| Recording Guitar - hot tips? [message #65443] |
Thu, 16 March 2006 07:20  |
Dan B
Messages: 54
Registered: June 2005
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Member |
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t;>>>
>>>>>>>Correct. If you're losing wordclock that will be fine.
>>>>>>>
>>>>>>>Cheers,
>>>>>>>Kim.
>>>>>>>
>>>>>>>"Steve Cox" <stevec1@charter.net> wrote:
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>>Not sure if it matters, but I don't really need to bnc the 2 mecs
together
>>>>>>>>do I? as I use a master word clock. The Aardsync. 4 word clock sends,
>>>>>
>>>>>I
>>>>>
>>>>>
>>>>>>>have
>>>>>>>
>>>>>>>
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| Re: Recording Guitar - hot tips? [message #65450 is a reply to message #65443] |
Thu, 16 March 2006 10:13  |
Mark McDermott
Messages: 204
Registered: February 2006
Location: Portland, OR
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Senior Member |
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t;>>>>>>>by the Paris software.
>>>>>>>>>>>
>>>>>>>>>>>Cheers,
>>>>>>>>>>>Kim.
>>>>>>>>>
>>>
>Alright....
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>What Dave is suggesting I think is that you run the exact setup you have,
>but for the second MEC, instead of running from the Wordclock, run from
the
>first MEC. Leave everything else, but the cable from the wordclock to the
>2nd MEC, unplug it at the wordclock and plug it in to the output of MEC
1.
>That's how I'm understanding him anyhow.
>
>That said, what you have running currently should work I think. He's simply
>saying that daisy chaining will make the system more stable, but this will
>vary between systems. Yours may be fine running wordclock to everything.
>
>Cheers,
>Kim.
>
>"Steve Cox" <stevec1@charter.net> wrote:
>>
>>You'll probably read this and say "he's just not gettn' it" Buuuut....
Here's
>>the wire scheme and hopfully explain. My master word clock has four BNC
>outs.
>>One cable going to #one MEC's input, Two cable going to #2 MEC's input
Three
>>cable goi
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| Re: Recording Guitar - hot tips? [message #65451 is a reply to message #65443] |
Thu, 16 March 2006 09:20 |
RZ
Messages: 61
Registered: July 2005
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Member |
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ng to the digital console, and Four cable going to the eight ch.
>>mic pre. Sooo with both ins on the MECs being taken up, I can't really
run
>>a jumper from the out of MEC #1 to the in of MEC #3, because the in on
MEC
>>#3 is already taken up by the master word clock. I don't want to daisy
chain
>>the MECs. It defeats the whole reason for having 4 ports on a master wordclock.
>>But thanks for the thought.
>>
>>EK Sound <askme@nospam.com> wrote:
>>>What I was refering to was feeding the WC from the external generator
>>>to your master MEC, then connecting a short BNC cable from the master
>>>MEC to the slave MEC (assuming both MEC's are connected to EDS cards
>>>in ONE computer). The two MEC's will clock quite happily this way,
>>>and will be more stable (by my experience) than feeding them both
>>>directly from the WC gen. If you had 3+ MEC's, you would have to
>>>connect WC directly to each unit and place the "Use house sync" line
>>>into the Paris config file.
>>>
>>>David.
>>>
>>>Steve Cox wrote:
>>>> You can't. There is only one in and one out on each MEC. I need to have
>>both
>>>> ins tied up with the master word clock or I will have pops n' snaps
galore.
>>>> People hate hearing that in their headphones, and I really don't care
>>to
>>>> spend the time snipping them out. With all the digital equipment, they
>>all
>>>> have to be controled by one clock source. What you are suggesting would
>>be
>>>> fine if I was ITB, but I am not. I have a motorized fader Digital console,
>>>> Eight ch. mic pres, and two MECs. The whole idea behind having a master
>
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| Re: Recording Guitar - hot tips? [message #65474 is a reply to message #65465] |
Fri, 17 March 2006 01:40 |
rick
Messages: 1976
Registered: February 2006
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Senior Member |
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ard a
change in mic cables without my prompting) It's VERY hard to
capture an orchestra with 2 mics live to 2 track. If you know how
to do it though, the results are nearly perfect. Be aware, only
one "recording engineer" in 50 or so can hear as well as a great
conductor, so a lot of guys make fools of themselves trying to BS
the client. When it is wrong, they hear it in 3 seconds, and no
amount of techno-gibberish will save you, and when it is gloriously
right, you have a friend for life.
As for Nuendo, my experience is limited to demos and trade shows
where it sounded so bad I walked away on more than 5 different
occasions. And yes you can hear at trade shows. Funny how Sonic,
Paris, and Sequoia all sounded great at trade shows.
My classical colleagues have pretty much returned the same
verdict. I don't know anyone who seriously uses Nuendo. A lot
of people are using PT's now, but many are using Sequoia, and I am
headed that way in the next few years.
Great sound on orchestras is easy in Paris, you just have to know
how to use it. I also did a live project recently where I dragged out
the Paris rig and recorded live to 24-track and it sounds fabulous.
I did the drums with 4 mics, one on the snare, one in the kick, and
stereo overheads. So far, I am mixing it clean, and it sounds just
sweet and pristine. No fake "warmth" no analog fuzziness, no
middines, just great sound. I'll send you one when we are done if
you like.
DC
Dedric Terry <dterry@keyofd.net> wrote:
>Hey DC - have you qualified what you didn't like, or didn't work with Nuendo
>for classical? I'm curious from a technical perspective, regardless of
>preferences, and not to spark further debate over which is "best". I have
>found noticeable differences in how Samplitude handles gain vs. Nuendo,
>although at unity gain, they sum identically. Thanks!
>
>Regards,
>Dedric
>
>On 4/14/06 5:48 PM, in article 444034e7$1@linux, "DC" <dc@spamthemoon.com>
>wrote:
>
>>
>> "Babu" <musiclab@lund.bonet.se> wrote:
>>
>>
>>&g
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