... > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >Yes..........I know. It's not my fault. I learned this stuff right here. > Had > >I never found this place, I might be a normal person, but now it's too late. > > > > HAHAHAHAHAHAHAHA! dream on, crazy man! > > How about we just ask Amy about this...? > > -steveYou really need to get some help Deej. Before someone gets hurt. Speaking of needing help (me) and getting hurt (them), the greatest television show in the history of America is on Monday nights on A&E. That would be Rollergirls. All girl punk rock roller derby from Austin, Texas. 60 Minutes, Twin Peaks, McNeil/Lehrer, Gilligan's Island, NYPD Blue, and Northern Exposure can bite me. Punky Bruiser and Venis Envy show them all up. There's not much left about America for an old school patriot like me to love--Jefferson would have quite seriously called for the assassination of both Clinton and GW--but if we have Rollergirls maybe there's still a chance we can stop the terrorists. http://www.aetv.com/rollergirls/index.jsp But you still need help Deej, TCB "DJ" <animix_spam-this-ahole_@animas.net> wrote: >what approaches???..............humm.......well....here it is in a >nutshell.....;oP > >A typical session is usually tracked and mixed as follows: > >All tracking is usually done in Paris using a Furman HDS 16 cue system with >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the >performer can dial in exactly the amount of ambience in the cans to achieve >a comfortable cuemix. > >I have a number of tracking templates set up in Paris and Cubase SX to >utilize my RME Multiface converters with any of the three Paris submixes via >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one only >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x >Paris I/O module on them during a tracking session, I can open up the >Cubase-to-Paris tracking template on both machines nd then just patch in my >preamps to the Multiface I/O and it's routed digitally to the respective >channels of the Paris mixer. > > Once project is tracked, basic editing done using the Paris editor. > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) >with starting points at 00:00:00. to a folder in the Paris song project >file. > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are >saved to a Cubase SX song project. > >The .wavs are imported into a Cubase SX project template for the song which >has a routing matrix bussing certain tracks to certain busses and then >bussing the tracks back to Paris for summing as follows: > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O >interfaces which correlate to 16 track submixes. The system here has 3 x 16 >track submix units comprising a total of 48 tracks with a total of 72 >digital I/O and 32 analog I/O for various routing configurations) > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx DAW >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned to >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >assigned to channels 1-14 outputs. > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum >submix is panned to taste, EQ'ed, individual tracks are processed and >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio >channel 15 which is using RME ADAT I/O 15 & 16) > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix >#1 where the panning of the drum tracks in the SX drum submix is mirrored in >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) >and Paris aux FX are then applied to the individual drum tracks. Any >outboard processing to the individual drum tracks is being done through the >RME multiface I/O to retain phase coherence and care must be taken at this >point when processing in Paris to use only digital FX externally (1 x sample >latency with digital I/O loop in Paris) and care must also be taken with the >lookahead when using the Paris onboard DSP compressors to avoid phase issues >(flamming). > >It is possible to achieve a monster drum sound by using both Paris and >Cubase SX when processing parallel drum submixes sample accurately on both >platforms. > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME 2 >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to RME >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being >processed in both platforms. > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels >47 and 48 are set up as a stereo FX bus for all send FX being applied to >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >interfacing with Paris ADAT I/O #15 and 16. > >The mix template routing between the two work stations is as follows: > >Paris Submix 1-Drums (usually) > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > >Paris Submix #2 > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > >Paris Submix #3 > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay >for routing to different Paris submixes as needed. > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP >9652's and set up as an external insert effect or send effect as needed in >Cubase SX. > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the >other RME HDSP 9652's and set up as an insert or send effect as needed. > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the RME >Multiface and either set up as external insert effect or send effect as >needed. > >RME Multiface analog I/O are set up as external insert busses for processing >tracks with up to 8 x various analog compressors and EQ's with ADC being >applied in Cubase SX to keep them phase coherent.. > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks >using the stereo drum bus and center panned stereo and mono reverb to >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX >tracks-UA hit a home run with this emulation) along with track EQ and the >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are >streamed back into Paris for summing. > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 and >3 are set up to route analog FX processors in Paris from the Lexi PC 90, >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if >needed. > >All panning of tracks and reverbs, delays etc. are done in Paris since all >Cubase SX tracks with the exception of the stereo drum mix are mono and >being lightpiped directly to Paris rather than being sent to stereo busses >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono >tracks in SX cannot be panned) > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid >GenX6 module set to distribute word clock (at 10 picoseconds) which is then >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the >Lexicon Studio Core 32 outboard reverb. > >All of the routing scenarios are saved in mix templates on the two audio >DAWs and the digital patchbay control panel in the DAW running standalone >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris >transport controls both systems, sample accurate, timeline locked. All it >really takes is a few mouse clicks and this entire scenario is >working......Simple huh? > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" >experiment >> and picked up Cubase SX3. >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is >> syncing nicely to PARIS. >> >> Right now I'm planning to use the Cubase box as more of a glorified >scratchpad >> , the place I hash out any midi stuff and drum tracks, etc and then finish >> the whole project in Paris. But maybe (or more likely, certainly) I'm not >> seeing a better approach. In fact, I'm not certain what I want the process >> to be or what process takes the most advantage of the Cubase/PARIS hybrid >> setup. >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, >keys, >> etc. >> >> So I thought I'd ask a few questions o those who know: >> >> 1)Is anyone else taking this approach? >> 2)What approaches are you guys taking with your hybrid setups? >> 3)What is the meaning of existence? (You can skip this one if you want.) >> >> As always, thanks for the help! >> Cheers, >> Jon >> >> > >Sister Mary Jane looks exactly like one of my friends granddaughters (man,................am I that old now?) I'm going back into the lab now. I'm bet testing something that will eventually make some of you guys very happy. Unfortunately, it's not Paris based, but it is working very well within the simple context that I described in my working methodology post above. ;o) "TCB" <nobody@ishere.com> wrote in message news:43dd6174$1@linux... > > You really need to get some help Deej. Before someone gets hurt. > > Speaking of needing help (me) and getting hurt (them), the greatest television > show in the history of America is on Monday nights on A&E. That would be > Rollergirls. All girl punk rock roller derby from Austin, Texas. 60 Minutes, > Twin Peaks, McNeil/Lehrer, Gilligan's Island, NYPD Blue, and Northern Exposure > can bite me. Punky Bruiser and Venis Envy show them all up. There's not much > left about America for an old school patriot like me to love--Jefferson would > have quite seriously called for the assassination of both Clinton and GW--but > if we have Rollergirls maybe there's still a chance we can stop the terrorists. > > > http://www.aetv.com/rollergirls/index.jsp > > But you still need help Deej, > > TCB > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >what approaches???..............humm.......well....here it is in a > >nutshell.....;oP > > > >A typical session is usually tracked and mixed as follows: > > > >All tracking is usually done in Paris using a Furman HDS 16 cue system with > >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > >performer can dial in exactly the amount of ambience in the cans to achieve > >a comfortable cuemix. > > > >I have a number of tracking templates set up in Paris and Cubase SX to > >utilize my RME Multiface converters with any of the three Paris submixes > via > >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one > only > >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 > x > >Paris I/O module on them during a tracking session, I can open up the > >Cubase-to-Paris tracking template on both machines nd then just patch in > my > >preamps to the Multiface I/O and it's routed digitally to the respective > >channels of the Paris mixer. > > > > Once project is tracked, basic editing done using the Paris editor. > > > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) > >with starting points at 00:00:00. to a folder in the Paris song project > >file. > > > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via > >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are > >saved to a Cubase SX song project. > > > >The .wavs are imported into a Cubase SX project template for the song which > >has a routing matrix bussing certain tracks to certain busses and then > >bussing the tracks back to Paris for summing as follows: > > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > >interfaces which correlate to 16 track submixes. The system here has 3 x > 16 > >track submix units comprising a total of 48 tracks with a total of 72 > >digital I/O and 32 analog I/O for various routing configurations) > > > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx > DAW > >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned > to > >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > >assigned to channels 1-14 outputs. > > > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum > >submix is panned to taste, EQ'ed, individual tracks are processed and > >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned > >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > >channel 15 which is using RME ADAT I/O 15 & 16) > > > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, > >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix > >#1 where the panning of the drum tracks in the SX drum submix is mirrored > in > >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) > >and Paris aux FX are then applied to the individual drum tracks. Any > >outboard processing to the individual drum tracks is being done through > the > >RME multiface I/O to retain phase coherence and care must be taken at this > >point when processing in Paris to use only digital FX externally (1 x sample > >latency with digital I/O loop in Paris) and care must also be taken with > the > >lookahead when using the Paris onboard DSP compressors to avoid phase issues > >(flamming). > > > >It is possible to achieve a monster drum sound by using both Paris and > >Cubase SX when processing parallel drum submixes sample accurately on both > >platforms. > > > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME > 2 > >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to > RME > >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > >processed in both platforms. > > > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels > >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O > #2 > >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels > >47 and 48 are set up as a stereo FX bus for all send FX being applied to > >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > >interfacing with Paris ADAT I/O #15 and 16. > > > >The mix template routing between the two work stations is as follows: > > > >Paris Submix 1-Drums (usually) > > > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > > >Paris Submix #2 > > > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > > >Paris Submix #3 > > > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon > >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay > >for routing to different Paris submixes as needed. > > > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > >9652's and set up as an external insert effect or send effect as needed > in > >Cubase SX. > > > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > >other RME HDSP 9652's and set up as an insert or send effect as needed. > > > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the > RME > >Multiface and either set up as external insert effect or send effect as > >needed. > > > >RME Multiface analog I/O are set up as external insert busses for processing > >tracks with up to 8 x various analog compressors and EQ's with ADC being > >applied in Cubase SX to keep them phase coherent.. > > > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > >using the stereo drum bus and center panned stereo and mono reverb to > >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX > >tracks-UA hit a home run with this emulation) along with track EQ and the > >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > >streamed back into Paris for summing. > > > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 > and > >3 are set up to route analog FX processors in Paris from the Lexi PC 90, > >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > >needed. > > > >All panning of tracks and reverbs, delays etc. are done in Paris since all > >Cubase SX tracks with the exception of the stereo drum mix are mono and > >being lightpiped directly to Paris rather than being sent to stereo busses > >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono > >tracks in SX cannot be panned) > > > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > >GenX6 module set to distribute word clock (at 10 picoseconds) which is > then > >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the > >Lexicon Studio Core 32 outboard reverb. > > > >All of the routing scenarios are saved in mix templates on the two audio > >DAWs and the digital patchbay control panel in the DAW running standalone > >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > >transport controls both systems, sample accurate, timeline locked. All > it > >really takes is a few mouse clicks and this entire scenario is > >working......Simple huh? > > > > > > > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > >> > >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota > >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > >experiment > >> and picked up Cubase SX3. > >> > >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase > is > >> syncing nicely to PARIS. > >> > >> Right now I'm planning to use the Cubase box as more of a glorified > >scratchpad > >> , the place I hash out any midi stuff and drum tracks, etc and then finish > >> the whole project in Paris. But maybe (or more likely, certainly) I'm > not > >> seeing a better approach. In fact, I'm not certain what I want the process > >> to be or what process takes the most advantage of the Cubase/PARIS hybrid > >> setup. > >> > >> I have 3 EDS cards in my PARIS box (have a 4th if I need). > >> > >> I don't do any major live tracking of drums, etc. Just vocals, guitars, > >keys, > >> etc. > >> > >> So I thought I'd ask a few questions o those who know: > >> > >> 1)Is anyone else taking this approach? > >> 2)What approaches are you guys taking with your hybrid setups? > >> 3)What is the meaning of existence? (You can skip this one if you want.) > >> > >> As always, thanks for the help! > >> Cheers, > >> Jon > >> > >> > > > > >On 30 Jan 2006 05:22:34 +1000, "Jon Jiles" <nope@nono.com> wrote: (snippage> >Right now I'm planning to use the Cubase box as more of a glorified scratchpad >, the place I hash out any midi stuff and drum tracks, etc and then finish >the whole project in Paris. This describes exactly what I do around here: SX is the playpen where all manner of sounds and tracks originate, Paris is the tape-and-console combo where it all comes together... >I have 3 EDS cards in my PARIS box (have a 4th if I need). Me too. > >I don't do any major live tracking of drums, etc. Just vocals, guitars, keys, >etc. Same here. > >So I thought I'd ask a few questions o those who know: > >1)Is anyone else taking this approach? See above. >2)What approaches are you guys taking with your hybrid setups? Like you. >3)What is the meaning of existence? (You can skip this one if you want.) Not sure, but I think it's somehow related to "Never give a sucker an even break." >>As always, thanks for the help! >Cheers, >Jon >DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster Sound, Killer i/o routing for your stand alones.. All under one roof. Do the $$math$$$ :) "DJ" <animix_spam-this-ahole_@animas.net> wrote: >what approaches???..............humm.......well....here it is in a >nutshell.....;oP > >A typical session is usually tracked and mixed as follows: > >All tracking is usually done in Paris using a Furman HDS 16 cue system with >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the >performer can dial in exactly the amount of ambience in the cans to achieve >a comfortable cuemix. > >I have a number of tracking templates set up in Paris and Cubase SX to >utilize my RME Multiface converters with any of the three Paris submixes via >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one only >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x >Paris I/O module on them during a tracking session, I can open up the >Cubase-to-Paris tracking template on both machines nd then just patch in my >preamps to the Multiface I/O and it's routed digitally to the respective >channels of the Paris mixer. > > Once project is tracked, basic editing done using the Paris editor. > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) >with starting points at 00:00:00. to a folder in the Paris song project >file. > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are >saved to a Cubase SX song project. > >The .wavs are imported into a Cubase SX project template for the song which >has a routing matrix bussing certain tracks to certain busses and then >bussing the tracks back to Paris for summing as follows: > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O >interfaces which correlate to 16 track submixes. The system here has 3 x 16 >track submix units comprising a total of 48 tracks with a total of 72 >digital I/O and 32 analog I/O for various routing configurations) > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx DAW >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned to >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >assigned to channels 1-14 outputs. > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum >submix is panned to taste, EQ'ed, individual tracks are processed and >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio >channel 15 which is using RME ADAT I/O 15 & 16) > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix >#1 where the panning of the drum tracks in the SX drum submix is mirrored in >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) >and Paris aux FX are then applied to the individual drum tracks. Any >outboard processing to the individual drum tracks is being done through the >RME multiface I/O to retain phase coherence and care must be taken at this >point when processing in Paris to use only digital FX externally (1 x sample >latency with digital I/O loop in Paris) and care must also be taken with the >lookahead when using the Paris onboard DSP compressors to avoid phase issues >(flamming). > >It is possible to achieve a monster drum sound by using both Paris and >Cubase SX when processing parallel drum submixes sample accurately on both >platforms. > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME 2 >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to RME >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being >processed in both platforms. > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels >47 and 48 are set up as a stereo FX bus for all send FX being applied to >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >interfacing with Paris ADAT I/O #15 and 16. > >The mix template routing between the two work stations is as follows: > >Paris Submix 1-Drums (usually) > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > >Paris Submix #2 > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > >Paris Submix #3 > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay >for routing to different Paris submixes as needed. > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP >9652's and set up as an external insert effect or send effect as needed in >Cubase SX. > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the >other RME HDSP 9652's and set up as an insert or send effect as needed. > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the RME >Multiface and either set up as external insert effect or send effect as >needed. > >RME Multiface analog I/O are set up as external insert busses for processing >tracks with up to 8 x various analog compressors and EQ's with ADC being >applied in Cubase SX to keep them phase coherent.. > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks >using the stereo drum bus and center panned stereo and mono reverb to >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX >tracks-UA hit a home run with this emulation) along with track EQ and the >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are >streamed back into Paris for summing. > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 and >3 are set up to route analog FX processors in Paris from the Lexi PC 90, >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if >needed. > >All panning of tracks and reverbs, delays etc. are done in Paris since all >Cubase SX tracks with the exception of the stereo drum mix are mono and >being lightpiped directly to Paris rather than being sent to stereo busses >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono >tracks in SX cannot be panned) > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid >GenX6 module set to distribute word clock (at 10 picoseconds) which is then >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the >Lexicon Studio Core 32 outboard reverb. > >All of the routing scenarios are saved in mix templates on the two audio >DAWs and the digital patchbay control panel in the DAW running standalone >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris >transport controls both systems, sample accurate, timeline locked. All it >really takes is a few mouse clicks and this entire scenario is >working......Simple huh? > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" >experiment >> and picked up Cubase SX3. >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is >> syncing nicely to PARIS. >> >> Right now I'm planning to use the Cubase box as more of a glorified >scratchpad >> , the place I hash out any midi stuff and drum tracks, etc and then finish >> the whole project in Paris. But maybe (or more likely, certainly) I'm not >> seeing a better approach. In fact, I'm not certain what I want the process >> to be or what process takes the most advantage of the Cubase/PARIS hybrid >> setup. >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, >keys, >> etc. >> >> So I thought I'd ask a few questions o those who know: >> >> 1)Is anyone else taking this approach? >> 2)What approaches are you guys taking with your hybrid setups? >> 3)What is the meaning of existence? (You can skip this one if you want.) >> >> As always, thanks for the help! >> Cheers, >> Jon >> >> > >Hmm, I thought after listening to the posted mic shootout clips that the 47 had way more midrange and less top than the Gemini. To me they would make a great pair, one for leads and one for airy harmony. "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Dimitrios, > >This sounds like a nice project, but the SE Gemini is so close to the U47 >sound and is around $1000.00. > >Deej > >"Dimitrios" <musurgio@otenet.gr> wrote in message news:43dd1bc8$1@linux... >> >> I am into building a U47 clone (I am almost 65% thru) using REAL K47 >reskinned >> capsule a UF14 NOS Telefunken (or EF14) applying the same "underheating" >> secret of the U47 sound plus a Haufe identical electrical characteristics >> transformer and a almost same but prettier ( I think ) look. >> I will offer a 15 days trial money refund option if you pay the shipping. >> I will not get it out before being 100 % satisfied I have achieved the >goal. >> Note that I had a Telefunken U47 for almost 5 years and I know the beast >> very well. >> >> I can also offer another tube with exactly the same sound as UF14/EF14 >tubes >> that are easier enouph to find and will keep your mic for decades. >> I will include another two NOS tubes of this "replacement" tube. >> I know though that most of you wanna see this black small baby looking >like >> the original U47 tube so I just note that. >> Ther will be included a great shockmount similar to "Neumann" quality and >> a aluminium case. >> >> Any real interest ? >> Regards, >> Dimitrios > >Not nearly complicated enough ;o) Seriously, I have thought about it.....a lot. Deej "LaMont" <jjdpro@ameritech.net> wrote in message news:43dd826c$1@linux... > > DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster Sound, > Killer i/o routing for your stand alones.. All under one roof. Do the $$math$$$ > > :) > > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >what approaches???..............humm.......well....here it is in a > >nutshell.....;oP > > > >A typical session is usually tracked and mixed as follows: > > > >All tracking is usually done in Paris using a Furman HDS 16 cue system with > >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > >performer can dial in exactly the amount of ambience in the cans to achieve > >a comfortable cuemix. > > > >I have a number of tracking templates set up in Paris and Cubase SX to > >utilize my RME Multiface converters with any of the three Paris submixes > via > >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one > only > >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 > x > >Paris I/O module on them during a tracking session, I can open up the > >Cubase-to-Paris tracking template on both machines nd then just patch in > my > >preamps to the Multiface I/O and it's routed digitally to the respective > >channels of the Paris mixer. > > > > Once project is tracked, basic editing done using the Paris editor. > > > >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) > >with starting points at 00:00:00. to a folder in the Paris song project > >file. > > > >Batch converion of the the rendered .paf's to .wavs is done in Wavelab via > >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are > >saved to a Cubase SX song project. > > > >The .wavs are imported into a Cubase SX project template for the song which > >has a routing matrix bussing certain tracks to certain busses and then > >bussing the tracks back to Paris for summing as follows: > > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > >interfaces which correlate to 16 track submixes. The system here has 3 x > 16 > >track submix units comprising a total of 48 tracks with a total of 72 > >digital I/O and 32 analog I/O for various routing configurations) > > > >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx > DAW > >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned > to > >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > >assigned to channels 1-14 outputs. > > > >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum > >submix is panned to taste, EQ'ed, individual tracks are processed and > >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned > >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > >channel 15 which is using RME ADAT I/O 15 & 16) > > > >The original mono drum tracks are also fed to insert FX (UAD-1 compressors, > >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix > >#1 where the panning of the drum tracks in the SX drum submix is mirrored > in > >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) > >and Paris aux FX are then applied to the individual drum tracks. Any > >outboard processing to the individual drum tracks is being done through > the > >RME multiface I/O to retain phase coherence and care must be taken at this > >point when processing in Paris to use only digital FX externally (1 x sample > >latency with digital I/O loop in Paris) and care must also be taken with > the > >lookahead when using the Paris onboard DSP compressors to avoid phase issues > >(flamming). > > > >It is possible to achieve a monster drum sound by using both Paris and > >Cubase SX when processing parallel drum submixes sample accurately on both > >platforms. > > > >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME > 2 > >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to > RME > >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > >processed in both platforms. > > > >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels > >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O > #2 > >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels > >47 and 48 are set up as a stereo FX bus for all send FX being applied to > >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > >interfacing with Paris ADAT I/O #15 and 16. > > > >The mix template routing between the two work stations is as follows: > > > >Paris Submix 1-Drums (usually) > > > >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > > >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > > >Paris Submix #2 > > > >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > > >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > > >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > > >Paris Submix #3 > > > >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > > >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon > >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay > >for routing to different Paris submixes as needed. > > > >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > >9652's and set up as an external insert effect or send effect as needed > in > >Cubase SX. > > > >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > >other RME HDSP 9652's and set up as an insert or send effect as needed. > > > >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the > RME > >Multiface and either set up as external insert effect or send effect as > >needed. > > > >RME Multiface analog I/O are set up as external insert busses for processing > >tracks with up to 8 x various analog compressors and EQ's with ADC being > >applied in Cubase SX to keep them phase coherent.. > > > >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > >using the stereo drum bus and center panned stereo and mono reverb to > >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX > >tracks-UA hit a home run with this emulation) along with track EQ and the > >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > >streamed back into Paris for summing. > > > >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 > and > >3 are set up to route analog FX processors in Paris from the Lexi PC 90, > >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > >needed. > > > >All panning of tracks and reverbs, delays etc. are done in Paris since all > >Cubase SX tracks with the exception of the stereo drum mix are mono and > >being lightpiped directly to Paris rather than being sent to stereo busses > >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono > >tracks in SX cannot be panned) > > > >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > >GenX6 module set to distribute word clock (at 10 picoseconds) which is > then > >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the > >Lexicon Studio Core 32 outboard reverb. > > > >All of the routing scenarios are saved in mix templates on the two audio > >DAWs and the digital patchbay control panel in the DAW running standalone > >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > >transport controls both systems, sample accurate, timeline locked. All > it > >really takes is a few mouse clicks and this entire scenario is > >working......Simple huh? > > > > > > > > > > > >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > >> > >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota > >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > >experiment > >> and picked up Cubase SX3. > >> > >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase > is > >> syncing nicely to PARIS. > >> > >> Right now I'm planning to use the Cubase box as more of a glorified > >scratchpad > >> , the place I hash out any midi stuff and drum tracks, etc and then finish > >> the whole project in Paris. But maybe (or more likely, certainly) I'm > not > >> seeing a better approach. In fact, I'm not certain what I want the process > >> to be or what process takes the most advantage of the Cubase/PARIS hybrid > >> setup. > >> > >> I have 3 EDS cards in my PARIS box (have a 4th if I need). > >> > >> I don't do any major live tracking of drums, etc. Just vocals, guitars, > >keys, > >> etc. > >> > >> So I thought I'd ask a few questions o those who know: > >> > >> 1)Is anyone else taking this approach? > >> 2)What approaches are you guys taking with your hybrid setups? > >> 3)What is the meaning of existence? (You can skip this one if you want.) > >> > >> As always, thanks for the help! > >> Cheers, > >> Jon > >> > >> > > > > >Hi Don, Sorry about the delay, was out at Lake Louise for the day... just got back in. NOTHING in Paris is normalled... you have to patch everything. There are two ways to route individual tracks... through "inserts" and through "auxes". If you use the aux sends, you can select external on each aux bus and hard pan to get up to 16 sends per MEC. Using inserts, you have to patch the inputs of the inserts as well as the outputs... it doesn't matter if you are only using them to send sound, you must patch a return signal for them to become active. I believe the same holds true for the Aux buses. As for CEP... I thought is only had the capability to record two tracks at once??? Double check this, but I am positive it can only accept two. I'll be at the studio in the morning if you are still stuck. I would call now, but it's after midnight now on your end. David. Don Nafe wrote: > I'm trying to route the individual PAris tracks 1-8 to CEPro... > > ADAT is in slot 1 input and slot 1 output... > > MEC module A is in the patchfield as is the Master, Mixer A and Inserts A > > Supposedly whatever is on tr 1-8 is normaled to ADAT tr 1-8 in that > configuration - Correct? > > as it stands only Paris Tr 1 & 2 are making it over to CEPro > > If you'd rather do this real time call me 613 725 3327 collect > > > > > > "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message > news:43dcec1e$1@linux... > >>Are you trying to route individual tracks, or the whole mix? If it's the >>whole mix, simply make sure that the adat module is assigned to one of the >>two output slots in the patchbay, then patch from the mixer LR outs to a >>pair of channels on the MEC Modules block. Remember, you can't patch >>across cards. To assign the adat card, double click on the MEC modules >>block in the patchbay window and drag the adat I/O fromm the list at the >>right to one of the four "slots" at the left. If the MEC modules block >>isn't in the patchbay window, drag it from the list top right onto the >>patch field. >> >>David. >> >>Don Nafe wrote: >> >>>1st question >>> >>>How does one route audio out of the ADAT outs and SPDIF outs (in Paris) >>> >>>Don >>> >>> >>> >>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... >>> >>> >>>>Hi All >>>> >>>>This is all new to me and I need someone to help me get my bearings so If >>>>you're still using a Dakota on a second rig could you please contact me >>>>so I can ask you a few questions specific to Paris and Dakota >>>> >>>>Thanks >>>> >>>>Don >>>> >>> >>> >LOL!! I know that most of us thru out the years have beeen cold on PT, but I have admit, that DAW( PT-HD) is one nice sounding, smooth running, cryptic editing-but fast once you know it. It's I/O patchbay routing is on another level. That's all i can say. They sound is as good withthe Digi converters, but, inserting a Lucid gen 96 or 192, tightens the sound up.. Using Apogees Rosettas and or the AD/DA16x, really make you think your back in PAris Land.. Due to the Apogees ability to run inthe read, with it's on-board soft-limit.. AND, if you runn HD on a PC, beter for you becuase you can run a whole lot of Rtas plugins.. But, if you only have a old G4, so-what, you're still gonna get taht stated track/DSP count...very smothly indeed.. No more bashing Digi for me.. I've seen the light.. LaMont "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Not nearly complicated enough ;o) > >Seriously, I have thought about it.....a lot. > >Deej > >"LaMont" <jjdpro@ameritech.net> wrote in message news:43dd826c$1@linux... >> >> DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster >Sound, >> Killer i/o routing for your stand alones.. All under one roof. Do the >$$math$$$ >> >> :) >> >> >> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> >what approaches???..............humm.......well....here it is in a >> >nutshell.....;oP >> > >> >A typical session is usually tracked and mixed as follows: >> > >> >All tracking is usually done in Paris using a Furman HDS 16 cue system >with >> >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. >> >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the >> >performer can dial in exactly the amount of ambience in the cans to >achieve >> >a comfortable cuemix. >> > >> >I have a number of tracking templates set up in Paris and Cubase SX to >> >utilize my RME Multiface converters with any of the three Paris submixes >> via >> >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one >> only >> >has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 >> x >> >Paris I/O module on them during a tracking session, I can open up the >> >Cubase-to-Paris tracking template on both machines nd then just patch in >> my >> >preamps to the Multiface I/O and it's routed digitally to the respective >> >channels of the Paris mixer. >> > >> > Once project is tracked, basic editing done using the Paris editor. >> > >> >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio >Files) >> >with starting points at 00:00:00. to a folder in the Paris song project >> >file. >> > >> >Batch converion of the the rendered .paf's to .wavs is done in Wavelab >via >> >LAN to DAW running Wavelab and Cubase SX and the converted .wav files are >> >saved to a Cubase SX song project. >> > >> >The .wavs are imported into a Cubase SX project template for the song >which >> >has a routing matrix bussing certain tracks to certain busses and then >> >bussing the tracks back to Paris for summing as follows: >> > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O >> >interfaces which correlate to 16 track submixes. The system here has 3 x >> 16 >> >track submix units comprising a total of 48 tracks with a total of 72 >> >digital I/O and 32 analog I/O for various routing configurations) >> > >> >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx >> DAW >> >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned >> to >> >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >> >assigned to channels 1-14 outputs. >> > >> >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated >drum >> >submix is panned to taste, EQ'ed, individual tracks are processed and >> >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then >returned >> >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio >> >channel 15 which is using RME ADAT I/O 15 & 16) >> > >> >The original mono drum tracks are also fed to insert FX (UAD-1 >compressors, >> >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in >submix >> >#1 where the panning of the drum tracks in the SX drum submix is mirrored >> in >> >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital >only) >> >and Paris aux FX are then applied to the individual drum tracks. Any >> >outboard processing to the individual drum tracks is being done through >> the >> >RME multiface I/O to retain phase coherence and care must be taken at >this >> >point when processing in Paris to use only digital FX externally (1 x >sample >> >latency with digital I/O loop in Paris) and care must also be taken with >> the >> >lookahead when using the Paris onboard DSP compressors to avoid phase >issues >> >(flamming). >> > >> >It is possible to achieve a monster drum sound by using both Paris and >> >Cubase SX when processing parallel drum submixes sample accurately on >both >> >platforms. >> > >> >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and >RME >> 2 >> >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to >> RME >> >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being >> >processed in both platforms. >> > >> >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 >channels >> >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O >> #2 >> >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT >channels >> >47 and 48 are set up as a stereo FX bus for all send FX being applied to >> >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >> >interfacing with Paris ADAT I/O #15 and 16. >> > >> >The mix template routing between the two work stations is as follows: >> > >> >Paris Submix 1-Drums (usually) >> > >> >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 >> > >> >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >> >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >> >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >> >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >> >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >> >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >> >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >> >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >> >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >> >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >> >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >> >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >> >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >> >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >> >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 >> >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 >> > >> >Paris Submix #2 >> > >> >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >> >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >> >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >> >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >> >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >> >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >> >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >> >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 >> > >> >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 >> > >> >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >> >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >> >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >> >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >> >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >> >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >> >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >> >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 >> > >> >Paris Submix #3 >> > >> >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >> >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >> >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >> >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >> >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >> >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >> >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >> >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >> >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >> >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >> >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >> >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >> >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >> >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >> >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 >> >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 >> > >> >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, >Lexicon >> >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital >patchbay >> >for routing to different Paris submixes as needed. >> > >> >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP >> >9652's and set up as an external insert effect or send effect as needed >> in >> >Cubase SX. >> > >> >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the >> >other RME HDSP 9652's and set up as an insert or send effect as needed. >> > >> >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the >> RME >> >Multiface and either set up as external insert effect or send effect as >> >needed. >> > >> >RME Multiface analog I/O are set up as external insert busses for >processing >> >tracks with up to 8 x various analog compressors and EQ's with ADC being >> >applied in Cubase SX to keep them phase coherent.. >> > >> >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks >> >using the stereo drum bus and center panned stereo and mono reverb to >> >individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX >> >tracks-UA hit a home run with this emulation) along with track EQ and the >> >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are >> >streamed back into Paris for summing. >> > >> >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 >> and >> >3 are set up to route analog FX processors in Paris from the Lexi PC 90, >> >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if >> >needed. >> > >> >All panning of tracks and reverbs, delays etc. are done in Paris since >all >> >Cubase SX tracks with the exception of the stereo drum mix are mono and >> >being lightpiped directly to Paris rather than being sent to stereo >busses >> >in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono >> >tracks in SX cannot be panned) >> > >> >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid >> >GenX6 module set to distribute word clock (at 10 picoseconds) which is >> then >> >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the >> >Lexicon Studio Core 32 outboard reverb. >> > >> >All of the routing scenarios are saved in mix templates on the two audio >> >DAWs and the digital patchbay control panel in the DAW running >standalone >> >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris >> >transport controls both systems, sample accurate, timeline locked. All >> it >> >really takes is a few mouse clicks and this entire scenario is >> >working......Simple huh? >> > >> > >> > >> > >> > >> >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> >> >> Okay, so I took Deej's advice and for syncing purposes replaced my >Dakota >> >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" >> >experiment >> >> and picked up Cubase SX3. >> >> >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase >> is >> >> syncing nicely to PARIS. >> >> >> >> Right now I'm planning to use the Cubase box as more of a glorified >> >scratchpad >> >> , the place I hash out any midi stuff and drum tracks, etc and then >finish >> >> the whole project in Paris. But maybe (or more likely, certainly) I'm >> not >> >> seeing a better approach. In fact, I'm not certain what I want the >process >> >> to be or what process takes the most advantage of the Cubase/PARIS >hybrid >> >> setup. >> >> >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, >> >keys, >> >> etc. >> >> >> >> So I thought I'd ask a few questions o those who know: >> >> >> >> 1)Is anyone else taking this approach? >> >> 2)What approaches are you guys taking with your hybrid setups? >> >> 3)What is the meaning of existence? (You can skip this one if you >want.) >> >> >> >> As always, thanks for the help! >> >> Cheers, >> >> Jon >> >> >> >> >> > >> > >> > >So, are saying BFD or Drummagog?? I'm lazy these days..I'll stay with Drummagog( I have BFD as well)..I just got Battery2, with 4 gigs of new acoutic Multi Mic drums..KillER!!! It's a good time for replacing or even using a midi kit for real performances using any of the sampled drum librarys. "DJ" <animix_spam-this-ahole_@animas.net> wrote: >I've been going through some mixes re4placing the kicks with various BFD >samples. The original kick tracks were OK, but not really stellar. They were >recorded here with a Beta 52 inside the shell and a 57 on the beater. They >were also compressed and EQ'ed while tracking. Very tight and focused, but >nothing like the BFD samples as far a s fidelity goes. Then I opened up a >project where I used the Yamaha subkick in fornt of the kick and a beta 52 >inside the shell. WOAH!!!!(says I). This track sounds easily as good as the >BFD samples. What a huge difference this makes. Another thing of note >concerning the Subkick, I have been using it a bit while tracking electric >bass as a close mic on the cone. For a while I was liking it, until I tried >to get it to work in a mix. Somewho it just doesn't flatter an amp as I had >hoped. An ATM 25 up close with an LDC (I'm liking the RODE NTV these days) >off the amp about 8 ft away and 5' off the floor has yielded much better >results when the room mic track is phase aligned with the close mic'ed >track. > > >So what would PT system with 32 A/D and D/A converters, 96 I/O and the processing power of 4 x UAD-1 cards cost? I'm thinking around $30k. Now add a G5 to that.. Now add a control surface. $40k to achieve what I've already got here? Now lersee, I might be able to get 7k out of my current hybrid rig if I was lucky, soooo............that leaves me a little short. Yeah, It would be nice, but it's not realistic. PT HD is still wayyyyy overpriced.....at least for me. If I was in a situation where it would bring enough business for it to pay for itself, then maybe I could see it. Right now, I'm the alternative to Pro Tools in this town. That is starting to bring me business actually. People are curious about this crazy engineer with the Rube Goldberg machine. ;o) "LaMont" <jjdpro@ameritech.net> wrote in message news:43ddadca$1@linux... > > LOL!! > I know that most of us thru out the years have beeen cold on PT, but I have > admit, that DAW( PT-HD) is one nice sounding, smooth running, cryptic editing-but > fast once you know it. It's I/O patchbay routing is on another level. That's > all i can say. They sound is as good withthe Digi converters, but, inserting > a Lucid gen 96 or 192, tightens the sound up.. Using Apogees Rosettas and > or the AD/DA16x, really make you think your back in PAris Land.. Due to the > Apogees ability to run inthe read, with it's on-board soft-limit.. AND, if > you runn HD on a PC, beter for you becuase you can run a whole lot of Rtas > plugins.. But, if you only have a old G4, so-what, you're still gonna get > taht stated track/DSP count...very smothly indeed.. No more bashing Digi > for me.. I've seen the light.. > > LaMont > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >Not nearly complicated enough ;o) > > > >Seriously, I have thought about it.....a lot. > > > >Deej > > > >"LaMont" <jjdpro@ameritech.net> wrote in message news:43dd826c$1@linux... > >> > >> DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster > >Sound, > >> Killer i/o routing for your stand alones.. All under one roof. Do the > >$$math$$$ > >> > >> :) > >> > >> > >> > >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >> >what approaches???..............humm.......well....here it is in a > >> >nutshell.....;oP > >> > > >> >A typical session is usually tracked and mixed as follows: > >> > > >> >All tracking is usually done in Paris using a Furman HDS 16 cue system > >with > >> >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > >> >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > >> >performer can dial in exactly the amount of ambience in the cans to > >achieve > >> >a comfortable cuemix. > >> > > >> >I have a number of tracking templates set up in Paris and Cubase SX to > >> >utilize my RME Multiface converters with any of the three Paris submixes > >> via > >> >lightpipe. Since two om my MECS have an A8iT and A8oT and the third one > >> only > >> >has ADAT, if I need 16 x I/O on either of the two MECS that have only > 1 > >> x > >> >Paris I/O module on them during a tracking session, I can open up the > >> >Cubase-to-Paris tracking template on both machines nd then just patch > in > >> my > >> >preamps to the Multiface I/O and it's routed digitally to the respective > >> >channels of the Paris mixer. > >> > > >> > Once project is tracked, basic editing done using the Paris editor. > >> > > >> >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio > >Files) > >> >with starting points at 00:00:00. to a folder in the Paris song project > >> >file. > >> > > >> >Batch converion of the the rendered .paf's to .wavs is done in Wavelab > >via > >> >LAN to DAW running Wavelab and Cubase SX and the converted .wav files > are > >> >saved to a Cubase SX song project. > >> > > >> >The .wavs are imported into a Cubase SX project template for the song > >which > >> >has a routing matrix bussing certain tracks to certain busses and then > >> >bussing the tracks back to Paris for summing as follows: > >> > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > >> >interfaces which correlate to 16 track submixes. The system here has > 3 x > >> 16 > >> >track submix units comprising a total of 48 tracks with a total of 72 > >> >digital I/O and 32 analog I/O for various routing configurations) > >> > > >> >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase > Sx > >> DAW > >> >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned > >> to > >> >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > >> >assigned to channels 1-14 outputs. > >> > > >> >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated > >drum > >> >submix is panned to taste, EQ'ed, individual tracks are processed and > >> >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then > >returned > >> >to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > >> >channel 15 which is using RME ADAT I/O 15 & 16) > >> > > >> >The original mono drum tracks are also fed to insert FX (UAD-1 > >compressors, > >> >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in > >submix > >> >#1 where the panning of the drum tracks in the SX drum submix is mirrored > >> in > >> >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital > >only) > >> >and Paris aux FX are then applied to the individual drum tracks. Any > >> >outboard processing to the individual drum tracks is being done through > >> the > >> >RME multiface I/O to retain phase coherence and care must be taken at > >this > >> >point when processing in Paris to use only digital FX externally (1 x > >sample > >> >latency with digital I/O loop in Paris) and care must also be taken with > >> the > >> >lookahead when using the Paris onboard DSP compressors to avoid phase > >issues > >> >(flamming). > >> > > >> >It is possible to achieve a monster drum sound by using both Paris and > >> >Cubase SX when processing parallel drum submixes sample accurately on > >both > >> >platforms. > >> > > >> >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and > >RME > >> 2 > >> >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed > to > >> RME > >> >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > >> >processed in both platforms. > >> > > >> >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 > >channels > >> >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O > >> #2 > >> >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT > >channels > >> >47 and 48 are set up as a stereo FX bus for all send FX being applied > to > >> >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > >> >interfacing with Paris ADAT I/O #15 and 16. > >> > > >> >The mix template routing between the two work stations is as follows: > >> > > >> >Paris Submix 1-Drums (usually) > >> > > >> >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > >> > > >> >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > >> >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > >> >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > >> >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > >> >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > >> >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > >> >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > >> >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > >> >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > >> >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > >> >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > >> >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > >> >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > >> >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > >> >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > >> >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > >> > > >> >Paris Submix #2 > >> > > >> >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > >> >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > >> >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > >> >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > >> >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > >> >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > >> >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > >> >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > >> > > >> >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > >> > > >> >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > >> >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > >> >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > >> >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > >> >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > >> >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > >> >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > >> >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > >> > > >> >Paris Submix #3 > >> > > >> >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > >> >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > >> >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > >> >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > >> >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > >> >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > >> >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > >> >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > >> >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > >> >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > >> >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > >> >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > >> >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > >> >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > >> >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > >> >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > >> > > >> >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, > >Lexicon > >> >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital > >patchbay > >> >for routing to different Paris submixes as needed. > >> > > >> >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > >> >9652's and set up as an external insert effect or send effect as needed > >> in > >> >Cubase SX. > >> > > >> >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > >> >other RME HDSP 9652's and set up as an insert or send effect as needed. > >> > > >> >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the > >> RME > >> >Multiface and either set up as external insert effect or send effect > as > >> >needed. > >> > > >> >RME Multiface analog I/O are set up as external insert busses for > >processing > >> >tracks with up to 8 x various analog compressors and EQ's with ADC being > >> >applied in Cubase SX to keep them phase coherent.. > >> > > >> >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > >> >using the stereo drum bus and center panned stereo and mono reverb to > >> >individual mono tracks (the UAD-1 EMT 140 is often requested on lead > VOX > >> >tracks-UA hit a home run with this emulation) along with track EQ and > the > >> >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > >> >streamed back into Paris for summing. > >> > > >> >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs > 2 > >> and > >> >3 are set up to route analog FX processors in Paris from the Lexi PC > 90, > >> >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > >> >needed. > >> > > >> >All panning of tracks and reverbs, delays etc. are done in Paris since > >all > >> >Cubase SX tracks with the exception of the stereo drum mix are mono and > >> >being lightpiped directly to Paris rather than being sent to stereo > >busses > >> >in Cubase SX. (without being assigned to a stereo bus in Cubase, the > mono > >> >tracks in SX cannot be panned) > >> > > >> >All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > >> >GenX6 module set to distribute word clock (at 10 picoseconds) which > is > >> then > >> >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and > the > >> >Lexicon Studio Core 32 outboard reverb. > >> > > >> >All of the routing scenarios are saved in mix templates on the two audio > >> >DAWs and the digital patchbay control panel in the DAW running > >standalone > >> >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > >> >transport controls both systems, sample accurate, timeline locked. All > >> it > >> >really takes is a few mouse clicks and this entire scenario is > >> >working......Simple huh? > >> > > >> > > >> > > >> > > >> > > >> >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > >> >> > >> >> Okay, so I took Deej's advice and for syncing purposes replaced my > >Dakota > >> >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > >> >experiment > >> >> and picked up Cubase SX3. > >> >> > >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase > >> is > >> >> syncing nicely to PARIS. > >> >> > >> >> Right now I'm planning to use the Cubase box as more of a glorified > >> >scratchpad > >> >> , the place I hash out any midi stuff and drum tracks, etc and then > >finish > >> >> the whole project in Paris. But maybe (or more likely, certainly) I'm > >> not > >> >> seeing a better approach. In fact, I'm not certain what I want the > >process > >> >> to be or what process takes the most advantage of the Cubase/PARIS > >hybrid > >> >> setup. > >> >> > >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). > >> >> > >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, > >> >keys, > >> >> etc. > >> >> > >> >> So I thought I'd ask a few questions o those who know: > >> >> > >> >> 1)Is anyone else taking this approach? > >> >> 2)What approaches are you guys taking with your hybrid setups? > >> >> 3)What is the meaning of existence? (You can skip this one if you > >want.) > >> >> > >> >> As always, thanks for the help! > >> >> Cheers, > >> >> Jon > >> >> > >> >> > >> > > >> > > >> > > > > >..........errr..........that should have been 96 digital I/O. guess I wouldn't be needing that though with the PT rig, would I? Also, I'm going to need all new software so throw that into the equation for another $5k at least for good TDM plugins. (sigh) "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43ddb571@linux... > So what would PT system with 32 A/D and D/A converters, 96 I/O and the > processing power of 4 x UAD-1 cards cost? I'm thinking around $30k. Now add > a G5 to that.. Now add a control surface. $40k to achieve what I've already > got here? > > Now lersee, I might be able to get 7k out of my current hybrid rig if I was > lucky, soooo............that leaves me a little short. Yeah, It would be > nice, but it's not realistic. PT HD is still wayyyyy overpriced.....at least > for me. If I was in a situation where it would bring enough business for it > to pay for itself, then maybe I could see it. Right now, I'm the alternative > to Pro Tools in this town. That is starting to bring me business actually. > People are curious about this crazy engineer with the Rube Goldberg machine. > > ;o) > > "LaMont" <jjdpro@ameritech.net> wrote in message news:43ddadca$1@linux... > > > > LOL!! > > I know that most of us thru out the years have beeen cold on PT, but I > have > > admit, that DAW( PT-HD) is one nice sounding, smooth running, cryptic > editing-but > > fast once you know it. It's I/O patchbay routing is on another level. > That's > > all i can say. They sound is as good withthe Digi converters, but, > inserting > > a Lucid gen 96 or 192, tightens the sound up.. Using Apogees Rosettas and > > or the AD/DA16x, really make you think your back in PAris Land.. Due to > the > > Apogees ability to run inthe read, with it's on-board soft-limit.. AND, if > > you runn HD on a PC, beter for you becuase you can run a whole lot of Rtas > > plugins.. But, if you only have a old G4, so-what, you're still gonna get > > taht stated track/DSP count...very smothly indeed.. No more bashing Digi > > for me.. I've seen the light.. > > > > LaMont > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > > >Not nearly complicated enough ;o) > > > > > >Seriously, I have thought about it.....a lot. > > > > > >Deej > > > > > >"LaMont" <jjdpro@ameritech.net> wrote in message news:43dd826c$1@linux... > > >> > > >> DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster > > >Sound, > > >> Killer i/o routing for your stand alones.. All under one roof. Do the > > >$$math$$$ > > >> > > >> :) > > >> > > >> > > >> > > >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: > > >> >what approaches???..............humm.......well....here it is in a > > >> >nutshell.....;oP > > >> > > > >> >A typical session is usually tracked and mixed as follows: > > >> > > > >> >All tracking is usually done in Paris using a Furman HDS 16 cue system > > >with > > >> >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at > 48kHz. > > >> >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that > the > > >> >performer can dial in exactly the amount of ambience in the cans to > > >achieve > > >> >a comfortable cuemix. > > >> > > > >> >I have a number of tracking templates set up in Paris and Cubase SX to > > >> >utilize my RME Multiface converters with any of the three Paris > submixes > > >> via > > >> >lightpipe. Since two om my MECS have an A8iT and A8oT and the third > one > > >> only > > >> >has ADAT, if I need 16 x I/O on either of the two MECS that have only > > 1 > > >> x > > >> >Paris I/O module on them during a tracking session, I can open up the > > >> >Cubase-to-Paris tracking template on both machines nd then just patch > > in > > >> my > > >> >preamps to the Multiface I/O and it's routed digitally to the > respective > > >> >channels of the Paris mixer. > > >> > > > >> > Once project is tracked, basic editing done using the Paris editor. > > >> > > > >> >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio > > >Files) > > >> >with starting points at 00:00:00. to a folder in the Paris song > project > > >> >file. > > >> > > > >> >Batch converion of the the rendered .paf's to .wavs is done in Wavelab > > >via > > >> >LAN to DAW running Wavelab and Cubase SX and the converted .wav files > > are > > >> >saved to a Cubase SX song project. > > >> > > > >> >The .wavs are imported into a Cubase SX project template for the song > > >which > > >> >has a routing matrix bussing certain tracks to certain busses and then > > >> >bussing the tracks back to Paris for summing as follows: > > >> > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > > >> >interfaces which correlate to 16 track submixes. The system here has > > 3 x > > >> 16 > > >> >track submix units comprising a total of 48 tracks with a total of 72 > > >> >digital I/O and 32 analog I/O for various routing configurations) > > >> > > > >> >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase > > Sx > > >> DAW > > >> >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 > assigned > > >> to > > >> >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > > >> >assigned to channels 1-14 outputs. > > >> > > > >> >Cubase SX channels 1-14 (the drums) are duplicated and the duplicated > > >drum > > >> >submix is panned to taste, EQ'ed, individual tracks are processed and > > >> >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then > > >returned > > >> >to Paris submix 1 through the Cubase SX drum submix group- (stereo > audio > > >> >channel 15 which is using RME ADAT I/O 15 & 16) > > >> > > > >> >The original mono drum tracks are also fed to insert FX (UAD-1 > > >compressors, > > >> >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in > > >submix > > >> >#1 where the panning of the drum tracks in the SX drum submix is > mirrored > > >> in > > >> >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital > > >only) > > >> >and Paris aux FX are then applied to the individual drum tracks. Any > > >> >outboard processing to the individual drum tracks is being done > through > > >> the > > >> >RME multiface I/O to retain phase coherence and care must be taken at > > >this > > >> >point when processing in Paris to use only digital FX externally (1 x > > >sample > > >> >latency with digital I/O loop in Paris) and care must also be taken > with > > >> the > > >> >lookahead when using the Paris onboard DSP compressors to avoid phase > > >issues > > >> >(flamming). > > >> > > > >> >It is possible to achieve a monster drum sound by using both Paris and > > >> >Cubase SX when processing parallel drum submixes sample accurately on > > >both > > >> >platforms. > > >> > > > >> >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and > > >RME > > >> 2 > > >> >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed > > to > > >> RME > > >> >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, > being > > >> >processed in both platforms. > > >> > > > >> >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 > > >channels > > >> >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT > !/O > > >> #2 > > >> >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT > > >channels > > >> >47 and 48 are set up as a stereo FX bus for all send FX being applied > > to > > >> >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > > >> >interfacing with Paris ADAT I/O #15 and 16. > > >> > > > >> >The mix template routing between the two work stations is as follows: > > >> > > > >> >Paris Submix 1-Drums (usually) > > >> > > > >> >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > >> > > > >> >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > > >> >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > > >> >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > > >> >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > > >> >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > > >> >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > > >> >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > > >> >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > > >> >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > > >> >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > > >> >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > > >> >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > > >> >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > > >> >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > > >> >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > > >> >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > >> > > > >> >Paris Submix #2 > > >> > > > >> >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > > >> >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > > >> >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > > >> >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > > >> >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > > >> >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > > >> >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > > >> >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > >> > > > >> >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > >> > > > >> >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > > >> >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > > >> >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > > >> >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > > >> >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > > >> >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > > >> >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > > >> >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > >> > > > >> >Paris Submix #3 > > >> > > > >> >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > > >> >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > > >> >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > > >> >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > > >> >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > > >> >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > > >> >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > > >> >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > > >> >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > > >> >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > > >> >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > > >> >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > > >> >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > > >> >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > > >> >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > > >> >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > >> > > > >> >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, > > >Lexicon > > >> >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital > > >patchbay > > >> >for routing to different Paris submixes as needed. > > >> > > > >> >POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > > >> >9652's and set up as an external insert effect or send effect as > needed > > >> in > > >> >Cubase SX. > > >> > > > >> >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of > the > > >> >other RME HDSP 9652's and set up as an insert or send effect as > needed. > > >> > > > >> >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of > the > > >> RME > > >> >Multiface and either set up as external insert effect or send effect > > as > > >> >needed. > > >> > > > >> >RME Multiface analog I/O are set up as external insert busses for > > >processing > > >> >tracks with up to 8 x various analog compressors and EQ's with ADC > being > > >> >applied in Cubase SX to keep them phase coherent.. > > >> > > > >> >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the > tracks > > >> >using the stereo drum bus and center panned stereo and mono reverb to > > >> >individual mono tracks (the UAD-1 EMT 140 is often requested on lead > > VOX > > >> >tracks-UA hit a home run with this emulation) along with track EQ and > > the > > >> >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they > are > > >> >streamed back into Paris for summing. > > >> > > > >> >Paris MEC I/O in submixes one, two and three as well as IF2's on MECs > > 2 > > >> and > > >> >3 are set up to route analog FX processors in Paris from the Lexi PC > > 90, > > >> >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > > >> >needed. > > >> > > > >> >All panning of tracks and reverbs, delays etc. are done in Paris since > > >all > > >> >Cubase SX tracks with the exception of the stereo drum mix are mono > and > > >> >being lightpiped directly to Paris rather than being sent to stereo > > >busses > > >> >in Cubase SX. (without being assigned to a stereo bus in Cubase, the > > mono > > >> >tracks in SX cannot be panned) > > >> > > > >> >All of this is clocked through a Mytek ADC 24/96 which is feeding a > Lucid > > >> >GenX6 module set to distribute word clock (at 10 picoseconds) which > > is > > >> then > > >> >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and > > the > > >> >Lexicon Studio Core 32 outboard reverb. > > >> > > > >> >All of the routing scenarios are saved in mix templates on the two > audio > > >> >DAWs and the digital patchbay control panel in the DAW running > > >standalone > > >> >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the > Paris > > >> >transport controls both systems, sample accurate, timeline locked. > All > > >> it > > >> >really takes is a few mouse clicks and this entire scenario is > > >> >working......Simple huh? > > >> > > > >> > > > >> > > > >> > > > >> > > > >> >"Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > > >> >> > > >> >> Okay, so I took Deej's advice and for syncing purposes replaced my > > >Dakota > > >> >> with the RME 9652, gave up on my great Tracktion 2 "frontend to > PARIS" > > >> >experiment > > >> >> and picked up Cubase SX3. > > >> >> > > >> >> I've moved my UAD-1 into m Cubase box for latency purposes and > Cubase > > >> is > > >> >> syncing nicely to PARIS. > > >> >> > > >> >> Right now I'm planning to use the Cubase box as more of a glorified > > >> >scratchpad > > >> >> , the place I hash out any midi stuff and drum tracks, etc and then > > >finish > > >> >> the whole project in Paris. But maybe (or more likely, certainly) > I'm > > >> not > > >> >> seeing a better approach. In fact, I'm not certain what I want the > > >process > > >> >> to be or what process takes the most advantage of the Cubase/PARIS > > >hybrid > > >> >> setup. > > >> >> > > >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). > > >> >> > > >> >> I don't do any major live tracking of drums, etc. Just vocals, > guitars, > > >> >keys, > > >> >> etc. > > >> >> > > >> >> So I thought I'd ask a few questions o those who know: > > >> >> > > >> >> 1)Is anyone else taking this approach? > > >> >> 2)What approaches are you guys taking with your hybrid setups? > > >> >> 3)What is the meaning of existence? (You can skip this one if you > > >want.) > > >> >> > > >> >> As always, thanks for the help! > > >> >> Cheers, > > >> >> Jon > > >> >> > > >> >> > > >> > > > >> > > > >> > > > > > > > > > >Me????individual???....No way... I'm too old to be like-minded and don't understand a "dam shit" of your Second Centuries "Edison" experiments. If it had been in the last Century, maybe I could have followed you a little bit...;-o)... "DJ" <animix_spam-this-ahole_@animas.net> skrev i melding news:43dd400b@linux... > hehehe!!!!!!!.............well OK........ya got me there, but I can assure > you that I wouldn't hang out here if I didn't feel like I was among > like-minded individuals > > ;o) > > "steve the artguy" <artguy@svnsillyme.net> wrote in message > news:43dd3eb4$1@linux... >> >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> >Yes..........I know. It's not my fault. I learned this stuff right here. >> Had >> >I never found this place, I might be a normal person, but now it's too > late. >> > >> >> HAHAHAHAHAHAHAHA! dream on, crazy man! >> >> How about we just ask Amy about this...? >> >> -steve > >You Apple computer will work with those other DVD drives, you just need to install the right drivers and DVD burning software just like on a PC. On a Mac, some third party manufactures ship there drives with OEM software for the Mac. You could also get a software like Toast for burning, and there are others. Apple doesn't support all the third part manufactures for obvious reasons, cost and the support night mirror. It's the same for the most part on a PC, you can't just install Windows and a third party DVD drive and expect it to work out of the box. You have to install third party authoring software to burn DVDs with it. I would say it's more like, not every drive manufacture supports Apple. Thanks to third party software manufacture, most drives are supported for the Mac. Remember Apple was the first computer company to offer DVD burners on computers. Prior to that a dvd burner cost $6,000.00, I know I was a computer dealer. The first Apple machine was less that $2,500.00, that was a hell of a deal back then. They started off with the Pioneer super drive, it was the only one available at that time. Pioneer had years of experience starting back to the pioneer laser disc. A raw Pioneer drive was about a grand back then. With in 6 mo. they were about $700.00 and PC manufactures were getting in to the game. So my hats off to Apple for blazing that trail. What does suck is how Apple has locked us out with hardware profile. This is basically what you are saying. There are other options available on the DVD front. There are many things that suck about Apple and the MS way they have chosen to conduct business in the last four years. They have dropped VST support in some of their audio products, they have no direct support for Mpeg2 video in some of their video products. Mpeg2 is the industry standard in video (DVD). Yet they want to say they support open industry standards, which is bullshit! With third party software you can do all the things you want to on a Mac, but that cost more money. Apple's video software, you have to convert/encode every thing to QuickTime, then edit your video, then encode back to to MPEG2 to burn to DVD!!! Who in the hell has time for all that!!! Apples answer, oh buy our new faster machine, it encodes faster. I say F*** encoding, and F*** Apple!!! I went out and bough two cards for my PC and now I can encode in real time, and it cost me a total of $50.00 on sale!!! I no longer have to wait hours. So Apple has Mpeg4 in quickTime now, so what! DVD and Mpeg2 are the standards not Mpeg 4, I can't rent an Mpeg4 disc and play it in any of my DVD players. I don't think they have gotten lazy, Apple has just gotten greedy! They didn't want to pay Mpeg for Mpeg 2. It cost $20.00 just to get Mpeg2 player in QuickTime. It used to be that you could be running 8 year old software on your Mac. It was an advantage over PCs in many cases. Now with OSX, Apple dumps older hardware support. They just dumped support for my iBook G3 which is about 3.5 years old. So no more G3 support! They were still selling G3 models 2.5 years ago. iLife 06, GarageBand 3 is no longer supported on G3 models, they have locked us out with hardware profile. That sucks! The more Apple uses tactics like this the slower I and many other people will be to upgrade. I'm not totally happy with all of Apples decisions, so I can understand your frustration. Some of their decisions are just business decisions, and I under stand that too. Putting the above mentioned aside, I think Apple is a great company with great vision and great innovation. There audio support in OSX is great, and AU rocks. The concept of one company designing the hardware and writing the OS and software to run on that hardware is good. It means tighter integration and less problems for the end user. The trade off is less upgrade hardware options. Hopefully Apple will make good decisions when it comes to OEM products. On the DVD burner, there may be some better choices, but I can tell you that Pioneer is a good solid choice. As for your mouse pad, well I can't comment, I use a Kensington track ball; ) James Dedric Terry <dterry@keyofd.net> wrote: >Hey James - it may have been Pioneer. Certainly nothing wrong with them, or >Plextor, Sony, Yamaha, HP, LaCie... But oddly enough Macs can sense what >brand memory, DVD drive and probably IDE, power and USB cables, even if it >isn't the best on the market, and lo and behold that's all they will work >with. IMHO, that's really lame. Worse than $399 desktop >Dell-don't-try-to-add-a-PCI card lame.... ;-) > >I'm surprised our Belkin mouse pad works with it. Shocked actually. I feel >lucky. Who would have thunk it. Maybe I'll play the lottery this week. > >Dedric > >On 1/28/06 8:47 PM, in article 43dc2cd4$1@linux, "James McCloskey" ><excelsm@hotmail.com> wrote: > >> >> Hey Dedric! I believe on the DVD drive, you need to go with Pioneer. They >> also used Sony in some of the G5s, but you would have to find out which one >> they used and go with the exact model. I do not believe they used Panasonic >> DVDs in the G4 or G5, but anything is possible. I put a Pioneer in my dual >> mirror G4, it works great! >> >> James >> >> Dedric Terry <dterry@keyofd.net> wrote: >>> Rick, >>> >>> Sounds like what we are seeing. I've posted on the Apple forum, but not >>> much help there yet - mostly people suggesting what I said in my posts I >> had >>> already done. >>> >>> The picky Ram issue with Macs really irritates me - Mushkin is probably >>> better than what they spec (although one user suggested crucial). Also >> our >>> combo drive won't burn DVDs - just CDs. Apple says a replacement would >> have >>> to be a Panasonic. Why Panasonic? What about Plextor, etc? I also found >>> that our Mac couldn't support IDE cables longer than the 6" or so ones that >>> come with it (even high quality 10-12" cables). The only reason for a Mac >>> being so picky about part manufacturers (down to there being only one in >>> some cases) is poor design tolerances, period. They just tried to cut >>> corners and extend the profit margin by not designing a more robust system >>> with more power to the IDE busses, etc. Easier to pack it all in a spiffy >>> looking case if you get it working in one config and don't have to worry >>> about better ground planes, isolation, etc. Then it is all sold as "this >> is >>> what is guaranteed to work" making customers think they are getting a highly >>> spec'd system. BS. It's nothing but lazy design and lazy support - easier >>> to say "buy one of these" than actually find a problem. >>> >>> Yeah, $700 for a 2+ yr old motherboard that in the PC world would run about >>> $125. I'm considering building my wife (it's her G4) a dual core AMD or >>> Intel and just crossgrading our design software to PC. Probably less >>> expensive than buying a new MacIntel. >>> >>> Regards, >>> Dedric >>> >>> On 1/28/06 2:53 PM, in article hgpnt1d6mc6flt4492eqjg8n6dhi7qpvf8@4ax.com, >>> "rick" <parnell68@hotmail.com> wrote: >>> >>>> Dedric, >>>> >>>> no, this has happened before but it has been a while. it actually >>>> happened 3 times on the first new install and once3 since...the gray >>>> screen and 8 language restart command. the whole power shutdown was >>>> new for this work of art. some things i think are logic related cuz >>>> it doesn't happen in DP and some things that happen in DP don't happen >>>> in logic. >>>> >>>> i went through the ram replacement thing when i first got this thing. >>>> i originally had mushkin in it (highly recommended and it was my ram >>>> of choice in my pc's) but the fw800 g4 didn't know what it was so i >>>> replaced it. >>>> >>>> i totally agree with you on the $700.00 for a battery...ain't gonna >>>> happen here either. >>>> >>>> thanks >>>> >>>> On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >>>> wrote: >>>> >>>>> Rick, >>>>> >>>>> Was this a one time occurrence or do kernel panics (grey screen) happen >> with >>>>> any specific application open, or at random? Do you still have the >>>>> original >>>>> RAM or have you added any? >>>>> >>>>> We've been having random kernel panics and lockups on our dual G4 for >> over a >>>>> year (sitting idle, typing email, doesn't matter). Reinstalled the OS >> twice >>>>> (the second time crashes had tanked the system drive, so that's been >>>>> replaced); tried different RAM; removed peripheral devices, etc. We >> don't >>>>> have energy saver running here either. >>>>> >>>>> The only new advice I've gotten from Apple's forum is to replace the >> PRAM >>>>> battery. Seems like a long shot as I'm guessing we have a bad logic >> board, >>>>> but at $700 I'm not wanting to replace that just to find out. >>>>> >>>>> 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should >> be >>>>> okay there. >>>>> >>>>> Regards, >>>>> Dedric >>>>> >>>>> On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>>>> "rick" <parnell68@hotmail.com> wrote: >>>>> >>>>>> all the power saver settings were already set to never and locked. >>>>>> >>>>>> thanks >>>>>> >>>>>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>>>>> wrote: >>>>>> >>>>>>> >>>>>>> Turn off all energy saver stuff. Go to system preferences, energy >> saver, >>>>>>> unlock it if necessary, set sleep options to Never. Then lock it be >> fore >>>>>>> closing the window. >>>>>>> >>>>>>> I hope this helps! >>>>>>> >>>>>>> James >>>>>>> >>>>>>> rick <parnell68@hotmail.com> wrote: >>>>>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>>>>> twice after leaving the puter idling with logic 7.1.1 up for less >> than >>>>>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>>>>> message of you must do a hard restart) has appeared. then a complete >>>>>>>> power down (computer just shut off in the midst of running on a loop); >>>>>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>>>>> nothing else shut down so it wasn't a power issue from outside the >>>>>>>> mac. ideas? >>>>>> >>>> >>> >crucial is what replaced the muskin (which is working fine in the pc's) in it now On Sat, 28 Jan 2006 15:52:23 -0700, Dedric Terry <dterry@keyofd.net> wrote: >Rick, > >Sounds like what we are seeing. I've posted on the Apple forum, but not >much help there yet - mostly people suggesting what I said in my posts I had >already done. > >The picky Ram issue with Macs really irritates me - Mushkin is probably >better than what they spec (although one user suggested crucial). Also our >combo drive won't burn DVDs - just CDs. Apple says a replacement would have >to be a Panasonic. Why Panasonic? What about Plextor, etc? I also found >that our Mac couldn't support IDE cables longer than the 6" or so ones that >come with it (even high quality 10-12" cables). The only reason for a Mac >being so picky about part manufacturers (down to there being only one in >some cases) is poor design tolerances, period. They just tried to cut >corners and extend the profit margin by not designing a more robust system >with more power to the IDE busses, etc. Easier to pack it all in a spiffy >looking case if you get it working in one config and don't have to worry >about better ground planes, isolation, etc. Then it is all sold as "this is >what is guaranteed to work" making customers think they are getting a highly >spec'd system. BS. It's nothing but lazy design and lazy support - easier >to say "buy one of these" than actually find a problem. > >Yeah, $700 for a 2+ yr old motherboard that in the PC world would run about >$125. I'm considering building my wife (it's her G4) a dual core AMD or >Intel and just crossgrading our design software to PC. Probably less >expensive than buying a new MacIntel. > >Regards, >Dedric > >On 1/28/06 2:53 PM, in article hgpnt1d6mc6flt4492eqjg8n6dhi7qpvf8@4ax.com, >"rick" <parnell68@hotmail.com> wrote: > >> Dedric, >> >> no, this has happened before but it has been a while. it actually >> happened 3 times on the first new install and once3 since...the gray >> screen and 8 language restart command. the whole power shutdown was >> new for this work of art. some things i think are logic related cuz >> it doesn't happen in DP and some things that happen in DP don't happen >> in logic. >> >> i went through the ram replacement thing when i first got this thing. >> i originally had mushkin in it (highly recommended and it was my ram >> of choice in my pc's) but the fw800 g4 didn't know what it was so i >> replaced it. >> >> i totally agree with you on the $700.00 for a battery...ain't gonna >> happen here either. >> >> thanks >> >> On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >> wrote: >> >>> Rick, >>> >>> Was this a one time occurrence or do kernel panics (grey screen) happen with >>> any specific application open, or at random? Do you still have the original >>> RAM or have you added any? >>> >>> We've been having random kernel panics and lockups on our dual G4 for over a >>> year (sitting idle, typing email, doesn't matter). Reinstalled the OS twice >>> (the second time crashes had tanked the system drive, so that's been >>> replaced); tried different RAM; removed peripheral devices, etc. We don't >>> have energy saver running here either. >>> >>> The only new advice I've gotten from Apple's forum is to replace the PRAM >>> battery. Seems like a long shot as I'm guessing we have a bad logic board, >>> but at $700 I'm not wanting to replace that just to find out. >>> >>> 10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >>> okay there. >>> >>> Regards, >>> Dedric >>> >>> On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>> "rick" <parnell68@hotmail.com> wrote: >>> >>>> all the power saver settings were already set to never and locked. >>>> >>>> thanks >>>> >>>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>>> wrote: >>>> >>>>> >>>>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>>>> unlock it if necessary, set sleep options to Never. Then lock it be fore >>>>> closing the window. >>>>> >>>>> I hope this helps! >>>>> >>>>> James >>>>> >>>>> rick <parnell68@hotmail.com> wrote: >>>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>>> message of you must do a hard restart) has appeared. then a complete >>>>>> power down (computer just shut off in the midst of running on a loop); >>>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>>> nothing else shut down so it wasn't a power issue from outside the >>>>>> mac. ideas? >>>> >>that's a bit more reasonable, i'll check it out. thanks On 29 Jan 2006 13:37:16 +1000, "James McCloskey" <excelsm@hotmail.com> wrote: > >Hey Rick! The battery for that machine should be about $6.00. > >James > >rick <parnell68@hotmail.com> wrote: >>Dedric, >> >>no, this has happened before but it has been a while. it actually >>happened 3 times on the first new install and once3 since...the gray >>screen and 8 language restart command. the whole power shutdown was >>new for this work of art. some things i think are logic related cuz >>it doesn't happen in DP and some things that happen in DP don't happen >>in logic. >> >>i went through the ram replacement thing when i first got this thing. >>i originally had mushkin in it (highly recommended and it was my ram >>of choice in my pc's) but the fw800 g4 didn't know what it was so i >>replaced it. >> >>i totally agree with you on the $700.00 for a battery...ain't gonna >>happen here either. >> >>thanks >> >>On Fri, 27 Jan 2006 06:45:58 -0700, Dedric Terry <dterry@keyofd.net> >>wrote: >> >>>Rick, >>> >>>Was this a one time occurrence or do kernel panics (grey screen) happen >with >>>any specific application open, or at random? Do you still have the original >>>RAM or have you added any? >>> >>>We've been having random kernel panics and lockups on our dual G4 for over >a >>>year (sitting idle, typing email, doesn't matter). Reinstalled the OS >twice >>>(the second time crashes had tanked the system drive, so that's been >>>replaced); tried different RAM; removed peripheral devices, etc. We don't >>>have energy saver running here either. >>> >>>The only new advice I've gotten from Apple's forum is to replace the PRAM >>>battery. Seems like a long shot as I'm guessing we have a bad logic board, >>>but at $700 I'm not wanting to replace that just to find out. >>> >>>10.2.8 here, btw. 10.4.x is supposed to be more stable so you should be >>>okay there. >>> >>>Regards, >>>Dedric >>> >>>On 1/27/06 3:11 AM, in article jasjt1tj0f1no1kpl76jedajcpfeb2ug58@4ax.com, >>>"rick" <parnell68@hotmail.com> wrote: >>> >>>> all the power saver settings were already set to never and locked. >>>> >>>> thanks >>>> >>>> On 27 Jan 2006 07:53:59 +1000, "James McCloskey" <excelsm@hotmail.com> >>>> wrote: >>>> >>>>> >>>>> Turn off all energy saver stuff. Go to system preferences, energy saver, >>>>> unlock it if necessary, set sleep options to Never. Then lock it be >fore >>>>> closing the window. >>>>> >>>>> I hope this helps! >>>>> >>>>> James >>>>> >>>>> rick <parnell68@hotmail.com> wrote: >>>>>> installed 10.4.3 (new install with zeroing out the drive as usual). >>>>>> twice after leaving the puter idling with logic 7.1.1 up for less than >>>>>> 1 hour the gray screen (with the in 7 languages appeared with the >>>>>> message of you must do a hard restart) has appeared. then a complete >>>>>> power down (computer just shut off in the midst of running on a loop); >>>>>> calendar (set itself to 4/15/1968) needed to be reset on reboot. >>>>>> nothing else shut down so it wasn't a power issue from outside the >>>>>> mac. ideas? >>>> >>Hey Dave Now there's a place I haven't been to in thirty years...must be totally different in the winter. Emailed DJ and got things sorted out...almost a Paris 101 class. What I meant by normalled was the ADAT module's input / output correspond to the in/out of the patchbay slots the ADAT module is assigned too...wrong choice of words. And yes you can record more than two tracks at a time in CEPro...multitrack mode will handle as many inputs as you can throw at it (well 16 anyway) I'm going to attempt to get wavelab working today...my initial attempts only produced what I can best describe as a lurching in Wavelab when I hit play in Paris. Once it's sorted out I'll be installing Nuendo 2.0 and see if I can get that to work with Dakota and then sync'd to Paris...gonna be a fun day or so One other thing. I hear there are issues with two ADAT modules in the same MEC and Windows XP...is this correct Thanks Don "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dda643$1@linux... > Hi Don, > > Sorry about the delay, was out at Lake Louise for the day... just got back > in. NOTHING in Paris is normalled... you have to patch everything. There > are two ways to route individual tracks... through "inserts" and through > "auxes". If you use the aux sends, you can select external on each aux > bus and hard pan to get up to 16 sends per MEC. Using inserts, you have > to patch the inputs of the inserts as well as the outputs... it doesn't > matter if you are only using them to send sound, you must patch a return > signal for them to become active. I believe the same holds true for the > Aux buses. > > As for CEP... I thought is only had the capability to record two tracks at > once??? Double check this, but I am positive it can only accept two. > > I'll be at the studio in the morning if you are still stuck. I would call > now, but it's after midnight now on your end. > > David. > > > Don Nafe wrote: >> I'm trying to route the individual PAris tracks 1-8 to CEPro... >> >> ADAT is in slot 1 input and slot 1 output... >> >> MEC module A is in the patchfield as is the Master, Mixer A and Inserts A >> >> Supposedly whatever is on tr 1-8 is normaled to ADAT tr 1-8 in that >> configuration - Correct? >> >> as it stands only Paris Tr 1 & 2 are making it over to CEPro >> >> If you'd rather do this real time call me 613 725 3327 collect >> >> >> >> >> >> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message >> news:43dcec1e$1@linux... >> >>>Are you trying to route individual tracks, or the whole mix? If it's the >>>whole mix, simply make sure that the adat module is assigned to one of >>>the two output slots in the patchbay, then patch from the mixer LR outs >>>to a pair of channels on the MEC Modules block. Remember, you can't >>>patch across cards. To assign the adat card, double click on the MEC >>>modules block in the patchbay window and drag the adat I/O fromm the list >>>at the right to one of the four "slots" at the left. If the MEC modules >>>block isn't in the patchbay window, drag it from the list top right onto >>>the patch field. >>> >>>David. >>> >>>Don Nafe wrote: >>> >>>>1st question >>>> >>>>How does one route audio out of the ADAT outs and SPDIF outs (in Paris) >>>> >>>>Don >>>> >>>> >>>> >>>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... >>>> >>>> >>>>>Hi All >>>>> >>>>>This is all new to me and I need someone to help me get my bearings so >>>>>If you're still using a Dakota on a second rig could you please contact >>>>>me so I can ask you a few questions specific to Paris and Dakota >>>>> >>>>>Thanks >>>>> >>>>>Don >>>>> >>>> >>>> >>Bulk Erasers??!! Are you saying I'm fat? Bill "steve the artguy" <artguy@svnsillyme.net> wrote in message news:43dd3259$1@linux... > > http://www.craigslist.org/nby/ele/129402251.html > > hey, they're free! Just take 'em away! > > > -silly steveAnother dumb question I also have a 442 that I've never wired up...if I decide to use it will I need an external word clock for the three units to function together? Don "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message news:43dda643$1@linux... > Hi Don, > > Sorry about the delay, was out at Lake Louise for the day... just got back > in. NOTHING in Paris is normalled... you have to patch everything. There > are two ways to route individual tracks... through "inserts" and through > "auxes". If you use the aux sends, you can select external on each aux > bus and hard pan to get up to 16 sends per MEC. Using inserts, you have > to patch the inputs of the inserts as well as the outputs... it doesn't > matter if you are only using them to send sound, you must patch a return > signal for them to become active. I believe the same holds true for the > Aux buses. > > As for CEP... I thought is only had the capability to record two tracks at > once??? Double check this, but I am positive it can only accept two. > > I'll be at the studio in the morning if you are still stuck. I would call > now, but it's after midnight now on your end. > > David. > > > Don Nafe wrote: >> I'm trying to route the individual PAris tracks 1-8 to CEPro... >> >> ADAT is in slot 1 input and slot 1 output... >> >> MEC module A is in the patchfield as is the Master, Mixer A and Inserts A >> >> Supposedly whatever is on tr 1-8 is normaled to ADAT tr 1-8 in that >> configuration - Correct? >> >> as it stands only Paris Tr 1 & 2 are making it over to CEPro >> >> If you'd rather do this real time call me 613 725 3327 collect >> >> >> >> >> >> "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message >> news:43dcec1e$1@linux... >> >>>Are you trying to route individual tracks, or the whole mix? If it's the >>>whole mix, simply make sure that the adat module is assigned to one of >>>the two output slots in the patchbay, then patch from the mixer LR outs >>>to a pair of channels on the MEC Modules block. Remember, you can't >>>patch across cards. To assign the adat card, double click on the MEC >>>modules block in the patchbay window and drag the adat I/O fromm the list >>>at the right to one of the four "slots" at the left. If the MEC modules >>>block isn't in the patchbay window, drag it from the list top right onto >>>the patch field. >>> >>>David. >>> >>>Don Nafe wrote: >>> >>>>1st question >>>> >>>>How does one route audio out of the ADAT outs and SPDIF outs (in Paris) >>>> >>>>Don >>>> >>>> >>>> >>>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... >>>> >>>> >>>>>Hi All >>>>> >>>>>This is all new to me and I need someone to help me get my bearings so >>>>>If you're still using a Dakota on a second rig could you please contact >>>>>me so I can ask you a few questions specific to Paris and Dakota >>>>> >>>>>Thanks >>>>> >>>>>Don >>>>> >>>> >>>> >>DJ, If you haven't have the chance to work with U47 then you don't know what it sounds like. This Gemini thing and other clones have Chinese capsules. They have NOTHING to do with THAT midrange Neumann capsule has. Also the UF/EF tubes series are not even close to the tubes Chinese mics (even good sounding ones) have to offer. My U47 will have original Neumann KK47 capsule reskinned by a former Neumann worker and who is -as Iknow - the only one who does it as Neumann used to do ! I could (and can by the way) choose a Chinese capsule and make amic like Peluso microphones , but that is not the point. I even use the original capsule holder !! Thats why when finished I will offer 15 day trial - money back guarantee. I have tried all these U47 clones and nothing sounds to me even close to a real U47. These chinese capsules are childish to my ears. Lack of midrange too much highs (which apparently are distortion perceived as "more highs"!) Regards, Dimitrios "DJ" <animix_spam-this-ahole_@animas.net> wrote: >Dimitrios, > >This sounds like a nice project, but the SE Gemini is so close to the U47 >sound and is around $1000.00. > >Deej > >"Dimitrios" <musurgio@otenet.gr> wrote in message news:43dd1bc8$1@linux... >> >> I am into building a U47 clone (I am almost 65% thru) using REAL K47 >reskinned >> capsule a UF14 NOS Telefunken (or EF14) applying the same "underheating" >> secret of the U47 sound plus a Haufe identical electrical characteristics >> transformer and a almost same but prettier ( I think ) look. >> I will offer a 15 days trial money refund option if you pay the shipping. >> I will not get it out before being 100 % satisfied I have achieved the >goal. >> Note that I had a Telefunken U47 for almost 5 years and I know the beast >> very well. >> >> I can also offer another tube with exactly the same sound as UF14/EF14 >tubes >> that are easier enouph to find and will keep your mic for decades. >> I will include another two NOS tubes of this "replacement" tube. >> I know though that most of you wanna see this black small baby looking >like >> the original U47 tube so I just note that. >> Ther will be included a great shockmount similar to "Neumann" quality and >> a aluminium case. >> >> Any real interest ? >> Regards, >> Dimitrios > >Ya know if the Grand Canyon was a hybrid Paris/Cubase rig, I betcha Deej would start a pissing match with it... ....and hold his own quite handily I might add ;-) Don ps. ignore the unintentional puns "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43dd1cd4@linux... > what approaches???..............humm.......well....here it is in a > nutshell.....;oP > > A typical session is usually tracked and mixed as follows: > > All tracking is usually done in Paris using a Furman HDS 16 cue system > with > 3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > performer can dial in exactly the amount of ambience in the cans to > achieve > a comfortable cuemix. > > I have a number of tracking templates set up in Paris and Cubase SX to > utilize my RME Multiface converters with any of the three Paris submixes > via > lightpipe. Since two om my MECS have an A8iT and A8oT and the third one > only > has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x > Paris I/O module on them during a tracking session, I can open up the > Cubase-to-Paris tracking template on both machines nd then just patch in > my > preamps to the Multiface I/O and it's routed digitally to the respective > channels of the Paris mixer. > > Once project is tracked, basic editing done using the Paris editor. > > Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio > Files) > with starting points at 00:00:00. to a folder in the Paris song project > file. > > Batch converion of the the rendered .paf's to .wavs is done in Wavelab via > LAN to DAW running Wavelab and Cubase SX and the converted .wav files are > saved to a Cubase SX song project. > > The .wavs are imported into a Cubase SX project template for the song > which > has a routing matrix bussing certain tracks to certain busses and then > bussing the tracks back to Paris for summing as follows: > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > interfaces which correlate to 16 track submixes. The system here has 3 x > 16 > track submix units comprising a total of 48 tracks with a total of 72 > digital I/O and 32 analog I/O for various routing configurations) > > Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx > DAW > using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned > to > Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > assigned to channels 1-14 outputs. > > Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum > submix is panned to taste, EQ'ed, individual tracks are processed and > (usually) bussed to a UAD-1 Fairchild or other UAD compressor then > returned > to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > channel 15 which is using RME ADAT I/O 15 & 16) > > The original mono drum tracks are also fed to insert FX (UAD-1 > compressors, > EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in > submix > #1 where the panning of the drum tracks in the SX drum submix is mirrored > in > Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital > only) > and Paris aux FX are then applied to the individual drum tracks. Any > outboard processing to the individual drum tracks is being done through > the > RME multiface I/O to retain phase coherence and care must be taken at this > point when processing in Paris to use only digital FX externally (1 x > sample > latency with digital I/O loop in Paris) and care must also be taken with > the > lookahead when using the Paris onboard DSP compressors to avoid phase > issues > (flamming). > > It is possible to achieve a monster drum sound by using both Paris and > Cubase SX when processing parallel drum submixes sample accurately on > both > platforms. > > Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME > 2 > ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to > RME > outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > processed in both platforms. > > Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels > playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 > and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT > channels > 47 and 48 are set up as a stereo FX bus for all send FX being applied to > tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > interfacing with Paris ADAT I/O #15 and 16. > > The mix template routing between the two work stations is as follows: > > Paris Submix 1-Drums (usually) > > Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > Paris Submix #2 > > Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > Paris Submix #3 > > Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, > Lexicon > PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital > patchbay > for routing to different Paris submixes as needed. > > POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > 9652's and set up as an external insert effect or send effect as needed in > Cubase SX. > > Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > other RME HDSP 9652's and set up as an insert or send effect as needed. > > Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the > RME > Multiface and either set up as external insert effect or send effect as > needed. > > RME Multiface analog I/O are set up as external insert busses for > processing > tracks with up to 8 x various analog compressors and EQ's with ADC being > applied in Cubase SX to keep them phase coherent.. > > 4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > using the stereo drum bus and center panned stereo and mono reverb to > individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX > tracks-UA hit a home run with this emulation) along with track EQ and the > LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > streamed back into Paris for summing. > > Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 > and > 3 are set up to route analog FX processors in Paris from the Lexi PC 90, > Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > needed. > > All panning of tracks and reverbs, delays etc. are done in Paris since all > Cubase SX tracks with the exception of the stereo drum mix are mono and > being lightpiped directly to Paris rather than being sent to stereo busses > in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono > tracks in SX cannot be panned) > > All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > GenX6 module set to distribute word clock (at 10 picoseconds) which is > then > feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the > Lexicon Studio Core 32 outboard reverb. > > All of the routing scenarios are saved in mix templates on the two audio > DAWs and the digital patchbay control panel in the DAW running standalone > FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > transport controls both systems, sample accurate, timeline locked. All it > really takes is a few mouse clicks and this entire scenario is > working......Simple huh? > > > > > > "Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... >> >> Okay, so I took Deej's advice and for syncing purposes replaced my Dakota >> with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > experiment >> and picked up Cubase SX3. >> >> I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is >> syncing nicely to PARIS. >> >> Right now I'm planning to use the Cubase box as more of a glorified > scratchpad >> , the place I hash out any midi stuff and drum tracks, etc and then >> finish >> the whole project in Paris. But maybe (or more likely, certainly) I'm not >> seeing a better approach. In fact, I'm not certain what I want the >> process >> to be or what process takes the most advantage of the Cubase/PARIS hybrid >> setup. >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> >> I don't do any major live tracking of drums, etc. Just vocals, guitars, > keys, >> etc. >> >> So I thought I'd ask a few questions o those who know: >> >> 1)Is anyone else taking this approach? >> 2)What approaches are you guys taking with your hybrid setups? >> 3)What is the meaning of existence? (You can skip this one if you want.) >> >> As always, thanks for the help! >> Cheers, >> Jon >> >> > >hey D, over the last few years you have gained much respect from any of us here. If anyone can do this I have no doubt it is you. And I agree about the Chinees mics and that high, they can sound nice but I would love a U47. I was leaning towrds a Lawson. I just don't know if I could swing 2500.00 for a no name brand. If you could get it down in the sub 2000.00 range, Is this thing going to be a smooth as I dreamed about? You can send me an email. "Dimitrios" <musurgio@otenet.gr> wrote: > >DJ, >If you haven't have the chance to work with U47 then you don't know what >it sounds like. >This Gemini thing and other clones have Chinese capsules. >They have NOTHING to do with THAT midrange Neumann capsule has. >Also the UF/EF tubes series are not even close to the tubes Chinese mics >(even good sounding ones) have to offer. >My U47 will have original Neumann KK47 capsule reskinned by a former Neumann >worker and who is -as Iknow - the only one who does it as Neumann used to >do ! >I could (and can by the way) choose a Chinese capsule and make amic like >Peluso microphones , but that is not the point. >I even use the original capsule holder !! >Thats why when finished I will offer 15 day trial - money back guarantee. >I have tried all these U47 clones and nothing sounds to me even close to >a real U47. >These chinese capsules are childish to my ears. >Lack of midrange too >much highs (which apparently are distortion perceived as "more highs"!) >Regards, >Dimitrios > > > >"DJ" <animix_spam-this-ahole_@animas.net> wrote: >>Dimitrios, >> >>This sounds like a nice project, but the SE Gemini is so close to the U47 >>sound and is around $1000.00. >> >>Deej >> >>"Dimitrios" <musurgio@otenet.gr> wrote in message news:43dd1bc8$1@linux... >>> >>> I am into building a U47 clone (I am almost 65% thru) using REAL K47 >>reskinned >>> capsule a UF14 NOS Telefunken (or EF14) applying the same "underheating" >>> secret of the U47 sound plus a Haufe identical electrical characteristics >>> transformer and a almost same but prettier ( I think ) look. >>> I will offer a 15 days trial money refund option if you pay the shipping. >>> I will not get it out before being 100 % satisfied I have achieved the >>goal. >>> Note that I had a Telefunken U47 for almost 5 years and I know the beast >>> very well. >>> >>> I can also offer another tube with exactly the same sound as UF14/EF14 >>tubes >>> that are easier enouph to find and will keep your mic for decades. >>> I will include another two NOS tubes of this "replacement" tube. >>> I know though that most of you wanna see this black small baby looking >>like >>> the original U47 tube so I just note that. >>> Ther will be included a great shockmount similar to "Neumann" quality >and >>> a aluminium case. >>> >>> Any real interest ? >>> Regards, >>> Dimitrios >> >> >Symphonic in scope man. Like 10 part harmony? I don't understand past the first paragraph. Its a recording system, sure, but its more like an invention. Kick a** Deej. MR "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43dd1cd4@linux... > what approaches???..............humm.......well....here it is in a > nutshell.....;oP > > A typical session is usually tracked and mixed as follows: > > All tracking is usually done in Paris using a Furman HDS 16 cue system with > 3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at 48kHz. > Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that the > performer can dial in exactly the amount of ambience in the cans to achieve > a comfortable cuemix. > > I have a number of tracking templates set up in Paris and Cubase SX to > utilize my RME Multiface converters with any of the three Paris submixes via > lightpipe. Since two om my MECS have an A8iT and A8oT and the third one only > has ADAT, if I need 16 x I/O on either of the two MECS that have only 1 x > Paris I/O module on them during a tracking session, I can open up the > Cubase-to-Paris tracking template on both machines nd then just patch in my > preamps to the Multiface I/O and it's routed digitally to the respective > channels of the Paris mixer. > > Once project is tracked, basic editing done using the Paris editor. > > Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio Files) > with starting points at 00:00:00. to a folder in the Paris song project > file. > > Batch converion of the the rendered .paf's to .wavs is done in Wavelab via > LAN to DAW running Wavelab and Cubase SX and the converted .wav files are > saved to a Cubase SX song project. > > The .wavs are imported into a Cubase SX project template for the song which > has a routing matrix bussing certain tracks to certain busses and then > bussing the tracks back to Paris for summing as follows: > (NOTE: the use of the word MEC /IF2 below refers to various Paris I/O > interfaces which correlate to 16 track submixes. The system here has 3 x 16 > track submix units comprising a total of 48 tracks with a total of 72 > digital I/O and 32 analog I/O for various routing configurations) > > Paris MEC 1 mixer channels are set to receive lightpipe from Cubase Sx DAW > using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 assigned to > Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each > assigned to channels 1-14 outputs. > > Cubase SX channels 1-14 (the drums) are duplicated and the duplicated drum > submix is panned to taste, EQ'ed, individual tracks are processed and > (usually) bussed to a UAD-1 Fairchild or other UAD compressor then returned > to Paris submix 1 through the Cubase SX drum submix group- (stereo audio > channel 15 which is using RME ADAT I/O 15 & 16) > > The original mono drum tracks are also fed to insert FX (UAD-1 compressors, > EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 in submix > #1 where the panning of the drum tracks in the SX drum submix is mirrored in > Paris. FX such as Paris EQ/ insert DSP and outboard reverbs (digital only) > and Paris aux FX are then applied to the individual drum tracks. Any > outboard processing to the individual drum tracks is being done through the > RME multiface I/O to retain phase coherence and care must be taken at this > point when processing in Paris to use only digital FX externally (1 x sample > latency with digital I/O loop in Paris) and care must also be taken with the > lookahead when using the Paris onboard DSP compressors to avoid phase issues > (flamming). > > It is possible to achieve a monster drum sound by using both Paris and > Cubase SX when processing parallel drum submixes sample accurately on both > platforms. > > Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 and RME 2 > ADAT #1 I/O assigned to audio channels 17-32 and the channels routed to RME > outputs 17-32. and 16 audio tracks are streamed from SX to Paris, being > processed in both platforms. > > Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 channels > playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT !/O #2 > and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT channels > 47 and 48 are set up as a stereo FX bus for all send FX being applied to > tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 > interfacing with Paris ADAT I/O #15 and 16. > > The mix template routing between the two work stations is as follows: > > Paris Submix 1-Drums (usually) > > Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 > > Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 > Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 > Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 > Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 > Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 > Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 > Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 > Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 > Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 > Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 > Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 > Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 > Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 > Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 > Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH 15 > Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH 16 > > Paris Submix #2 > > Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 > Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 > Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 > Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 > Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 > Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 > Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 > Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 > > Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 > > Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 > Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 > Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 > Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 > Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 > Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 > Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 > Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 > > Paris Submix #3 > > Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 > Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 > Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 > Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 > Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 > Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 > Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 > Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 > Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 > Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 > Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 > Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 > Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 > Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 > Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH 15 > Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH 16 > > Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, Lexicon > PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital patchbay > for routing to different Paris submixes as needed. > > POD XT Pro is patched directly to the spdif I/O of one of the RME HDSP > 9652's and set up as an external insert effect or send effect as needed in > Cubase SX. > > Power Technology DSP/FX card is patched to the S/PDIF I/O of one of the > other RME HDSP 9652's and set up as an insert or send effect as needed. > > Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of the RME > Multiface and either set up as external insert effect or send effect as > needed. > > RME Multiface analog I/O are set up as external insert busses for processing > tracks with up to 8 x various analog compressors and EQ's with ADC being > applied in Cubase SX to keep them phase coherent.. > > 4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the tracks > using the stereo drum bus and center panned stereo and mono reverb to > individual mono tracks (the UAD-1 EMT 140 is often requested on lead VOX > tracks-UA hit a home run with this emulation) along with track EQ and the > LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they are > streamed back into Paris for summing. > > Paris MEC I/O in submixes one, two and three as well as IF2's on MECs 2 and > 3 are set up to route analog FX processors in Paris from the Lexi PC 90, > Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT if > needed. > > All panning of tracks and reverbs, delays etc. are done in Paris since all > Cubase SX tracks with the exception of the stereo drum mix are mono and > being lightpiped directly to Paris rather than being sent to stereo busses > in Cubase SX. (without being assigned to a stereo bus in Cubase, the mono > tracks in SX cannot be panned) > > All of this is clocked through a Mytek ADC 24/96 which is feeding a Lucid > GenX6 module set to distribute word clock (at 10 picoseconds) which is then > feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface and the > Lexicon Studio Core 32 outboard reverb. > > All of the routing scenarios are saved in mix templates on the two audio > DAWs and the digital patchbay control panel in the DAW running standalone > FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the Paris > transport controls both systems, sample accurate, timeline locked. All it > really takes is a few mouse clicks and this entire scenario is > working......Simple huh? > > > > > > "Jon Jiles" <nope@nono.com> wrote in message news:43dd07ea$1@linux... > > > > Okay, so I took Deej's advice and for syncing purposes replaced my Dakota > > with the RME 9652, gave up on my great Tracktion 2 "frontend to PARIS" > experiment > > and picked up Cubase SX3. > > > > I've moved my UAD-1 into m Cubase box for latency purposes and Cubase is > > syncing nicely to PARIS. > > > > Right now I'm planning to use the Cubase box as more of a glorified > scratchpad > > , the place I hash out any midi stuff and drum tracks, etc and then finish > > the whole project in Paris. But maybe (or more likely, certainly) I'm not > > seeing a better approach. In fact, I'm not certain what I want the process > > to be or what process takes the most advantage of the Cubase/PARIS hybrid > > setup. > > > > I have 3 EDS cards in my PARIS box (have a 4th if I need). > > > > I don't do any major live tracking of drums, etc. Just vocals, guitars, > keys, > > etc. > > > > So I thought I'd ask a few questions o those who know: > > > > 1)Is anyone else taking this approach? > > 2)What approaches are you guys taking with your hybrid setups? > > 3)What is the meaning of existence? (You can skip this one if you want.) > > > > As always, thanks for the help! > > Cheers, > > Jon > > > > > >Hey Deej, How do you tell the difference between vintage and newer VC-1? What color are the lettering grafics on your model? Tanks... el Miguel "DJ" <animix_spam-this-ahole_@animas.net> wrote in message news:43d32e37@linux... > I agree. It's a monster if you get aggressive with it. The EQ is excellent > and the compressor can be very versatile but you've gotta know how to use > it.. I use it a lot as an insert on vocal tracks in mixes. Boosting the HF > at 20 or 32KHz can really open up a track. It's a tweaker's delight. > > Another sleeper is the old JoeMeek VC-1. I haven't heard the new ones, but > the old ones sound very ballsy and do I daresay "Neve'ish"? I've had one in > my rack for years......twist knobs.......major shit happens. I've seen these > on EBay for around $350.00, though recently they seem to be edging upward. > > "Neil" <OIUOIU@OIU.com> wrote in message news:43d31722$1@linux... > > > > I personally think the 737 is an overly-disparaged box for no > > good reason... it can kick total ass, depending on what you're > > micing & what mic you're using... If you want clean class-A > > that can also get warm & fuzzy, that's the way to go. As for > > the Summitt stuff, I've always felt it was some of the dirtier > > high-end tube gear around, but definitely useful for certain > > things. One man's clean is another mans dirt, I s'pose. lol > > > > The Mucusrite newer ISA stuff is very clean, but not very > > colored - at least based on my epxereince with the 428... dunno > > if that helps you any. > > > > Neil > > > > > > "TCB" <nobody@ishere.com> wrote: > > > > > >Hey all, > > > > > >As my little rock'n'roll outfit starts to gear up (no pun intended) for > > a > > >second CD I'm thinking of picking up one or maybe two channel strips for > > >the home studio where we'll be tracking. I'm willing to go up to roughly > > >the $2k range which means I'm only really ruling out Manley. So, for > those > > >among you have have heard and used Summit, Focusrite ISA, Avalon, and > vintage > > >lunchbox options, I would appreciate any ideas. Having used what I've > used, > > >I would lean to the Avalon 737 or the Summit MPC-100 because I've used > them > > >both in other studios and really liked them. Very clean tube sound. > > > > > >As an aside, I was at rehearsal tonight and had a bit laugh. I'm binary > > boy, > > >right? All about the 1s and 0s, writing computer code and making > electronic > > >music? In this rock band my signal path is > > > > > >almost 20 year old 62 reissue strat w/ van zandt pickups -> fulltone wah > > >-> Moogerfooger analog delay -> Fulltone OCD overdrive pedal -> > Moogerfooger > > >phase shifter -> Line 6 modulation modeller -> Top Hat Club Royale with > > a > > >THD Hot Plate attenuator to knock down the volume. The only piece of > vaguely > > >modern gear is the digital emulator of old effects that is mostly used > for > > >tremolo (has a gorgeous Vox bias trem effect). All of which is only to > say > > >I'm not all that digital when it comes to guitars, which I think is > funny. > > > > > > > > >TCB > > > >Hey Don, There are adat card issues, but people get differring results. I am positive this has to do with how the beta driver works with various hardware. I personally have not been able to get two adat cards working in the same MEC, and have to have only one per MEC. The best results will be obtained by chasing Paris to MTC, rather than using Paris as a transport master. This will be especially true once you get Nuendo in the fray. As to the third interface, yes, you will need a WC generator. Actually, with two computers running now, I would strongly suggest getting one anyway. Adding a WC gen will smooth out your clocking issues and make the addition of Nuendo to the setup less painfull. The WC gen will eliminate the "dog chasing its tail" problem that multi-source DAWs face. David. Don Nafe wrote: > Hey Dave > > Now there's a place I haven't been to in thirty years...must be totally > different in the winter. > > Emailed DJ and got things sorted out...almost a Paris 101 class. > > What I meant by normalled was the ADAT module's input / output correspond to > the in/out of the patchbay slots the ADAT module is assigned too...wrong > choice of words. > > And yes you can record more than two tracks at a time in CEPro...multitrack > mode will handle as many inputs as you can throw at it (well 16 anyway) > > I'm going to attempt to get wavelab working today...my initial attempts only > produced what I can best describe as a lurching in Wavelab when I hit play > in Paris. > > Once it's sorted out I'll be installing Nuendo 2.0 and see if I can get that > to work with Dakota and then sync'd to Paris...gonna be a fun day or so > > One other thing. I hear there are issues with two ADAT modules in the same > MEC and Windows XP...is this correct > > Thanks > > Don > > > "Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message > news:43dda643$1@linux... > >>Hi Don, >> >>Sorry about the delay, was out at Lake Louise for the day... just got back >>in. NOTHING in Paris is normalled... you have to patch everything. There >>are two ways to route individual tracks... through "inserts" and through >>"auxes". If you use the aux sends, you can select external on each aux >>bus and hard pan to get up to 16 sends per MEC. Using inserts, you have >>to patch the inputs of the inserts as well as the outputs... it doesn't >>matter if you are only using them to send sound, you must patch a return >>signal for them to become active. I believe the same holds true for the >>Aux buses. >> >>As for CEP... I thought is only had the capability to record two tracks at >>once??? Double check this, but I am positive it can only accept two. >> >>I'll be at the studio in the morning if you are still stuck. I would call >>now, but it's after midnight now on your end. >> >>David. >> >> >>Don Nafe wrote: >> >>> I'm trying to route the individual PAris tracks 1-8 to CEPro... >>> >>>ADAT is in slot 1 input and slot 1 output... >>> >>>MEC module A is in the patchfield as is the Master, Mixer A and Inserts A >>> >>>Supposedly whatever is on tr 1-8 is normaled to ADAT tr 1-8 in that >>>configuration - Correct? >>> >>>as it stands only Paris Tr 1 & 2 are making it over to CEPro >>> >>>If you'd rather do this real time call me 613 725 3327 collect >>> >>> >>> >>> >>> >>>"Dave(EK Sound)" <audioguy_editout_@shaw.ca> wrote in message >>>news:43dcec1e$1@linux... >>> >>> >>>>Are you trying to route individual tracks, or the whole mix? If it's the >>>>whole mix, simply make sure that the adat module is assigned to one of >>>>the two output slots in the patchbay, then patch from the mixer LR outs >>>>to a pair of channels on the MEC Modules block. Remember, you can't >>>>patch across cards. To assign the adat card, double click on the MEC >>>>modules block in the patchbay window and drag the adat I/O fromm the list >>>>at the right to one of the four "slots" at the left. If the MEC modules >>>>block isn't in the patchbay window, drag it from the list top right onto >>>>the patch field. >>>> >>>>David. >>>> >>>>Don Nafe wrote: >>>> >>>> >>>>>1st question >>>>> >>>>>How does one route audio out of the ADAT outs and SPDIF outs (in Paris) >>>>> >>>>>Don >>>>> >>>>> >>>>> >>>>>"Don Nafe" <dnafe@magma.ca> wrote in message news:43dcc383@linux... >>>>> >>>>> >>>>> >>>>>>Hi All >>>>>> >>>>>>This is all new to me and I need someone to help me get my bearings so >>>>>>If you're still using a Dakota on a second rig could you please contact >>>>>>me so I can ask you a few questions specific to Paris and Dakota >>>>>> >>>>>>Thanks >>>>>> >>>>>>Don >>>>>> >>>>> >>>>> > >I think that maybe I need to somehow use horses for the PSU, or maybe a V6 gasoline engine.............that would be very analog. ;o) "erlilo" <erlilo@online.no> wrote in message news:43ddcf41@linux... > Me????individual???....No way... I'm too old to be like-minded and don't > understand a "dam shit" of your Second Centuries "Edison" experiments. If it > had been in the last Century, maybe I could have followed you a little > bit...;-o)... > > "DJ" <animix_spam-this-ahole_@animas.net> skrev i melding > news:43dd400b@linux... > > hehehe!!!!!!!.............well OK........ya got me there, but I can assure > > you that I wouldn't hang out here if I didn't feel like I was among > > like-minded individuals > > > > ;o) > > > > "steve the artguy" <artguy@svnsillyme.net> wrote in message > > news:43dd3eb4$1@linux... > >> > >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >> >Yes..........I know. It's not my fault. I learned this stuff right here. > >> Had > >> >I never found this place, I might be a normal person, but now it's too > > late. > >> > > >> > >> HAHAHAHAHAHAHAHA! dream on, crazy man! > >> > >> How about we just ask Amy about this...? > >> > >> -steve > > > > > >Hmm, I have one I have been thinking of selling. It is porbably 5-6 years old. Smaller rubberish knobs, not the big plastic ones on the real old VC-1 "Miguel Vigil" <nospam@nospam.com> wrote: >Hey Deej, > >How do you tell the difference between vintage and newer VC-1? > >What color are the lettering grafics on your model? > >Tanks... > > >el Miguel > > > > >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message >news:43d32e37@linux... >> I agree. It's a monster if you get aggressive with it. The EQ is excellent >> and the compressor can be very versatile but you've gotta know how to use >> it.. I use it a lot as an insert on vocal tracks in mixes. Boosting the HF >> at 20 or 32KHz can really open up a track. It's a tweaker's delight. >> >> Another sleeper is the old JoeMeek VC-1. I haven't heard the new ones, but >> the old ones sound very ballsy and do I daresay "Neve'ish"? I've had one >in >> my rack for years......twist knobs.......major shit happens. I've seen >these >> on EBay for around $350.00, though recently they seem to be edging upward. >> >> "Neil" <OIUOIU@OIU.com> wrote in message news:43d31722$1@linux... >> > >> > I personally think the 737 is an overly-disparaged box for no >> > good reason... it can kick total ass, depending on what you're >> > micing & what mic you're using... If you want clean class-A >> > that can also get warm & fuzzy, that's the way to go. As for >> > the Summitt stuff, I've always felt it was some of the dirtier >> > high-end tube gear around, but definitely useful for certain >> > things. One man's clean is another mans dirt, I s'pose. lol >> > >> > The Mucusrite newer ISA stuff is very clean, but not very >> > colored - at least based on my epxereince with the 428... dunno >> > if that helps you any. >> > >> > Neil >> > >> > >> > "TCB" <nobody@ishere.com> wrote: >> > > >> > >Hey all, >> > > >> > >As my little rock'n'roll outfit starts to gear up (no pun intended) for >> > a >> > >second CD I'm thinking of picking up one or maybe two channel strips >for >> > >the home studio where we'll be tracking. I'm willing to go up to >roughly >> > >the $2k range which means I'm only really ruling out Manley. So, for >> those >> > >among you have have heard and used Summit, Focusrite ISA, Avalon, and >> vintage >> > >lunchbox options, I would appreciate any ideas. Having used what I've >> used, >> > >I would lean to the Avalon 737 or the Summit MPC-100 because I've used >> them >> > >both in other studios and really liked them. Very clean tube sound. >> > > >> > >As an aside, I was at rehearsal tonight and had a bit laugh. I'm binary >> > boy, >> > >right? All about the 1s and 0s, writing computer code and making >> electronic >> > >music? In this rock band my signal path is >> > > >> > >almost 20 year old 62 reissue strat w/ van zandt pickups -> fulltone >wah >> > >-> Moogerfooger analog delay -> Fulltone OCD overdrive pedal -> >> Moogerfooger >> > >phase shifter -> Line 6 modulation modeller -> Top Hat Club Royale with >> > a >> > >THD Hot Plate attenuator to knock down the volume. The only piece of >> vaguely >> > >modern gear is the digital emulator of old effects that is mostly used >> for >> > >tremolo (has a gorgeous Vox bias trem effect). All of which is only to >> say >> > >I'm not all that digital when it comes to guitars, which I think is >> funny. >> > > >> > > >> > >TCB >> > >> >> > >You're right $$$ Cha-ching!!! :) But, Digi is giving new customers at least $3,500.00 in software plugins. Maybe more, but I do knwo that it's at least $3500.00 I dont think you need 96 I/o channels, but hey !! you never know :) PTHD-3(Axcel) had all the processing power one needs to replace 4 UAD1 cards. Being that you can run the uad plugs on the HD cards, or run Fx expansion vst/Rtas converter app.. I just got a great quote from sweetwater for PTHD2-Axcel) with Contol24 mix controller, Apogee AD/DA16x..Slew of Plugin (free) from Digi..20K..( Not including the Mac.) You don't need a G5 to run PT-HD/TDM.. You can, but not a necessity. I have access to a Dual 877 G4 or I might buld a nice PC to run it on. For those how have not seen PT-HD?LE run on a PC, they are in for a real shock. The speed difference is Amazing!!! I've been weighing the Yammy 02r96/DM-2000,Nuendo,RME MADI(2) scenario..the first coming to 9k for the 02Rm, 18k for the DM2000..Decisions.. :) ??????? "DJ" <animix_spam-this-ahole_@animas.net> wrote: >.........errr..........that should have been 96 digital I/O. guess I >wouldn't be needing that though with the PT rig, would I? Also, I'm going to >need all new software so throw that into the equation for another $5k at >least for good TDM plugins. > >(sigh) > >"DJ" <animix_spam-this-ahole_@animas.net> wrote in message >news:43ddb571@linux... >> So what would PT system with 32 A/D and D/A converters, 96 I/O and the >> processing power of 4 x UAD-1 cards cost? I'm thinking around $30k. Now >add >> a G5 to that.. Now add a control surface. $40k to achieve what I've >already >> got here? >> >> Now lersee, I might be able to get 7k out of my current hybrid rig if I >was >> lucky, soooo............that leaves me a little short. Yeah, It would be >> nice, but it's not realistic. PT HD is still wayyyyy overpriced.....at >least >> for me. If I was in a situation where it would bring enough business for >it >> to pay for itself, then maybe I could see it. Right now, I'm the >alternative >> to Pro Tools in this town. That is starting to bring me business actually. >> People are curious about this crazy engineer with the Rube Goldberg >machine. >> >> ;o) >> >> "LaMont" <jjdpro@ameritech.net> wrote in message news:43ddadca$1@linux... >> > >> > LOL!! >> > I know that most of us thru out the years have beeen cold on PT, but I >> have >> > admit, that DAW( PT-HD) is one nice sounding, smooth running, cryptic >> editing-but >> > fast once you know it. It's I/O patchbay routing is on another level. >> That's >> > all i can say. They sound is as good withthe Digi converters, but, >> inserting >> > a Lucid gen 96 or 192, tightens the sound up.. Using Apogees Rosettas >and >> > or the AD/DA16x, really make you think your back in PAris Land.. Due to >> the >> > Apogees ability to run inthe read, with it's on-board soft-limit.. AND, >if >> > you runn HD on a PC, beter for you becuase you can run a whole lot of >Rtas >> > plugins.. But, if you only have a old G4, so-what, you're still gonna >get >> > taht stated track/DSP count...very smothly indeed.. No more bashing Digi >> > for me.. I've seen the light.. >> > >> > LaMont >> > "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> > >Not nearly complicated enough ;o) >> > > >> > >Seriously, I have thought about it.....a lot. >> > > >> > >Deej >> > > >> > >"LaMont" <jjdpro@ameritech.net> wrote in message >news:43dd826c$1@linux... >> > >> >> > >> DJ... Pro Tools HD2/3, with apogee AD/DA 16xs(2) converters..Monster >> > >Sound, >> > >> Killer i/o routing for your stand alones.. All under one roof. Do the >> > >$$math$$$ >> > >> >> > >> :) >> > >> >> > >> >> > >> >> > >> "DJ" <animix_spam-this-ahole_@animas.net> wrote: >> > >> >what approaches???..............humm.......well....here it is in a >> > >> >nutshell.....;oP >> > >> > >> > >> >A typical session is usually tracked and mixed as follows: >> > >> > >> > >> >All tracking is usually done in Paris using a Furman HDS 16 cue >system >> > >with >> > >> >3 x HRM 16 remotes. Paris latency is 1.25 ms at 44.1kHz, 1.5ms at >> 48kHz. >> > >> >Each HRM-16 unit is paired with an Alesis Wedge reverb unit so that >> the >> > >> >performer can dial in exactly the amount of ambience in the cans to >> > >achieve >> > >> >a comfortable cuemix. >> > >> > >> > >> >I have a number of tracking templates set up in Paris and Cubase SX >to >> > >> >utilize my RME Multiface converters with any of the three Paris >> submixes >> > >> via >> > >> >lightpipe. Since two om my MECS have an A8iT and A8oT and the third >> one >> > >> only >> > >> >has ADAT, if I need 16 x I/O on either of the two MECS that have >only >> > 1 >> > >> x >> > >> >Paris I/O module on them during a tracking session, I can open up >the >> > >> >Cubase-to-Paris tracking template on both machines nd then just >patch >> > in >> > >> my >> > >> >preamps to the Multiface I/O and it's routed digitally to the >> respective >> > >> >channels of the Paris mixer. >> > >> > >> > >> > Once project is tracked, basic editing done using the Paris editor. >> > >> > >> > >> >Audio tracks are then rendered as contiguous 24 bit.paf (Paris Audio >> > >Files) >> > >> >with starting points at 00:00:00. to a folder in the Paris song >> project >> > >> >file. >> > >> > >> > >> >Batch converion of the the rendered .paf's to .wavs is done in >Wavelab >> > >via >> > >> >LAN to DAW running Wavelab and Cubase SX and the converted .wav >files >> > are >> > >> >saved to a Cubase SX song project. >> > >> > >> > >> >The .wavs are imported into a Cubase SX project template for the >song >> > >which >> > >> >has a routing matrix bussing certain tracks to certain busses and >then >> > >> >bussing the tracks back to Paris for summing as follows: >> > >> > (NOTE: the use of the word MEC /IF2 below refers to various Paris >I/O >> > >> >interfaces which correlate to 16 track submixes. The system here has >> > 3 x >> > >> 16 >> > >> >track submix units comprising a total of 48 tracks with a total of >72 >> > >> >digital I/O and 32 analog I/O for various routing configurations) >> > >> > >> > >> >Paris MEC 1 mixer channels are set to receive lightpipe from Cubase >> > Sx >> > >> DAW >> > >> >using ADAT channels 1-14 bussed from RME 9652 #1 ADAT I/O 1 & 2 >> assigned >> > >> to >> > >> >Cubase SX audio channels 1-16 and Cubase SX audio channels 1-14 each >> > >> >assigned to channels 1-14 outputs. >> > >> > >> > >> >Cubase SX channels 1-14 (the drums) are duplicated and the >duplicated >> > >drum >> > >> >submix is panned to taste, EQ'ed, individual tracks are processed >and >> > >> >(usually) bussed to a UAD-1 Fairchild or other UAD compressor then >> > >returned >> > >> >to Paris submix 1 through the Cubase SX drum submix group- (stereo >> audio >> > >> >channel 15 which is using RME ADAT I/O 15 & 16) >> > >> > >> > >> >The original mono drum tracks are also fed to insert FX (UAD-1 >> > >compressors, >> > >> >EQ's, etc) and bussed via lightpipe to Paris channels 1 through 14 >in >> > >submix >> > >> >#1 where the panning of the drum tracks in the SX drum submix is >> mirrored >> > >> in >> > >> >Paris. FX such as Paris EQ/ insert DSP and outboard reverbs >(digital >> > >only) >> > >> >and Paris aux FX are then applied to the individual drum tracks. >Any >> > >> >outboard processing to the individual drum tracks is being done >> through >> > >> the >> > >> >RME multiface I/O to retain phase coherence and care must be taken >at >> > >this >> > >> >point when processing in Paris to use only digital FX externally (1 >x >> > >sample >> > >> >latency with digital I/O loop in Paris) and care must also be taken >> with >> > >> the >> > >> >lookahead when using the Paris onboard DSP compressors to avoid >phase >> > >issues >> > >> >(flamming). >> > >> > >> > >> >It is possible to achieve a monster drum sound by using both Paris >and >> > >> >Cubase SX when processing parallel drum submixes sample accurately >on >> > >both >> > >> >platforms. >> > >> > >> > >> >Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O #3 >and >> > >RME >> > >> 2 >> > >> >ADAT #1 I/O assigned to audio channels 17-32 and the channels routed >> > to >> > >> RME >> > >> >outputs 17-32. and 16 audio tracks are streamed from SX to Paris, >> being >> > >> >processed in both platforms. >> > >> > >> > >> >Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 >> > >channels >> > >> >playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT >> !/O >> > >> #2 >> > >> >and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT >> > >channels >> > >> >47 and 48 are set up as a stereo FX bus for all send FX being >applied >> > to >> > >> >tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux 1 >> > >> >interfacing with Paris ADAT I/O #15 and 16. >> > >> > >> > >> >The mix template routing between the two work stations is as >follows: >> > >> > >> > >> >Paris Submix 1-Drums (usually) >> > >> > >> > >> >Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 >> > >> > >> > >> >Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >> > >> >Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >> > >> >Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >> > >> >Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >> > >> >Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >> > >> >Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >> > >> >Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >> > >> >Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >> > >> >Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >> > >> >Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >> > >> >Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >> > >> >Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >> > >> >Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >> > >> >Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >> > >> >Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris CH >15 >> > >> >Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out > Paris CH >16 >> > >> > >> > >> >Paris Submix #2 >> > >> > >> > >> >Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >> > >> >Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >> > >> >Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >> > >> >Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >> > >> >Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >> > >> >Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >> > >> >Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >> > >> >Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 >> > >> > >> > >> >Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 >> > >> > >> > >> >Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >> > >> >Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >> > >> >Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >> > >> >Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >> > >> >Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >> > >> >Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >> > >> >Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >> > >> >Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 >> > >> > >> > >> >Paris Submix #3 >> > >> > >> > >> >Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >> > >> >Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >> > >> >Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >> > >> >Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >> > >> >Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >> > >> >Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >> > >> >Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >> > >> >Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >> > >> >Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >> > >> >Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >> > >> >Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >> > >> >Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >> > >> >Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >> > >> >Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >> > >> >Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris CH >15 >> > >> >Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris CH >16 >> > >> > >> > >> >Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, >> > >Lexicon >> > >> >PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital >> > >patchbay >> > >> >for routing to different Paris submixes as needed. >> > >> > >> > >> >POD XT Pro is patched directly to the spdif I/O of one of the RME >HDSP >> > >> >9652's and set up as an external insert effect or send effect as >> needed >> > >> in >> > >> >Cubase SX. >> > >> > >> > >> >Power Technology DSP/FX card is patched to the S/PDIF I/O of one of >> the >> > >> >other RME HDSP 9652's and set up as an insert or send effect as >> needed. >> > >> > >> > >> >Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O of >> the >> > >> RME >> > >> >Multiface and either set up as external insert effect or send effect >> > as >> > >> >needed. >> > >> > >> > >> >RME Multiface analog I/O are set up as external insert busses for >> > >processing >> > >> >tracks with up to 8 x various analog compressors and EQ's with ADC >> being >> > >> >applied in Cubase SX to keep them phase coherent.. >> > >> > >> > >> >4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the >> tracks >> > >> >using the stereo drum bus and center panned stereo and mono reverb >to >> > >> >individual mono tracks (the UAD-1 EMT 140 is often requested on lead >> > VOX >> > >> >tracks-UA hit a home run with this emulation) along with track EQ >and >> > the >> > >> >LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they >> are >> > >> >streamed back into Paris for summing. >> > >> > >> > >> >Paris MEC I/O in submixes one, two and three as well as IF2's on >MECs >> > 2 >> > >> and >> > >> >3 are set up to route analog FX processors in Paris from the Lexi PC >> > 90, >> > >> >Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro XT >if >> > >> >needed. >> > >> > >> > >> >All panning of tracks and reverbs, delays etc. are done in Paris >since >> > >all >> > >> >Cubase SX tracks with the exception of the stereo drum mix are mono >> and >> > >> >being lightpiped directly to Paris rather than being sent to stereo >> > >busses >> > >> >in Cubase SX. (without being assigned to a stereo bus in Cubase, the >> > mono >> > >> >tracks in SX cannot be panned) >> > >> > >> > >> >All of this is clocked through a Mytek ADC 24/96 which is feeding a >> Lucid >> > >> >GenX6 module set to distribute word clock (at 10 picoseconds) which >> > is >> > >> then >> > >> >feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface >and >> > the >> > >> >Lexicon Studio Core 32 outboard reverb. >> > >> > >> > >> >All of the routing scenarios are saved in mix templates on the two >> audio >> > >> >DAWs and the digital patchbay control panel in the DAW running >> > >standalone >> > >> >FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the >> Paris >> > >> >transport controls both systems, sample accurate, timeline locked. >> All >> > >> it >> > >> >really takes is a few mouse clicks and this entire scenario is >> > >> >working......Simple huh? >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> >"Jon Jiles" <nope@nono.com> wrote in message >news:43dd07ea$1@linux... >> > >> >> >> > >> >> Okay, so I took Deej's advice and for syncing purposes replaced my >> > >Dakota >> > >> >> with the RME 9652, gave up on my great Tracktion 2 "frontend to >> PARIS" >> > >> >experiment >> > >> >> and picked up Cubase SX3. >> > >> >> >> > >> >> I've moved my UAD-1 into m Cubase box for latency purposes and >> Cubase >> > >> is >> > >> >> syncing nicely to PARIS. >> > >> >> >> > >> >> Right now I'm planning to use the Cubase box as more of a >glorified >> > >> >scratchpad >> > >> >> , the place I hash out any midi stuff and drum tracks, etc and >then >> > >finish >> > >> >> the whole project in Paris. But maybe (or more likely, certainly) >> I'm >> > >> not >> > >> >> seeing a better approach. In fact, I'm not certain what I want the >> > >process >> > >> >> to be or what process takes the most advantage of the Cubase/PARIS >> > >hybrid >> > >> >> setup. >> > >> >> >> > >> >> I have 3 EDS cards in my PARIS box (have a 4th if I need). >> > >> >> >> > >> >> I don't do any major live tracking of drums, etc. Just vocals, >> guitars, >> > >> >keys, >> > >> >> etc. >> > >> >> >> > >> >> So I thought I'd ask a few questions o those who know: >> > >> >> >> > >> >> 1)Is anyone else taking this approach? >> > >> >> 2)What approaches are you guys taking with your hybrid setups? >> > >> >> 3)What is the meaning of existence? (You can skip this one if you >> > >want.) >> > >> >> >> > >> >> As always, thanks for the help! >> > >> >> Cheers, >> > >> >> Jon >> > >> >> >> > >> >> >> > >> > >> > >> > >> > >> >> > > >> > > >> > >> >> > >The MADI cards will set you back almost as much as the desk itself! We went the optical route here... WAY cheaper. David. LaMont wrote: > You're right $$$ Cha-ching!!! :) But, Digi is giving new customers at least > $3,500.00 in software plugins. Maybe more, but I do knwo that it's at least > $3500.00 > > I dont think you need 96 I/o channels, but hey !! you never know :) > PTHD-3(Axcel) had all the processing power one needs to replace 4 UAD1 cards. > Being that you can run the uad plugs on the HD cards, or run Fx expansion > vst/Rtas converter app.. > > I just got a great quote from sweetwater for PTHD2-Axcel) with Contol24 mix > controller, Apogee AD/DA16x..Slew of Plugin (free) from Digi..20K..( Not > including the Mac.) You don't need a G5 to run PT-HD/TDM.. You can, but not > a necessity. I have access to a Dual 877 G4 or I might buld a nice PC to > run it on. For those how have not seen PT-HD?LE run on a PC, they are in > for a real shock. The speed difference is Amazing!!! > > I've been weighing the Yammy 02r96/DM-2000,Nuendo,RME MADI(2) scenario..the > first coming to 9k for the 02Rm, 18k for the DM2000..Decisions.. :) > ??????? > > > "DJ" <animix_spam-this-ahole_@animas.net> wrote: > >>.........errr..........that should have been 96 digital I/O. guess I >>wouldn't be needing that though with the PT rig, would I? Also, I'm going > > to > >>need all new software so throw that into the equation for another $5k at >>least for good TDM plugins. >> >>(sigh) >> >>"DJ" <animix_spam-this-ahole_@animas.net> wrote in message >>news:43ddb571@linux... >> >>>So what would PT system with 32 A/D and D/A converters, 96 I/O and the >>>processing power of 4 x UAD-1 cards cost? I'm thinking around $30k. Now >> >>add >> >>>a G5 to that.. Now add a control surface. $40k to achieve what I've >> >>already >> >>>got here? >>> >>>Now lersee, I might be able to get 7k out of my current hybrid rig if > > I > >>was >> >>>lucky, soooo............that leaves me a little short. Yeah, It would > > be > >>>nice, but it's not realistic. PT HD is still wayyyyy overpriced.....at >> >>least >> >>>for me. If I was in a situation where it would bring enough business for >> >>it >> >>>to pay for itself, then maybe I could see it. Right now, I'm the >> >>alternative >> >>>to Pro Tools in this town. That is starting to bring me business actually. >>>People are curious about this crazy engineer with the Rube Goldberg >> >>machine. >> >>>;o) >>> >>>"LaMont" <jjdpro@ameritech.net> wrote in message news:43ddadca$1@linux... >>> >>>>LOL!! >>>>I know that most of us thru out the years have beeen cold on PT, but > > I > >>>have >>> >>>>admit, that DAW( PT-HD) is one nice sounding, smooth running, cryptic >>> >>>editing-but >>> >>>>fast once you know it. It's I/O patchbay routing is on another level. >>> >>>That's >>> >>>>all i can say. They sound is as good withthe Digi converters, but, >>> >>>inserting >>> >>>>a Lucid gen 96 or 192, tightens the sound up.. Using Apogees Rosettas >> >>and >> >>>>or the AD/DA16x, really make you think your back in PAris Land.. Due > > to > >>>the >>> >>>>Apogees ability to run inthe read, with it's on-board soft-limit.. AND, >> >>if >> >>>>you runn HD on a PC, beter for you becuase you can run a whole lot of >> >>Rtas >> >>>>plugins.. But, if you only have a old G4, so-what, you're still gonna >> >>get >> >>>>taht stated track/DSP count...very smothly indeed.. No more bashing > > Digi > >>>>for me.. I've seen the light.. >>>> >>>>LaMont >>>&g
d >> >>>>>>>Cubase SX when processing parallel drum submixes sample accurately >> >>on >> >>>>>both >>>>> >>>>>>>platforms. >>>>>>> >>>>>>>Paris MEC 2 mixer channels are bussed from RME 9652 #1 ADAT I/O > > #3 > >>and >> >>>>>RME >>>>> >>>>>>2 >>>>>> >>>>>>>ADAT #1 I/O assigned to audio channels 17-32 and the channels routed >>>> >>>>to >>>> >>>>>>RME >>>>>> >>>>>>>outputs 17-32. and 16 audio tracks are streamed from SX to Paris, >>> >>>being >>> >>>>>>>processed in both platforms. >>>>>>> >>>>>>>Paris MEC 3 mixer channels 1 thru 14 set to bus lightpipe from 14 >>>>> >>>>>channels >>>>> >>>>>>>playing back in SX on ADAT channels 1-14 routed to RME 9652 #2 ADAT >>> >>>!/O >>> >>>>>>#2 >>>>>> >>>>>>>and RME #2 ADAT I/O #3 assigned to audio channels 33-46.. RME ADAT >>>>> >>>>>channels >>>>> >>>>>>>47 and 48 are set up as a stereo FX bus for all send FX being >> >>applied >> >>>>to >>>> >>>>>>>tracks in Cubase SX.which is bussing to/from Paris Submix 3, Aux > > 1 > >>>>>>>interfacing with Paris ADAT I/O #15 and 16. >>>>>>> >>>>>>>The mix template routing between the two work stations is as >> >>follows: >> >>>>>>>Paris Submix 1-Drums (usually) >>>>>>> >>>>>>>Using RME HDSP 9652 Card #1 bussing to Paris Submix 1 and 2 >>>>>>> >>>>>>>Cubase CH 1>RME 1 ADAT 1-1 out > Paris CH 1 >>>>>>>Cubase CH 2>RME 1 ADAT 1-2 out > Paris CH 2 >>>>>>>Cubase CH 3>RME 1 ADAT 1-3 out > Paris CH 3 >>>>>>>Cubase CH 4>RME 1 ADAT 1-4 out > Paris CH 4 >>>>>>>Cubase CH 5>RME 1 ADAT 1-5 out > Paris CH 5 >>>>>>>Cubase CH 6>RME 1 ADAT 1-6 out > Paris CH 6 >>>>>>>Cubase CH 7>RME 1 ADAT 1-7 out > Paris CH 7 >>>>>>>Cubase CH 8>RME 1 ADAT 1-8 out > Paris CH 8 >>>>>>>Cubase CH 9>RME 1 ADAT 2-9 out > Paris CH 9 >>>>>>>Cubase CH 10>RME 1 ADAT 2-10 out > Paris CH 10 >>>>>>>Cubase CH 11>RME 1 ADAT 2-11 out > Paris CH 11 >>>>>>>Cubase CH 12>RME 1 ADAT 2-12 out > Paris CH 12 >>>>>>>Cubase CH 13>RME 1 ADAT 2-13 out > Paris CH 13 >>>>>>>Cubase CH 14>RME 1 ADAT 2-14 out > Paris CH 14 >>>>>>>Cubase ST CH 15L/ Stereo Group 1 L> RME 1 ADAT 2-15 out > Paris > > CH > >>15 >> >>>>>>>Cubase ST CH 15R/ Stereo Group 1 R> RME 1 ADAT 2-16 out
> Paris > > CH > >>16 >> >>>>>>>Paris Submix #2 >>>>>>> >>>>>>>Cubase CH 16>RME 1 ADAT 3-17 out > Paris CH 1 >>>>>>>Cubase CH 17>RME 1 ADAT 3-18 out > Paris CH 2 >>>>>>>Cubase CH 18>RME 1 ADAT 3-19 out > Paris CH 3 >>>>>>>Cubase CH 19>RME 1 ADAT 3-20 out > Paris CH 4 >>>>>>>Cubase CH 20>RME 1 ADAT 3-21 out > Paris CH 5 >>>>>>>Cubase CH 21>RME 1 ADAT 3-22 out > Paris CH 6 >>>>>>>Cubase CH 22>RME 1 ADAT 3-23 out > Paris CH 7 >>>>>>>Cubase CH 23>RME 1 ADAT 3-24 out > Paris CH 8 >>>>>>> >>>>>>>Using RME HDSP 9652 Card #2 bussing to Paris Submix 2 AND 3 >>>>>>> >>>>>>>Cubase CH 24>RME 2 ADAT 1-1 out > Paris CH 9 >>>>>>>Cubase CH 25>RME 2 ADAT 1-2 out > Paris CH 10 >>>>>>>Cubase CH 26>RME 2 ADAT 1-3 out > Paris CH 11 >>>>>>>Cubase CH 27>RME 2 ADAT 1-4 out > Paris CH 12 >>>>>>>Cubase CH 28>RME 2 ADAT 1-5 out > Paris CH 13 >>>>>>>Cubase CH 29>RME 2 ADAT 1-6 out > Paris CH 14 >>>>>>>Cubase CH 30>RME 2 ADAT 1-7 out > Paris CH 15 >>>>>>>Cubase CH 31>RME 2 ADAT 1-8 out > Paris CH 16 >>>>>>> >>>>>>>Paris Submix #3 >>>>>>> >>>>>>>Cubase CH 32>RME 2 ADAT 2-9 out > Paris CH 1 >>>>>>>Cubase CH 33>RME 2 ADAT 2-10 out > Paris CH 2 >>>>>>>Cubase CH 34>RME 2 ADAT 2-11 out > Paris CH 3 >>>>>>>Cubase CH 35>RME 2 ADAT 2-12 out > Paris CH 4 >>>>>>>Cubase CH 36>RME 2 ADAT 2-13 out > Paris CH 5 >>>>>>>Cubase CH 37>RME 2 ADAT 2-14 out > Paris CH 6 >>>>>>>Cubase CH 38>RME 2 ADAT 2-15 out > Paris CH 7 >>>>>>>Cubase CH 39>RME 2 ADAT 2-16 out > Paris CH 8 >>>>>>>Cubase CH 40>RME 2 ADAT 3-17 out > Paris CH 9 >>>>>>>Cubase CH 41>RME 2 ADAT 3-18 out > Paris CH 10 >>>>>>>Cubase CH 42>RME 2 ADAT 3-19 out > Paris CH 11 >>>>>>>Cubase CH 43>RME 2 ADAT 3-20 out > Paris CH 12 >>>>>>>Cubase CH 45>RME 2 ADAT 3-21 out > Paris CH 13 >>>>>>>Cubase CH 46>RME 2 ADAT 3-22 out > Paris CH 14 >>>>>>>Cubase ST CH 47L/ Stereo Group 2 L> RME 3 ADAT 3-23 out > Paris > > CH > >>15 >> >>>>>>>Cubase ST CH 48R/ Stereo Group 2 R> RME 3 ADAT 3-24 out > Paris > > CH > >>16 >> >>>>>>>Paris S/PDIF I/O for MECs 1, 2 and 3, Sony V77, Quantec Yardstick, >>>>> >>>>>Lexicon >>>>> >>>>>>>PC90 (Core 32 system coaxial spdif I/O) are all bussed to a digital >>>>> >>>>>patchbay >>>>> >>>>>>>for routing to different Paris submixes as needed. >>>>>>> >>>>>>>POD XT Pro is patched directly to the spdif I/O of one of the RME >> >>HDSP >> >>>>>>>9652's and set up as an external insert effect or send effect as >>> >>>needed >>> >>>>>>in >>>>>> >>>>>>>Cubase SX. >>>>>>> >>>>>>>Power Technology DSP/FX card is patched to the S/PDIF I/O of one > > of > >>>the >>> >>>>>>>other RME HDSP 9652's and set up as an insert or send effect as >>> >>>needed. >>> >>>>>>>Lexicon PC90 (Core 32 system ADAT I/O) is routed to the ADAT I/O > > of > >>>the >>> >>>>>>RME >>>>>> >>>>>>>Multiface and either set up as external insert effect or send effect >>>> >>>>as >>>> >>>>>>>needed. >>>>>>> >>>>>>>RME Multiface analog I/O are set up as external insert busses for >>>>> >>>>>processing >>>>> >>>>>>>tracks with up to 8 x various analog compressors and EQ's with > > ADC > >>>being >>> >>>>>>>applied in Cubase SX to keep them phase coherent.. >>>>>>> >>>>>>>4 x UAD-1 cards in the Cubase SX DAW provide stereo reverb to the >>> >>>tracks >>> >>>>>>>using the stereo drum bus and center panned stereo and mono reverb >> >>to >> >>>>>>>individual mono tracks (the UAD-1 EMT 140 is often requested on > > lead > >>>>VOX >>>> >>>>>>>tracks-UA hit a home run with this emulation) along with track EQ >> >>and >> >>>>the >>>> >>>>>>>LA-2A, 1176, Fairchild etc. compressiors on mono tracks before they >>> >>>are >>> >>>>>>>streamed back into Paris for summing. >>>>>>> >>>>>>>Paris MEC I/O in submixes one, two and three as well as IF2's on >> >>MECs >> >>>>2 >>>> >>>>>>and >>>>>> >>>>>>>3 are set up to route analog FX processors in Paris from the Lexi > > PC > >>>>90, >>>> >>>>>>>Power Technology DSP/FX card, Sony V77, Sony MU-R201 and POD Pro > > XT > >>if >> >>>>>>>needed. >>>>>>> >>>>>>>All panning of tracks and reverbs, delays etc. are done in Paris >> >>since >> >>>>>all >>>>> >>>>>>>Cubase SX tracks with the exception of the stereo drum mix are mono >>> >>>and >>> >>>>>>>being lightpiped directly to Paris rather than being sent to stereo >>>>> >>>>>busses >>>>> >>>>>>>in Cubase SX. (without being assigned to a stereo bus in Cubase, > > the > >>>>mono >>>> >>>>>>>tracks in SX cannot be panned) >>>>>>> >>>>>>>All of this is clocked through a Mytek ADC 24/96 which is feeding > > a > >>>Lucid >>> >>>>>>>GenX6 module set to distribute word clock (at 10 picoseconds) which >>>> >>>>is >>>> >>>>>>then >>>>>> >>>>>>>feeding the 3 x Paris MECs, 2 x HDSP 9652's and the RME Multiface >> >>and >> >>>>the >>>> >>>>>>>Lexicon Studio Core 32 outboard reverb. >>>>>>> >>>>>>>All of the routing scenarios are saved in mix templates on the two >>> >>>audio >>> >>>>>>>DAWs and the digital patchbay control panel in the DAW running >>>>> >>>>>standalone >>>>> >>>>>>>FX. The Cubase DAW is slaved to the Paris DAW by ADAT sync so the >>> >>>Paris >>> >>>>>>>transport controls both systems, sample accurate, timeline locked. >>> >>>All >>> >>>>>>it >>>>>> >>>>>>>really takes is a few mouse clicks and this entire scenario is >>>>>>>working......Simple huh? >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>>"Jon Jiles" <nope@nono.com> wrote in message >> >>news:43dd07ea$1@linux... >> >>>>>>>>Okay, so I took Deej's advice and for syncing purposes replaced > > my > >>>>>Dakota >>>>> >>>>>>>>with the RME 9652, gave up on my great Tracktion 2 "frontend to >>> >>>PARIS" >>> >>>>>>>experiment >>>>>>> >>>>>>>>and picked up Cubase SX3. >>>>>>>> >>>>>>>>I've moved my UAD-1 into m Cubase box for latency purposes and >>> >>>Cubase >>> >>>>>>is >>>>>> >>>>>>>>syncing nicely to PARIS. >>>>>>>> >>>>>>>>Right now I'm planning to use the Cubase box as more of a >> >>glorified >> >>>>>>>scratchpad >>>>>>> >>>>>>>>, the place I hash out any midi stuff and drum tracks, etc and >> >>then >> >>>>>finish >>>>> >>>>>>>>the whole project in Paris. But maybe (or more likely, certainly) >>> >>>I'm >>> >>>>>>not >>>>>> >>>>>>>>seeing a better approach. In fact, I'm not certain what I want > > the > >>>>>process >>>>> >>>>>>>>to be or what process takes the most advantage of the Cubase/PARIS >>>>> >>>>>hybrid >>>>> >>>>>>>>setup. >>>>>>>> >>>>>>>>I have 3 EDS cards in my PARIS box (have a 4th if I need). >>>>>>>> >>>>>>>>I don't do any major live tracking of drums, etc. Just vocals, >>> >>>guitars, >>> >>>>>>>keys, >>>>>>> >>>>>>>&